Cameras, Photography and Video Equipment, Photofinishing Industry Terminology

We shot on an APS-C body, so a 35 mm lens gave a field of view similar to ~52 mm on full-frame; APS-C bodies are popular for their balance of cost, reach, and size; Be mindful of crop factor when choosing wide-angle lenses for APS-C.

This pigment ink on cotton rag paper is rated for 100+ years of display life; Avoid OBA-heavy papers if you need archival permanence; The lab provides ISO test data for print permanence.

Use AF-C with eye detection for moving portraits; Switch to AF-S and single point for precise product shots; This camera’s phase-detect AF performs well in low light.

Our camera ASP rose after we shifted mix toward higher-end bodies; Bundling lenses increased ASP by 12%; ASP dropped when retailers discounted during MAP holidays.

The sensor’s Bayer CFA requires demosaicing to create a full-color image; X-Trans is an alternative to the standard Bayer pattern; Strong moiré can be a byproduct of Bayer sampling with certain subjects.

Shoot 10-bit 4:2:2 log for smoother gradients in grading; 16-bit TIFFs help avoid banding in sky gradients; RAW at 14-bit captures more tonal detail than 12-bit.

This 4K 10-bit 4:2:2 codec records at 400 Mbps; Use a higher bitrate for fast motion to avoid macroblocking; Streaming platforms often limit bitrate to manage bandwidth.

Our lab still processes C-41 color negative film; Cross-processing C-41 in E-6 yields creative color shifts; Ensure fresh chemistry for consistent C-41 results.

Choose 4:2:2 for stronger color information in grading; 4:2:0 is fine for web delivery but not ideal for keying; External recorders can enable 4:2:2 capture on some cameras.

Stacked CMOS sensors allow faster readout and less rolling shutter; BSI CMOS improves low-light performance; Most modern cameras use CMOS rather than CCD.

We recorded H.265 internally but used ProRes HQ on the external recorder; Long-GOP codecs are efficient but harder to edit than All‑Intra; Check NLE support for the codec before the shoot.

Edit stills in Adobe RGB or ProPhoto RGB for wide gamut; Deliver SDR video in Rec.709; Soft-proof to the lab’s ICC profile to handle smaller paper color spaces.

On APS-C with 1.5x crop, a 50 mm frames like 75 mm on full-frame; Crop factor also affects apparent depth of field; Choose focal lengths considering the sensor’s crop factor.

Set PPI to 300 for 8x10 inch prints at high quality; Printers may use thousands of DPI dots to render 300 PPI image data; Don’t confuse PPI (image) with DPI (printer hardware).

This sensor offers ~14 stops of dynamic range at base ISO; Shoot log to preserve dynamic range for HDR grading; Watch the histogram to avoid clipping highlights.

Dye-sub kiosks deliver dry-to-touch prints in seconds; Dye-sub has excellent durability for photo booths; Gamut is smaller than high-end pigment inkjet but speedy and robust.

Use 24 mm for wide interiors and 85 mm for portraits; On APS-C, 24 mm behaves like ~36 mm; Zooms cover multiple focal lengths, primes are fixed.

Shoot 24p for a cinematic feel and 60p for smooth motion; Overcrank at 120 fps for slow motion playback at 24 fps; Match frame rate to mains frequency to avoid flicker.

Full-frame sensors excel in low light and shallow depth of field; A 35 mm on full-frame is a classic environmental portrait lens; Many cine lenses are designed to cover full-frame now.

The lab’s paper profile has a smaller gamut than your monitor; Use soft proof to handle out-of-gamut colors; P3 displays show a wider gamut than sRGB.

Global shutter eliminates skew in fast pans; It avoids flash banding issues; Some new sensors trade a bit of dynamic range for global shutter performance.

We delivered 4K masters in HEVC to reduce file size; Hardware decoding is essential for smooth HEVC playback; Check licensing and NLE support before committing to HEVC.

Capture log and grade to HDR10 for HDR displays; HDR stills can be tone-mapped for SDR output; Ensure monitoring supports HLG or PQ when grading HDR.

Use the histogram to ensure highlights aren’t clipping; Log profiles may show a left-shifted histogram; Enable RGB histograms to watch channel clipping.

IBIS gives 5–8 stops of stabilization for handheld shooting; Pair IBIS with OIS for dual stabilization; IBIS helps stabilize adapted manual lenses too.

Convert to the lab’s ICC printer profile before sending; Calibrate your monitor and use its ICC profile; Assign vs convert profiles appropriately in your editor.

Pigment inks offer better fade resistance for archival fine art; Dye inks often have higher gloss and saturation but lower permanence; Choose paper and ink combinations by ICC profile.

Stay at base ISO for maximum dynamic range; Dual native ISO cameras maintain cleaner images at specific ISO steps; Higher ISO increases noise but enables faster shutter speeds.

JPEG is convenient for fast delivery but limited to 8-bit; Avoid excessive recompression to minimize artifacts; Use JPEG for proofs, keep RAW or TIFF for finals.

Shoot S-Log3 and apply a Rec.709 LUT for monitoring; Log requires careful exposure to avoid noisy shadows; Deliverables may be SDR Rec.709 even if captured in log.

Load a 3D LUT on the monitor to preview the final grade; Use a technical LUT to convert log to Rec.709; Creative LUTs can establish a look but fine-tune in grading.

Dealers must comply with MAP or risk losing co-op funds; We scheduled a MAP holiday for Black Friday; MAP stabilizes pricing across channels.

The MTF chart shows contrast at 10 and 30 lp/mm; Higher MTF at the edges indicates strong corner sharpness; Compare MTF curves when evaluating lenses.

Use a 6‑stop ND to shoot wide open in bright sun; Variable ND is convenient but can cause X-patterns at extremes; For video, ND helps maintain a 180-degree shutter angle.

The 24–105 mm lens has OIS for steadier handheld footage; OIS + IBIS can yield better stabilization; Turn off OIS on a tripod to avoid drift.

We print RA-4 on Fuji silver-halide paper; Dry labs can’t match the RA-4 look on some images; RA-4 requires proper chemical control for consistency.

Shoot RAW to adjust white balance and exposure in post; 14-bit RAW preserves more detail than 12-bit; Convert proprietary RAW to DNG for archiving if desired.

Deliver SDR masters in Rec.709 for broadcast and web; Apply a log-to-Rec.709 transform for monitoring; Calibrate monitors to Rec.709 when grading SDR.

The RIP handles color management and halftoning for the lab’s printer; We queue print jobs through the RIP with the correct ICC profile; Upgrading the RIP improved throughput.

Fast pans caused skew due to rolling shutter readout; LED panels produced partial-exposure banding; Global shutter or faster readout mitigates these artifacts.

Create unique SKUs for each lens mount variant; Bundles need distinct SKUs for inventory tracking; Retailers rely on SKUs for sell-through reporting.

Jam-sync timecode across camera and audio recorder; Use drop-frame 29.97 for broadcast workflows; Free-run timecode simplifies multicam sync.

Soft-proof with the lab’s ICC to preview gamut clipping; Choose perceptual rendering intent for saturated colors; Adjust out-of-gamut hues before sending to print.

Tether to Capture One for live client review; Use a TetherBoost cable for reliability; Studio workflows often rely on tethered capture for instant checks.

Export 16-bit TIFFs for retouching and print; Use LZW or ZIP compression to reduce file size losslessly; TIFF preserves layers and high bit depth better than JPEG.

Our photobook TAT is three business days; Offer expedited TAT during peak season for a surcharge; Track TAT by product to optimize staffing.

We shot UHD 3840x2160 for a 4K delivery; Note the difference between UHD (16:9) and DCI 4K (4096x2160); Higher resolution increases storage and GPU requirements.

Use the luma waveform to set exposure precisely; RGB parade helps balance white point; Waveforms are more reliable than histograms for log footage.

Set 5600K for daylight or custom WB with a gray card; Correct mixed lighting using manual white balance; RAW allows easy WB changes in post, unlike JPEG.

Set zebras to 70% IRE for skin tones; Use 95% zebras to protect highlights; Zebras guide exposure when shooting log without a monitor LUT.