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Photography Class > Photography Vocabulary > Flashcards

Photography Vocabulary Flashcards

1
Q

Additive Color

A

Involves the mising of colored light via Red, Green and Blue, such as through a computer monitor or a TV screen (opposite: Subtractive Color)

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2
Q

AE (Automatic Exposure)

A

Three modes are available: Programmed, Aperture-priority, and Shutter-priority)

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3
Q

AE Lock

A

Used to hold an automatically controlled shutter speed and/or lens aperture, in case you need to recompose your picture but want to retain any previous exposure readings

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4
Q

AF-I (Nikon)

A

Lens with built-in autofocus drive motor. CPU is also built in. Af-I Nikkor lenses send information on distance to the camera body and are classified as D-type AF Nikkor lenses

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5
Q

Agitate

A

To move a solution over the surface of film or paper during development so that fresh liquid comes into contact with the surface

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6
Q

AI (Nikon)

A

Automatic index; Nikon’s sytem for telling the camera’s exposure meter what the lens’ maximum aperture is.

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7
Q

AI/S (Nikon)

A

Automatic index/Shutter; Nikons’ lens mount permitting autmatic operation in shutter-priority and program auto-exposure systems

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8
Q

Aperture

A

The size of the variable lens opening (produced by the iris or diaphragm) through which light passes to the flim plan or CCD; measured in f/stops

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9
Q

Aperture Pirority

A

Auto-exposure systems where the photographer selects the aperture and the camera selects the appropriate shutter speed

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10
Q

APO

A

Apochromatic; a type of lens which focuses difference wavelenghts of light on the film plane for improved image sharpness. Especially useful in telephoto lenses (Chromatic aberration is corrected)

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11
Q

ASA (also see ISO)

A

American Standards Association numverical rating the describes the sensitivity of film to light

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12
Q

B(Bulb)

A

At the B setting the shutter remains open as long as the shutter release button remains fully depressed

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13
Q

Bracketing

A

To make several exposures, some greater (over exposing) and some less than (under exposing) the exposure that the camera meter has calculate to be correct, often b/c you have no idea of the proper exposure; bracketing allows for error and permits selection of the best exposure after the fact (OK if subject is static, but can create issues if you are ‘chasing brides’)

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14
Q

Burn on or Burn In

A

To darken a specific area of a print by giving it additional printing exposure (see dodge)

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15
Q

Camera

A

A picture taking device usually consisting of a light-tight box, a shutter to admit a measure quantity of light, a lens to focus the image, and an area for the light to be captured visa film or digital CCD

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16
Q

Cassette

A

a light-tight metal or plastic container that permits a roll of 35mm film to be loading into a camera in the light

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17
Q

Close-up

A

The general term for pictures taken at relatively close distances, form 1/10 life-sizes (1:10) to life-size (1:1)

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18
Q

Coating

A

A layer or multiple layers of thin anti-reflective materials applied to the surface of lens elements to reduce light reflection (see Flare) and increases the amount of transmitted light

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19
Q

Contact Printing

A

Placing a negative in contact with sensitized material, usually paper and then passing light through the negative onto the material

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20
Q

Contrast of Contrast Range

A

The difference in darkness or density between one tone and another; difference in the maximum density and the minimum density of a photorpgraphic media; generally measured with a densitometer

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21
Q

CMYK

A

A graphic arts intialism for CYAN, MAGENTA, YELLOW, and BLACK; these are the Process Colors (transparent) used in four-color printing processes which, when combined in various, can create a large number of hues; in digital printing, there is often up to 4 more colors, generally light Cyan, Light Magenta, and a couple of shades of Black (increases color gamut); certain inks, pigments, and dyes can be used in Historical Processes to duplicate the CMYK effect

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22
Q

Crop

A

To trim the edges of an image, often to improve composition

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23
Q

D-Max

A

A value of 90% of maximum density of photographic materials as read on a densitometer

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24
Q

D-Min

A

a value of density .04 and aboce base plus fog for photographic materials as read on a densimoter

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25
Q

Densitometer

A

a mechanical device which measures the amount of reflected or transmitted light to determine the density of a photographic print (reflected densitometer) or negative and positive film (transmission densitometer)

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26
Q

Density

A

a measurable darkening of photosensitive paper film or paper caused by the conversion of silver halides into metallic silver; the greater the number of conversions, the darker the smulsion and eventually an image is formed

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27
Q

Density Rnage of Negative

A

The measureable difference between the max and min density, less film base plus fog, of a negative as measured with a transmission densitometer

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28
Q

Density Range of Print

A

The measureable difference b/tw the max and min density, less base plus fog, on a substrate as measured with a reflection desitometer

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29
Q

Depth of Field (DOF)

A

The range of allowable focusing error which will still produce an acceptably sharp image; the range of acceptably sharp focus in front of an behind the distance the lens is (primarily) focused on (think plane of glass through your subject)

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30
Q

Developer

A

a chemical solution that changes the invisible, latent image produced during exposure into a visible one

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31
Q

Diaphragm

A

A series of metal “blades” that can be manipulated to form a larger or smaller opening through which the light is admitted

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32
Q

Digital Imaging

A

The new evolution of the art of photography where images are scanned into an electronic format and then “processed” with a software such as adobe photoshop

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33
Q

Dodge

A

To lighten an area of a print by shading it during part of the printing exposure (as see burn)

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34
Q

Dot Gain

A

Also known as Tonal value Increase, a phenomenon in offset lithography and some other forms of printing which caused by ink spreading around halftone dots, which causes printed material to look darker than intended; an image that has not been adjusted to account for dot gain will appear too dark when it is printed; factors which can contribute to the increase in halftone dot area: different paper types have different ink absorption rates; uncoated papers can absord more ink than coated ones, and thus can show more gain

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35
Q

Dry Down

A

When wet, the fibers in paper substrate swell with the absorption of moisture; after druing the size of the fiver is reduced resulting in measurable change in the contrast of the image; the amount of change depends on the nature of the photosensitive coating and the amoung of subsgtrate swelling; similar to dot grain in the commercial printing industry

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36
Q

DX-Coding

A

code printed on film cartridges providing most new cameras with film speed information

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37
Q

Easel

A

darkroom accessory used to hold printing paper flat and in place under the enlarger

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38
Q

Element

A

one piece of glass comprising the internal optics of a lens (see Group)

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39
Q

EOS (Canon)

A

Electronic Optical System; Canon’s current line of autofocus cameras and accessories

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40
Q

Emulsion

A

Light sensitive salts or halides suspended in a colloid material and coated onto paper, plates, acetate, or other substrate; a light-sensitive coating applied to photographic films or papers often cconsists of silver halide crystals and other chemicals suspended in gelatin (silver gelatin papers)

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41
Q

Equivalent Exposure

A

Alternative exposures settings (f-stops and shutter speeds) produce proper exposure

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42
Q

E-TTL (Canon)

A

Evaluative, through-the-lens flash metering

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43
Q

EV

A

Exposure value; a numver that represents available combinations of shutter speed and aperture offering the same exposure effect when scene brightness remains the same. Each EV numver can be applied to various shutter speed and aperture combinations

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44
Q

Exposure

A

Light striking a sensitized material (film, paper emulsion, or CCD); intensity of light multiplied by the length of time it falls on a light-sensitive material; specifically, the combination of shutter speed and aperture

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45
Q

Exposure Compensation

A

Modifying the shutter speed and/or lens aperture recommended by the camera’s light meter in order to produce special creative ffects or to meet special requirements

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46
Q

Exposure Scale (E.S.)

A

The range of light intesities capable of being reproduced with a specific sensitizer or emulsion on a specific substrate, usually paper (Davis, 1990)

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47
Q

F-Stop

A

The common term for the aperture setting of a lens

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48
Q

Fill-Flash

A

Exposure consisting of a combination of flash and ‘available light’ balanced to produce a pleasing mix of the two

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49
Q

Film Base Plus Fog

A

After processing, the inherent transmission density of a substrate material and the photo-sensitive coating that did not receive any exposure to light; acts as the baseline for density range computations; also see densitometer

50
Q

Film Format

A

negative size, such as 35mm, 2 1/4” x 2 1/4” (120 or 220 roll film), and 4” x 5” or larger

51
Q

Fisheye

A

An ultra-wide angle lens which purposely introduces barrel distortion so straight lines near the edges of the frame appear to curve out

52
Q

Fixer

A

Generally considered the chemical or process which stabilizes a photo-sensitive image and prevents any further change with additional exposure to light; removes any unexposed photo-sensitive compounds or converts the compounds to a soluble material which is removed in a later procedure

53
Q

Flare

A

Image degradation cuased by stray light entering the lens but is not focused light used in forming the primary image; often caused by light bouncing off internal air-to-glass lens elements/surfaces; can often be controlled by using a lens shade

54
Q

Flat

A

A graphic arts term referring to a support, usually paper, for registration purposes and/or handling ease of a film matrix; the film matrix is taped in place on the flat (aka stripping) before or after a window (or opening) is cut for the film area, thereby allowing the light source to pass through the film and onto the photo sensitive material; the flat material blocks the light from exposing the non-image areas of the photo sensitive material

55
Q

Focal Length

A

The distance from the optical center of a lens to the image plane when the lens is focused to infinity; wide, normal, portrait, and telephoto are common focal lengths; most current lenses are Zoom lenses with a wide variety and combination of abilities

56
Q

Fog

A

An unintentional build up of film or paper base density due to the effects of light, heat, age, chemicals, and/or x-rays; also see shelf life, film base plus fog and paper base plus fog

57
Q

Gelatin

A

A glue-like material made from animal tissues and one of the colloids; rated via melting points as hard, medium, or soft; photographic gelatin is usually made from selected hides and inferior products use bones, tendons, and cartilage.

58
Q

Generation

A

Any number of sequential copies of an original scene or subject; generally, the negative is the first generation, when it is exposed again to reversal film it become positive or second generation, when it is exposed again to reversal film it become negative again or third generation, and so forth; if the first generation is a negative then sequential odd numbered generations are negatives and even numbered generations are positives; if the first generation is a positive then sequential odd numbered generations are positives and even numbered generations are negatives.

59
Q

Golden Rectangle

A

An image ratio (width vs. height) that makes the most pleasing, balanced impression on the viewer, one whose side lengths are approximately 1:1.618. Panoramics are long and skinny (think letterbox); square negatives often make it hard for the viewer to recognize the central focus of a composition (unless ‘composed square’. A 35mm, 6x4.5 cm medium, and 5x7 large formats are close to the golden rectangle.)

60
Q

Group

A

Two or more elements cemented together within a lens; lenses are described as having a certain number of elements in a certain smaller number of smaller groups; this combination of elemnets determins focal length and corrects defects often found in single element lenses.

61
Q

Gum Arabic

A

A water-soluble, yellowish white to light amber sap found in several varieties of acacia tree and used in gum printing; one of the colloids

62
Q

Guide Number

A

The power of a flashin relation to ISO film speed. Guide numbers are quoted in either meters or feet. (To convert from meters to feet, multiply the metric number by 3.3). Guide numbers are used to calculate the f/stop for correct exposure as follows: f/stop = guide number/distance; example GN110, flash to subject 10 ft = f-11 (GN 110/10ft = 11)

63
Q

H&D Curve

A

Sensitometry is the scientific study of light-sensitive material, especially photographic film with its origina in the work by Ferdinand Hurter and Vero Charles Driffield (circa 1876) with early black&White emulsions; they determined quantitavely how the density of silver produced on a negative caried with the amount of light recieved, and the method and time of development; this curve is composed of a Straight Line, Toe, and Shoulder and is currently seen in digital applications like Photoshop under ‘Levels’.

64
Q

Historical Processes

A

For the purpose of this manual, any of the photographic, negative, positive, or print making processes used primarily from 1850 to 1910; this represents the era b/tw the daguerreotype and collodion processes and the silver gelatin processes predominant since the late 19th century; many of these processes were used during the Pictorial Period but their commerccial use declined after the Photo-Secession of 1902; generally these processes use a UV light source, are printe by contacting the matrix directly to sensitized substrate (necessitating large negatives for large prints), and require the printer to hand-coat the substrate with the photo-sensitive emulsion or sensitizer

65
Q

Hot Shoe

A

A mounting device, usually built onto the top of a camera, that enables a falsh unit, also known as a strobe or speedlight, to be mounted on and triggered automatically by the camera

66
Q

ISO (see ASA)

A

International Standards Organization; the numver represents the film’s sensitivity to light. A higher ISO number indicates the film is more sensitive, and therfore requires less light, for a proper exposure

67
Q

Large Format

A

Generally considered 4x5 in. film and larger; can also be used when referring to color digital printing onto roll-fed printers of various widths

68
Q

Latent Image

A

On photographic film, this is an invisible image produced by the exposure of the silver gelatin film to light; after the film is developed, the exposed area darkens and forms a visible image

69
Q

Latitude

A

The variance from ‘proper’ or ‘normal’ exposures which will still provide acceptable results

70
Q

Light Meters

A

Incident or Reflective devices that measures the amount of light falling onto (Incident) or reflecting off (reflective) the subject; generally considered to be averaging the metered light to an 18% gray; most SLR and DSLR cameras use Reflective metering systems

71
Q

Macro Focusing

A

Macro focusing, applied to zoom lenses, moves the lens group(s), enabling the lens to focus closesr than thenromal focusing distance from close-up shooting

72
Q

Matrix

A

Auto-exposure metering system’s measuring points where the camera sets both aperture and shutter speed according to data stored in the camera’s built-in memory, comparing the scene to be photographed to reference scenes; spot vs. centre vs. matrix exposures

73
Q

Matrix

A

In graphic arts, the material which acts as an image carrier for transferring the original photographic image to the photo-sensitive substrate; may be either a negative or a positive, depending on the process and artistic determination of the printer; generally not the original first generation photographic negative or positive.

74
Q

Maximum Density

A

The maximum density or opaqueness of a given photo-sensitive material on a substrate

75
Q

Medium Format

A

Film-based photography and generally considered using 120/220 films (two-and-a-quarter); exact size depended on the camera/model but typically 6x4.5, 6x6, 6x7, 6x9 cm

76
Q

Metering

A

In photography, metering mode refers to the way in which a camera determines the exposure; current cameras generally allow the user to select between spot meter, center-weighted average, or multi-zone metering modes, allowing the user to select the most appropriate one for use in a variety of lighting conditions

77
Q

Minimum Density

A

The minimum effective density above film base plus fog on a given substrate; generally a densitometer measurement but can be a subjective determination by the printer

78
Q

Multiple printing

A

A method of exposing a single negative or positive more than one time or exposing a group of negative or positives in a sequence onto a single substrate; this procedure is used for contrast control and/or when introducing more than one color or layer in an image

79
Q

Negative

A

Generally a photo-sensitive material in which the tonal relationships are reversed from the original subject, i.e. light areas are “dense” (or dark) and dark areas are “thin” (or light); could be color or B&W material

80
Q

Noble Metals

A

Metals which are not easily effected by solvents, acids, oxididation; gold, platinum, palladium, selenium

81
Q

Palladium

A

Chemical element symbol Pd; one of the Noble metals and used in the form of palladium chloride for palladium printing; sodium palladium chloride can also be used and is less expensive but is needed in greater concentration.

82
Q

Pantone (Pantone Matching System or PMS)

A

The Pantone Color Matching System is a standardized color reproduction system. By standardizing the colors, different manufacturers in different locations can all refer to the Pantone system to make sure colors match without direct contact with one another. One such use is standardizing colors in the CMYK process used in the commercial traditional as well as digital printing systems. The CMYK process is a method of printing color by using only four inks - Cyan, Magenta, Yellow, and Black (the majority of the world’s printed material is produced using the CMYK process). There is a special subset of Pantone colors that can be reproduced using CMYK, which are possible to simulate through the CMYK process, and are labeled as such within the company’s guides. However, most of the Pantone system’s 1,114 spot colors cannot be simulated with CMYK but with 13 base pigments (15 including white and black) mixed in specified amounts.

83
Q

Parallax Error

A

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight; the difference between what some cameras show you through the viewfinder and what the picture will actually include (or look like) is called parallax error; some cameras that suffer from this problem will have marks in the viewfinder that will give you a good idea about how to adjust for this problem; generally issues with Rangefinder cameras, Twin lens cameras, and Flash units, especially when doing close-up photography

84
Q

Paper Base Plus Fog

A

Inherent reflective density of substrate material and the photo-sensitive coating which has not received any exposure to light; acts as the baseline for step wedge and contrast range computations

85
Q

Photography

A

From the Greek that menas ‘painting or writing with light’.

86
Q

Platinum

A

Chemical element symbol Pt; chemically similar to palladium but more costly and used in the form of potassium chloroplatinite for platinum printing; the platinum process is only slightly different from palladium in its chemical components, contrast range, and physical color.

87
Q

Positive

A

Generally a photo-sensitive material in which the tonal relationships are the same as the original subject, i.e. light areas are thin (or light) and dark areas are dense (or dark); could be color or B&W material

88
Q

POP (Printing Out Process and/or Printing Out Paper)

A

A photographic method of photographic printing or proofing of an image by exposing a matrix, usually a negative, to photosensitive material by contact printing thereby limiting the zie of the image to the size of the matrix

89
Q

Printing out Paper

A

Early’ gelatin-chloride paper for all-purpose photographic printing; term POP coined by Ilford Company in 1891 (see POP)

90
Q

Provisional Image

A

The faint viewable image formed on the platinum or palladium sensitizer after exposure to UV light; the image will darken quickly and dramatically when placed into the developer; proper exposure can be estimated before the development process by looking for minimal detail in the middle values of the provisional image. (see Latent Image comparison)

91
Q

Rangefinder

A

Camera where the viewer looks through a separate viewfinder for focusing and there is no reflex mirror noise; can create problems with parallax errors when moving close up

92
Q

Red Eye

A

A term commonly referring to a bright red pupil in photographs usuallly taken in dim lighting where the pupil is dilated, and the strobe light is reflected after illuminating the back of the retina; seldom happens outdoors in bright light as the pupil is constricted and the flash/strobe light is not reflected back at the needed angle; minimized when the flash distance is increaded above the lens (such as using a camera bracket)

93
Q

Resolution

A

A word with many meanings. In digital imaging, it most often refers to the number of pixels per inch in an image file. It can also refer to printer resolution, digital camera CCD resolution, etc. In traditional analog/film photography it refers to the ability of a lens or photographic material to redroduce small details as is measured in lines per millimeter

94
Q

Safelight

A

a light used in the darkroom during printing to provide general illumination without giving unwanted exposure

95
Q

Sensitizer

A

The lgiht sensitve liquid chemical compound applied to a substrate and usually dired before exposing to a light source; differs from the emulsion as sensitizer do not use colloids to suspend the light sensitive chemicals

96
Q

Shelf Life

A

The amount of time a chemical, solution, or coated paper can be stored before heat, humidity, and/or age affect the light reactive properties of the material (see fog)

97
Q

Shutter

A

A mechanism that opens and closes to admit light into a camera for a measured length of time

98
Q

Shutter Lag

A

Often associated with digital cameras, when you press the button to take the photo, it can take up to a second for the shutter to take a photo, by that time what you were photographing would have moved or changed somehow; compensate for shutter lag by predicting what you subject is going to do and taking the photo just before it takes the action you want; many of the more expensive digital camers dont have this problem

99
Q

Shutter Speed

A

How fast the camera’s shutter open; determines how long the film is exposed and controls camera and/or subject movement

100
Q

Shutter Priority

A

When the photographer selects the shutter speed and the camera automatically sets the corresponding aperture

101
Q

SLR

A

Single Lens Reflex; a camera with one lens (as opposed to Twin Lens Reflex like the Rolleiflex) that involves a mirror and prism that the viewer looks through (as opposed to a point and shoot or rangefinder where the viewer looks through a separate viewfinder)

102
Q

SLR (Single Lens Reflex)

A

A camera in which the image formed by the taking lens is reflected by a mirror onto a ground-glass screen for viewing. The mirror swings out of the way just before exposure to let the image (or light) reach the flim). Abbreviated SLR

103
Q

Silver Gelatin

A

silver nitrate salts suspended in gelatin; currently used for moderm films and papers

104
Q

Silver Nitrate

A

A crystal when dissolved in water or gelatin and dried becomes light sensitive, usually via a latent image (which requires development to bring out the image); when mixing with water, USE ONLY DISTILLED WATER as any organic matter will contaminate the solution (which then becomes milky or ‘dirty’ in color)

105
Q

Solarization

A

Reversed effect that occurs when film is grossly overexposed in the camera; the term is commonly used to refer to the Sabattier effect and indicative of the posterization used in 1960s and 1970s posters

106
Q

Solutions

A

A solid dissolved in a liquid; the number of grams per total 100ml volume equals the percent solution; as a standard, dissolve the weighed solid in 50ml liquid then add additional liquid for a total volume of 100ml or equivalent

107
Q

Spot Meter

A

A hand-held spot meter or spot metering system in a camera measures only a very small area of the scene, generally between 1-5% of the viewfinder area

108
Q

Step Wedge

A

A standardized calibration tool used to asses the exposure and development qualities of photographic materials; transparent stop wedge is generally 21 steps or .15 density increments (equivalent to 1/2 f-stop) starting at film base fog

109
Q

Stop Bath

A

An acid solution used btw the developer and the fixer to stop the action of the developer and to preserve the effectiveness of the fixer

110
Q

Substrate

A

Graphic arts term referring to a material, usually paper for digital printing or acetate for photographic purposes, which acts as a support for various printing processes or materials

111
Q

Subtractive Color

A

Involves the mixing of colored paints, pigments, inks and dyes; the subtractive color model explains the mixing of paints, dyes, inks and natural colorants to create a full range of colors, each vaused by subtracting (that is, absorbing) some wavelengths of light and reflecting the other; the ‘color’ of an object depends on which colors of the electromagnetic spectrum are reflected by it and made visible; RYB (RED, YELLOW, BLUE) is the formerly standard set of subtractive primary colors used for mxiing pigments but currently, the colors are Cyan, Magenta, and Yellow (see opposite Additive color)

112
Q

Sunny F-16 Rule

A

a guideline to expose a normal scene, lit by bright sunlight at an aperture of f16 and a shutter speed equivalent to the film speed (ISO or ASA) being used; Rager’s Version: from 3 hours after sunrise to 3 hours before sunset, on a clear, cloudless day, set the camera to F-16 and shutter speed to 1 over the ISO of the film (1/ISO as a fraction)

113
Q

Test Print

A

The initial exposure used to determine the correct exposure and/or contrast range for a particular film or paper, emulsion or sensitizer, and light source or developer combination

114
Q

Thyristor (aka auto Thyristor)

A

A semiconductor (electronic component) used in photography to control electronic flash tubes as it sens light reflecting back from the subject; it helps to reduce battery power consumption

115
Q

TTL

A

Through-the-lens; commonly used when referring to metering through the lens as opposed to via a separate meter; often effective for fill-flash and other tricky lighting situations

116
Q

T(Time)

A

At the T setting, the shutter remains open (even if you release the shutter release) until you press the shutter release cable again

117
Q

Rule of Thirds

A

Divide your imate in the viewfinder into thirds both vertically and horizontally; consider placing your subject at one of the four points where the imaginary lines intersect

118
Q

USM (Canon)

A

UltraSonic Motor; Canon’s fastest, quietest autofocus lens mechanism

119
Q

UV Light

A

A light source used to expose the light sensitive sensitizer or emulsion in many historical photography processes; high in the light spectrum wavelength of 300 - 380 nanometers; many types are available, each with varying effects on exposure times and contrast including:
1. Blacklights (BL uncoated type are best)
2. Carbon arc plateburners (high cost and potentially dangerous)
3. mercury vapor lamps (minimal cost)
4. sun (most efficient but somewhat unpredictable)
5. sunlamps (long exposure times and generate low heat)
6. fluorescent tubes (very long exposure times)
high intensity incandescent light (very long exposure times)

120
Q

Working solution

A

a chemical solution diluted (usually by water) to the correct strength for use, generally with a shorter shelf life than the concentrate

Photography Class (1 decks)

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