تويت
الكاميرات والعدسات .. المعدات الأساسية .. كيفية التقاط وتطوير الصور الملونة
ESSENTIAL EQUIPMENT
CAMERAS & LENSES
Any modern camera , even an unsophisticated snapshot model , can be used for high - quality colour photography . Nevertheless , the simpler the camera , the more limitations it is likely to have , and it is important to know from the start . just what your equipment is capable of . If , for instance , it has a single fixed . lens , there will be types of photography that are beyond its scope - anything that needs the high magnification of a telephoto lens , wide fields of view , or very close focusing .
This may , of course , be no disadvantage at all , particularly if you intend to concentrate on , say , candid photographs of people in everyday situations . If , on the other hand , you want to explore a variety of kinds of image and types of subject , a ' system ' camera with interchangeable lenses ( 35mm single lens reflex ) is the best choice .
As a guiding principle , tackle the areas of photography that your camera allows , or buy the equipment that your interests require . The 35mm SLR camera is by far the most common type used by people who have a serious interest in photography , so in this book the assumption is that this is the equip- ment you are using . Most of what is written still applies to snapshot cameras and larger formats , but if you have something other than a 35mm SLR , be prepared for slight differences here and there .
Finding the balance between technical proficiency and relying too much on equipment has always been one of the hidden difficulties facing photo- raphers . The point of this balance varies from person to person , as some photographers are more comfortable when surrounded by a large selection of lenses and other items to cope with all contingencies , while others produce their best work when using the bare minimum . Whatever the case , there are two conflicting influences . Equipment alone does not produce pictures , but the sophistication and variety available in photographic stores is an obvious temptation , as well as being a source of pleasure in what is , after all , a technically - oriented activity . Believing that a new gadget automatically will improve the standard of your pictures , however , is over - optimistic . Equally , studied ignorance of photographic technique , with the idea that only an intuitive eye is needed , is just as misguided .
Here , we look at equipment as the tools necessary for the job . No more , no less . It may help , if you are still building up your range of equipment , or are planning to start , to think of two groups of items : basic equipment and , later , extras . A data - back , for example , may appeal as an ingenious toy , but it is unlikely to be a more important purchase than a first wide - angle lens . On the next few pages , we look at the way equipment selection can work in practice . Camera design changes constantly , partly as real improvement ( making automatic metering produce more consistently reliable exposures , for instance ) and partly as a way of encouraging photographers to spend more money . As the function of the camera body is fairly straightforward - to move the film along , control the exposure by means of a shutter , and measure what the exposure setting should be there are few reasons for trading in old models for new every year . Most major manufacturers produce similar ranges ; if you choose no more sophisticated a model than you really need , that will leave more money in the budget for lenses , which usually merit more attention .
If you have an SLR , its two most valuable properties are that you see exactly what will be exposed onto the film ( through the viewfinder ) , and that you can use different lenses . A first priority , then , is to have a variety of lenses , for the focal length of the lens is what determines , to a large degree , the character of the picture . Standard focal lengths , which are around 50mm for a 35mm camera , give an angle of view and proportions that appear very much as the eye sees , and this is the lens that is usually sold with the camera .
Wide - angle lenses have shorter focal lengths , take in more of the scene and give a more pronounced perspective , making close objects seem proportionately larger than those in the background . They can be used to draw the viewer into the scene and feel some sense of immediacy and involvement . At the other end of the scale , telephoto lenses have long focal lengths , magnifying the view of distant subjects , and giving a flattening effect on perspective . Mirror lenses employ a different principle to arrive at a similar effect , with a combination of lens and mirror , similar to that used in some telescopes , to achieve high magni- fication . Zoom lenses cover a variety of focal lengths continuously by means of a larger number of individual glass elements which move inside the lens barrel . Different models cover different ranges .
CANON T70 This multiple program model features 8 modes of operation , is very heavily automated , and its manufacturers make a strong design feature of " computer - age " display .
CANON AE - 1 PROGRAM One of the pioneering " multi - mode " cameras , the AE - 1 is a high quality camera offering both shutter priority and fully programmed automatic exposure plus full manual metering .
MINOLTA 7000 An example of the trend towards total electronic control of all camera functions is the Minolta 7000. In particular , it features an autofocus system that is integrated . into the body , so reducing the cost , size and weight of lenses .
ROLLEI SLR 3003 Distinct from other 35mm SLRs , this Rollei model is modular in the sense of medium - format cameras , featuring interchangeable film backs and snap - on rapid recharging power packs .
OLYMPUS OM - 4 Also a highly automated camera , the OM - 4 is designed for near- foolproof operation in unskilled hands , but provides a highly sophisticated metering system for more experienced photographers .
NIKON F3AF One of the most advanced professional cameras , this is basically the top- of - the - line F3 with an image - displacement sensing prism . Micro motors in a small range of lenses use this information to focus the lens automatically .
A basic selection of lenses for many people , particularly those starting in photography , would normally be a single SLR body with either three lenses of fixed focal length or one or two zoom lenses to cover a similar range . The fixed focal length lenses would be one standard , one moderate wide - angle , and one moderate telephoto . Zoom lenses have the advantage of combining the variety of focal length in a single piece of equipment , and make for a lighter load to carry around . Their disadvantages are that they are usually individually heavier than comparable fixed focal length lenses , and that the maximum aperture is smaller . ( Smaller apertures mean slower shutter speeds , and make low - light photography less easy . )
Modern electronic cameras are so ingenious that they can seem intimidating at first , but most of their features really do make photography easier . The only risk , as already mentioned , is that creativity can be swamped by technology , so that the camera , not the photographer , is in control .
The main illustration shows a multi - mode . autofocus - capability , fully - electronic SLR camera with built - in motor drive , power rewind , dedicated flash capability and liquid crystal display .
Main switch with audible warning for too - slow shutter speed
Liquid crystal display
Electronic metering and shutter
Main central processing unit for camera i control
Dedicated flash
Contact pins
Multi - mode controls
Semi- silvered mirror for TTL reading
Computer chip controlling autofocus
Autofocus / manual control switch
Remote control contacts
Electronic contacts to relay information between lens and camera
Lithium battery memory store
Built in drive and power rewind
Autofocus module ( passive system )
Autofocus drive motor
Computer chip containing information on focal length and focus
Autofocus drive to lens
Compact 35mm to 75mm lens
- Lens Effects
A good demonstration of the characteristics of lenses is to choose a single scene and shoot it using lenses of different focal lengths , ranging from very short to very long . This exercise can aid your awareness of the compositional possibilities offered by each lens .
ABOVE A 28mm wide - angle lens can lend drama to a landscape scene . Depth of field is great , and even focusing becomes a secondary consideration .
ABOVE Very much the ' standard ' wide - angle , a 35mm lens still retains the characteristic of increasing the apparent distance between subjects common to lenses with short focal lengths .
ABOVE A 50mm standard lens approximates the angle of view as seen by the human eye .
ABOVE One of the moderate telephotos , a 135mm lens enables the photographer to enlarge the subject within the frame from a distant viewpoint .
LEFT Producing good subject magnification , a 200mm lens offers a relatively small depth of field , making focusing critical .
ESSENTIAL EQUIPMENT
CAMERAS & LENSES
Any modern camera , even an unsophisticated snapshot model , can be used for high - quality colour photography . Nevertheless , the simpler the camera , the more limitations it is likely to have , and it is important to know from the start . just what your equipment is capable of . If , for instance , it has a single fixed . lens , there will be types of photography that are beyond its scope - anything that needs the high magnification of a telephoto lens , wide fields of view , or very close focusing .
This may , of course , be no disadvantage at all , particularly if you intend to concentrate on , say , candid photographs of people in everyday situations . If , on the other hand , you want to explore a variety of kinds of image and types of subject , a ' system ' camera with interchangeable lenses ( 35mm single lens reflex ) is the best choice .
As a guiding principle , tackle the areas of photography that your camera allows , or buy the equipment that your interests require . The 35mm SLR camera is by far the most common type used by people who have a serious interest in photography , so in this book the assumption is that this is the equip- ment you are using . Most of what is written still applies to snapshot cameras and larger formats , but if you have something other than a 35mm SLR , be prepared for slight differences here and there .
Finding the balance between technical proficiency and relying too much on equipment has always been one of the hidden difficulties facing photo- raphers . The point of this balance varies from person to person , as some photographers are more comfortable when surrounded by a large selection of lenses and other items to cope with all contingencies , while others produce their best work when using the bare minimum . Whatever the case , there are two conflicting influences . Equipment alone does not produce pictures , but the sophistication and variety available in photographic stores is an obvious temptation , as well as being a source of pleasure in what is , after all , a technically - oriented activity . Believing that a new gadget automatically will improve the standard of your pictures , however , is over - optimistic . Equally , studied ignorance of photographic technique , with the idea that only an intuitive eye is needed , is just as misguided .
Here , we look at equipment as the tools necessary for the job . No more , no less . It may help , if you are still building up your range of equipment , or are planning to start , to think of two groups of items : basic equipment and , later , extras . A data - back , for example , may appeal as an ingenious toy , but it is unlikely to be a more important purchase than a first wide - angle lens . On the next few pages , we look at the way equipment selection can work in practice . Camera design changes constantly , partly as real improvement ( making automatic metering produce more consistently reliable exposures , for instance ) and partly as a way of encouraging photographers to spend more money . As the function of the camera body is fairly straightforward - to move the film along , control the exposure by means of a shutter , and measure what the exposure setting should be there are few reasons for trading in old models for new every year . Most major manufacturers produce similar ranges ; if you choose no more sophisticated a model than you really need , that will leave more money in the budget for lenses , which usually merit more attention .
If you have an SLR , its two most valuable properties are that you see exactly what will be exposed onto the film ( through the viewfinder ) , and that you can use different lenses . A first priority , then , is to have a variety of lenses , for the focal length of the lens is what determines , to a large degree , the character of the picture . Standard focal lengths , which are around 50mm for a 35mm camera , give an angle of view and proportions that appear very much as the eye sees , and this is the lens that is usually sold with the camera .
Wide - angle lenses have shorter focal lengths , take in more of the scene and give a more pronounced perspective , making close objects seem proportionately larger than those in the background . They can be used to draw the viewer into the scene and feel some sense of immediacy and involvement . At the other end of the scale , telephoto lenses have long focal lengths , magnifying the view of distant subjects , and giving a flattening effect on perspective . Mirror lenses employ a different principle to arrive at a similar effect , with a combination of lens and mirror , similar to that used in some telescopes , to achieve high magni- fication . Zoom lenses cover a variety of focal lengths continuously by means of a larger number of individual glass elements which move inside the lens barrel . Different models cover different ranges .
CANON T70 This multiple program model features 8 modes of operation , is very heavily automated , and its manufacturers make a strong design feature of " computer - age " display .
CANON AE - 1 PROGRAM One of the pioneering " multi - mode " cameras , the AE - 1 is a high quality camera offering both shutter priority and fully programmed automatic exposure plus full manual metering .
MINOLTA 7000 An example of the trend towards total electronic control of all camera functions is the Minolta 7000. In particular , it features an autofocus system that is integrated . into the body , so reducing the cost , size and weight of lenses .
ROLLEI SLR 3003 Distinct from other 35mm SLRs , this Rollei model is modular in the sense of medium - format cameras , featuring interchangeable film backs and snap - on rapid recharging power packs .
OLYMPUS OM - 4 Also a highly automated camera , the OM - 4 is designed for near- foolproof operation in unskilled hands , but provides a highly sophisticated metering system for more experienced photographers .
NIKON F3AF One of the most advanced professional cameras , this is basically the top- of - the - line F3 with an image - displacement sensing prism . Micro motors in a small range of lenses use this information to focus the lens automatically .
A basic selection of lenses for many people , particularly those starting in photography , would normally be a single SLR body with either three lenses of fixed focal length or one or two zoom lenses to cover a similar range . The fixed focal length lenses would be one standard , one moderate wide - angle , and one moderate telephoto . Zoom lenses have the advantage of combining the variety of focal length in a single piece of equipment , and make for a lighter load to carry around . Their disadvantages are that they are usually individually heavier than comparable fixed focal length lenses , and that the maximum aperture is smaller . ( Smaller apertures mean slower shutter speeds , and make low - light photography less easy . )
Modern electronic cameras are so ingenious that they can seem intimidating at first , but most of their features really do make photography easier . The only risk , as already mentioned , is that creativity can be swamped by technology , so that the camera , not the photographer , is in control .
The main illustration shows a multi - mode . autofocus - capability , fully - electronic SLR camera with built - in motor drive , power rewind , dedicated flash capability and liquid crystal display .
Main switch with audible warning for too - slow shutter speed
Liquid crystal display
Electronic metering and shutter
Main central processing unit for camera i control
Dedicated flash
Contact pins
Multi - mode controls
Semi- silvered mirror for TTL reading
Computer chip controlling autofocus
Autofocus / manual control switch
Remote control contacts
Electronic contacts to relay information between lens and camera
Lithium battery memory store
Built in drive and power rewind
Autofocus module ( passive system )
Autofocus drive motor
Computer chip containing information on focal length and focus
Autofocus drive to lens
Compact 35mm to 75mm lens
- Lens Effects
A good demonstration of the characteristics of lenses is to choose a single scene and shoot it using lenses of different focal lengths , ranging from very short to very long . This exercise can aid your awareness of the compositional possibilities offered by each lens .
ABOVE A 28mm wide - angle lens can lend drama to a landscape scene . Depth of field is great , and even focusing becomes a secondary consideration .
ABOVE Very much the ' standard ' wide - angle , a 35mm lens still retains the characteristic of increasing the apparent distance between subjects common to lenses with short focal lengths .
ABOVE A 50mm standard lens approximates the angle of view as seen by the human eye .
ABOVE One of the moderate telephotos , a 135mm lens enables the photographer to enlarge the subject within the frame from a distant viewpoint .
LEFT Producing good subject magnification , a 200mm lens offers a relatively small depth of field , making focusing critical .
تعليق