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are generally used from farther away. For example, if standing at a distance so that a normal lens captures someone's face, a shot with a wide-angle lens or telephoto lens from the same distance will have exactly the same linear perspective geometry on the face, though the wide-angle lens may fit the entire body into the shot, while the telephoto lens captures only the nose. However, crops of these three images with the same coverage will yield the same perspective distortion – the nose will look the same in all three. Conversely, if all three lenses are used from distances such that the face fills the field, the wide-angle will be used from closer, making the nose larger compared to the rest of the photo, and the telephoto will be used from farther, making the nose smaller compared to the rest of the photo.
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focus lens (with a narrow angle of view) flattens the image to a more flattering perspective. It is for this reason that, for a 35 mm camera, lenses with focal lengths from about 85 through 135 mm are generally considered to be good portrait lenses. It does however make difference, whether the photograph is taken landscape or portrait. A 50 mm lens is suitable for photographing people when the orientation is landscape. Conversely, using lenses with much longer focal lengths for portraits results in more extreme flattening of facial features, which also may be objectionable to the viewer.
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888:{\displaystyle {\begin{aligned}M_{\text{ax}}&=\left|{\frac {\mathrm {d} s_{\mathrm {i} }}{\mathrm {d} s_{\mathrm {o} }}}\right|=\left|{\frac {\mathrm {d} }{\mathrm {d} s_{\mathrm {o} }}}\left({\frac {1}{f}}-{\frac {1}{s_{\mathrm {o} }}}\right)^{-1}\right|\\&=\left|-\left({\frac {1}{f}}-{\frac {1}{s_{\mathrm {o} }}}\right)^{-2}s_{\mathrm {o} }^{-2}\right|\\&={\frac {s_{\mathrm {i} }^{2}}{s_{\mathrm {o} }^{2}}}=M^{2}\,.\end{aligned}}}
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distance, thus widening the angle of view of the presentation, then the phenomenon abates. Similarly, viewing pictures exhibiting compression (telephoto) distortion from a greater distance, thus narrowing the angle of view of the presentation, reduces the effect. In both cases, at some critical distance, the apparent distortion disappears completely.
1189:, but converge more due to the wider total field. For example, buildings appear to be falling backwards much more severely when the camera is pointed upward from ground level than they would if photographed with a normal lens at the same distance from the subject, because more of the subject building is visible in the wide-angle shot.
1178:) distortion is often used to give the appearance of compressed distance between distant objects, such as buildings or automobiles in order to convey a feeling of congestion. Longer lenses magnify the subject more, apparently compressing distance and (when focused on the foreground) blurring the background because of their shallower
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the normal lens were cropped to contain the same scene as the photo made with the telephoto lens, then the image content would be exactly the same. The apparent difference in proportions results solely from the content added around the edges of the frame in the normal lens photo and the wide-angle photo.
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Below, a series of three photos shows the same scene shot from the same position with three different lenses: a wide-angle lens, a normal lens, and a telephoto lens. Notice that because the proportions in the image do not change with the angle of view, if the photos made with the wide-angle lens and
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Photographs are ordinarily viewed at a distance approximately equal to their diagonal. When viewed at this distance, the distortion effects created by the angle of view of the capture are apparent. However, theoretically, if one views pictures exhibiting extension (wide angle) distortion at a closer
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taken with wide-angle lenses at short camera-to-subject distances. They generally give an unpleasant impression, making the nose appear too large with respect to the rest of the face, and distorting the facial expression. Framing the same subject identically while using a moderate telephoto or long
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not by the lens per se – two shots of the same scene from the same distance will exhibit identical perspective geometry, regardless of lens used. However, since wide-angle lenses have a wider field of view, they are generally used from closer, while telephoto lenses have a narrower field of view and
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on the other, whereas social conventions, collective society, and/or the motives and acts of leaders are portrayed as grotesque and absurd, and often also feature tyrannical characters with conformist values who act out in an extremely hostile and prejudiced way towards individualism and outsiders
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of each lens, the photographer moved closer to the object with each photo. Note that the angle of view changes significantly (compare the background in each photo), and the distance between objects appears greater with each succeeding image. In the fourth image at the lower right, taken with the
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Simulation showing how adjusting the angle of view of a camera, while varying the camera's distance and keeping the object in frame, results in vastly differing images. At narrow angles and long distances, light rays are nearly parallel, resulting in a "flattened" image. At wide angles and short
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is maintained, wide-angle lenses make subjects appear larger by introducing size differences along with the converging lines mentioned above, and they make rooms and spaces around the subject appear more vast by increasing the distance between subject and background (expanded perspective).
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Due to the grotesque, unsettling mood effect peculiar to wide-angle lenses, films making use of such perspective distortion can often be placed in one of two categories: Grotesque and surreal satire and fantasy, also to some extent black comedy (Gilliam, Jeunet & Caro, Orson Welles,
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110:). Objects close to the lens appear abnormally large relative to more distant objects, and distant objects appear abnormally small and hence farther away – distances are extended. Compression, long-lens, or telephoto distortion can be seen in images shot from a distance using a
1289:) have occasionally done the same in the past, though mostly in moderation, for single shots or sequences only, while Gilliam hardly ever uses any lens longer than 14 mm, which has garnered lenses of that particular focal length the informal nickname
990:, the angle of view at which the image is captured accounts completely for the appearance of perspective distortion. The general assumption that "undoctored" photos cannot distort a scene is incorrect. Perspective distortion is particularly noticeable in
122:). Distant objects look approximately the same size – closer objects are abnormally small, and more distant objects are abnormally large, and hence the viewer cannot discern relative distances between distant objects – distances are compressed.
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zooms out at the same time as the camera moves toward the subject, in such a way as to keep the subject the same size in the frame while the background "changes size" relative to the subject. This effect was made popular in the films
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of the image (as captured) being either wider or narrower than the angle of view at which the image is viewed, hence the apparent relative distances differing from what is expected. Related to this concept is
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Another result of using a wide-angle lens is a greater apparent perspective distortion when the camera is not aligned perpendicularly to the subject: parallel lines converge at the same rate as with a
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The photo below of the gondolas is an illustration of the use of extension distortion, and the photo of the buildings below it is an example of compression distortion.
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1174:) distortion is often implemented to emphasize some element of the scene by making it appear larger and spatially removed from the other elements. Compression (
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Photos taken using a 35 mm camera with a 100 mm, a 70 mm, a 50 mm, and a 28 mm lens, at different distances from the subject.
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Below, a series of four photos shows an object framed as nearly the same as possible with four different lenses. As a result of the different
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1501:"Best viewing distance for photographers - determining at what distance a photograph should be viewed - PSA Journal - Find Articles at BNET"
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is a warping or transformation of an object and its surrounding area that differs significantly from what the object would look like with a
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Although perspective distortion is often annoying when unintended, it is also intentionally used for artistic purposes. Extension (
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An example of "wide angle" distortion used for artistic purposes. Created by an 18 mm lens on a full-frame 35 mm camera.
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An example of "telephoto" distortion used for artistic purposes. Created by a 300 mm lens on a full-frame 35 mm camera.
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Because different lenses generally require a different camera–subject distance to preserve the size of a subject, changing the
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extreme wide-angle lenses is that the resulting image looks grotesque and unsettling, while not looking as unrealistic as
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still camera at a constant distance from the subject with a 28 mm lens, a 50 mm lens and a 70 mm lens.
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can indirectly distort perspective, changing the apparent relative size of the subject and background. If identical
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As the magnification increases, the ratio of axial to transverse magnification also increases. For example, if
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is notable for heavily influencing
Gilliam's signature style years before the American ex-patriate joined the
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achieved by different camera-subject distances. Notice that the shorter the focal length and the wider the
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in order to achieve a distinctive signature style defined by extreme perspective distortion is
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Transformation of an object and its surrounding area that differs from its normal focal length
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339:{\displaystyle {\frac {1}{s_{\mathrm {i} }}}+{\frac {1}{s_{\mathrm {o} }}}={\frac {1}{f}}\,.}
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comes down the road. The dolly zoom is used to create a compression effect in the road.
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and the angle of view at which the photograph of the subject is presented or viewed.
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Perspective distortion is influenced by the relationship between two factors: the
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In cinematography, perspective distortion also has bearing on the in-camera
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and the image will be twice as tall and four times as deep as the object.
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Outside photography, extension distortion is familiar to many through
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418:{\displaystyle M={\frac {s_{\mathrm {i} }}{s_{\mathrm {o} }}}\,.}
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changes. For an object of finite depth, one can conceive of the
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Mark Galer, Photography
Foundations for Art and Design, page 73
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comedy troupe while only being a one-feature style for Welles.
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One notable director that frequently employs rectilinear
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The mood effect of perspective distortion achieved by
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118:sub-type (with an angle of view narrower than a
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1370:is seen through normal lenses and often from a
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161:, while a similar effect is seen in fixed-slit
1349:On the other end of the focal length spectre,
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1547:Compressing distance and altering perspective
139:objects in mirror are closer than they appear
3124:Conservation and restoration of photographs
2856:Comparison of digital and film photography
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3076:Photographs considered the most important
1503:. PSA Journal. 2008-05-06. Archived from
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98:when talking about images with the same
78:Perspective distortion takes two forms:
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974:at which the image is captured by the
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106:(with an angle of view wider than a
18:Perspective distortion (photography)
3071:Museums devoted to one photographer
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2618:Timeline of photography technology
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537:{\displaystyle s_{\mathrm {o} }}
508:{\displaystyle s_{\mathrm {i} }}
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236:{\displaystyle s_{\mathrm {o} }}
204:{\displaystyle s_{\mathrm {i} }}
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953:{\displaystyle M_{\text{ax}}=4}
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1374:to appear tall in comparison.
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1:
2668:Painted photography backdrops
2600:Golden triangle (composition)
1875:35 mm equivalent focal length
1461:Perspective Control (PC) Lens
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450:{\displaystyle M_{\text{ax}}}
348:The transverse magnification
1166:and size differences change.
986:When photographs are viewed
982:Angle of view of the capture
515:as the lens–object distance
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2378:Intentional camera movement
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1251:, among others) as well as
1205:Mood effect and famous uses
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999:Photograph viewing distance
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3066:Most expensive photographs
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3108:Photography periodicals
2673:Photography and the law
1471:Curvilinear perspective
1229:ultra wide angle lenses
179:Gaussian optical system
84:compression distortion,
3202:Science of photography
3020:Gelatin silver process
2044:Science of photography
2029:Photographic processes
2007:Perspective distortion
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2017:Photographic printing
1940:Exposure compensation
1526:"Terry Gilliam talks
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1992:Hyperfocal distance
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1293:among film-makers.
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2039:Red-eye effect
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1541:External links
1539:
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1524:Stubbs, Phil:
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1456:Foreshortening
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1424:
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1379:special effect
1336:Paths of Glory
1242:Paths of Glory
1220:which display
1218:fisheye lenses
1206:
1203:
1180:depth of field
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1128:
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56:cinematography
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3081:Photographers
3079:
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2975:Bleach bypass
2973:
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2954:
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2949:
2946:
2944:
2943:primary color
2941:
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2928:Reversal film
2926:
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2899:
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2893:Image sharing
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2002:Metering mode
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1507:on 2010-07-23
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1381:known as the
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1353:used extreme
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1296:
1292:
1291:"The Gilliam"
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1271:Sam Peckinpah
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1233:Terry Gilliam
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1199:
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1125:Artistic uses
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68:angle of view
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46:or distorted.
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44:foreshortened
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19:
3146:Polaroid art
3035:K-14 process
3030:Instant film
3025:Gum printing
2980:C-41 process
2965:Photographic
2866:Image sensor
2861:Film scanner
2515:Sun printing
2448:Print toning
2235:space selfie
2205:Pictorialism
2135:Ethnographic
2115:Conservation
2006:
1987:Guide number
1982:Focal length
1531:
1527:
1520:
1509:. Retrieved
1505:the original
1495:
1484:
1419:
1403:
1397:
1391:
1376:
1368:Adolf Hitler
1364:
1358:
1348:
1343:
1339:
1335:
1326:
1323:
1319:Monty Python
1314:
1308:
1304:Delicatessen
1302:
1290:
1284:
1281:Sidney Lumet
1274:
1267:Four Clubmen
1266:
1262:
1256:
1253:Orson Welles
1246:
1240:
1226:
1208:
1191:
1184:
1169:
1163:
1140:focal length
1062:
1022:
1011:
1002:
987:
985:
969:
896:
550:
428:
426:
370:
347:
271:
176:
167:photo finish
165:, notably a
147:fisheye lens
132:
126:
124:
119:
107:
95:
91:
87:
86:also called
83:
79:
77:
72:
59:
49:
3151:Stereoscopy
3010:E-6 process
3005:Dye coupler
2938:color space
2851:Digiscoping
2844:camera back
2759:Philippines
2688:Visual arts
2678:Glass plate
2663:Heliography
2562:Composition
2537:Ultraviolet
2493:Stereoscopy
2488:Slow motion
2473:Scanography
2388:Kite aerial
2328:Contre-jour
2220:Post-mortem
2210:Pornography
2190:Neues Sehen
2125:Documentary
2059:Zone System
2034:Reciprocity
1960:Film format
1890:Backscatter
1868:Terminology
1738:beauty dish
1637:rangefinder
1602:light-field
1583:Photography
1410:Black Rider
1344:The Offence
1286:The Offence
1215:curvilinear
1211:rectilinear
1187:normal lens
120:normal lens
108:normal lens
52:photography
3196:Categories
3141:Lomography
2967:processing
2916:Print film
2832:comparison
2799:Uzbekistan
2749:Luxembourg
2709:Bangladesh
2658:Dufaycolor
2638:Box camera
2595:Simplicity
2552:Zoom burst
2547:Xerography
2542:Vignetting
2532:Time-lapse
2520:Tilt–shift
2413:Mordançage
2403:Luminogram
2368:Holography
2363:High-speed
2343:Fill flash
2323:Burst mode
2301:Techniques
2282:Vernacular
2277:Underwater
2272:Toy camera
2252:Still life
2180:Monochrome
2170:High-speed
2120:Cloudscape
2110:Conceptual
2012:Photograph
1997:Lens flare
1977:Film speed
1859:Zone plate
1805:wide-angle
1790:long-focus
1511:2023-06-04
1383:dolly zoom
1363:while the
1340:Straw Dogs
1276:Straw Dogs
1265:, segment
1198:field size
1172:wide angle
1156:field size
1144:wide-angle
155:telescopes
151:binoculars
100:field size
3086:Norwegian
3050:Stop bath
2995:Developer
2623:Ambrotype
2585:Lead room
2508:Slit-scan
2443:Photogram
2438:Panoramic
2348:Fireworks
2333:Cyanotype
2175:Landscape
1820:telephoto
1768:reflector
1763:monolight
1758:lens hood
1743:cucoloris
1679:safelight
1590:Equipment
1387:zoom lens
1372:low angle
1355:telephoto
1315:The Trial
1299:Marc Caro
1261:, partly
1258:The Trial
1176:telephoto
992:portraits
804:−
784:−
756:−
737:−
709:−
681:−
143:peepholes
127:distance,
116:telephoto
92:long-lens
3170:Category
2871:CMOS APS
2769:Slovenia
2697:Regional
2643:Calotype
2580:Headroom
2458:Redscale
2373:Infrared
2318:Brenizer
2292:Wildlife
2215:Portrait
2160:Forensic
2150:Fine-art
2085:Aircraft
2075:Abstract
1955:F-number
1935:Exposure
1910:Clipping
1885:Aperture
1753:hot shoe
1674:enlarger
1669:Darkroom
1528:Tideland
1450:See also
1416:Examples
1008:Examples
157:, as in
3181:Outline
3117:Related
2804:Vietnam
2789:Ukraine
2724:Denmark
2704:Albania
2683:Tintype
2610:History
2575:Framing
2468:Rollout
2433:Panning
2383:Kirlian
2287:Wedding
2165:Glamour
2145:Fashion
2130:Eclipse
2100:Banquet
2022:Albumen
1832:Monopod
1810:fisheye
1778:softbox
1627:pinhole
1617:instant
1607:digital
1393:Vertigo
1279:), and
1235:. Also
546:average
141:") and
3179:
3168:
3096:street
3091:Polish
2784:Turkey
2779:Taiwan
2764:Serbia
2754:Norway
2729:Greece
2714:Canada
2308:Afocal
2267:Street
2247:Sports
2230:Selfie
2185:Nature
2140:Erotic
2105:Candid
2080:Aerial
2068:Genres
1970:medium
1847:Tripod
1815:swivel
1728:Filter
1706:holder
1701:format
1597:Camera
1532:Dreams
1365:FĂĽhrer
1245:, and
1148:normal
976:camera
173:Optics
137:(see "
3101:women
3059:Lists
3015:Fixer
2898:Pixel
2827:D-SLR
2774:Sudan
2744:Korea
2739:Japan
2734:India
2719:China
2503:Strip
2428:Night
2408:Macro
2313:Bokeh
2257:Stock
2225:Ruins
1965:large
1795:prime
1773:snoot
1733:Flash
1711:stock
1686:Drone
1647:still
1632:press
1622:phone
1612:field
1477:Notes
1119:28 mm
1107:50 mm
1095:70 mm
1083:100mm
1058:70 mm
1046:50 mm
1034:28 mm
1019:35 mm
926:then
3129:film
2839:MILC
2338:ETTR
2195:Nude
2155:Fire
2054:Sync
1852:head
1800:zoom
1785:Lens
1748:gobo
1696:base
1691:Film
1662:view
1399:Jaws
1396:and
1307:and
1297:and
1283:(in
1273:(in
1255:(in
1239:(in
1138:How
427:The
90:and
82:and
54:and
2876:CCD
1657:toy
1652:TLR
1642:SLR
1530:,"
1346:).
1269:),
153:or
94:or
50:In
3198::
1342:,
1338:,
1162:,
940:ax
567:ax
443:ax
269::
58:,
1575:e
1568:t
1561:v
1514:.
1334:(
960:,
948:4
945:=
936:M
924:,
912:2
909:=
906:M
879:.
873:2
869:M
865:=
858:2
852:o
847:s
841:2
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830:s
824:=
813:|
807:2
798:o
793:s
787:2
779:)
770:o
765:s
761:1
751:f
748:1
742:(
733:|
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718:|
712:1
704:)
695:o
690:s
686:1
676:f
673:1
667:(
656:o
651:s
646:d
640:d
633:|
629:=
625:|
616:o
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587:d
580:|
576:=
563:M
529:o
524:s
500:i
495:s
471:o
466:s
439:M
413:.
404:o
399:s
392:i
387:s
381:=
378:M
356:M
334:.
328:f
325:1
320:=
312:o
307:s
303:1
298:+
290:i
285:s
281:1
253:f
243:,
228:o
223:s
211:,
196:i
191:s
34:.
20:)
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