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Read these instructions.Hitachi 55UX58B Projection Television User Manual. Current Parse Time. FOR MORE INFORMATION. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below. You can use this service to share yourYou can upload up to 100 GB files, for free! You can use this service to share your creations. A strong healthcare sector is often considered an inseparable element of a developed society. Hitachi's UltraVision Digital lineup is a three-tiered line of High Definition TV, High Definition TV Ready and Digital TV Ready models that incorporates exclusive display technology and innovative features for superior performance. Unlike a board-based system, a simple push of a button allows eight optical sensors to examine a special on-screen test pattern. 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Connect a digital set-top box to the VGA input, and you get true 480p resolution.For more information on Hitachi, Ltd., please visit Hitachi's Web site at. One solution is a telephoto lens, which lets you zoom in close to the bird without frightening it. Low-light photography is always challenging. Here’s a typical blurry shot caused by attempting a photograph in dim light without flash. But by using a lens capable of admitting lots of light—a fast lens—a sharp low-light photo is possible even though the candles are the sole light source. The Galeries Lafayette department store in Paris is famous for its massive 1912 Art Nouveau glass dome. A circular fisheye lens, while distorting the image considerably, yields a much more dramatic view. There are three basic categories of interchangeable lens cameras covered by this book: single-lens reflex (SLR) cameras, mirrorless interchangeable-lens digital cameras, and rangefinders. SLRs Single-lens reflex (SLR) cameras are the traditional midsize camera body. They almost always allow for interchangeable lenses and have a large hump on the top that houses a prism or mirror. When you look through the viewfinder, you look straight through the main lens via a mirror, hence the name. SLRs date back to the 35mm film era, though many SLR designs have been successfully brought into the digital age. This book deals with both film and digital SLR cameras with imaging areas the size of 35mm film or smaller. Canon, Nikon, Olympus, Pentax, and Sony are makers of popular SLRs. A Canon EOS 5 SLR. This fully automated 35mm film camera was introduced back in 1992 and represents an early EOS design. Also marketed under the name A2E. Digital mirrorless Digital mirrorless interchangeable-lens cameras are compact and portable. As the name describes, they’re digital only and don’t have the reflective mirror assembly that takes up a lot of space inside every SLR. They’re sometimes jokingly referred to by the acronym EVIL, for electronic viewfinder interchangeable lens, or more accurately as MILCs, for mirrorless interchangeable lens cameras. Throughout this book I will refer to them simply as mirrorless cameras. Fujifilm, Nikon, Leica, Olympus, Panasonic, Pentax, Samsung, and Sony are some well known makers. The X-Pro1 is the first of a line of mirrorless digital cameras from Fuji-film. Shown are three lenses introduced with the camera. Rangefinders Rangefinders have a very old design, dating back to film cameras of the 1930s. They use two separate lens systems: one that sends light to the film or image sensor and one that is used strictly for the viewfinder. They have a complex internal array of mirrors and lenses to enable focusing. Nikon and Canon both made rangefinders back in the 1940s and 1950s, but Leica is the best-known brand for both film and digital rangefinders today. A Leica M9 digital rangefinder camera. Although equipped with the latest digital technology, this camera is fully compatible with Leica M lenses made since 1954. What’s not covered in this book Medium format and large format camera systems are not covered. These are large film or digital cameras designed for professional or artistic use, made by companies such as Hasselblad, Mamiya, Pentax, and Phase One. A classic Hasselblad 500 series camera. Medium format film cameras such as this date back to the 1950s, and specially modified Hasselblads were famously used in space by NASA. In fact, twelve cameras from Apollo missions still remain on the moon’s surface. This book is also not an engineering textbook. It’s about learning to be a more skilled driver, but it doesn’t teach you how to build cars. 1 A brief history of optics 1.1 The science of light At its simplest, photography is about recording waves of light and creating two-dimensional pictures. And fortunately, light behaves in very predictable and reliable ways—at least in a photographic context. Over the centuries the science of optics and the technology of manufacturing have been developed and refined, resulting in the lenses we see today. This chapter outlines some of the basic historical discoveries that made optical technology possible. 1.2 The path to the lens It all starts with light—and the ability of glass to bend it. In short, two strands of human knowledge had to come together: a working set of theories to describe how light actually functions and the technical ability to make and shape glass objects. Lens-making technology dates back thousands of years. Shaped rock crystal lenses were made in ancient Egypt and Mesopotamia, but there is only fleeting and tantalizing evidence that they were used for much more than decorative purposes until roughly the time of the ancient Greeks, when simple magnifying lenses are definitely known to have been made. The Nimrud lens, made in Assyria (present-day Iraq) around 950 BCE. It’s unknown if it had any optical purposes or was purely decorative. The rock crystal is crudely shaped, so I personally doubt it would have been a very useful tool. The British Museum, London, England. Optical theory As for the science, it actually took quite a while for humans to figure out what light really is and how it works. And some early theories were frankly very strange by modern standards. Oddly this extramission theory of light never quite explained convincingly why we can’t see in the dark.It then either enters the human eye directly or is reflected off various surfaces first. The eye (or an artificial substitute, such as a camera) is a passive detector of light, not an active emitter of it. A Latin translation of al-Haytham’s Kitab al-Manazir (Book of Optics), originally written from about 1011 to 1021, describes diffraction, refraction, spherical aberration, and a host of other optical principles. This 1572 book may be the first printed edition of al-Haytham’s work after centuries of handwritten translations and is shown here courtesy the Royal Society, London, England. While largely forgotten by his contemporaries, al-Haytham’s ideas were translated into Latin and eventually took root in Europe. Pars Optica in 1604, thus establishing the groundwork for modern optics and an accurate model of human vision. This work described many optical phenomena, such as diffraction and dispersion. A first edition of Newton’s Opticks, in which he discusses the importance of firsthand observation. From the collection of the Royal Society, London, England. Wave-based optics eventually led to the very successful mathematical models of the nineteenth century that made lens design possible. The ancient Greeks are known to have used simple lenses to help perform detailed tasks. And wealthy medieval scholars sometimes used thick hemispherical glass or crystal domes as so-called reading stones to magnify text. Replica reading stone from the collection of the Zeiss Optical Museum, Oberkochen, Germany. But it wasn’t until the 1400s and 1500s that glassmaking for practical and decorative applications became highly developed. Key inventions included Venetian cristallo glass and English lead glass. These very pure materials helped enable the European optical breakthroughs of the 1600s. Thin glass lenses were devised, resulting in spectacles to assist both reading and distance viewing. A modern-day craftsman transforms a lump of molten glass into a decorative sculpture. Murano, Venice, Italy. Sixteenth or seventeenth century reading glass and carrying case. Zeiss Optical Museum, Oberkochen, Germany. With the invention of the telescope and the microscope, optics took people into very different directions of scale. The camera Oddly enough, the first conceptual cameras, which can be dated back to China in the fourth century BCE, lacked both lenses and film. They were simply darkened rooms or boxes equipped with tiny pinholes. Such pinhole boxes later became popular with European artists from the 1500s to 1800s as tools to aid drawing in proper perspective. These cameras exploited the fact that light passing through a pinhole (see section 9.9) or glass lens can be projected onto a flat screen in a darkened box or chamber for viewing. This is the origin of the modern English word, in fact, as Camera obscura is Latin for dark chamber. These strange looking devices are Leeuwenhoek’s original handmade microscopes. Of the hundreds he built during his lifetime, only a handful survive today. The lenses are tiny glass spheres located at the center of each handheld tool. The Museum Boerhaave for the History of Science and Medicine, Leiden, Netherlands. For millennia people have noticed that light cast by small gaps or holes, such as the tiny gap between crossed fingers, will take on the shape of the sun during solar eclipses. This is the same principle that makes pinhole cameras possible. Annular eclipse in Tamerza, Tunisia, 2005. An experimental camera obscura used in the 1830s by French inventor Louis Daguerre to develop the Daguerreo-type, the first workable photographic process. It consisted of a pair of nested wooden boxes that can be moved back and forth like a drawer in order to focus. From the collection of the Musee des Arts et Metiers, Paris, France. It may look like a model rocketship from a 1940s movie serial, but this amazing device is actually a century older. This is a Daguerreotyp-Apparat zum Portraitiren, or Daguerreotype Apparatus for Portraiture, made by Voigtlander in Vienna in 1840 or 1841. As a measure of how early it is, remember that Daguerre announced the first workable photographic process to the world in 1839. The lens, designed mathematically by Josef Petzval (see section 1.3), was mounted on the right side, and was covered with a cap which doubled as a shutter. Focusing was done by turning the small knob. Round metal Daguerreo-type plates were put into the camera on the left side of the cone. From the Zeiss Optical Museum collection. Oberkochen, Germany. The key elements of traditional photography—dark boxes (cameras), light-sensitive material (plates or film), and light modifiers (lenses)—had come together. For over 150 years these were the fundamental ingredients of image recording. A mid-twentieth-century film camera: a folding Kinax II made in France in the late 1940s. This is actually my father’s first camera. Considerable research was done in the 1960s and 1970s into electronic imaging—the charge-coupled device (CCD) image sensor chip was devised in 1969, for example. But it wasn’t until the 1980s that workable electronic still image-capture devices were introduced. By the late 1990s, digital cameras were rapidly replacing chemical photographic imaging. The first commercially available digital SLR was the 1991 Kodak DCS (Digital Camera System). It was a stock Nikon F3 camera, with a 1.3 megapixel chip and handgrip bolted on. The camera itself was compact enough, but you also had the huge lunchbox-sized DSU (digital storage unit) containing batteries, voluminous 200 MB hard drive, and preview screen, which had to be tethered to the camera. Only well-heeled news agencies, which valued the ability of the camera to send digital shots down a phone line in record time, could justify the expense and inconvenience of this early proof of concept device. This photo may look simulated, but it’s the real thing. A mere two decades after the Kodak DCS, laptops and mobile phones sport incredibly tiny digital cameras such as this. Today film is sadly nearing mass-market extinction, but even the latest and most sophisticated digital cameras employ lens technology based on discoveries dating back centuries. 1.3 Geometrical optics Modern lens design is a very complex and esoteric field and is heavily dependent upon mathematics. The earliest lens makers worked intuitively and pragmatically, testing lens after lens to see what gave the best results. They discovered that certain arrangements of lens types produced sharper images than others, thus creating a family of basic lens designs still in use today. Charles later teamed up with Daguerre to make the first purpose-designed camera lenses. This is a Chevalier lens from the 1840s Le Photographe camera. Musee des Arts et Metiers. Paris, France. But by the mid-1800s, particularly in Germany, people started to devise practical mathematical equations to predict the way that lenses bend light. These formulas made it possible to calculate the theoretical behavior of various optical designs before they were committed to actual lens grinding and physical testing. Performing the mathematical calculations was hugely time-consuming in the days before computers, and teams of mathematicians were employed to perform laborious trigonometric and logarithmic calculations on paper. The Petzval lens design of 1840 (used in the Voigtlander camera shown on page 14), for example, took nearly a dozen men several months to calculate. The rise of digital computing dramatically sped up the process and ushered in an age of complex computer models. Today, sophisticated software, advanced forms of You've reached the end of this preview. Sign up to read more. Rate as 1 out of 5, I didn't like it at all. Rate as 2 out of 5, I didn't like it that much. Rate as 3 out of 5, I thought it was OK. Rate as 4 out of 5, I liked it. Rate as 5 out of 5, I loved it. Footer menu Back to top About About Scribd Press Our blog Join our team. Groups Discussions Quotes Ask the Author It's such a simple question, but choosing the right lens or lenses is actually one of the most important photographic decisions you can make. Many first-time buyers of DSLRs don't venture past It's such a simple question, but choosing the right lens or lenses is actually one of the most important photographic decisions you can make. The Lens will help you build the perfect lens collection to suit your needs-now and in the future. To see what your friends thought of this book,This book is not yet featured on Listopia.Since then I started it again after reading a review of it on a photography website and was impressed with the reviewer's comments and the thoroughness that he ascribed to author Guy. So I picked it up again and finished it this time. This is the most thorough discussion of camera lenses I have ever run across. Author N.K. Guy covers all the relevant topics as they relate to camera lenses, starting with Since then I started it again after reading a review of it on a photography website and was impressed with the reviewer's comments and the thoroughness that he ascribed to author Guy. This is the most thorough discussion of camera lenses I have ever run across. Author N.K. Guy covers all the relevant topics as they relate to camera lenses, starting with a history of optics and ending with a chapter on creative options outside of traditional lenses. He includes a discussion on the role that lenses served on film cameras, digital cameras and how they differ. In addition he includes 5 appendices that summarize lens-to-camera mount systems for all the major manufacturers. I very much appreciated author Guy's discussion of how lenses work, what lenses to use for different situations, how to buy a lens, what filters can and can't do for a lens and even a discussion of how telephoto lenses are able to do what they do. The only reason I didn't give this book 5-stars was that there were a few instances of where the author was explaining a particular point and I found his explanation of that particular topic not particularly clear and left me scratching my head. Aside from that I found the book to be clear, understandable and enjoyable. After reading this book I came away with a very solid understanding of camera lenses, how to select and use them and what they are capable of doing. I recommend this to any photographer who has questions about camera lenses and how they serve the art of photography. Both professional and enthusiastic amateur can learn much about lenses from this book. The author discussed the underlying concepts in a concise way and the various tools one can utilize while taking photos. I definitely enjoyed when the author compared different outcomes based on the various settings employed. This gave me a way to correlate between the parameters and their outcomes, and certainly helped me outline the areas in which I want to experiment more and practice. Rather than focusing on a specific type of camera — or even a specific brand, this book goes through the different problems faced by a photographer and offers explanations on how different tools face the problem. Rather than focusing on a specific type of camera — or even a specific brand, this book goes through the different problems faced by a photographer and offers explanations on how different tools face the problem. Guided me towards picking out a few lens toys I otherwise wouldn't have known about. I particularly liked the sections on creative special effects, as that was a territory I hadn't known much about before. Guided me towards picking out a few lens toys I otherwise wouldn't have known about. I particularly liked the sections on creative special effects, as that was a territory I hadn't known much about before. Quick, simple and elaborative. Covers all types of lens. There are no discussion topics on this book yet. Nothing affects the quality of a photo more than the lens, and it's no longer just about the megapixels - once again, just like in the days of film photography, it's the glass that makes all the difference. It's seems like such a simple question, but choosing the right lens or lenses is actually one of the most challenging and important photographic decisions you will make.