Simon
Trussell
Commercial photography is probably best defined as any
photography for which the photographer is paid for images rather than works of
art. In this light money could be paid for the subject of the photograph or the
photograph itself. Wholesale, retail, and professional uses of photography would
fall under this definition. The commercial photographic world could include:

* Advertising photography: photographs made to illustrate and usually
sell a service or product. These images, such as packshots, are generally done
with an advertising agency, design firm or with an in-house corporate design
team.
* Fashion and glamour photography: This type of photography usually
incorporates models. Fashion photography emphasizes the clothes or product,
glamour emphasizes the model. Glamour photography is popular in advertising and
in men's magazines. Models in glamour photography may be nude, but this is not
always the case.
* Crime Scene Photography: This type of photography
consists of photographing scenes of crime such as robberies and murders. A black
and white camera or an infrared camera may be used to capture specific details.

* Still life photography usually depicts inanimate subject matter, typically
commonplace objects which may be either natural or man-made.
* Food
photography can be used for editorial, packaging or advertising use. Food
photography is similar to still life photography, but requires some special
skills.
* Editorial photography: photographs made to illustrate a story or
idea within the context of a magazine. These are usually assigned by the
magazine.
* Photojournalism: this can be considered a subset of editorial
photography. Photographs made in this context are accepted as a documentation of
a news story.
* Portrait and wedding photography: photographs made and sold
directly to the end user of the images.
* Landscape photography: photographs
of different locations.
* Wildlife photography that demonstrates life of the
animals.
* Photo sharing: publishing or transfer of a user's digital photos
online.
* Paparazzi

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Simon Trussell

Compared to the Nikon D50000 and D60:
major feature and specification differences

As you can see from the
table below the D3000 shares a lot of functionality with the D5000, including a
versatile 11-point AF system. In some respects though, especially in terms of
resolution and frame rate/buffer, it is closer to the now-discontinued D60.

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

Simon Trussell The D3000 is pretty closely related to the
D5000. There are important differences though, which are detailed here.

* 10 MP CCD sensor (D5000: 12.3 MP CMOS)
* Fixed LCD screen (D5000:
Tilt/swivel screen)
* No Live View (D5000: Live View with contrast detect
AF)
* No movie mode (D5000: Movie Mode with contrast detect AF)
* More
limited ISO range (100-3200 as opposed to 200-6400)
* No control of Active
D-Lighting intensity (D5000: choice of 'low, normal, high')
* No automatic
lateral chromatic aberration correction (available in D5000)
* No choice of
JPEG quality in RAW+JPEG shooting (JPEG basic available only)
* Slower
continuous shooting (3fps compared to 4fps from the D5000)
* No exposure
bracketing (available in D5000)

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

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

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