Camera device. Film and digital cameras

Digital photography- section related to obtaining stored in digital format. Digital photography, unlike film photography, uses to record images, that is, electrical signals instead of chemical processes. At present, digital photography is being used more and more, sales of digital cameras in most countries have already exceeded sales of film cameras. Increasingly, digital imaging technologies are being used in devices that were not previously intended for this, for example, in or in.

Now in digital photographic equipment, several types of sensors are used. By element base:

• (CCD)
• (CMOS)
• DX-matrix (hybrid CMOS and CCD)

By color separation technology:

• matrices with
• matrices

Multifunctionality

Excluding the most cheap options() and the most expensive professional devices, a digital camera records the captured images on an electro-magnetic medium, mainly Flash cards and mini-disks, although devices were previously produced using and for these purposes.

Many digital cameras along with photos allow you to record video and audio fragments. Some devices can be used as webcams, many allow you to connect them directly to print or view photos.

Film comparison

Advantages of digital photography

• Quick review of captured frames allows you to quickly understand the errors and reshoot the failed frame;
• You pay only for printing finished photos;
• Long-term storage of photographs on electronic media (with timely copying to fresh media in accordance with the service life of the media) does not lead to a deterioration in their quality;
• Images are ready for processing and replication on , they do not need to be scanned;
• Most digital cameras are smaller than their film counterparts;
• Many digital cameras allow you to shoot in infrared using only, while classic photography requires a special one;
• Possibility of flexible control, while there are only two types of color film - for daylight shooting and for shooting under electric lighting.

Advantages of film photography

• Most amateur film cameras use widely available standard batteries, as opposed to specialized ones in most digital cameras (mainly for the sake of compactness of the camera).
• The use time of a set of batteries in a film camera is much longer;
• Simple mechanical cameras do not require any electrical supply and can be used in extreme conditions;
• Film, especially negative film, is much larger than digital matrices, which makes it possible to shoot scenes with a large range without loss of detail;
• At very long, at a bad level, it noticeably exceeds the graininess of the film;
• Film black-and-white photography using compensation filters is more preferable than subsequent processing in a similar manner of digital photographs due to noticeably better image quality;
• Digital cameras are still much more expensive than their film counterparts;
• The prospect of long-term storage of digital media is not yet clear. Photos have to be periodically copied to new media.

equal opportunity

• Film grain has its analogy in the form . The larger the film, or the higher the ISO equivalent number of a digital frame, the greater the noise or graininess;
• The speed of modern digital cameras is equal to the speed of similar film models, except for the shutter time () in models using the contrast system (most conventional non-mirror models);

Comparison of frame formats

Most digital cameras have an aspect ratio of 1.33 (4:3), equal to the aspect ratio of most computer monitors and televisions. Film photography uses an aspect ratio of 1.5 (3:2). Some digital cameras allow you to take photographs in film aspect ratio, including most digital SLRs, to ensure continuity and compatibility of film camera accessories.

Conclusion

In conclusion, it can be said that today digital photography is definitely more preferable for amateurs and most professionals, except for photographers with very specific requirements, or shooting in large and medium format.

Digital camera options

The quality of the image given by a digital camera is made up of many components, which are much more than in film photography. Among them:

• Optical quality, including level
• Matrix type: or
• Physical size of the matrix
• Built-in processing quality, including noise reduction
• Number of matrix pixels

Number of matrix pixels

The number of matrix pixels is now several million and is measured in megapixels. The number of megapixels of the matrix is ​​\u200b\u200bspecified in the manufacturer's passport of the camera. Although often manufacturers are cunning, hiding the way these data are calculated. For example, for cameras that use matrices with (and this is the vast majority of modern cameras), the manufacturer indicates the number of pixels in the finished file, although in the matrix each of the cells perceives only one color component, and the rest of the components are obtained mathematically based on data from neighboring cells. And, for example, for cameras based on a sensor, it is indicated three times more than real ones, although from a formal point of view there is no error here, since each cell of such a matrix consists of three layers, each of which perceives its own color. Based on the foregoing, it is incorrect to compare these two technologies only by the number of megapixels.

File formats

Most modern digital cameras record images in the following formats:

• A format that performs lossy compression. Trade-off between quality and file size. Allows you to set the compression level (and quality, respectively). Available on most digital cameras.
• - format without compression or lossless compression (compression). As a rule, it is implemented only in cameras that claim to be professional. In professional SLR cameras, TIFF is almost never used and its support is not even implemented, because on the one hand it gives satisfactory quality in maximum quality, and if more is needed, then the RAW format is smaller in volume, which contains more data. The file size (if it is not compressed) is easy to determine by multiplying the vertical and horizontal resolution of the matrix with the number of bytes per pixel. Usually used only when RAW cannot be used, and JPEG is not suitable due to data loss. The TIFF format can use a depth of 8 or 16 bits per color.
• RAW - a file of this format is a "semi-finished" image - information read from the matrix without processing (or with minimal processing). The purpose of this format is to give the photographer the opportunity to fully influence the image shooting process with the possibility of subsequent correction of the shooting parameters (color balance, ) and the degree of necessary transformations (correction of contrast, sharpness, saturation, noise reduction, etc.), incl. to correct photographic errors. The RAW format contains data with the accuracy and dynamic range that the camera's sensor is capable of, typically around 12 bits per color on a linear scale. While TIFF or JPEG formats most commonly use 8 bits per color on a gamma compensated scale (JPEG also suffers from lossy compression). In addition, data in TIFF or JPEG is stored with filters already applied "inside the camera" (sharpness, contrast, etc. used when shooting). In addition, the computer can make the necessary conversions more accurately and efficiently than the camera's processor. The RAW file format is specific to each camera, may have different extensions (CRW, CR2, NEF, etc.), and is supported by fewer image processing programs. To get an image from RAW format, use special program(RAW converter) or the corresponding one that “understands” such a format. The RAW format is usually implemented in amateur and professional cameras. A RAW file is usually smaller than or equal to a TIFF file in size, but file sizes vary due to lossless compression techniques.

Additional information about shooting parameters is appended to images in .

Data carriers

Most modern digital cameras record captured frames on Flash cards in the following formats:

• (CF-I or CF-II)
• (modifications PRO, Duo, PRO Duo)
• (MMC)

It is also possible to connect most cameras directly to a computer using standard interfaces - and (FireWire). Previously, a serial connection was also used, but now it is no longer used.

Digital backs

Digital backs are used in professional studio photography. They are devices containing a photosensitive matrix, a processor, memory and an interface with a computer. The digital back is installed on professional medium format cameras instead of film cassettes. The most advanced modern digital backs contain up to 39 megapixels in the matrix.

Matrix Size and Image Angle

Most digital camera sensors are smaller than a standard 35mm film frame. As a result, the concept equivalent focal length and crop factor.

The equivalent focal length is the lens that when used on 35mm film will give the same focal length as the comparable digital camera. The ratio between the actual focal length and the equivalent is called the crop factor.

Considering the crop factor is especially important when using digital cameras with interchangeable . If, for example, we use a 50mm lens with a digital camera that has a crop factor of 1.6, we will get an image angle equivalent to an 80mm lens when shooting on film. It should be noted that when installing lenses on digital cameras, there is no increase in focal length, as many people think. Physically, there is only a clipping of a part of the frame that does not fall on the matrix, that is, it changes exactly, and not. At the same time, the effect on the perspective of the image remains corresponding to a 50 mm lens. Due to this, a frame shot with such a digital camera through a 50mm lens will not be completely equivalent to a frame shot with an 80mm lens on film, precisely in terms of the effect on perspective. An 80mm lens will have more "compressed" perspective.

Teledermatology, the preservation, processing and transmission of digital images over a distance are topics that are now occupied by many dermatologists both in clinics and in private practice. We will try in this article to reveal the most important, in our opinion, the possibilities of teledermatology. The use of teledermatology, along with improving the quality of treatment and diagnosis, makes the doctor's work more cost-effective, which is especially important for private practitioners.

Preservation of digital images and the study of pigmented skin formations

Epiluminescent dermatoscopy was "rediscovered" in the early 70s for the preoperative diagnosis of pigmented skin lesions. At first, this method seemed rather complicated due to the use of stationary, rather bulky, stereomicroscopes .

With the advent of portable, hand-held dermatoscopes, as well as a binocular dermatoscope with significantly high magnification, epiluminescent dermatoscopy has taken a strong place among traditional ways surveys.

With the help of a dermatoscope, as well as using an illuminated magnifying glass, you can quickly examine the surface of the skin. When examining with a dermatoscope, a special washer made of a transparent material is placed on the skin area, on which an immersion liquid is applied, which allows you to explore the deeper layers of the skin. Studies have shown that even at 10x magnification, all essential structural and color components are identifiable.

Initially, photographs or transparencies were taken (if necessary) during examinations with both a stereomicroscope and various types of dermatoscopes. This was always accompanied by significant costs due to the lack of instant control over image quality, since the result of the shooting was visible only after the development of the film. All this significantly limited the possibilities of documenting the results of surveys. Later, they found technical solutions, allowing you to mount dermatoscopes on a video camera connected to a computer. This method makes it possible to display images either on a computer monitor or on a separate monitor and then save them (Fig. 1, Fig. 2).

This method is definitely superior to traditional photography in terms of speed, cost (due to the rapid reduction in the cost of high-quality computer equipment in last years) and the ability to control the quality of image storage. However, the application of this method is limited by the fact that the optical resolution of a computer image when using today's "conventional" video cameras and computer video cards is lower than with classical transparencies.

In addition, computer images cannot be enlarged to the extent required for clinical presentations or lectures without a noticeable loss in quality. Although when viewing a dermoscopic finding stored in a computer on a monitor or printing it out on a photo-sized color or video printer (as is done in everyday practice for diagnosis and documentation), the image quality is practically the same as a regular photograph.

In both clinical photography and video photography, it is important that the colors conveyed are true to life. Modern video cameras are able to compare White color as a reference and constantly monitor the color spectrum at every moment of shooting. However, in the field of color perception, epiluminescent dermatoscopy is a completely subjective method, since any standards for comparative analysis colors are not possible. For example, when assessing the color nuances of melanocytic formations, the researcher should rely only on personal perception. When analyzing an image, it must be remembered that not only the camera and lighting, but also the computer components that process and transmit the image (monitor, graph or video card, etc.) can affect the color. The diagnosis is made, as always, by the doctor, not the system. Expert systems or automated screening systems are currently being developed.

The history of inventions is sometimes very bizarre and unpredictable. Exactly 40 years have passed since the invention in the field of semiconductor optoelectronics, which led to the appearance digital photography.

On November 10, 2009, inventors Willard Boyle (born in Canada in 1924) and George Smith (born in 1930) were awarded the Nobel Prize. While working at Bell Labs, in 1969 they invented a charge-coupled device: the CCD sensor, or CCD (Charge-Coupled Device). At the end of the 60s. 20th century scientists have found that the MOS structure (metal-oxide-semiconductor compound) is light-sensitive. The principle of operation of a CCD sensor, consisting of individual MOS photosensitive elements, is based on reading the electrical potential that has arisen under the influence of light. The charge shift is performed sequentially from element to element. The CCD matrix, consisting of individual light-sensitive elements, has become a new device for fixing an optical image.

Willard Boyle (left) and George Smith. 1974 Photo: Alcatel-Lucent/Bell Labs

CCD sensor. Photo: Alcatel-Lucent/Bell Labs

But to create a portable digital camera based on a new photodetector, it was necessary to develop its small-sized components with low power consumption: an analog-to-digital converter, a processor for processing electrical signals, a small high-resolution monitor, and a non-volatile information storage device. The problem of creating a multi-element CCD structure seemed no less urgent. It is interesting to trace some stages of digital photography creation.

The first CCD matrix, created 40 years ago by newly minted Nobel laureates, contained only seven photosensitive elements. On its basis, in 1970, scientists from Bell Labs created a prototype of an electronic video camera. Two years later, Texas Instruments received a patent for "Completely electronic device for recording and then playing back still images”. And although the images were stored on magnetic tape, they could be played back on a TV screen, i.e. the device, in fact, was analog, the patent gave an exhaustive description of the digital camera.

In 1974, an astronomical electronic camera was created on the Fairchild CCD (black and white, with a resolution of 100x100 pixels). (Pixel is an abbreviation English words picture (pix-) picture and element (-el) - element, i.e. image element). Using the same CCD sensors, a year later, Kodak engineer Steve Sasson created the first conditionally portable camera. A 100x100 pixel image was recorded on a magnetic cassette for 23 seconds, and it weighed almost three kilograms.

1975, prototype of the first Kodak digital still camera in the hands of engineer Steve Sasson.

V former USSR similar developments were also carried out. In 1975, television cameras were tested on domestic CCDs.

In 1976, Fairchild launches the first commercial electronic camera, the MV-101, which was used on the assembly line for product quality control. The image was transferred to a mini-computer.

Finally, in 1981, Sony Corporation announced the creation of an electronic model of the Mavica camera (an abbreviation for Magnetic Video Camera) based on a SLR camera with interchangeable lenses. For the first time in a consumer camera, the image receiver was a semiconductor matrix - a CCD measuring 10x14 mm with a resolution of 570x490 pixels. This is how the first prototype of a digital camera (DSC) appeared. It recorded single frames in analog form on a metallized surface floppy disk (this two-inch floppy disk was called Mavipak) in NTSC format and therefore it was officially called a “static video camera” (Still video camera). Technically, the Mavica was a continuation of Sony's line of CCD television cameras. Bulky cameras with cathode ray tubes have already been replaced by a compact device based on a solid-state CCD sensor - another way to use the invention of the current Nobel laureates.

Sony Mavica

Since the mid-80s, almost all leading photo brands and a number of electronic giants have been working on the creation of digital cameras. In 1984, Canon creates the Canon D-413 camcorder with twice the resolution of the Mavica. A number of companies have developed digital camera prototypes: Canon launched the Q-PIC (or ION RC-250); Nikon - a prototype DSC QV1000C with data recording in analog form; Pentax demonstrated a prototype DSC called the PENTAX Nexa with a 3x zoom lens. The camera's CCD receiver also acted as a metering sensor. Fuji introduced the Digital Still Camera (DSC) DS-IP at Photokina. True, she did not receive commercial promotion.

Nikon QV1000C

Pentax Nexa

Canon Q-PIC (or ION RC-250)

In the mid-1980s, Kodak developed an industrial design for a 1.4-megapixel CCD sensor and coined the term "megapixel" itself.

The camera that saved the image as a digital file was the Fuji DS-1P (Digital Still Camera-DSC) announced in 1988, equipped with 16 MB of built-in volatile memory.

Fuji DS-1P(Digital Still Camera-DSC)

Olympus showed a prototype of the Olympus 1C digital camera at the PMA in 1990. At the same exhibition, Pentax demonstrated its advanced PENTAX EI-C70 camera, equipped with an active autofocus system and an exposure compensation function. Finally, the amateur DPC Dycam Model 1, better known as the Logitech FotoMan FM-1, appeared on the American market. Its CCD-matrix with a resolution of 376x284 pixels formed only a black and white image. The information was recorded in conventional RAM (not on flash memory) and when the batteries (two AA cells) were turned off or they were discharged, they disappeared forever. There was no display for viewing frames, the lens was with manual focus.

Logitech FotoMan FM-1

In 1991, Kodak added digital content to the Nikon F3 professional camera, calling it the Kodak DSC100. The recording took place on HDD, located in a separate block, weighing about 5 kg.

Kodak DSC100

Sony, Kodak, Rollei and other companies in 1992 introduced high-resolution cameras that could be classified as professional. Sony demonstrated the Seps-1000, which had a photosensitive element made up of three CCDs, providing a resolution of 1.3 megapixels. Kodak developed the DSC200 based on the Nikon camera.

At the Photokina exhibition in 1994, a professional high-resolution digital camera Kodak DSC460 was announced, the CCD contained 6.2 megapixels. It was developed on the basis of a professional film SLR camera Nikon N90. The CCD itself, 18.4x27.6 mm in size, was built into an electronic adapter that was docked to the body. In the same 1994, the first Flash cards of Compact Flash and SmartMedia formats appeared with a volume of 2 to 24 MB.

Kodak DSC460

The year 1995 was the starting point for the mass development of digital cameras. Minolta, together with Agfa, manufactured the RD175 camera (CCD matrix 1528x1146 pixels). At the exhibition in Las Vegas, about 20 models of amateur DPCs have already been demonstrated: a compact digital camera from Kodak with a resolution of 768x512 pixels, a color depth of 24 bits and built-in memory that allows recording up to 20 pictures; pocket ES-3000 from Chinon with a resolution of 640x480 with replaceable memory cards; Epson compact Photo PC cameras with two possible resolutions - 640x480 and 320x240 pixels; device Fuji X DS-220 with an image size of 640x480 pixels; Ricoh RDC-1 camera with the possibility of both frame-by-frame and video recording with a resolution of the Super VHS video format of 768x480 pixels. The RDC-1 was equipped with a 3x zoom lens with a focal length of 50-150mm (35mm equivalent), with automated focusing, exposure detection, and white balance settings. There was also an LCD display for quick viewing of the captured frames. Casio also demonstrated commercial samples of its cameras. Released the first consumer cameras Apple QuickTake 150, Kodak DC40, Casio QV-11 (the first digital camera with an LCD display and the first with a swivel lens), Sony Cyber-shot.

So the digital race began to gain momentum. Today there are thousands of models of digital cameras, camcorders and phones with built-in cameras. The marathon is far from over.

It is necessary to pay attention to the fact that some digital cameras are equipped with a CMOS image sensor. CMOS is a complementary metal-oxide-semiconductor structure. Without going into the topological features of CMOS and CCD matrices, we emphasize that their serious differences are only in the method of reading the electronic signal. But both types of matrices are built on the basis of light-sensitive MOS structures (metal-oxide-semiconductor).

With the words "digital photography" most people imagine a compact digital "soap box" and the pictures taken from it on the monitor screen. But what exactly is "digital photography"?

Over the past 10 years, there has been a dramatic rise in the photography industry with the development of digital photography and the global decline in the price of digital cameras. Let's dive a little into the history of digital photography. It began back in the early 80s with a conference in Tokyo on August 25, 1981, at which Sony introduced a prototype of the company - the Mavica (Magnetic Video Camera). In it, the image was recorded on a two-inch floppy disk, SONY called it "Mavipak" - it contained 50 color images at a resolution of 570x490 pixels. At that time, this was considered the maximum resolution of the TV, on which the received photos were viewed. But the Mavica was less of a digital camera and more of a video camera capable of taking still pictures. The device had only one shutter speed, which was 1/60 of a second, and the sensitivity value, estimated by the International Organization for Standardization (ISO), was 200 units.

The revolution came in 1990 when the first consumer camera, the Dycam Model 1 or Logitech FotoMan, went on sale. The camera had a CCD matrix with a resolution of 376x240 pixels and the ability to obtain black and white images with 256 shades of gray. The device was equipped with a built-in memory of 1 megabyte, which allowed you to save up to 32 pictures and transfer them to a personal computer. But in the cell there was one very serious disadvantage- if the batteries that power the camera ran out, all the pictures from it disappeared.

A year later, Kodak introduced the DCS-100 professional camera, based on the Nikon F3. The camera stuffing consisted of a matrix with a resolution of 1.3 megapixels (at present, matrices three times larger than the DCS-100 matrix are already installed in mobile phones). Images in the camera were stored on an external hard drive with a capacity of 200Mb. The weight of the whole set was almost 25 kg, and its cost was about $30,000.

Now it's time to consider the difference between traditional photography and digital photography. The fundamental difference is in the way the image is registered and stored. In classical photography, the image is captured in an analog form, that is, passing through the lens of the lens, light particles are fixed on a special film coated with layers of silver emulsion. To obtain the final result of the shooting - a printed image, the film is subjected to chemical processing, that is, developing, fixing, washing and drying. In traditional photography, film is an intermediate storage medium. In this case, the image on the film after developing becomes visible, but negative (i.e. white becomes black, and vice versa) and mirrored. Through an enlarger or contact printing machine, a negative image is projected onto the surface of light-sensitive photographic paper. The exposed paper is then developed, fixed, washed and dried, resulting in the final result - the finished image.

In digital photography, the rays of light passing through the lenses of the lens fall on the transducer sensor (the so-called camera matrix), which consists of several million pixel sensors that are sensitive to green, red and blue flowers. The image is created thanks to interpolation, and sensitive pixels give the photo a thousand shades. Then the signal from the matrix is ​​processed by the camera's processor and recorded on a memory card or on the camera's built-in flash memory.

There are several formats for recording received images:
- JPEG(Joint Photographic Experts Group) - was created in 1990 by a joint group of experts in the field of photography and today is the most popular image compression format. It gained its popularity due to the optimal size-quality ratio. For example, a 15 megabyte file can be compressed to 1.2 megabytes with virtually no quality loss, i.e. only a trained eye can notice the difference, and then only at 100% magnification of the image. Compression occurs according to the Huffman algorithm.
- TIFF(Tagged Image File Format) - was released in 1986 by Aldus Corporation and was introduced as a standard format for storing images created by layout software packages and scanners. The ability to expand, which allows recording bitmap images of any color depth, makes this format very promising for storing and processing graphic information and wide application in printing. The TIFF format supports several compression options:
- do not compress the image;
– use a simple PakBits scheme;
– use T3 and T4 compression (algorithm also used in facsimile communication);
– use some additional methods, including LZW and JPEG.
- RAW(from English raw - raw) - an image format that is directly obtained data from the camera matrix without processing. RAW data is 12 or 14 bits per pixel (JPEG has 8 bits) and contains much more full information about the image. This format is often referred to as "digital negative" and, like analog film, there is a special software for developing a "raw" format into a JPEG that is understandable to most users.
RAW format extensions for some cameras:
- .bay - Casio
- .arw, .srf, .sr2 - Sony
- .crw, .cr2 - Canon
- .dcr, .kdc - Kodak
- .erf - Epson
- .mrw - Minolta
- .nef - Nikon
- .raf - Fujifilm
- .orf - Olympus
- .ptx, .pef - Pentax
- .x3f - Sigma.

Special attention should be paid to DNG(Digital Negative Specification) is an image format called a digital negative. It was developed by Adobe and announced in 2004 to standardize the format of digital negatives. The DNG format specifications are provided by the company free of charge, so any manufacturer of digital photographic equipment can include support for this format. Currently, Leica, Pentax, Hasselblad, Ricoh, Sinar have included DNG support in their new cameras along with their own RAW files. DNG also requires "developing" and is perfectly translated into other formats using, for example, Adobe DNG converter.

With the advent of digital photography, the procedure for obtaining a finished image on photographic paper has been noticeably simplified. Now there is no need to "conjure" in dark room under the red light of a lamp with chemical solutions, but just connect the camera to a personal photo printer and press the “Print” button on the picture you like. Also, the purchase price has been reduced. Supplies, for example, the cost of a film for 36 frames is about 100 rubles, and the cost of a 4Gb SD card is about 400 rubles, but unlike film, about 1500 shots are placed on the card, with a camera resolution of 5 megapixels. Considering that the card can be used for many years, the savings are obvious! And how much film should I take when traveling on vacation? On a digital camera, even if the space on the memory card is over, you can immediately delete less interesting shots and continue shooting new, interesting stories! And on film, the result can only be seen by returning from vacation and developing the film, which allows inexperienced photographers to experiment more and make faster progress. These and many other factors that have simplified the life of a photographer, with the advent of digital photography, contributed to the massive passion for photography among today's youth, and also made life much easier for professional photographers.

Digital photography today has practically supplanted its "film" predecessor and does not stop at its development. Every month we are witnessing the announcement of new digital cameras, the resolution of some of them has already crossed the mark of 20 megapixels and the realism of the resulting picture already corresponds to the best film "SLRs". For some, digital photography is an opportunity to capture joyful moments in the life of relatives and friends, and for some it is a means of self-realization and the ability to translate their most incredible ideas into the world of ones and zeros.

Anatoly Shishkin ©

First, let's try to find out what digital is. Comparing the terms "film photography" and "digital photography", it is not difficult to understand that both are photography. But if in the first case it is a photograph on film, then in the second it is a photograph, firstly, without film, and secondly, “with numbers”. All right. The fundamental difference between digital cameras and film cameras is that the image, picture outside world, is stored in them not on film, but in the camera's memory in digital form, that is, like ordinary pictures on a computer.

This curious effect is obtained as follows: the image, the light passing through the lens of a digital camera, does not fall on the film, as we are used to, but on the sensor. The sensor - the most important part of a digital camera - is a matrix of photosensitive elements that, in response to incident light, give different electronic signals. The received signals are processed by a special microprocessor and converted into digital form. That, in fact, is all - the photo is ready.
All this clever technology turns out to be very simple for the user. Pressing the shutter - a second to think - and the photographer sees the finished result on the camera screen. Extremely simple. You don’t need to develop the film (which still needs to be “snapped off” to the end, otherwise it’s uneconomical), you don’t need to print pictures in order to throw out those that didn’t turn out later - everything is visible at once. Perhaps it was simplicity that served as one of the main reasons for the popularization of digital photography. Popularization, it should be noted, is total and universal. It was not in vain that in the introduction it was said about the death of the film - the way it is. Digital photography is more and more crowding out film photography, and soon it will completely replace it. For example, in Japan over the past year, sales of digital cameras exceeded sales of traditional film cameras. In Europe and America, the "figure" has come close to the film, however, it is a thankless task to predict when it will completely replace the film.
In addition to the modernity of ideas and ease of use, digital cameras have other advantages over film:
First, processing speed. As already mentioned, a picture of a digital camera does not need to be developed or carried to a darkroom, etc. In those distant times, when digital cameras were still inaccessible outlandish animals, even then journalists and reporters loved them: a fresh compromising photograph of a local pop star flaunted on the cover of freshly printed newspapers immediately after shooting, and did not make a long journey from the photographer to the darkroom , from there to the slide scanner, and only from it to the designers.