Different types of wedding photography discussed
By Michael Thompson the bride's view wedding and portrait photography in Consett County Durham Tyneside in the North East of England
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Different types of wedding photography discussed
By Michael Thompson the bride's view wedding and portrait photography in Consett County Durham Tyneside in the North East of England
When you go shopping for a digital camera, the kid at the electronic store will most
likely try to sell you the camera with the greatest amount of megapixels. You of course
think more is better, and in most cases, it is. However, more goes into a digital camera
than megapixels, just as more goes into a computer than a processor. Other factors play
a large role in the final photograph. If you buy a camera with a tiny lens and it is
mostly automatic, the pictures it takes even with higher megapixels will not be as good
as a camera with better optics, more control, and fewer megapixels.
A megapixel is one million pixels. Typically, camera makers refer to the megapixels
as the number of sensor elements in digital cameras. The sensor is essentially digital
film that records your image. Many types of digital sensors exist, all varying in size; there
has yet to be an industry standard. Currently, 35mm film is a standard, and the digital
photography world is quickly moving toward full-frame sensors, which are the digital
equivalent of 35mm film. Professional photographers appreciate a full-frame sensor for
many reasons. When shooting digitally with a smaller sensor, you encounter the “multiplication
factor.” That is, a 24mm lens on a 35mm film camera gives about the same
field of view as a 38mm lens on a digital camera. The reason for this is because nonfull-
frame sensors are smaller and have smaller pixels; therefore, the sensor compensates
with a multiplication factor.
It is important to understand the multiplication factor used by certain digital single
lens reflex (dSLR) cameras when you plan to use those images in 3D. Generally, most
digital cameras employ a 1.5 multiplication factor. This is true if you’re comparing digital
camera settings to 35mm camera settings because lenses, for the most part, are still
manufactured as 35mm lenses. As the digital age progresses, the lenses for dSLRs will
be manufactured specifically for dSLR cameras, and comparisons to 35mm shooting
will be a thing of the past. At this point, however, it’s important to be aware of the size
of the final image; see Table 2.1 to learn how megapixels translate to image resolutions.You can see from this table that, although the camera store clerk might be selling
you on an 8-megapixel camera, even a 1.9-megapixel camera equals a high resolution.
Taking this a step further, National Television Systems Committee (NTSC) television is
720×486, and high-definition television (HDTV) is 1920×1080!
Shooting with a full-frame sensor, which usually houses 12.8 megapixels or
more, has many benefits; in fact, this can impact your 3D imaging. For example, let’s
say you have a 3.1-megapixel camera and need to photograph textures for image mapping
a large building. Even at 2048×1536 resolution, these images might not be sufficient
for your 3D model. Most cameras with a smaller resolution like 3.1 megapixels
are tiny and compact. And although this is perfect for snapshots of cousin Jim’s wedding,
it’s not ideal for 3D. That’s not to say you can’t use a 3.1-megapixel camera in
your work, but it does mean you have to be careful how much you do with those
images. If you’re taking images from a 3.1-megapixel camera and using them to map
onto a building and your client wants you to animate a walk-through of the building,
you’ll find that the images even at 2048×1536 resolution will be come blurry or pixelated.
This is because as you animate the 3D camera in a program such as Autodesk’s
Maya, NewTek’s LightWave, Softimage’s XSI, or Maxon’s Cinema4D, you’re essentially
enlarging the photograph as you move closer to it. You’ll learn more about this later in
the book. Furthermore, this doesn’t mean you can’t use a simple point-and-shoot camera.
Quite the opposite is true actually! The type of camera you use, the optics the camera
employs, and the control you have over the aperture are the factors you need to consider
depending on the project at hand. Point-and-shoot cameras are a must-have for
any 3D animator. Even though a small “pocket” camera might not provide enough resolution
for an aerial photograph for mapping 3D spheres, it can provide useful for texture
grabs, reference shots, and simple backdrops.
For example, let’s say you’ve been contracted to model and texture the inside of
an aircraft. Your client is at the airport and has a small window of time to photograph
the textures for the seats you need to build in 3D. The client has a small 3.1-megapixel
camera. Will this suffice? Of course it will—mostly because you have no other option
at the moment but also because the animation project does not call for a close-up of the
seats in 3D. The animation requires only a fly-through of the airplane. Therefore, the
3.1-megapixel camera is more than enough because the 2048-resolution images will fill
only 20 percent of the screen at any one time. Figure 2.1 shows the photograph of the
fabric, and Figure 2.2 shows the 3D-rendered image using the image for the fabric on
the airline seats. Those seats are then replicated and placed inside the 3D aircraft