Prototipe Light Meter Fotografi Studio Menggunakan Mikrokontroler ATMega328 Berbasis Sensor Cahaya dan Warna

Accuracy in calculating exposure in photographic techniques is the key to being able to produce good quality photos. The light calculation includes three elements (Triangel Exposure), namely shutter speed (shutter speed / t), ISO sensitivity, and diaphragm (aperture / f). A light meter is a tool for calculating lighting in the world of photography to accurately calculate the light falling in or around the object to be photographed. The light meter has a working principle like a lux meter calculates the value of light intensity in a place. However, on a light meter for photography, there is a calculation of a triangle exposure in it. This light meter prototype uses an ATMega328 microcontroller on the Arduino Nano V3 with the help of a TSL2561 light sensor and a TCS34725 RGB color sensor. Tests were carried out by comparing the output value using an original light meter, namely Sekonik Flashmate L-308X with the continuous light shooting method. The results of the test using the original tool with the ATMega328 microcontroller produced values above 90%.

DESIGN PECULIARITIES OF THE AERIAL PHOTOGRAPHY FROM AN UNMANNED AIRCRAFT

The existing publicly available programs for the design of unmanned aerial vehicle (UAV) flights assume an initial level of personnel training and do not provide for a detailed study of the aerial pho-tography project (APP) in terms of photogrammetric and visual (photographic) quality of photographic materials, requirements of regulatory documents for the accuracy of the final product. In order to achieve the topographic quality of the APP with UAV, it is necessary to take into account a number of its features. The paper considers the issues of determining the optimal duration of the aerial photog-raphy day and the effective image format when using interchangeable lenses. It also provides the rec-ommended procedure for calculating the parameters of the topographic APP, taking into account the data of the exposure triangle "shutter speed - aperture - photosensitivity (ISO)", requirements for the maximum quality and theoretical resolution of the "lens - digital image" system. The technique of de-termining the position of high-rise objects relative to the boundaries of the depth of field (DOF) at giv-en exposure parameters of the camera and the possibility of their correction is described. Based on the theoretical provisions, the author has developed a program that allows it possible to carry out the com-prehensive design of aerial photography works with UAVs, including consumer cameras to obtain re-sults of topographic quality. According to the results of the carried out research, it was concluded that an iterative approach to the design of APP parameters is necessary based on the data on shoot location, the customer's requirements for accuracy, the characteristics of the UAV, and the used photographic equipment.

Noun Compounds in Photography

Compounding is considered to be the most productive device in coining new words in many languages, including English. Numerous studies have dealt with compounds in recent decades. However, in spite of a large number of works on compounds in the general language, few authors have dealt with compounds in specialized languages. We find studies on compounds in science and technology or architecture, just to mention a few. The present article focuses on compound nouns in photography, a field that has to date not been researched in this regard but is extremely rich and interesting. The aim of this study is to outline the types of noun compounds in photography and to illustrate the range of semantic relationships and morphosyntactic patterns that occur in coining new noun compounds in the photography lexis. In order to carry out the study, a corpus-based approach was followed. The data was gathered from professional photography blogs providing authentic up-to-date lexis. The results show that there is a large presence and variety of patterns of nouncompounds in photography, such as noun compounds made up of noun + noun (photo album, time-lapse, shutter speed), verb + noun (catchlight, burn tool, protect filter), adjective + noun (white balance, softbox, glowing filter) and phrase compounds (depth of focus, rule of thirds, pan and tilt).

Laser-Plasma Spatiotemporal Cyanide Spectroscopy and Applications

This article reports new measurements of laser-induced plasma hypersonic expansion measurements of diatomic molecular cyanide (CN). Focused, high-peak-power 1064 nm Q-switched radiation of the order of 1 TW/cm 2 generated optical breakdown plasma in a cell containing a 1:1 molar gas mixture of N 2 and CO 2 at a fixed pressure of 1.1 × 10 5 Pascal and in a 100 mL/min flow of the mixture. Line-of-sight (LOS) analysis of recorded molecular spectra indicated the outgoing shockwave at expansion speeds well in excess of Mach 5. Spectra of atomic carbon confirmed increased electron density near the shockwave, and, equally, molecular CN spectra revealed higher excitation temperature near the shockwave. Results were consistent with corresponding high-speed shadowgraphs obtained by visualization with an effective shutter speed of 5 nanoseconds. In addition, LOS analysis and the application of integral inversion techniques allow inferences about the spatiotemporal plasma distribution.

Camera Unavoidable Scene Watermarks: A Method for Forcibly Conveying Information onto Photographs

When a scene’s image rights need to be protected e.g. a stage performance, it is valuable to use human imperceptible methods to forcibly add markers to a camera’s perception of the scene regardless of the camera’s precise location, focus distance, or shutter speed. This work expands upon extant methods for adding human imperceptible, camera perceptible markers to scenes but does so with the assumption that the photographer will take natural steps to avoid capturing the markers. The proposed method utilizes a combination of a traditional method of adding an image to the scene, and projections from the scene onto the camera’s entrance pupil. This method is intended to function even when the target camera utilizes an IR filter and has a shutter speed 1/60 s. More interestingly, the combination of traditional images with projecting onto the camera allows this method to not be reliant upon knowledge of the camera’s focus settings, or the precise location of the camera. It is, however, marred by numerous other requirements which make the method unreliable.

Sistem Pendukung Keputusan Pemilihan Kamera DSLR Dengan Metode Promethee

Kamera Digital Single Lens Reflex (DSLR) adalah sebuah kamera dengan sistem digital yang memakai satu buah lensa yang terpasang di body kamera. Semua merk kamera DSLR membagi konsumen mereka di kelas-kelas pengguna kamera untuk mepermudah pengguna menbedakan fiturnya, seperti : kelas pemula (entry level), kelas profesional (semi-professional & professional) dan kelas menengah (semi advanced & advanced). Pemilihan kamera DSLR untuk komsumen memiliki cukup banyak parameter yang dapat dijadikan tolak ukur bagi seseorang untuk menentukan kamera DSLR mana yang sesuai dengan kebutuhan dan keinginannya. Parameter digunakan dalam penentuan kamera DSLR dapat berupa penilaian subjektif atau penilaian objektif. Terkadang seseorang kesulitan dalam menentukan parameter yang diambil dalam menentukan keputusan, sehingga pilihan yang diambil pada akhirnya kurang begitu sesuai dengan apa yang diharapkan. Metode promethee merupakan salah satu penentuan urutan (prioritas) dalam analisis multikriteria. Kesederhanaan, kejelasan, dan kestabilan, merupakan fokus masalah pokok dalam metode promethee. Seperti kebanyakan metode lainnya, proses perangkingan dilakukan dengan melakukan seleksi kepada beberapa alternatif dengan kriteria yang telah ditentukan. Terdapat Sembilan kriteria yang akan diuji, yaitu : image resolution, video resolution, ISO, focus point, screen pixel, shutter speed, battery life, class camera dan harga. Aplikasi Sistem Pendukung Keputusan Pemilihan Kamera DSLR ini dibuat dengan Bahasa pemrograman berbasis web PHP dan mysql sebagai perangkat lunak sistem manajemen database. Sistem ini diharapkan dapat memberikan rekomendasi kamera DSLR sesuai dengan kriteria yang ditentukan oleh calon konsumen secara efisien dan efektif, sehingga meminimalisir kemungkinan kerugian yang didapatkan oleh konsumen.

Reliability of DCE MRI data in primary brain tumours: a comparison of Tofts and Shutter Speed Models

The accuracy of quantitative measurements of perfusion parameters by DCE-MRI is crucial as it can significantly impact the clinical care of cancer patients. In this study, we provide a method to identify reliable DCE-MRI brain data for perfusion quantification with different pharmacokinetic models. We analysed DCE-MRI data of 14 patients with primary brain tumours using the Tofts model (TM), the extended-Tofts model (ETM), the shutter speed model (SSM) and the extended shutter speed model (ESSM). Due to the presence of the blood brain barrier, which can block the leakage of the CA into the interstitium, we also implemented the no-exchange model (NEM). For each lesion, we produced a 3D model selection map with the evaluation of the Akaike Information Criteria. The variability of each pharmacokinetic parameter extracted from the fitting of the model of choice was assessed with a noise propagation procedure, resulting in distributions of the coefficient of variation (CV). Results showed the NEM to be the most frequent model of choice (35.5%), followed by the ETM (32%), the TM (28.2%), the SSM (4.3%) and the ESSM (<0.1%). In analysing the reliability of Ktrans, when considering regions with a CV<20%, ≈25% of voxels were found to be stable. The remaining 75% of voxels were considered to be unreliable. In conclusion, an appropriate model selection, considering tissue biology and its effects on BBB permeability and exchange conditions, together with an analysis on the reliability and stability of the calculated parameters, is critical in the identification of reliable brain DCE-MRI data.

SELF PORTRAIT TENTANG KEHILANGAN DALAM FOTOGRAFI EKSPRESI

AbstrakMelalui foto, seseorang tidak hanya merekam secara mekanis, melainkan masih mempunyai ruang untuk menciptakan ungkapan personalnya. Penciptaan karya seni ini mengungkapkan realitas personal akan nilai di balik peristiwa kehilangan yang dialami. Self portrait (potret diri) di sini hadir sebagai pengantar atas narasi dari hal yang tersirat dalam sebuah peristiwa kehilangan yang sifatnya lebih ke non-fisik, seperti kehilangan peran, waktu, keseimbangan, dan lainnya. Usaha memvisualisasikan narasi tentang kehilangan melalui self portrait yang artistik tidak terlepas dari pemanfaatan teknik fotografi yang digunakan. Selain eksplorasi tubuh dan benda yang menjadi penanda utama, efek yang dihasilkan dari teknik fotografi seperti slow shutter speed, double exposure, open flash, zoom, reflection, flare, dan lainnya juga dimanfaatkan menjadi penanda dalam keseluruhan narasi visual tentang kehilangan yang dibangun. Hasil penciptaan karya seni ini memanfaatkan perbendaharaan bahasa foto dengan menciptakan suatu hubungan logis dari objek-objek foto yang masing-masing sudah dikaitkan dengan ide atau makna tertentu. Makna tidak hanya dihasilkan lewat pose, melainkan juga benda dan teknik yang digunakan. Beberapa teknik yang biasanya dihindari dalam pemotretan seperti overexposed, blur, shaking, dan out of focus digunakan untuk menciptakan bahasa foto yang unik dan segar. Kata kunci: self portrait, kehilangan, fotografi ekspresi AbstractSelf Portrait about Loss in Fine Art Photography. Through a photo, someone is not only recorded mechanically, but also still has space or room to create their personal expression. The result of creating this art revealed the value of personal reality behind the suffer from a loss occurence. Self portrait in this context comes as an introduction for narratives of thing that is implicit in an occurrence of loss which has non physical character, such as losing role, time, the balances, and so on. Visualizing the narratives of losing through artistic self portrait could not be separated from the use of techniques in photography. Beside the exploration of the body and the things that became a major marker, the resulting effect of the techniques of photography such as slow shutter speed, double exposure, open flash, zoom, reflection, and flare could also be used as a maker in overall visual narrative about losing that was summed up. The creation of this art applied the ‘language’ of photo by creating a logical relationship from each photo object of which was associated with certain idea or meaning. The meaning was not only generated through the pose, but also through the objects and techniques which were used. Some techniques in photography were avoided to be used such as overexposed, blur, shaking, and out of focus to create the language of photo which was unique and fresh. Keywords: self portrait, loss, fine art photography