[97582] in Discussion of MIT-community interests
Capture Stunning Photos Up to 50-Miles Away with Your-Smartphone.
daemon@ATHENA.MIT.EDU (HDZoom360)
Tue May 2 12:25:11 2017
Date: Tue, 2 May 2017 14:10:14 -0400
From: HDZoom360 <hdzoom360@newlensonlinespecials.com>
To: <mit-talk-mtg@charon.mit.edu>
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Never Miss a Photo-Opportunity Again!
Have you ever missed an amazing photo because you were too far away? Try to=
zoom in with your smartphone, and it gets blurry and grainy, totally ruini=
ng the picture. You could invest a ton of-money in many different cameras =
and lenses. . . Or you could save all that and just get the HDZoom360!
The HDZoom360 is light & portable so you can take it wherever you go, and i=
t fits onto ANY smartphone, turning into a professional DSLR-camera with a =
telephoto lens. You'll be able to take clear pictures easily for up to 50 =
miles away.=20
Go Here to Get Your HDZoom360 Today: http://www.newlensonlinespecials.com/donkey-Bontempo/ada8B6h4cyY3u11cqftUuUKxwufUrFMsKkhgzftUzONV7fc
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You can go-here to end. further lensads-if you would. rather: =
http://www.newlensonlinespecials.com/5b18y9m4cX4q11ciftUuUKxwufUrFMsKkhgzftUzONV855/auspicious-summarizes
Two. Eight. Eight. Five. Sanford. Avenue S. W. #4O442.=20
Grandville_MlCHlGAN_#49418.=20
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Understanding camera lenses can help add more creative control to digital p=
hotography. Choosing the right lens for the task can become a complex trad=
e-off between cost, size, weight, lens speed and image quality. This tutor=
ial aims to improve understanding by providing an introductory overview of =
concepts relating to image quality, focal length, perspective, prime vs. z=
oom lenses and aperture or f-number. LENS ELEMENTS & IMAGE QUALITY
All but the simplest cameras contain lenses which are actually comprised of=
several "lens elements. " Each of these elements directs the path of light=
rays to recreate the image as accurately as possible on the digital sensor=
The goal is to minimize aberrations, while still utilizing the fewest an=
d least expensive elements. Optical aberrations occur when points in the i=
mage do not translate back onto single points after passing through the len=
s =C3=A2=E2=82=AC=E2=80=9D causing image blurring, reduced contrast or misa=
lignment of colors (chromatic aberration). Lenses may also suffer from une=
ven, radially decreasing image brightness (vignetting) or distortion. Move=
your mouse over each of the options below to see how these can impact imag=
e quality in extreme cases: Any of the above problems is present to some de=
gree with any lens. In the rest of this tutorial, when a lens is referred =
to as having lower optical quality than another lens, this is manifested as=
some combination of the above artifacts. Some of these lens artifacts may=
not be as objectionable as others, depending on the subject matter. The f=
ocal length of a lens determines its angle of view, and thus also how much =
the subject will be magnified for a given photographic position. Wide angl=
e lenses have short focal lengths, while telephoto lenses have longer corre=
sponding focal lengths. Many will say that focal length also determines th=
e perspective of an image, but strictly speaking, perspective only changes =
with one's location relative to their subject. If one tries to fill the fr=
ame with the same subjects using both a wide angle and telephoto lens, then=
perspective does indeed change, because one is forced to move closer or fa=
rther from their subject. For these scenarios only, the wide angle lens ex=
aggerates or stretches perspective, whereas the telephoto lens compresses o=
r flattens perspective. Perspective control can be a powerful compositiona=
l tool in photography, and often determines one's choice in focal length (w=
hen one can photograph from any position). Move your mouse over the above =
image to view an exaggerated perspective due to a wider angle lens. Note h=
ow the subjects within the frame remain nearly identical =C3=A2=E2=82=AC=E2=
=80=9D therefore requiring a closer position for the wider angle lens. The=
relative sizes of objects change such that the distant doorway becomes sma=
ller relative to the nearby lamps.=20
The following table provides an overview of what focal lengths are required=
to be considered a wide angle or telephoto lens, in addition to their typi=
cal uses. Please note that focal lengths listed are just rough ranges, and=
actual uses may vary considerably; many use telephoto lenses in distant la=
ndscapes to compress perspective, for example. Other factors may also be i=
nfluenced by lens focal length. Telephoto lenses are more susceptible to c=
amera shake since small hand movements become magnified, similar to the sha=
kiness experience while trying to look through binoculars. Wide angle lens=
es are generally more resistant to flare, in part because the designers ass=
ume that the sun is more likely to be within the frame. A final considerat=
ion is that medium and telephoto lenses generally yield better optical qual=
ity for similar price ranges.=20
FOCAL LENGTH & HANDHELD PHOTOS
The focal length of a lens may also have a significant impact on how easy i=
t is to achieve a sharp handheld photograph. Longer focal lengths require =
shorter exposure times to minimize blurring caused by shaky hands. Think o=
f this as if one were trying to hold a laser pointer steady; when shining t=
his pointer at a nearby object its bright spot ordinarily jumps around less=
than for objects farther away. This is primarily because slight rotationa=
l vibrations are magnified greatly with distance, whereas if only up and do=
wn or side to side vibrations were present, the laser's bright spot would n=
ot change with distance. A common rule of thumb for estimating how fast th=
e exposure needs to be for a given focal length is the one over focal lengt=
h rule. This states that for a 35 mm camera, the exposure time needs to be=
at least as fast as one over the focal length in seconds. In other words,=
when using a 200 mm focal length on a 35 mm camera, the exposure time need=
s to be at least 1/200 seconds =C3=A2=E2=82=AC=E2=80=9D otherwise blurring =
may be hard to avoid. See the tutorial on reducing camera shake with hand-=
held photos for more on this topic.=20
Keep in mind that this rule is just for rough guidance; some may be able to=
hand hold a shot for much longer or shorter times. For users of digital c=
ameras with cropped sensors, one needs to convert into a 35 mm equivalent f=
ocal length.=20
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<html>
<head>=20
<title></title>=20
</head>=20
<body style=3D"background-color:#E5E5E5"> =20
<div style=3D"width:425px; background-color:#FFFFFF; padding-left:10px; "=
>=20
<p style=3D"font-family:Arial; font-size:27px"><a href=3D"http://www.newlensonlinespecials.com/e21J8Q64nYc3HJ11cFftUuUKxwufUrFMsKkhgzftUzONVf41/Keats-riding"><i=
mg src=3D"http://www.newlensonlinespecials.com/Keats-riding/51cV7lap4cZp5n11clftUuUKxwufUrFMsKkhgzftUzONVc53" width=3D"200" height=3D"120" /></a> <a href=3D"=
http://www.newlensonlinespecials.com/e21J8Q64nYc3HJ11cFftUuUKxwufUrFMsKkhgzftUzONVf41/Keats-riding"><img src=3D"http://www.newlensonlinespecials.com/detector-diagonal/22eN7na4cv6u11cWftUuUKxwufUrFMsKkhgzftUzONVa8f" width=3D"200" height=3D"120" /></a></p>=20
<p style=3D"padding:0px; margin:0px; color:#0A4109; font-family:Arial; f=
ont-size:19px"><strong>Never Miss a Photo-Opportunity Again!</strong></p>=
=20
<p style=3D"color:#000000; font-size:16px; ">Have you ever missed an ama=
zing photo because you were too far away? Try to zoom in with your smartpho=
ne, and it gets blurry and grainy, totally ruining the picture. You could i=
nvest a ton of-money in many different cameras and lenses...Or you could sa=
ve all that and just get the HDZoom360!</p>=20
<p style=3D"color:#000000; font-size:16px; ">The HDZoom360 is light &=
; portable so you can take it wherever you go, and it fits onto ANY smartph=
one, turning into a professional DSLR-camera with a telephoto lens. You'll =
be able to take clear pictures easily for up to 50 miles away.</p>=20
<p style=3D"color:#000000; font-size:16px; text-align: center; "><strong=
><span style=3D"font-family: Arial, Helvetica, sans-serif; color: #000000; =
"><a href=3D"http://www.newlensonlinespecials.com/e21J8Q64nYc3HJ11cFftUuUKxwufUrFMsKkhgzftUzONVf41/Keats-riding">Go Here to Get Your HDZoom360 Today</a></span></st=
rong></p>=20
<p style=3D"font-family:Arial; font-size:15px; "><a href=3D"http://www.newlensonlinespecials.com/e21J8Q64nYc3HJ11cFftUuUKxwufUrFMsKkhgzftUzONVf41/Keats-riding">=
<img src=3D"http://www.newlensonlinespecials.com/detector-diagonal/9cc7Onak4gcm7T11cAftUuUKxwufUrFMsKkhgzftUzONV965" width=3D"400" height=3D"220" /></a></p>=20
<p style=3D"font-family:Arial; font-size:15px; "> </p>=20
<p style=3D"font-family:Arial; font-size:15px; "> </p>=20
<p style=3D"font-family:Arial; font-size:2px; background-color:#FFC230">=
HDZOOM360 </p>=20
<p style=3D"font-family:Arial; font-size:14px; color:#AE7A00"> </p=
>=20
<p style=3D"font-family:Arial; font-size:14px; color:#AE7A00"> </p=
>=20
<p style=3D"font-family:Arial; font-size:14px; color:#AE7A00"> </p=
>=20
<p style=3D"font-family:Arial; font-size:14px; color:#AE7A00"> </p=
>=20
</div>=20
<div>=20
<p style=3D"font-size:10px; color:#5C5C5C"> </p>=20
<p style=3D"font-size:11px; color:#5C5C5C"> </p>=20
<p style=3D"font-size:11px; color:#5C5C5C"> </p>=20
<p style=3D"font-size:11px; color:#5C5C5C">You can <a href=3D"=
http://www.newlensonlinespecials.com/5b18y9m4cX4q11ciftUuUKxwufUrFMsKkhgzftUzONV855/auspicious-summarizes">go-here</a> to end.further lensads-if you would.rather.<br /> Two=
Eight.Eight.Five.Sanford.Avenue S.W.#4O442.<br /> Grandville_MlCHlGAN_#494=
18. </p>=20
<div style=3D"color: #000000">=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size:11px; "> </p>=20
<p style=3D"font-size: 7.8px">Understanding camera lenses can help add =
more creative control to digital photography. Choosing the right lens for t=
he task can become a complex trade-off between cost, size, weight, lens spe=
ed and image quality. This tutorial aims to improve understanding by provid=
ing an introductory overview of concepts relating to image quality, focal l=
ength, perspective, prime vs. zoom lenses and aperture or f-number. LENS EL=
EMENTS & IMAGE QUALITY</p>=20
<p style=3D"font-size: 7.8px">All but the simplest cameras contain lens=
es which are actually comprised of several " lens elements." Each=
of these elements directs the path of light rays to recreate the image as =
accurately as possible on the digital sensor. The goal is to minimize aberr=
ations, while still utilizing the fewest and least expensive elements. Opti=
cal aberrations occur when points in the image do not translate back onto s=
ingle points after passing through the lens â?? causing image blurrin=
g, reduced contrast or misalignment of colors (chromatic aberration). Lense=
s may also suffer from uneven, radially decreasing image brightness (vignet=
ting) or distortion. Move your mouse over each of the options below to see =
how these can impact image quality in extreme cases: Any of the above probl=
ems is present to some degree with any lens. In the rest of this tutorial, =
when a lens is referred to as having lower optical quality than another len=
s, this is manifested as some combination of the above artifacts. Some of t=
hese lens artifacts may not be as objectionable as others, depending on the=
subject matter. The focal length of a lens determines its angle of view, a=
nd thus also how much the subject will be magnified for a given photographi=
c position. Wide angle lenses have short focal lengths, while telephoto len=
ses have longer corresponding focal lengths. Many will say that focal lengt=
h also determines the perspective of an image, but strictly speaking, persp=
ective only changes with one's location relative to their subject. If one t=
ries to fill the frame with the same subjects using both a wide angle and t=
elephoto lens, then perspective does indeed change, because one is forced t=
o move closer or farther from their subject. For these scenarios only, the =
wide angle lens exaggerates or stretches perspective, whereas the telephoto=
lens compresses or flattens perspective. Perspective control can be a powe=
rful compositional tool in photography, and often determines one's choice i=
n focal length (when one can photograph from any position). Move your mouse=
over the above image to view an exaggerated perspective due to a wider ang=
le lens. Note how the subjects within the frame remain nearly identical &ac=
irc;?? therefore requiring a closer position for the wider angle lens. The =
relative sizes of objects change such that the distant doorway becomes smal=
ler relative to the nearby lamps.</p>=20
<p style=3D"font-size: 7.8px">The following table provides an overview =
of what focal lengths are required to be considered a wide angle or telepho=
to lens, in addition to their typical uses. Please note that focal lengths =
listed are just rough ranges, and actual uses may vary considerably; many u=
se telephoto lenses in distant landscapes to compress perspective, for exam=
ple. Other factors may also be influenced by lens focal length. Telephoto l=
enses are more susceptible to camera shake since small hand movements becom=
e magnified, similar to the shakiness experience while trying to look throu=
gh binoculars. Wide angle lenses are generally more resistant to flare, in =
part because the designers assume that the sun is more likely to be within =
the frame. A final consideration is that medium and telephoto lenses genera=
lly yield better optical quality for similar price ranges.<br /> FOCAL LENG=
TH & HANDHELD PHOTOS</p>=20
<p style=3D"font-size: 7.8px">The focal length of a lens may also have =
a significant impact on how easy it is to achieve a sharp handheld photogra=
ph. Longer focal lengths require shorter exposure times to minimize blurrin=
g caused by shaky hands. Think of this as if one were trying to hold a lase=
r pointer steady; when shining this pointer at a nearby object its bright s=
pot ordinarily jumps around less than for objects farther away. This is pri=
marily because slight rotational vibrations are magnified greatly with dist=
ance, whereas if only up and down or side to side vibrations were present, =
the laser's bright spot would not change with distance. A common rule of th=
umb for estimating how fast the exposure needs to be for a given focal leng=
th is the one over focal length rule. This states that for a 35 mm camera, =
the exposure time needs to be at least as fast as one over the focal length=
in seconds. In other words, when using a 200 mm focal length on a 35 mm ca=
mera, the exposure time needs to be at least 1/200 seconds â?? otherw=
ise blurring may be hard to avoid. See the tutorial on reducing camera shak=
e with hand-held photos for more on this topic.</p>=20
<p style=3D"font-size: 7.8px">Keep in mind that this rule is just for r=
ough guidance; some may be able to hand hold a shot for much longer or shor=
ter times. For users of digital cameras with cropped sensors, one needs to =
convert into a 35 mm equivalent focal length.</p>=20
<p style=3D"font-size:11px; "> </p>=20
</div>=20
</div> =20
<img src=3D"http://www.newlensonlinespecials.com/detector-diagonal/300Zp85K4yc8K11cFftUuUKxwufUrFMsKkhgzftUzONV946" alt=3D""/></body>
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