Computational Photography, an AI-powered Slopendium

▸Part 5 PHOTOGRAPHY⧉

▸5.1 The camera as an instrument⧉

▸5.1.1 UI and display⧉

`fig-viewfinder-types` · viewfinder types: OVF (optical) vs EVF (electronic) vs rear LCD ✅

▸5.1.2 Anatomy of a modern full-frame interchangeable-lens camera⧉

`fig-mirrorless-anatomy` · labeled cutaway of a mirrorless full-frame camera (lens+mount, sensor/IBIS, mech+electronic shutter, EVF, processor/on-sensor PDAF, card+battery); SLR mirror-box inset for contrast ✅

▸5.1.3 Anatomy of cell-phone cameras⧉

▸5.1.4 Camera versus phone⧉

▸5.1.5 Types of cameras⧉

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`fig-big-camera-vs-phone`, `fig-camera-market`, `fig-camera-types` fig-big-camera-vs-phone

▸5.1.6 Cameras beyond photography⧉

▸5.1.7 A camera's other sensors⧉

▸5.2 Exposure and capture timing⧉

▸5.2.1 Basic photography: exposure settings (shutter, aperture, and ISO)⧉

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`fig-exposure-bucket-analogy`, `fig-aperture-dof`, `fig-shutter-motion-blur`, `fig-fstop-progression`, `fig-exposure-triangle`, `fig-exposure-triangle-sim`, `fig-metering-18-gray`, `fig-ettr-histogram` fig-exposure-bucket-analogy

▸5.2.2 Exposure modes, UI, and auto-ISO⧉

`fig-mode-dial` · exposure mode dial (P/A/S/M) → who sets aperture vs shutter in the exposure triangle ✅

▸5.2.3 Metering: from printed guides to the sensor⧉

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`fig-exposure-guide-plate`, `fig-light-meter` fig-exposure-guide-plate

▸5.2.4 f-stops versus T-stops⧉

▸5.2.5 Video capture settings⧉

▸5.2.6 Choosing one frame or several⧉

▸5.3 Viewpoint, lenses, and focus⧉

▸5.3.1 Lenses and focal length⧉

`fig-focal-length-families` · focal-length families as nested FOV cones (ultrawide/wide/normal/short-tele/tele) with angle of view + one-word use each ✅

▸5.3.2 Aperture and the diaphragm⧉

▸5.3.3 Focusing the lens⧉

▸5.3.4 Choosing and checking autofocus⧉

`fig-af-families` · autofocus families: contrast-detect hill-climb · phase-detect sub-aperture offset · on-sensor/dual-pixel PDAF ✅

▸5.3.5 Image stabilization⧉

`fig-stabilization` · image stabilization: hand-held blur vs OIS (lens shift) vs IBIS (sensor shift); ~2–5 stops, camera shake not subject motion ✅

▸5.3.6 Keeping the lens clean⧉

▸5.3.7 Lens filters: polarizers, ND, and graduated ND⧉

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`fig-lens-filters`, `fig-polarization-vegetation` fig-lens-filters

▸5.4 Working with light⧉

▸5.4.1 Natural illumination⧉

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`fig-color-temp-time`, `fig-sky-illumination-sim` fig-color-temp-time

▸5.4.2 Flash⧉

▸5.4.3 Flash metering⧉

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`fig-shutter-sync` fig-shutter-sync

▸5.4.4 Indirect illumination and bounce flash⧉

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`fig-bounce-flash-sim`, `fig-reflector-sim` fig-bounce-flash-sim

▸5.4.5 Multiple-point lighting⧉

`fig-portrait-lighting-sim` · live portrait-lighting simulator (web edition): three soft area lights (key/fill/kicker — az/el/extent/intensity/color, area-light-supersampled soft shadows) on a 3D face with a physiological melanin/hemoglobin skin model; a from-behind setup view with Meshy studio umbrellas + a camera rig; lighting presets; static fallback is a screenshot. *3D umbrella generated with Meshy AI.* ✅

▸5.5 Developing and editing a photograph⧉

▸5.5.1 The traditional darkroom⧉

`fig-darkroom-enlarger` · chemical darkroom: film develop pipeline (developer → stop → fix → negative) + enlarger printing onto paper, labeling exposure time (lightness), contrast grade (paper/filter), dodging (lighter) and burning (darker) ⬜

▸5.5.2 The digital darkroom⧉

`fig-editing-lr-vs-ps` · the two digital darkrooms: a Lightroom-style parametric develop panel (WB, exposure/contrast, tone curve, HSL, clarity/dehaze, sharpening/NR, lens corr., local masks) vs a Photoshop-style layer/mask workspace (clone/heal, content-aware fill, dodge/burn, curves) — each tool annotated with the chapter that derives it ⬜

▸5.5.3 What a photographer actually does with those sliders⧉

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`fig-darkroom-jarosz` fig-darkroom-jarosz

▸5.6 Preparing photographs for viewing⧉

▸5.6.1 Why the display characteristics matter⧉

▸5.6.2 Distance, resolution and acuity⧉

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`fig-display-acuity-calculator` fig-display-acuity-calculator

▸5.6.3 Sharpening for the display: size and distance⧉

▸5.6.4 Light level viewing conditions⧉

`fig-hunt-effect` · colorfulness vs luminance (Hunt) 🟨

▸5.6.5 Viewing position and perspective⧉

▸5.7 Photographic situations and tradeoffs⧉

▸5.7.1 A moving person indoors⧉

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`fig-photo-types-motion` fig-photo-types-motion

▸5.7.2 A backlit portrait⧉

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`fig-photo-types-people` fig-photo-types-people

▸5.7.3 An interior with a bright window⧉

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`fig-photo-types-places` fig-photo-types-places

▸5.7.4 A close-up object⧉

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`fig-photo-types-objects` fig-photo-types-objects

▸5.7.5 A phone document capture⧉

▸5.7.6 Adapting the cases: wildlife⧉

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`fig-photo-types-animals` fig-photo-types-animals

▸5.7.7 Adapting the cases: night and sky⧉

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`fig-photo-types-lowlight` fig-photo-types-lowlight

▸5.7.8 When the intended result is abstract⧉

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`fig-photo-types-art` fig-photo-types-art

▸5.7.9 When the apparatus changes the problem⧉

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`fig-photo-types-technique` fig-photo-types-technique

▸5.7.10 One frame, or a body of work⧉

▸5.8 Photographic representation and its limits⧉

▸5.8.1 Compensation, accentuation, conflict⧉

▸5.8.2 The picture is flat: depth and its cues⧉

▸5.8.3 The picture is static: time and motion⧉

▸5.8.4 One viewpoint, and a finite frame⧉

▸5.8.5 The contrast is limited: dynamic range and gamut⧉

▸5.8.6 Resolution depends on the task⧉

▸5.8.7 Authorship and what the photograph claims⧉

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`fig-xkcd-ballot-selfies` fig-xkcd-ballot-selfies

▸5.8.8 Faithful is not the same as realistic⧉

▸5.8.9 Choosing the instant, choosing the viewpoint⧉

▸5.8.10 Time and focus select information⧉

▸5.8.11 Filters and lighting: building the scene's light⧉

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`fig-lighting-as-judgment`, `fig-time-of-day-strip` fig-lighting-as-judgment

▸5.8.12 The darkroom: tone, dodging, and burning⧉

▸5.8.13 Make-up and retouching: authoring the subject⧉

▸5.8.14 Getting closer: systematic capture and the biases that remain⧉

▸5.9 Photography TLDR⧉