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July 19, 2026

Pensando na maioria dos saxofonistas que so admiradores do jazz, hoje ser postado um link onde voc poder acessar o The Real Book (mais famoso livro com os principais temas de jazz) on line.
difcil encontrar arquivos na internet neste tipo. Mas, encontrei um site que disponibilizou a verso do livro Louvemos ao Senhor 2005. Neste livro voc ter acesso a vrias partituras de msicas conhecidas no meio catlico! cc7c31b456

The camera’s shutter speed, the lens’s aperture or f-stop, and the scene’s luminance together determine the amount of light that reaches the film or sensor (the exposure). Exposure value (EV) is a quantity that accounts for the shutter speed and the f-number. Once the sensitivity to light of the recording surface (either film or sensor) is set in numbers expressed in “ISOs” (e.g. 200 ISO, 400 ISO), the light emitted by the scene photographed can be controlled through aperture and shutter-speed to match the film or sensor sensitivity to light. This will achieve a good exposure when all the details of the scene are legible on the photograph. Too much light let into the camera results in an overly pale image (or “over-exposure”) while too little light will result in an overly dark image (or “under-exposure”).[citation needed]
In addition to its effect on exposure, the shutter speed changes the way movement appears in photographs. Very short shutter speeds can be used to freeze fast-moving subjects, for example at sporting events. Very long shutter speeds are used to intentionally blur a moving subject for effect.[2] Short exposure times are sometimes called “fast”, and long exposure times “slow”.[citation needed]
Shutter priority refers to a shooting mode used in cameras. It allows the photographer to choose a shutter speed setting and allow the camera to decide the correct aperture. This is sometimes referred to as Shutter Speed Priority Auto Exposure, or TV (time value on Canon cameras) mode, S mode on Nikons and most other brands.[citation needed]
Excessively fast shutter speeds can cause a moving subject to appear unnaturally frozen. For instance, a running person may be caught with both feet in the air with all indication of movement lost in the frozen moment.
When a slower shutter speed is selected, a longer time passes from the moment the shutter opens till the moment it closes. More time is available for movement in the subject to be recorded by the camera as a blur.
A slightly slower shutter speed will allow the photographer to introduce an element of blur, either in the subject, where, in our example, the feet, which are the fastest moving element in the frame, might be blurred while the rest remains sharp; or if the camera is panned to follow a moving subject, the background is blurred while the subject remains relatively sharp.
The exact point at which the background or subject will start to blur depends on the speed at which the object is moving, the angle that the object is moving in relation to the camera, the distance it is from the camera and the focal length of the lens in relation to the size of the digital sensor or film.
When slower shutter-speeds, in excess of about half a second, are used on running water, the water in the photo will have a ghostly white appearance reminiscent of fog. This effect can be used in landscape photography.
Zoom burst is a technique which entails the variation of the focal length of a zoom lens during a longer exposure. In the moment that the shutter is opened, the lens is zoomed in, changing the focal length during the exposure. The center of the image remains sharp, while the details away from the center form a radial blur, which causes a strong visual effect, forcing the eye into the center of the image.[4]
Motion picture cameras used in traditional film cinematography employ a mechanical rotating shutter. The shutter rotation is synchronized with film being pulled through the gate, hence shutter speed is a function of the frame rate and shutter angle.
Electronic video cameras do not have mechanical shutters and allow setting shutter speed directly in time units. Professional video cameras often allow selecting shutter speed in terms of shutter angle instead of time units, especially those that are capable of overcranking or undercranking.
Shutter speed is measured in seconds, or fractions of a second. For example, your shutter speed may be 10 seconds long, meaning that the camera sensor is exposed to the outside world for a full ten seconds. Or, it could be much faster, even something like 1/1000th of a second! At this shutter speed, the camera sensor is exposed for less time than the blink of an eye.
Your shutter speed has a few important effects on how your photos will appear. The first big effect is motion blur. If you expose your photo for a long enough period of time, and something in the photo moves (like a person walking past), that subject will be blurry along the direction of motion. This effect is used quite often in advertisements of cars and motorbikes, where a sense of speed and motion is communicated to the viewer by intentionally blurring the moving wheels.
If you use a long shutter speed, your camera sensor gathers a lot of light over the course of the long exposure. The resulting photo will be quite bright. By using a quick shutter speed, your camera sensor is only exposed to a small fraction of light, resulting in a darker photo.
For many people, this is the main reason to adjust shutter speed: to make sure your photos are the proper brightness. Still, motion blur concerns are also very important, and should not be overlooked.
In between, shutter speeds from 1/100th second to 1 second are still considered relatively slow. You may not be able to handhold them without introducing camera shake from your hands, especially close to the one-second mark. But if your camera has good image stabilization, and your subject is staying still, it can be possible to take sharp photos in this range without a tripod.
There is no set formula for shutter speed in every case because part of setting shutter speed is a creative choice. However, there are some good guidelines for starting points. Here are some common scenarios that you may wish to try:
ISO 400, f/22, 0.4 second. The shutter speed here was a little longer than I wanted. I needed a faster speed to stop the trillium from blowing in the wind, but I needed f/22 for maximum depth of field (there still isn;t enough DOF to render the distant trees sharp). I shot this many years ago. In hindsight, I should have raised the ISO to increase the shutter speed.
I use a Nikon D7000 with a prime 35mm/f1.8 lens. I usually shoot at the highest aperture with 200-1000 ISO, holding the camera steady and taking 6 or more shots in the hope of at least one coming out sharp.
A common rule often mentioned is that to get sharp images hand held, you need a shutter speed that is 1/focal length used. When using this rule though you must also take your format or sensor size into account. Lucky for you, you do have a full frame(35mm) sensor so no factor is necessary. You must also consider if your lens or body has image stabilization/vibration reduction built in.
In your specific example, with a D700 and a Nikon 35mm f/1.8AF(non-VR), you should then be able to shoot hand held until about 1/35th of a second, or more likely 1/30s or so. Does this mean that every shot at 1/30th of a second will be tack sharp? No it does not. It is just a general rule of thumb that may or may not work for you and your shooting style.
If the image is critical and you have a tripod available, certainly use it with any and all shutter speeds. The technique that you have noted of shooting in burst mode and determining which is the sharpest is a fair idea and used often by today’s digital shooters. But the fact is, if you care about sharpness and printing big, you will use a tripod for every shot if it is possible.
Here is an example I created with a full frame camera and a 40mm lens, shot at 1/40s over 4 shots, hand held from 3ft. Not a definitive test by any means but at least shows in practice what following the “rule” may get you:
In the case of a 35mm lens on a full-frame camera, that should be 1/35s or faster. This is just a general rule which applied reasonably well when cameras were lower resolution. Now, people often aim for twice the speed, so 1/70s or faster in the 35mm example.
The “1/equivalent focal length” rule of thumb takes this into account and recommends the point at which the average shooter should be a able to get a handheld shot with no perceivable blur at typical display sizes.
The practice of good camera stabilization techniques. Using good shooting posture and techniques can greatly enhance the photographer’s ability to get blur free shots at lower shutter speeds. For example, many photographers who have training in marksmanship can successfully use the breathing techniques they learned with firearms when using a camera. In my younger days during the film era I could go two stops slower than the “1/focal length rule” and get photos sharp enough to display at 5X7 or 8X10. At a minimum good technique means a firm grip on the camera while holding the elbows in and bracing the camera against the face while using the optical viewfinder. On the other hand, use of the “dirty diaper grip” will almost certainly result in camera movement at even moderately fast shutter speeds.
The physical condition and abilities of the photographer. Some of us naturally have steadier hands than others. Our overall physical conditioning also plays a role in this, especially if we’re shooting during times of physical exertion. Shutter speeds that work fine when we are relaxed and at rest can become problematic when we have just ran a distance to get in position for a critical shot of a live event as it unfolds. Although I’ve never been in the condition of a world class biathlete, who can ski cross country for several kilometers and then stop and control their heart and respiration rate in order to do precision marksmanship, I find that as I age the monopod becomes a more and more useful tool in situations that require moving faster while shooting than using a tripod allows.
The intended display size of the image. A minor amount of blur that will not be noticeable in a 4X6 print or an image re-sized for web viewing (or on the review screen on the back of your camera) will be quite noticeable if the image is displayed in high resolution at a large viewing size such as 16X20.