X3 direct image sensor (aka Foveon)
View allAll Photos Tagged Sensor
A little foggy with a bit of wildfire haze contributing maybe.
Leica D-Lux 3 from circa 2006. I have found a real fondness for CCD sensors, like this one and the sensor in my Canon 5D MK1. I love the creamy rendering.
Finally, the temps feel like Spring as 2016's first Honey Bee (for me) visits an awakening Grecian Wildflower in my garden.
Waning Gibbous, This picture was a result of taking mutiple images using sensor shift to 80 megapixels, but I used the extra to give me a bigger image size on screen
AKA Scentless false mayweed, scentless mayweed, scentless chamomile, wild chamomile, mayweed, false chamomile, Baldr's brow, peltosaunio (fin).
Taken with Schneider-Kreuznach Xenar 50mm F2.8@f11 / APS-C Sensor / Natural Light / Lightroom.
My first digital camera ... I think the sensor was 2 or 3 megapixels. :)
Costa da Caparica, Portugal
By the time I took this shot near Tomahawk Point the wind was really starting to increase in speed. As you'll see here, the trawler has dropped anchor to keep from drifting towards the shoreline and dangerous rocks. The sky from this angle was bereft of clouds and is already taking on an interesting complexion - a combination of the salt air and the sand being whipped up in the foreground. But as far as the composition was concerned, that sky provides some interesting negative space to balance the trawler. Too much water here would have been, well, too much.
P.S. Those dark smudges in the air behind the boat are not spots on my sensor, but sea birds.
Apparently my photos are offensive to the macro photography community because I don't focus stack and I like dreamy shallow depth of field. I use a telephoto macro lens and a full frame sensor - even when stopped down there is still lot of shallow depth of field. I didn't realize my macro photos offend. I'm sorry, but is there some kind of gatekeeper to photos?! I'm so tired of this.
Gawdy Sensor Ship
Plenty of sensors on this one including those ostentatious radars, a spinny round thing and a non-spinny round thing. All a little overblown?
Hello there. Relevant comments welcome but please do NOT post any link(s). All my images are my own original work, under my copyright, with all rights reserved. You need my permission to use any image for ANY purpose.
Copyright infringement is theft.
Nach vier Monaten einer angstrengenden aber guten Zeit....wieder unterwegs mit Kamera und meinem Freund Werner.
IMG_4969-Verbessert-NRhh
Die äthiopisch-amerikanische Künstlerin Julie Mehretu (*1970, Addis Abeba) ist eine der einflussreichsten Maler*innen der Gegenwart. Diese bislang größte Überblicksausstellung in Deutschland zeigt mit rund 100 Werken die ganze Bandbreite von Mehretus Schaffen, von ihren frühen, urbanistisch geprägten Linienzeichnungen der 1990er Jahre bis zu ihren jüngsten, spektakulären abstrakten Gemälden. Präsentiert werden auch zeitbasierte Medien, die von Mehretus Werk inspiriert sind, wie ein Musikalbum, ein Dokumentarfilm und eine Videoarbeit. Die Ausstellung zeigt Mehretus kreativen Prozess. Häufig geht sie von Medienbildern politischer Ereignisse und historischer Schauplätze aus und übersetzt diese in abstrakte Kompositionen, die sie mit Notationen, Übermalungen und Abklebungen überzieht. Mit einer Auswahl von Mehretus Referenzmaterial und teils nie gezeigten Papierarbeiten kontextualisiert die Ausstellung im K21 das konzeptuelle Denken hinter den Arbeiten der Künstlerin.
von Werner:
Ihr seht hier Metallrahmen, die jeweils zwei Bilder zeigen und die sich auf leicht durchscheinenden Trägern befinden, wodurch sich die auf Vor- und Rückseite befindlichen Bilder beeinflussen ... zudem setzen, je nach Standpunkt, das durchscheinende Fensterlicht oder Lichtstrahler, Akzente ...
Die Metallrahmen sind "Upright Brackets"
der Künstlerin Nairy Baghramian. Die Ergebnisee werden "Trans-Paintings" genannt und gehören zu ihren neuesten Arbeiten. Trump und und der von dem amerikanischen Oligarchen Peter Thiel in der Politik installierte JD Vance werden diese Bilder (weil "trans") sicher bald verbieten, als entartete Kunst.
Seit Monaten war ich wieder zusammen mit Werner fotografieren. Wir machten etwa das gleiche Foto vom gleichen Standort mit Kameras eines gleichen Herstellers und 2 verschiedenen Linsen und die Ergebnisse der jeweiligen Sensoren waren sehr unterschiedlich. Hildes Bild war quasi sooc brauchbar, die Ausgabe meiner Kamera war noch stark bearbeitungsbedürftig. Wir haben beide Arbeiten gemeinsam durch Photoshop gebracht und wollten sie gleichzeitig zeigen.
es war eine eine kreative wunderbare Zeit mit Dir ...und bei Dir Zuhause empfing und Deine Frau mit dem durft eines leckere Kuchens...
My first digital camera was a Canon A70, a 3MP point-and-shoot. I took a lot of shots with it in 2003-6 but after only 3 years or so it sometimes produced lines across the image; by 18 months after that it was doing this - though even then sometimes producing normal looking photos, as my folder of shots from its death throes reveals. This image has not been treated or cropped in any way - it's exactly the jpeg that came off the memory card.
The incredible combination of a modern small smartphone sensor from a 3x camera module (Samsung Galaxy S23 Ultra) in combination with Lightrooms AI denoise feature (or the one from Camera RAW in Photoshop or Bridge)
Just look at the parasols in the background
Orchhâ (Inde) - L’Inde est connu pour ses lumières fabuleuses qui donnent souvent des scènes merveilleusement colorées. Mais pour en bénéficier, il faut être très matinal ou attendre les derniers rayons de soleil pour capter ces ambiances « chaudes ». Du temps de l’argentique en dehors de ces heures extrêmes, je ne faisais plus de photos. Eventuellement, je m’autorisais quelques films en noir et blanc.
Avec l’avènement de la photo numérique, ces limites techniques - même pour le merveilleux Kodachrome 64 -, ont été repoussées. Les capteurs progressent d’année en année et gagnent en dynamique. Ce qui était impossible pour la diapositive, devient envisageable avec les appareils modernes.
La preuve par l’image. La photo ci-dessus n’aurait pas eu le même rendu avec une diapositive car l’homme était dans la lumière. La logique aurait voulu que le fond soit noir, sans le moindre détail, puisque j’ai mesuré la lumière sur l’homme. Le capteur et la mesure matricielle ont fait une remarquable analyse de la scène en restituant une masse d’informations qu’un film argentique n’aurait pu faire.
The art of striking a pose
Orchhâ (India) - India is known for its fabulous lights which often result in wonderfully colorful scenes. But to benefit from it, you have to be very early in the morning or wait for the last rays of sun to capture these "warm" atmospheres. From the time of the film outside these extreme hours, I no longer took pictures. Eventually, I allowed myself a few black and white films.
With the advent of digital photography, these technical limits encountered - even by the wonderful Kodachrome 64 - have been pushed back. The sensors are improving year by year and gaining momentum. What was impossible on the slide, becomes possible with modern devices.
The proof by the image. The photo above wouldn't have looked the same on a slide because the man was in the light. Logic would have wanted the background to be black, without the slightest detail, since I measured the light on the man. The sensor and the matrix metering made a remarkable analysis of the scene, restoring a mass of information that a silver film could not have done.
20250521 LEICA M9 78
Sensor oxidation is visible at the top of photographs. Usually when there's a blue or clear sky.
It looks like an elongated dust spot. If I don't touch the photo with Lightroom, it's precisely to show the sensor oxidation.
This message will appear on all photographs.
I have a UV/IR filter on my lens.
LEICA, SAVE THE M9. PLEASE.
--------------------------------------------------------
La oxidacion del sensor se ve en la parte superior de las fotografias.Generalmente cuando hay un cielo azul,o claro.
Parece una mancha alargada de polvo.Si no toco la foto con Lightroom es para que se vea,precisamente,la oxidacion del sensor.
Este mensaje aparecera en todas las fotografias.
En el objetivo llevo puesto un filtro UV IR.
LEICA SALVA LA M9.POR FAVOR.
Creo que Leica tendria que darnos una solucion.
A chance visit as was passing at sunset proved to be a blast as this was the only time i have got something decent for sunset at this spot. Consequently being such a vibrant sunset it was standing room only.
A re-edit of a old crop sensor image with some decent noise reduction. Yay for new software...
Its also included with a bunch of other Coromandel images at this link;
No, really, it was a nice Spring day. At least, the day before it was Spring, nice and warm and sunny. Of all things, it snowed over night. I bet the prairie dogs were just a bit surprised. Anyway, I made some mistakes on this trip a few years back. I had a new Sony mirrorless, adapted to my old Canon gear so it was a learning curve I wish I had left for the local park. I've been pining to rectify ever since. Not that I expect to get snowed on, or to find bison babies. Looking forward to spending some time in these Black Hills of South Dakota again.
With that adapter, the EXIF data really comes out whacked. I'm betting I had a 1.4 tele on that lens maybe. The big mistake here was shooting the cropped sensor size on the full frame camera, tossing away half the pixels. I bought 24 mp, I shoulda used 'em. Shucks, I coulda just used a longer lens. Duh ...
This shot was taken with the same old Leica lens that I used for the shot of St Paul's Cathedral that I posted a few days back. It's a 90mm lens but when I adapt it to use on my Olympus Micro 4/3s camera, with it's crop sensor, it effectively becomes a 180mm lens. Using a telephoto lens that long will inevitably introduce a lot of compression into an image and you see that phenomenon very clearly here. The chimney tower on the right, which stands on top of the Tate Modern museum, is approximately 250 meters away. Meanwhile the slightly taller Shard building on the left is approximately 1100 meters away (distances measured in Google maps). The Shard is 306 meters high, the Tate chimney tower is 99 meters high.
Beaver Pond, along the Vloman Kill, at the end of winter in the town of Bethlehem, located in upstate New York. Image taken with a Hasselblad Stellar (a pocket point-and-shoot camera, not a full-fledged Hasselblad) -- essentially a Sony RX100 with a fancy (but helpful) grip and Hasselblad branding. Very useful as a lightweight camera.
Hutchinson, Kansas. When traveling for work, I often find myself in places that do not have big attractions or iconic landmarks. So I do my best to capture something that reminds me of the trip. No matter how mundane.
For the Macro Mondays Theme: "Photography Gear"
WARNING: Don't try this at home!!!
Note: No real harm was done and the sensor and camera survived the (photoshop) experiment without any scratch or (water)damage 😉 Thanks for your concerns...
Thank you very much for your time, faves and comments. It's much appreciated.
Happy Macro Mondays
spring waterfall
taken with a Olympus camedia 3040Z from year 2000
this is a advanced point and shot camera with 3.3 mega pixels and a fantastic old CCD sensor that produces film like images
I am investing a great part of my domestic quarantine in rummaging through my archives to unearth some forgotten, hopefully worthwhile shot to process. When this bracketing resurfaced from a stray nook of my hard disk, it struck some chords deep in my soul (most assuredly my brain was somehow performing an on-the-fly processing of those rather flattish, unassuming untouched RAW files). For a fleeting, precious moment I felt strongly the heartwarming sensation to be free to hug and cuddle again my wife, Laura, albeit at some indefinite time when Covid-19 will allow us to relish such an invaluable moment. Please do not ask me why on Earth this specific scene stirred this specific emotion inside me, so I will not be forced to admit that I have not the faintest idea. Rather, allow yourself the freedom to feel whatever emotion this scene will stir in your soul. I have got my own gift. I hope that this picture will gift you with the emotion you need most.
This picture comes from a sunrise session at the beautiful meanders of the river Adda, just a handful kilometers downstream the Eastern arm of Lake Como, dating from April 2016. That morning I arrived at the location a lot earlier than the earliest hints of dawn, so I took shooting the river by night - admittedly a whole bunch of utterly worthless bracketings, at least until proven otherwise (never say never). And I did a thing I do only in exceedingly rare occasions: I raised my sensor gain to a maddening 640 ISO. Of course, being used to shoot at a constant 100 ISO, I foolishly forgot to restore the usual setting as the light was growing and took my precious exposure bracketings at such high ISO till 8:00 AM. As a result of this sloppy attitude I had to fight a monster amount of chroma noise (I viscerally hate it)*. I found no way to get decently rid of that noise by using the rich armoury of denoising tools offered by Darktable - quite possibly because of my qualified failure to set them properly in such a demanding situation. Luckily, by mere trial and error, I got an almost decent denoising using DFine 2 and blending the denoised images with the original ones by the LCh Lightness mode (hope that my memory is not deceiving me); this, rather suprisingly, allowed me to retain most of the details while taking the greatest possible advantage of the denoising itself.
Incidentally, this picture has a closely related fellow image in my photostream, Awakenings: the same location, the same morning, just taken some 10 minutes after this one, some 20 meters downstream - ah, and one of the handful of bracketings of that session taken at 100 ISO, after I realized my mistake ;-)
* I am afraid I am being a bit unfair here, because the worthy sensor of my Nikon D5100 is quite less noisy than those of many other APS-x sensor cameras (and the in-camera management of thermal noise on long exposures is really good). The problem is, the less light you get from your subject, the more noise you get in the sensor data, the ISO gain magnifying an unfavourable signal-to-noise ratio. Of course an early, partly cloudy morning shooting session neatly falls into that sort of context.
I have obtained this picture by blending an exposure bracketing [-1.7/0/+1.7 EV] by luminosity masks in the Gimp (EXIF data, as usual, refer to the "normal exposure" shot), then I added some final touches with Nik Color Efex Pro 4 and a selective bit of Orton effect as a final garnish to get the desired ambiance. RAW files has been processed with Darktable. Denoising has been a vexing issue; I got the best results by courtesy of good old DFine 2 and the Gimp.
taken with a Canon eos 5d mark1 from 2005 and canon EF 24-85. this is a beautiful camera with a magical full frame image sensor
As is often the case, Frank has been drafted to model for yet another one of my photos. This time though, rather than a portrait, I wanted to shoot something more abstract. Capturing Frank's pale white fur and whiskers at macro magnification rendered this magnificent vibration sensor into an abstract forest of outstretched wisps. Chaotic but absolutely essential to him.