They make market leading products now but a Canon digital camera [of course film in those days] started in a single-room by three Japanese men in the year 1933 under the name of Precision Optical Instruments Laboratory, Canon has come a long way today. It all began with the phantom prototype camera called the ‘Kwanon’. At that time, Germany was considered to be the leader in camera production. German cameras were extremely expensive. So, Goro Yoshida, along with two others tried to produce a 35mm rangefinder camera at a cheaper price and came up with “Kwanon’.
However, at that time, one of the problems faced by the company was that it did not have a lens of its own. So, it decided to tie up with Nippon Kogaku Kogyo (who was to become the founder of Nikon) and acquire lenses from them. With the use of these lenses, Canon came up with its first commercial camera called the “Hansa Canon” in 1936 which became a hit. However, the company still had to go through hardships due to the War.
After the war, the company officially adopted the name “Canon” as its name. Up till then, the lens was under a different name, the camera had a different name and the company had a different name. So, in order to unify all these three, Canon came into existence on September 15, 1947. Slowly the company started to expand, and many historical cameras were created such as the Serenar 50mm f/1.8 lens in 1951, Canonet in 1961, AF35M (Autoboy) in 1979 and the EOS 650 in 1987.
The first Canon digital camera was the PowerShot 600 in 1996. Then, after making several advances in digital technology, Canon launched the EOS D2000 digital SLR camera in 1998 for professionals. In addition, the XL1 digital video camera was introduced. Due to its superior functionality and reliability, the XL1 became the official digital video camcorder of the NASA.
In order to provide the market with a cost effective camera along with superior functionality and performance, Canon introduced the EOS D60 in 2002 and the EOS 10D in 2003. These two cameras made Canon the market leader in digital technology. Then, the EOS Kiss Digital was introduced in 2003, which became a big success.
Today, Canon has introduced several digital camcorders. Starting with the FV30 and the FV200KIT in 2002, Canon went onto launch the FV M1 and the IXY DV M2 in 2003 in the mid range segment. As the company progresses, Canon digital camera continues to strive to provide its consumers with better and better technology at the lowest price possible. They have been known as a choice of the pros for many years in the world of photography but now with a broad line of products Canon is firmly positioned in the consumer market as well.
http://www.great-digital-cameras.com/canon-digital-camera-history.html
Saturday, November 10, 2007
How to shoot digital video of your kid's sports team so everyone will want to watch it!
1.You bought a digital video camera
2.You want to shoot your child playing sports
3.Here is how to do it!
What a wonderful age of technology we live in. You can buy the greatest gadgets now days to record video and music and play them in all sorts of ways on other great technology gadgets from computers, DVD’s, MP3 players, VCR’s, and many more. It is all great stuff. But they all come with thick owners manuals that do not always get you going the right direction. You may eventually learn to use your great new camera for instance, but that does not mean you will necessarily take pictures that are worth looking at down the road. Rolling tape in your camera is one thing and creating video that is high quality and interesting is another thing. The goal of this product is to bring you up to speed with using your video camera (whatever format, and whatever brand) to get the best results for recording those precious moments of your kid’s athletic achievements.
as parents spend plenty of hours out on the field, court, pool, or track watching our kids take part in and compete in youth sports. If you have a video camera you are going to want to record some of these events for posterity and perhaps education. Following the simple steps in this guide will help you to capture them in the best possible fashion so that it is watch able but also usable down the road.
My video expertise stems from two decades as a network television cameraman and as a parent with several kids actively involved in youth sports. In my years of shooting video professionally I have been around the world and seen just about every type of news event. I also spent 15 years covering pro sports events for my employer. These were the best type of assignments as far as I was concerned. In my entire career the things I have enjoyed most is being able to go to places where the average person cannot.
In sports that usually means being on the field, next to the court, in the press box, or in the pit. I have shot football games of all levels up to and including the NFC and AFC championship games. Living in the SF Bay Area has allowed me to cover many baseball pennant races and several World Series. I was right behind home plate the night the earth shook in the 1989 World Series between the Giants and A's. Talk about a shock. I had to give up covering a World Series between the two Bay Area baseball teams to go and cover a huge news event. Baseball seemed small for a while after the magnitude of the earthquake.
The point in this is that I love sports, have been around sports my whole life and I know how to shoot video of sports. With that in mind I will do my best to give you advice on how to do the same.
Gear
Now whether you have the latest DV camera in your hands or an old VHS format camera there are basic things you will need to keep in mind if you are going to shoot sports. As we say in the video business your camera is only as good as the glass that you hang in front of it. The better the lens the better the results will be no matter what kind of recording format you use. Now you already have a camera in hand and may never have heard this particular bit of advice so it is too late to factor it into the equation. However if you have camera in hand and it has any limitations on what it can do due to the lens being less than wonderful there are things you can do to mitigate the situation. We will discuss those things in more detail later on.
The key factors before setting out on your game day video assignment are to make sure you know the operating functions of the gear, have a tape supply in hand (soon to be DVDs with the revolution in gear design that is taking place right now), and batteries fully charged. I know these may seem like the simply obvious things but even the pros have to constantly remind themselves to check and double check these items.
A little aside here about preparation. Over the many years of covering news I learned lots of little tips from other photographers in the field and applied them to my work regimen. In the early days of video we always had to carry around a portable hair dryer because the record decks would seize up if the moisture levels got to high. So in the winter time if you came in from the cold outside into a nice warm building the air would condense inside the machine and cause moisture build up. The warning light would come on and bang we were dead in the water. One of us would have to run to the car and get the hair dryer, fire it up and chase the water away from the record heads of the deck. It caused some very funny moments in public places I can assure you. (This by the way can still be a problem even today with electronics/VCRs/lenses. Too much moisture can cause havoc. So just remember a portable hair dryer can save your day)
Another thing I learned from others is the value of backup. A few years ago I was out on assignment and we had a young eager college intern along with us in the field. This young man wanted to learn all about what we did in our job. He was very interested in how to take pictures, unlike most of our interns who only wanted to become reporters or anchors. He asked many questions and after seeing that he was really paying attention I decided to take him under my wing and really fill him up with information. One tidbit that I shared with him was to always have an emergency stash of tape in his car when out on assignment. He didn’t quite understand the importance of this at first since I had already drilled him about always bringing tape stock with him when going out on assignment. I filled him with stories of times when something or other happened and I’ll be darned if you didn’t need another tape and there under the seat of the car was that emergency spare. So anyway he went off to graduate from college and get a job in a small market TV station. He would send us progress reports from time to time, which I really enjoyed. Then lo and behold one day he sends me a letter telling me how he got into a jam one day on a story and needed that emergency tape. He had dutifully tucked one under the back seat and it was there to save the day. I hope that what you learn in this book will in some way keep you from having a video failure down the road. What I learned in my career is that video production is 80% of it is dealing with the curves and problems that are thrown at you and 20% talent. If you can learn to trouble shoot then you will always be successful.
My first suggestion for shooting your kids sports activities is to go watch TV. Yes sit down put your feet up and watch some sports on TV. Really watch how they make it interesting at the top level. Then watch the news and see how they cover the games from a news perspective. Don’t pay attention to the content; just watch how it develops visually. Now of course you can never duplicate what the networks are doing with just your one camera. However if you can glean anything from watching it should be how they try to bring intimacy with the athletes out in the broadcast. All the new improvements in covering sports have to do with getting you the viewer as close to the athlete as they can. Bring you into their world. From cameras on wires overhead that swoop along the field to cameras in the net of a hockey game to cameras inside the cars at Daytona, it brings you into the game. Now you cannot stand on the pitchers mound at your kids’ baseball game but you can learn some techniques that can make your baseball video more intimate and therefore more compelling to watch.
A side note here, if your task is to capture the whole game or sporting activity for review as a coaching tool you should focus mainly on getting a good high view and putting the camera on a tripod. Pan slowly to follow action and don’t zoom in and out. My main goal here is not to teach you this skill since it is pretty darn basic. However if this is what you are doing you should do it right. Find the right framing to keep as much of the activity in the frame and follow it carefully. Some sports move quickly from one end to the other and you will have to be smooth. Resist the temptation to follow the ball on full zoom. You will lose. Those guys that shoot sports on TV are full on pros using much better gear than you will ever have at your disposal.
Now in order to get a good video of your child’s game you need to find that emotion and excitement that exists in any game. Think of it as capturing a few of the things that occur and making those golden. Does the team do a pre game cheer? Get up close, stick your camera wither way up high over their heads looking down or get underneath looking up and shoot it in a way that takes the viewer where they can’t go. Capture an at bat in baseball by taking a full pitch cycle in close-up of the pitcher, and then one of the catcher and then as close as you can of the hitter. Show their face if you can. If they get the big hit don’t go crazy rushing to zoom out. Follow the runner down the line. It will be almost impossible to follow the ball so stay with the runner. Look for the angles that will give you these emotional shots.
Some sports are more of a challenge due to the size of the field and the amount of movement up and down the field. Take soccer of instance, if you follow the ball the camera is moving all over the place and the viewer gets queasy. To capture some good video of your kid playing you need to focus on specific shots and not try to follow the play. Look for moments such as throw ins, free kicks, kick offs when things are predictable and you can get closer to the action. Walk down the sideline and wait for the action to come to you. If you child is playing right forward then get ahead of the play and when you see the ball moving towards you then you can find you child and roll tape in anticipation of them playing the ball. Be sure to get some shots of the crowd cheering, the coach watching (not yelling I hope) the goalie waiting in anticipation.
Hold your shots steady for 6-10 seconds at a time. If you are taking a shot of someone watching the game actually count it out in your head (thousand one thousand two…) This will ensure that you get good solid shots and that you don’t run on and on with the shot. Brace your arm against your chest for stability and use your other arm across your belly underneath to create a stabilizing platform. This is in lieu of a tripod of course. If you have a tripod it can always be a good thing to use if it does not get in the way.
Use creative angles as much as possible. Get down low and wait for the action to run by you. Don’t pan with it but rather let the action race through the frame. At a swim meet get the camera down on the deck for more of a swimmers perspective of the action. Of course you may not want to stay there when the swimmers approach for a turn. Digital electronics do not like water inside them. I was getting the most awesome low angle shots of some open water ocean swimmers one time and the boat lurched on me and salt water sprayed over the camera. I had a cover on the camera but salt water seeped into the crannies and it caused us much grief getting it cleaned out so as to avoid damaging the electronics of the camera.
http://www.great-digital-cameras.com/sports-digital-video.html
2.You want to shoot your child playing sports
3.Here is how to do it!
What a wonderful age of technology we live in. You can buy the greatest gadgets now days to record video and music and play them in all sorts of ways on other great technology gadgets from computers, DVD’s, MP3 players, VCR’s, and many more. It is all great stuff. But they all come with thick owners manuals that do not always get you going the right direction. You may eventually learn to use your great new camera for instance, but that does not mean you will necessarily take pictures that are worth looking at down the road. Rolling tape in your camera is one thing and creating video that is high quality and interesting is another thing. The goal of this product is to bring you up to speed with using your video camera (whatever format, and whatever brand) to get the best results for recording those precious moments of your kid’s athletic achievements.
as parents spend plenty of hours out on the field, court, pool, or track watching our kids take part in and compete in youth sports. If you have a video camera you are going to want to record some of these events for posterity and perhaps education. Following the simple steps in this guide will help you to capture them in the best possible fashion so that it is watch able but also usable down the road.
My video expertise stems from two decades as a network television cameraman and as a parent with several kids actively involved in youth sports. In my years of shooting video professionally I have been around the world and seen just about every type of news event. I also spent 15 years covering pro sports events for my employer. These were the best type of assignments as far as I was concerned. In my entire career the things I have enjoyed most is being able to go to places where the average person cannot.
In sports that usually means being on the field, next to the court, in the press box, or in the pit. I have shot football games of all levels up to and including the NFC and AFC championship games. Living in the SF Bay Area has allowed me to cover many baseball pennant races and several World Series. I was right behind home plate the night the earth shook in the 1989 World Series between the Giants and A's. Talk about a shock. I had to give up covering a World Series between the two Bay Area baseball teams to go and cover a huge news event. Baseball seemed small for a while after the magnitude of the earthquake.
The point in this is that I love sports, have been around sports my whole life and I know how to shoot video of sports. With that in mind I will do my best to give you advice on how to do the same.
Gear
Now whether you have the latest DV camera in your hands or an old VHS format camera there are basic things you will need to keep in mind if you are going to shoot sports. As we say in the video business your camera is only as good as the glass that you hang in front of it. The better the lens the better the results will be no matter what kind of recording format you use. Now you already have a camera in hand and may never have heard this particular bit of advice so it is too late to factor it into the equation. However if you have camera in hand and it has any limitations on what it can do due to the lens being less than wonderful there are things you can do to mitigate the situation. We will discuss those things in more detail later on.
The key factors before setting out on your game day video assignment are to make sure you know the operating functions of the gear, have a tape supply in hand (soon to be DVDs with the revolution in gear design that is taking place right now), and batteries fully charged. I know these may seem like the simply obvious things but even the pros have to constantly remind themselves to check and double check these items.
A little aside here about preparation. Over the many years of covering news I learned lots of little tips from other photographers in the field and applied them to my work regimen. In the early days of video we always had to carry around a portable hair dryer because the record decks would seize up if the moisture levels got to high. So in the winter time if you came in from the cold outside into a nice warm building the air would condense inside the machine and cause moisture build up. The warning light would come on and bang we were dead in the water. One of us would have to run to the car and get the hair dryer, fire it up and chase the water away from the record heads of the deck. It caused some very funny moments in public places I can assure you. (This by the way can still be a problem even today with electronics/VCRs/lenses. Too much moisture can cause havoc. So just remember a portable hair dryer can save your day)
Another thing I learned from others is the value of backup. A few years ago I was out on assignment and we had a young eager college intern along with us in the field. This young man wanted to learn all about what we did in our job. He was very interested in how to take pictures, unlike most of our interns who only wanted to become reporters or anchors. He asked many questions and after seeing that he was really paying attention I decided to take him under my wing and really fill him up with information. One tidbit that I shared with him was to always have an emergency stash of tape in his car when out on assignment. He didn’t quite understand the importance of this at first since I had already drilled him about always bringing tape stock with him when going out on assignment. I filled him with stories of times when something or other happened and I’ll be darned if you didn’t need another tape and there under the seat of the car was that emergency spare. So anyway he went off to graduate from college and get a job in a small market TV station. He would send us progress reports from time to time, which I really enjoyed. Then lo and behold one day he sends me a letter telling me how he got into a jam one day on a story and needed that emergency tape. He had dutifully tucked one under the back seat and it was there to save the day. I hope that what you learn in this book will in some way keep you from having a video failure down the road. What I learned in my career is that video production is 80% of it is dealing with the curves and problems that are thrown at you and 20% talent. If you can learn to trouble shoot then you will always be successful.
My first suggestion for shooting your kids sports activities is to go watch TV. Yes sit down put your feet up and watch some sports on TV. Really watch how they make it interesting at the top level. Then watch the news and see how they cover the games from a news perspective. Don’t pay attention to the content; just watch how it develops visually. Now of course you can never duplicate what the networks are doing with just your one camera. However if you can glean anything from watching it should be how they try to bring intimacy with the athletes out in the broadcast. All the new improvements in covering sports have to do with getting you the viewer as close to the athlete as they can. Bring you into their world. From cameras on wires overhead that swoop along the field to cameras in the net of a hockey game to cameras inside the cars at Daytona, it brings you into the game. Now you cannot stand on the pitchers mound at your kids’ baseball game but you can learn some techniques that can make your baseball video more intimate and therefore more compelling to watch.
A side note here, if your task is to capture the whole game or sporting activity for review as a coaching tool you should focus mainly on getting a good high view and putting the camera on a tripod. Pan slowly to follow action and don’t zoom in and out. My main goal here is not to teach you this skill since it is pretty darn basic. However if this is what you are doing you should do it right. Find the right framing to keep as much of the activity in the frame and follow it carefully. Some sports move quickly from one end to the other and you will have to be smooth. Resist the temptation to follow the ball on full zoom. You will lose. Those guys that shoot sports on TV are full on pros using much better gear than you will ever have at your disposal.
Now in order to get a good video of your child’s game you need to find that emotion and excitement that exists in any game. Think of it as capturing a few of the things that occur and making those golden. Does the team do a pre game cheer? Get up close, stick your camera wither way up high over their heads looking down or get underneath looking up and shoot it in a way that takes the viewer where they can’t go. Capture an at bat in baseball by taking a full pitch cycle in close-up of the pitcher, and then one of the catcher and then as close as you can of the hitter. Show their face if you can. If they get the big hit don’t go crazy rushing to zoom out. Follow the runner down the line. It will be almost impossible to follow the ball so stay with the runner. Look for the angles that will give you these emotional shots.
Some sports are more of a challenge due to the size of the field and the amount of movement up and down the field. Take soccer of instance, if you follow the ball the camera is moving all over the place and the viewer gets queasy. To capture some good video of your kid playing you need to focus on specific shots and not try to follow the play. Look for moments such as throw ins, free kicks, kick offs when things are predictable and you can get closer to the action. Walk down the sideline and wait for the action to come to you. If you child is playing right forward then get ahead of the play and when you see the ball moving towards you then you can find you child and roll tape in anticipation of them playing the ball. Be sure to get some shots of the crowd cheering, the coach watching (not yelling I hope) the goalie waiting in anticipation.
Hold your shots steady for 6-10 seconds at a time. If you are taking a shot of someone watching the game actually count it out in your head (thousand one thousand two…) This will ensure that you get good solid shots and that you don’t run on and on with the shot. Brace your arm against your chest for stability and use your other arm across your belly underneath to create a stabilizing platform. This is in lieu of a tripod of course. If you have a tripod it can always be a good thing to use if it does not get in the way.
Use creative angles as much as possible. Get down low and wait for the action to run by you. Don’t pan with it but rather let the action race through the frame. At a swim meet get the camera down on the deck for more of a swimmers perspective of the action. Of course you may not want to stay there when the swimmers approach for a turn. Digital electronics do not like water inside them. I was getting the most awesome low angle shots of some open water ocean swimmers one time and the boat lurched on me and salt water sprayed over the camera. I had a cover on the camera but salt water seeped into the crannies and it caused us much grief getting it cleaned out so as to avoid damaging the electronics of the camera.
http://www.great-digital-cameras.com/sports-digital-video.html
Laptop And Digital Camera Memory Devices Improved With Nanotechnology
Arizona State University's Center for Applied Nanoionics (CANi) has a new take on old memory, one that promises to boost the performance, capacity and battery life of consumer electronics from digital cameras to laptops. Best of all, it is cheap, made from common materials and compatible with just about anything currently on the market.
"In using readily available materials, we've provided a way for this memory to be made at essentially zero extra cost, because the materials you need are already used in the chips -- all you have to do is mix them in a slightly different way," said Michael Kozicki, director of CANi.
For some time now, conventional computer memory has been heading toward a crunch -- a physical limit of how much storage can be crammed into a given space. Traditional electronics begins to break down at the nanoscale -- the scale of individual molecules -- because pushing electronics closer together creates more heat and greater power dissipation. As consumer electronics such as MP3 players and digital cameras shrink, the need for more memory in a smaller space grows.
Researchers have been approaching the problem from two directions, either trying to leapfrog to the next generation of memory, or refining current memory. CANi took both approaches, amping up performance via special materials while also switching from charge-based storage to resistance-based storage.
"We've developed a new type of old memory, but really it is the perfect memory for what's going to be required in future generations," Kozicki said. "It's very low-energy. You can scale it down to the nanoscale. You can pack a lot of it into a small space."
CANi was also able to overcome the limitations of conventional electronics by using nanoionics, a technique for moving tiny bits of matter around on a chip. Instead moving electrons among charged particles, called ions, as in traditional electronics, nanoionics moves the ions themselves.
"We've actually been able to move something the size of a virus between electrodes to switch them from a high resistance to a low resistance, which is great for memory," Kozicki said.
Most memory today stores information as charge; in the binary language of computers, this means that an abundance of charge at a particular site on a chip translated as a "one," and a lack of charge is translated as a "zero." The problem with such memory is that the smaller its physical size, the less charge it can reliably store.
Resistance-based memory, on the other hand, does not suffer from this problem and can even store multiple bits on one site. Moreover, once the resistance is set, it does not change, even when the power is switched off.
CANi's previous high-performance resistance-change memory has been licensed to three companies, including Micron Technology and Qimonda, and has attracted the attention of Samsung, Sony and IBM. However, it used some materials, specifically silver and germanium sulfide, previously unused by industry and therefore required new processes to be developed.
The real advancement of CANi's newest memory is that researchers discovered a way to use materials already common in chip manufacturing. Although "doping" -- mixing silicon with small amounts of conductive materials such as boron, arsenic or phosphorus -- has been common practice for years, copper in silicon dioxide was largely unheard of. In fact, it was strictly avoided.
"People have actually gone to great lengths to keep the silicon oxide and the copper apart," Kozicki said. "But in our case, we are very interested in mixing the copper with the oxide -- basically, so that it would become mobile and move around in the material."
"Because it can move in there, we can make a sort of nanoscale switch," he added. "This very, very small switch can be used in memory applications, storing information via a range of resistance values."
Industry has already shown interest in the new memory and, if all goes well, consumers could see it on the market within a few years.
"What it means is we could replace all of the memory in all sorts of applications -- from laptops to iPods to cell phones to whatever -- with this one type of memory," Kozicki said. "Because it is so low energy, we can pack a lot of memory and not drain battery power; and it's not volatile -- you can switch everything off and retain information. What makes this significant is that we are using materials that are already in use in the semiconductor industry to create a component that's never been thought of before."
The research was conducted in collaboration with Research Center Jülich in Germany. It was published in the October 2007 issue of the journal IEEE Transactions on Electron Devices in the article "Bipolar and Unipolar Resistive Switching in Cu-doped SiO2." The team included Christina Schindler, on loan from Germany to CANi, Sarath Chandran Puthen Thermadam of CANi, Kozicki, and Rainer Waser of the Institute for Solid State Research and Center for Nanoelectronics Systems and Information Technology in Jülich.
http://www.sciencedaily.com/releases/2007/10/071023173435.htm
"In using readily available materials, we've provided a way for this memory to be made at essentially zero extra cost, because the materials you need are already used in the chips -- all you have to do is mix them in a slightly different way," said Michael Kozicki, director of CANi.
For some time now, conventional computer memory has been heading toward a crunch -- a physical limit of how much storage can be crammed into a given space. Traditional electronics begins to break down at the nanoscale -- the scale of individual molecules -- because pushing electronics closer together creates more heat and greater power dissipation. As consumer electronics such as MP3 players and digital cameras shrink, the need for more memory in a smaller space grows.
Researchers have been approaching the problem from two directions, either trying to leapfrog to the next generation of memory, or refining current memory. CANi took both approaches, amping up performance via special materials while also switching from charge-based storage to resistance-based storage.
"We've developed a new type of old memory, but really it is the perfect memory for what's going to be required in future generations," Kozicki said. "It's very low-energy. You can scale it down to the nanoscale. You can pack a lot of it into a small space."
CANi was also able to overcome the limitations of conventional electronics by using nanoionics, a technique for moving tiny bits of matter around on a chip. Instead moving electrons among charged particles, called ions, as in traditional electronics, nanoionics moves the ions themselves.
"We've actually been able to move something the size of a virus between electrodes to switch them from a high resistance to a low resistance, which is great for memory," Kozicki said.
Most memory today stores information as charge; in the binary language of computers, this means that an abundance of charge at a particular site on a chip translated as a "one," and a lack of charge is translated as a "zero." The problem with such memory is that the smaller its physical size, the less charge it can reliably store.
Resistance-based memory, on the other hand, does not suffer from this problem and can even store multiple bits on one site. Moreover, once the resistance is set, it does not change, even when the power is switched off.
CANi's previous high-performance resistance-change memory has been licensed to three companies, including Micron Technology and Qimonda, and has attracted the attention of Samsung, Sony and IBM. However, it used some materials, specifically silver and germanium sulfide, previously unused by industry and therefore required new processes to be developed.
The real advancement of CANi's newest memory is that researchers discovered a way to use materials already common in chip manufacturing. Although "doping" -- mixing silicon with small amounts of conductive materials such as boron, arsenic or phosphorus -- has been common practice for years, copper in silicon dioxide was largely unheard of. In fact, it was strictly avoided.
"People have actually gone to great lengths to keep the silicon oxide and the copper apart," Kozicki said. "But in our case, we are very interested in mixing the copper with the oxide -- basically, so that it would become mobile and move around in the material."
"Because it can move in there, we can make a sort of nanoscale switch," he added. "This very, very small switch can be used in memory applications, storing information via a range of resistance values."
Industry has already shown interest in the new memory and, if all goes well, consumers could see it on the market within a few years.
"What it means is we could replace all of the memory in all sorts of applications -- from laptops to iPods to cell phones to whatever -- with this one type of memory," Kozicki said. "Because it is so low energy, we can pack a lot of memory and not drain battery power; and it's not volatile -- you can switch everything off and retain information. What makes this significant is that we are using materials that are already in use in the semiconductor industry to create a component that's never been thought of before."
The research was conducted in collaboration with Research Center Jülich in Germany. It was published in the October 2007 issue of the journal IEEE Transactions on Electron Devices in the article "Bipolar and Unipolar Resistive Switching in Cu-doped SiO2." The team included Christina Schindler, on loan from Germany to CANi, Sarath Chandran Puthen Thermadam of CANi, Kozicki, and Rainer Waser of the Institute for Solid State Research and Center for Nanoelectronics Systems and Information Technology in Jülich.
http://www.sciencedaily.com/releases/2007/10/071023173435.htm
A Primer on Digital Cameras... Everything you need to know
It wasn’t long ago that digital cameras were essentially for the rich and the geeks; if you spent just a few bucks you didn’t get anything worth having, and if you really wanted something good.. well, you’d better be in the book about the Rich and Famous.
Technology and costs have changed drastically in the last few years, and it seems as if today that digital cameras nearly outnumber all the classic film cameras, and to all but the classic photography buffs, digital is the way to go.
Even traditional photography studios use digital, often in combination, with film.
Why? What’s the attraction? Instant availability and the ability to discard unwanted photos without cost penalty is one main attraction. The second is the ability to share, publish, store your pictures.
The purist will still argue that for professional grade photography and the widest range of effects that film is the only way to go. If he were shooting today, it is doubtful that Ansel Adams would be using digital.
For the rest of us, digital seems to be the way to go.
Now assuming you have not yet made the plunge, the biggest question is "Where Do I start?" or "What do I buy?" or "How Do I Compare?"
Articles have been written on just these subjects and if we were to expand on all, this article would be a text book instead of just a primer. You can do a search on any of the popular article sites to find many articles just on that subject, (one site for example is ArticleCity.com, but not to promote one over the other.. chances are you may be seeing this on an article based site). You can also use search engines.
But sometimes it’s nice to have interactive expert advice. We suggest you read and research for background, but then for selection, visit you closest specialty photography or camera store. One where that’s all they sell.. not a general all purpose discount or department store that probably has that department "manned" with part time help.. but go to the specialty store. The person will know what to ask you and how to guide you.
Your biggest question will end up being an ethical one: After you have been taught and guided, do you buy from that store, or take your knowledge and model to the internet or a discount store and make your buy. If you do, keep in mind that the full service store may offer just that.. service after the sale; maybe an upgrade trade in policy, and other intangibles that must be assigned value.
Before you venture out, choosing the right camera begins with asking yourself "What do I want this for?" "What kinds of pictures do I expect to be taking?" "How many at a time?" (Addresses memory and storage issues). "What kind of light will most of my pictures be in?" "Will I be carrying this camera for long periods of time?"(Think of weight). And lastly, and this is important.. What kind of batteries does this camera use; how available are they, and what do they cost? Most digital cameras are real battery hogs, so it is important that batteries are readily available.. and possibly rechargable.. but if you are on a 3 week safari in Africa and you don’t have chargers handy.. what are your options? How many pictures? Memory cards available easily? Or do you have to dump and download often? On a long vacation you don’t want to shoot all day and fill up.. and then not have a computer handy to dump into?
Compared to film where it’s just "pop a new roll" digital cameras purchased that don’t match the photographers needs can be a detriment, not an asset.
Once you choose, then you need to know how to compare pricing and benefits.. but that’s the subject for another article.
Choose wisely and you’ll love your new camera!
http://www.multihost.com/digital-camera/a-primer-on-digital-cameras...-everything-you-n.html
Technology and costs have changed drastically in the last few years, and it seems as if today that digital cameras nearly outnumber all the classic film cameras, and to all but the classic photography buffs, digital is the way to go.
Even traditional photography studios use digital, often in combination, with film.
Why? What’s the attraction? Instant availability and the ability to discard unwanted photos without cost penalty is one main attraction. The second is the ability to share, publish, store your pictures.
The purist will still argue that for professional grade photography and the widest range of effects that film is the only way to go. If he were shooting today, it is doubtful that Ansel Adams would be using digital.
For the rest of us, digital seems to be the way to go.
Now assuming you have not yet made the plunge, the biggest question is "Where Do I start?" or "What do I buy?" or "How Do I Compare?"
Articles have been written on just these subjects and if we were to expand on all, this article would be a text book instead of just a primer. You can do a search on any of the popular article sites to find many articles just on that subject, (one site for example is ArticleCity.com, but not to promote one over the other.. chances are you may be seeing this on an article based site). You can also use search engines.
But sometimes it’s nice to have interactive expert advice. We suggest you read and research for background, but then for selection, visit you closest specialty photography or camera store. One where that’s all they sell.. not a general all purpose discount or department store that probably has that department "manned" with part time help.. but go to the specialty store. The person will know what to ask you and how to guide you.
Your biggest question will end up being an ethical one: After you have been taught and guided, do you buy from that store, or take your knowledge and model to the internet or a discount store and make your buy. If you do, keep in mind that the full service store may offer just that.. service after the sale; maybe an upgrade trade in policy, and other intangibles that must be assigned value.
Before you venture out, choosing the right camera begins with asking yourself "What do I want this for?" "What kinds of pictures do I expect to be taking?" "How many at a time?" (Addresses memory and storage issues). "What kind of light will most of my pictures be in?" "Will I be carrying this camera for long periods of time?"(Think of weight). And lastly, and this is important.. What kind of batteries does this camera use; how available are they, and what do they cost? Most digital cameras are real battery hogs, so it is important that batteries are readily available.. and possibly rechargable.. but if you are on a 3 week safari in Africa and you don’t have chargers handy.. what are your options? How many pictures? Memory cards available easily? Or do you have to dump and download often? On a long vacation you don’t want to shoot all day and fill up.. and then not have a computer handy to dump into?
Compared to film where it’s just "pop a new roll" digital cameras purchased that don’t match the photographers needs can be a detriment, not an asset.
Once you choose, then you need to know how to compare pricing and benefits.. but that’s the subject for another article.
Choose wisely and you’ll love your new camera!
http://www.multihost.com/digital-camera/a-primer-on-digital-cameras...-everything-you-n.html
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