View allAll Photos Tagged Calibration
Took a walk near our RV park. There are "targets" in the desert, set up to calibrate the spy planes and satellites during the Cold War. I know of at least 3 near us.
Google maps:
www.google.com/maps/place/Corona+Satellite+Calibration+Ta...
EXIF - 60x180" (3h)
Calibration: Flats - 60, Darks - 60
Camera: ZWO ASI294MC Pro (cooled to 0°C)
Filters: Astronomik L-2 Luminance UV/IR Block 1.25"
Main optics: William Optics RedCat 51
Mount: Sky-Watcher EQ6-R Pro
Guiding: William Optics Uniguide + ZWO ASI120MM Mini
Controller: ZWO ASIair Pro
Software: DeepSkyStacker + Pixinsight + Photoshop
Location: Sibenik, Croatia
A repro (with film chain calibration approximation to match) of Philadelphia, PA station WCAU-TV (Channel 10) as first put into effect in 1949 and, if based on DX photos taken off TV in the mid-1950's, remained in service up to the point its owner since its 1948 start-up, the Evening Bulletin (whose famous slogan, "In Philadelphia, nearly everybody reads the Bulletin," is excerpted in the lower left quadrant of this TP), sold the station and its AM and FM radio outlets to CBS in 1958. There was some irony to their using certain elements from the NBC test pattern (namely, the shape and positioning of the horizontal and vertical wedges, the positioning of the wedge calibration dots as from the original 1941 rendition of the NBC pattern, and the bullseye), as since 1995 Channel 10 has been owned by, and affiliated with, NBC. As seen in electronics publications and TV servicing manuals of the time (including Radio-Electronics, August 1949).
Flat frame analysis of my 6"RC & Atik 314l+. Only 4% vignette to the edge of frame with the WO ff/fr x0.8 reducer.
Baader Lum filter.
BEECHCRAFT 300 SUPER KING AIR (CN FL-473) ACAM FLIGHT CALIBRATION SERVICES / AEROPUERTO DE SEVILLA (LEZL) ESPAÑA-SPAIN
Airline: ACAM Flight Calibration Services
Reg: T7-CAL
Aircraft: Beechcraft 300 Super King Air
Serial: FL-473
G-TACN Diamond DA62 (62.044) Flight Calibration Services Ltd , overflying Manchester International Airport / EGCC on 21-05-2019
Hawker Siddeley HS.748-2A G-AVXI of CAA Flight Calibration Services at Farnborough on 10th September 1994.
Plustek OpticFilm 120 Pro Scanner
Screenshot during use of the Plustek Lens Calibration Tool.
Last step is selecting the desired focus setting and click "Apply". You hear a noise in the scanner for a short time so something must then be happening.
The factory setting is the 0 focus setting scan but in this case I did choose the +5 focus setting on purpose because I did want to see proof that the focal point had changed in a Silverfast scan.
What can I say, the factory setting was already the best and indeed the Silverfast scan after the move to the +5 focus setting did return a softer result. So the focus setting system more or less seems to work.
At least now it is possible to correct the focal point (per holder type) in a Plustek OF 120 scanner though I must say that I would have preferred an integration of the focus offset into the Silverfast Scanning software as I have seen been done with other scanners (e.g. Nikon).
Maybe something for a next update !
A possible alternative would be another Plustek program were you can quickly make a choice between the 11 settings without the time consuming need of performing 11 sample scans. Should not be too hard to develop that and many of us would be very happy indeed !!
Carrying out calibration work on the ILS here at VHHH. This job was done by the FAA before 1st July 1997.
Just a reminder that I don't use any flickr groups where you have to comment on other peoples photos. You comment on a photo if and when you want to. I would like to have true likes and comments on my photos :)
Paul kindly let me borrow his Spyder3 to calibrate my monitor with. I still get some weird problems with exporting from lightroom to photoshop asking me which profile to use but at least the image I save now looks like the one on my screen.
Thanks mate, there'll be a pint with your name on it next week :)
Also, for any firefox users, this thread is a must read
www.robgalbraith.com/bins/content_page.asp?cid=7-9311-9478
Thanks to Steffan Harries over at WfC for pointing that one out.
My Zorki 4K camera and its Jupiter-8 1:2 f=50 mm normal lens clearly needed a calibration of its range finder. It is a very easy task for the infinite, acting on a small adjustment screw located at the front, left to the finder window. This film is a test of the focusing capability now much more efficient. There still a tiny shift that I will try to optimize soon following the known protocols (tomtiger.home.xs4all.nl/zenrep/calibration.html)
The camera was loaded with a CineStill Double XX (cine film Eastman 5222) exposed for 200 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed using Tetenal Ultrafin developer at dilution 1+20 for 12 min and 20°C.
Rue Saint-Dié, September 9, 2022
69004 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
Plustek OpticFilm 120 Pro Scanner
Screenshot during use of the Plustek Lens Calibration Tool.
In this case the result scan of the -2 focus setting.
With the zoom symbols it is possible to go to 400%.
It is also possible to click and hold the image window and drag it to another position of the scanned image.
By clicking on one of the side arrows you get to the former or next focus setting scan. So in this case clicking arrow left gives you the -3 focus setting, clicking arrow right gives you the -1 focus setting
1765
Stucco construction with printed and hand applied lacquer work. Brass calibration rings as mounts to top and base, with original brass central calibration ring.
Biographical/Historical note: The globe was originally purchased by Mr Ham the Mayor of Melbourne, in 1882, from Mrs Ann Elizabeth Smith. She reported that her husband's father, Captain John Smith, had been a relative of Captain Cook's wife who had bequeathed the globe and other items belonging to the explorer and circumnavigator to Captain Smith.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/209306
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Calibration pattern projected onto three walls and the ceiling of the entrance portal to the Willibrordus church in Utrecht.
View the interactive version
Trompe L'Oeil is a projection installation I have been working on. More info when I finally get round to updating my blog.
A repro (with color film chain calibration approximation to match) of the early test pattern as used by what initially took to the air on January 25, 1966 as WCMC-TV (Channel 40) in Wildwood, NJ (which is counted as part of the Philadelphia market). The station (which became WAAT in 1981, and changed in 1984 to the current WMGM-TV) was affiliated with NBC from its sign-on until the last day of 2014; today it carries the True Crime Network. Layout confirmed by a DX photo on a website devoted to early UHF TV stations.
So, I finally got myself a monitor calibration thingamajig, better known as a Spyder3Express, so I thought it's only appropriate that I go with a colour image here. The Spyder3Express isn't top of the line by any measure, quite a basic model actually, but it'll do me for now I think. It was rather shocking looking at the monitor, pre and post calibration!
This one is from a few months back, taken when I was in Malta for a few days. I found these pools really interesting. The coast is peppered with them. They fill up with water when the waves come over the edges and it gives people a sheltered place to sit and soak. Something else that's interesting about Malta is that it has hardly any noticeable tides because of its position in the Mediterranean.
Weird.
G-FPLB Beech B200 Super King Air Cobham Flight Precision Ltd Brussels 2002. Undertaking Calibration flights.
I was given the oportunity to do a one-weekend-only exhibition of my projection art at Pictura, "Teekengenootschap sinds 1774". Given the two weeks I had for planning and executing the exhibition, I am very proud of the results.
The "main event" of the exhibition was a projection of panoramic images onto 3.5 walls and the ceiling of the main exhibition room using two projectors and a mirror ball.
I developed a method of calibrating projections so the resulting image can be any particular perspective from a single point in the room. Shown in this panorama is a composite of two out of a total of 40 calibration patterns needed to do this calibration.
Experience the interactive version.
Thanks go out to Flop of Pictura, my sponsor and friend Jeroen Degenaar of DNXR, and those who managed to visit this one weekend only exhibition.
PID 1476, 2023-05-15
RA/Dec: 05:21:29.159 -69:29:38.61
F150W Purple
F200W Blue
F210M Green
F277W Yellow
F335M Orange
F356W Red
For the calibration of relatively short distances the team observed Cepheid variables. These are pulsating stars which fade and brighten at rates that are proportional to their true brightness and this property allows astronomers to determine their distances. The researchers calibrated the distances to the Cepheids using a basic geometrical technique called parallax. With Hubble’s sharp-eyed Wide Field Camera 3 (WFC3), they extended the parallax measurements further than previously possible, across the Milky Way galaxy. To get accurate distances to nearby galaxies, the team then looked for galaxies containing both Cepheids and Type Ia supernovae. Type Ia supernovae always have the same intrinsic brightness and are also bright enough to be seen at relatively large distances. By comparing the observed brightness of both types of stars in those nearby galaxies, the team could then accurately measure the true brightness of the supernova. Using this calibrated rung on the distance ladder the accurate distance to additional 300 type Ia supernovae in far-flung galaxies was calculated.
They compare those distance measurements with how the light from the supernovae is stretched to longer wavelengths by the expansion of space. Finally, they use these two values to calculate how fast the universe expands with time, called the Hubble constant.
More information: www.spacetelescope.org/images/heic1611a/
Credit:
NASA,ESA, A. Feild (STScI), and A. Riess (STScI/JHU)
Dave Johnson and John Leckey work on the CLARREO IR Calibration Demonstration System at NASA Langley Research Center. The system will help scientists and engineers refine designs for instruments that will eventually fly on the International Space Station and one day on a free-flying satellite. CLARREO, or Climate Absolute Radiance and Refractivity Observatory, will be crucial to a full climate observation system. clarreo.larc.nasa.gov
Image credit: NASA LaRC
A repro (with film chain calibration approximation to match) of the test pattern used for several years starting around 1956 by WRGB (Channel 6) in Schenectady, NY, placing emphasis on its original owner, General Electric, in the center. (This design was also used in the 1950's by WFIL-TV in Philadelphia, now WPVI-TV.) One of the early experimental television stations, it became commercial in 1942. Originally on Channel 4, it moved two dial positions up in 1954. At the time an NBC affiliate, since 1981 it was affiliated with CBS. As featured in ads from broadcast engineering magazines of the time.
Prepare Recording Session:
Audio Calibration :VU Meter, LED Meter:
- Art: Pro VLA II
- Phonic: I7600
- Samson: D-1500
- B&B Systems: AM-3B
My Zorki 4K camera and its Jupiter-8 1:2 f=50 mm normal lens clearly needed a calibration of its range finder. It is a very easy task for the infinite, acting on a small adjustment screw located at the front, left to the finder window. This film is a test of the focusing capability now much more efficient. There still a tiny shift that I will try to optimize soon following the known protocols (tomtiger.home.xs4all.nl/zenrep/calibration.html)
The camera was loaded with a CineStill Double XX (cine film Eastman 5222) exposed for 200 ISO using a Minolta Autometer III lightmeter fitted with a 10° viewfinder for selective measuring privileging the shadows. After exposure the film was processed using Tetenal Ultrafin developer at dilution 1+20 for 12 min and 20°C.
Rue Saint-Dié, September 9, 2022
69004 Lyon
France
After process the film was digitalized using a Sony A7 body and a Minolta Slide Duplicator with a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5.
About the camera :
This camera was manufactured in 1977 by KMZ company ( Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. KMZ also manufactured the ZENIT SLR's among many other productions. Zorki 4K was produced between 1972 to 1978 and the previous Zorki models were inspired by the Leica II since 1949. This model 'Made in USSR" is branded in roman characters, intentionally for exportation. Other Zorki 4K were also branded in Cyrillic as "Зоркий". Zorki 4K was sold basically either with this Jupiter-8 lens 1:2 f=50mm or the Industar lens1:3.5 f=50mm. The Jupiter-8 is a Sonnar Zeiss optical formula and fits to the Zorki body using the screwing M39 Leica mount.
Its was sold to me in August 2022 from Austria with its original ever-ready leather bag, a front lens cap and a small shade hood accessory Minolta D42KA. The shade hood and filter of my Focaflex also fit to the Jupiter lens (Leica standard 42 mm filter)
Uni calibration project with ocean science student. I used a 50mm lens and chose to over exposure the image to get the fine details of the seaweed and to only focus on that element of the image.
Just for the colors... Printing a photo through a mask with different color densities. The numbers denote the density of yellow, magenta and cyan filters of the respective field. P means "Purpur" (purple, magenta) and increasing P means the image gets more green (which is the opposite of magenta). Bg means "blaugrün" (cyan) and the image gets more yellow (which is the opposite of cyan). Remember color inversion from negativ to positive.
Yesterday I developed two color films. You know, this stuff with water and crazy chemicals. Wanted to print some of the photos onto paper... went out of RA4 photo paper today: thought five or so large pieces were still left, but there were only two papers and two thick cardboards in my paper box.
Enjoy the colors :-)
Well, after doing quite a bit of research on monitor calibration and PS color profile settings, I think I have come to a conclusion...why the hell isn't all this stuff standardized? Why does there have to be different color settings between MAC and PC? For that matter, why does there have to be different color settings between printers??
Up until now, I have been using the Adobe RGB color profile when editing ALL my photos. I just read some forum that says I should use sRGB if I want my photo too look the same on-line as it does in my working space. Well, that's freakin' annoying. Before today, I would just bump the saturation up a little on the version of the photo I uploaded to flickr so that it looked the same as it does in my working space.
Again, the answer to all this should be to just standardize color settings for cameras, monitors, web viewers, and printers. Anyway, that's just my two cents worth.
So my Hitachi analog scope had gotten a bit long in the tooth. I chose this Siglent to replace it; having worked with it for a few days now, I'm really pleased. It does everything my old scope did, plus a great deal more, cost quite a bit less, takes up far less space, weighs a lot less and... well, I could go on for a while. This is a really nice scope. Technology marches on!
Montech Calibration Services Technical Manager, Seola Targett; Gauteng Premier David Makhura and Presedent Cyril Ramaphosa during the launch of the Youth Employment Service Initiative at the Riverside Incubation Hub in Midrand. The YES Initiative aims to see more than one million young South Africans being offered paid work experience over the next three years, as part of placing the needs of and opportunities for young people at the centre of inclusive economic growth. (Photo: GCIS)
GretagMacbeth 240 swatch color checker.
Captured with a Canon EOS 30D and a Canon EF-S 17-55mm f/2.8 IS USM lens.
This jpg was processed from a Canon EOS 30D RAW file. Settings for capture as follows:
- WB=Daylight
- The gray-card behind the color checker was used for correct exposure.
- ISO 100, f/8, 1/640th sec at 55mm
- Part-to-full sun at 45 degrees mid-afternoon.
Settings for RAW-to-JPEG in Bibble Pro 4.9 as follows:
- Exposure value +.25 EV
- Sharpening=100 (this is mild sharpening at best in Bibble)
- Noise Reduction=8 (mild NR in Bibble)
- That's it...no contrast, saturation, color, or vibrance added/removed
Software used:
1. PIPP, for standard calibration (bias and dark subtraction, flat fielded).
2. IRIS, for alignment on Regulus, and radial blur subtraction
3. Fitswork, applying Larson-Sekanina filter with two different settings (dr = 2.0 pix, dθ = 1.5 and 3.0 deg), and stacking images of common exposures (pre- and post-mid-eclipse sequences were stacked separately.) The LS-filtered images were added to corresponding stacked images with a common weighting of 50% for both settings.
4. Photoshop. All stacked images were loaded as multiple layers, with the longest exposure (3.2s) at the bottom. Layers were curve stretched or colour matched until natural transition was achieved. This image was output and loaded into IRIS for radial blur subtraction and wavelet adjustment. Then the two processed images were opened again as different layers, which I duplicated twice for both and use blending modes "multiply" and "soft light". Opacity was tweaked down to minimise artefacts as much as possible but also keep some structures visible. The final image was 50% resized.
Setups:
Canon 60D, Canon EF 300mm f/4 non-IS, Astrotrac in solar tracking rate
Settings:
ISO 100, f/4, 3.2s*5 + 1s*4 + 1/3s*6 + 1/8s*6 + 1/25s*8 + 1/50s*8 + 1/100s*8 + 1/200s*8 + 1/400s*10.
I'm now satisfied with this version, which took me several days to obtain this result. The colour of the corona is close to what I saw, which is quite yellowish. I think it was Rayleigh scattered by large smoke particles in the air. Certainly mine is no match to a lot of masterpieces by other people about the same thing, as my skill is now rusty, and, perhaps more dominantly, all my images were seriously influenced by the cirrus clouds, which blurred all the features; I could only see a blurry inner corona through my naked eye during the totality. Therefore, I decided not to spend more time trying to extract more fine structures from the composite image, otherwise artefacts will appear, and the image will not approximate what I saw through my own eyes. I did not fully enjoy the event since my observation was kind of ruined by the cloud. Feeling greatly disappointed, as soon as the totality ended, I disassembled my setups and drove to downtown Casper, where I met my advisor. Then I was told that he was able to observe the totality through much thinner cirrus clouds. To make me feel even worse, I realised that my viewing condition was the worst around Casper, because I happened to be right under the thickest cirrus. I felt extremely regretful that I did not to escape but watching the cirrus occulting the Sun soon after the first contact. What a lesson!
I already fully took advantage of my convalescent time after last week's surgery to process my images, and I shall really go back to my research again.