Optical system

The optical system ancient mas dates back from the appearance of the animals on the land. Some elementary systems only distinguish the sheens and the shades and other complex mas are capable of distinguishing minimums detail, small variations of color, luminosity, distance, forms, proportions. It is an organ of the animals that together with the brain effects the process of the vision. Whose function is to turn the electromagnetic waves of the light into electrical impulses that spending for the optical nerve goes to the brain to produce the effect of the vision.
The image that is formed on the retina is invested since it happens in a camera, but the image on the retina is virtual due to the fact that the real image is the one that the brain interprets and there is this the image that we perceive. Notice that the structure of the new photosensitive materials they are structural and functionally similar to that of the retina. Will they have been based on this biological marvel to do the current photographic sensors? In the human beings, in these photorecipients one gives the process of transformation of the beams of light to electrical impulses that are transmitted by the optical nerve towards the brain, they are two types: Cones and canes. CONES, which answer to high levels of light and to the color, for the photopigments conopsinas (vision fotópica or diurnal).
Of the quantity of photopigment in the cone one will give the color that it reproduces, the photopigments will appear in different proportion as it is the case in function to the sheen and the color. CANES, numerous mas and sensitive, 1000 times more sensitive to low intensities of light what makes possible the night vision without detail or color for the photopigments rodopsinas. (Vision escotópica) .Todas the areas of the vision send information to the visual Córtex where it associates with the subjective and emotional information creating a perception he consents of the object. The photographic modern sensors have in his structure photorecipients, photodiodes, PIXELS.
That translate proportionally the light stimulus in electric power the one that is digitized by the processor. The photosensitive sensors, CCD's, with the structure Bayer is most spread and each one consists with photorecipients, pixels, sensitive to a color: red, green, blue. For analogy similar to the function of the cones in the human eye. Lately Kodak, it makes sensors that include besides the pixels with photorecipients, red, green, blue, sensors of sheen and a mini lens in each one.

Composition

The rules of composition in the icónic Arts , photo fixes or in movement they are based on the pictorial aesthetics.
From the caverns up to the modern civilizations there have had persons dedicated to representing his environment across the painting, sculpture,
Then, it comes out in photographs and cinema. Except the sculpture, other arts
they have distributed and organized the represented elements,
In a two-dimensional space so that it transmits a royal and credible effect.
Using technologies of the plastic arts as, it forms, color, perspective, point of view and point of escape, it will be possible transmit sensations for a total aesthetic fruition of the work. The format or dimensions of the space it is decisive to organize and relate
I object them. Being able to report: balance, stability, movement, harmony,
Pace, tension. The Forms might be figurative when they represent something
Royal or tangible, and abstract when there is no a figurative modal.
To the interior of any composition, they find different geometric figures
That allows to organize the elements creating sense and sensaciónes.
Some artists make it evident, others hide it with details.
The same visual scheme, it can contain more than one technology doing
Very complex composition.

Relation sign - noise

e-translation
The relation sign - noise measures the purity of the information to digitizing. Noise is any other information that he accompanies on the sign I gave? Cultando his transmission, storage and comprehension.
It is the quotient between the useful sign and the spurious noise.
When the manufacturers of digital chambers include in the especi? Caciones technologies the relation sign noise, it is in the habit of being simply the noise of reading. To force the ISO signi? Ca that exists less light and we have that sub to exhibit, but at the cost of generating noise and losing latitude (dynamic range). Is sensibility of each one of the elements of the sensor? Ja, with an approximate equivalent value to 100 ISO. Do the ISO top indexes that the digital chamber offers us achieve not for an increase in the sensibility of the elements captors, if not, for an ampli? Cación later of the sign that these issue.
Noise sources the S/N it is calculated as the difference between the level of the sign when the device works to normal level of work and the level of noise when with the same level it does not carry sign. Often the principal source of noise is in the habit of being the feeding source of the own equipment. Always there exists a percentage of parasitic noise. The most important types are: Noise of light sources: No? Ujo of light it is uniform, His diversion is random his effects only are estimated in zones of shades or sub exposed.
Residual current: Electrons of thermal origin that generates the silicon of the sensors to any major temperature to 0ºk. Noise of reading: is It generated in the pre ampli? Cador that reads the loads to the exit of the sensor (of type CCD or CMOS). It is the principal noise source, specially to short speeds.

Formats, Proportions, Resolutions

Sensibility of the video camera

To determine the sensibility of the video camera, in those that do not indicate it, it will have to be in practical form, this is, comparing the diaphragm that proves to expose with the video camera a surface combat and uniformly illuminated, with the resultant diaphragm of an exposure meter of light reflected on this surface, in the same conditions. If an exposure meter does not have to hand podra do it with a camera in the one that could graduate the HANDLE, moving it until the diaphragm coinsida with the one that indicates the video camera. Knowing the HANDLE of his chamber, it will be able to design his lighting and the photographic atmosphere.

- Focal length in digital cameras

The focal length of the cameras of roll, 35 mm, they have a rectangular format of 24 x 36 mm, complete picture (full frame) and the focal length of the normal lens is in the habit of being in millimeters, equally or minimally major that the value of the diagonal of the format, 50 mm. (Diagonal = 43.27mm) to avoid aberraciónes chromatic and spherical of the lenses. There are in the habit of being professional digital chambers of different format, this is, that the dimensions of the sensor are not standard as in case of the chambers 35mm. There are sensors full frame, 24x36mm (Diagonal: 43.27 mm) normal L.F of 50mm. Sensors 4/3, 17.3 x 13mm. (Diagonal: 22.5) for that there will correspond a lens of 25 mm as normal L.F.. The sensors 2/3, 8.80 x 6.60 mm (Diagonal: 11 mm) for that there will correspond a lens of 12 mm as normal F.L.

- The light color

The star formed by two superposed triangles shows us in the first triangle, the primary colors, R, G, B. The second reversed triangle, it shows the secondary colors, Yellow, Magenta, Cyan. Secondary colors that are a product of the mixture of two primary ones. Red + Green = Yellow. Red + Blue = Magenta. Blue + Green = Cyan. The sum of two secondary ones they result in the primary one. The sum of primary colors names him a synthesis aditiva, because the result is the white color. R+V+A = White, providing that they are to 100 % c/u. The Sum of the secondary colors, 100 %, is named Synthesis sustractiva, because the result is the black color. A+M+C = Black. The sum of a primary mas one complementario* results in the white color. V+M = White (Complementary of the Blue, Yellow. Of the Green one, Magenta. Of Red, Cyan). Do not forget that we speak about the theory of the color applied to the photography, it is worth saying of the color of the light.