Applying camera movements

On a view camera, the tilt and shift movements are inherent in the camera, and many view cameras allow a considerable range of adjustment of both the lens and the camera back. Applying movements on a small- or medium-format camera usually requires a tilt-shift lens or perspective control lens. The former allows tilt, shift, or both; the latter allows only shift. With a tilt-shift lens, adjustments are available only for the lens, and the range is usually more limited.

Tilt-shift and perspective-control lenses are available for many SLR cameras, but most are far more expensive than comparable lenses without movements. The Lensbaby SLR lens is a low-cost alternative for providing tilt and swing for many SLR cameras, although the effect is somewhat different from that of the lenses just described. Because of the simple optical design, there is significant curvature of field,[5] and sharp focus is limited to a region near the lens axis. Consequently, the Lensbaby's primary application is selective focus and "toy camera"–style photography.

It is also possible to construct a tilt-shift lens of sorts, as described in the linked article by Dennison Bertram

Selective focus

Selective focus can be used to direct the viewer's attention to a small part of the image while de-emphasizing other parts.

With tilt, the depth of field is wedge shaped. Using a large amount of tilt and a small f-number gives a small angle at the apex of the wedge, and a narrow DoF. If the plane of focus is at a large angle to the image plane, the DoF may be more easy to envision as a "height of field" (with tilt) or a "width of field" (with swing).

The effect is different from that which obtains from using a large f-number without tilt. In a normal photograph, the PoF and the DoF are perpendicular to the line of sight; with tilt, the PoF can be almost parallel to the line of sight, and the DoF can be very narrow but extend to infinity. Thus parts of a scene at greatly different distances from the camera can be rendered sharp, and selective focus can be given to different parts of a scene at the same distance from the camera.

Photographing Families

Taking pictures of a family and doing it well is challenging. There are many things you have to think about to please both you and the people you are shooting. First, you should have soft and diffused lighting. An overcast sky works great and so does shade. Second, you should avoid on-camera flash if possible. If it is hopelessly dark and you don’t have any other lighting equipment, then on-camera flash will have to do. However, this kind of lighting is the least attractive type of artificial light we use. It is flat and dimensionless. Only if you use on-camera flash as a subtle fill light to open up shadows will it look good.

Third, you should place the family in front of a background that won’t compete for attention. Distracting elements and bright highlights should be carefully avoided. If the group of people is positioned in the shade, make sure the background is shaded as well. The last thing you want is a sunny background behind people in the shade.

The biggest challenge is to get good expressions on all the people in the family at the same time. This means that you have to take lots of pictures, hoping that one of them shows each person with a good expression. Also, make sure that no one is hidden behind another family member in a detracting way.

Black-and-white

A filter may be used to enhance or diminish the rendering of certain light wavelengths. For this photograph, a wratten was used.

All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. It is important to note that some monochromatic pictures are not always pure blacks and whites, but also contain other hues depending on the process. The cyanotype process produces an image of blue and white for example. The albumen process, first used more than 150 years ago, produces brown tones.
Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some manufacturers produce digital cameras that exclusively shoot monochrome.

Other image forming techniques

Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic film, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures ..

Other methods of forming images with Leance . For Leance we need to Mega Pixel for good quality's of photos like ( 5mm, 8mm, .... 12mm ) . We are choose megapixel for anlisis objective and print quality . If we need more quelity of photos then we need higher mega pixel leance camera . The profit thing are higher megapixel camera's we can print higher quality's of photos and it gives good regulating and also colour . Mainly we are adjest in photographic Antilight, colour, object and power of camera . we should to think about objects and light then we can shoot photos . And when we printout photos we need to setal size of photos and colour .

What is a single-lens reflex (SLR)?

The single lens reflex (SLR) is most folks' idea of a serious camera. "SLR" means that the same lens is used for viewing and taking pictures. A mirror in the body directs the light from the lens up into a prism for viewing, then flips up out of the way just before an exposure is made. The standard photojournalist's Nikon from the 1960s or 1970s was an SLR with a roll of 35mm film behind the mirror. When the mirror came up the light passed through to the shutter, which opened to expose one frame of film for perhaps 1/60th of a second. A Canon Digital Rebel or Nikon D80 looks very similar and works in almost the same way. The only difference is that instead of a piece of film behind the shutter there is an electronic sensor.

The mirror and optical viewfinder are what enable a photographer to frame images more quickly and accurately than with a point-and-shoot camera. Regardless of what lens or filters you have attached to the camera you see what the sensor will see. The same can be said for the LCD displays on the back of a $200 point-and-shoot camera but those displays are difficult to interpret in sunlight. The typical digital SLR camera viewfinder offers additional information underneath the image, including all the most important camera settings.

The SLR is much larger and heavier than the point-and-shoot camera. If you are leaving the house to socialize and want a camera to keep in your pocket just in case an interesting photo presents itself, the SLR will seem cumbersome. If you are heading out specifically with a photographic project in mind you will appreciate how the SLR and its controls fit into your hands.

Color

Color photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell.

One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.

Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.

The first commercially succesful color process, the Autochrome, invented by the French Lumière brothers, reached the market in 1907. A later example of the additive screen process was the German Agfacolor introduced in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film which was developed by two musicians Leopold Mannes and Leopold Godowsky ("Man" and "God") working with the Kodak Research Labs. It was Kodachrome, based on multiple layered silver gelatin emulsions that were each sensitized to one of the three additive colors--red, green, and blue. The cyan, magenta, and yellow dyes were created in those layers by adding color couplers during processing. This was followed in 1936 by Agfa's Agfacolor Neu. Unlike the Kodachrome tri-pack process, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the film processing. Most modern color films, except Kodachrome, use such incorporated-coupler techniques, though since the 1970s nearly all have used a technique developed by Kodak to accomplish this, rather than the original Agfa method. Instant color film was introduced by Polaroid in 1963.

Color photography may form images as a positive transparency, intended for use in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.