120 Film Size | Medium film size 6cm wide and varies by camera (4.5x6cm, 6x6cm, 6x7cm, 6x9cm were common 120 formats) Note: 120 film is often incorrectly called 120mm |
35mm | Film size, 35mm (ca 2″ wide.) Image size for standard 35mm cameras is 24x36mm |
AE Lock (Auto Exposure Lock) | A feature that locks the exposure settings on a specific area before recomposing the shot. |
AEB (Auto Exposure Bracketing) | A function that takes multiple shots at different exposures for HDR or proper exposure. |
AF (Auto Focus) | A camera feature that automatically adjusts the lens focus for sharpness on the subject. |
AF Lock (Auto Focus Lock) | A function that locks the camera’s focus on a subject, allowing for recomposing without refocusing. |
AGFA | (or Agfa-Gevaert N.V.) is another iconic name in the history of photography, particularly known for its innovations in film, photographic paper, and chemicals. Established in 1867 in Germany, Agfa was a major player in both the consumer and professional photography markets for much of the 20th century. Like Kodak and Ilford, Agfa made significant contributions to analog photography before transitioning to other areas in the imaging and technology sectors. Though the company eventually exited the photographic film market, Agfa’s legacy remains strong among those who value traditional film photography. Agfa is an abbreviation of Aktiengesellschaft für Anilinfabrikation, which is German for Corporation for Aniline Production. |
Aliasing | Digital image distortion or jagged edges caused by insufficient resolution. |
Ambient Light | Natural or existing light in a scene, not provided by the photographer. |
Anamorphic Distortion | This occurs when using anamorphic lenses, which intentionally squeeze or stretch the image in one direction. These lenses are used to capture wide-screen images on standard aspect ratio film, causing a distortion that is corrected during projection or post-processing. Horizontal and vertical lines are affected differently, depending on the compression ratio of the anamorphic lens. |
Angénieux retrofocus | A design created by Angénieux that allows for wide-angle lenses with extra room for the mirror in SLR cameras, making it popular in cine lenses. |
Angle of View | The extent of the scene visible through a lens, determined by focal length. |
Anti-aliasing Filter | A filter in front of the camera sensor to reduce jagged lines and moiré patterns. |
Aperture | A camera lens opening that controls the amount of light passing through. Measured in f-stops. |
Aperture Priority (A or Av Mode) | A mode where the photographer selects the aperture, and the camera adjusts shutter speed. |
Artifact | Unwanted visual anomalies in digital images, often caused by compression or sensor limitations. |
Artifacts | Visual distortions or imperfections caused by digital processing or compression. |
ASA (American Standards Association) | An older film speed standard, replaced by ISO in digital photography. |
Aspect Ratio | The width-to-height ratio of an image, determining its shape (e.g., 4:3, 16:9). |
Aspect Ratio | The ratio of width to height in an image, commonly 4:3, 3:2, or 16:9. |
Aspherical Lens | A lens element with a non-spherical surface to reduce optical aberrations. |
Astrophotography | Photography focused on capturing celestial objects such as stars and planets. |
Autobracketing | A feature where the camera takes several shots at different exposures to ensure correct exposure. |
Autofocus Points | Areas in the camera frame where the autofocus system locks onto a subject. |
Available Light | Natural or ambient light in a scene, without artificial lighting like flashes. |
AWB (Auto White Balance) | A camera setting that adjusts color balance to neutralize lighting color casts. |
AZO | A historic photographic paper uniquely made for contact printing |
Back-Button Focus | Using a separate button, often on the back of the camera, to focus independently from the shutter button. |
Backlighting | Lighting from behind the subject, often creating a silhouette or rim lighting effect. |
Backscatter | Unwanted light reflection caused by particles or dust in front of the camera lens, often seen in underwater photography. |
Barndoors | Adjustable flaps on studio lighting equipment used to control the direction and spread of light. |
Barrel Distortion | A lens distortion that causes straight lines to bow outward, often seen in wide-angle lenses. |
Barrel Distortion | In this form of geometric distortion, straight lines appear to curve outward, away from the center of the image, similar to the shape of a barrel. This distortion is common in wide-angle lenses. It causes the center of the image to appear magnified compared to the edges. |
Barrel Distortion Correction | A post-processing technique that corrects the outward bulging effect in photos taken with wide-angle lenses. |
Barrel Lens | A lens with significant barrel distortion, often found in wide-angle lenses. |
Batch Processing | Applying a set of edits or operations to multiple images at once. |
Bayer Filter | A color filter array for arranging RGB color filters on a square grid of photosensors. |
Biotar | A double Gauss lens design known for its high sharpness and unique “swirly” bokeh effect, commonly used in vintage lenses. |
Bit Depth | The number of bits used to indicate the color of a single pixel in a digital image, affecting color precision. |
Bit Rate | The amount of data processed per unit of time in video files, impacting the video quality. |
Blending | The process of combining multiple images or layers together in post-processing. |
Blending Modes | Settings in image editing software that control how two layers interact with each other. |
Blooming | An image artifact where bright areas of an image spread into adjacent dark areas, often due to overexposure. |
Blown Highlights | Areas of an image that are so bright they contain no detail, appearing pure white. |
Blown Out | An overexposed area in a photo that has lost all detail due to excessive brightness. |
Bokeh | The aesthetic quality of the blur produced in out-of-focus parts of an image, typically from background lights. |
Bounce Flash | Redirecting the light from a flash by bouncing it off a wall or ceiling to create softer lighting. |
Bracketing | Taking several shots of the same scene at different exposure levels, focus points, or white balances. |
Buffer | The camera’s temporary storage for image data before transferring to the memory card, important for burst shooting. |
Buffer Memory | Temporary storage in a camera that holds image data before writing it to the memory card. |
Bulb Mode | A camera setting that allows the shutter to remain open as long as the shutter button is pressed, useful for long exposures. |
Burning | A post-processing technique used to darken specific areas of a photo. |
Burst Mode | A camera mode where multiple photos are taken in quick succession with one press of the shutter button. |
Camera Raw | A file format that contains minimally processed data from the image sensor of a digital camera. |
Chromatic Aberration | A lens distortion causing color fringing along the edges of objects, often seen as purple or green outlines. |
Clipping | Loss of detail in the highlights or shadows due to overexposure or underexposure. |
Cold Shoe | Receptical for an on camera flash that does NOT have the circuitry to sync directly with the camera and requires a PC sync cord from the flash to the camera body to sync. |
Cold Shoe | unlike a “hot shoe” a cold shoe only holds a camera mounted flash in place. There is no electronic connection to trigger the flash. |
Color Cast | An unwanted tint of a particular color that affects the entire photo, usually caused by lighting conditions. |
Color Depth | The number of bits per pixel that determines the range of colors in an image. |
Color Temperature | A characteristic of light that affects how warm or cool an image appears, measured in Kelvin. |
CompactFlash | A type of memory card used in older digital cameras. |
Compensating Developer | A developer that pulls out shadows and brings down shaddows (S-curve) |
Composition | The arrangement of elements in a photo, including the subject, background, and focal points. |
Contact Printing | Analog printing method where the film lies directly atop the paper, and is usually held in place with a contact printing frame. The resulting print is the same size as the negative. No enlarger is required to make a contact print, though typically an enlarger is used as the light source. |
Contrast | The difference in brightness between the darkest and lightest parts of an image. |
Contrast filters | Filters intended for darkroom use printing on multigrade or multicontrast papers. Contrast filters are made for specific manufacturers’ papers and typically contain grades 0-5. |
Crop | The act of cutting away parts of an image to improve composition or remove unwanted areas. |
Curves | A post-processing tool used to adjust the tonal range of an image. |
Cyanotype | An alternative photographic printing process that creates images in shades of blue. |
Cyanotype | An alternative photographic printing process that creates images in shades of blue by using a chemical reaction with UV light. |
Cyanotype | A historical photographic process resulting in a cyan or “prussian blue” color |
D-76 | A popular compensating film developer made by Kodak that came in powder form. Other manufacturers made nearly identical formulas, for example Ilford’s ID-11 |
Daguerreotype | An early photographic process that creates an image on a polished silver surface treated with iodine vapor and mercury fumes. |
Decentering | In lens optics, decentering refers to the misalignment of the optical elements of a lens system, specifically when the optical axis of one or more lens elements does not coincide with the common optical axis of the system. This can cause aberrations, such as astigmatism, coma, or field curvature, because the light passing through the lens does not converge or focus correctly. In practical terms, decentering often results in image distortion, loss of sharpness, and uneven focus across the image field. This issue is especially critical in complex multi-element lenses like those used in cameras, microscopes, and telescopes, where precise alignment of all optical elements is essential for high-quality image performance. |
Depth of Field | The distance between the nearest and farthest objects in a photo that appear acceptably sharp. |
Developer | In photography, developer is a compound that transforms the invisible, latent image captured by the film into a visible one by chemically reacting with the exposed parts of the film. |
Diffuser | A device or material used to soften light, often placed over a flash or studio light. |
Digital Noise | Unwanted graininess or speckles in an image, often caused by high ISO settings or long exposures. |
Distagon | A retrofocus wide-angle lens design developed by Zeiss, allowing for wide-angle images with minimal distortion. |
Double Gauss | A symmetrical lens design with two Gaussian lenses, providing a good balance of sharpness, contrast, and minimal aberration. |
Double Weight (DW) | Thicker and more robust than single weight, typically in the range of 240 to 280 gsm. The thicker base makes it more durable and resistant to curling, creasing, and damage during processing. It is the most commonly used weight for fine art and archival prints. Disadvantages: It requires more care during washing and drying compared to resin-coated papers, and it takes longer to dry due to its thickness. |
DPI (Dots Per Inch) | A measurement of print resolution, indicating the number of ink dots per inch of printed material. |
DSLR (Digital Single Lens Reflex) | A type of camera that uses a mirror mechanism to reflect light from the lens to the viewfinder. |
Dynamic Range | The range of light intensity from the darkest shadows to the brightest highlights that a camera can capture. |
Enlarger | Analog photographic device used to project a negative onto paper. |
EXIF (Exchangeable Image File Format) | Metadata embedded in image files that contains camera settings, date, time, and other information. |
Exposure | The amount of light that reaches the camera sensor or film, determined by aperture, shutter speed, and ISO. |
Exposure Compensation | A camera feature that allows the photographer to adjust the exposure level manually. |
F-Stop | A unit of measurement for the aperture setting of a lens. |
Fast Lens | A lens with a large maximum aperture, allowing more light to reach the sensor or film and enabling faster shutter speeds. |
Fill Light | A supplementary light used to reduce shadows and balance the overall lighting in a scene. |
Film | Photo sensitive substrate on a clear plastic base |
Film Cassette | The film canister or cartridge in which the film is kept safe from light until loaded in the camera |
Film Tongue | The first part of a roll of film |
Filter | A device or material placed in front of the lens to modify the light entering the camera, such as polarizing or neutral density filters. |
Finish | (in the context of photographic papers) Glossy: Provides a smooth, shiny surface that enhances contrast and detail but is more prone to fingerprints and reflections. Matte: Has a textured, non-reflective surface, which can reduce glare and give a softer appearance to prints. Semi-gloss or Pearl: A compromise between glossy and matte, offering a slight sheen while minimizing reflections. |
Fisheye Lens | A type of ultra-wide-angle lens that creates strong visual distortion to achieve a wide panoramic or hemispherical image. |
Flash sync | when the shutter stays open in sync with the flash durration, also known as X-sync |
Focal Length | The distance between the lens and the image sensor or film, determining the angle of view and magnification. |
Focal length | Measurment of the optical center of a lens to the film or sensor plane |
Focal Plane | Area in a camera where the lens focuses (the area where lens projects onto the film) |
Focus | The process of adjusting the lens to make the subject appear sharp and clear. |
Fujifilm | A Japanese company that has been a major player in the photography, imaging, and film industries since its founding in 1934. Like Kodak and Agfa, Fujifilm initially made its name in the analog photography market, but it successfully adapted to the digital age and has diversified into many other fields. Fujifilm’s long history in film photography includes innovations in film, paper, cameras, and digital imaging. Today, it continues to be a prominent name in both analog and digital photography, while also branching into industries like medical imaging, cosmetics, and pharmaceuticals. |
Geometry (lens) | (in progress) |
Golden Hour | The period shortly after sunrise or before sunset when the light is soft and warm, ideal for photography. |
Grade (paper) | Black and white photographic papers (“silver gelatine”) can be sensitized such as to make a soft (low contrast) print a hard (high contrast print) or any contrast between. The lower the number the lower the contrast, the higher the number the greater the contrast. Some papers are manufactured “graded” and/or “multigrade”. Other terms for multigrade include variable contrast, and polygrade. |
Grain | The visual texture of an image, often seen in film photography or as noise in digital photography. |
Gray Card | A reference card with a neutral gray tone used to set white balance and exposure in photography. |
Gum Bichromate | An alternative photographic process that uses gum arabic, watercolors, and potassium dichromate to create multi-layered prints. |
HDR (High Dynamic Range) | A technique that combines multiple exposures to capture a greater range of brightness levels. |
Heliar | A 5-element design that offers good sharpness and low chromatic aberration, popular in portrait and large format lenses. |
Histogram | A graph that displays the distribution of tones in an image, from dark shadows to bright highlights. |
Hot Shoe | A mounting point on top of a camera used to attach external flashes or other accessories. |
Hot Shoe | Receptical for an on camera flash that has the circuitry to sync directly with the camera. |
Hot Shoe | Hot Shoe: Unlike a “cold shoe” a hot shoe has the electronic contacts to trigger a flash without other connectors |
Hyperfocal Distance | The closest distance at which a lens can be focused while keeping objects at infinity acceptably sharp. |
Ilford | A major manufacturer of photographic materials including films and papers from Great Britain. |
Ilford | A renowned company in the field of photography, particularly known for producing high-quality photographic film, paper, and chemicals. Established in 1879 in the UK, Ilford has a long history and is highly regarded among analog photographers, especially in the areas of black-and-white photography. The brand is synonymous with traditional darkroom materials and is a leading name in black-and-white photographic products. |
Image Stabilization | A feature in lenses or cameras that reduces blur caused by camera shake. |
Incandescent Light | Light produced by a traditional light bulb, often resulting in a warm color cast in photos. |
Incident light meter | a light meter that reads the light source intensity. This type of meter has an advantage of not being fooled by unusually bright or dark subjects |
Infrared Photography | A type of photography that captures light beyond the visible spectrum, resulting in surreal or dreamlike images. |
ISO | International Organization for Standardization; a measure of a camera sensor or film’s sensitivity to light. |
JPEG (Joint Photographic Experts Group) | A widely used image file format that compresses image data to reduce file size. |
Kelvin | A unit of measurement for color temperature, describing the warmth or coolness of light. |
Key Light | The main light source in a photography setup, used to illuminate the subject. |
Kodachrome | Kodachrome is a color reversal (slide) film that was introduced by Eastman Kodak in 1935. It became one of the most iconic and widely used color films in photographic history, known for its rich, vibrant colors, fine grain, and long-lasting archival qualities. Kodachrome was groundbreaking because it was the first commercially successful color film to offer high-quality color reproduction, and it played a crucial role in the popularization of color photography. Kodachrome required a very complicated development process called K-14 processing, which involved multiple steps and the introduction of dyes during development. This process was highly specialized and could only be done at select Kodak labs or licensed labs worldwide. |
Kodak | A pioneering manufacturer of photographic materials, cameras and other photographic related products. The name is said to be the sound of the shutter of their first successful camera. |
Kodak | Or Eastman Kodak Company, is one of the most iconic and influential names in the history of photography. Founded by George Eastman in 1888, Kodak revolutionized photography by making it more accessible to the general public and advancing both analog and digital imaging technologies. Kodak’s contributions to film photography, digital photography, and beyond have had a lasting impact on the photographic industry. In 2012, Kodak filed for bankruptcy, marking the end of its dominance in the photographic industry. However, the company restructured and continued to operate, focusing more on commercial imaging technologies and printing solutions. |
Kodak Alaris | See Kodak |
Kodak Company | See Kodak |
Large Format | The larger film size types of cameras. Usually now (films still made) include 4×5″ (9x12cm), 5×7″ (13x18cm) and 8×10″ (20×25″) |
Latteral Chromatic Abberation | (in progress) |
Leading Lines | Compositional lines within a photo that draw the viewer’s eye toward the subject or a focal point. |
Lens | An optical component or assembly of multiple glass or plastic elements that is used to focus light onto a camera’s image sensor or film. The primary function of a photographic lens is to gather light rays from a scene, bend or refract them through its curved surfaces, and project them in such a way that they form a sharp image on the camera’s sensor or film. |
Lens Flare | Light that reflects inside the lens, creating artifacts or hazy spots in the photo. |
Lens formula | (in progress) |
Lith Printing | An alternative photographic process that uses highly diluted lithographic chemicals to produce high-contrast images with soft shadows and unique tonal effects. |
Long Exposure | A photographic technique that uses a slow shutter speed to capture motion or low-light scenes. |
Macro Photography | A type of photography that captures extreme close-up images of small subjects, often with a 1:1 ratio. |
Manual Mode | A camera mode where the photographer has full control over exposure settings like aperture, shutter speed, and ISO. |
Medium Format | The mid range of common film formats. There is only one film size manufactured now, 120. Common image sizes on 120 film include 4.5x6cm, 6x6cm, 6x7cm, 6x9cm |
Metering | The process by which a camera measures the amount of light in a scene to determine proper exposure. |
Mirror lens | (also known as a catadioptric lens) is a type of telephoto lens that uses both mirrors and lenses to focus light. Unlike standard refractive lenses, which rely solely on glass elements to bend and focus light, mirror lenses combine reflective surfaces (mirrors) with refractive elements to achieve their optical performance. |
Monochrome | An image made up of varying tones of a single color, typically black and white. |
Multicontrast | Black and white photo papers that are made to be able to manipulate contrast by using contrast filters. Before multicontrast filters it was necissary to have multiple paper grades available to control print contrast. |
Museum Weight | A paper, also known as heavy-weight or extra double weight, is one of the thickest fiber-based papers, typically over 300 gsm |
Mustache (or Wavy) Distortion | This is a combination of both barrel and pincushion distortion within the same image. The lines appear to curve outward near the center (barrel distortion), but as they move toward the edges, they begin to curve inward (pincushion distortion). This creates a wavy or “mustache-like” pattern. It is more challenging to correct because the distortion changes across the field of view. |
Noise | Unwanted visual distortion in an image, often appearing as grain or speckles, especially in low-light conditions. |
Non compensating developer | A developer that develops in a straight curve and doesn’t open shadows and tone down highlights |
ORWO | (short for ORiginal WOlfen) is a German brand with a long and storied history in the production of photographic and cinematographic film, as well as related products like paper and chemicals. ORWO was originally part of the East German photographic industry and was closely linked to Agfa before the two companies split after World War II. Though less globally recognized than Kodak or Fujifilm, ORWO has developed a dedicated following among analog photographers and filmmakers for its distinctive black-and-white films, color films, and sound recording films. |
Overexposure | When too much light reaches the camera sensor or photographic film, causing parts of an image to appear too bright or washed out. |
Panning | A photographic technique where the camera follows a moving subject, creating a sense of motion by blurring the background. |
Panorama | A wide-format image that captures a broad field of view, often stitched together from multiple images. |
Parallax | An apparent shift in the position of an object when viewed from different angles, often seen in viewfinder cameras. |
Perspective Control | see Tilt Shift |
Petzval | One of the earliest photographic lens designs, known for its sharp center and swirly bokeh, commonly used in portrait photography. |
Photographic Lens | See lens |
Photographic Paper | A type of paper that is coated with a light-sensitive emulsion, typically containing silver halide crystals. When exposed to light through a photographic negative and then chemically developed, this paper produces a visible image. Photographic paper is an essential material in the traditional darkroom process, used to create physical prints from negatives or transparencies. |
Pincushion Distortion | In pincushion distortion, straight lines curve inward toward the center of the image, creating a pincushion effect. This type of distortion is more common in telephoto lenses and causes the edges of the image to appear magnified in comparison to the center. |
Pixel | The smallest unit of a digital image, representing a single point of color. |
Planar | A 6-element lens design known for its sharpness, minimal distortion, and suitability for portraiture, developed by Paul Rudolph for Zeiss. |
Plate(s) | |
Platinum Print | An alternative photographic process where platinum salts are used to produce a wide tonal range and durable, long-lasting prints. |
PNG (Portable Network Graphics) | A lossless image file format that supports transparency. |
Polycontrast | Kodak’s version of variable contrast, see multicontrast |
POP | See Printing Out Paper |
Prime Lens | A lens with a fixed focal length, offering sharper images and wider apertures than zoom lenses. |
Prime Lens | A lens with a fixed focal lenthe (not a Zoom lens, or a lens with a variable focal length) |
Printing Out Paper | Printing-out paper (POP) is a type of photographic paper used in analog photography that produces a visible image upon exposure to light without the need for chemical development. This differs from developing-out paper (DOP), where an invisible latent image is formed during exposure and requires chemical development to become visible. |
Rangefinder | (in progress) |
RAW | A file format that preserves all image data captured by the camera sensor, allowing for more flexibility in post-processing. |
Reciprocity | (in progress) |
Reciprocity Failure | (in progress) |
Red-Eye Effect | A phenomenon where a subject’s eyes appear red in flash photography due to light reflecting off the retina. |
Reflective light meter | a light meter that reads the light that reflects back from the subject (or at least where the meter is pointed.) |
Reflector | A tool used to bounce light back onto a subject, often used in portrait photography to fill in shadows. |
Resolution | The amount of detail in an image, typically measured in pixels or dots per inch (DPI). |
Rodinal | A non compensating film developer originally made by AGFA in the late 19th century. Now out of patent, other manufacturers call this developer R-09 |
Rule of Thirds | A compositional guideline that divides an image into nine equal parts, with important elements placed along the lines or intersections. |
Saturation | The intensity of colors in an image, with highly saturated colors appearing more vivid. |
Self-Timer | A camera feature that delays the shutter release, allowing the photographer to be included in the shot. |
Sensor | The light-sensitive component in a digital camera that captures an image. |
Sensor | (in progress) |
Shallow Depth of Field | An effect where only a small portion of the image is in focus, with the background and foreground appearing blurred. |
Shutter | The mechanism that opens and closes to allow light to reach the camera sensor. |
Shutter | (in progress) |
Shutter curtain | (in progress) |
Shutter Speed | The length of time the camera’s shutter remains open, affecting the amount of light and motion blur in an image. |
Silver halides | (in progress) |
Single Weight (SW) | Description: Single weight fiber-based paper is thinner and lighter than other photographic paper types. It typically measures around 160 to 180 gsm (grams per square meter). Faster to wash and dry due to its thinness, but is prone to curling and uneveness. It is often used for proofs or contact sheets where handling durability isn’t as critical. |
Slide mount | Frame that holds a transparency for use in most projectors |
Softbox | A type of light modifier used to diffuse light, creating soft, even illumination. |
Sonnar | A lens design that uses fewer elements than most others, allowing for faster apertures and good performance in low light, popular in telephoto lenses. |
Specialty Lenses | These include macro lenses (for close-up photography), fisheye lenses (for extreme wide-angle shots), and tilt-shift lenses (for correcting perspective distortions). |
Spot meter | a spot meter is a meter that reads a very narrow field of view. Spot can be a setting in TTL for SLRs or a hand held meter |
Sprockets | In film, “sprockets” refer to the perforated holes along the edges of a filmstrip that engage with the gears of a camera, allowing for precise movement and synchronization of film as it is advanced. |
Sunny 16 | Sunny 16 is a rule of thumb for exposures on sunny days (subject in direct sunlight) where the aperture ring is set to f16 and the shutter speed is set to the inverse of the ISO (or closest number). For example, with HP5 film f16 @ 1/500, FP4 f16@125, Pan F f16@1/60 |
Super Angulon | A series of wide-angle lenses produced by the German optical manufacturer Schneider Kreuznach. The Super-Angulon lens formula was introduced in 1956.These lenses are highly regarded for their optical quality, wide field of view, and excellent correction of optical aberrations. Super-Angulon lenses are most commonly used in large format and medium format photography, as well as in certain 35mm cameras for specialized wide-angle applications. |
Sync speed | The shortest speed at which a shutter can be open and still sync with the flash. With focal plane shutters and older cameras the speed is usually denoted with an X or a red number on the shutter speed dial. |
Take up spool | The spool that is connected to the advance knob that moves the film forward and temporarily stores the exposed film |
Taking Lens | See TLR |
Telephoto Lens | A lens with a long focal length that magnifies distant subjects. |
Tessar | A classic photographic lens design that was developed by the German optical engineer Paul Rudolph for Carl Zeiss in 1902. It is renowned for its simplicity, sharpness, and compactness. Over the years, it has become one of the most iconic lens designs in photography, widely used in cameras for several decades. The name “Tessar” comes from the Greek word “tessares,” meaning four, which refers to the four optical elements in its design. |
Tessar | A classic 4-element lens design known for its sharpness and contrast, developed by Zeiss in 1902. |
Through The Lens | See TTL |
Tilt-Shift | A lens or post-processing technique used to simulate miniaturization or correct perspective distortions. |
Time-Lapse | A photographic technique where a sequence of images is captured over time and then played back at a faster speed. |
Tintype | An alternative photographic process that creates a direct positive image on a thin metal plate coated with a dark lacquer or enamel. |
TLR | Twin Lens Reflex. Mostly medium format cameras that have a separate “Taking Lens” and “Viewing Lens” of the same focal length with the viewing lens on top and the taking lens on the bottom. |
Tripod | A three-legged stand used to stabilize the camera for long exposures, self-portraits, or time-lapse photography. |
TTL | TTL is short for Through The Lens metering. |
Twin Lens Reflex | See TLR |
Ultron | A high-speed lens design developed by Voigtländer, featuring a large maximum aperture for low-light photography. |
Underexposure | When too little light reaches the camera sensor, resulting in an image that is too dark. |
Van Dyke Brown | A historical photographic process that produces brown prints using silver nitrate, ferric ammonium citrate, and tartaric acid. |
Variable Contrast | Another term for multicontrast |
Viewing Lens | See TLR |
Vignette | A reduction of an image’s brightness or saturation at the edges, often used as a stylistic effect. |
Watermark | A graphic or text overlay used to identify the creator of an image, typically for copyright protection. |
Wavy Distortion | See Mustache Distortion |
White Balance | A camera setting that adjusts the colors in an image to match the color temperature of the light source. |
Wide-Angle Lens | A lens with a short focal length that captures a wide field of view. |
X-sync | when the shutter stays open in sync with the flash durration, also known as flash sync. |
Xenon | A lens design developed by Schneider-Kreuznach, known for its fast aperture and use in 35mm cameras. |
Zoom Lens | A lens with a variable focal length, allowing the photographer to zoom in or out without changing lenses. |
Zoom lens | A lens with a variable focal length, not a prime lens |
© 2024 Michael Halberstadt | © 2024 Michael Halberstadt |