The haunting close-up photography of his work makes this documentary vivid and memorable.
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The benefits of that lineup are improved wide-angle shots, better-quality close-up photography and performance in low-light conditions, according to the company.
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Macro photography is an form of extreme close-up photography commonly used to show minuscule details on very small insects and objects, like a snowflake or the wings of a butterfly.
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24 and 36 inch close up attachments with prismatic lenses adjusted both the focus and the stereo base for close up photography of small objects.
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The Sharp SX862 features a 3.2 megapixel camera with autofocus. Automatic exposure control and a high intensity LED light enable close up photography in low-light conditions. It also offers VGA quality video recording and playback.
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Effects of a diffuser in close-up photography (for more information, see file description) Diffusion filters may be used to diffuse the light falling on the subject, or placed between the camera and the subject for a hazy effect.
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The problem of sufficiently and evenly lighting the subject can be difficult to overcome. Some cameras can focus on subjects so close that they touch the front of the lens. It is difficult to place a light between the camera and a subject that close, making extreme close-up photography impractical. A normal-focal-length macro lens (50 mm on a 35 mm camera) can focus so close that lighting remains difficult.
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A camera stabilizer is any device or object that externally stabilizes the camera. This can refer to a Steadicam, a tripod, the camera operator's hand, or a combination of these. In close-up photography, using rotation sensors to compensate for changes in pointing direction becomes insufficient. Moving, rather than tilting, the camera up/down or left/right by a fraction of a millimeter becomes noticeable if you are trying to resolve millimeter-size details on the object.
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There are however other third-party adapters that add to the flange focal distance so that one loses the ability to focus to infinity. The loss of infinity-focus may not be significant in macro or close-up photography. There is great debate in the Pentax community over the applicability and safety of adapters other than those supplied by Pentax. Many users of third-party infinity-focus adapters, such as Bowers, report difficulty in removing the adapters from camera bodies.
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Ken Middleham, the wildlife photographer who shot the insect sequences for Phase IV, also shot the insect sequences for the documentary The Hellstrom Chronicle. Both feature extensive use of close-up photography of insects.Shay, Don (1980) "Phase IV: The Microcosmic World of Ken Middleham" Cinefex, No. 3: 58-71, December 1980 During production, Saul Bass was concerned with 20 year old Lynne Frederick’s figure since she was playing a 16 year old. She was forced to wear a specially designed and painful iron-clad corset to bind her breasts (to make her appear younger) throughout production.
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It was the first full-length production of NFL Films, founded by Ed Sabol and serving as the film division of the National Football League. It was written and produced by Ed Sabol's son Steve Sabol, and voiced by John Facenda, whose narration begins: "It starts with a whistle and ends with a gun". It makes extensive use of slow motion and close- up photography, techniques which are now standard in sports coverage. Initially the makers struggled to find a distributor: none of the major TV networks were interested, and Steve Sabol struggled to show it one screening at a time.
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Diffraction causes images to lose sharpness at high F-numbers, and hence limits the potential depth of field. In general photography this is rarely an issue; because large f-numbers typically require long exposure times, motion blur may cause greater loss of sharpness than the loss from diffraction. However, diffraction is a greater issue in close-up photography, and the tradeoff between DOF and overall sharpness can become quite noticeable as photographers are trying to maximise depth of field with very small apertures. Hansma and Peterson have discussed determining the combined effects of defocus and diffraction using a root-square combination of the individual blur spots.
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Digitally blurred miniature fake of Jodhpur Original photo of Jodhpur Miniature faking, also known as diorama effect or diorama illusion, is a process in which a photograph of a life-size location or object is made to look like a photograph of a miniature scale model. Blurring parts of the photo simulates the shallow depth of field normally encountered in close-up photography, making the scene seem much smaller than it actually is; the blurring can be done either optically when the photograph is taken, or by digital postprocessing. Many diorama effect photographs are taken from a high angle to simulate the effect of looking down on a miniature. Tilt–shift photography is also associated with miniature faking.
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Because SLRs do not suffer from parallax error due to the offset between the taking lens and a viewfinder lens, they are far superior for close-up photography than cameras with other optical viewfinder systems (though the viewfinder screens on digital cameras also show the image as seen by the taking lens). Most SLR lens lines continue to include macro lenses optimized for high magnification, although their focal lengths tend to be longer than the original Makro-Kilar to allow more working distance. "Macro zoom" lenses began appearing in the 1970s, but traditionalists object to calling most of them macro because they usually do not focus closer than 1:4 ratio, with relatively poor image quality.
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Example of the unfocused and focused image in rangefinder window The viewfinder of a rangefinder camera is offset from the picture-taking lens so that the image viewed is not exactly what will be recorded on the film; this parallax error is negligible at large subject distances but becomes significant as the distance decreases. For extreme close-up photography, the rangefinder camera is awkward to use, as the viewfinder no longer points at the subject. More advanced rangefinder cameras project into the viewfinder a brightline frame that moves as the lens is focused, correcting parallax error down to the minimum distance at which the rangefinder functions. The angle of view of a given lens also changes with distance, and the brightline frames in the finders of a few cameras automatically adjust for this as well.
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In February 1977, Crane's map and transponders enabled a team of geochemists and geophysicists, led by chief scientists John (Jack) Corliss, from Oregon State University, Richard (Dick) Von Herzen from Woods Hole Oceanographic Institution, and Robert (Bob) Ballard from Woods Hole Oceanographic Institution, to return to the Clambake site with the deep-ocean research submersible, DSV Alvin on the R/V Knorr. Close-up photography and biological sampling of Clambake I and II led to the discovery of the biological process of chemosynthesis in clams, mussels, and tube worms, and was key evidence in support of the nascent theory of plate tectonics. In the 1980s, Crane was involved in mapping hydrothermal vents on the Juan de Fuca Ridge and additional vent fields along the East Pacific Rise. She also published geophysical models of along-axis spacing of sea-floor volcanism.
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