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LB-353 Digital LCD Stereo Microscope with 8 Inch TFT LCD Screen and 1.3MP Digital Cameracan be used to test and inspect product assembling in semi-conductor, SMT and micro circuit areas. It also can be used in quality controlling of industrial, product testing, education, science and research areas.

Have you ever properly checked the display quality of the LCD you habitually use? Very often people become aware of previously unnoticed problems in display quality when they run a check using test patterns and so on. This time we are going to talk about the basic points used to assess LCD display quality, and show you a simple way to test it.

Below is the translation from the Japanese of the ITmedia article "The difference in image quality is perfectly obvious! – Let"s check the LCD"s monitor" published April 22, 2010. Copyright 2011 ITmedia Inc. All Rights Reserved.

First of all, bear with us in the following simple test. Below is image data of a row of three squares. In the center of each square is a letter so faint as to be barely distinguishable, so there are three letters in all. Read from the left they make up a word. Can you see that hidden word?

That"s right. The answer is "LCD" (it is displayed if you drag the space between the brackets). We assume that probably many users could read the letters concealed in the squares.

So, the next test is much more difficult. A word is concealed in the four squares below, just as in the image above. The letters are written in colors that are very similar to those of the boxes and we expect that, in many cases, it is hard to distinguish them in your browser. We would like you to download the image and check it closely in photo retouching software or a viewer that is capable of accurate color reproduction.

This time the answer is "EIZO" (it is displayed if you drag the space between the brackets). Depending on the lighting or the user"s environment it may be hard to make out but, if you can read these four letters, the display quality, or more accurately the still image gradation expression, of your LCD is extremely high.

Let"s get down to details then. "Image quality" is the top priority of the LCD, of course. However, recently LCD prices are fiercely competitive and there are surprisingly few products that insist on high image quality and performance. It may be nice to be able to get hold of a wide-screen monitor with full HD (1920 × 1080 dot) resolution or higher fairly cheaply, but it cannot be denied that such LCDs tend not to place too much importance on display quality.

On the other hand, the increasing opportunities to enjoy things like HD videos and games, and high resolution digital photographs on the computer make LCD display quality even more important. As far as possible it"s best to use an LCD with excellent display quality in order to fully enjoy the charms of the visual content.

Even so, perhaps you think that there can"t really be that much wrong with the LCDs that so many people are using at the moment. Here we would like to show you a simple method to check LCD display quality. You can get a good idea of whether the basic display quality is good or bad just by looking at how some simple test images are displayed, just like in the introductory quiz. First of all, we would like you to get a sense of how important it is that "image data can be properly displayed" by checking the display of the LCD that you currently use, (that"s right, the one you are using to view this page!).

The test items use color / monochrome patterned images to check gradation expression, and simple images to check brightness / chromaticity variation. Downloads are available of several test images, such as gradation patterns. We would like you to display the downloaded test images in photo retouching software or a viewer that can reproduce color accurately. As we mentioned at the start of this article, you have to be careful as in many cases colors cannot be displayed accurately in web browsers. (Currently only a few browsers such as Safari and Firefox 3.x can handle color management).

Before starting your visual check of the display quality, please return to your LCD"s setting to default, and select Adobe RGB or sRGB as the image quality mode. If these modes are not available it is fine to set the color temperature to 6500K and gamma to 2.2. If you cannot adjust the color temperature and gamma, simply adjust the brightness and contrast so that they are easier to discern. Of course, if it"s an LCD environment that has been color calibrated it"s OK to leave it as it is.

The average LCD takes some time for the monitor to stabilize after it is switched on so, after start up, please wait at least 30 minutes or so before doing the test. (Most EIZO monitors are an exception to this as they are equipped with our proprietary dimming function and the monitor stabilizes in a short time after start up.)

The surface treatment of an LCD makes a difference to the background reflection. Glare panels impede the surface diffusion of backlight, which does make it easier to achieve high color purity, but also makes distinct reflections of the user or lighting much more likely (photo on the left).

For your reference, we ran a test on an EIZO 24.1-inch wide-screen LCD, the FlexScan SX2462W, for this article. The FlexScan SX series comes with a number of high image quality functions and boasts top class display quality as a general-purpose LCD intended for a computer.

When we displayed the quiz images (the more difficult ones, of course) on the FlexScan SX2462W, the four letters appeared faintly when we stared closely at the screen and we could read what they said. This indicates the high image quality level.

When checking the display quality of an LCD it is comparatively easy to understand the gradation expression capability by a visual check. Let"s display color and monochrome gradation images and check whether the entire image is smoothly reproduced. If there is a problem with the gradation expression it produces things like blocked-up shadows in dark areas and blown-out highlights in light areas, banding (vertical or horizontal stripes) in the middle gradations, and color cast, so you should check for problems like these.

Test images of color / monochrome gradations are shown below. Each test image is prepared for three resolution levels (1280 × 800 dots / 1680 × 1050 dots / 1920 × 1200 dots). When you click on an image it is displayed in that actual resolution. We would like you to download the images in the resolution which matches that of your current LCD. Gradation expression can vary according to whether the image is viewed horizontally or vertically, so it will be more effective if you rotate these images and view them vertically as well.

A gradation pattern where the colors red, green, blue, cyan, magenta and yellow go through 16 gradients as they change to white or black. This is an easy test image so we expect that it can be seen in most environments that each color bar is divided into 16 blocks.

A gradation pattern where the colors red, green, blue, cyan, magenta and yellow go through 64 gradients as they change to white or black. Each color bar is divided into 64 rectangular blocks. With this many gradients we expect that many LCDs will find it hard to make distinctions in the dark areas or the areas that are close to primary colors.

A smooth gradation pattern where the colors red, green, blue, cyan, magenta and yellow go through 256 gradients as they change to white or black. At this level of difficulty you cannot distinguish between adjoining colors from a distance but, if you have an LCD with excellent gradation expression, if you look closely you should be able to see that each color is divided into thin rectangular blocks.

A gradation pattern that changes from black to white. It is divided into 5 horizontal bars: from the top, smooth, 128 gradients, 64 gradients, 32 gradients and 16 gradients. Even if all the differences can be distinguished in the 16 and 32 gradient patterns near the bottom, we expect that there will be some parts in the 64 and 128 gradient patterns where it is hard to see the boundaries between adjoining colors. With this kind of monochrome test image you should also check whether any unnecessary colors are mixed with the gray.

On an average LCD gradations of gray that are close to black tend to appear as blocked-up shadows (gradations of gray that are close to white are displayed comparatively accurately). If your LCD"s OSD menu allows you to adjust the contrast, please try gradually turning down the contrast. Turning down the contrast often makes it possible to see gradations that had been subject to blocked-up shadows or blown-out highlights.

Probably most LCDs will be able to detect some degree of banding and color cast in the middle gradations. Banding in the middle gradations is tone jump (Missing gradations) and, along with color cast, means that the RGB gamma curves are unequal. Unlike blocked-up shadows or blown-out highlights, this is an area that it is hard to improve with adjustments made by the user.

When we looked at these test images on the FlexScan SX2462W, in the smooth gradation there was blocked-up shadows right next to the black but we could distinguish differences in gradations of gray until very close to the black area. When it comes to such subtle gradation distinctions the brightness of the room and the adaptability of the eye come into play, so the range that is visible will vary according to the environment and the individual. The gradation expression was excellent, with almost no blown-out highlights in light areas, middle gradation banding or color cast.

Smooth color and monochrome gradations displayed on the FlexScan SX2462W. This data is of screen displays photographed with a digital camera so some of the gradations may seem to have been destroyed, but they were cleanly represented when checked visually.

A row of images of slightly different grays (1050 × 300 dots). If you cannot see the boundaries between the grays there is probably a problem with the display environment or gradation expression of your monitor.

The answer is "The far right" (it is displayed if you drag the space between the brackets). If the other grays looked correct, color may not be being correctly recognized for a variety of reasons, such as the lighting environment or the LCD settings.

For example, when the room is lit with standard household incandescent lights white and gray look reddish, while fluorescent lights can make them greenish (which is why there is some lighting that is made to conform to color evaluations). What is more, white and gray can have a reddish tinge when the monitor has been set to a low color temperature, while a high setting can give them a bluish tinge. Thus it often happens that the gray in visual data does not look like a true gray.

The two image patterns below are easy to understand examples of optical illusions. When you look at them you should be able to understand how heavily the human eye is influenced by surrounding colors.

The important thing in actual use is that you should not adjust the image quality of your monitor or edit visual material while looking at colors that are being wrongly recognized like this. There are some products where the RGB values of the monitor can be adjusted individually, but this requires caution since fiddling around randomly often leads to irreparable loss of color balance. An effective way to make subtle adjustments to the color detail of image data is to display neutral gray or white image data and use that as a yardstick.

Now let"s assess the gradation expression with some slightly different test images. Below are color patterns with a spread of pale colors in gradations close to the dark range and the light range. They are arranged so that a distinction cannot be made between adjoining colors on an LCD with insufficient gradation expression.

We expect that you could roughly get the whole picture in the gradation patterns on the previous page, but in the patterns this time some parts that cannot be seen may have appeared in some cases. As we mentioned earlier, LCDs tend to display gradations close to black as a blocked-up shadows, and color patterns that are close to black are particularly hard to distinguish.

Since there are some parts that cannot be seen, the possibility arises subtle skin colors and tones cannot be accurately recognized when doing things like retouching photographs, though the misrecognition will vary according to the user"s eyesight. People who place importance on color reproduction should probably bear this in mind when they think about replacing their LCD or buying an extra one.

Every LCD has some degree of brightness and chromaticity variation, but there are many products where the variations become more obvious when the brightness is lowered. A comparison of the brightness and chromaticity variation of a number of LCDs reveals that there is a fairly large difference between products, so this is a point to bear in mind.

If you actually try this test you may be surprised to find more variation than you expected when gray or a near-white pale color is displayed. Generally speaking, the center of an LCD screen is the brightest and it gradually gets darker towards the edges. This is no problem if there is not a big difference in brightness between the central and peripheral areas, but there are some products where this difference is very striking.

Incidentally, this test is also an effective way to test the LCD for dot defects (normal lighting / unlit room). We would like you to check the black display in a darkened environment, for example by switching off all the room lights at night. Although you probably saw the whole screen as uniformly black in a light environment, very often in a dark environment you can find variations in some parts due to light leaks.

Monochrome full-screen displays on a FlexScan SX2462W. Only the screen display is shown. The bottom right is a near-white pale orange. There are not many LCDs that can display this kind of pale color as uniformly as this

However, the pitfall here is that it simply means that "the screen is visible". The thing is that the viewing angle specifications are permitted to use the term "visible" until the display contrast ratio drops to an extremely low 10:1 or 5:1 when the screen is viewed from an angle (the steeper the angle from which the LCD screen is viewed, the more the contrast generally declines). In other words, they do not take into account the display uniformity of the central and peripheral areas of the screen, or the level of chromatic change, when the screen is viewed from an angle.

The ideal viewing angles is that the brightness and chromaticity is very uniform and there is not much chromatic change, even when the screen is viewed from a slight angle. The viewing angles given in the specifications are not really very helpful, but you can judge the standard of the panel type that the LCD (liquid crystal panel) adopts. IPS liquid crystal panels have the least change in brightness or chromaticity when the screen is viewed from an angle, and they are followed by VA panels. An IPS or VA liquid crystal panel can be said to indicate the superior nature of the product itself, so this is often included in the catalog or specifications. It is probably a good idea to look through the catalogs of various products.

The gradation images and monochrome images from earlier in this article can be used as they are to check the viewing angles. Display an image on the whole screen, look at it straight on and check whether the brightness and colors are uniform at the top and bottom of the screen, and in the center and at both sides. Then gradually shift the angle from which you view the screen and check how the brightness and coloration change. If you do this with photographic data as well as the test images, you should be able to get a better sense of the difference in the display.

When we checked the viewing angles of the FlexScan SX2462W there was absolutely nothing to criticize since, in addition to the use of an IPS panel, it is equipped with many high image quality functions, including the afore-mentioned digital uniformity correction circuit. The brightness and chromaticity throughout the whole screen is very uniform, and the coloration hardly changed at all when the viewing angle was changed.

We explained here about easy ways to check LCD monitor quality. How were the results for your current LCD? We think that many people were probably very bothered by the blocked-up shadows and blown-out highlights when the test images to check gradation were displayed, by the middle gradation banding, and by the variations in brightness and chromaticity when the monochrome images were displayed.

As we mentioned at the beginning, recently the number of LCDs with excellent display quality is on the decline. Although we would not go so far as to say that the display quality of inexpensive products is poor. Of course a high quality LCD is indispensable if you want to enjoy using your computer, properly handle the needs of applications that require color reproducibility, and to fully enjoy all the benefits of rich content.

The EIZO FlexScan LCD series has excellent display quality in those regards, and we have no qualms about recommending them to everyone. The product line-up is diverse but each model is clearly ranked according to the purpose to which it is suited and its screen size, and they all guarantee above-standard display quality. They may cost a little more than you had budgeted for but the clear value they offer exceeds their price.

If, after trying these tests, you have doubts about the display quality of the LCD that you usually use, we would certainly urge you to consider an EIZO LCD. We would also recommend that you construct a multi-display environment by making the new LCD your main monitor and the one that you have been using your sub monitor.

Displaying a custom image or graphic on a LCD display is a very useful task as displays are now a premium way of providing feedback to users on any project. With this functionality, we can build projects that display our own logo, or display images that help users better understand a particular task the project is performing, providing an all-round improved User Experience (UX) for your Arduino or ESP8266 based project. Today’s tutorial will focus on how you can display graphics on most Arduino compatible displays.

The procedure described in this tutorial works with all color displays supported by Adafruit’s GFX library and also works for displays supported by the TFTLCD library from Adafruit with little modification. Some of the displays on which this procedure works include:

For this tutorial, we will use the 2.8″ ILI9325 TFT Display which offers a resolution of 320 x 340 pixels and we will display a bitmap image of a car.

To demonstrate how things work, we will use the 2.8″ TFT Display. The 2.8″ TFT display comes as a shield which plugs directly into the Arduino UNO as shown in the image below.

Before an image is displayed on any of the Arduino screens, it needs to be converted to a C compatible hex file and that can only happen when the image is in bitmap form. Thus, our first task is to create a bitmap version of the graphics to be displayed or convert the existing image to a bitmap file. There are several tools that can be used for creation/conversion of bitmap images including, Corel Draw and Paint.net, but for this tutorial, we will use the Paint.net.

Image2Code is an easy-to-use, small Java utility to convert images into a byte array that can be used as a bitmap on displays that are compatible with the Adafruit-GFX or Adafruit TFTLCD (with little modification) library.

Paste the bit array in the graphics.c file and save. Since we have two graphics (the car and the text), You can paste their data array in the same file. check the graphics.c file attached to the zip file, under the download section to understand how to do this. Don’t forget to declare the data type as “const unsigned char“, add PROGEM in front of it and include the avr/pgmspace.h header file as shown in the image below.  This instructs the code to store the graphics data in the program memory of the Arduino.

To reduce the amount of code, and stress involved in displaying the graphics, we will use two wonderful libraries; The GFX library and the TFTLCD library from Adafruit.

The GFX library, among several other useful functions, has a function called drawBitmap(), which enables the display of a monochrome bitmap image on the display. This function allows the upload of monochrome only (single color) graphics, but this can be overcome by changing the color of the bitmap using some code.

The first two are thex and y coordinates of a point on the screen where we want the image to be displayed. The next argument is the array in which the bitmap is loaded in our code, in this case, it will be the name of the car and the text array located in the graphics.c file. The next two arguments are the width and height of the bitmap in pixels, in other words, the resolution of the image. The last argument is the color of the bitmap, we can use any color we like. The bitmap data must be located in program memory since Arduino has a limited amount of RAM memory available.

As usual, we start writing the sketch by including the libraries required. For this procedure, we will use the TFTLCD library alone, since we are assuming you are using a display that is not supported by the GFX library.

The last section of the code is the drawBitmap function itself, as earlier mentioned, to use the drawbitmap() function with the Adafruit TFTLCD library, we need to copy the function’s code and paste into the Arduino sketch.

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Among the most significant attributes of the i.MX53 platform is low power drain with excellent MIPS/mW performance enabling usage in a battery-operated devices, high CPU performance, plenty of available interfaces, glueless connectivity to numerous DVI-I video devices, and variable sets of LCDs with touch screens. Besides all the standard PC peripheral interfaces, the system provides multiple communication channels as well as universal expansion slots and connectors.

Digital and digital movie cameras share an optical system, typically using a lens with a variable diaphragm to focus light onto an image pickup device.shutter admit a controlled amount of light to the image, just as with film, but the image pickup device is electronic rather than chemical. However, unlike film cameras, digital cameras can display images on a screen immediately after being recorded, and store and delete images from memory. Many digital cameras can also record moving videos with sound. Some digital cameras can crop and stitch pictures and perform other elementary image editing.

The first semiconductor image sensor was the charge-coupled device (CCD), invented by Willard S. Boyle and George E. Smith at Bell Labs in 1969,MOS capacitor technology.NMOS active-pixel sensor was later invented by Tsutomu Nakamura"s team at Olympus in 1985,CMOS active-pixel sensor (CMOS sensor) by Eric Fossum"s team at the NASA Jet Propulsion Laboratory in 1993.

In the 1960s, Eugene F. Lally of the Jet Propulsion Laboratory was thinking about how to use a mosaic photosensor to capture digital images. His idea was to take pictures of the planets and stars while travelling through space to give information about the astronauts" position.Texas Instruments employee Willis Adcock"s film-less camera (US patent 4,057,830) in 1972,

Steven Sasson, an engineer at Eastman Kodak, invented and built a self-contained electronic camera that used a CCD image sensor in 1975.Fujifilm began developing CCD technology in the 1970s.

Nikon has been interested in digital photography since the mid-1980s. In 1986, while presenting to Photokina, Nikon introduced an operational prototype of the first SLR-type electronic camera (Still Video Camera), manufactured by Panasonic.pixels. Storage media, a magnetic floppy disk inside the camera allows recording 25 or 50 B&W images, depending on the definition.

At Photokina 1988, Fujifilm introduced the FUJIX DS-1P, the first fully digital camera, capable of saving data to a semiconductor memory card. The camera"s memory card had a capacity of 2 MB of SRAM (static random-access memory), and could hold up to ten photographs. In 1989, Fujifilm released the FUJIX DS-X, the first fully digital camera to be commercially released.Toshiba"s 40 MB flash memory card was adopted for several digital cameras.

The first commercial camera phone was the Kyocera Visual Phone VP-210, released in Japan in May 1999.pixel front-facing camera.digital images, which could be sent over e-mail, or the phone could send up to two images per second over Japan"s Personal Handy-phone System (PHS) cellular network.Samsung SCH-V200, released in South Korea in June 2000, was also one of the first phones with a built-in camera. It had a TFT liquid-crystal display (LCD) and stored up to 20 digital photos at 350,000-pixel resolution. However, it could not send the resulting image over the telephone function, but required a computer connection to access photos.J-SH04, a Sharp J-Phone model sold in Japan in November 2000.cell phones had an integrated digital camera and by the early 2010s, almost all smartphones had an integrated digital camera

The two major types of digital image sensor are CCD and CMOS. A CCD sensor has one amplifier for all the pixels, while each pixel in a CMOS active-pixel sensor has its own amplifier.back-side-illuminated CMOS (BSI-CMOS) sensor. The image processing capabilities of the camera determine the outcome of the final image quality much more than the sensor type.

The resolution of a digital camera is often limited by the image sensor that turns light into discrete signals. The brighter the image at a given point on the sensor, the larger the value that is read for that pixel.

Depending on the physical structure of the sensor, a color filter array may be used, which requires demosaicing to recreate a full-color image. The number of pixels in the sensor determines the camera"s "pixel count".

A lower resolution extends the number of remaining photos in free space, postponing the exhaustion of space storage, which is of use where no further data storage device is available, and for captures of lower significance, where the benefit from less space storage consumption outweighs the disadvantage from reduced detail.

An image sharpness is presented through the crisp detail, defined lines, and its depicted contrast. Sharpness is a factor of multiple systems throughout the DSLR camera by its ISO, resolution, lens and the lens settings, the environment of the image and its post processing. Images have a possibility of being too sharp but it can never be too in focus.

A digital camera resolution is determined by a digital sensor. The digital sensor indicates a high level of sharpness can be produced through the amount of noise and grain that is tolerated through the lens of the camera. Resolution within the field of digital still and digital movie is indicated through the camera"s ability to determine detail based on the distance which is then measured by frame size, pixel type, number, and organization although some DSLR cameras have resolutions limited it almost impossible to not have the proper sharpness for an image. The ISO choice when taking a photo effects the quality of the image as high ISO settings equates to an image that is less sharp due to increased amount of noise allowed into the image along with too little noise can also produce an image that is not sharp.

Digital camera, partially disassembled. The lens assembly (bottom right) is partially removed, but the sensor (top right) still captures an image, as seen on the LCD screen (bottom left).

Since the first digital backs were introduced, there have been three main methods of capturing the image, each based on the hardware configuration of the sensor and color filters.

Single-shot capture systems use either one sensor chip with a Bayer filter mosaic, or three separate image sensors (one each for the primary additive colors red, green, and blue) which are exposed to the same image via a beam splitter (see Three-CCD camera).

Multi-shot exposes the sensor to the image in a sequence of three or more openings of the lens aperture. There are several methods of application of the multi-shot technique. The most common was originally to use a single image sensor with three filters passed in front of the sensor in sequence to obtain the additive color information. Another multiple shot method is called microscanning. This method uses a single sensor chip with a Bayer filter and physically moves the sensor on the focus plane of the lens to construct a higher resolution image than the native resolution of the chip. A third version combines these two methods without a Bayer filter on the chip.

The third method is called scanning because the sensor moves across the focal plane much like the sensor of an image scanner. The linear or tri-linear sensors in scanning cameras utilize only a single line of photosensors, or three lines for the three colors. Scanning may be accomplished by moving the sensor (for example, when using color co-site sampling) or by rotating the whole camera. A digital rotating line camera offers images consisting of a total resolution that is very high.

Improvements in single-shot cameras and image file processing at the beginning of the 21st century made single shot cameras almost completely dominant, even in high-end commercial photography.

Firmware in the camera, or a software in a raw converter program such as Adobe Camera Raw, interprets the raw data from the sensor to obtain a full color image, because the RGB color model requires three intensity values for each pixel: one each for the red, green, and blue (other color models, when used, also require three or more values per pixel).

Cameras with digital image sensors that are smaller than the typical 35 mm film size have a smaller field or angle of view when used with a lens of the same focal length. This is because angle of view is a function of both focal length and the sensor or film size used.

The resolution of a digital camera is often limited by the image sensor that turns light into discrete signals. The brighter the image at a given point on the sensor, the larger the value that is read for that pixel. Depending on the physical structure of the sensor, a color filter array may be used, which requires demosaicing to recreate a full-color image. The number of pixels in the sensor determines the camera"s "pixel count". In a typical sensor, the pixel count is the product of the number of rows and the number of columns. Pixels are square and is often equal to 1, for example, a 1,000 by 1,000 pixel sensor would have 1,000,000 pixels, or 1 megapixel. On full-frame sensors (i.e., 24 mm 36 mm), some cameras propose images with 20–25 million pixels that were captured by 7.5–m photosites, or a surface that is 50 times larger.

Compact cameras are usually designed to be easy to use. Almost all include an automatic mode, or "auto mode", which automatically makes all camera settings for the user. Some also have manual controls. Compact digital cameras typically contain a small sensor which trades-off picture quality for compactness and simplicity; images can usually only be stored using lossy compression (JPEG). Most have a built-in flash usually of low power, sufficient for nearby subjects. A few high end compact digital cameras have a hotshoe for connecting to an external flash. Live preview is almost always used to frame the photo on an integrated LCD. In addition to being able to take still photographs almost all compact cameras have the ability to record video.

Compacts often have macro capability and zoom lenses, but the zoom range (up to 30x) is generally enough for candid photography but less than is available on bridge cameras (more than 60x), or the interchangeable lenses of DSLR cameras available at a much higher cost.Autofocus systems in compact digital cameras generally are based on a contrast-detection methodology using the image data from the live preview feed of the main imager. Some compact digital cameras use a hybrid autofocus system similar to what is commonly available on DSLRs.

For low cost and small size, these cameras typically use image sensor formats with a diagonal between 6 and 11 mm, corresponding to a crop factor between 7 and 4. This gives them weaker low-light performance, greater depth of field, generally closer focusing ability, and smaller components than cameras using larger sensors. Some cameras use a larger sensor including, at the high end, a pricey full-frame sensor compact camera, such as Sony Cyber-shot DSC-RX1, but have capability near that of a DSLR.

Big physical size and small sensor allow superzoom and wide aperture. Bridge cameras generally include an image stabilization system to enable longer handheld exposures, sometimes better than DSLR for low light conditions.

As of 2014, bridge cameras come in two principal classes in terms of sensor size, firstly the more traditional 1/2.3" sensor (as measured by image sensor format) which gives more flexibility in lens design and allows for handholdable zoom from 20 to 24 mm (35 mm equivalent) wide angle all the way up to over 1000 mm supertele, and secondly a 1" sensor that allows better image quality particularly in low light (higher ISO) but puts greater constraints on lens design, resulting in zoom lenses that stop at 200 mm (constant aperture, e.g. Sony RX10) or 400 mm (variable aperture, e.g. Panasonic Lumix FZ1000) equivalent, corresponding to an optical zoom factor of roughly 10 to 15.

Some bridge cameras have a lens thread to attach accessories such as wide-angle or telephoto converters as well as filters such as UV or Circular Polarizing filter and lens hoods. The scene is composed by viewing the display or the electronic viewfinder (EVF). Most have a slightly longer shutter lag than a DSLR. Many of these cameras can store images in a raw format in addition to supporting JPEG.

In late 2008, a new type of camera emerged, called a DSLR camera that does not require a reflex mirror, a key component of the former. While a typical DSLR has a mirror that reflects light from the lens up to the optical viewfinder, in a mirrorless camera, there is no optical viewfinder. The image sensor is exposed to light at all times, giving the user a digital preview of the image either on the built-in rear LCD screen or an electronic viewfinder (EVF).

Digital single-lens reflex cameras (DSLR) is a camera with a digital sensor that utilizes a reflex mirror to split or direct light into the viewfinder to produce an image.

Cameras with fixed semi-transparent mirrors, also known as DSLT cameras, such as the Sony SLT cameras, are single-lens without a moving reflex mirror as in a conventional DSLR. A semi-transparent mirror transmits some of the light to the image sensor and reflects some of the light along the path to a pentaprism/pentamirror which then goes to an optical view finder (OVF) as is done with a reflex mirror in DSLR cameras. The total amount of light is not changed, just some of the light travels one path and some of it travels the other. The consequences are that DSLT cameras should shoot a half stop differently from DSLR. One advantage of using a DSLT camera is the blind moments a DSLR user experiences while the reflecting mirror is moved to send the light to the sensor instead of the viewfinder do not exist for DSLT cameras. Because there is no time at which light is not traveling along both paths, DSLT cameras get the benefit of continuous auto-focus tracking. This is especially beneficial for burst-mode shooting in low-light conditions and also for tracking when taking video.

A rangefinder is a device to measure subject distance, with the intent to adjust the focus of a camera"s objective lens accordingly (open-loop controller). The rangefinder and lens focusing mechanism may or may not be coupled. In common parlance, the term "rangefinder camera" is interpreted very narrowly to denote manual-focus cameras with a visually-read out optical rangefinder based on parallax. Most digital cameras achieve focus through analysis of the image captured by the objective lens and distance estimation, if it is provided at all, is only a byproduct of the focusing process (closed-loop controller).

A San Francisco cable car, imaged using an Alkeria Necta N4K2-7C line scan camera with a shutter speed of 250 microseconds, or 4000 frames per second.

A line-scan camera traditionally has a single row of pixel sensors, instead of a matrix of them. The lines are continuously fed to a computer that joins them to each other and makes an image.frame grabber which resides in a PCI slot of an industrial computer. The frame grabber acts to buffer the image and sometimes provide some processing before delivering to the computer software for processing. Industrial processes often require height and width measurements performed by digital line-scan systems.

Many devices have a built-in digital camera, including, for example, smartphones, mobile phones, PDAs and laptop computers. Built-in cameras generally store the images in the JPEG file format.

There are many manufacturers that lead in the production of digital cameras (commonly DSLRs). Each brand embodies different mission statements that differ them from each other outside of the physical technology that they produce. While the majority of manufacturers share modern features amongst their production of cameras, some specialize in specific details either physically on camera or within the system and image quality.

A Nikon D200 camera with a Nikon 17-55 mm / 2,8 G AF-S DX IF-ED lens and a Nikon SB-800 flash. Flashes are used as attachment to a camera to provide light to the image, timed with the shutter of the camera.

Canon EF 70-200 f/2.8 lens mounted on a Canon 7D camera body. Lenses of varying lengths can be equipped onto main camera bodies to provide different perspectives for an image taken.

In an inversion, some phone makers have introduced smartphones with cameras designed to resemble traditional digital cameras. Nokia released the 808 PureView and Lumia 1020 in 2012 and 2013; the two devices respectively run the Symbian and Windows Phone operating systems, and both include a 41-megapixel camera (along with a camera grip attachment for the latter).Galaxy S4 Mini with the Galaxy Camera.Leica fixed lens equivalent of 28 mm at F2.8, can take RAW image and 4K video, has 21 mm thickness.Huawei P20 Pro is an android Oreo 8.1 has triple Leica lenses in the back of the smartphone with 40MP 1/1.7" RGB sensor as first lens, 20MP 1/2.7" monochrome sensor as second lens and 8MP 1/4" RGB sensor with 3x optical zoom as third lens.bokeh image with larger high dynamic range, whereas combination of mega pixel first lens and optical zoom will produce maximum 5x digital zoom without loss of quality by reducing the image size to 8MP.

Other cameras use wireless connections, via Bluetooth or IEEE 802.11 Wi-Fi, such as the Kodak EasyShare One. Wi-Fi integrated Memory cards (SDHC, SDXC) can transmit stored images, video and other files to computers or smartphones. Mobile operating systems such as Android allow automatic upload and backup or sharing of images over Wi-Fi to photo sharing and cloud services.

Cameras with integrated Wi-Fi or specific Wi-Fi adapters mostly allow camera control, especially shutter release, exposure control and more (tethering) from computer or smartphone apps additionally to the transfer of media data.

Cameraphones and some high-end stand-alone digital cameras also use cellular networks to connect for sharing images. The most common standard on cellular networks is the MMS Multimedia Messaging Service, commonly called "picture messaging". The second method with smartphones is to send a picture as an email attachment. Many old cameraphones, however, do not support email.

A common alternative is the use of a card reader which may be capable of reading several types of storage media, as well as high speed transfer of data to the computer. Use of a card reader also avoids draining the camera battery during the download process. An external card reader allows convenient direct access to the images on a collection of storage media. But if only one storage card is in use, moving it back and forth between the camera and the reader can be inconvenient. Many computers have a card reader built in, at least for SD cards.

Many modern cameras support the PictBridge standard, which allows them to send data directly to a PictBridge-capable computer printer without the need for a computer.

In January 2008, Silicon Image announced a new technology for sending video from mobile devices to a television in digital form. MHL sends pictures as a video stream, up to 1080p resolution, and is compatible with HDMI.

Many digital cameras have preset modes for different applications. Within the constraints of correct exposure various parameters can be changed, including exposure, aperture, focusing, light metering, white balance, and equivalent sensitivity. For example, a portrait might use a wider aperture to render the background out of focus, and would seek out and focus on a human face rather than other image content.

Many camera phones and most stand alone digital cameras store image data in flash memory cards or other removable media. Most stand-alone cameras use SD format, while a few use CompactFlash or other types. In January 2012, a faster XQD card format was announced.hot-swappable memory slots. Photographers can swap one of the memory card with camera-on. Each memory slot can accept either Compact Flash or SD Card. All new Sony cameras also have two memory slots, one for its Memory Stick and one for SD Card, but not hot-swapable.

The Joint Photography Experts Group standard (JPEG) is the most common file format for storing image data. Other file types include Tagged Image File Format (TIFF) and various Raw image formats.

Many cameras, especially high-end ones, support a raw image format. A raw image is the unprocessed set of pixel data directly from the camera"s sensor, often saved in a proprietary format. Adobe Systems has released the DNG format, a royalty-free raw image format used by at least 10 camera manufacturers.

Raw files initially had to be processed in specialized image editing programs, but over time many mainstream editing programs, such as Google"s Picasa, have added support for raw images. Rendering to standard images from raw sensor data allows more flexibility in making major adjustments without losing image quality or retaking the picture.

Other formats that are used in cameras (but not for pictures) are the Design Rule for Camera Format (DCF), an ISO specification, used in almost all camera since 1998, which defines an internal file structure and naming. Also used is the Digital Print Order Format (DPOF), which dictates what order images are to be printed in and how many copies. The DCF 1998 defines a logical file system with 8.3 filenames and makes the usage of either FAT12, FAT16, FAT32 or exFAT mandatory for its physical layer in order to maximize platform interoperability.

Most cameras include Exif data that provides metadata about the picture. Exif data may include aperture, exposure time, focal length, date and time taken. Some are able to tag the location.

In order to guarantee interoperability, DCF specifies the file system for image and sound files to be used on formatted DCF media (like removable or non-removable memory) as FAT12, FAT16, FAT32, or exFAT.

The filesystem in a digital camera contains a DCIM (Digital Camera IMages) directory, which can contain multiple subdirectories with names such as "123ABCDE" that consist of a unique directory number (in the range 100...999) and five alphanumeric characters, which may be freely chosen and often refer to a camera maker. These directories contain files with names such as "ABCD1234.JPG" that consist of four alphanumeric characters (often "100_", "DSC0", "DSCF", "IMG_", "MOV_", or "P000"), followed by a number. Handling of directories with possibly user-created duplicate numbers may vary among camera firmwares.

To enable loading many images in miniature view quickly and efficiently, and to retain meta data, some vendors" firmwares generate accompanying low-resolution thumbnail files for videos and raw photos. For example, those of Canon cameras end with .THM.

The very large sensor these backs use leads to enormous image sizes. For example, Phase One"s P45 39 MP image back creates a single TIFF image of size up to 224.6 MB, and even greater pixel counts are available. Medium format digitals such as this are geared more towards studio and portrait photography than their smaller DSLR counterparts; the ISO speed in particular tends to have a maximum of 400, versus 6400 for some DSLR cameras. (Canon EOS-1D Mark IV and Nikon D3S have ISO 12800 plus Hi-3 ISO 102400 with the Canon EOS-1Dx"s ISO of 204800).

In the industrial and high-end professional photography market, some camera systems use modular (removable) image sensors. For example, some medium format SLR cameras, such as the Mamiya 645D series, allow installation of either a digital camera back or a traditional photographic film back.

Most earlier digital camera backs used linear array sensors, moving vertically to digitize the image. Many of them only capture grayscale images. The relatively long exposure times, in the range of seconds or even minutes generally limit scan backs to studio applications, where all aspects of the photographic scene are under the photographer"s control.

Most modern digital camera backs use CCD or CMOS matrix sensors. The matrix sensor captures the entire image frame at once, instead of incrementing scanning the frame area through the prolonged exposure. For example, Phase One produces a 39 million pixel digital camera back with a 49.1 x 36.8 mm CCD in 2008. This CCD array is a little smaller than a frame of 120 film and much larger than a 35 mm frame (36 x 24 mm). In comparison, consumer digital cameras use arrays ranging from 36 x 24 mm (full frame on high end consumer DSLRs) to 1.28 x 0.96 mm (on camera phones) CMOS sensor.

The large full-frame 20.2 megapixel CMOS sensor offers a high level of image quality with attention given to sharpness, detail, and depiction of colors and tones within a scene. Due to increased information and detail, a larger sensor is capable of producing greater visual depth and smoother gradients and tonal transitions. Additionally, a large sensor provides more leeway to control the plane of focus and apply selective focus techniques.

This sensor delivers images with a maximum resolution of 5472 x 3648 pixels, with a pixel size of 6.55 µm square, for greater reception of light and a higher signal-to-noise ratio. This pixel structure works in close collaboration with the DIGIC 5+ image processor, and its 14-bit A/D conversion, to produce a native sensitivity range of ISO 100-25600, which can be further expanded to ISO 50-102400.

In addition to contributing to the low-light sensitivity, the DIGIC 5+ processor also delivers overall speed and power to the 6D and utilizes dual 4-channel A/D converter front-end processing circuits for expedited conversion of both JPEG and RAW file formats. This enables a maximum continuous shooting rate of 4.5 full resolution frames-per-second as well as greater noise reduction when working at higher ISOs. The DIGIC 5+ processor also provides real-time compensation for chromatic aberration when working with both still and moving imagery.

The 6D integrates an 11-point AF system for fast and precise focusing regardless of your subject matter or working situation. These 11 points provide even coverage across the entire frame while a more refined center cross-type point with EV -3 sensitivity provides more efficient, accurate low-light focusing. One-shot AF, AI Servo AF, and AI Focus AF are all available depending on one"s needs, and furthermore the AI Servo mode is customizable in regard to focus tracking, acceleration, and deceleration sensitivities, as well as 1st or 2nd image priority adjustments. Lens data can also be entered and customized within the camera for greater focus refinement when working with wide-angle or telephoto lenses.

An intelligent metering system works in conjunction with the autofocus system and independently analyzes focus, color, and luminance within the scene for the most precise exposure settings possible. The 63 zones cover the entire image area with great detail and the dual-layer design permits a wider sensitivity to different wavelengths of light.

The dual layers are split into a red/green channel and a blue/green channel; which counters the red light sensitivity bias electronic sensors inherently have. A series of algorithms are employed to combine data received from both layers, with the resulting exposure reading being extremely accurate regardless of the shooting conditions.

Built-in Wi-Fi and GPS technologies enable highly functional connectivity with other devices, including the ability to instantly share imagery from your camera and geotag your photographs.

Exposure settings can be controlled remotely from your smartphone when using Canon"s proprietary iOS and Android app, Canon EOS Remote, allowing you to make exposures and modify camera settings from a distance. You can also review imagery from your camera on your smart device, and transfer files wirelessly. Full DNLA (Digital Living Network Alliance) compatibility is supported, which enables you to share your images from the 6D with other household products such as HDTVs, tablets, and other Wi-Fi-enabled Canon cameras. You are also able to upload still images directly to CANON iMAGE GATEWAY, allowing you to then easily share images with social networking sites without the use of a computer.

The GPS receiver functions similarly and is able to record locational data (longitude, latitude, altitude, and universal coordinated time) as EXIF data which is then embed into your image files. This then permits you to track where your images were recorded and view your exact route traveled.

The EOS 6D contains a large full-frame sensor within a compactly-sized body for greater portability without sacrificing image quality. The body features an aluminum alloy and polycarbonate chassis with a magnesium and polycarbonate exterior for durability. The shutter rated up to 100,000 cycles.

The 3.0" Clear View TFT LCD provides high quality viewing with a 1,040,000-dot resolution and anti-reflection coating. This allows for sharp and clear viewing in even the brightest of conditions and displays images and videos with great detail and richness. The display also features a viewing angle up to 160° for review from the side or below.

When used in conjunction with Live View mode, a smaller display is superimposed over the image. Live View mode permits real-time image review and can also place grid lines over the image for compositional help. A built-in electronic level is available for maintaining consistent horizons or for lining up parallel lines within a scene. You can also zoom into and navigate within the image when in Live View and use the grid lines for minute control and precision over the alignment of your photograph.

A High Dynamic Range (HDR) mode is available and allows for the creation of HDR images in-camera, reducing the time needed to manually overlay images in post-production. When using this mode, a series of bracketed exposures are made of the same image, then automatically integrated into the same frame, resulting in a photograph without blown highlights or blocked up shadows and a long middle range of tones. This mode is especially useful when photographing scenes with a great deal of contrast.

Multiple exposures are also possible in-camera and up to 9 exposures can be recorded onto a single file using 2 distinct settings for control. When in Additive mode, this closely resembles making multiple exposures on film and layers each exposure; manual exposure compensation is required. Average mode layers the images and automatically compensates for the final exposure, eliminating the unintended possibility of gross under or overexposure. Multiple exposures can be recorded in either JPEG or RAW formats, and furthermore you can utilize an existing RAW image as a starting point from which to layer subsequent images, which can then be manipulated in real time on the LCD.

Special Scene modes also help to enhance your imagery by applying a system of corrections for use in more difficult lighting situations. Handheld Night Scene automatically captures four consecutive exposures, at shutter speeds fast enough to handhold, and layers them into a single frame. This allows you to effectively record images in darker situations without the need of a tripod or stabilization device. HDR Backlight Control works in the same manner and records a series of exposures at different values to ensure highlight and shadow values are not lost. These under and over-exposed images are blended to create a final image with a wider dynamic range.

; Peripheral illumination, chromatic aberration, and distortion corrections are available and programmable through a menu of different available EF lenses. This lens data is used to automatically correct for each individual lens" traits to produce the cleanest image possible.

; In-camera RAW processing and JPEG resizing are available to allow for expedited offloading of imagery that is instantly reading for the method in which you intend to share it.

; Silent shooting is a low-vibration shooting mode that slows and mutes the shutter and mirror reflex, enabling a more discrete method of capturing imagery.Model/Supplier Specific SpecificationsSupplier Provided SpecificationsDescription

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