Technology of photography, equipment, techniques, and processes used in the production of photographs.photographyLearn about the chemistry of early photographic processes.© American Chemical Society
The most widely used photographic process is the black-and-white negative–positive system (Figure 1). In the the lens projects an image of the scene being photographed onto a coated with light-sensitive salts, such as silver bromide. A shutter built into the lens admits light reflected from the scene for a given time to produce an invisible but developable image in the sensitized layer, thus exposing the film.
During (in a darkroom) the silver salt crystals that have been struck by the light are converted into metallic silver, forming a visible deposit or density. The more light that reaches a given area of the film, the more silver salt is rendered developable and the denser the silver deposit that is formed there. An image of various brightness levels thus yields a picture in which these brightnesses are tonally reversed—a . Bright subject details record as dark or dense areas in the developed film; dark parts of the subject record as areas of low density; i.e., they have little silver. After development the film is treated with a fixing bath that dissolves away all undeveloped silver salt and so prevents subsequent darkening of such unexposed areas. Finally, a wash removes all soluble salts from the film emulsion, leaving a permanent negative silver image within the gelatin layer.
A positive picture is obtained by repeating this process. The usual procedure is : the negative is projected onto a sensitive paper carrying a silver halide emulsion similar to that used for the film. Exposure by the light source again yields a of the negative. After a development and processing sequence the paper then bears a positive silver image. In contact printing the negative film and the paper are placed face to face in contact and exposed by diffused light shining through the negative. The dense (black) portions of the negative image result in little exposure of the paper and, so, yield light image areas; thin portions of the negative let through more light and yield dark areas in the print, thus re-creating the light values of the original scene.
Read More on This Topic
history of technology: Printing and photography
Communications were equally transformed in the 19th century. The steam engine helped to mechanize and thus to speed up the processes of papermaking and printing. In the latter case the acceleration was achieved by the introduction of the high-speed rotary press and the Linotype…
In its simplest form, the camera is a light-tight container carrying a lens, a shutter, a diaphragm, a device for holding (and changing) the film in the correct image plane, and a to allow the camera to be aimed at the desired scene.
The lens projects an inverted image of the scene in front of the camera onto the film in the image plane. The image is sharp only if the film is located at a specific distance behind the lens. This distance depends on the focal length of the lens (see below ) and the distance of the object in front of the lens. To photograph near and far subjects, all but the simplest cameras have a adjustment that alters the distance between the lens and the film plane to make objects at the selected distance produce a sharp image on the film. In some cameras focusing adjustment is achieved by moving only the front element or internal elements of the lens, in effect modifying the focal length.
The shutter consists of a set of metallic leaves mounted in or behind the lens or a system of blinds positioned in front of the film. It can be made to open for a predetermined time to expose the film to the image formed by the lens. The time of this is one of the two factors controlling the amount of light reaching the film. The other factor is the lens diaphragm, or aperture, an opening with an adjustable diameter. The combination of the diaphragm opening and exposure time is the photographic exposure. To obtain a film image that faithfully records all the tone gradation of the object, this exposure must be matched to the brightness (luminance) of the subject and to the sensitivity or of the film. Light meters built into most modern cameras measure the subject luminance and set the shutter or the lens diaphragm to yield a correctly exposed image.
The simplest camera type, much used by casual amateurs, has most of the features listed in the previous section—lens, shutter, viewfinder, and film-holding system. The light-tight container traditionally had a box shape. Present-day equivalents are pocket cameras taking easy-load film cartridges or film disks. Typically, a fixed shutter setting gives about 1/50-second exposure; the lens is permanently set to record sharply all objects more than about five feet (1.5 metres) from the camera. Provision for a flash may be built in. Though simple to handle, such cameras are in daylight restricted to pictures of stationary or slow-moving subjects.
Perforated 35-millimetre (mm) film (originally standard motion-picture film) in cartridges holding 12 to 36 exposures with a picture format of 24 × 36 mm is employed in miniature cameras. Smaller image formats down to 18 × 24 mm (half frame) may be used. The 35-mm camera has a lens with a range of apertures and a shutter with exposure times typically from one second to 1/1,000 second or shorter, and it can focus on subject distances from infinity down to five feet or less. A winding lever or built-in motor advances the film from one frame to the next and at the same time tensions (cocks) the shutter for each exposure. At the end of the film load the film is rewound into the cartridge for removal from the camera in daylight.
A 35-mm camera usually has a direct-vision viewfinder, often combined with a rangefinder or autofocus system for accurate distance settings. Most current versions incorporate a coupled with the exposure settings on the camera. Advanced models may have interchangeable lenses and an extended accessory system. Many 35-mm cameras are single-lens reflex types (see below).
This camera takes narrow roll film (16-mm or 9.5-mm) in special cartridges or film disks. The picture size ranges from 8 × 10 mm to 13 × 17 mm. These formats are used for making millions of snapshooting pocket-size cameras; special versions may be as small as a matchbox for unobtrusive use.
For studio and commercial the view, or technical, camera takes single exposures on sheet films (formerly ) usually between 4 × 5 inches and 8 × 10 inches. A front standard carries interchangeable lenses and shutters; a rear standard takes a ground-glass screen (for viewing and focusing) and sheet-film holders. The standards move independently on a rail or set of rails and are connected by bellows. Both standards can also be displaced laterally and vertically relative to each other’s centre and swung or tilted about horizontal and vertical axes. These features provide versatility in image control (sharpness distribution, subject distance, and perspective), though not speed in use. The view camera is nearly always mounted on a tripod.
This type of camera takes sheet film (typical formats of from 21/2 × 31/2 inches to 4 × 5 inches), roll film, or 70-mm film in interchangeable magazines; it has interchangeable lenses and may have a coupled rangefinder. Special types use wide-angle lenses and wide picture formats (e.g., 21/4 × 41/2 to 21/4 × 63/4 inches [6 × 12 to 6 × 17 centimetres]). The medium-size hand camera was popular with press photographers in the first half of the 20th century. Older versions had folding bellows and a lens standard on an extendable baseboard or strut system. Modern modular designs have a rigid body with interchangeable front and rear units.
The folding roll-film camera, now rare, resembles the 35-mm miniature camera in shutter and viewfinder equipment but has bellows and folds up to pocketable size when not in use. Generally it takes roll films holding eight to 16 exposures; typical picture sizes are 21/4 × 21/4, 21/4 × 31/4, or 13/4 × 21/4 inches. Some 35-mm cameras were also produced with bellows.
The ground-glass screen at the back of the studio, or view, camera slows down picture taking because the screen must be replaced by the film for an exposure. The single-lens reflex camera (Figure 2) has a screen, but the film remains constantly in position. A 45° mirror reflects the image-forming rays from the lens onto a screen in the camera top. The mirror moves out of the way during the exposure and back again afterward for viewing and focusing the next picture. The image on the screen therefore temporarily disappears from view during the exposure. Present-day single-lens reflexes are either 35-mm cameras or advanced roll-film models. Most 35-mm reflexes have optical prism systems for eye-level screen viewing, built-in light-meter and electronic exposure-control systems, interchangeable lenses, and numerous other refinements. Often the camera is part of an extensive accessory system. Advanced roll-film reflexes are even more modular, with interchangeable viewfinders, focusing screens, and lenses.Figure 2: Single-lens reflex principle.Encyclopædia Britannica, Inc.
The twin-lens reflex is a comparatively bulky dual camera (Figure 3) with a fixed-mirror reflex housing and top screen mounted above a roll-film box camera. Its two lenses focus in unison so that the top screen shows the image sharpness and framing as recorded on the film in the lower section. The viewing image remains visible all the time, but the viewpoint difference (parallax) of the two lenses means that the framing on the top screen is not exactly identical with that on the film.Figure 3: Principles of the twin-lens reflex camera.Encyclopædia Britannica, Inc.
Principal present-day shutters are the and the focal-plane shutter.
The leaf, or diaphragm, shutter consists of a series of blades or leaves fitted inside or just behind the lens. The shutter opens by swinging the leaves simultaneously outward to uncover the lens opening. The leaves stay open for a fixed time—the exposure time—and then close again. A combination of electromagnets or electromagnets and springs drives the mechanism, while an electronic circuit—often coupled with a light metering system—or an adjustable escapement in mechanical shutters controls the open time. This is typically between one second and 1/500 second.
The focal-plane shutter consists of two light-tight fabric blinds or a combination of metal blinds moving in succession across the film immediately in front of the image plane. The first blind uncovers the film and the second blind covers it up again, the two blinds forming a traveling slit the width of which determines the exposure time: the narrower the slit, the shorter the time. The actual travel time is fairly constant for all exposure times. A mechanism or electromagnet and control circuit triggers the release of the second blind. Focal-plane shutters are usually adjustable for exposure times between one second (or longer) and 1/1,000 to 1/4,000 second.
In the lens diaphragm a series of leaves increases or decreases the opening to control the light passing through the lens to the film. The diaphragm control ring carries a scale of so-called f-numbers, or , in a series: such as 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, and 32. The squares of the f-numbers are inversely proportional to the amount of light admitted. In the above international standard series, each setting admits twice as much light as the next higher f-number, or stop (giving twice as much exposure).
Shutter settings on present-day cameras also follow a standard double-or-half sequence—e.g., 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1,000 second, and so forth. The shorter the exposure time, the “faster” the shutter speed.
An attempt to simplify the mathematics of f-number and shutter speed-control functions led to the formulation of exposure values (EV). These run in a simple whole-number series, each step (EV interval) doubling or halving the effective exposure. The lower the EV number, the greater the exposure. Thus, EV 10 gives twice as much exposure as EV 11 or half as much as EV 9. Each EV value covers a range of aperture/speed combinations of the same equivalent exposure; for instance, f/2.8 with 1/250 second, f/4 with 1/125 second, and f/5.6 with 1/60 second. For a time some cameras carried an EV scale and coupled the aperture and speed settings; at a given EV setting in such cameras selecting various speeds automatically adjusted the aperture to compensate and vice versa. Exposure-value setting scales became obsolete with exposure automation, but the notation remains in use to indicate either exposure levels or—at specified film speeds—lighting levels requiring a given exposure.
On a camera with a viewing screen (view camera or single-lens reflex) viewing and focusing are carried out with the lens diaphragm fully open, but the exposure is often made at a smaller aperture. Reflex cameras (and increasingly also view cameras) therefore incorporate a mechanism that automatically or semiautomatically stops down (reduces) the lens to the working aperture immediately before the exposure.
The ground-glass (now mostly grained plastic) screen is the most direct way of viewing the image for framing and for sharpness control. The screen localizes the image plane for observation. The image is also visible without a screen, but then the eye can locate the image plane of maximum sharpness only with a precisely focused high-power magnifier. This aerial focusing method avoids interference of the ground-glass structure with sharpness .
The eye is not good at recognizing slight unsharpness, so focusing screens (especially in reflex cameras) often incorporate focusing aids such as a split-image wedge alone or with a microprism area, in the screen centre. The split-image wedge consists of a pair of prism wedges that split an out-of-focus image into two sharp halves laterally displaced relative to one another. When the lens is correctly focused the image becomes continuous across the wedge area—a point that the eye can assess more precisely. The microprism area contains several hundred or thousand minute wedges that give a blurred image very ragged outlines and a broken-up texture; these clear abruptly as the image becomes sharp.
The focusing screen is often overlaid by a pattern of fine concentric lens sections. Called a Fresnel screen, it redirects the light from the screen corners toward the observer’s eye and makes the image evenly bright.
Cameras without a screen generally are equipped with a distance scale, the lens being set to the estimated object distance. More advanced cameras have an optical as a distance-measuring aid; it consists of a viewfinder (see below) and a swinging mirror a few inches to one side of the viewfinder axis. As the eye views an image of the object, the mirror superimposes a second image from a second viewpoint. On turning the mirror through the correct angle, which depends on the object distance, the two images are made to coincide. The mirror movement can be linked with a distance scale, or coupled with the lens focusing adjustment. When the lens is incorrectly focused, the rangefinder shows a double or split image. In place of a rotating mirror, the rangefinder may use swinging or rotating optical wedges (prisms).
Some cameras evaluate the coincidence (or lack thereof) between two rangefinder images by image analysis with a microchip system. This signals electronically when the lens is set to the correct distance and often carries out the distance setting by a servomotor built into the camera. Such focusing makes the camera even simpler to use. automatic ranging systems used in amateur cameras depend on triangulation with infrared rays or pulses sent out by a small (LED), or on measurement of the time an ultrasonic signal takes to be reflected back from the subject ().
While these devices measure distance automatically, single-lens reflex cameras may incorporate electronic image-analysis systems to measure sharpness. The signal output of such systems actuates red or green LEDs in the camera finder system to show whether the image is sharp or not. The same signal can control a servomotor in the lens for fully automatic focusing. These devices are limited at low lighting and contrast levels—where the also finds sharpness assessment difficult.
The sighting devices in cameras lacking screens are called viewfinders; they show how much of the scene will appear on the film. The simplest viewfinder is a wire frame above the camera front, with a second frame near the back to aid the eye in correct centring. Most present-day finders are built into the camera and are compact lens systems. Bright-frame finders show a white frame reflected into the view to outline the field recorded on the film. An alternative form is the reflecting viewfinder in which the photographer looks down into a field lens on top of the camera. The upper section of a twin-lens reflex camera is such a reflecting finder.
As the viewfinder axis in a camera other than a single-lens reflex does not usually coincide with the lens axis, the finder’s and the lens’s views do not exactly match. This error is insignificant with distant subjects; with near ones it is responsible for the familiar fault of a portrait shot of a head that appears partly cut off in the picture even though it was fully visible in the finder. Camera viewfinders may have parallax-compensating devices.
The optical finder gives a direct upright and right-reading view of the subject with the camera held at eye level. The traditional reflex camera, held at waist level, showed a laterally reversed view. Modern reflexes have a pentaprism arrangement that permits upright, right-reading, eye-level viewing by redirecting the image from the horizontal screen on top of the camera.
, or light meters, measure the light in a scene to establish optimum camera settings for correct exposures. A light-sensitive generates or controls an according to the amount of light reaching the cell. The current may energize a microammeter or circuit controlling LEDs to indicate exposure settings. In most modern cameras the current or signal acts on a microprocessor or other circuit that directly sets the shutter speed or lens aperture. The cell usually is a or other photodiode generating a current that is then amplified. In older cadmium sulfide cells the light falling on the cell changed the latter’s resistance to a current passing through it. cells, still used in some cameras, also generate a current but are larger and less sensitive.
Single-lens reflex cameras have one or more photocells fitted in the pentaprism housing to measure the brightness of the screen image. The exposure reading depends on the light coming through the lens () and so allows for the lens’s angle of view, close-up exposure corrections, stray light, and other factors. Some TTL systems divert the light from the lens to a photocell before it reaches the screen (e.g., by beam-splitting arrangements or the use of photocells behind a partly reflecting mirror), or they measure the light reflected from the film or from a specially structured first shutter blind at the beginning of, or during, the exposure. Such off-the-film (OTF) measurement is also used for electronic flash control (see below).
View cameras may use a photocell on a probe that can be moved to any point just in front of the focusing screen, thus measuring image brightness at selected points of the image plane. This takes place before the exposure, and the probe is then moved out of the way. Professional photographers also use hand-held separate exposure meters and transfer the readings manually to the camera.
Flash is a widely used artificial source for photography, providing a reproducible light of high intensity and short duration. It can be synchronized with an instantaneous exposure. Being battery powered, small flash units are self-contained.
The most common flash system depends on a high-voltage discharge through a . A capacitor charged to several hundred volts (by a step-up circuit from low-voltage batteries or from the line voltage supply) provides the discharge energy. A low-voltage circuit generating a high-voltage pulse triggers the flash, which lasts typically 1/1,000 second or less. Small electronic flash units may be built into or clipped onto the camera. Larger units are attached with brackets. Large professional units with floodlight and spotlight fittings are used in studio photography. Even small flashes often have adjustable reflectors, for example, to an indoor subject by the flash reflected from the ceiling or walls.
Electronic flash units often incorporate a fast-responding photodiode that cumulatively measures the light reflected from the subject and switches off the flash when that light has reached a preselected amount (computer flash). This flash-duration control thus adjusts the flash exposure automatically as long as the subject is within a certain distance range (typically from two to 20 feet). At lower power or near subject distances the duration of a computer flash may drop to 1/50,000 second.
With certain camera–flash combinations OTF metering inside the camera can control the flash duration by suitable contacts made when the flash is attached to the camera. These “dedicated” flashes (so named because their control circuitry has to match that of specific cameras) may also signal in the camera finder when the flash is ready to operate and to set the camera automatically to its synchronizing shutter speed (see below).
An older type of flash is an oxygen-filled glass envelope containing a specific amount of aluminum or zirconium wire and means for igniting the wire in the bulb. The wire burns away with a brilliant flash lasting typically about 1/100 to 1/50 second. Each flashbulb can, however, yield only one flash. Current flashbulb systems use four to 10 tiny bulbs, each in its own reflector, arranged in cube or bar carriers that plug into cameras designed for them. The individual flashes are fired in turn by a battery and circuit in the camera through mechanically generated current pulses or other means. In view of the greater convenience of electronic flash, flashbulbs in their various forms are largely obsolescent.
Flash units are usually fired with a switch in the camera shutter to synchronize the flash with the shutter opening. A contact in the camera’s flash shoe (hot shoe) or a flash lead connects the unit with this shutter switch. The shutter contact usually closes the instant the shutter is opened. A focal plane shutter must fully uncover the film (generally at a shutter speed of 1/60 second or slower) for flash synchronization. With flashbulbs the shutter must also stay open while the flash reaches its peak brightness—about 1/50 second.
From the development of the 35-mm miniature camera in the 1930s evolved the concept of the system camera that could be adapted to numerous jobs with a range of interchangeable components and specialized accessories. Today, most moderately advanced 35-mm miniatures take interchangeable lenses, close-up and photomicrographic attachments, filters, flash units, and other accessories. The most elaborate camera systems also include such accessories as alternative finder systems; interchangeable reflex screens, film backs, and magazines; and remote-control and motor-drive systems. Modular professional roll-film and view cameras are built up from a selection of alternative camera bodies, film backs, bellows units, lenses, and shutters. This is the nearest approach to the universal camera, assembled as required to deal with practically every type of photography.
The lens forming an image in the camera is a converging lens, the simplest form of which is a single biconvex (lentil-shaped) element. In theory such a lens makes a light beam of parallel rays converge to a point (the focus) behind the lens. The distance of this focus from the lens itself is the focal length, which depends on the curvature of the lens surfaces and the properties of the lens . An object at a very long distance (optically regarded as at “infinity”) in front of the lens forms an inverted image in a plane (the focal plane) going through the focus. Light rays from nearer objects form an image in a plane behind the focal plane. The nearer the object, the farther behind the lens the corresponding image plane is located—which is why a lens has to be focused to get sharp images of objects at different distances.
The image scale, or scale of reproduction, is the ratio of the image size to the object size; it is often quoted as a magnification. When the image is smaller than the object, the magnification of the object is less than 1.0. If the image is 1/20 the size of the object, for example, the magnification may be expressed either as 0.05 or as 1:20. For an object at a given distance, the scale of the image depends on the focal length of the lens (Figure 4). A normal camera lens usually has a focal length approximately equal to the diagonal of the picture format covered. A lens of longer focal length gives a larger scale image but necessarily covers less of the scene in front of the camera. Conversely, a lens of shorter focal length yields an image on a smaller scale but—provided the angle of coverage is sufficient (see below)—takes in more of the scene. Many cameras, therefore, can be fitted with interchangeable lenses of different focal lengths to allow varying the image scale and field covered. The focal length of a lens in millimetres (sometimes in inches) is generally engraved on the lens mount.Figure 4: Effects of using lenses of different focal lengths.Encyclopædia Britannica, Inc.
The aperture, or f-number, is the ratio of the focal length to the diameter of an incident light beam as it reaches the lens. For instance, if the focal length is 50 millimetres and the diameter of the incident light beam is 25 millimetres, the f-number is 2. This incident-beam diameter is often roughly the lens-diaphragm diameter, but it may be appreciably larger or smaller. The maximum aperture (f-number at the largest diaphragm opening) is also marked on the lens, usually in the form f:2, f/2, or 1:2.
A lens must cover the area of a camera’s film format to yield an image adequately sharp and with reasonably even brightness from the centre to the corners of the film. A normal lens should cover an angle of at least 60°. A wide-angle lens covers a greater angle—about 70° to 90° or more for an ultrawide-angle lens. A long-focus lens covers a smaller angle.
The angle of coverage depends on the lens design. like “wide angle” or “narrow angle” are not necessarily synonymous with “short focus” and “long focus,” as the latter terms refer to the focal length of the lens relative to the picture format.
A simple lens produces a very imperfect image, which is usually blurred away from the centre. The image may have colour fringes around object outlines, and straight lines may be distorted. Such defects, called , can be eliminated—and even then not completely—only by replacing the single lens element by a group of elements of appropriate shape and separation. arising from some of the lens elements then counteract opposite aberrations produced by other elements. The larger the maximum aperture, the greater the angle of coverage, and the higher the degree of correction aimed at, the more complex camera lenses become. Lens design for relative freedom from aberrations involves advanced computer programming to calculate the geometric of every lens element. Some aberrations can also be corrected by making one or more of the surfaces of a lens system ; i.e., with the variable curvature of a paraboloid or other surface rather than the constant curvature of a spherical one.
Lenses usually consist of optical glass. Transparent plastics also have come into use, especially as they can be molded into elements with aspheric surfaces. They are, however, more sensitive to mechanical damage.
There are a number of lens aberrations, each with its own characteristics. is present when the lens forms imagesby different-coloured light in different planes and at different scales. Colour-corrected lenses largely eliminate these faults. Spherical aberration is present when the outer parts of a lens do not bring light rays into the same focus as the central part. Images formed by the lens at large apertures are therefore unsharp but get sharper at smaller apertures. is present when the sharpest image is formed not on a flat plane but on a curved surface. occurs when the lens fails to focus image lines running in different directions in the same plane; in a picture of a rail fence, for instance, the vertical posts are sharp at a focus setting different from the horizontal rails. Another , called , makes image points near the edges of the film appear as irregular, unsharp shapes. is present when straight lines running parallel with the picture edges appear to bow outward (barrel distortion) or inward (pincushion distortion).
One way of testing lens performance is to observe the image it forms of patterns of increasingly closely spaced black lines separated by white spaces of line width. The closest spacing still recognizable in the image gives a resolving power value, expressed in line pairs (i.e., black line plus white space) per millimetre. Photographs of such line patterns, or test targets, show the resolving power of the lens and film combination. For example, a resolution of 80–100 line pairs per millimetre on a fine-grain film represents very good performance for a normal miniature camera lens.
The visual sharpness of an image depends also on its contrast. Opticians, therefore, often plot the contrast with which the image is reproduced against the line spacing of that image. The resulting contrast-transfer curve, or function, gives a more reliable indication of the lens performance under practical picture-taking conditions.
Apart from general-purpose camera lenses of various focal lengths, there are lenses of special characteristics or design.
Long-focus lenses are bulky, because they not only the lens itself but also a mount or tube to hold it at the appropriate focal distance from the film. Telephoto lenses are more compact; their combinations of lens groups make the back focus (the distance from the rear lens element to the film) as well as the length of the whole lens appreciably shorter than the focal length. Strictly, the term telephoto applies only to a lens of this optically reduced length; in practice long-focus lenses of all types tend to be called indiscriminately telephoto or “tele” lenses.
If a camera lens is interchangeable, an accessory teleconverter lens group can be positioned between the prime lens and the camera. This turns a normal lens into an even more compact telephoto system, which is less costly than a telephoto lens but which reduces the speed of the prime lens and usually impairs sharpness performance.
Short-focus, are usually mounted near the film. Single-lens reflex cameras need a certain minimum lens-to-film distance to accommodate the swinging mirror. Wide-angle (and sometimes normal-focus) lenses for such cameras therefore use retrofocus designs. In these the back focus is appreciably longer than the focal length. Both a telephoto and a retrofocus lens must be specially designed for its particular use to ensure optimum image performance.
For image angles greater than 110°, it becomes difficult to bring the lens close enough to the film to allow the rays between the lens and film to diverge sufficiently. The fish-eye lens overcomes this difficulty by making the rays diverge less behind the lens than they do in front. The resulting image shows appreciable distortion, with image details near the edges and corners progressively compressed. Fish-eye lenses usually cover angles between 140° and 210° and are used for unusual wide-angle effects where the distortion becomes a deliberate pictorial element. They also have certain scientific applications, for instance, to cover a horizon-to-horizon view of the sky in recording cloud formations.Dubai MarinaFish-eye night view of the Dubai Marina, Dubai, United Arab Emirates.Geoff Tompkinson/GTImage.com
Images can also be formed by light reflected from curved mirrors. This method, long used in astronomical telescopes, is applied to long-focus lens systems of short overall length by folding the light path back onto itself. A mirror lens or catadioptric system has no chromatic aberrations. Other aberrations are corrected by incorporating one or more appropriate lens elements. The arrangement of the system, with a central opening in the primary mirror, makes stopping down with a customary diaphragm difficult, and neutral-density filters are used to control light transmission.
In variable-focus lenses the focal length can be varied by movement of some of the elements or groups within the lens system. One lens can thus replace a range of interchangeable lenses.
The variable-focus, or zoom, lens was originally developed for , in which adjustment of the focal length during a shot produced a zooming-in or zooming-out effect (hence the name). It is now widely used in single-lens reflex cameras where the reflex finder permits accurate continuous assessment of image coverage. In a true zoom lens the image changes in scale but not in sharpness during zooming; some varifocal lenses, however, need refocusing at different focal lengths. Due to correction requirements over a range of focal lengths, zoom lenses are complex systems containing from 12 to 20 elements. Zoom lenses for still cameras have focal-length ratios from 2:1 to 4:1 or more (e.g., 35–135 mm for a 35-mm reflex).
Miniature and roll-film cameras hold interchangeable lenses in screw or quick-change bayonet mounts. In a focal-plane shutter camera the usable range of focal lengths is practically unlimited. In cameras with leaf shutters, either the lens is mounted in front of the shutter or the lens is changed with the shutter. Some designs use convertible lenses with the rear components built into the camera together with the shutter; interchangeable front groups then provide different focal lengths in combination with the fixed rear group. View-camera lenses—usually with their own shutters—are mounted on lens boards that clip into and out of the front camera standard.
Afocal attachments provide the effect of alternative focal lengths with a fixed camera lens. They are magnifying or reducing telescopes without a focal length (hence afocal), yielding a virtual image that the camera lens projects onto the film. Their designated magnification factor indicates the effect on the image scale; e.g., a 1.5× tele attachment magnifies the image on the film 11/2 times, while a 0.7× wide-angle attachment reduces the image scale to 0.7 times that of the prime camera lens.
When light passes from one optical medium to another (especially from air to glass and vice versa in a lens), about 4 to 8 percent of it is lost by reflection at the interface. This light loss builds up appreciably in complex multielement lenses. Some of the reflected light still reaches the film as ghost images or light spots or as general contrast-reducing scattered light.
To reduce such losses, the air-to-glass surfaces of modern lenses typically carry a microscopically thin coating of metallic fluorides. The coating eliminates most reflected rays. Complete elimination can occur only for light of one wavelength if the coating thickness and are exactly right. In practice a coated lens surface reflects about 0.5 percent of incident white light—1/10 of the light lost by an uncoated lens. Multiple coatings can reduce reflections over a wider wavelength range.
Page 1 of 5
Next page Black-and-white films
history of technology: Printing and photography
Communications were equally transformed in the 19th century. The steam engine helped to mechanize and thus to speed up the processes of papermaking and printing. In the latter case the acceleration was achieved by the introduction of the high-speed rotary press and the Linotype…
printmaking: Contemporary experimentation
Photography is profoundly affecting printmaking. Photographic methods can be combined with intaglio, lithography, or silk screen to enrich their vocabulary. The possibilities are nearly limitless. Yet photography can be corrupting when it reintroduces reproductive ideas, and, unfortunately, it is often used for this effect.…
Photography changed the practice of portraiture in painting for much of the 20th century, except where artists such as Cézanne and Braque used it as a subject for structural research or—like Amedeo Modigliani, Chaim Soutine, and Francis Bacon—for the expression of a personal vision beyond…
information processing: Acquisition and recording of information in analog form
…process until the development of photography during the early decades of the 19th century; drawing and carving were the principal early means of recording graphics. Other techniques were developed alongside printing—for example, etching in stone and metal. The invention of film and the photographic process added a new dimension to…
photoengraving: Early etched plates
…having produced the first permanent photograph. In 1826 Niepce coated a pewter or copper plate with a photosensitive asphaltum and exposed the surface to bright sunlight through an etching of a portrait, which served as a positive image. Sunlight passing through the background of the etching hardened the asphaltum, while…