View allAll Photos Tagged Sensor
Le Fujifilm FinePix S3 Pro
Avec son capteur (Super CCD SR II)
de 6.17 MP qui après interpolation génèrent une image de 12 MP (4256 x 2848)
Prix : $2,350 USD
==================================================
The Fujifilm FinePix S3 Pro
With its sensor (Super CCD SR II)
of 6.17 MP which after interpolation generates an image of 12 MP (4256 x 2848)
Price: $2,350 US
www.flickr.com/photos/maoby/albums/72157644364384041
Plus d'infos sur le S3 Pro :
More information about the S3 Pro:
www.dpreview.com/reviews/fujifilms3pro
en.wikipedia.org/wiki/FinePix_S3_Pro
www.ephotozine.com/article/fujifilm-s3-pro-digital-slr-re...
www.zone-numerique.com/test_51_test_du_fuji_finepix_s3_pr...
New 45EPIC Fine Art facebook and instagram landscapes!
Sony A7RII Spring Wildflowers Fine Art Joshua Tree National Park! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R 2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
www.facebook.com/45surfAchillesOdysseyMythology
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
45surf fine art!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Thunderbird re-positioning passes captured from the deck of Allure of the Seas during the Ft. Lauderdale Airshow. Yup, that's right, even sitting on the deck of a cruise ship I was on the scanner and pointing 600mm worth of excess baggage skyward shooting photos of F-16s!
Hurricane Helene was a devastating tropical cyclone that produced a wide swath of damage and loss of life that extended from northwest Florida, US, where the storm made landfall on 26 September 2024, to Tennessee, Georgia and North Carolina.
Hurricane Helene was closely monitored using Copernicus Sentinel-1 radar data to assess its wind field over the ocean surface. This technology plays a crucial role in understanding storm dynamics and predicting their impacts.
Satellite-based sensors, particularly those operating in microwave frequencies, can capture data on ocean surface wind speed and direction under various weather conditions. The Ocean Wind Field (OWI), derived from Sentinel-1, provided detailed estimates of wind vectors at 10 m above the ocean surface. This information is essential for meteorologists to analyse the storm's intensity and trajectory.
Credits: contains modified Copernicus Sentinel data (2024), processed by ESA, CC BY-SA 3.0 IGO
canon 500d thorlabs tube lens + mitutoyo 5x objective.....as you can see the corners on the crop sensor thorlabs perform better ,reason the objective field can cover this kind of sensor ..the photo is not processed
.....shooting against the sun is so appealing......but not what "doctors " recommend ......sensor will get sick.....and die...........
APS-C and 35mm sensor cleaning kits came in the mail this week, photographed on white paper.
Nikon D200
Tokina AT-X SD 80-200mm f/2.8 AI
Lit with 1 Vivitar 285 bounced from the wall
Encara que parega que el sensor estiga brut, realment són gavines volant i avisant del temporal que s'apropava.
Aunque parezca que el sensor esté sucio, realmente son gaviotas volando y avisando del temporal que se acercaba.
EXPLORE, 26 de març de 2009, #245
If you would like to use any pic from my gallery, don't hesitate contact me, I'll reply you gladly.
Not much new; bricked up a Gundbuddy Custom with 2rA +d8, 1G, 1B to round out this company for a demo. Also changed the 2Y sensor pack on the officer; it's all 80's now.
I'm far from being a mechanic, but managed to replace these parts on my car. Oil leak fixed. Hopefully, evap issue fixed too.
Praktica LTL
Pancolar 50mm f/1.8
Kodak Gold 200
Argentix/Unicolor development
Pakon F135 scan
This is my Pentax 645n (1997) medium format SLR, with the SMC Pentax-A 120mm F4 macro lens. I've adapted a Sunpak Auto DX-8R ring flash to the lens. The flash has a PT-2D sensor module (for Pentax cameras) which allows through the lens automatic flash exposure. Ring flashes are good to provide close-up, even illumination for macro photography. The lens can produce 1:1 lifesize images on the 6 x 4.5 cm negatives.
The difference between a quality small sensor (S100) and DSLR is astonishing. While the S100 takes great pics, the difference between this pic and www.flickr.com/photos/ozgfk/9134098161/ is huge. I love both pics, for the colours and mood, but you cannot deny the sharpness and quality of the DSLR.
the view from our campsite looking south towards bempton cliffs just a few birds can be seen
PLEASE CLICK ON PHOTO FOR FULL SIZED VIEW
I'm currently film testing this little beauty, it has been tested and cleaned up with a new colour and some tlc. She's ready to rock and roll all over again! On sale very soon!
Agfa Selectronic Sensor 35mm Film Camera
Instagram: instagram.com/45surf
Beautiful ballerina and professional ballet dancer! You've seen her dancing ballet in other photos! Here she is modeling 45SURF ! :)
Nikon D810 Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
pretty portrait, beautiful portrait, portrait
Malibu sea cave!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
I was doing a golf course shoot this afternoon when a hawk floated directly overhead for more than the time it took me to walk a good half mile. In the processing phase, I accidentally cloned it while trying to get rid of my sensor dust, and decided three was better than one.
Agfa Optima 1535 Sensor • Agfa Paratronic Solitar S 1:2.8/40
Ilford Pan 400 film developped in Caffenol CLCS 80min @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Dust!
In the end it can't be avoided, especially for digital photographers. We have to take care cleaning our lenses as dust has a tendency to scratch that precious glass if we are not careful.
But what about dust getting inside our camera bodies? Every time we remove a lens we are letting minute dust particles in. It's bad enough for DSLRs, and I shudder to think of how much worse it is for mirrorless cameras where the sensor is exposed directly to the air. So every so often we need to have our sensor cleaned, as larger dust particles will show up at times (often when shooting into the setting sun).
These can be removed in processing, but when you try digital pinhole shooting (with say the Thingyfy pinhole lens) you suddenly find dozens of dust particles evident on each RAW file. The reason for this is that pinhole gives an infinite depth of field and even the tiniest dust particle shows up with a Newton ring around it. You can see this clearly when you enlarge my example above. I've circled the offending spots. So a pinhole shot is a great way to test how clean your camera sensor is.
The longer you leave it the greater the problem grows. So after more than five years my Nikon D850 was well and truly due for a clean. So let's look to the solution in my next image.
The picture of this playground horse was taken with the Nikon D850 and my Thingyfy pinhole lens.
and first light of my new Pt Grey Chameleon 3 camera.
5Mp Sony Pregius CMOS sensor (IMX264), 3.45um pixels, full frame 8bit at 35fps, 16bit at 19fps up to around 500fps using smaller regions of interest.
CMOS is not ideal for solar as you can see by the pesky newton rings .(curved interference lines) but will work excellently for Lunar and planetary imaging.
Now what happened to that clear sky?
Specification
Max resolution: 3072 x 2304
Effective pixels: 7 megapixels
Sensor size: 1/2.5" (5.744 x 4.308 mm)
Sensor type: CCD
ISO: Auto, 80, 100, 200, 400, 800, 1000
Focal length (equiv.): 36–432 mm
Max aperture: F2.8–3.7
Articulated LCD: No
Screen size: 3″
Screen dots: 230,000
Max shutter speed: 1/1000 sec
Format: MPEG VX
Storage types: Memory Stick Duo / Pro Duo, Internal
USB: USB 2.0 (480 Mbit/sec)
Weight (inc. batteries): 490 g (1.08 lb / 17.28 oz)
Dimensions: 108 x 81 x 92 mm (4.25 x 3.19 x 3.62″)
Vestigio en la costa de Brookins, Oregon. Si respiraba muy fuerte se hacía polvo, una especie de coral fino como el papel y hueco
Testing an old Leica Digilux 1 (made in 2002) under indoors conditions.
The contrast and colour rendition are quite good, but the noise spoils everything once you zoom in. But I knew that. This camera is a relic of the early digital age when the sensor capabilities still lagged far behind the optics.
Still, I think the images have a nice "filmy" touch, which is why I haven't ditched this camera yet.
Shot at the Technikmuseum, Speyer, Germany
Beautiful Brunette Surf Girl Bikini Swimsuit Model Goddess @ Surfrider's Beach by the Malibu Pier! She was tall, thin, and fit with amazing long toned legs and abs! Pretty dark eyes and a beautiful smile with long, dark, curly brown hair with a touch of red! A classic tanned and toned California beach babe and one of the all-time favorite 45surf Hero's Journey Mythology Goddesses refinished in Lightroom 5! A pretty, pretty girl posing like a the goddess of surf and summer herself! :)
Like my new facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to my youtube channel for epic goddess HD video shot at the same time as the stills!
www.youtube.com/user/bikiniswimsuitmodels
Follow me on facebook!
www.facebook.com/elliot.mcgucken
I am refinishing these photos in Lightroom 5! She was a tall, thin, fit, athletic goddess from Sweden! She was surfing on a vintage midsize surfboard that day close to the Malibu Lagoon on surfrider's beach, before we headed out to the ranch to shoot some cowboy shots!
Shot with a Panasonic DMC-FZ50--a nifty little camera that still had a CCD in it, instead of the cmos sensor! It's close to Micro 4/3 and the Leica lens/ glass is awesomely sharp!
All the best on your Epic Hero's Journey from Johnny Ranger McCoy! May the goddesses and landscapes inspire you as they inspire me--that is the goal of my photography! :)
Agfa Sensor Cameras
Agfa Silette LK Sensor
Agfa Optima 200 Sensor
Agfa Optima 500 Sensor
Agfa Selectronic Sensor
Agfa Selectronic S Sensor
Agfa started that series in the early 1970ies, the new identifier of all models was the red-orange dot as shutter button, a feature Agfa used successfully for all following cameras. The name "Sensor" refers to that shutter button, the new design should guarantee a very soft and shake-free release.
All models share basically the same body, which includes another characteristic feature: with the film advance lever at the bottom also the exposed film has to be rewound. Furthermore the exposed frames have an extra container in the film chamber, so they are protected when the door is opened accidentally.
Other shared characteristics are a manual focus lens with the minimum focus distance of 1 m, an f-stop range from f/2.8 to f/22 and the lack of a filter thread. All models have an exposure meter, a bright frame viewfinder with parallax marks, a cable release thread (due to the red button it's on the back), a hot shoe, a tripod bush and a frame counter at the bottom, which has to be reset manually.
In the mid 70ies these cameras were replaced by the very compact Optima Sensor Electronic models, which kept some features like the peculiar rewind mechanism.
The models in detail:
The Silette LK is clearly the budget model, fully manual and fully mechanical (no battery required), 3-element 2.8/45 Color-Agnar lens in Parator shutter, unlike the other models the lens barrel is plastic made. Shutter speeds from 1/30 to 1/300 s and B, coupled exposure meter with Selenium cell whose needle is visible in the viewer and on top, ISO range from 25 to 400.
Optima 200: 3-element 2.8/42 Color-Apotar lens in Paratic shutter, zone focusing. Like all previous Agfa Optima cameras the Optima 200 has a programmed automatic exposure, in the viewfinder a red/green signal displays sufficient light. Shutter speeds from 1/30 to 1/200 s. A Selenium cell is used, so the camera also doesn't require a battery, ISO range (of the variant here) 25 to 160. If a flash is mounted in the hot shoe, the camera uses 1/30 s and switches into flash-matic mode, guide number (m) from 11 to 27.
Optima 500: like the Optima 200, but with a CdS-cell for the exposure meter instead of a Selenium cell, so a 625 PX battery is required. ISO range from 25 to 400, shutter speeds from 1/30 to 1/500 s. Furthermore the shutter features a B-setting with the full f-stop range. Afaik the Optima 500 was the only model which was available in black and silver.
Selectronic: 3-element 2.8/45 Color-Apotar lens in Paratronic shutter. Aperture priority automatic exposure mode, the f-stop ring has no click-stops. Both F-stop and shutter speed (1/500 to 1/30 s, symbol for slower speeds) are displayed in the viewfinder. Slowest shutter speed up to 15 s. CdS-cell (behind the right one of the two eyes), two 625 PX batteries are required, ISO range from 25 to 400. Behind the left eye is a light bulb, it is lit when the shutter is open, it also indicates full batteries when the test button is pressed.
Self-timer, no B-setting, no flash-matic mode.
Price about DM 350,-
Selectronic S, the top model. Like the Selectronic, but with 4-element 2.8/45 Color-Solinar lens and rangefinder.
Price about DM 450,-
Today I decided to take the opportunity to use a Sony NEX-7 [Crop-Sensor] with a Sony-Zeiss Full-Frame 35mm 1.4f lens.
I have recently read that using a full-frame lens with a crop sensor may not produce better results than using a lens designed from a crop-sensor camera and in fact the images will be less shary.
When starting out, many photographers choose to go with a crop body and invest in full frame lenses. This is usually recommended as a good approach as you can keep your lenses and swap out your body for something newer down the road, eventually leading to that high quality full frame sensor that you always wanted. However some experts, especially Tony Northrup, claim that starting out with the full frame lens and crop bodies does not provide you with the sharp images.
In my case I had a top end full frame camera [Canon 1DSIII] with a set of very expensive glass and I was not at all happy as the combination was way too heavy and totally unsuitable for street photography. About five years ago I decided that I needed a better solution and after using a Sony NEX-5 for about a year I decided to purchase a NEX-7 and switch from DSLR to Mirrorless [at the time that was a big gamble]. In theory it would be possible to use my Canon lenses with the NEX-7 but in reality it was not a workable solution. The NEX-7 featured a crop-sensor so I purchased a set of suitable Sony lenses and they were not expensive.
My reason for getting the NEX-7 and associated lenses was greatly reduced weight coupled with the fact that my equipment did not attract unwelcome attention.
The NEX-7 performed way beyond my expectations and I was really pleased and then towards the end of last year because the camera was giving problems at random I threw all logic out the window and took an ever bigger gamble by purchasing a Sony A7RMkII full frame mirrorless camera which is larger and heavier than the NEX-7.
To be honest, there is no comparison between the two cameras, the A7R is very much superior and while it is heavier it is actually easier to use. Also the Canon lenses actually work with the A7R but using the necessary adaptor was a pain and added weight. However the Canon lenses showed what the A7RMkII could do so I decided that maybe I should consider getting some native Sony FE prime lenses and then I discovered that they all were expensive and heavy [ unless I got manual focus lens such as the Loxia ]. Anyway I ended up with a set of primes [and no cash] but I now have serious weight issue especially when I travel.
I was planning to use the NEX-7 as a backup or when I travel but the crop-lenses are not very good so it would make no sense to leave my full-frame lenses behind so a possible solution would to bring along one of the FE primes [35mm 1.4f] but then I came across discussions online claiming that FE lenses underperform when used with a crop-sensor. Of course there is another issue in that the NEX-7 is at the end of its life and needs to be replaced by something like the A6300 but as I already said I have no spare cash.
S, Mansur by Mansoor Saleem
Some notes ABOUT MY WORK (a brief sample of local or regional anthropology at micro level):
The word "Gravity" is a symbol of reality that exists. Similarly E=mc2 is a combination of symbols trying to express some reality. In similar fashion my depiction of flashes (kashf) should be conceived that they are equations not in math but in language that nature uses. Perhaps fate had dropped flashes in my lap and I am depicting these flashes for world to know how to derive knowledge out of these flashes. May be from Archetypal plane I am receiving flashes and transforming these into phenomenal plane, but for more perfect transformation, sponsorship is required, like flashes roughly depicted demands super realistic treatment or animations at some points, or arrangements in 3- Dimension or performing activities or etc. at some other points, because each of my work either illustrated or arranged for photo is a part of animation and is just a one shot from one angle of bigger reality, therefore I am not a sur-realist. For deriving knowledge from my flashes their access to wider researchers in form of website, book, Museum, CD, video, etc. are required. And due to unavailability of resources, most of the paintings were sold before I could photographed these works which basically are like the fossils of the time and region and are done with hope that in future in order to get some data out of these works, the dimensions of anthropology, psychology, historiography, neurology, neuro-physics and other aspects will also be taken into account and the result may benefit in understanding some aspect of the complex Nature. The importance of flashes can be realized from the ripple effect observable in art and multi-media community that somehow came in contact with the work and hijacked ideology out of these flashes, such benefits, scientific community has not taken yet. From art point of view the art community produced high quality variations out of flashes but their work lack archetypal dimension which is one of the aspect, useful for scientific community to explore.
For cataloguing purpose somewhere title or art terminology like: "oil on canvas", "collage", "performance", "installations", "construction", etc. are used has nothing to do with meaning of the work, flashes are independent of these terminologies borrowed from art for cataloguing purpose only, flashes are beyond art. Flashes can include any ism, any element, bizarre thing, anything or things we don't know, that's why thousands of my flashes goes waste due to lack of energy and resources. Besides colorful images, performance and animation, Flashes also comes in form of sound as well, for instance I heard the sound: "Quranic archaeology is a mighty subject," this flash took me into the archaeology.
Researchers are invited to reply on enigma of colorful flashes. From where they come? they come to all or to few,? Few interesting pieces of writing below could be the starting point for debate: One is by David V. Tansley in his book: 'Subtle body' , author writes,..."the pineal gland has been found to contain vestigial traces of optic tissue. Experiments have shown that nerve impulses arise in the pineal in response to stimulation by light. Galen claimed that the pineal was a regulator of thought, and the Greeks said that the soul was anchored there. According to esoteric tradition this gland is the focal point for the masculine positive energy of spirit which is represented by the first hexagram of l-Ching, its six yang lines symbolizing the primal power of heaven and the creative action of the holy man".
But spirituality or metaphysical dimension is relevant in my case or not is a question unsolved or perhaps I should confine myself to physical dimension of Flashes (or call it images) which stay in my eyes just for less than a half second, perhaps for 0.01 second and I simply illustrate these Flashes and what it holds for future Fine Art, Sciences, Meta-science or Spirituality, I do not know yet, so I isolate myself from dada and sur-realism because I avoid title and avoid mixing my imagination or experimentation in recording of Flashes which is very rare or unrecorded. In dada and sur-realism we do read about dreams and drug infused random thoughts, but not flashes, so far no word about flashes I find even in Freud or Jungian psychology, they talk about dream importance. And in Christian art history so far I have only observed mixing of dream and inspiration from Bible. No body so far I have read in Dada and sur-realism that somebody is claiming that he is depicting Flashes or depicting flashes without mixing his imagination or experimentation. After seeing the difference between two (1) Pure Flashes and (2) some of my work based on mixing of imagination or experimentation with Flashes, now I can pin point the Flash, mixed or unmixed. My major work which is unmixed are pure Flashes (1) and my mixed work (2) can be termed as sur-realistic which I did for commercial reason on client's demand who was mad of sur-realism, I wish I could destroy these sur-realistic works. Since I can now perceive the difference between Flashes and work based on mixing of imagination or experimentation, now I can pin point the Flash, mixed or unmixed, so my major work should not be equate with William Blake, Dali, De Chirico, Carra, Marcel Duchamp, Magrette, etc., because I am not competing in art aesthetic, or in painterly compositions, I have no experience of spirituality, so my work should not also be confuse with any oriental mystics or artists who refer to the metaphysical in some form or another.
My work from (1974-81) of installations, performances based on flashes is still unpublished, so new generation do not know about it, in South Asian art also so far, no artist has ever claimed flashes mixed or un-mixed. For future science world, un-mixed flashes will be more important. Please inform on email mansursalim@hotmail.com, if reader come up with something related to science of flashes, or near to it, for instance few near relevant things I found are:
Physicist Mitchell Feigenbaum (reported in the New York Times, 1984), that when inspiration came to Feigenbaum, it was in the form of a picture, a mental image of two small wavy forms and one big one. This gave him an idea about scaling, the way the small features of a thing relate to the large features, it gave him the path he needed. For period doubling, scaling showed not only when one value-a total population or a fluid speed-would break into two, but also just where the new values would be found, Scaling was an intimate feature of the peculiar world Feigenbaum was beginning to explore.
Arthur I. Miller in a discussion of "redefining visualizability" makes it clear...the experimental evidence prevents us from forming a mental image bridging the wave-particle duality, such an image is available by 'Anschaulichheit' (German term for intuition, plus more) of another kind. It is the kind of image the physicist Werner Heisenberg had in mind when he asserted that, although the causality of classical mechanics has no access to quantum theory, quantum mechanics should not be considered unanschaulich, that is, excluded from imagery (Miller, Imagery in Scientific Thought). One example of such image is Albert Einstein's famous thought experiment in which he demonstrated the equivalence of inertia and gravitation by imagining an observer pulled through empty space in a closed container. Such images, however, lead by degrees of abstraction to others limited to spatial diagrams of a theoretical situation. Sigmund Freud, for example, writes, "We assume that the psychic life has the function of an apparatus, to which we attribute spatial extension and which we imagine as being composed of several pieces, similar to a telescope or microscope" Although such an image provides complementarity with a concrete percept of its models, it would not seem to provide it with a representable reality. But some physicists disagree that Niels Bohr never apply his notion of complementarity to subject other than physics. But for some physicists the contrary is true. (From Rudolf Arnheim's essay: “Complementarity from the outside” in book: Rescue of art).
May be or may not be these above references are relevant here for flashes I do not know, but for scientific analysis it is important to state briefly here the background of how I realized the importance of these flashes, but for scientific cause I have to write what I should not. I hope my friends will forgive me for this cause, because for good Gestalt one should have all the possible details in mind, it is beyond humans to perceive Perfect Gestalt, only Allah knows everything. A year before Metric and much before Diploma in fine art, my art works (flashes, mixed and unmixed) since 1974 were on display at Atelier BM and at Indus gallery, and since then I am observing the ripple effect of those works. After solo show of my works at Pakistan American Cultural Center, January 1979, I went to CIAC, Karachi Arts Council, to check effects of my Flash-works among artists. Before flashes since 1973 I was only doing super realistic sort of paintings of surrounding and of interior Sindh culture and capturing the local environment to come up with something: Pakistani avant-garde which I displayed at PACC solo show in Jan. 1979. But was ignored by media, only small press coverage came with a suggestion: "Mansoor has to stick to his remarkably sound realistic style instead of delving into many styles". (Art show, Daily News, Jan. 9, 1979). But anyhow I was realizing the importance of my flashes which were inspiring the most intelligent and talented of artist community for example: Ghalib Baqar changed his Dali sort of Sur realism into experimental water color, other water colorists like Abdul Hayee, Ather Jamal, Zahin Ahmad, Hanif Shezad, etc. added Karachi and interior Sindh imagery into their work. But at the same time I was learning the techniques of art from them. From Hayee and Baqar I learned the techniques of water color, from Farhan Ehsan I learned the techniques of drawing and calligraphy, from Amir Khan Tareen I learned the techniques of Rembrandt, from Abul Fateh I learned the techniques of ceramics, from Dr. Sajid Khan and Naseem Khan I learned the techniques of photography, from A.G. Khalid I learned the techniques of using computer and so on.
One of world's best super realist artist Shakil Siddiquei changed his Rembrandt sort of style into super realistic abstraction, for instance his paintings of Book shelf, Notice board, door, windows, composition with Dawn news paper, Sindhi dari, fruit packing wooden peyti, Chilmun and etc., in subject matter, were directly inspired by my flashes in form of photos or artworks I shared with him. Art critic Dr. S. Amjad Ali in his article: "Growing trend towards realism", wrote;..."Saleem Mansoor was the first to begin this kind of realism in Karachi but he was well advised to give up after creating a few interesting pieces. It is a good way of gaining command over technique and then putting it to other use in which more thought and feeling comes into play." (Dawn, April 20, 1984).
Ejazul Hassan wrote in Page 17, 123 in the catalogue of 5th National Exhibition, 1985, Published by Idara Saqafat Pakistan, written by Ejazul Husan.
"Young Mansoor Saleem has his own unusual way with objects and space. He sometimes likes to call his work as "installation" in the environment around him. He always wants to place things where he thinks these should be placed. The coiled wire, with a crescent on top, placed on a gray composition is evidence of his restless imagination. The title "Pakistani Avant Garde" also shows his wit." (—page 123, Ejazul Husan)
"The young painter Saleem Mansoor....investigates new methods and techniques not only meant to widen the scope and definition of realism but also to discover fresh methods to stimulate the viewers' response. His 'painting' titled The Pakistani Avant-garde' is wittily fabricated with tan-gue-in-cheek humor making an apt comment on elitist attitudes and trends in modern art."—(page: 17, from the introduction of 5th National Exhibition by Ejazul Hasan)
Most helping and highly creative artist and multi media man Imran Mir in 1975 appreciated my work in high remarks when he was discussing with Bashir Mirza at Atelier BM. BM was telling him that before going to Canada what Imran observed in art scene was still the same when he returned after many years, that Ahmed Pervaiz is repeating Allen Davy, and Shakir Ali, Mansur Rahi and their students were repeating Picasso and Braque's cubism in Indian or Bengali styles and Jamil Naqsh, Lubna Agha, Mansur Aye, Mashkoor, and others are repeating the same compositions, Rabia Zuberi and Shahid Sajjad repeating Henry Moor and so on. Imran pointing towards my work replied: "he is the change"! and BM acknowledged it. Imran like Zahoor ul Akhlaque, also absorbed elements from my flashes (like geometry, etc) but both only absorbed post modern art-elements from my flashes (but they absorbed postmodern element from other sources like we see in work of Herbert Bayer, Jennifer Bartlett, Ross Blacker, Sean Scully and etc) which not much is my concerned.
During my slide show at NCA in 1981, Zahoor and his wife asked me about my future plan, they were surprised to hear that I will soon be joining Archaeology Department in some university because from inside I am an anthropologist also. All my work is not only a statement in anthropology, but is also a statement in neurology, physics, and other sciences. Imran sincerely wanted to bring post modern trends in the region, perhaps for variety he introduced me to many artists, for instance, one day Imran came to me and carried my work's photos in his car and took me to David Alesworth's house and showed my work to him and his wife Durriya and Imran told them to do something like that and after one month of that, Imran's wife Nighat, told me; "Mansoor! You know Durriya is taking your sort of Truck art from Karachi to Peshawar". Nighat was saying that because she much before this event has written an article in press on my 1977 Truck art collection and Sara Irshad has written on my 1981 work: "Taking art show on donkey cart to the folk". Durriya and David not only took the advantage of my flashes but others also followed similar ideology, for instance Ruby Chisti, Masooma Syed, Naiza Khan, Adeela Khan, Rashid Rana, Noorjehn Bilgramy, Huma Mulji, Farida Batool, Ali Raza, Sophie Ernst, Faiza But, M. Ali Talpur, Imran Qureshi, Ameen Gulgee, Jamal Shah, Nazish Ataullah, Aaisha Khalid, Risham Syed and many others who spread the ideology to Melbourne, Dubai, London, New York, Berlin, etc.
Before their first thesis, IVSAA'S principal invited me for slide show of my work, but to my surprise only the faculty staff was invited and not the students. After a month or so one of the faculty member Kamran Hamid told me, "Mansoor go and see student's thesis at IVSAA where teachers has influenced students to do work which is similar to your ideology"." Now it is a tradition there. Even their very architecture is based on the ideology of some of my old flashes and on article published in press. Against me, I even find wrong propaganda by hijackers of my work. And rather through lobby in media they even sensor or edit my interviews according to their need of representing me with those works which they have not preferred to hijack from my flashes. In Shisha, Shanakht, Carce, IVSAA, Fomma and VASL works I have observed direct influence of ideologies, imageries derived out of my flashes. For assessment of the influence, historiographical approach is required. For commercial reason, they can ignore me too but future history will not. Local art magazine and art book writers were chased to ignore me.
I also held slide show of the work at NCA in 1981, where Zahoor-ul-Akhlaque, his wife and his students saw the show. Salima Hashmi wrote an article on my exhibition at Alhambra gallery Lahore, in March, 1984. The effort bore its fruit, through historiography one can trace after 1981, the change in NCA and change in Zahoor, Ejazul Hasan, Salima Hashmi, Shahid Sajjad, Mehar Afroze, etc., and change in their younger generation of students. They and other agents and technology (since 1974 perhaps) spread the influence of my flashes abroad as well, for instance on Beverly Pepper, Nicole Eisenman, Anish Kapoor, Mohsin Zaidi, Susanne Kessler and etc.
All the names mentioned above have the right to disagree with me, these are just friendly assumptions for researchers to look at such debate too to guess what the Flashes are? I too was inspired by many but after receiving Flashes from nature, I painted these with realization that they are more important than Mona Lisa, E=mc2 or Taj Mahal. I have no solo shows in prestigious gallery abroad I have no big post, scholarship or any sponsorship or awards, etc. But what Nature has given me in form of Flashes is more important that they are prototype for all time to come, back to the future or forward into the past. All artists are free to make anything they wish or according to market forces but I have to make (for science) what I receive in form of Flashes. Historiographicaly speaking Flashes' influence is more than what the work of Shakir Ali, Sadequein, Gulgee, M.F. Hussain and etc. had. But no comment I see in the catalogue of 2007- National exhibition, even the Karachiets have ignored me too. Sindh Governor is not using his Legend Fund; I now in time of Parkinson disease need sponsorship to continue the mission, if possible Inshallah. ...MS
Mansoor Saleem's solo show, May, 2008
Shakil Ismail Art Gallery
Ground Floor, Marine Point, Block 9, Clifton Karachi. Tel: 0321-2409949, E-mail: shakilismailartgallery@yahoo.com
Gallery is not responsible what artists express freely
Sony A7R RAW Photos of Tall, Thin Pretty Blond Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens ! Lightroom 5.3 !
Join/like my facebook page! www.facebook.com/45surfHerosJourneyMythology
Follow me on facebook! facebook.com/elliot.mcgucken
Beautiful Hero's Journey Mythology Swimsuit Bikini Model Goddesses! Pretty, pretty, girls!
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/
As the Great Mick Jagger satted, "Pretty, pretty, pretty, pretty, girl
Pretty, pretty
Such a pretty, pretty, pretty girl." -Beast of Burden Sexy, hot, and cute too!
Epic Goddess Straight Out of Hero's Journey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's journey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Journey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosjourneymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
With the Johnny Ranger McCoy Celtic Cross on the back of the bikini! All the best on your epic hero's journey from JR MCCOY!
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Nikon DSLRs come in two sensor sizes, FX and DX. FX is Nikon's new moniker for a sensor approximately the same size as old 35mm film which is technically called 135-format. DX is a smaller sensor also referred to as APS-C size. Note that APS-C sensors actually exist in a range of sizes and thus is not an exact size but they're all pretty close. For instance, Canon APS-C sensors are slightly smaller than Nikon's. Even amongst Nikon cameras, DX sensor sizes sometimes vary slightly (by a couple of tenths of a millimeter) depending on the specific model of sensor used in that specific model of camera. The above diagram shows the relationship between FX and DX.
Lenses project an image circle of a certain size. Nikon has a line of lenses which will only project an image circle big enough to cover DX. If the lens does not have a DX notation then it will cover FX (also covering DX).
But what about focal length? For any given lens focal length, the following axioms hold true:
[0] Focal length does not change with sensor size. Apparent focal length as it pertains to Angle-of-View (AOV) or Field-of-View (FOV) however will differ. This is merely an effect of how much of the actual image can be seen combined with normalisation of the final output image to a specific physical size. This is also known as the crop-effect.
[1] That lens on a DX sensor will provide a tighter AOV than on FX thus giving an apparently longer focal-length than 135-format.
[2] That lens on an FX sensor will provide a wider AOV than on DX thus giving an apparently shorter focal-length than APS-C DX-format.
Nikon FX cameras feature an autodetection mechanism for DX in that they will automatically crop into the DX size when a DX lens is attached. This auto-DX feature can be disabled and overridden however.
So what does the auto-crop do? Well currently with the 12MP FX sensors in the D3 and D700, you'll get an image comparable to that from a 5MP DX camera. As newer sensors with higher resolutions come out, the resolution of the auto-cropped DX portion will also increase.
Now since in auto-crop mode, the sensor is basically "throttled down" to DX size, it again means your crop-factour will come back into play and reduce your AOV. It will make pictures taken with say a 200mm DX lens appear to have the same AOV as pictures taken with a 300mm FX-compatible lens.
But what about lens choices, you ask... One thing to keep in mind is that DX lenses are generally smaller, lighter and cheaper. They are also usually available in focal lengths that "make more sense" with regards to AOV and FOV given the crop-factour. Personally, I don't pay much attention as to what's considered an appropriate focal length for a given sensor size. I pick my lenses based on what I think I want in terms of actual AOV. For instance, I primarily use a 24-70mm zoom as my midrange zoom lens but others will tell you that it's "inappropriate" and you should pick the 17-55mm lens range instead. Choose whatever feels comfortable for you and how you shoot.
There are some advantages to using lenses made to cover FX on a DX sensor camera. Because you are only using the DX portion of the image circle, you are taking advantage of the higher quality section of optics nearer the center which some people refer to as the lens' "sweet-spot". This tends to mean better edge-to-edge sharpness and less possibilities for vignetting.
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
And now for something completely different - a very compact plastic camera with an oversized finder and semi-wide-angle lens, ideal for street shooting. The finder has a magnification of about 0.80x (slightly larger than the Leica M6 which had 0.85x) and has a brightline incorporated (Albada type, i.e. self-illuminating, with the frameline on the inner surface of the eyepiece lens). Exposure is fully automatic (using No. 625 batteries) and programmed. Zone focusing with click stops for 3 positions, and there's still a proper distance scale as well.
The lens is a 4-element air-spaced type like the Goerz Dogmar of 100 years ago (which has been used more often during the 80's and 90's because of the better correction that can be obtained when elements don't have to be cemented, as in the Tessar design, where the two rear elements are cemented).
The compactness of the camera (105mm wide, 69mm high, 55mm deep) has been achieved by placing the finder over the take-up spool, as in the legendary Rollei 35. Unlike that camera however, which had a very awkward lever wind on the left (right above the finder) this camera has a convenient lever on the right hand side (the Rollei 35 was of course more compact - 97x60mmx32mm though more awkward). The release is the red flexible plastic dome on top of the winder, which they called a "sensor" (and not the black knob near it, which is just the rewind selector).
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography!
An important thing to remember is that even though pixel sizes keep getting smaller and smaller, the technology is advancing, so the smaller pixels are more efficient at collecting light. For instance, the Sony A7rII is back-illuminated which allows more photons to hit the sensor. Semiconductor technology is always advancing, so the brilliant engineers are always improving the signal/noise ratio. Far higher pixel counts, as well as better dynamic ranger, are thus not only possible, but the future!
Yes I have a Ph.D. in physics! I worked on phototranistors and photodiodes as well as an artificial retina for the blind. :)
You can read more about my own physics theory (dx4/dt=ic) here: herosodysseyphysics.wordpress.com/
And follow me on instagram! @45surf
Facebook!
www.facebook.com/elliot.mcgucken
www.facebook.com/45surfAchillesOdysseyMythology
Dr. Elliot McGucken Fine Art Photography!
I love shooting fine art landscapes and fine art nature photography! :) I live for it!
45surf fine art!
Feel free to ask me any questions! Always love sharing tech talk and insights! :)
And all the best on Your Epic Hero's Odyssey!
The new Lightroom rocks!
Beautiful magnificent clouds!
View your artistic mission into photography as an epic odyssey of heroic poetry! Take it from Homer in Homer's Odyssey: "Tell me, O muse, of that ingenious hero who travelled far and wide after he had sacked the famous town of Troy. Many cities did he visit, and many were the nations with whose manners and customs he was acquainted; moreover he suffered much by sea while trying to save his own life and bring his men safely home; but do what he might he could not save his men, for they perished through their own sheer folly in eating the cattle of the Sun-god Hyperion; so the god prevented them from ever reaching home. Tell me, too, about all these things, O daughter of Jove, from whatsoever source you may know them. " --Samuel Butler Translation of Homer's Odyssey
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Sony A7RII Fine Art Zion National Park Autumn Winter Subway Hike! Dr. Elliot McGucken Fine Art Landscape Photography! Sony A7R2 & Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens!
fine art landscape photography,fine art photography, fine art photographer, elliot mcgucken photography, landscapes, fine art landscape, landscape, landscape photography
Beautiful Redhead Surf Girl Bikini Swimsuit Model Goddess@ Surfrider's Beach by Malibu Pier! With an old-school vintage sufboard! She had pretty ginger red hair in a pixie cut and amazing abs! Wearing a ripped 45SURF t-shirt!
Like my new facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to my youtube channel for epic goddess HD video shot at the same time as the stills!
www.youtube.com/user/bikiniswimsuitmodels
Follow me on facebook!
www.facebook.com/elliot.mcgucken
I am refinishing these photos in Lightroom 5! She was a tall, thin, fit, athletic goddess from Sweden! A blond and a brunette! She was surfing on a vintage midsize surfboard that day close to the Malibu Lagoon on surfrider's beach, before we headed out to the ranch to shoot some cowboy shots!
Shot with a Panasonic DMC-FZ50--a nifty little camera that still had a CCD in it, instead of the cmos sensor! It's close to Micro 4/3 and the Leica lens/ glass is awesomely sharp!
All the best on your Epic Hero's Journey from Johnny Ranger McCoy! :)