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Photography
Photography is the process of recording pictures by means of capturing light on a light-sensitive medium, such as a film or electronic sensor. Light patterns reflected or emitted from objects expose a sensitive silver halide based chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically.
The word photography comes from the French photographie which is based on the Greek words φως phos (light), and γραφίς graphis (stylus, paintbrush) or γραφή graphê (representation by means of lines or drawing), together meaning drawing with light. Traditionally, the product of photography has been called a photograph, commonly shortened to photo.
Photographic Cameras
The camera or camera obscura is the image-forming device, and photographic film or a silicon electronic image sensor is the sensing medium. The respective recording medium can be the film itself, or a digital electronic or magnetic memory.
Photographers control the camera and lens to expose the light recording material (such as film) to the required amount of light to form a latent image (on film) or raw file (in digital cameras) which, after appropriate processing, is converted to a usable image. Modern digital cameras replace film with an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on paper or film.
The controls usually include but are not limited to the following:
* Focus of the lens
* Aperture of the lens – adjustment of the iris, measured as f-number, which controls the amount of light entering the lens. Aperture also has an effect on focus and depth of field, namely, the smaller the opening (aperture), the less light but the greater the depth of field--that is, the greater the range within which objects appear to be sharply focused.
* Shutter speed – adjustment of the speed (often expressed either as fractions of seconds or as an angle, with mechanical shutters) of the shutter to control the amount of time during which the imaging medium is exposed to light for each exposure. Shutter speed may be used to control the amount of light striking the image plane; 'faster' shutter speeds (that is, those of shorter duration) decrease both the amount of light and the amount of image blurring from subject motion or camera motion.
* White balance – on digital cameras, electronic compensation for the color temperature associated with a given set of lighting conditions, ensuring that white light is registered as such on the imaging chip and therefore that the colors in the frame will appear natural. On mechanical, film-based cameras, this function is served by the operator's choice of film stock. In addition to using white balance to register natural coloration of the image, photographers may employ white balance to aesthetic end, for example white balancing to a blue object in order to obtain a warm color temperature.
* Metering – measurement of exposure at a midtone so that highlights and shadows are exposed according to the photographer's wishes. Many modern cameras feature this ability, though it is traditionally accomplished with the use of a separate light metering device.
* ISO speed – traditionally used to set the film speed of the selected film on film cameras, ISO speeds are employed on modern digital cameras as an indication of the system's gain from light to numerical output and to control the automatic exposure system. A correct combination of ISO speed, aperture, and shutter speed leads to an image that is neither too dark nor too light.
* Auto-focus point – on some cameras, the selection of a point in the imaging frame upon which the auto-focus system will attempt to focus. Many Single-lens reflex cameras (SLR) feature multiple auto-focus points in the viewfinder.
Many other elements of the imaging device itself may have a pronounced effect on the quality and/or aesthetic effect of a given photograph; among them are:
* Focal length and type of lens (telephoto, macro, wide angle, fisheye, or zoom)
* Filters or scrims placed between the subject and the light recording material, either in front of or behind the lens
* Inherent sensitivity of the medium to light intensity and color/wavelengths.
* The nature of the light recording material, for example its resolution as measured in pixels or grains of silver halide.
Camera controls are inter-related, the total amount of light reaching the film plane (the exposure) changes with the duration of exposure, aperture of the lens, and focal length of the lens (which changes as the lens is zoomed). Changing any of these controls alters the exposure. Many cameras may be set to adjust most or all of these controls automatically. This automatic functionality is useful in many situations, and in most situations to occasional photographers.
The duration of an exposure is referred to as shutter speed, often even in cameras that don't have a physical shutter, and is typically measured in fractions of a second. Aperture is expressed by an f-number or f-stop (derived from focal ratio), which is proportional to the ratio of the focal length to the diameter of the aperture. If the f-number is decreased by a factor of \sqrt 2, the aperture diameter is increased by the same factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include 2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up one stop (using lower f-stop numbers) doubles the amount of light reaching the film, and stopping down one stop halves the amount of light.
Exposures can be achieved through various combinations of shutter speed and aperture. For example, f/8 at 8 ms (=1/125th of a second) and f/4 at 4 ms (=1/250th of a second) yield the same amount of light. The chosen combination has an impact on the final result. In addition to the subject or camera movement that might vary depending on the shutter speed, the aperture (and focal length of the lens) determine the depth of field, which refers to the range of distances from the lens that will be in focus. For example, using a long lens and a large aperture (f/2.8, for example), a subject's eyes might be in sharp focus, but not the tip of the nose. With a smaller aperture (f/22), or a shorter lens, both the subject's eyes and nose can be in focus. With very small apertures, such as pinholes, a wide range of distance can be brought into focus.
Image capture is only part of the image forming process. Regardless of material, some process must be employed to render the latent image captured by the camera into the final photographic work. This process consists of two steps, development, and printing.
During the printing process, modifications can be made to the print by several controls. Many of these controls are similar to controls during image capture, while some are exclusive to the printing process. Most controls have equivalent digital concepts, but some create different effects. For example, dodging and burning controls are different between digital and film processes. Other printing modifications include:
* Chemicals and process used during film development
* Duration of exposure — equivalent to shutter speed
* Printing aperture — equivalent to aperture, but has no effect on depth of field
* Contrast
* Dodging — reduces exposure of certain print areas, resulting in lighter areas
* Burning — increases exposure of certain areas, resulting in darker areas
* Paper quality — glossy, matte, etc
* Paper size
Uses of Photography
Photography gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements, such as Eadweard Muybridge's study of human and animal locomotion in 1887. Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police, and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories of favorite times, to capture special moments, to tell stories, to send messages, and as a source of entertainment.
Commercial advertising relies heavily on photography and has contributed greatly to its development.
History of photography
Photography is the result of combining several technical discoveries. Long before the first photographs were made, Ibn al-Haytham (Alhazen) (965–1040) invented the camera obscura and pinhole camera, Albertus Magnus (1193–1280) discovered silver nitrate, and Georges Fabricius (1516–1571) discovered silver chloride. Daniel Barbaro described a diaphragm in 1568. Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. The fiction book Giphantie (by the French Thiphaigne de La Roche, 1729-1774) described what can be interpreted as photography.
Photography as a usable process goes back to the 1820s with the development of chemical photography. The first permanent photograph was an image produced in 1826 by the French inventor Nicéphore Niépce. However, the picture took eight hours to expose, so he went about trying to find a new process. Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1839.
Meanwhile, Hercules Florence had already created a very similar process in 1832, naming it Photographie, and William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention, Talbot refined his process so that it might be fast enough to take photographs of people. By 1840, Talbot had invented the calotype process, which creates negative images. John Herschel made many contributions to the new methods. He invented the cyanotype process, now familiar as the blueprint. He was the first to use the terms photography, negative and positive. He discovered sodium thiosulphate solution to be a solvent of silver halides in 1819, and informed Talbot and Daguerre of his discovery in 1839 that it could be used to fix pictures and make them permanent. He made the first glass negative in late 1839.
In 1851, Frederick Scott Archer published his findings in The Chemist on the wet plate Collodion process. This became the most widely used process between 1852 and the late 1880s when the dry plate was introduced. There are three subsets to the Collodion process; the Ambrotype (positive image on glass), the Ferrotype or Tintype (positive image on metal) and the negative which was printed on Albumen or Salt paper.
Many advances in photographic glass plates and printing were made in through the nineteenth century. In 1884, George Eastman developed the technology of film to replace photographic plates, leading to the technology used by film cameras today.
Photography Types
Black-and-white Photography
All photography was originally monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its classic photographic look. In modern times, black-and-white has mostly become a minority art form, and most photography has become color photography.
Many photographers continue to produce some monochrome images. Some full color digital images are processed using a variety of techniques to create black and whites, and some cameras have even been produced to exclusively shoot monochrome.
Color photography
Color photography was explored beginning in the mid 1800s. Early experiments in color could not fix the photograph and prevent the color from fading. The first permanent color photo was taken in 1861 by the physicist James Clerk Maxwell.
One of the early methods of taking color photos was to use three cameras. Each camera would have a color filter in front of the lens. This technique provides the photographer with the three basic channels required to recreate a color image in a darkroom or processing plant. Russian photographer Sergei Mikhailovich Prokudin-Gorskii developed another technique, with three color plates taken in quick succession.
Practical application of the technique was held back by the very limited color response of early film; however, in the early 1900s, following the work of photo-chemists such as H. W. Vogel, emulsions with adequate sensitivity to green and red light at last became available.
The first color plate, Autochrome, invented by the French Lumière brothers, reached the market in 1907. It was based on a 'screen-plate' filter made of dyed dots of potato starch, and was the only color film on the market until German Agfa introduced the similar Agfacolor in 1932. In 1935, American Kodak introduced the first modern ('integrated tri-pack') color film, Kodachrome, based on three colored emulsions. This was followed in 1936 by Agfa's Agfacolor Neue. Unlike the Kodachrome tri-pack process the color couplers in Agfacolor Neue were integral with the emulsion layers, which greatly simplified the film processing. Most modern color films, except Kodachrome, are based on the Agfacolor Neue technology. Instant color film was introduced by Polaroid in 1963.
Color photography may form images as a positive transparency, intended for use in a slide projector or as color negatives, intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photoprinting equipment.
Digital Photography
Traditional photography burdened photographers working at remote locations without easy access to processing facilities, and competition from television pressured photographers to deliver images to newspapers with greater speed. Photo journalists at remote locations often carried miniature photo labs and a means of transmitting images through telephone lines. In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. In 1990, Kodak unveiled the DCS 100, the first commercially available digital camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born.
Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film. The primary difference between digital and chemical photography is that analog photography resists manipulation because it involves film, optics and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications.
Digital imaging is rapidly replacing film photography in consumer and professional markets. Digital point-and-shoot cameras have become widespread consumer products, outselling film cameras, and including new features such as video and audio recording. Kodak announced in January 2004 that it would no longer produce reloadable 35 mm cameras after the end of that year. This was interpreted as a sign of the end of film photography. However, Kodak was at that time a minor player in the reloadable film cameras market. In January 2006, Nikon followed suit and announced that they will stop the production of all but two models of their film cameras: the low-end Nikon FM10, and the high-end Nikon F6. On May 25, 2006, Canon announced they will stop developing new film SLR cameras.
Because photography is popularly synonymous with truth (The camera doesn't lie.), digital imaging has raised many ethical concerns. Many photojournalists have declared they will not crop their pictures, or are forbidden from combining elements of multiple photos to make illustrations, passing them as real photographs. Many courts will not accept digital images as evidence because of their inherently manipulative nature. Today's technology has made picture editing relatively easy for even the novice photographer.
Digital photography is one of several forms of digital imaging. Digital images are also created by non-photographic equipment such as computer tomography scanners and radio telescopes. Digital images can also be made by scanning conventional photographic images.
History
Sensors and Storage
Sensors read the intensity of light as filtered through different color filters, and digital memory devices store the digital image information, either as RGB color space or as raw data.
There are two main types of sensors:
* charge-coupled device (CCD) – photocharge is shifted to a central charge-to-voltage converter
* CMOS sensors (Active pixel sensor)
Nearly all digital cameras now use built in and/or removable solid state flash memory. Digital camcorders that double as a digital still camera use flash memory, discs and internal hard disks. For a time floppy disks and mini-CDs were used in early digital cameras such as the Sony Mavica range.
Multifunctionality and Connectivity
Except for some linear array type of cameras at the highest-end and simple web cams at the lowest-end, a digital memory device (usually flash memory; floppy disks and CD-RWs are less common) is usually used for storing images, which may then be transferred to a computer later.
Digital cameras can take pictures, and may also record sound and video. Some can be used as webcams, some can use the PictBridge standard to connect to a printer without using a computer, and some can display pictures directly on a television set. Similarly, many camcorders can take still photographs, and store them on videotape or on flash memory cards.
Performance Metrics
The quality of a digital image is the sum of various factors, many of which are similar to film cameras. Pixel count (typically listed in megapixels, millions of pixels) is only one of the major factors, though it is the most heavily marketed. Pixel count metrics were created by the marketing organizations of digital camera manufacturers because consumers can use it to easily compare camera capabilities. It is not, however, the major factor in evaluating a digital camera. The processing system inside the camera that turns the raw data into a color-balanced and pleasing photograph is the most critical, which is why some 4+ megapixel cameras perform better than higher-end cameras.
* Lens quality: resolution, distortion, dispersion (see Lens (optics))
* Capture medium: CMOS, CCD, Negative film, Reversal Film etc.
* Capture format: pixel count, digital file type (RAW, TIFF, JPEG), film format (135 film, 120 film, 5x4, 10x8).
* Processing: digital and / or chemical processing of 'negative' and 'print'.
Pixel Counts
The number of pixels n for a given maximum resolution (w horizontal pixels by h vertical pixels) is the product n = w × h. This yields e. g. 1.92 megapixels (1,920,000 pixels) for an image of 1600 × 1200. The majority of compact (not SLR) digital cameras have a 4:3 aspect ratio, i.e. w/h = 4/3. According to Digital Photography Review, the 4:3 ratio is because computer monitors are 4:3 ratio, old CCD's always had a 4:3 ratio, and thus digital cameras inherited this aspect ratio.
The pixel count quoted by manufacturers can be misleading as it may not be the number of full-color pixels. For cameras using single-chip image sensors the number claimed is the total number of single-color-sensitive photosensors, whether they have different locations in the plane, as with the Bayer sensor, or in stacks of three co-located photosensors as in the Foveon X3 sensor. However, the images will have different numbers of RGB pixels: the Bayer-sensor cameras produce as many RGB pixels as photosensors via demosaicing (interpolation), while the cameras with Foveon sensors produce uninterpolated image files with one-third as many RGB pixels as photosensors. It is not possible to directly compare the resolutions based on the megapixel ratings of these two types of sensors.
Resolution
Resolution provides an indication of the amount of detail that is captured, but, like the other metrics, resolution is just another factor out of many in determining the quality of an image. Furthermore, different methods of creating an image make it impossible to compare the resolutions of cameras simply based on the number of pixels produced by the image sensor. For example, the Sigma SD14 camera uses Foveon technology, which is quite different from most other digital cameras. It claims to be a 14 megapixel camera, but is generally considered to have detail-capturing capabilities roughly equivalent to 9 megapixels in terms of Bayer sensors.
The relative increase in detail resulting from an increase in resolution is better compared by looking at the number of pixels across (or down) the picture, rather than the total number of pixels in the picture area. For example, a sensor of 2560 × 1600 sensor elements is described as 4 megapixels (2560 × 1600 = 4,096,000). Increasing to 3200 × 2048 increases the pixels in the picture to 6,553,600 (6.5 megapixels), a factor of 1.6, but the pixels per cm in the picture (at the same image size) increases by only 1.25 times. A measure of the comparative increase in linear resolution is the square root of the increase in area resolution, i.e., megapixels in the entire image.
Resolution in pixels is not the only measure of image quality; a larger sensor with the same number of pixels will generally produce a better image than a smaller one. One of the most important differences is an improvement in visual noise. This is one of the advantages of digital SLR cameras, which have larger sensors than simpler cameras of the same resolution.
Dynamic Range
Practical imaging systems, digital and film, have a limited dynamic range which can be reproduced accurately. Highlights of the subject which are too bright will be rendered as white, with no detail; shadows which are too dark will be rendered as black. The loss of detail is not abrupt with film, or in dark shadows with digital sensors: some detail is retained as brightness moves out of the dynamic range. Highlight burn-out of digital sensors, however, can be abrupt, and highlight detail may be lost. And as the sensor elements for different colors saturate in turn, there can be gross hue shift in burnt-out highlights.
Some digital cameras can show these blown highlights in the image review, allowing the photographer to re-shoot the picture with a modified exposure. Others compensate for the total contrast of a scene by selectively exposing darker pixels longer. A third technique is used by Fujifilm in its FinePix S3 Pro digital SLR. The image sensor contains additional photodiodes of lower sensitivity than the main ones; these retain detail in parts of the image too bright for the main sensor.
High dynamic range imaging (HDR) addresses this issue by increasing the dynamic range of images by either
* increasing the dynamic range of the image sensor or
* by using exposure bracketing and post-processing the separate images to create a single image with a higher dynamic range.
HDR images curtail burn-outs and black-outs by increasing the bits stored per pixel.
Applications and Considerations
With the acceptable image quality and the other advantages of digital photography (particularly the time pressures of vital importance to daily newspapers) the majority of professional news photographers have begun capturing their images with digital cameras.
Digital photography has also been adopted by many amateur snapshot photographers, who take advantage of the convenience of the form when sending images by email, placing them on the World Wide Web, or displaying them in digital picture frames. Digital cameras have also been integrated into many cell phones, although, because of the small, poor quality lenses and sensors in most of these phones, the quality of these pictures makes them unsuitable for making even moderate size prints.
Some commercial photographers, and some amateurs interested in artistic photography, have been resistant to using digital rather than film cameras because they believe that the image quality available from a digital camera is still inferior to that available from a film camera, and the quality of images taken on medium format film is near-impossible to match at any price with a digital camera. Some have expressed a concern that changing computer technology may make digital photographs inaccessible in the future. A related concern in a specialized application is the use of digital photographs in court proceedings, with the added difficulty of demonstrating an image's authenticity. Some high-end film can also still be projected for viewing at a much higher optical resolution than even the best digital projectors.
Other commercial photographers, and many amateurs, have enthusiastically embraced digital photography because they believe that its flexibility and lower long-term costs outweigh its initial price disadvantages. Almost all of the cost of digital photography is capital cost, meaning that the cost is for the equipment needed to store and copy the images, and once purchased requires virtually no further expense outlay. Film photography requires continuous expenditure of funds for supplies and developing, although the equipment itself does not outdate so quickly and has a longer service life. Some commercial photographers have also begun moving to digital technology because of the tremendous editing capabilities now offered on computers. The photographer is able to color-balance and manipulate the image in ways that traditional darkroom techniques cannot offer, although film users can utilize the same technology with a film scanner. With fully color-balanced systems from the camera to the monitor to the printer, the photographer can now print what is actually seen on the screen.
However, digital cameras require batteries that need to be recharged or replaced frequently, and this means that a photographer needs access to electrical outlets. Digital cameras also tend to be much more sensitive to moisture and extreme cold. For this reason, photographers who work in remote areas may favour film SLR cameras, though many higher-end DSLRs are now equipped with 'weather-proof' bodies. Medium- and large-format film cameras are also still preferred by publications insisting on the very highest detail and resolution, such as Arizona Highways.
Digital photography was used in astronomy long before its use by the general public and had almost completely displaced photographic plates by the early 1980s. Not only are CCDs more sensitive to light than plates, but they have a much more uniform and predictable response, and the information can be downloaded onto a computer for data analysis. The CCDs used in astronomy are similar to those used by the general public, but are generally monochrome and cooled with liquid nitrogen so as to reduce the noise caused by heat. Many astronomical instruments have arrays of many CCDs, sometimes totaling almost a billion pixels. Nowadays amateur astronomers also commonly use digital cameras, including the use of webcams for speckle imaging or video astronomy.
Sensor Size and Angle of View
Cameras with digital sensors that are smaller than the typical 35mm film size will have a smaller field or angle of view when used with a lens of the same focal length. This is because angle of view is a function of both focal length and the sensor or film size used.
If a sensor smaller than the full-frame 35mm film format is used, such as the use of APS-C-sized digital sensors in DSLRs, then the field of view is cropped by the sensor to smaller than the 35mm full-frame format's field of view. This narrowing of the field of view is often described in terms of a focal length multliplier or crop factor, a factor by which a longer focal length lens would be needed to get the same field of view on a full-frame camera.
If the digital sensor has approximately the same resolution (effective pixels per unit area) as the 35mm film surface (24 x 36 mm), then the result is similar to taking the image from the film camera and cutting it down (cropping) to the size of the sensor. For an APS-C size sensor, this would be a reduction to approximately the center 50% of the image. The cheaper, non-SLR models of digital cameras typically use much smaller sensor sizes and the reduction would be greater.
If the digital sensor has a higher or lower density of pixels per unit area than the film equivalent, then the amount of information captured will differ correspondingly. While resolution can be estimated in pixels per unit area, the comparison is complex since most types of digital sensor record only a single colour at each pixel location, and different types of film will have different effective resolutions. There are various trade-offs involved, since larger sensors are more expensive to manufacture and require larger lenses, while sensors with higher numbers of pixels per unit area are likely to suffer higher noise levels.
For these reasons, it is possible to obtain cheap digital cameras with sensor sizes much smaller than 35mm film, but with high pixel counts, that can still produce high-resolution images. Such cameras are usually supplied with lenses that would be classed as extremely wide angle on a 35mm camera, and which can also be smaller size and less expensive, since there is a smaller sensor to illuminate. For example, a camera with a 1/1.8 sensor has a 5.0x field of view crop, and so a hypothetical 5-50mm zoom lens will produce images that look similar (again the differences mentioned above are important) to those produced by a 35mm film camera with a 25–250mm lens, while being much more compact than such a lens for a 35mm camera since the imaging circle is much smaller.
This can be useful if extra telephoto reach is desired, as a certain lens on an APS sensor will produce an equivalent image to a significantly longer lens on a 35mm film camera shot at the same distance from the subject, the equivalent length of which depends on the camera's field of view crop. This is sometimes referred to as the focal length multiplier, but the focal length is a physical attribute of the lens and not the camera system itself. The downside to this is that wide angle photography is made somewhat more difficult, as the smaller sensor effectively and undesirably reduces the captured field of view. Some methods of compensating for this or otherwise producing much wider digital photographs involve using a fisheye lens and defishing the image in post processing to simulate a rectilinear wide angle lens.
Full-frame digital SLRs, that is, those with sensor size matching a frame of 35mm film, include Canon 1DS, 1DS II, and 5D, Kodak Pro DCS-14n, and Contax N Digital. There are very few digital cameras with sensors that can approach the resolution of larger-format film cameras, with the possible exception of the Mamiya ZD (22MP) and the Hasselblad H3D series of DSLRs (22 to 39 MP).
Common values for field of view crop in DSLRs include 1.3x for some Canon sensors, 1.5x for Sony APS-C sensors used by Nikon, Pentax and Konica Minolta and for Fujifilm sensors, 1.6 (APS-C) for most Canon sensors, ~1.7x for Sigma's Foveon sensors and 2x for Kodak and Panasonic 4/3 sensors currently used by Olympus and Panasonic. Crop factors for non-SLR consumer compact and bridge cameras are larger, frequently 4x or more.
Storage
Storage for digital cameras have increased in size and technology with the time. From magnetic tape (Steven Sasson's 1975 prototype) to floppy disks to flash memory.
Digital Camera Backs
Most digital cameras are built to operate as a self-contained unit. This is especially so at the lower-end, for these cameras usually include zoom lens and flashes that cannot be changed. However, at the highest-end, some digital cameras are nothing but a sophisticated light-sensing unit. Experienced photographers attach these digital camera backs to their professional medium format SLR cameras, such as a Hasselblad.
* Area array
o CCD
o CMOS
* Linear array
o CCD (monochrome)
o 3-strip CCD with color filters
Linear array cameras are also called scan backs.
* Single-shot
* Multi-shot (three-shot, usually)
These camera backs are usually used only in studios to take pictures of still objects. Most earlier digital camera backs used linear array sensors which could take seconds or even minutes for a complete high-resolution scan. The linear array sensor acts like its counterpart in a flatbed image scanner by moving vertically to digitize the image.
Many of these cameras could only capture grayscale images. To take a color picture, it requires three separate scans done with a rotating colored filter. These are called multi-shot backs. Some other camera backs use CCD arrays similar to typical cameras. These are called single-shot backs.
Since it is much easier to manufacture a high-quality linear CCD array with only thousands of pixels than a CCD matrix with millions, very high resolution linear CCD camera backs were available much earlier than their CCD matrix counterparts. For example, you could buy an (albeit expensive) camera back with over 7,000 pixel horizontal resolution in the mid-1990s. However, as of 2004, it is still difficult to buy a comparable CCD matrix camera of the same resolution. Rotating line cameras, with about 10,000 color pixels in its sensor line, are able, as of 2005, to capture about 120,000 lines during one full 360 degree rotation, thereby creating a single digital image of 1,200 Megapixels.
Many modern digital camera backs use very large CCD matrices. This eliminates the need for scanning. For example, Fujifilm produces a 20 million pixel digital camera back with a 52 x 37 mm (2.04 x 1.45 inch) CCD in 2003. This CCD array is a little smaller than a frame of 120 film and much larger than a 35 mm frame (36 x 24 mm). In comparison, a consumer digital camera usually uses a much smaller 1/2.5 inch or 7.176 x 5.329 mm (~ 1/1.8 inch) CCD sensor. Further, the 1/2.5 or 1/1.8 inch diagonal measurement is the size of the entire CCD chip- the actual photo-sensitive area is much smaller.
At present, there are relatively few complete digital SLR cameras with sensors large enough to compete with medium to large format film cameras. Mamiya and Hasselblad manufacture medium format digital devices that can capture 16MP up to over 30MP. The units tend to be quite large and expensive.
Comparison with Film Photography
Advantages of Consumer Digital Cameras
The advantages of digital photography over traditional film include:
* Instant review of pictures, with no wait for the film to be developed: if there's a problem with a picture, the photographer can immediately correct the problem and take another picture
* Minimal ongoing costs for those wishing to capture hundreds of photographs for digital uses, such as computer storage and e-mailing, but not printing
* If one already owns a newer computer, permanent storage on digital media is considerably cheaper than film
* Photos may be copied from one digital medium to another without any degradation
* Pictures do not need to be scanned before viewing them on a computer
* Ability to print photos using a computer and consumer-grade printer
* Ability to embed metadata within the image file, such as the time and date of the photograph, model of the camera, shutter speed, flash use, and other similar items, to aid in the reviewing and sorting of photographs. Film cameras have limited ability to handle metadata, though many film cameras can imprint a date over a picture by exposing the film to an internal LED array (or other device) which displays the date.
* Ability to capture and store hundreds of photographs on the same media device within the digital camera; by contrast, a film camera would require regular changing of film (typically after every 24 or 36 shots)
* Many digital cameras now include an AV-out connector (and cable) to allow the reviewing of photographs to an audience using a television
* Anti-shake functionality (increasingly common in inexpensive cameras) allow taking sharper hand-held pictures where previously a tripod was required
* Ability to change ISO speed settings more conveniently in the middle of shooting, for example when the weather changes from bright sunlight to cloudy. In film photography, film must be unloaded and new film with desired ISO speed loaded.
* Smaller sensor format, compared to 35mm film frame, allows for smaller lenses, wider zoom ranges, and greater depth of field.
* Ability to use the same device to capture video as well as still images.
Advantages of Professional Digital Cameras
* Immediate image review and deletion is possible; lighting and composition can be assessed immediately, which ultimately conserves storage space.
* The ability to shoot in a raw image format, containing data directly from the sensor. However, as of this writing, there are a number of proprietary RAW formats, some of which require specific software to manipulate.
* Faster workflow: Management (colour and file), manipulation and printing tools are more versatile than conventional film processes. However, batch processing of RAW files can be time consuming, even on a fast computer.
* Digital manipulation: A digital image can be modified and manipulated much easier and faster than with traditional negative and print methods. The digital image to the right was captured in RAW format, processed and output in 3 different ways from the source RAW file, then merged and further processed for color saturation and other special effects to produce a more dramatic result than was originally captured with the RAW image.
Recent manufacturers such as Nikon and Canon have promoted the adoption of digital single-lens reflex cameras (DSLRs) by photojournalists. Images captured at 2+ megapixels are deemed to be of sufficient quality for small images in newspaper or magazine reproduction. Six to 14 megapixel images, found in modern digital SLRs, when combined with high-end lenses, can approximate the detail of film prints taken with 35 mm film based SLRs, and the latest 16 megapixel models can produce astoundingly detailed images which are believed to be better than 35mm film images and the majority of medium format cameras.
Disadvantages of Digital Cameras
* Dependence upon spare batteries which are heavy to carry and whose lack makes equipment unusable. Batteries used by some film cameras are smaller and not drained as quickly.
* Many digital sensors have less dynamic range than color print film. However, some newer CCDs such as Fuji's Super CCD, which combines diodes of different sensitivity, have improved this issue.
* When highlights burn out, they burn to white without details, while film cameras retain a reduced level of detail, as discussed above.
* High ISO image noise manifests as multicolored speckles in digital images, rather than the less-objectionable grain of high-ISO film. While this speckling can be removed by noise-reduction software, either in-camera or on a computer, this can have a detrimental effect on image quality as fine detail may be lost in the process.
For most consumers in prosperous countries such as the United States and Western Europe, the advantages of digital cameras outweigh their disadvantages. However, many professional photographers continue to prefer film. Much of the post-shooting work done by a photo lab for film is done by the photographer himself for digital images. Concerns that have been raised by professional photographers include: editing and post-processing of RAW files can take longer than 35mm film, downloading a large number of images to a computer can be time-consuming, shooting in remote sites requires the photographer to carry a number of batteries and add to the load to carry, equipment failure—while all cameras may fail, some film camera problems (e.g., meter or rangefinder problems, failure of only some shutter speeds) can be worked around. As time passes, it is expected that more professional photographers will switch to digital.
In some cases where very high-resolution digital images of good quality are needed it may be advantageous to take large-format film photographs and digitise them. This allows the creation of very large computer files without speed or capacity disadvantages at picture-taking time. This is discussed in detail in an article with the provocative title A 100 MP Digital Camera System for Under $2,000.
Equivalent Features
Image noise / grain
Noise in a digital camera's image is remarkably similar to film grain in a film camera. At high ISO levels (film speed) the grain/noise becomes more apparent in the final image. Although film ISO levels can be lower than digital ISO levels (25 and 50 respectively), digital settings can be changed quickly according to requirements, while film must be physically replaced and protected from all light during such replacement. Additionally, image noise reduction techniques can be used to remove noise from digital images and film grain is fixed. From an artistic point of view, film grain and image noise may be desirable when creating a specific mood for an image. Modern digital cameras have comparable noise/grain at the same ISO as film cameras. Some digital cameras though, do exhibit a pattern in the digital noise which is not found on film.
Speed of Use
Previously digital cameras had a longer start-up delay compared to film cameras, i.e., the delay from when they are turned on until they are ready to take the first shot, but this is no longer the case for modern digital cameras. Similarly, the amount of time needed to write the data for a digital picture to the memory card is now comparable to the amount of time it takes to wind the film on a film camera, at least with modern digital cameras and modern fast memory cards. Both digital cameras and film cameras have a small delay between when the shutter button is pressed and when the picture is taken – this is the time necessary to autofocus the lens and compute and set the exposure. (This shutter delay is practically zero for SLR and DSLR cameras.)
Frame Rate
The Canon EOS-1D Mark III can take still photographs at 10 frames per second; the fastest film SLR could shoot 10 frames per second. The Nikon F5 is limited to 36 continuous frames (the length of the film) while the Canon EOS-1D Mark III is able to take about 110 high definition JPEG images before its buffer must be cleared and the remaining space on the storage media can be used.
Image Longevity
Although digital image data does not degrade (film stock can fade), the media on which the digital images are stored can decay or become corrupt, leading to a loss of image integrity. Film should be stored under archival conditions for maximum longevity; this should not be a problem for digital images as perfect copies can be made and stored elsewhere. Without backup it is easier to lose huge amounts of digital data, for example by accidental deletion of folders, or by failure of a mass storage device. In comparison, each generation of copies of film negatives and transparencies is degraded compared to its parent. Film images can easily be converted to digital with some possible loss of quality.
Color Reproduction
Color reproduction (gamut) is dependent on the type and quality of film or sensor used and the quality of the optical system and film processing. Different films and sensors have different color sensitivity; the photographer needs to understand his equipment, the light conditions, and the media used to ensure accurate colour reproduction. Many digital cameras offer RAW format (sensor data) which makes it possible to choose color space in the development stage regardless of camera settings; in effect the scene itself is stored as far as the sensor allows, and can to some extent be rephotographed with different color balance, exposure, etc.
A Comparison of Frame Aspect Ratios
A typical digital camera's aspect ratio is 1.33 (4:3), the same as today's NTSC or PAL/SECAM TVs or earliest movies. However, a 35 mm picture's aspect ratio is 1.5 (3:2). Several new digital cameras will take photos in either ratio and nearly all digital SLRs take pictures in a 3:2 ratio as they usually use lenses designed for 35 mm film (Olympus and Panasonic digital SLRs are notable exceptions). Some photo labs also offer the option of printing photos on 4:3 ratio paper, as well as the existing 3:2. In 2005 Panasonic launched the first consumer camera with a native aspect ratio of 16:9, matching HDTV. This is similar to a 7:4 aspect ratio, which was a common size for APS film. Different aspect ratios are one of the main reasons consumers have cropping issues when printing digital photos, or film photos as well. Moreover, the majority of digital cameras take an aspect ratio of 4:3 which translates to a size of 4.5 x 6.0. This translates into losing a half an inch when printing on the standard size of 4 x 6, an aspect ratio of 3:2. Similar cropping occurs when printing on other sizes as well, i.e., 5x7, 8x10, or 11x14. The easy way to see if the aspect ratio you want will fit is to divide the length and width. If these match then there will be no cropping off the original image. For example, an 8x12 has the same aspect ratio as a 4x6 or a 12x18, because 12 divided by 8 is 1.5, the same aspect ratio as a 4x6, which is also 1.5.
Market Impact
In late 2002, 2 megapixel cameras were available in the United States for less than $100, with some 1 megapixel cameras for under $60. At the same time, many discount stores with photo labs introduced a digital front end, allowing consumers to obtain true chemical prints (as opposed to ink-jet prints) in an hour. These prices were similar to those of prints made from film negatives. However, because digital images have a different aspect ratio than 35 mm film images, people have started to realize that 4x6 inch prints crop some of the image off the print. Some photofinishers have started offering prints with the same aspect ratio as the digital cameras record.
In July 2003, digital cameras entered the single-use market with the release of the Ritz Dakota Digital, a 1.2 megapixel (1280 x 960) CMOS-based digital camera costing only $11 (USD). Following the familiar single-use concept long in use with film cameras, the Dakota Digital was intended to be used by a consumer one time only. When the pre-programmed 25 picture limit is reached, the camera is returned to the store, and the consumer receives back prints and a CD-ROM with their photos. The camera is then refurbished and resold. Since the introduction of the Dakota Digital, a number of similar single-use digital cameras have appeared. Most of the various single-use digital cameras are nearly identical to the original Dakota Digital regarding specifications and functionality, although a few include superior specifications and more advanced functions (such as higher image resolutions and LCD screens). Most, if not all, of these single-use digital cameras cost less than $20 (USD), not including processing fees. However, the huge demand for complex digital cameras at competitive prices has often resulted in manufacturing shortcuts, evidenced by a large increase in customer complaints over camera malfunctions, high parts prices, and short service life. Some digital cameras offer only a 90-day warranty.
The price of 35mm compact cameras have dropped with manufacturers further outsourcing to countries such as China. Kodak announced in January 2004 that they would no longer sell Kodak-branded film cameras in the developed world. In January 2006 Nikon followed suit and announced that they will stop the production of all but two models of their film cameras, they will continue to produce the low-end Nikon FM10, and the high-end Nikon F6. In the same month, Konica Minolta announced that it was pulling out of the camera business altogether. The price of 35mm and APS compact cameras have dropped, probably due to direct competition from digital and the resulting growth of the offer of second-hand film cameras. Pentax have reduced production of film cameras but not halted it.. The technology has improved so rapidly that one of Kodak's film cameras was discontinued before it was awarded a camera of the year award later in the year.
Since 2002, digital cameras have outsold film cameras. However, the use of 35mm cameras is greater in developing countries. In Guatemala, for example, extremely high import duties on all digital products serves to encourage sales and use of film cameras.
The decline in film camera sales has also led to a decline in purchases of film for such cameras. In November 2004, a German division of Agfa-Gevaert, AgfaPhoto, split off. Within six months it filed for bankruptcy . Konica Minolta Photo Imaging, Inc. will end production of Color film and paper worldwide by March 31, 2007. In addition, by 2005, Kodak employed less than a third of the employees that it had twenty years earlier. It is not known if these job losses in the film industry have been offset in the digital image industry.
In addition, digital photography has resulted in some positive market impacts as well. The increasing popularity of products such as digital photo frames and canvas prints is a direct result of the increasing popularity of digital photography.
Social Impact
Throughout the history of photography, technological advances in optics, camera production, developing, and imaging have had an effect on the way people view images. Prior to the 1970s, most people in the United States used slide (or chrome) film and viewed the images with a slide projector. After that, people began to make prints from color negatives. The simultaneous increased use of the Internet and email, relatively cheap computers and digital cameras led to a tremendous increase in the number of photographic images in digital formats.
In the early part of the 21st century, the dominant method of viewing still images has been on computers and, to a lesser extent, on cellular phones (although people still make and look at prints). These factors have led to a decrease in film and film camera sales and film processing, and has had a dramatic effect on companies such as Fuji, Kodak, and Agfa. In addition, many stores that used to offer photofinishing services or sell film no longer do, and those that do have seen a tremendous decline.
Photographic images have always been prone to fading and loss of image quality due to sun exposure or improper storage of film negatives, slides, and prints. Since digital images are stored as data on a computer, the image never loses visual quality, detail, or fidelity as long as the digital media upon which it is stored remains intact. The only way to ruin a digital image is to delete the image file, to corrupt or re-write some of the image file's data, or to damage or destroy the electronic storage media (hard drive, disk, CD, flash card, etc.) upon which the file resides. As with all computer files, making backups is the most effective way of ensuring that a copy of a digital image can always be recovered.
Of growing concern for both archivists and historians is the relative non-permanence or transitory nature of digital media. Unlike film and print, which are tangible and immediately accessible to a person, storage of digital images is ever-changing with old media and decoding software becoming obsoleted or inaccessible by new technologies. Historians are concerned that we are creating a historical void where information and details about a given decade or era will have been lost within either failed or inaccessible digital media. It is recommended that both professional and amateur users develop strategies for migrating stored digital images from old technologies to new.
It is likely that film will never again be purchased and used on the scale it was for most of the 20th century. However, it probably will not disappear altogether. At its advent in the early 19th century, many believed photography would supplant the painting of portraits and landscapes. In the same way that acrylic and oil paint are still dominant media in use by artists and hobbyists, it's likely that photographic film and equipment will continue to be an option for enthusiasts. It is also important to note that the differences between film and digital photography are far less significant than the differences between painting and film photography.
Recent Research and Innovation
Lighting, optics, sensors, processing, storage, and display, with software weaving them together, are all advancing. Here are a few examples.
* 3D models can be created from collections of normal images. The resulting scene can be viewed from novel viewpoints, but creating the model is very compute-intensive. Microsoft's Photosynth is available with models of famous places.
* High Dynamic Range cameras and displays are commercially available. >120 decibel sensors are in development. You can create your own HDR images, with a non-HDR camera, by combining multiple exposures.
* Motion blur can be dramatically removed by a flutter shutter (a flickering shutter which adds a signature to the blur, which postprocessing can recognize). It is not yet commercially available.
* An object's specular reflection can be captured using computer controlled lights and sensors. This is needed to create attractive images of oil paintings, for instance. It is not yet commercially available, but is starting to be used by museums.
Other areas of progress include enlarged gamut sensors, software, and displays; and computer controlled lighting.
Photography Styles
Commercial Photography
The commercial photographic world can be broken down to:
* Advertising photography: photographs made to illustrate and usually sell a service or product. These images are generally done with an advertising agency, design firm or with an in-house corporate design team.
* Fashion and glamour photography: This type of photography usually incorporates models. Fashion photography emphasizes the clothes or product, glamour emphasizes the model. Glamour photography is popular in advertising and in men's magazines. Models in glamour photography may be nude, but this is not always the case.
* Crime Scene Photography: This type of photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
* Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made.
* Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography, but requires some special skills.
* Editorial photography: photographs made to illustrate a story or idea within the context of a magazine. These are usually assigned by the magazine.
* Photojournalism: this can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.
* Portrait and wedding photography: photographs made and sold directly to the end user of the images.
* Fine art photography: photographs made to fulfill a vision, and reproduced to be sold directly to the customer.
* Landscape photography: photographs of different locations made to be sold to tourists as postcards
* Wildlife photography that demonstrates life of the animals.
The market for photographic services demonstrates the aphorism one picture is worth a thousand words, which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.
Many people take photographs for self-fulfillment or for commercial purposes. Organizations with a budget and a need for photography have several options: they can assign a member of the organization or hire someone to shoot exactly what they want, run a public competition, or obtain rights to stock photographs either through traditional stock giants, such as Getty Images, Corbis, or through smaller microstock agencies, such as Fotolia.
Photography as an Art Form
During the twentieth century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the f/64 Group to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and not an imitation of something else.
The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images written with light; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.
Clive Bell in his classic essay Art states that only significant form can distinguish art from what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible - significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.
Technical Photography
The camera has a long and distinguished history as a means of recording phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example) and small creatures when the camera was attached to the eyepiece of microscopes (in photomicroscopy). The camera also proved useful in recording crime scenes and the scenes of accidents, one of the first uses being at the scene of the Tay Rail Bridge disaster of 1879. The set of accident photographs was used in the subsequent court of inquiry so that witnesses could identify pieces of the wreckage, and the technique is now commonplace in courts of law.
Other Photographic Image Forming Techniques
Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic film, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures.
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Aerial Pics El Paso Texas TX
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Aerial Pics Elizabeth New Jersey NJ
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Aerial Pics Elmira New York NY
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Aerial Pics Elyria Ohio OH
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Aerial Pics Eugene Oregon OR
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Aerial Pics Evanston Illinois IL
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Aerial Pics Fairfax Virginia VA
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Aerial Pics Fargo North Dakota
Aerial Pics Farmington New Mexico NM
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Aerial Pics Fernandina Beach Florida FL
Aerial Pics Fishers Indiana IN
Aerial Pics Fishkill New York NY
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Aerial Pics Flint Michigan MI
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Aerial Pics Fort Wayne Indiana IN
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Aerial Pics Franklin Square New York NY
Aerial Pics Frederick Maryland MD
Aerial Pics Fredericksburg Virginia VA
Aerial Pics Freeport New York NY
Aerial Pics Fremont California
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Aerial Pics Fresno California
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Aerial Pics Fullerton California
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Aerial Pics Gainesville Georgia GA
Aerial Pics Gainesville Texas TX
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Aerial Pics Gallatin Tennessee TN
Aerial Pics Gallup New Mexico NM
Aerial Pics Galt California
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Aerial Pics Garden City New York NY
Aerial Pics Garden Grove California
Aerial Pics Garland Texas TX
Aerial Pics Garner North Carolina NC
Aerial Pics Gary Indiana IN
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Aerial Pics Gates New York NY
Aerial Pics Georgia GA
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Aerial Pics Gillette Wyoming WY
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Aerial Pics Glassboro New Jersey NJ
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Aerial Pics Glendale Arizona AZ
Aerial Pics Glendale California
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Aerial Pics Glenville New York NY
Aerial Pics Glenwood Springs Colorado CO
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Aerial Pics Graham Texas TX
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Aerial Pics Grand Forks Minnesota MN
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Aerial Pics Grand Island Nebraska NE
Aerial Pics Grand Junction Colorado CO
Aerial Pics Grand Lake Colorado CO
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Aerial Pics Grand Rapids Michigan MI
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Aerial Pics Greenbelt Maryland MD
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Aerial Pics Greenville South Carolina SC
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Aerial Pics Gresham Oregon OR
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Aerial Pics Hamburg New York NY
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Aerial Pics Hammond Indiana IN
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Aerial Pics Harlingen Texas TX
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Aerial Pics Harrison New York NY
Aerial Pics Hartford Connecticut CT
Aerial Pics Hastings Nebraska NE
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Aerial Pics Hillsboro Oregon OR
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Aerial Pics Hilton Head South Carolina SC
Aerial Pics Hoffman Estates Illinois IL
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Aerial Pics Hollywood Florida FL
Aerial Pics Honolulu Hawaii HI
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Aerial Pics Huntington New York NY
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Aerial Pics Idaho ID
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Aerial Pics Iowa IA
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Aerial Pics Irvine California
Aerial Pics Irving Texas TX
Aerial Pics Islip New York NY
Aerial Pics Ithaca New York NY
Aerial Pics Jacksboro Texas TX
Aerial Pics Jackson Mississippi MS
Aerial Pics Jacksonville Florida FL
Aerial Pics Jamestown New York NY
Aerial Pics Janesville Wisconsin WI
Aerial Pics Jasper Georgia GA
Aerial Pics Jasper Texas TX
Aerial Pics Jefferson Georgia GA
Aerial Pics Jersey City New Jersey NJ
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Aerial Pics Kansas City Missouri MO
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Aerial Pics La Habra California
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Aerial Pics Lakewood California
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Aerial Pics Lakewood Ohio OH
Aerial Pics Lancaster California
Aerial Pics Lancaster New York NY
Aerial Pics Lancaster Pennsylvania PA
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Aerial Pics Lodi California CA
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Aerial Pics Los Alamos New Mexico NM
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Aerial Pics Loveland Colorado CO
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Aerial Pics Madra California CA
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Aerial Pics Mamaroneck New York NY
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Aerial Pics Manhattan New York NY
Aerial Pics Mankato Minnesota MN
Aerial Pics Manlius New York NY
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Aerial Pics Manteca California CA
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Aerial Pics Marana Arizona AZ
Aerial Pics Marietta Georgia GA
Aerial Pics Marietta Ohio OH
Aerial Pics Martha's Vineyard Massachusetts MA
Aerial Pics Maryland MD
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Aerial Pics Mason City Iowa IA
Aerial Pics Mason City Minnesota MN
Aerial Pics Massachusetts MA
Aerial Pics Massapequa New York NY
Aerial Pics McAllen Texas TX
Aerial Pics McCall Idaho ID
Aerial Pics McDonough Georgia GA
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Aerial Pics Mechanicsville Virginia VA
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Aerial Pics Meeker Colorado CO
Aerial Pics Melbourne Florida FL
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Aerial Pics Mentor Ohio OH
Aerial Pics Mercede California CA
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Aerial Pics Mesa Arizona AZ
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Aerial Pics Miami Florida FL
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Aerial Pics Mineral Wells Texas TX
Aerial Pics Minneapolis Minnesota MN
Aerial Pics Minnesota MN
Aerial Pics Minnetonka Minnesota MN
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Aerial Pics Mission Viejo California CA
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Aerial Pics Mitchell South Dakota SD
Aerial Pics Mobile Alabama AL
Aerial Pics Modesto California CA
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Aerial Pics Monroe New York NY
Aerial Pics Montana MT
Aerial Pics Montebello California CA
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Aerial Pics Mount Dora Florida FL
Aerial Pics Mount Pleasant New York NY
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Aerial Pics Mountain View California CA
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Aerial Pics Nantucket Massachusetts MA
Aerial Pics Napa California CA
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Aerial Pics Newport Oregon OR
Aerial Pics Niagara Falls New York NY
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Aerial Pics Norfolk Nebraska NE
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Aerial Pics North Dakota ND
Aerial Pics North Hempstead New York NY
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Aerial Pics Norwalk California CA
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Aerial Pics Oak Lawn Illinois IL
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Aerial Pics Oakland California CA
Aerial Pics Ocala Florida FL
Aerial Pics Oceanside California CA
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Aerial Pics Ohio OH
Aerial Pics Oklahoma City Oklahoma OK
Aerial Pics Oklahoma Misc 73103-3207
Aerial Pics Oklahoma OK
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Aerial Pics Pittsburgh Pennsylvania PA
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Aerial Pics Princeton New Jersey NJ
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Aerial Pics Racine Wisconsin WI
Aerial Pics Raleigh North Carolina NC
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Aerial Pics Rancho Cordova California CA
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Aerial Pics Rangely Colorado CO
Aerial Pics Rapid City South Dakota SD
Aerial Pics Raton New Mexico NM
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Aerial Pics Rhode Island RI
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Aerial Pics Richfield Minnesota MN
Aerial Pics Richmond California CA
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Aerial Pics Rifle Colorado CO
Aerial Pics Rio Rancho New Mexico NM
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Aerial Pics Rochester Minnesota MN
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Aerial Pics Rome Georgia GA
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Aerial Pics Rosemead California CA
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Aerial Pics Roswell New Mexico NM
Aerial Pics Rotterdam New York NY
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Aerial Pics Sacramento California CA
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Aerial Pics Stockton California CA
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Aerial Pics Syracuse New York NY
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Aerial Pics Tulare California CA
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Aerial Pics Tupelo Mississippi MS
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