ROLLING SHUTTER PARTS. SHUTTER PARTS


Rolling shutter parts. Shades of paint.



Rolling Shutter Parts





rolling shutter parts






    rolling shutter
  • A way to control the timing of a image sensor frequently used in consumer CMOS image sensors. The exposure (integration) time is controlled by a slit aperture that scans over the pixel array.

  • Rolling shutter (also known as line scan) is a method of image acquisition in which each frame is recorded not from a snapshot of a single point in time, but rather by scanning across the frame either vertically or horizontally.

  • The term 'Rolling Shutter' only refers to CMOS sensor technology. In a “rolling shutter” sensor the start and end of exposure on each row or column or individual pixel happens sequentially and it typically takes a time equal to 1/frame rate for all of the pixels on the sensor to become active.





    parts
  • (part) something determined in relation to something that includes it; "he wanted to feel a part of something bigger than himself"; "I read a portion of the manuscript"; "the smaller component is hard to reach"; "the animal constituent of plankton"

  • Cause to divide or move apart, leaving a central space

  • the local environment; "he hasn't been seen around these parts in years"

  • (part) separate: go one's own way; move apart; "The friends separated after the party"

  • (of two things) Move away from each other

  • Divide to leave a central space











Rolling Pin




Rolling Pin





I took this one the total opposite direction--I wanted it simple and subtle after my bottle cap opener reflection fiasco.

I shot the rolling pin full frame first-booooring. Then I grabbed my 100mm macro and went in for detail shot. I started with an ambient shot just to see what I could see. Then I added a strobe facing the lens, but bouncing off the ceiling. That gave me the specular highlight on the top edge and the spotlight on the background--I put a CTO gel on it for a little warmth. So basically these are both specular highlights, or, direct reflection (right?). Then I played with a light in the front for fill. Lighting it up too much, and/or on the wrong places, made the handle look flat. So again I went subtle. I shot an SB-26 through a soft box, camera left, with a CTO gel so the specular highlight wouldn't be so white. This one is more subtle, just below the bright highlight. It hits the high spots and falls off in the low spots. I left the bottom dark against the spotlight to hopefully further make the handle look round--ditto the shallow depth if field.

Canon 30D, 100mm Macro, 2 SB-26s, GI eBay triggers, CTO gels.

What I learned from this shot is that you have to work at the right light positions to get just the right highlights and shadows to define the shape of your subject—yes, I know that is obvious on paper, but I experienced it here. The hard part isn't necessarily positioning the lights, it's where to position the highlights on the subject--I suspect this will get easier with practice.

I also learned to build the light in layers. I started with an ambient light shot using a long exposure to see how the pin looked with natural light—I looked for things I liked and didn’t like, and then tried to figure out how to keep what I liked and improve upon what I didn’t. Then I brought the shutter speed up to 200th (my sync speed with GI triggers) and started adding lights. I started with the one light facing the camera to get the smaller highlights first. Picture the pin as a black silhoute, with just the bright highlight and background as you see it here. Then I worked on adding the light to the front of the pin—that was the hardest. By doing it in layers (thinking in multiple exposures, but on the same frame) I was able to better see what effect each light had on my shot.












trying out my new light meter




trying out my new light meter





Test roll of Agfa APX 100 shot on 5 August 2006, using my Bronica ETRSi (75mm lens) mounted on a tripod and a newly-acquired Weston Master V to meter the light. Shot in available light: a window about 6 ft to the left of the table, early afternoon on a fairly sunny day, and on some shots also a 60W bulb more or less above the camera.

Here are the meter readings (reflected unless otherwise marked), f-stop and shutter speed used, plus a note of where I was focusing. Going from top to bottom, left to right.

1) 5 (incident); f2.8; 1/8 (meter gave 1/10); top apple.
2) 7; f4; 1/15; top of meter.
3) 7; er... the unmarked stop between f4 and f2.8; 1/15; top of meter.
4) 6; f2.8; 1/15; right-hand edge of top apple.
5) 5 - taken from darkest part, U on meter dial set to value given; f2.8; 1/125 (meter gave 1/150); right-hand edge of top apple.
6) 6; f2.8; 1/15; top apple.
7) 6.5; f2.8; 1/30; top apple.
8) 4; f4; 1/4 (meter gave 1/3); reflection.
9) 4; f4; 1/2 (meter gave 1/3); reflection.
10) 6.5; f4; 1/15; front of jug.
11) 6.5; f8; 1/4; front of jug.
12) 3; f11; 1/2; top apple.
13) 4; f5.6; 1/15; reflection of candle.
14) 5; f4; 1/4; top edge of dish.
15) 5 (incident), U set to 4; f4; 1/30 (meter gave 1/40); top apple.

After a couple of minutes' pre-soak the film was developed in Rodinal, 1+100 (mixed to make 505ml), 1 hour @ 20°C, agitating as normal for first 5 mins and then twice at the half-hour point; two rinses of 5 inversions with water for a stop; fixed for 3 mins in Ilford rapid fixer; washed using the 5-10-20 method, then soaked in water with a drop of fairy liquid as a wetting agent.

Scanned the negs and imported into photoshop; flipped and inverted but otherwise untouched.

Haven't had time to have a proper look or draw any conclusions yet. Some of these look alright, other less so.









rolling shutter parts







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