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Download e-book for kindle: A Matter of Magnitude by Al Sevcik

By Al Sevcik

An issue of significance is gifted right here in a top quality paperback variation. This renowned vintage paintings through Al Sevcik is within the English language, and will no longer contain photographs or photos from the unique version. in the event you benefit from the works of Al Sevcik then we hugely suggest this ebook to your publication assortment.

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No exposure compensation is required for these filters. Ultra Contrast Filters Another way to lower the overall contrast of a scene is to use the ultra contrast filter. This filter lowers the contrast evenly throughout the scene by equally lightening the shadow areas and darkening the highlight areas. They are available in varying densities and require no exposure compensation. Coral Filters To make a scene appear warmer, a Director of Photography may use a coral filter. The coral filter may be used when filming a sunset or a fireside scene to give the scene a warmer look.

28). A further discussion of lenses can be found in Chapter 4. 27 Prime lens. 28 Zoom lens with zoom motor attached. ) Magazines A magazine may be described as a removable, lightproof container that is used to hold the film before and after exposure. Each camera uses a different type of film magazine. In any film magazine, the area that holds the fresh, unexposed raw stock is called the feed side. The area that holds the exposed film stock is called the take-up side. A further and more complete discussion of types of magazines and the procedure for loading and unloading them can be found in Chapter 3.

In theory these numbers go infinitely in both directions. By looking closely at this list you will see that the values double every three numbers. What this means is that every three numbers equals a change of one full f-stop, or each ASA or EI value is equal to 1/3 of a stop. In the upcoming section on f-stops, you will see that there is also a standard series of f-stop numbers, which in theory also go infinitely in both directions. As stated in that section, each f-stop number admits half as much light through the lens as the f-stop number before it.

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