The low light numbers are really hard to evaluate, since it depends on what focus system the camera is using.
Back in the tour section of the review, I wondered if the J1's crazy pop-up flash would prevent redeye. Overall, the J1 produces very good photos, though they're not as sharp or as clean as what you'd see from a full-size Nikon D-SLR (the sensor size has a lot to do with that).
Perfect for photography backgrounds, scrapbook page creations, photo card layouts, printable craft creations and more! So you skim through about eight pages of the 300 page manual, mount on your lens, fumble with it and by 11:00 at night, you finally figure out how to shoot video. Like most tech gadgets today, there’s a bit of a learning curve to getting good video out of the D5100. Over the next few posts I’m going to explain the problem and give you a few solutions that have worked for me.
Because of the physical limitation of framerate and shutter speed in recording video, the camera can only control ISO and aperture to get the right exposure.
You have to get your exposure into a sweet spot where you have the optimal shutter speed, ISO and aperture. If you can adjust your aperture and balance your shutter speed and ISO, you can find that sweet spot yourself. When the video switches brightness around while filming, it’s due to the exposure adjusting as the lighting conditions change.
The best method of preventing automatic exposure adjustments from happening mid-shot is to use a full manual mode (setting the ISO, shutter speed and aperture explicitly). I’ll describe some settings to help with locking the exposure and make it a bit more predictable in the next few posts.
One of the most frustrating problems with filming video on a DSLR is the horrible hunting of focus, where it focuses in and out and back again. Phase Detection uses some deflectors in the viewfinder mirror to redirect some light coming in from the lens down to sensors in the bottom of the camera.
One issue that can occur with contrast method is if the area of focus is on a blank wall or the ice on an ice rink (between the painted lines), it won’t ever find focus because there is nothing to compare for contrast sharpness. There are more advanced contrast measurement methods, but sadly the D5100 doesn’t use them.
This is where you have to work with manual focus or a method I’ll describe that lets you set your focus and then start recording without it hunting.
Now this isn’t covering all the potential problems with shooting on a DSLR but is intended to cover the problems that are easier to handle directly in-camera, no extra equipment or investment.
Note that you don’t have to go through all the actions to record video whenever you want. I would suggest trying a different SD Card (make sure it’s at least a class 10), format it in the camera and see if the problem persists. If it doesn’t, you most likely are dealing with a camera problem and should talk with an authorized Nikon Service Center. I wouldn’t recommend anything else because if there is a real problem with the camera, it might get exacerbated by trying things like reflashing the firmware. I have been searching for tips on how to make the best video using the D5100 and I think I may have just found it.
For photography, I usually just leave the AF set to single point, half-press the shutter release button to lock focus and then reframe and finish the press on the shutter release button.
I have been shooting videos in Bermuda this week and have gotten stunning results with your tips. I did some shooting over the past weekend in some pretty dark areas (a tinsmith and a blacksmith, both in really dark shacks) and was surprised I was able to get the shots, but the exposure required was different for both. First, as the article says, you can set your shooting settings separately for the viewfinder and live view. Second, for wide shots with bricks and shingles where moiré is a problem, set manual focus and turn the focus ring all the way to infinity.
Focusing before going into Live View is a great option and can only make focusing go a lot faster. I would have a question about filming with D5100 -- is it ok camera to shoot videos of live shows?
If shooting video of live shows is your primary goal, I can only suggest you get a video camera, even for low-light shooting. The whole point of these articles are to help show that the camera model you chose can shoot comparable video, but you have to be smarter in how you shoot it and there aren't a lot of sites stating so. Some will say video works better with Canons than with Nikons, but that changes from release to release.
But with the great choice of lenses for DSLRs, it can only lead to great creamy video shots with all that comes with them (trying to follow focus on someone with a really low aperture is a true challenge for the best DPs), but creates phenomenal results if it comes out right.
Nikon is the lagging contender for video and until the D7000, was not a practical choice for video work in any light. For lens choice, I personally prefer the 35mm prime lens in the lowest f-stop you can afford. With the 35mm 1.8, I was able to get the closest to a decent exposure with shallow depth of field and it has surprisingly good Bokeh for its price.
The big issue with lens choice is the D5100 uses the lens for metering so old manual lenses won’t give you any exposure information. After you’re in LiveView and have an SD card in the camera, pressing the record button (not shutter release) will most likely start recording regardless of shooting mode.
If the noise looks like so-called night vision noise, the techniques in the second and third articles help in sorting out how to reduce or remove that big noise. What I mean is the cameras are set for the broadcast frame rates in the area it was released for sale. The vertical line that appears in your video: is it only on the D5100’s display, or is it recorded and viewable on the computer? It sounds like a defect either of the display on the D5100 or with running video on the camera. Contractions are a challenging thing to understand and there is a lot of confusion with how they’re handled. Even I am recording and has music accompanied that focus sound still can be heard, it interrupted the music.
1906: Availability of panchromatic black and white film and therefore high quality color separation color photography. PAINTING OF THE WEEK - Ruins of the Holyrood Chapel by Moonlight, oil on canvas, 1824, Louis Daguerre. G+ #Read of the Day: The Daguerreotype - The daguerreotype, an early form of photograph, was invented by Louis Daguerre in the early 19th c.
The first photograph (1826) - Joseph Niepce, a French inventor and pioneer in photography, is generally credited with producing the first photograph.
Easy Peasy Fact:Following Niepcea€™s experiments, in 1829 Louis Daguerre stepped up to make some improvements on a novel idea. Yahoo , Facebook , Facebook , Twitter , Twitter , Google+ , Google+ , Myspace , Myspace , Linkedin , Linkedin , Odnoklassniki , Odnoklassniki , Vkontakte , Vkontakte , Google , Google , Yahoo , Yahoo , Rambler , Rambler , Yandex , Yandex , Gmail , Gmail , Yahoo! Designers Manufacturers , ??????? ????????? - ?????????? ???????????? , Gorgian Wikipedia - Free Encyclopedia , ????????? ?????? ????????? , Cambridje Dictionary Online , ????????? ???????? ????????? ?????? ????????? , Oxford Advenced Learner's Online Dictionar? , ??????????? ?????? - moazrovne,net, ??? When the J1 is using its phase detection AF system, it is indeed extremely fast to lock focus.
You pretty much just point the camera at your subject and hope you catch them in the frame at some point!
For those playing along at home, this lens is equivalent to 81 - 297 mm, and it features Nikon's VR II image stabilization system.

At ISO 800 we start to see some noise and detail loss, though it's not going to keep you from making a midsize or large print.
The flash, along with the camera's use of its bright green AF-assist lamp to shrink the pupils of your subject, did the job here -- there's no redeye to be found.
Since these photos are taken under consistent lighting, you can compare the results with those from other cameras I've reviewed over the years. You start recording thinking about how incredible this cute video of your cat running around the house is going to look on YouTube.
You need to set up the camera so you can control it, throttle back the willy-nilly and plan your shots a bit so you can take that video quality up a notch or two. To make video, there are some standards that have to be adhered to and demand for more automated features has limited choices even more. To get the right amount of light in your images, you have to get the balance of all three correct.
And due to a limitation in how LiveView works or by you’re choices for recording, aperture is usually removed from the equation as well.
I’ll explain aperture control and getting more realistic ISO settings for the D5100 in the third part to this series.
Your camera is trying to keep your exposure in the ideal exposure settings by adjusting the ISO and shutter speed in the manner I’ve explained in the last segment.
Unfortunately, the D5100 doesn’t use your settings for shutter speed or ISO at all while recording video, so you have to do the next best thing. One of the down-sides of phase detection is it requires the mirror to be down to work in the D5100. The camera’s computer examines the area of focus for contrasting lines, seeing how sharp of a contrast between two shades in the area are. Sometimes the camera will try to improve its luck by increasing the contrast in LiveView so it has more information to work with, but it affects what’s being recorded as well.
The next article will help with some settings on the D5100 in preparation for filming and the last of this series will go into the procedure to go through when you want to record video in the best quality this camera can produce. They’re tips for you to take into account to be able to produce better quality video with the intent of editing together and making a more professional final product. For work I have been using the camera in manual mode for videos in a green screen setting with the same lighting but would still get slight shifts of lighting from video to video while always locking the the shutter and ISO withthesame settings. Could you tell me how to turn off the focus sound ( from the lenses I think ) when I am recording video on my D5100 ? Talbot was active from the mid-1830s, and sits alongside Louis Daguerre as one of the fathers of the medium.
Niepcea€™s photograph shows a view from the Window at Le Gras, and it only took eight hours of exposure time!The history of photography has roots in remote antiquity with the discovery of the principle of the camera obscura and the observation that some substances are visibly altered by exposure to light. Again employing the use of solvents and metal plates as a canvas, Daguerre utilized a combination of silver and iodine to make a surface more sensitive to light, thereby taking less time to develop. Speeds are less impressive when the camera switches to contrast detect AF, which is most likely to happen in low light situations. The numbers for the regular continuous mode are accurate though, and you can see that I was unable to get the J1 to hit its advertised frame rate. With the exception of the night shots, all of the photos below were taken with the 10 - 30 mm kit lens. Nikon only makes four CX-mount lenses, and none of them are designed for macro photography. The night photo turned out well, thanks to the camera's manual exposure controls (which are harder to access than they should be) and the nice reflections on SF Bay that night. Going up a stop to ISO 1600 we see more noticeable detail loss, so this is where I'd stop, and save this sensitivity for small prints only. Keep in mind that the crops only show a small portion of the test scene, so be sure to view the full size images too.
As my Maui photo gallery illustrates, color is fantastic (though it's hard to take a bad picture there).
You can take great still pictures and record HD video in 1920 by 1080 pixels at 30 frames per second! It goes dark and then brightens up like that video you’ve recorded on your old cellphone.
On top of that, there are physical limitations in making video and Nikon had to make the hard call so you can just set the mode and start recording. If exposure drops due to an increase of the shutter speed, you have to increase the ISO or open the aperture (or a combination of both) to bring it back to proper exposure. To emulate a filmic look, shutter speed should ideally be double the frame rate that matches what film cameras typically record and matches what we’re used to seeing for the motion blur in each frame.
The sensors can not only figure out the image is out of focus, but how far out of focus the lens is and which way it’s out of focus.
LiveView requires the mirror up for the sensor to show you what the lens sees full-time so that excludes using phase detection for video recording. If it can’t find a sharp area, it has to adjust the focus and remeasure to see if the contrast worsened or improved.
This will only happen if you partially depress the shutter release button to force a refocus.
I tried your method in aperture priority but I still get slight shifts in lighting albeit less so than the manual, but there are still shifts after shooting ten videos, I curser through them and you can see the lighting shift a bit. Shooting video, I’m very interested in having my shots appear more cinematic with the subject in sharp focus and background blurred out like you see in the movies.
Porta (1541-1615), a wise Neapolitan, was able to get the image of well-lighted objects through a small hole in one of the faces of a dark chamber; with a convergent lens over the enlarged hole, he noticed that the images got even clearer and sharper. Though he is most famous for his contributions to photography, he was also an accomplished painter and a developer of the diorama theatre. As far as is known, nobody thought of bringing these two phenomena together to capture camera images in permanent form until around 1800, when Thomas Wedgwood made the first reliably documented although unsuccessful attempt. My Panasonic DMC-FZ150 review unit was able to lock focus quicker than the J1 when I was taking my night test scenes, which isn't a promising sign. After the camera reaches the limits shown in the table, it pauses briefly, and then continues shooting at a much lower frame rate.
There might be a little bit of noise around the ears, but you'll need a magnifying glass to see it. The other two lenses I tested (10mm pancake and 30 - 110 mm) had very minor corner blurring. ISO 3200 is my stopping point in good light (and is best saved for small prints), though we might be able to clean these up by shooting RAW and post-processing (I'll have examples as soon as Adobe adds support for the J1 to Photoshop). Photos are slightly soft (especially with the pancake lens), and there is some mild detail smudging and noise visible at times. Because of this, the camera knows almost immediately which way and how far to adjust the focus to get a tack sharp image. Then it knows a bit better which way to go, either more in the direction it’s going or reverse direction and go past where it was originally.
If I never leave live view and shoot several clips all are the same, but going in and out of live view to review what I shot and then resetting the same shooting settings I will get slight shifts.
Schulze mixes chalk, nitric acid, and silver in a flask; notices darkening on side of flask exposed to sunlight. A daguerreotype, produced on a silver-plated copper sheet, produces a mirror image photograph of the exposed scene.
While it does take a while for the camera to clear its buffer memory (especially if RAW photos are involved), it doesn't impact camera performance a whole lot. I think Active D-Lighting is the reason for a lot of the noise, as the camera is trying to brighten up the shadows (as in this photo), so you might want to turn that feature off if you find noise to be an issue. Not sure why that is if the settings and lighting are exactly the same it should be exactly the same results but they are not.

I had this camera for a day so I’m pretty much a noob when it comes to this sort of stuff. I am pretty sure it is a defect at this point as it happens in high light, low light, warm or cool weather, and every setting I have tried. The alchemist Fabricio, more or less at the same period of time, observed that silver chloride was darkened by the action of light. Chemistry student Robert Cornelius was so fascinated by the chemical process involved in Daguerrea€™s work that he sought to make some improvements himself. The J1's photos do get noisier faster than other interchangeable lens cameras, though for what most people will be doing with these photos, you probably won't notice much of a difference (if any).
So I wonder if the camera still is doing a bit behind the scenes as far as shutter speed goes. It was only two hundred years later that the physicist Charles made the first photographic impression, by projecting the outlines of one of his pupils on a white paper sheet impregnated with silver chloride.
It was commercially introduced in 1839, a date generally accepted as the birth year of practical photography.The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by Henry Fox Talbot. And in 1839 Cornelius shot a self-portrait daguerrotype that some historians believe was the first modern photograph of a man ever produced. Purple fringing is a lens-related issue, and it did pop up on both the pancake and kit lenses. I’m wondering what your advice is for the best lens to shoot video and achieve sharp subjects with buttery backgrounds?
The photos were turned into lantern slides and projected in registration with the same color filters. In 1802, Wedgwood reproduced transparent drawings on a surface sensitized by silver nitrate and exposed to light.
Nicephore Niepce (1765-1833) had the idea of using as sensitive material the bitumen, which is altered and made insoluble by light, thus keeping the images obtained unaltered. Long before the first photographs were made, Chinese philosopher Mo Ti and Greek mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BCE.
He communicated his experiences to Daguerre (1787-1851) who noticed that a iodide-covered silver plate - thedaguerreotype -, by exposition to iodine fumes, was impressed by the action of light action, and that the almost invisible alteration could be developed with the exposition to mercury fumes. In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experimentsIbn al-Haytham (Alhazen) (965 in Basra a€“ c. It was then fixed with a solution of potassium cyanide, which dissolves the unaltered iodine.The daguerreotype (1839) was the first practical solution for the problem of photography. In 1841, Claudet discovered quickening substances, thanks to which exposing times were shortened. More or less at the same time period, EnglishWilliam Henry Talbot substituted the steel daguerreotype with paper photographs (named calotype).
Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694. Niepce of Saint-Victor (1805-1870), Nicephorea€™s cousin, invented the photographic glass plate covered with a layer of albumin, sensitized by silver iodide. The novel Giphantie (by the French Tiphaigne de la Roche, 1729a€“74) described what could be interpreted as photography.Around the year 1800, Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance.
Maddox and Benett, between 1871 and 1878, discovered the gelatine-bromide plate, as well as how to sensitize it. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences, and the news quickly spread. At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests. Paper with a coating of silver iodide was exposed in the camera and developed into a translucent negative image. Unlike a daguerreotype, which could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large number of positive prints by simple contact printing. The calotype had yet another distinction compared to other early photographic processes, in that the finished product lacked fine clarity due to its translucent paper negative.
This was seen as a positive attribute for portraits because it softened the appearance of the human face.
Talbot patented this process,[20] which greatly limited its adoption, and spent many years pressing lawsuits against alleged infringers. He attempted to enforce a very broad interpretation of his patent, earning himself the ill will of photographers who were using the related glass-based processes later introduced by other inventors, but he was eventually defeated. Nonetheless, Talbot's developed-out silver halide negative process is the basic technology used by chemical film cameras today. Hippolyte Bayard had also developed a method of photography but delayed announcing it, and so was not recognized as its inventor.In 1839, John Herschel made the first glass negative, but his process was difficult to reproduce. The new formula was sold by the Platinotype Company in London as Sulpho-Pyrogallol Developer.Nineteenth-century experimentation with photographic processes frequently became proprietary. This adaptation influenced the design of cameras for decades and is still found in use today in some professional cameras. Petersburg, Russia studio Levitsky would first propose the idea to artificially light subjects in a studio setting using electric lighting along with daylight. In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. Now anyone could take a photograph and leave the complex parts of the process to others, and photography became available for the mass-market in 1901 with the introduction of the Kodak Brownie.A practical means of color photography was sought from the very beginning. Results were demonstrated by Edmond Becquerel as early as 1848, but exposures lasting for hours or days were required and the captured colors were so light-sensitive they would only bear very brief inspection in dim light.The first durable color photograph was a set of three black-and-white photographs taken through red, green and blue color filters and shown superimposed by using three projectors with similar filters. It was taken by Thomas Sutton in 1861 for use in a lecture by the Scottish physicist James Clerk Maxwell, who had proposed the method in 1855.[27] The photographic emulsions then in use were insensitive to most of the spectrum, so the result was very imperfect and the demonstration was soon forgotten.
Maxwell's method is now most widely known through the early 20th century work of Sergei Prokudin-Gorskii. Included were methods for viewing a set of three color-filtered black-and-white photographs in color without having to project them, and for using them to make full-color prints on paper.[28]The first widely used method of color photography was the Autochrome plate, commercially introduced in 1907. If the individual filter elements were small enough, the three primary colors would blend together in the eye and produce the same additive color synthesis as the filtered projection of three separate photographs.
Autochrome plates had an integral mosaic filter layer composed of millions of dyed potato starch grains. Reversal processing was used to develop each plate into a transparent positive that could be viewed directly or projected with an ordinary projector.
The mosaic filter layer absorbed about 90 percent of the light passing through, so a long exposure was required and a bright projection or viewing light was desirable.
Competing screen plate products soon appeared and film-based versions were eventually made. A complex processing operation produced complementary cyan, magenta and yellow dye images in those layers, resulting in a subtractive color image. Kirsch at the National Institute of Standards and Technology developed a binary digital version of an existing technology, the wirephoto drum scanner, so that alphanumeric characters, diagrams, photographs and other graphics could be transferred into digital computer memory. The lab was working on the Picturephone and on the development of semiconductor bubble memory. The essence of the design was the ability to transfer charge along the surface of a semiconductor. Michael Tompsett from Bell Labs however, who discovered that the CCD could be used as an imaging sensor.

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