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My Flickr account has broken twice!
1. I can no longer favorite other people's works
2. I can't follow other people
3. I can't add my photos to a group
4. I can't comment others photo
first time, I have no idea why my flickr broken
But when it broke the second time (Now), I find cause from me, But not sure
My last activity was after posting two comments. and including word [Stud.io]
[Stud.io] is LEGO digital program's name, and name has include dot
Is there a possibility to judge it as URL and spam due to the included dot?
Does anyone have experience like me? Other websites also
I want to know
Thank you!
Место отправки - Ковров - maps.google.com/?q=56.3667,41.3333&z=16 от rrr_error оригинал - www.instagram.com/p/BFZlCN7GcVI/
Came out of a new sealed set. This error is a hot release. It was pushed out of the mold before it could cool, there is a punch point on the one stud where it was pushed from the mold!
Sevilla, 2018
#ERROR_407: Aquelas fotos que achei que iam ficar de um jeito, mas... bem, ficaram de outro, desfocadas, tremidas, fora do enquadramento, deram errado, mas mesmo assim gosto delas.
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#error_yb #fotografiaderua #fotoderua #fotografiacallejera #lisboa #lisbon #tripyurieclelma2018
...at my expense.
I'm working diligently on figuring out the new camera. For whatever reason, Nikon and Canon have chosen to put just about all controls, dials, buttons and menu options in different places. I'm battling 13 years of doing it the Nikon way, so am slow on the trigger with the 7D Mk II.
This hawk very accommodatingly flew out from beside me, and straight ahead. If I had been using the D4s I would have gotten a long series of well-positioned exposures.
But, I work using Back Button focus...it is far and away the better choice for separating AF from shutter release. I have the Canon set up now to do it, but the 'back button' is in a different location, and a different button is exactly where the back button is on the Nikons.
When this hawk flew out of the trees, I instinctively hit the wrong button, which then needed to be hit again to disable the feature it activated. I then had to look at the camera to position my hand for the right (which is the left of three) button, and then find the slightly differently-placed shutter release button.
By the time I was ready to shot, the Hawk was well by and on its way.
All of this is my way of saying that I haven't gotten it down yet. I will, and I'm loving the camera AND the prime lens. Just need to be able to move past operator error.
So I offer this shot as an example of one that got away during my learning phase. Drat! But, hey...the eye is cool.
All three have the same defect. I don't think they're broken, probably there were some residue plastic segments torn off and stuck in the tool before molding.
This cuddly hardware will never crash! It will also never compute anything, but hey, nobody's perfect.
DRUM SCANS BY CASTORSCAN
Photo: Marcus Schneider
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
Covid-19 Days
Late afternoon, winter, backyard of my parents place "The contemplation of things as they are without substitution or imposture without error or confusion is in itself a nobler thing than a whole harvest of invention." (Francis Bacon)
closeup of iPLUS kiosk ASP error message (outside Tate Modern, Bankside, London, UK)
back to full screen
This is my most viewed photo. (The full screen view is second).
I've always wanted to take pictures of crashed public computers as I have seen so many of them, but didn't have a digital camera. Now that I do, I hope I get just as many chances to capture them.
Agosto 2009
BELLEZA DE NUEVA YORK: Anduvieron por Nueva York durante horas; a cada paso variaba el espectáculo como si fueran por una estrecha vereda de un paisaje montañoso arrebatador: en medio de la acera un joven se inclinaba y rezaba, a poca distancia de él dormitaba una negra hermosa, un hombre vestido con un traje negro atravesaba la calle dirigiendo con gestos ampulosos una orquesta invisible, el agua brotaba de una fuente y alrededor de ella almorzaban sentados unos obreros de la construcción. Las escaleras verdes trepaban por las fachadas de unas casas feas de ladrillos rojos, pero aquellas casas eran tan feas que en realidad resultaban hermosas, junto a ellas había un gran rascacielos acristalado y, detrás de aquél, otro rascacielos en cuyo techo habían construido un pequeño palacio árabe con sus torrecillas, sus galerías y sus columnas doradas.
Sabina se acordó de sus cuadros: en ellos también se producían encuentros de cosas que no tenían nada que ver: una siderurgia en construcción y detrás de ella una lámpara de petróleo; otra lámpara más, cuya antigua pantalla de cristal pintado está rota en pequeños fragmentos que flotan sobre un paisaje desértico de marismas. Franz dijo:
—La belleza europea ha tenido siempre un cariz intencional. Había un propósito estético y un plan a largo plazo según el cual la gente edificaba durante decenios una catedral gótica o una ciudad renacentista. La belleza de Nueva York tiene una base completamente distinta. Es una belleza no intencional. Surgió sin una intención humana, algo así como una gruta con estalactitas. Por mas, que en sí mismas son feas, se encuentran casualmente, sin planificación, en unas combinaciones tan increíbles que relucen con milagrosa poesía. Sabina dijo:
—Una belleza no intencional. Sí. También podría decirse: la belleza como error. Antes de que la belleza desaparezca por completo del mundo, existirá aún durante un tiempo como error. La belleza como error es la última fase de la historia de la belleza.
Y se acordó del primer cuadro que pintó, ya como pintora madura; surgió gracias a que sobre él cayó por error pintura roja. Sí, sus cuadros estaban basados en la belleza del error, y Nueva York era la patria secreta y verdadera de su pintura. Franz dijo:
— Es posible que la belleza no intencional de Nueva York sea mucho más rica y variada que la belleza excesivamente severa y compuesta de un proyecto humano. Pero ya no es una belleza europea. Es un mundo extraño.
Tomado de 'La insoportable levedad del ser' de Milan Kundera
Taken with my Rebel XS, which is now broken. I first received error 99 on monday afternoon. Error 99 is very general, but my issue seems to be sensor-related, as you can see from this image.
This image is unmodified, taken with my now-broken XS.
First, I would either get Error 99, or images like this (if I replaced the battery). Then, on Thursday, I began to get normal images, however I still had to replace the battery every time i powered my camera off or if it fell asleep. On Saturday, my camera became unresponsive except for a brief moment a few hours ago when I put in a newly-charged battery. I had no card in my camera, so "No Card" displayed. I powered off, inserted a card, and tried to power back on with no response.
*Update* my camera is now turning on, but only if I replace the battery between uses