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Ccd Color
What is difference between CCD and 3CCD
CCD, Charge Coupled Device is the English abbreviation of the charge-coupled device, which is a special semiconductor devices, with lots of the same sensor, each sensor is called a pixel. CCD in the camera is an extremely important component, it will play the role of light into electrical signals, similar to the human eye, so its performance will directly affect the performance of the camera.
CCD indicators to measure a lot of good and bad, with the number of pixels, sony vgp-bps9 battery CCD size, sensitivity, signal to noise ratio, etc., in which the number of pixels and the CCD size is an important indicator. The number of pixels on the CCD sensor is the number. Camera footage can understand the point of the grounds of many small, each point is one pixel. Obviously, the more pixels, the picture will become clear, if there is not enough pixel CCD, then shoot out will greatly affect the clarity of the screen, so in theory the number of CCD pixels should be better. However, the increase in the number of CCD pixels, and the yield will decrease manufacturing costs, but also in the current television standard, a certain number of pixels increases, then increase the clarity improved shooting results become obvious, therefore, generally a millions of pixels around the use of general enough.
Single CCD camera is a MOTOROLA NTN7143 battery CCD camera and used, only the brightness signal and color of its photoelectric conversion signal, which is CCD color signal on the specific combination of color behind the mask of the device and the circuit completed. Since a CCD while the luminance signal and chrominance signals to complete the conversion, it is inevitable co-existence, making the images taken out of reach in the color reproduction on a professional level is a requirement. To solve this problem, giving rise to a 3CCD camera.
3CCD, the name suggests, is a video camera using three CCD. We know that, if the light through a special prism, will be divided into red, green, and blue, which is our TV uses three colors of the three primary colors, through the three primary colors, including the luminance signal can be generated including all television signals. If you were to accept each with a color CCD and converted to electrical signals, then processed through the circuit produce an image signal, so that to form a 3CCD system.
And single-CCD, compared with the 3CCD 3 CCD were converted red, green, blue signals, taken out of the image from color to restore the natural than the HP 361909-001 battery single CCD, brightness and sharpness better than the single CCD. However, due to the use of the three CCD, 3CCD camera much more expensive than the price of a single CCD, the camera will be used only with professional 3CCD.
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What's a good 35mm film for color prints?
for astrophotography? I realize everybody uses ccd these days but I would
still like to go out and snap some pics on film. I haven't done astrophotography for
quite awhile but I find myself with the time now and the inclination but need some info
on color print film for astrophotography.
Hi, Film is not made worse by the existence of other or newer processes. I still use 35mm 6x6 and 6x9 cameras and have no reason to stop using them or a wet process darkroom simply because I have a digital camera.
Slide films are normally used for astrophotography.
The images can be copied onto print film by using a slide copier or normal close-up tubes or bellows , and the exposures and colour balance and cropping can be adjusted at the time to suit.
The slide film can also be printed by professional photo processing firms for not much more than high street prices.
If you take it into a high street processor they will send it to one of those firms anyway and add a charge of their own when the package comes back to them..
Let them know that astro photos are on the film. You can ask for the film to be left uncut, which is quite normal.
Look up your local professional processing houses in Yellow Pages or on-line. Most of them have a customer counter or reception.
You don't have to be a professional photographer to use them.
Professional Ektachrome 200 ISO is popular and Elite Chrome 200 is recommended as well.
Fuji Provia is a good choice up to 400 ISO.(ASA)
1600 ISO films have been used. They are grainy and have low contrast but some decent pictures have been made with them, especially of bright comets which over the last few years we've had more than a fair share of.
Mostly however, stick to 100- 400 ISO films for good results.
Another way is to use monochrome film and expose through three different colour filters as was used in early colour photography.. The negatives are used in exposing the colour print film, again through filters.
Colour films do that in the film by having separate layers and filters but by separating them the contribution from each colour can be varied and other techniques can be used on each negative to improve the results.
David Malin used that method for many of his beautiful astronomical photographs.
http://www.museevirtuel-virtualmuseum.ca/edu/ViewLoitDa.do;jsessionid=8F1DB790D3231EBE512D11439ADA6D20?method=preview&lang=EN&id=6851 . . . . .
http://www.twanight.org/newtwan/photographers_about.asp?photographer=David%20Malin . . . . .
Most mono films though are no good in H-alpha light which is deep red so they are not much good for emmission nebulae.
For reflection nebulae and for galaxies and planets they are OK.
Kodak Technical Pan 2415 was the best almost no-grain mono film for astro and technical work like photomicrography and had a high contrast when suitably exposed and developed.
Unfortunately that lovely film is no longer made but Kodak T-Max 100 rated at 50 ISO can give results not much worse than Technical Pan gave, and at 100 ISO it is still a very good fine grain emulsion.
http://www.kodak.com/global/en/professional/support/techPubs/p255/p255.pdf . . . .
http://www.canemco.com/catalog/photo/kodak.htm#Kodak_Technical_Pan_2415 . . . .
http://www.kodak.com/global/en/professional/products/films/bw/tMax100.jhtml?pq-path=13400 . . . . .
Nearly all normal mono and colour films are close to the limit for grain/speed for each ISO range anyway so hypering doesn't improve them as much as with older emulsions and will make little difference to T-Max 100.
HC-110 is the best developer for it and a few other B&W films but D76 (= Ilford ID-11) diluted 1+1 or at 1+2 for higher acutance results using longer development times and no agitation after the first minute, is also good.
The formulae for making those at home are easily found ( Photographic Yearbook, any year from a second hand book shop, plus many other photo books or on-line) or you can buy the developers ready to use.
The ingredients can be ordered on-line or through a pharmacy to make them yourself, which is an easy job if you have an accurate balance or a digital scale and a 1-litre or similar graduated jug.
Some photographers still use early processes like collodian wet plate, carbro and tri-colour carbro and a good thing too.
How many painters now can prepare their own pigments from raw materials like the lovely-named Benvenuto Cellini?
Benvenuto because as the story goes his father had just entered the hospital ward as the nurse was asking what name should be given to the child and he shouted "Benvenuto!" (Welcome!) as he first saw his new son.
The nurse dutifully wrote it down in the record book as the child's name.
His book was the first art book I ever bought and is an interesting read all the way through, not only for the pigments hunting and preparation and other arty matters but the life he led which was far from fine art of the artistic kind. More of a too highly developed artistic temperament perhaps.
He may have known more about minerals and plants and how to use them to get pigments than many of the scientists of his day and certainly more than the vast majority of artists do today.
http://www.boglewood.com/cornaro/xcellini.html . . . . .
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