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camera

 
Dictionary: cam·er·a   (kăm'ər-ə, kăm') pronunciation
 
camera
(Click to enlarge)
camera
A. film advance lever
B. shutter speed dial
C. prism
D. viewfinder
E. rewind lever
F. film
G. mirror
H. diaphragm
I. lens
(Precision Graphics)
n.
  1. An apparatus for taking photographs, generally consisting of a lightproof enclosure having an aperture with a shuttered lens through which the image of an object is focused and recorded on a photosensitive film, plate, or sensor.
  2. The part of a television transmitting apparatus that receives the primary image on a light-sensitive cathode-ray tube and transforms it into electrical impulses.
  3. Camera obscura.
  4. pl. -er·ae (-ə-rē). A judge's private chamber.
idioms:

in camera

  1. In private.
off camera
  1. Outside the field of view of a television or movie camera.
on camera
  1. Within the field of view of a television or movie camera.

[Late Latin, room. See chamber.]


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How Products are Made: How is a camera made?
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Background

Photography has staked its claim as America's favorite hobby, and today, cameras are available in sizes and shapes to suit the needs of every kind of photographer and budget. Much like Henry Ford wanted a Model T in every driveway, George Eastman thought every consumer should be able to afford a camera. His developments in photographic film and portable, affordable cameras led to photo negatives from which prints can be made, color film, color positives or slides, pocket-sized cameras, and point-and-shoot cameras (including single-use or disposable cameras) known for their ease of operation. Photography has also branched into more complex directions with developments in the camera lens, the single-lens reflex (SLR) camera that allows the photographer to see through the viewfinder what the camera sees, state-of-the-art electronics, and an assortment of mechanical controls.

From the simplest amateur camera to the most complex, professional piece of equipment, all cameras have five common parts. The lens is made of glass or plastic (or groups of glass elements) and focuses light passing through it on the film to reproduce an image. The diaphragm is an opening or aperture that controls the amount of light entering the camera from the lens and so limits the film's exposure to light. The diaphragm ranges in complexity from a fixed lens, opening in a simple camera, to apertures that can be adjusted manually or automatically.

The three remaining parts common to all cameras are incorporated in the camera body (also called a chassis or housing). The shutter also limits the film's exposure to light by controlling the length of time the film is exposed. Shutter speed can be adjusted in many cameras to suit light conditions and the photographic subject matter; moving objects can be frozen on film with fast shutter speeds. The camera body encloses and protects the operating parts of the camera, including a light meter, the film transport system, built-in flash, the reflex viewing system, and electronic and mechanical components. The body must be lightproof, durable, and resistant to environmental changes. The viewfinder is a specialized lens the photographer uses to preview the photograph either through the lens, if the camera is a reflex-type, or in a separate view for simpler cameras.

History

The story of the camera may have begun thousands of years ago when people first noticed that a chink in a wall or hole in a tent let light into the room and made a colored, upside-down reflection. The word camera means room, and the first camera was a room (or tent, actually) called a camera obscura with an eye at the top of the tent much like a periscope that could be rotated. Artists used it by training the eye on an image, which was reflected down onto the artist's work table where it could be drawn. Euclid and Aristotle studied the principles of light, and Leonardo da Vinci described and diagrammed the camera obscura, although it was not his discovery.

The first portable cameras were boxes with lenses on the front over apertures and plates at the back. The plates were flat and covered with light-sensitive materials. By removing the cover over the lens, light entered the box and was focused by the lens on the rear plate. Early exposures took from several seconds to a number of minutes because the sensitivity of the plates was so poor. Also, the only image was the one on the plate; photos, like those produced by Louis Daguerre and Joseph Niepce in France during the 1820s and 1830s, were unique artworks that were not reproducible. Plate-type photography continued to be refined, and, as plates were made more sensitive to light, the lens was improved to provide a variable aperture to control light exposure. The camera was also modified by adding a shutter, so exposure time could be limited to seconds or less. The shutter was made of several metal leaves that opened or closed completely. A rubber bulb was used to provide air pressure to operate the shutter.

The invention of roll film in 1889 by George Eastman made photography more portable because cameras (and their operators) did not need to carry cumbersome plates and chemicals. Eastman's invention and the cameras he also manufactured made photography a popular hobby. By 1896, the Eastman Kodak Company had sold 100,000 cameras. The camera was modified to include a film transport system with take-up spools, a winder, a lever for cocking the shutter, and shutter blinds. By the turn of the century, the major obstacles to taking photographs had been eliminated and, in the twentieth century, photographic history has branched from the basic concept and perfected each development. These developments are numerous, but include design and perfection of flash units including synchronized and high-speed flash; continued miniaturization of cameras; the Polaroid system of producing a finished print in the camera and without a negative; design of high quality equipment like Leica, Zeiss, and Hasselblad cameras and lenses; and advocacy of photography as an art form by photographers such as Matthew B. Brady, Alfred Stieglitz, Edward J. Steichen, and Ansel Adams.

Design

Camera design is an intricate and specialized field. All designs begin with conceptualizing a product and evaluating the potential market and the needs of the consumer for the proposed product. Designs begin at computer-aided design (CAD) work stations, where the product's configuration and workings are drawn. The designer selects the materials, mechanics, electronics, and other features of design and construction, including interfaces with lenses, flash units, and other accessories.

The computer design is also tested by computer simulation. Designs that pass the computer program's review are checked against the initial concept and marketing and performance goals. The camera may then be approved for production as a prototype. Manufacture of a prototype is needed to test actual performance and to prepare for mass production. The prototype is tested by a rigorous series of field and laboratory tests. Prototypes selected for manufacture are used by the engineers to prepare design details, specifications, and toolmaking and manufacturing processes. Many of these are adapted directly from the CAD designs by computer-aided manufacturing (CAM) systems. Additional design is needed for any systems or accessories that interface with the new product. Camera manufacturers can conceive a new product and have it ready for shipment in approximately a year by using CAD/CAM design methods.

The Manufacturing
Process

Camera chassis and cover

  • The camera chassis or body and back cover are made of a polycarbonate compound, containing 10-20% glass fiber. This material is very durable, lightweight, and shock-resistant as well as tolerant to humidity and temperature changes. Its major disadvantage is that it is not resistant to chemicals. The polycarbonate is molded to very specific tolerances because the internal workings of the camera must fit precisely to work well and to use the strength of the chassis for protection against jarring and other shocks, to which mechanical and electronic parts are sensitive. After the chassis is molded and assembled, it becomes the frame to which other parts of the camera, like electrical connections in the battery housing and the auto focus module, are attached.

Shutter and film transport system

  • The shutter assembly and film transport system are manufactured on a separate assembly line. These parts are largely mechanical although the film transport system has electronics to read the speed of the film. DX film coding appears as silver bands on the roll of film, and these are detected by multiple contacts in the film chamber. More advanced cameras have microchips that see the data imprinted in the silver bands and adjust shutter speed, flash, and other camera actions. Again, all parts are precisely made; the film magazine size must be accurate to 60 thousandths of an inch.
  • The shutter functions like a curtain that opens and closes. It must operate exactly to expose the film for the correct length of time and to coordinate with other operations such as the flash. The shutter is made of different materials depending on the type of camera and manufacturer.

Viewfinder lens

  • 4 The viewfinder lens is a specialized lens that is manufactured using the same methods as a camera lens. The viewfinder also is made of optical glass, plastic, or glass/plastic combinations. All but the simplest viewfinders contain reticles that illuminate a frame and other information on the eyelens to help the photographer frame the picture. An in-line mirror has specialized coatings for color splitting; as many as 17 coatings may be added to the mirror to correct and modify its reflective properties.

    Single-lens reflex (SLR) cameras have through-the-lens viewing capabilities and are also called real image viewfinders because they let the photographer see as the lens sees. The SLR viewfinder uses a prism to bend the light from the lens to the photographer's eye, and the prism is made of optical glass to precise requirements to make the correct view possible.

LCD screen and electronics

  • Advanced cameras and most compact models include a liquid crystal display (LCD) screen that provides information to the photographer such as film speed, aperture, photographic mode (including landscape, portrait, close-up, and other modes), count of photos taken, operation of redeye and flash and other accessories, battery condition, and other data regarding the camera's workings. Integrated circuitry is constructed as subassemblies for the electronic brains of the camera and attached flash, if any.

Quality Control

Quality assurance and quality control practices are a matter of course among camera manufacturers. All departments from manufacturing to shipping have their own quality assurance procedures, and companywide quality assurance is also overseen by a separate division or department. The overseeing quality assurance divisions use statistical methods to monitor aspects of product quality such as camera function, performance, consistency, and precision. They also guide the flow of one assembly system into another and provide corrective measures if problems arise.

Byproducts/Waste

No byproducts result from camera manufacture, but a number of wastes are produced. The wastes include resins, oils such as cutting oil, solvents used for cleaning parts, and metals including iron, aluminum, and brass. The metals and resins are remainders or cuttings from manufactured parts and powder-fine cuttings and dust. The wastes are sorted by type and recovered; they are recycled or treated as industrial wastes by firms specializing in these activities. Camera manufacturers are well aware of the hazards associated with their processes and are careful to observe environmental regulations and sensitivities both in the country of manufacture and in receiving marketplaces. Japan's camera industry stopped using chlorofluorocarbons and trichloroethanes to clean printed circuit boards and camera lenses in 1993 on instruction of Japan's Ministry of International Trade and Industry (MITI), in response to import conditions of other countries, and in acknowledgment of industry-wide respect of the environment.

The Future

For cameras like many other technical products, the future is electronic. The digital still camera introduced in 1995 stores approximately 100 pictures electronically. Instead of a viewfinder or eyepiece, the camera has a color LCD screen similar to the view-type screen on some video cameras, so photos can be viewed instantly. It can be connected by cables to a computer, television, or VCR, so pictures can be transferred to screen, tape, or digitized electronically. The digital camera has another advantage; after taking a photo and reviewing it, the photo can be erased if the photographer does not like the result. There is no wasted film or wasted space in the digital storage process. Also, the photograph can be edited, cropped, or enlarged as it is being taken. After photos have been taken, they remain in the camera as digital files rather than as negatives. To take more photos, these images have to be removed, and they can be stored on a computer disk. All the photos can be moved as a batch, or they can be stored on the computer one-by-one, or deleted from both the camera and computer storage. The transfer process requires software that also allows text to be attached to each picture to date it or write a caption. The camera or computer containing the photos can be hooked up to a video printer to print out copies on paper, or the photos can be transferred to videotape for viewing.

Where to Learn More

Books

Bailey, Adrian, and Adrian Holloway. The Book Of Color Photography. Alfred A. Knopf, 1979.

Collins, Douglas. The Story of Kodak. Harry N. Abrams, Inc., 1990.

Sussman, Aaron. The Amateur Photographer's Handbook. Thomas Y. Crowell Company, 1973.

Periodicals

Antonoff, Michael. "Digital Snapshots from my Vacation." Popular Science, June 1995, pp. 72-76.

From Glass Plates to Digital Images, Eastman Kodak Company, 1994.

[Article by: Gillian S. Holmes]


 

A device for forming and recording images; the basic tool of photography. In its simplest form, a camera is a light-tight box in which an image is formed by a pinhole or lens at one end on a light-sensitive material at the opposite end. Most cameras contain an aperture and shutter for controlling the amount of light reaching the light-sensitive material (exposure). The receiving material, the film, is usually a plastic sheet or flexible strip coated with a photosensitive silver halide emulsion. It can also be an electronic device such as a charge-coupled device.

Cameras for still photography include box, point-and-shoot, view-and-press, roll film, 35-mm, instant-picture, stereo, underwater, and panoramic. Some categories overlap. Still video and digital cameras use electronic sensors instead of film, and store the image in solid-state memory or on magnetic media or optical disks. Motion picture or cine cameras record movement at regular intervals in a series of frames, which are projected on a screen to create an illusion of movement. Television and video cameras record movement electronically for broadcast and storage on magnetic media or optical disks. Camcorders are video cameras which contain both the image sensor and recording media in a single unit. See also Photography.


 

Device for recording an image of an object on a light-sensitive surface (see photography). It is essentially a light-tight box with an opening (aperture) to admit light focused onto a sensitized film or plate. All cameras have included five crucial components: (1) the camera box, which holds and protects the sensitive film from all light except that entering through the lens; (2) film, on which the image is recorded; (3) the light control, consisting of an aperture or diaphragm and a shutter, both often adjustable; (4) the lens, which focuses the light rays from the subject onto the film, creating the image; and (5) the viewing system, which may be separate from the lens system (usually above it) or may operate through it by means of a mirror. The camera was inspired by the camera obscura — a dark enclosure with an aperture (usually provided with a lens) through which light enters to form an image of outside objects on the opposite surface — and was developed by Nicephore Niepce and L.-J.-M. Daguerre in the early 19th century. See also digital camera.

For more information on camera, visit Britannica.com.

 
camera, lightproof box or container, usually fitted with a lens, which gathers incoming light and concentrates it so that it can be directed toward the film (in an optical camera) or the imaging device (in a digital camera) contained within. Today there are many different types of camera in use, all of them more or less sophisticated versions of the camera obscura, which dates back to antiquity. Nearly all of them are made up of the same basic parts: a body (the lightproof box), a lens and a shutter to control the amount of light reaching the light-sensitive surface, a viewfinder to frame the scene, and a focusing mechanism.

Still Cameras

Focusing and Composing the Scene

Except for pinhole cameras, which focus the image on the film through a tiny hole, all other cameras use a lens for focusing. The focal length of a lens, i.e., the distance between the rear of the lens (when focused on infinity) and the film (or imaging device), determines the angle of view and the size of objects as they appear on the imaging surface. The image is focused on that surface by adjusting the distance between the lens and the surface. In most 35-mm cameras (among the most widely used of modern optical cameras) and digital cameras this is done by rotating the lens, thus moving it closer to or farther from the film or imaging device. With twin-lens reflex and larger view cameras, the whole lens and the panel to which it is attached are moved toward or away from the film.

To view the subject for composing (and, usually, to help bring it into focus) nearly every camera has some kind of viewfinder. One of the simplest types, employed in most view cameras, is a screen that is placed on the back of the camera and replaced by the film in making the exposure. This time-consuming procedure is avoided in the modern 35-mm single-lens (and other) reflex cameras by placing the screen in a special housing on top of the camera. Inside the camera, in front of the film plane, there is a movable mirror that bounces the image from the lens to the screen for viewing and focusing, and then flips out of the way when the shutter is tripped, so that the image hits the film instead of the mirror. The mirror returns automatically to place after the exposure has been made. In rangefinder cameras the subject is generally viewed by means of two separate windows, one of which views the scene directly and the other of which contains an adjustable optical mirror device. When this device is adjusted by rotating the lens, the image entering through the lens can be brought into register, at the eyepiece, with the image from the direct view, thereby focusing the subject on the film. Digital cameras have an optical viewfinder, a liquid crystal display (LCD) screen, or both. Optical viewfinders are common in point-and-shoot cameras. An LCD screen allows the user see the photograph's content before the picture is taken and after, allowing the deletion of unwanted pictures.

Controlling the Light Entering the Camera

The speed of a lens is indicated by reference to its maximum opening, or aperture, through which light enters the camera. This aperture, or f-stop, is controlled by an iris diaphragm (a series of overlapping metal blades that form a circle with a hole in the center whose diameter can be increased or decreased as desired) inside the lens. The higher the f-stop number, the smaller the aperture, and vice versa.

A shutter controls the time during which light is permitted to enter the camera. There are two basic types of shutter, leaf-type and focal-plane. The leaf-type shutter employs a ring of overlapping metal blades similar to those of the iris diaphragm, which may be closed or opened to the desired degree. It is normally located between the lens elements but occasionally is placed behind or in front of the lens. The focal-plane shutter is located just in front of the film plane and has one or two cloth or metal curtains that travel vertically or horizontally across the film frame. By adjusting the shutter speed in conjunction with the width of aperture, the proper amount of light (determined by using a light meter and influenced by the relative sensitivity of the film being used) for a good exposure can be obtained.

Features of Modern Cameras

Most of today's 35-mm cameras, both rangefinder and reflex models, incorporate a rapid film-transport mechanism, lens interchangeability (whereby lenses of many focal lengths, such as wide-angle and telephoto, may be used with the same camera body), and a built-in light meter. Many also have an automatic exposure device whereby either the shutter speed or the aperture is regulated automatically (by means of a very sophisticated solid-state electronics system) to produce the “correct” exposure. Accessories include filters, which correct for deficiencies in film sensitivity; flash bulbs and flash mechanisms for supplying light; and monopods and tripods, for steady support.

Simple box cameras, including cameras of the Eastman Kodak Instamatic type, are fixed-focus cameras with limited or no control over exposure. Twin-lens reflex cameras use one lens solely for viewing, while the other focuses the image on the film. Also very popular are compact 35-mm rangefinder cameras; 126 cartridge cameras; and the subminiature cameras, including the 110 “pocket” variation of the Instamatic type and the Minox, which uses 9.5-mm film. Other categories in use include roll- and sheet-film single-lens reflex (SLR) cameras that use 120 and larger size films; self-processing Polaroid cameras (see Land, Edwin H.); press cameras and view cameras that use 21/4×31/4 in., 4×5 in., 5×7 in., 8×10 in., and 11×14 in. film sizes; stereo cameras, the double slides from which require a special viewer; and various special types such as the super wide-angle and the panoramic cameras. (The numbers 110, 120, and 126 are film-size designations from the manufacturer and do not refer to actual measurements.) Digital cameras are essentially no different in operation but capture the image electronically rather than via a photographic emulsion.

The smaller, pocket-sized, automatic cameras of the Advanced Photo System (APS), introduced in 1996, are unique in that they are part of an integrated system. Using magnetic strips on the film to communicate with the photofinishing equipment, the camera can communicate shutter speed, aperture setting, and lighting conditions for each frame to the computerized photofinishing equipment, which can then compensate to avoid over- or underexposed photographic prints. Basic features of the APS cameras are drop-in loading, three print formats (classic, or 4 by 6 in.; hi vision, or 4 by 7 in.; and panoramic, or 4 by 11.5 in.) at the flick of a switch, and auto-focus, auto-exposure, “point-and-shoot” operation.

Digital cameras have several unique features. Resolution is made up of building blocks called pixels, one million of which are called a megapixel. Digital cameras have resolutions ranging from less than one megapixel to greater than seven megapixels. With more megapixels, more picture detail is captured, resulting in sharper, larger prints. Focus is a function of “zoom.” Most digital cameras have an optical zoom, a digital zoom, or both. An optical zoom lens actually moves outward toward the subject to take sharp close-up photographs; this is the same kind of zoom lens found in traditional cameras. Digital zoom is a function of software inside the camera that crops the edges from a photograph and electronically enlarges the center portion of the image to fill the frame, resulting in a photograph with less detail. Some models also have a macro lens for close-ups of small, nearby objects. Storage of digital photographs may be in the camera's internal memory or in removable magnetic cards, sticks, or disks. These images can be transferred to a computer for viewing and editing or may be viewed on the camera's liquid crystal display. Digital cameras typically also have the ability to record video, but have less storage capacity and fewer video features than camcorders.

The marriage of microelectronics and digital technology has led to the development of the camera phone, a cellular telephone that also has picture- (and video-) taking capability. Some camera phones can immediately send the picture to another camera phone or computer via the Internet or through the telephone network, offering the opportunity to take and share pictures in real time. Unlike the traditional camera, and to some extent the equivalent digital camera, which are used primarily for scheduled events or special occasions, the camera phone is available for impromptu or unanticipated photographic opportunities.

See also photography, still.

Motion Picture Cameras

The motion picture camera comes in a variety of sizes, from 8 mm to 35 mm and 75 mm. Motion picture film comes in spools or cartridges. The spool type, employed mostly in 16- and 35-mm camera systems, must be threaded through the camera and attached to the take-up spool by hand, whereas a film cartridge—available for the super-8-mm systems—avoids this procedure. In all modern movie cameras the film is driven by a tiny electric motor that is powered by batteries.

Motion picture cameras all operate on the same basic principles. Exposures are usually made at a rate of 18 or 24 frames per second (fps), which means that as the film goes through the camera it stops for a very brief moment to expose each frame. This is accomplished in nearly all movie cameras by a device called a rotary shutter—basically a half-circle of metal that spins, alternately opening and closing an aperture, behind which is located the film. To make the film travel along its path and hold still for the exposure of each frame, a device called a claw is required. This is another small piece of metal that alternately pops into the sprocket holes or perforations in the film, pulls the film down, retracts to release the film while the frame is being exposed, and finally returns to the top of the channel in which it moves to grasp the next frame. The movement of the shutter and claw are synchronized, so that the shutter is closed while the claw is pulling the frame downward and open for the instant that the frame is motionless in its own channel or gate.

Lenses for movie cameras also come in “normal,” wide-angle, and long focal lengths. Some older cameras had a turret on which were mounted all three lens types. The desired lens could be fixed into position by simply rotating the turret. Many super-8 cameras come with a single zoom lens, incorporating a number of focal lengths that are controlled by moving a certain group of lens elements toward or away from the film. Most of these cameras have an automatic exposure device that regulates the f-stop according to the reading made by a built-in electric eye. Movie camera lenses are focused in the same way as are still camera lenses. For viewing purposes, a super-8 uses a beam splitter—a partially silvered reflector that diverts a small percentage of the light to a ground-glass viewfinder while allowing most of the light to reach the film. Other cameras have a mirror-shutter system that transmits all the light, at intervals, alternately to film and viewfinder. Many of the super-8 cameras also contain some kind of rangefinder, built into the focusing screen, for precise focusing.

See also motion picture photography.

Development of the Camera

The original concept of the camera dates from Grecian times, when Aristotle referred to the principle of the camera obscura [Lat.,=dark chamber] which was literally a dark box—sometimes large enough for the viewer to stand inside—with a small hole, or aperture, in one side. (A lens was not employed for focusing until the Middle Ages.) An inverted image of a scene was formed on an interior screen; it could then be traced by an artist. The first diagram of a camera obscura appeared in a manuscript by Leonardo da Vinci in 1519, but he did not claim its invention.

The recording of a negative image on a light-sensitive material was first achieved by the Frenchman Joseph Nicéphore Niepce in 1826; he coated a piece of paper with asphalt and exposed it inside the camera obscura for eight hours. Although various kinds of devices for making pictures in rapid succession had been employed as early as the 1860s, the first practical motion picture camera—made feasible by the invention of the first flexible (paper base) films—was built in 1887 by E. J. Marey, a Frenchman. Two years later Thomas Edison invented the first commercially successful camera. However, cinematography was not accessible to amateurs until 1923, when Eastman Kodak produced the first 16-mm reversal safety film, and Bell & Howell introduced cameras and projectors with which to use it. Systems using 8-mm film were introduced in 1923; super-8, with its smaller sprocket holes and larger frame size, appeared in 1965. A prototype of the the digital camera was developed in 1975 by Eastman Kodak, but digital cameras were not commercialized until the 1990s. Since then they have gradually superseded many film-based cameras, both for consumers and professionals, leading many manufacturers to eliminate or reduce the number of the film cameras they produce.

Bibliography

See The Encyclopedia of Photography (1971); The Focal Encyclopedia of Photography (rev. ed. 1972); C. Alesse, Basic 35 mm Photo Guide (1987); M. Freeman, The Medium Format Manual (1989).


 

Cameras have a number of applications in the world of security and espionage. Cameras can be used for conducting surveillance, for instance, an activity that may require neither proximity to the subject nor even a human operator. More intriguing and wide-ranging, however, are the uses of the camera in up-close work by intelligence operatives. Such situations require human ingenuity, not only for designing effective photographic equipment, but also for concealing the camera and its operations. Intelligence personnel have used cameras to photograph individuals and their activities, as well as buildings and installations. A significant subcategory of espionage photography involves the copying of documents, often with special cameras, although sometimes with ordinary equipment.

Background

A camera functions by focusing light through a lens onto a surface coated with light-sensitive chemicals. The concept of the camera dates back to the Renaissance idea of the camera obscura, a small, dark chamber into which light was permitted only through pinholes. During the early nineteenth century, inventors perfected the camera obscura to make the prototype of the modern camera, but early photography was a cumbersome affair characterized by large, boxy cameras and slow exposures. It is for this reason that most photographs from the American Civil War—the first conflict chronicled in depth by photojournalists—tend to be stills rather than action shots.

Only in the twentieth century was it possible to build cameras useful for work in espionage. Particularly after World War II, the number of possible camera types suited either to speed, concealment, range, or photographic resolution proliferated along with the many uses to which espionage and security organizations applied them. Today, the principal uses for cameras in the security and espionage context are copying documents, capturing activities of individuals at a close range, or conducting surveillance on large groups over large areas from a distance.

The last of these activities, while certainly a significant part of espionage and security operations, typically lacks the tactile qualities popularly associated with the use of cameras by spies. Surveillance aircraft such as the U–2 and SR–71 Blackbird, as well as satellites of the KH or "keyhole" series, carried sophisticated cameras for longrange photography of missile installations, weapons factories, and other facilities. In such a situation, the human operator of the camera plays a lesser role than the technology behind its operation, and that of the craft that keeps it aloft many thousands of feet or miles above Earth's surface.

Surveillance cameras in daily life. Similarly, with closerange surveillance and security cameras that operate automatically, the human operator is of little significance. Still, there is a great deal of immediacy and intimate contact between camera and subject—especially because the unwitting subject seldom knows the degree to which he or she is under surveillance. In modern times, Americans have become accustomed to ordinary security cameras in stores and other businesses, particularly those whose contents have high monetary value. According to the Security Industry Association, by 2003, there were some two-million closed-circuit television systems in operation, most of them operated by private businesses for security purposes, in the United States. CCS International, a security company, estimated that the average person in Manhattan was photographed 73 to 75 times a day. Often this happened when the individual was not aware of the surveillance, even when the camera itself was in plain view. That camera might well be a dummy, with the real camera photographing an individual's activities from another angle.

Although civil libertarians protested this proliferation of security cameras, they are unlikely to disappear any time soon. J. P. Freeman, a firm that performs marketing research for the security industry, estimated in 2002 that the market for digital video surveillance equipment was growing at the rate of fifteen percent per year, particularly noticeable gains during the early twenty-first century recession. Additionally, in the heightened climate of awareness that followed the terrorist attacks of September 11, 2001, Americans were less likely than ever to react to potential violations of privacy.

In communist Eastern Europe. If surveillance cameras are ubiquitous in a democratic nation such as the United States, they are pervasive in closed societies—assuming that the nation possesses the financial means to watch its citizens with electronic eyes. Certainly this was true in East Germany, by far the most prosperous nation in the history of communism, where per-capita incomes in the 1980s ran higher than those of non-communist Greece. The East German Stasi (short for das Ministerium für Staatssicherheit or Ministry of State Security) frequently monitored patrons of public lodgings through the use of a Czech-made surveillance camera with a German T1–340 lens. Made to fit into a special cylinder built into the hotel wall, the camera could be operated using a remote shutter release. This piece of equipment, used to spy on hotel patrons, was a variety of the German robot camera developed prior to World War II.

Surveillance Cameras in Espionage

First used by the Nazis in 1934, the robot could snap multiple exposures without requiring manual winding. Originally used by the German air force to rapidly photograph the destruction of targets, it later became a favorite of Nazi intelligence services. The designs of the Nazi era culminated in the Star 50, which could snap 50 exposures in rapid succession. After the war, intelligence agents on either side of the Iron Curtain used robot cameras.

Made to be concealed and, if necessary, operated from a remote location, the robot was ideal for surveillance. Specific varieties of Star 50 were designed to be hidden in handbags, while the robot Star II was flat enough to fit in a special belt concealed by a trench coat. A false coat button covered the camera lens, and the manufacturers provided an entire matching set of buttons so that the user could replace those already on the trench coat if they did not match the false one. The robot Star II could also fit neatly into a briefcase.

The Soviet KGB developed their own variation on the robot, the F21, in 1948. Small—about the size of a hotel soap bar—and quiet, the F21 was ideal for concealment. At various times, Soviet designers adapted the F21 to hide it in belt buckles, jackets, umbrellas, and even camera cases. In the latter instance, the spy, posing as a tourist, would carry the camera case open and slung around the neck. The visible camera was a dummy; mounted on the side of the case was an F21 that took pictures at a 90-degree angle to the lens of the dummy camera.

Some other significant surveillance models in the history of Cold War espionage include the British Mark 3 automatic camera. Developed in the 1950s and still in use during the 1990s, the Mark 3 had a chamber so large it could hold enough film for 250 35mm exposures. Sometimes intelligence operatives needed moving pictures rather than stills, and for this, KGB relied on a movie version of the F21, developed in the 1960s. The camera was made to be hidden in a coat, using the false button technique applied with the robot camera.

Copy cameras. To copy documents, intelligence services required special cameras. An ordinary camera could theoretically be used, but would have difficulty in obtaining readable images. A much better option is to use a camera and accessories specially made for that purpose. A camera made specifically for copying documents has a high degree of photographic resolution, and is constructed in such a way as to be operated with a remote shutter release in order to avoid shaking the camera. Usually, the equipment would also include a stand of some kind that would both keep the camera steady and hold it fixed in place some distance from the documents being copied. Finally, because copying by an intelligence agent would most likely be a clandestine activity, it would be necessary to house all this equipment in a package that could easily be concealed.

One camera that fit the bill handsomely was built for the StB, the intelligence service of communist Czechoslovakia. Made to fit into an unobtrusive-looking wooden box, the kit included a Meopta copy camera, lights, a power plug, and a four-legged stand. The camera sat atop the stand, pointed downward. By pressing a button on a shutter release cable, the operator could photograph documents, which were illuminated by light bulbs fitted into housings at the base of the stand.

Both American and Soviet intelligence services used kits that resembled miniature copier machines. The American model was made to fit into an attaché case, while the Soviets' Yelka C–64 copy camera had the appearance of a thick book and, therefore, was unlikely to raise immediate suspicions.

Particularly ingenious was the Soviet rollover camera, disguised as a notebook. The undercover agent would regularly carry a real notebook to work, and use it often. Then, when it came time to make copies of documents, the agent would bring the rollover camera notebook, which was identical in appearance to the real notebook. In order to photograph a document, the agent would run the spine of the notebook carefully back and forth across the documents to be copied. Inside the spine were wheels that activated the camera, which was hidden, along with a battery-powered light source, inside the notebook.

Working without a copy camera. Perhaps the greatest resourcefulness of all was required for those situations in which the agent had no special equipment other than an ordinary camera. Victor Ostrovsky, of Israel's Mossad, developed a method for copying that used only a standard camera with a shutter release, a few thick books, and a couple of lamps. The document would be taped to the front a book, which would be set standing on end, facing the camera. The latter would be placed atop one or more books lying flat, and fixed in place with an ordinary adhesive, such as chewing gum. On either side, desk lamps would provide concentrated lighting.

Another setup could be used when the agent needed to copy large amounts of documents, but could use only a camera and standard office equipment. Books would be stacked in two towers of equal height—perhaps 18 inches or so—with enough space between them to lay a document flat. Bridging the tops of the "towers" would be two parallel rulers, spaced almost the width of an ordinary 35mm camera. The camera would be taped to the rulers, and lamps placed on either side of the document. Then, documents could be run through one after the other, and a high volume of information recorded in a short time.

Further Reading

Babington-Smith, Constance. Evidence in Camera: The Story of Photographic Intelligence in World War II. Newton Abbott, England: David and Charles, 1974.

Melton, H. Keith. The Ultimate Spy Book. New York: DK Publishing, 1996.

Murphy, Dean E. "As Security Cameras Sprout, Someone's Always Watching." New York Times (September 29, 2002).

Siljander, Raymond P. Applied Surveillance Photography. Springfield, IL: Thomas, 1975.

 
Wikipedia: Camera
Top

A camera is a device that records images, either as a still photograph or as moving images known as videos or movies. The term comes from the camera obscura (Latin for "dark chamber"), an early mechanism of projecting images where an entire room functioned as a real-time imaging system; the modern camera evolved from the camera obscura.

Cameras may work with the light of the visible spectrum or with other portions of the electromagnetic spectrum. A camera generally consists of an enclosed hollow with an opening (aperture) at one end for light to enter, and a recording or viewing surface for capturing the light at the other end. A majority of cameras have a lens positioned in front of the camera's opening to gather the incoming light and focus all or part of the image on the recording surface. The diameter of the aperture is often controlled by a diaphragm mechanism, but some cameras have a fixed-size aperture.

A typical still camera takes one photo each time the user presses the shutter button. A typical movie camera continuously takes 24 film frames per second as long as the user holds down the shutter button.

Contents

History

The forerunner to the camera was the camera obscura.[1] The camera obscura is an instrument consisting of a darkened chamber or box, into which light is admitted through a convex lens, forming an image of external objects on a surface of paper or glass, etc., placed at the focus of the lens.[2] The camera obscura was first invented by the Arabic scientist Ibn al-Haytham (Alhazen) as described in his Book of Optics (1015-1021).[3] Alhazen's work appeared in Latin translation as De Aspectibus ("Concerning vision") in about 1200, and the book influenced Roger Bacon's reflections on producing images using pinholes. Bacon's notes and drawings, published as Perspectiva in 1267, are partly clouded with theological material describing how the Devil can insinuate himself through the smallest of spaces by magic,[4] and it is not clear whether or not he produced such a device. On 24 January 1544 mathematician and instrument maker Reiners Gemma Frisius of Leuven University used one to watch a solar eclipse, publishing a diagram of his method in De Radio Astronimica et Geometrico in the following year.[5] In 1558 Giovanni Batista della Porta was the first to recommend the method as an aid to drawing.[6] The actual name of camera obscura was first applied to the technique by mathematician and astronomer Johannes Kepler in his Ad Vitellionem paralipomena of 1604; he would later improve the apparatus by adding a lens and making it transportable, in the form of a tent.[7][8] Irish scientist Robert Boyle and his assistant Robert Hooke later developed a portable camera obscura in the 1660s.[9]

The first camera that was small and portable enough to be practical for photography was built by Johann Zahn in 1685, though it would be almost 150 years before technology caught up to the point where this was practical. Early photographic cameras were essentially similar to Zahn's model, though usually with the addition of sliding boxes for focusing. Before each exposure, a sensitized plate would be inserted in front of the viewing screen to record the image. Jacques Daguerre's popular daguerreotype process utilized copper plates, while the calotype process invented by William Fox Talbot recorded images on paper.

The first permanent colour photograph, taken by James Clerk Maxwell in 1861.

The first permanent photograph was made in 1826 by Joseph Nicéphore Niépce using a sliding wooden box camera made by Charles and Vincent Chevalier in Paris. Niépce built on a discovery by Johann Heinrich Schultz (1724): a silver and chalk mixture darkens under exposure to light. However, while this was the birth of photography, the camera itself can be traced back much further. Before the invention of photography, there was no way to preserve the images produced by these cameras apart from manually tracing them.

The development of the collodion wet plate process by Frederick Scott Archer in 1850 cut exposure times dramatically, but required photographers to prepare and develop their glass plates on the spot, usually in a mobile darkroom. Despite their complexity, the wet-plate ambrotype and tintype processes were in widespread use in the latter half of the 19th century. Wet plate cameras were little different from previous designs, though there were some models, such as the sophisticated Dubroni of 1864, where the sensitizing and developing of the plates could be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread.

The first colour photograph was made by Scottish physicist James Clerk Maxwell, with the help of English inventor and photographer Thomas Sutton, in 1861[10]

Mechanics

Image capture

see also Photographic lens design
19th century studio camera, with bellows for focusing.

Traditional cameras capture light onto photographic film or photographic plate. Video and digital cameras use electronics, usually a charge coupled device (CCD) or sometimes a CMOS sensor to capture images which can be transferred or stored in tape or computer memory inside the camera for later playback or processing.

Cameras that capture many images in sequence are known as movie cameras or as ciné cameras in Europe; those designed for single images are still cameras. However these categories overlap. As still cameras are often used to capture moving images in special effects work and modern digital cameras are often able to trivially switch between still and motion recording modes. A video camera is a category of movie camera that captures images electronically (either using analogue or digital technology).

Lens

The lens of a camera captures the light from the subject and brings it to a focus on the film or detector. The design and manufacture of the lens is critical to the quality of the photograph being taken. The technological revolution in camera design in the 18th century revolutionised optical glass manufacture and lens design with great benefits for modern lens manufacture in a wide range of optical instruments from reading glasses to microscopes. Pioneers included Zeiss and Leitz.

Focus

Auto-focus systems can capture a subject a variety of ways; here, the focus is on the person's image in the mirror.

Due to the optical properties of photographic lenses, only objects within a limited range of distances from the camera will be reproduced clearly. The process of adjusting this range is known as changing the camera's focus. There are various ways of focusing a camera accurately. The simplest cameras have fixed focus and use a small aperture and wide-angle lens to ensure that everything within a certain range of distance from the lens, usually around 3 metres (10 ft) to infinity, is in reasonable focus. Fixed focus cameras are usually inexpensive types, such as single-use cameras. The camera can also have a limited focusing range or scale-focus that is indicated on the camera body. The user will guess or calculate the distance to the subject and adjust the focus accordingly. On some cameras this is indicated by symbols (head-and-shoulders; two people standing upright; one tree; mountains).

Rangefinder cameras allow the distance to objects to be measured by means of a coupled parallax unit on top of the camera, allowing the focus to be set with accuracy. Single-lens reflex cameras allow the photographer to determine the focus and composition visually using the objective lens and a moving mirror to project the image onto a ground glass or plastic micro-prism screen. Twin-lens reflex cameras use an objective lens and a focusing lens unit (usually identical to the objective lens.) in a parallel body for composition and focusing. View cameras use a ground glass screen which is removed and replaced by either a photographic plate or a reusable holder containing sheet film before exposure. Modern cameras often offer autofocus systems to focus the camera automatically by a variety of methods e.g. by fishing.[11]

Exposure control

The size of the aperture and the brightness of the scene controls the amount of light that enters the camera during a period of time, and the shutter controls the length of time that the light hits the recording surface. Equivalent exposures can be made with a larger aperture and a faster shutter speed or a corresponding smaller aperture and with the shutter speed slowed down.

Shutters

Although a range of different shutter devices have been used during the development of the camera only two types have been widely used and remain in use today.

The focal plane shutter operates as close to the film plane as possible and consists of cloth curtains that are pulled across the film plane with a carefully determined gap between the two curtains or consisting of a series of metal plates moving either vertically or horizontally across the film plan. As the curtains or blades move at a constant speed, exposing the whole film plane can takes much longer than the exposure time. For example an exposure of 1/1000 second may be achieved by the shutter curtains moving across the film plane in 1/50th of a second but with the two curtains only separated by 1/20th of the frame width. When photographing rapidly moving objects, the use of a focal plane shutter can produce some unexpected effects. Focal plane shutters are also difficult to synchronise with electronic flash and it is often only possible to use flash at shutter speeds below 1/60th second although in some modern cameras that can be as fast as 1/100second/

The Copal shutter or more precisely the in-lens shutter is a shutter contained within the lens structure, often close to the diaphragm consisting of a number of metal leaves which are maintained under spring tension and which are opened and then closed when the shutter is released. The exposure time is determined by the interval between opening and closing. In this shutter design, the whole film frame is exposed at one time. This makes flash synchronisation much simpler as the flash only needs to fire once the shutter is fully open. This disadvantage of such shutters is their inability to reliably produce very fast shutter speeds and the additional cost and weight of having to include a shutter mechanism for every lens.

Film formats

A wide range of film and plate formats have been used by cameras. In the early history plate sizes were often specific for the make and model of camera although there quickly developed some standardisation for the more popular cameras. The introduction of roll-film drove the standardisation process still further so that by the 1950s only a few standard roll films were in use. These included 120 film providing 8, 12 or 16 exposures, 220 film providing 16 or 24 exposures, 127 film providing 8 exposures , principally in Brownie 125 cameras and 35mm film providing 12, 20 or 36 exposures - or up to 72 exposures in bulk cassettes for the Leica range.

For cine cameras, 35mm film was the original film format but 16mm film soon followed produced by cutting 35mm in two. An early amateur format was 9.5mm. Later formats included 8mm film and Super 8.

Camera designs

Plate camera

The earliest cameras produced in significant numbers used sensitised glass plates and are now termed plate cameras. Light entered a lens mounted on a lens board which was separated from the plate by an extendible bellows. Many of these cameras, had controls to raise or lower the lens and to tilt it forwards or backwards to control perspective . Focussing of these plate cameras was by the use of a ground glass screen at the point of focus. Because lens design only allowed rather small aperture lenses, the image on the ground glass screen was faint and most photographers had a dark cloth to cover their heads to allow focussing and composition to be carried out more easily. When focus and composition were satisfactory, the ground glass screen was removed and a sensitised plate put in its place protected by a dark slide (photography) . To make the exposure, the dark slide was carefully slid out and the shutter opened and then closed and the dark-slide replaced. In current designs the plate camera is best represented by the view camera.

Large format camera

The large format camera is a direct successor of the early plate cameras and remain in use for high quality photography and for technical, architectural and industrial photography. There are three common types, the monorail camera, the field camera and the press camera. All use large format sheets of film, although there are backs for medium format 120-film available for most systems, and have an extensible bellows with the lens and shutter mounted on a lens plate at the front. These cameras have a wide range of movements allowing very close control of focus and perspective.

Medium format camera

The medium-format cameras has a film negative size somewhere in between the large format cameras and the smaller 35mm cameras. Typically these systems use 120- or 220-film. The most common sizes being 6x4.5 cm, 6x6 cm and 6x7 cm. The designs of this kind of camera shows greater variation than their larger brethren. Ranging from monorail systems, via the classic Hasselblad model with separate backs, to smaller rangefinder cameras. There are even compact amateur cameras available in this format.

Folding camera

The introduction of films enabled the existing designs for plate cameras to be made much smaller and for the base-plate to be hinged so that it could be folded up compressing the bellows. These designs were very compact and small models were dubbed Vest pocket cameras.

Box camera

Box cameras were introduced as a budget level camera and had few if any controls. The original box Brownie models had a small reflex viewfinder mounted on the top of the camera and had no aperture or focussing controls and just a simple shutter. Later models such as the Brownie 127 had larger direct view optical viewfinders together with a curved film path to help compensate for the imperfections of the simple lens system. Despite their lack of controls, box cameras sold in large numbers and helped to popularise photography for the wider public.

Rangefinder camera

As camera and lens technology developed and wide aperture lenses became more common range-finder cameras were introduced to make focussing more precise. The range finder had two separated viewfinder windows one of which was linked to the focusing mechanisms and moved right or left as the focussing ring was turned. The two separate images were brought together on a ground glass viewing screen. When vertical lines in the object being photographed met exactly in the combined image, the object was in focus. A normal composition viewfinder was also provided.

Single-lens reflex

In the single-lens reflex camera the photographer see the scene through the camera lens. This avoids the problems of parallax which occurs when the viewfinder or viewing lens is separated from the taking lens. Single-lens reflex cameras have been made in several formats including 220/120 taking 8, 12 or 16 photographs on a 120 roll and twice that number of a 220 film. These correspond to 6x9, 6x6 and 6x4.5 respectively (all dimensions in cm). Notable manufacturers of large format SLR include Hasselblad, Mamiya, Bronica and Pentax. However the most common format of SLRs has been 35 mm and subsequently the migration to digital SLRs, using almost identical sized bodies and sometimes using the same lens systems.

Almost all SLR used a front surfaced mirror in the optical path to direct the light from the lens via a viewing screen and pentaprism to the eyepiece. At the time of exposure the mirror flipped up out of the light path before the shutter opened. Some early cameras experimented other methods of providing through the lens viewing including the use of a semi transparent pellicle as in the CanonPellix [12] and others with a small periscope such as in the Corfield Periflex series[13]

Twin-lens reflex

Twin-lens reflex cameras used a pair of nearly identical lenses, one to form the image and one as a viewfinder. The lens were arranged with the viewing lens immediately above the taking lens. The viewing lens projects an image onto a viewing screen which can be seen from above. Some manufacturers such as Mamiya also provided a reflex head to attach to the viewing screen to all the camera to be held to the eye when in use. The advantage of a TLR was that it could be easily focussed using the viewing screen and that under most circumstances the view seen in the viewing screen was identical to that recorded on film. At close distances however, parallax errors were encountered and some cameras also included an indicator to show what part of the composition would be excluded.

Some TLR had interchangeable lenses but as these had to be paired lenses they were relatively heavy and did not provide the range of focal lengths that the SLR could support. Although most TLRs used 120 or 220 film some used 127 film.

Ciné camera

A ciné camera or movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the ciné camera takes a series of images, each called a "frame" through the use of an intermittent mechanism. The frames are later played back in a ciné projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion. The first ciné camera was built around 1888 and by 1890 several types were being manufactured. The standard film size for ciné cameras was quickly established as 35mm film and this remains in use to this day. Other professional standard formats include 70 mm film and 16mm film whilst amateurs film makers have used 9.5 mm film, 8mm film or Standard 8 and Super 8 before the move into digital format. The size and complexity of ciné cameras varies greatly depending on the uses required of the camera. Some professional equipment is very large and too heavy to be hand held whilst some amateur cameras were designed to be as small and light as possible enabling single-handed operation.

Image gallery

See also

Types

Brands

Other

References

  1. ^ Batchen, Geoffrey. "Images formed by means of a camera obscura". Burning with Desire: The Conception of Photography. Cambridge, MA: MIT Press. pp. 78–85. ISBN 0-262-52259-4. "The camera obscura looms large in traditional historical accounts of photography's invention." 
  2. ^ Oxford English Dictionary.
  3. ^ Nicholas J. Wade, Stanley Finger (2001), "The eye as an optical instrument: from camera obscura to Helmholtz's perspective", Perception 30 (10), p. 1157 – 1177.
  4. ^ Renner, Eric (1999). Pinhole photography. Oxford, England: Focal Press. pp. 6–8. ISBN 0-240-80350-7. 
  5. ^ Renner (1999: 12)
  6. ^ Gernsheim, Helmut (1965). A Concise History of Photography. London: Thames and Hudson. pp. 3–6. 
  7. ^ Warren, Lynne (2006). "Camera Obscura". Encyclopedia of twentieth-century photography. London: Routledge. p. 224. ISBN 0415976650. 
  8. ^ Stefoff, Rebecca (2007). "A Dark Chamber: Optics". The Camera. Tarrytown, NY: Mashall Cavendish. p. 23. ISBN 0761425969. 
  9. ^ Explanatory Notes (section) of David Constantine's 1994 translation of Goethe's Elective Affinities, Oxford University Press.
  10. ^ Mahon, Basil (2003). The Man Who Changed Everything – the Life of James Clerk Maxwell. Hoboken, NJ: Wiley. ISBN. 
  11. ^ Auto focus - How Stuff Works
  12. ^ Canon Pellix QL / FT QL Cameras (retrieved 19 April 2009)
  13. ^ The Periflex series (retrieved 19 April 2009)

External links


 
Translations: Camera
Top

Dansk (Danish)
n. - kamera

idioms:

  • camera ready    klar til at optage, skudklar
  • in camera    for lukkede døre [jur], ikke offentlig

Nederlands (Dutch)
fototoestel, (film)camera

Français (French)
n. - (Phot) appareil photographique, (Cin) caméra, (Opt) chambre noire, (Jur) huis clos

idioms:

  • camera ready    (Typ) (copie) prête à la reproduction
  • in camera    (Jur) à huis clos
  • off camera    pas filmé, pas enregistré
  • on camera    à l'écran, filmé, enregistré

Deutsch (German)
n. - Fotoapparat, Kamera

idioms:

  • camera ready    geeignet für sofortige Fotoreproduktion
  • in camera    hinter verschlossenen Türen
  • off camera    außerhalb der Kamera, nicht offensichtlich
  • on camera    vor der Kamera sein/vor die Kamera treten

Ελληνική (Greek)
n. - φωτογραφική μηχανή, κάμερα, εικονοληπτική μηχανή

idioms:

  • camera ready    (για εκτυπώσεις ή εμφανίσεις υψηλής ποιότητας) έτοιμος για φωτογράφηση
  • in camera    κεκλεισμένων των θυρών

Italiano (Italian)
macchina fotografica, macchina da presa, cinepresa

idioms:

  • camera ready    pronto per riproduzione fotografica
  • in camera    a porte chiuse

Português (Portuguese)
n. - câmara (f), máquina (f) fotográfica

idioms:

  • camera ready    máquina pronta para fotografar
  • in camera    em segredo

Русский (Russian)
фотоаппарат, телекамера

idioms:

  • camera ready    готово печатать
  • in camera    при закрытых дверях

Español (Spanish)
n. - cámara, máquina fotográfica

idioms:

  • camera ready    preparado para fotografiar
  • in camera    a puerta cerrada
  • off camera    fuera de cámara
  • on camera    en cámara

Svenska (Swedish)
n. - kamera, domares rum

中文(简体)(Chinese (Simplified))
照相机, 摄影机, 暗室

idioms:

  • camera ready    不再改动可立即拍照制版, 照相原版
  • in camera    禁止旁听地, 秘密地

中文(繁體)(Chinese (Traditional))
n. - 照相機, 攝影機, 暗室

idioms:

  • camera ready    不再改動可立即拍照製版, 照相原版
  • in camera    禁止旁聽地, 秘密地

한국어 (Korean)
n. - 사진기, 판사의 사실

idioms:

  • in camera    판사의 사실에서, 은밀하게

日本語 (Japanese)
n. - テレビカメラ, カメラ

idioms:

  • camera ready    撮影するばかりに準備した
  • in camera    判事の私室で, 内密に

العربيه (Arabic)
‏(الاسم) كاميرا, آله تصوير‏

עברית (Hebrew)
n. - ‮מצלמה, מסרטה‬


 
Best of the Web: camera
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Some good "camera" pages on the web:


American Sign Language
commtechlab.msu.edu
 

How?
science.howstuffworks.com
 
 
 

 

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Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.  Read more
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Sci-Tech Encyclopedia. McGraw-Hill Encyclopedia of Science and Technology. Copyright © 2005 by The McGraw-Hill Companies, Inc. All rights reserved.  Read more
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Intelligence Encyclopedia. Encyclopedia of Espionage, Intelligence, and Security. Copyright © 2004 by The Gale Group, Inc. All rights reserved.  Read more
Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Camera" Read more
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