View allAll Photos Tagged AutoFocus
Manufacturer: Van Doorne's Automobielfabriek N.V. (DAF), Eindhoven - Holland
Type: 66-24 SL Marathon Coupé
Engine: 1108cc straight-4 (by Renault)
Power: 64 bhp / 5.600 rpm
Speed: 145 km/h
Production time: 1972 - 1976
Production outlet: 5,486
Curb weight: 799 kg
Special:
- DAF was the first car to have a Continuously Variable Transmission (CVT) system - the innovative DAF Variomatic.
- An interesting feature: putting the car in reverse reversed the entire drive system. This enabled the vehicle, in theory, to reach the same top speed in reverse as forward.
- It was re-designed by Giovanni Michelotti.
- The Marathon was not cheap. For same amount of money you bought in 1976 a Triumph Spitfire 1500 or a Ford Capri 1300L.
- The 66 Series were the last DAFs. VOLVO took over and the name became VOLVO 66 in 1976.
Plants that colonise coastal shingle have to be well adapted to cope with the inhospitable environment. They need to endure copious amounts of salt spray, particularly in winter, as well as frequent high winds. Many species, such as Sea Pea, hug the surface of the shingle, forming mats, to avoid being desiccated or uprooted. Newly deposited shingle can be very unstable and difficult to colonise. However, Sea Campion and Stonecrops develop extensive root systems that very effectively bind loose shingle.
The PRONTO adapter can auto-focus practically any manual lens you attach to it! Designed to mount Leica M lenses on Sony Cameras with Phase Detection auto-focus, you can attach a second adapter to mount many other kinds of lenses, including M42 lenses like the Meyer-Optik Görlitz 50mm f/1.8 featured in these photos.
If you like my work, click 'Like' on my Facebook page:
www.facebook.com/MedhaviCreations
Canon 5D Mark III new firmware 1.2.1 works: Perfect F/8 autofocus!
ISO: 6400, 1/8000s, 100-400L with 1.4x III extender
The great Indian Crow Pheasant (Centropus sinensis)
The bird was flapping after a took off from a 25 feet high branch. I happened to be at the same height.
Manufacturer: Deutsche Industriewerke AG, Berlin-Spandau - Germany
Type: R-0/6
Engine: 496cc single cilinder 4-stroke
Power: 12 bhp
Speed: 105 km/h
Production time: 1928 - 1929
Production outlet: 9,000
Curb weight: 170 kg
Special:
- The R-0/6 is a re-design of the R-0/5 by Oberingenieur Martin Stolle (ex-BMW en Victoria).
- The D-Rad models had previously nicknamed "Spandau Spring Bock", which wasn't the company doing well (lousy handling of the leaf suspension forks).
- It was Martin Stolles new job to search for a solution.
- It has a three speed manual gearbox and a twelve liter petrol tank (ca. 3.5 Liter / 100km).
- Electric lights, Corbin speedometer, leg guards, bulp horn, footboards and switch operation with switching threshold value were optional.
- D-Rad did well in Gross-Berlin: In 1928 every fifth wheel was a "D-wheel" although there were up to 100 motorcycle companies in Berlin!
- In 1932 D-Rad was taken over by NSU.
El Peine del Viento, San Sebastián, Guipúzcoa, España.
El Peine del Viento XV (comúnmente conocido como Peine del Viento o El Peine del Viento) es un conjunto de esculturas de Eduardo Chillida sobre una obra arquitectónica del arquitecto vasco Luis Peña Ganchegui.
Se encuentra situado en un extremo de la bahía de La Concha, al final de la playa de Ondarreta, en el municipio de San Sebastián, en la provincia de Guipúzcoa, en el País Vasco. Está compuesto por tres esculturas de acero, de 10 toneladas de peso cada una, incrustadas en unas rocas que dan al mar Cantábrico, cuyas olas las azotan.
La obra fue finalizada en 1976. Además de las esculturas, se acondicionó una zona en los alrededores de las mismas con unas salidas de aire y agua que se abastecen de las olas que rompen contra las rocas y las esculturas.
The XV Wind Comb (commonly known as Peine del Viento or El Peine del Viento) is a set of sculptures by Eduardo Chillida on an architectural work by the Basque architect Luis Peña Ganchegui.
It is located at the end of the La Concha bay, at the end of the Ondarreta beach, in the municipality of San Sebastián, in the province of Guipúzcoa, in the Basque Country. It is composed of three steel sculptures, weighing 10 tons each, embedded in rocks that face the Cantabrian Sea, whose waves lash them.
The work was completed in 1976. In addition to the sculptures, an area was prepared around them with air and water outlets that are supplied by the waves that break against rocks and sculptures.
Glorious spring sunshine brings the first bees of the year out amongst the crocus flowers - Hove february 2017.
For canvas print enquiries email: sunsetoneuk@yahoo.co.uk
To see all of my work please click on the links below:
+ 60000 affichages des albums, galeries et photos : Merci pour vos visites, commentaires, récompenses, invitations et favoris.
+ 60000 displays albums, galleries and photos: Thanks for your visits, comments, awards, invitations and favorites.
Manufacturer: British Leyland Motor Corporation Ltd.
Type: Royal Tiger Worldmaster L with Roset body
Engine: Leyland O680H 11.1-litre 6-cylinder horizontal diesel engine (Leyland O600H 9.8-litre engine as option)
Power: 150 bhp
Speed: 85 km/h
Production time: 1954 - 1979
Production outlet: > 20,000+
Curb weight: 9,959 kg
Load capacity: 6,041 kg
Special:
- Maarse en Kroon 413 with 40 seats.
The Nikon F90X (N90s in the U.S. market) was the second and final version of what I call the third generation of semi-pro 35mm autofocus SLRs from Nikon. The second generation, the F801/F801s (N8008/N8008s), introduced reliable autofocus, together with built-in autowind and rewind, spot metering, a new single control wheel interface, and other features, to the semi-pro line. (Note: an even earlier Nikon autofocus design, the F501 (N2020), had early first generation autofocus capability and a completely different interface and viewfinder display.) The F90/F90x continued virtually the same interface and body design as the F801/F801s but upgraded the level of technology, especially in its final incarnation, the F90X. The F90X is the epitome of Nikon's single focus point autofocus film SLRs. The F90X's interface was changed and enhanced with the subsequent F100, which introduced dual control wheels. The F100 also adds multiple focus and spot metering points, together with support for modern vibration reduction/image stabilization (VR) lenses and slightly more flexible custom settings. While the F100 is in some ways a better film camera to use today than the F90X, the F90X already included 3D Matrix Metering, which is the biggest exposure metering advance in the industry until the later color matrix metering of the F5 and F6 (and subsequent digital SLRs). The F90X also supports the built-in Silent Wave motors of modern Nikon lenses. In spite of its technical advances over the F90X, the F100 has an even more severe problem than the F90X with decomposition of the rubbery surface of its camera backs. If you don't need support for VR and are looking for a low-cost high-tech AF body in the used market, the F90X could be just what you want.
With the big picture out of the way, let's look at the features and functions of the F90X in more detail. The original F90 appears to have been rushed out in 1992 to quickly upgrade the F801s as a way to compete with Canon in a rapidly developing market. However, the F90X was released less than two years later with a long list of major and minor refinements. Today, you would definitely want the F90X over the original F90. The biggest improvements in the F90X over the F90 were improved autofocus, and the ability to adjust P, S, and M modes in 1/3 stop increments rather than one stop increments. According to Nikon, both the F90 and F90X used the CAM246 AF detection system, so AF improvement from the F90 to F90X was presumably due to better software.
The F90X is an amazing camera. The F800 already felt very advanced, moving from an F3HP, when the F801 was released in 1988. But after upgrading from the F801 to the F90X, one really appreciated the more responsive autofocus, the addition of spot metering (I never moved to an F801s), and most of all 3D Matrix (multi-pattern) metering. The 3D matrix metering of the F90X enabled more accurate exposure metering, especially for flash photography with dedicated Nikon electronic flashes, by incorporating subject focus distance information from AF-D lenses into the exposure calculation. The F90X is optimized for use with AF-D lenses, either Nikkor lenses or from third-party manufacturers such as Sigma and Tamron. The F90X works with non-autofocus Ai lenses, but with such lenses, you can only use center-weighted and spot metering (no matrix metering) and you can only use the Aperture Priority and Manual exposure modes (no Program or Shutter Speed Priority modes). Also, the set aperture of non-AF lenses does not appear in the viewfinder since there is no optical ADR like on most earlier Nikon bodies. The F90X (unlike the previous F801/F801s) auto-focuses with later G-type lenses (with no aperture ring and Silent Wave focusing motor). While you cannot adjust the aperture of G-type lenses directly on the F90X, a very simple solution is to shoot in Program mode, but use Flexible Program by turning the control wheel to step through equivalent aperture/shutter speed combinations while keeping the EV fixed. (This works a bit like exposure lock on electronic Contax bodies.)
The size and weight of the F90X is a very reasonable 755g, especially by the standard of the F4 or F5. It is an incremental increase in size and weight over the F801/s. In addition, although the user manual only indicates four AA-type alkaline, manganese or NiCd batteries, both Nikon and my personal experience confirms that the F90X also works fine with relatively lightweight AA lithium batteries. Overall, the camera/battery combination, even with alkaline batteries, is perfect both for stability and also portability. I have personally only used alkaline and lithium batteries and both types last for a very long time, although of course not as long as the button batteries in older manual focus cameras, such as the F3 or FM2N. The F90X owner manual indicates a battery capacity of 50 rolls of 36-exposure film at 20 degrees Celsius. This is much more than the battery capacity of my F6, especially with a power-hungry VR lens attached to the F6. The F90X has a very solid and comfortable feel, with a metal interior, matte-type rubberized grip surfaces, and heavy-duty matte composite plastic exterior plates. The F90/X body design includes a molded hand grip that is very stable and comfortable, but does not excessively add to the dimensions of the body. The covering material on the F90/X is not as rubbery or tactile as newer Nikon bodies, but still offers a fine grip.
There was a well-known problem with the rubberized material on the exterior of the camera back. A few years ago, the rubberized material on on at least some samples of the F90/X started to decompose and become a sticky goo. The same problem happened to the back of my own F90X, which became extremely sticky and completely unusable. Fortunately, my camera tech was able to procure a new replacement back and make the camera like new. The new back, like the old, is indeed plastic except for the pressure plate and other hardware. Still, the construction of the new back is very solid and it fits snugly onto the camera body when closed, without any irritating play. I am not sure about the composition of the exterior surface of the new back. It is a very attractive matte black finish, that must either be some type of composite material, or a very fine sprayed on layer. In any event, it appears to be very durable and hopefully long-lasting.
With the F90X generation of Nikon bodies, if you want to adjust certain functions, such as auto exposure bracketing, multiple exposure operation, interval timer, film imprinting, etc., you will need to add a MF-26 Multi-Control back. You can also use the optional Data Link System and AC-2E card to adjust more settings, download stored data, etc.
The viewfinder of the F90X has a relatively low 92% image coverage. Such coverage is more appropriate for the era when people used mounted slides, which cut off the edges of the frame, but is more limiting in today's age when film is scanned directly after processing at the lab. On the other hand, you can crop the scanned images in Photoshop if necessary. You just need to keep in mind at the time of shooting that your image will include a bit more than you can see. The viewfinder display is well-organized, and the brightness of the soft green horizontal LCD display is just right for both bright and dim environments. The viewfinder eyepiece does not include an adjustable diopter. However, Nikon still makes a full range of single diopter lenses in current production. The F90X takes the same diopter lens as the F3HP, F801/S, F90 and F100.
Dual film advance modes of single frame and continuous High ( 4.3 fps) and Low (2.0) speed, offer more than enough speed for casual shooting.
As mentioned above, the exposure metering system of the F90X is extremely advanced. It has second generation software and three additional central segments in addition to the five metering segments of the FA and F801/s (plus spot), for a total of 8 segments. In addition, the new "3D" technology of the F90x increases the accuracy of the multi-segment metering system even further, especially for flash photography, with concurrent and later AF-D compatible lenses. Center-weighted metering is of course included, and is designed with a 75% weighting, which had become the new Nikon standard for center-weight, more like the 80% center-weight of the F3 than the 60% weight of classic Nikon camera meters. The 3mm spot meter had become standard since the earlier F801s. One of my few complaints about the design of the F90X is that the selected exposure metering system is not displayed in the viewfinder, unlike on many later models. Glasses wearers will prefer the selected exposure metering system to be indicated in the viewfinder so they can switch among the metering systems without putting your glasses on, especially since the control wheel interface makes it difficult to confirm the selected system by feel alone. The LCD display on the top of the camera duplicates much of the same information as the viewfinder display, plus additional information such as metering system and ISO. The exposure meter is very sensitive, covering EV -1 through EV 21 in matrix and center-weighted, and EV 3 to EV 21 for spot metering.
Although the F90X only has a single focus area, autofocusing is quite responsive. Of course, the focusing technique in the day of the single autofocus point was to focus on the appropriate object, lock the focus with the shutter release button or AF lock, recompose, and shoot. The focus indicator also works very well with most manual focus lenses (with greater than f/5.6 aperture). Just focus manually until the round digital in-focus indicator is displayed in the viewfinder; there is no need for a central focusing aid on the focusing screen, although you can also manually focus with the matte screen itself. The central focus area can be easily switched between Spot and Wide by pushing a button on the top right of the camera and turning the control wheel; which area you have selected shows up in the viewfinder display so you can switch back and forth with your eye to the viewfinder. The Wide autofocus area is actually quite large, covering more than half of the outer central circle of the viewfinder image. The autofocus system appears quite adept at following moving subjects that stay within this expanded focusing area.
The F90X has all of the required PASM exposure modes and then some. The camera adds Ps "Vari-Program" modes that automatically set the recommended shutter speed and aperture combinations for seven separate photographic situations, such as Portraits, Portraits with Red Eye Reduction, Landscape, Sports, Close Up, etc. However, anyone who properly knows their way around a camera, or wants to learn, has no need for these Vari-Program settings. Unlike exposure metering systems, it is extremely easy to adjust your exposure modes with your eye to the viewfinder; just push the Mode button on the top left of the camera and turn the control wheel to select the correct mode. The selected mode is always clearly indicated at the bottom of the viewfinder. Program mode is extremely useful, even for photographers who are expert at manual camera setting. In a pinch, the camera's Program mode can adjust exposure fully automatically. More commonly, however, it is convenient to let the camera select the correct EV and the approximate shutter speed/aperture combination in Program mode. You then simply turn the control wheel in Program Mode after you have metered the scene to select the exact shutter speed/aperture combination that you want in 1/3 stop increments. This technique becomes even more useful when using newer G-type lenses, which have no aperture ring, since you have no secondary control dial to change the aperture directly. Manual mode works very well with AF lenses that have aperture rings; the digital analog readout in the viewfinder indicates exposure deviation in 1/3 stop increments, although, unlike some later designs, it only displays the range of +-1 EV to save display real estate. Although you can't see exactly how far you you are when greater than +- 1 EV, I never found this to be a practical limitation.
The F90X has a highly advanced shutter. Using the control wheel, you can directly set the shutter speed in 1/3 stop increments all the way from 1/8000 sec. to 30 seconds. Standard electronic flash maximum synch speed is a modern 1/250 sec.
Exposure compensation of +- 5 EV is easy to set by pushing a button on top of the camera and turning the control wheel, with the amount of compensation visible in the viewfinder display in 1/3 stop increments. The camera also has an AE-Lock lever on the back for your right thumb. I find that I usually prefer to use Manual Mode rather than the AE-Lock lever.
One small advantage of the F90X as a fully electronic camera is its ability to easily set the self-timer delay between 2 to 30 seconds. Just push the appropriate button on the top left of the camera and turn the control wheel to set. It can be used as an alternative to a remove control cable. On the other hand, one disadvantage of fully electronic cameras, such as the F90X, is that you need to use a special electronic remote cord (MC-20) (rather than a standard mechanical cable) when taking Bulb exposures. Also, Bulb exposures can wear down the battery. Better to use a fully mechanical body if you plan to take lots of long Bulb exposures. (On the other hand, the MC-20 can automatically close the shutter after up to 99 hours, 59 minutes, 59 seconds! The MF-20 back, and apparently the AC-2E card, also provides this function.)
The F90X has easily interchangeable focusing screens. The single available optional screen adds a grid.
The MB-10 Multi-Power Vertical Grip is available if you need more battery longevity and bigger camera grip with vertical shutter release.
As already mentioned, with its 3D technology, the F90X is amazing for flash photography. If you know what you are doing, you can get great flash photographs even with non-TTL mechanical bodies. But TTL flash control is much more convenient, and the F90/x enhances the level of TTL matrix flash metering by, for the first time, incorporating focus distance from the lens into the exposure calculation. Just make sure to use AF-D type lenses or better, and one of the compatible Nikon electronic flash units. The most advanced concurrent flash with the F90X was the SB-28, which allows full use of the F90X's flash exposure features. The F90X also supports monitor pre-flash with the SB-25/26/28. (Later flashes, such as current production modern Nikon flashes, also work fully with the F90X. I usually use a current production SB-800 flash, even on the F90X.) Another nice feature of the F90X's flash technology is 3D Multi-Sensor Balanced Fill Flash. This function automatically reduces the output of the flash to supplement ambient light. Of course, is you want more precise control, fill-flash can also be set with appropriate manual flash negative compensation directly on the flash unit. Other flash features available with the F90X/SB-28 combination is Rear-Curtain Synch for motion photography and red eye reduction.
One generally unnecessary feature that has been omitted from the F90X is mirror lock-up (MLU).
To conclude, the F90X was and continues to be an amazing camera. The F90/X were the first semi-pro Nikon to incorporate 3D metering technology. It felt fun and was effective to use the camera with AF-D or newer lenses. The F90X offered virtually every function that you could think of, at least with its various accessories. The camera feels great in your hands and has a good form factor and weight for both travel and large lenses. Really the only limitation that irritates me about the F90X is that I can not use Matrix Metering, and there is no viewfinder display of the selected aperture, with manual focus lenses. In practice, this should not impact the quality of your images, but it is certainly less convenient. (Thankfully, this limitation was finally fixed in the F6 and some high-end Nikon DSLRs). The real limitations of the F90X today are its single focus point, its lack of support for VR lenses, and its lack of a second control wheel for G-type lenses. Thus, in the film world, you would need an F100 or F6 (and the consumer grade F75/F80) to get maximum benefit out of the newest generation of lenses. The control wheels and rubbery grip are more ergonomic on the F100 and F6, compared with the F90X.
Copyright © 2016 Timothy A. Rogers. All rights reserved.
(DSC_6109fin2)
Canon's first attempt at an autofocus SLR camera. The T80 was produced in 1985 and discontinued in 1986. It used regular FD lenses as well as three specialised autofocus lenses that only worked on the T80.
(L.) Moench ...'Alba' ... Weißer Sonnenhut
Macro. Botanical Garden Hohenheim. Sony A7II (ILCE-7M2) with Tamron SP 90mm F/2.8 DI Macro 1:1 VC USD (F017E). Newest Version. Canon mount with Fotodiox Adapter. f4.0. 90mm. 1/160. ISO 800. Lens stabilizer on. Autofocus off. Handheld shot. Inbody Image Stabilization (IBIS) in Sony A7II OFF.
Manufacturer: Dodge, Division of Chrysler Group LLC, Auburn Hills, Michigan, U.S.A.
Type: Dart 440 Wagon
Engine: 5211cc V-8
Power: 233 bhp / 4.400 rpm
Speed: 170 km/h
Production time: 1962
Production outlet: about 13,000
Curb weight: 1690 kg
Special:
- The '62 model didn't "hit" to the general public. Many people did not agree with the exterior design and styling, considering it to be rather ugly.
- Sales volumes declined rapidly to just 111,300 Dart models.
- The original Dart (1956) was designed by the Italian coachbuilder Carrozzeria Ghia as a lower-priced, shorter wheelbase, full-size Dodge.
- It became a production model in 1960.
- The '62 models were upgraded to a mid-size car.
- It was produced on a new lightweight unibody "B" platform, using Chrysler's "Torsion-Aire" torsion bar front suspension and asymmetric rear leaf springs.
- The body style and chassis was related to the Plymouth Valiant, Chrysler Valiant and
Dodge Phoenix models and produced at the assembly plant in Newark, Delaware, USA.
- It was available with a 3-speed manual or a 3-speed Torqueflite automatic gearbox.
Temps de Flors 2018, Girona.
Girona, Temps de Flors es una exposición de flores que se celebra en la ciudad de Girona desde 1954. Su creador fue María Cobarsí y fue en ese año que, junto con algunas mujeres de la Sección Femenina de la Falange, crearon la primera exposición Desde 1956, cada mes de mayo, se celebra este festival de primavera que atrae a personas de todo el mundo.
Girona, Temps de Flors is an exhibition of flowers that has been held in the city of Girona since 1954. Its creator was Maria Cobarsí and it was in that year that, together with some women from the Feminine Section of the Phalange, they set up the First exposure Since 1956, every month of May, this spring festival is celebrated that attracts people from all over the world.
www.cameralenscompare.com/photoAwardsCounterDetails.aspx?...
A Brilliant place to visit.
"Monumento al Tamborrero", Donostia, Guipúzcoa, España.
Autor: LOPETEGUI GOIKOETXEA, José (San Sebastián 1896 - )
Material: Bronce
Medidas: 190 x 60 x 70 cm.
Firmado: Sí, en la parte trasera de la guerrera: FUNDICION G. PIRIZ IRUN
Época: 2002
Localización: Parte Vieja (Plaza Sarriegi).
Conjunto formado por el busto de Raimundo Sarriegui mirando a la plaza del mismo nombre y por el “Monumento al tamborrero”. A la izquierda del busto y un poco retrasado, hay una figura de un tamborrero que mira a una gran placa con la letra de la Marcha de San Sebastián. En la base del busto de Raimundo Sarriegui se puede leer "RAIMUNDO SARRIEGUI / 1838 – 1913". En el año 2002, con motivo de las obras de remodelación de la Plaza Sarriegi, se hace esta copia en bronce que sustituye a la otra, en hormigón, realizada por José LOPETEGI GOIKOETXEA en el año 1964. La copia es realizada por Nino Barriuso.
Set consisting of the bust of Raimundo Sarriegui looking at the square of the same name and the "Monument to the tamborrero". To the left of the bust and a little behind, there is a figure of a drummer who looks at a large plaque with the words of the March of San Sebastian. At the base of the bust of Raimundo Sarriegui can be read "RAIMUNDO SARRIEGUI / 1838 - 1913". In the year 2002, on the occasion of the remodeling works of Sarriegi Square, this bronze copy is made that replaces the other, in concrete, made by José LOPETEGI GOIKOETXEA in 1964. The copy is made by Nino Barriuso.
Polaroid SX-70 Time Zero Autofocus Model 2
IMPOSSIBLE Project PX 100 Silver Shade UV +
IMPOSSIBLE Frog Tongue
IMPOSSIBLE Dry Age Kit
Friday Theme: "Enjoying the Moment"
It's been hot and dry in California where we live, so when we went to Portland and it was raining, we really enjoyed it. We were at "The Original" diner on 6th downtown and were sitting by a large window, just watching the people pass by and the rain come down. Lost and enjoying the moment.