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Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
The shutter held open for Digital Modul M sensor cleaning, while the battery is removed for charging. To the left is Som Berthiot Flor converted to Leica M mount.
Some background:
After the space-worthy conversion of the CVS-101 Prometheus and the SLV-111 Daedalus carriers, these ships were docked with the SDF-1 Macross and it became clear that this new gigantic vessel required a specialized unit with a heavy armament for medium range defense.
The resulting Space Defense Robot (SDR) Phalanx was tailored to this task. Development of the Phalanx began in a hurry, during the already ongoing Space War I in July 2009. Its systems and structural elements were, to save time and minimize development risks, taken over from a pre-war Destroid standard mass production model. The "Type 04" biped chassis from 2001 was common to several Destroid types, including the Tomahawk medium battle robot and the Defender anti-aircraft robot. The main frame from the waist down included a common module which consolidated the thermonuclear reactor and ambulatory OverTechnology system, and for the Phalanx it was combined with a new, jettisonable torso that was suited to space operations and could also act as a rescue capsule with modest independent propulsion. Thanks to this dedicated mission profile, the Phalanx was the best adapted Destroid to space operations, with the best zero-G maneuverability of any Destroid type during Space War I.
With this proven basis, the Phalanx quickly reached rollout in December of that year. Armed with dozens of missiles in two large launcher pods, the Phalanx made an excellent semi-mobile missile-based battery. On board of spaceships, the Phalanx also performed as a substitution deployment for the much more complex ADR-04-Mk X Destroid Defender, and it complemented this type with its longer-range guided missile weaponry. Minor Phalanx variants featured additional light close-range armament, such as a head-mounted gatling gun that replaced the original search light array, or more sophisticated sensor arrays. The latter led to the dedicated Mk. XIII version for space operations.
During the final battle of Space War I against the Zentraedi Bodol Zer Main Fleet, the Phalanx units, originally delivered in a sand-colored livery, were repainted in dark blue and refitted to fire long-range reaction warheads for use against space warships. The Phalanx’ on board of SDF-1 had their finest hour when the SDF-1 Macross broke through the Zentraedi fleet defenses and entered the interior of the massive Fulbtzs Berrentzs command vessel: all the Phalanx units unleashed their missiles and aided in the swift destruction of the enemy flagship.
However, Phalanx production only reached limited numbers, due to the type’s high grade of specialization and its inherent vulnerability in close combat - the Phalanx’ combat operation capability decreases substantially once the missile ordnance had been exhausted. Beyond the initial production on Earth, roughly 20 more Phalanx Destroids were also built aboard the SDF-1 Macross shipboard factories, and many of these were later updated from the Mk. XII to the Mk. XIII standard. Post-Space War I, Phalanx Destroids were deployed as part of defense forces on various military bases and used in the ground attack role as long-range infantry support artillery units, fighting from the second line of battle. Nevertheless, the Phalanx remained a stopgap solution and was quickly followed by the more versatile Destroid "Nimrod" SDR-04-Mk. XIV.
Technical Data:
Equipment Type: Space Defense Robot/heavy artillery
Accommodation: One pilot
Government: U.N. Spacy
Manufacturer: Macross Onboard Factories
Introduction: December 2009
Dimensions:
Height 12.05 meters overall (11.27 m w/o searchlight array)
Length 5.1 meters
Width 10.8 meters.
Mass: 47.2 metric tons
Powerplant:
1x Kranss-Maffai MT828 thermonuclear reactor, developing 2800 shp;
Auxillary Shinnakasu Industry CT 03 miniature thermonuclear generator, output rated at 970 kW.
Propulsion:
Biped, with limited zero-G maneuverability through many low-thrust vernier thrusters beneath multipurpose hooks/handles all over the hull.
Armament:
2x Howard SHIN-SHM-10 Derringer short-range high-maneuverability self-guided missile pods, one per arm, with 22 missiles each (missiles stored in two rows behind each other).
Production Notes:
The rather obscure Destroid Phalanx made its media debut in Super Dimension Fortress Macross, Episode 27, and it's actually the only occasion where it appears. Original mecha designer is/was Miyatake Kazutaka.
The kit and its assembly:
I have been pushing this build away from the workbench for a long time. I was – after building two conversions - missing a canonical Destroid Phalanx in my Macross mecha collection, and since I had one stashed away (you never know…) I tackled this project now. The kit is Bandai’s re-issue of Imai’s 1982 1:100 kit, a vintage “Matryoshka” construction (= build one element from two halves, place it between two more halves, etc.) which does not make the assembly process easy.
The kit was basically built OOB, but “under the hood” it received some mechanical mods and improvements. These primarily include scratched joints for the arms/launcher pods and the hip. The pods remained detachable through an internal styrene tube construction. An important improvement for the “04 chassis” is a completely now hip joint arrangement because the Phalanx’ OOB posture is pretty stiff, with the legs and feet facing straight forward. The mecha model is just supposed to just stand upright and with the model’s OOB joint options it is really hard to create a vivid poise at all, so that a 3rd dimension improves the posing options a lot. Furthermore, the bolts that hold the legs are prone to break off, even more so because the kit is from the 1st generation of mecha kits without vinyl caps and just a very tight joint fit to hold the appendages in place. My solution was the implantation of a new hip “bone”, made from plastic-coated steel wire, which is stiff in itself but can be bent in two dimensions. The thighs had to be modified accordingly, since the wire is much thinner than the original bolts, and it needs a rigid attachment point. Resulting gaps around the hip joints were filled with bits of paper tissue drenched in white glue.
Other visual improvements include launch tubes inside of the missile pods. These were made from thin plastic drinking straw material, they fill the (rather ugly and well-visible) blank space between the warheads. Additionally, the hollow “heels” were filled on their insides with putty.
While the kit itself is a pretty simple affair, fit is mediocre, and you have to expect PSR almost everywhere. A direly weak spot area is the shank’s rear: there’s a recession with a seam running right through, and there are side walls missing in the section, too. I tried to mend this through putty and decals.
Painting and markings:
Since I wanted to stick to the authentic OOB livery, I gave the model an overall basic color, a greenish-grey, dull beige (RAL 1019) from the rattle can. The canonical Phalanx also features some dark contrast highlights all over the hull, and these were created with RAL 7013 (Revell 46), an olive drab tone that looks, in contrast to the light beige, almost like a dull brown on the model. The box art suggests a very dark grey, but I found that this would not work too well with the overall light beige tone.
Strangely, the characteristic white trim on the lower legs that many Destroids carry was in this boxing provided with the decal sheet – other Destroid kits require them to be painted manually!
Otherwise there's hardly any other color on the Phalanx’ hull. The missile pod exhausts as well as the launcher interior were painted with steel metallizer (Humbrol 27003) and treated with graphite for a shiny finish, the inside of the launcher covers and the missile tips became bright red (Revell 332). The bellows in the knees became anthracite (Revell 06), later dry-brushed with a reddish brown.
Quite a challenge were the three search lights in the “head unit”, because they consist of massive molded opaque styrene. I simulated glass and depth through a bright silver base, with vertical stripes in thinned white and medium grey and a coat with white translucent paint on top of that. Finally, extra artificial light reflexes were added with opaque white paint and, finally, everything was sealed with glossy varnish, which also adds some visual depth.
The model was thoroughly weathered with a black-and-brown watercolor washing and a generous dry-brushing treatment with Hemp 168 (RAF Hemp). The decals came next, taken from the OOB sheet, the Bugs Bunny artwork on the lower right leg is a typical individual detail of many Destroids, taken from a WWII USAAF P-47D.
After some additional weathering with watercolors and some graphite rubbing around the many edges for a worn and beaten look, the model received an overall coat with acrylic matt varnish. After final assembly of the model’s elements, soot stains were added around the missile launchers’ openings as well as to the small thrusters, again with grinded graphite, and some mineral pigments were dusted onto the model with a soft, big brush, esp. around the lower areas.
A build that took some time because of the mediocre fit of the kit and the mechanical mods it IMHO requires. But I am quite happy with the outcome, “just a Destroid” in its gritty heavy ordnance look, and the dull beige suits the Phalanx well.
Join my new facebook page for the Hero's Journey Mythology Goddesses! www.facebook.com/45surfHerosJourneyMythology
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Yoga goddess! Nikon D800 E Photos of Yoga Workout Swimsuit Bikini Model Goddess! Shot with the sharp, awesome Nikkor 70-200mm F/2.8 VR2 Lens! Tan lines can be hot!
Beauty will save the world." -Dostoevsky
"All the gold in the world is not worth virtue." -Plato
A tall, thin, fit, athletic yoga goddess on a most beautiful cloudy/sunny summer morning in Malibu on a deserted beach! Y'all will have to join us someday!
Here's some Nikon D800E and SONY NEX-7 videos of the goddess performing Yoga while modeling the Gold'N'Virtue Gold 45 Revolver swimsuit:
www.youtube.com/watch?v=g2-vqIBRvYs (Sony Nex 7 nice Bokeh)
www.youtube.com/watch?v=nqE1rA-foHA (Sony Nex 7 nice Bokeh)
www.youtube.com/watch?v=ts08YEY8wMs (Sony Nex 7 nice Bokeh)
Be sure to watch the goddess video in Full 1080P! She was modeling all seven of the Gold'N'Virtue Gold 45 Revolver swimsuit bikini designs! More photos/video to come!
With the black 45SURF surfboard! Black surfboards get HOT in the sun!
The epic photos were shot with my favorite lens the Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom with a CP--the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coatingon, all on the amazing Nikon D800E Camera!
All the Gold'N'Virtue bikinis and 45surf clothes have 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!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the yoga goddess!
Als diese Kamera 1981 erschien, war sie die kompakteste Kleinbildkamera der Welt mit Motor und Belichtungs-Vollautomatik. Auch das Gehäuse-Design war richtungsweisend und das Prinzip des motorisch versenkbaren Objektivs mit Schutzabdeckung bewährt sich auch im digitalen Zeitalter. Betätigt wird dieser Mechanismus durch einen vertikalen Schiebeschalter, der bei geschlossener Linse auch den Sucher verdeckt. Das Solinar ist ein Vierlinser mit der Lichtstärke 2,8 und der Brennweite 39 mm. Die Entfernung wird manuell eingestellt - Nahgrenze 1 m. Die Programmautomatik steuert den Verschluss von 1/45 bis 1/1250 Sekunde und die Blende von 2,8 bis 22.
Es gibt ein passendes Blitzgerät, das seitlich angeflanscht werden kann (wie bei der Olympus XA). Der Filmtransport-Motor schafft ungefähr 1 Bild pro Sekunde. Der Messbereich geht von 25 bis 400 ASA, im Sucher wird ausreichendes Licht durch ein grünes Signal angezeigt, sonst rot.
Die Stromversorgung erfolgt durch zwei AAA-Batterien.
Offensichtlich war die Agfa compact als Fortführung der Optima sensor electronic-Reihe gedacht, denn man nannte sie zuerst "Optima 935 sensor". Weil sie aber doch auf einem völlig neuen Konzept beruhte, verzichtete Agfa auf die namentliche Integration in die ältere Reihe – sie hieß nun einfach "Agfa compact".
Dieses feine Gerät war übrigens die letzte in Deutschland entwickelte und hergestellte Agfa-Kamera.
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).
Over the next few weeks of February and March 2020, I made lots of trips to the VA hospital to see my doctor, my cardiologist, and more testing gear. I had ultrasound and CT scans of my heart followed by consultations on what they saw. They say that surgery will probably not be necessary but prescribed more meds. My doctor decided to get me a heart monitor to wear for several weeks. They showed me how to apply the sensors, hook up and turn on the gear, and take it off for wet personal hygiene and showers.
There are four sensors that are placed in specific places that are wired to a small RF transmitter on a lanyard around my neck. The transmitter talks to a modified cell phone that has to be within ten feet or so and sends the data to a medical monitoring station near Chicago. A couple of times a tech called me up to ask why my heartrate was up. The first time was probably due to a stubborn shit that needed urging. The second time I felt nothing and had no explanation. Ultimately, the three week test proved that I did have occasional rapid heartrate episodes at random times.
Besides having to take time to unhook every time I needed to get cleaned up and then hook up again, I had to keep the monitor phone at my bedside, in my purse, on a belt holster, or on the kitchen countertop, dinner table, vanity table, etc. If you click to magnify the photo, you can see icons on the phone that match white, red, green, or black sensor locations.
I was issued the monitor set in March just before the COVID lockdown. I remember hearing BBC reports of a mysterious virus in China during the Christmas 2019 holidays. By January the epidemic was in full swing in China, but the US was paralyzed in its response due to incompetence by Trumputin. I wondered how my VA hospital was going to react to what was obviously a pandemic that would strike Houston.
During my first morning in the hospital, I complimented the guy cleaning my room. I told him I noticed how clean everything was, and that his job would soon be part of a life or death situation. I said I spent as much time in the Army with a broom, mop, and toilet brush as with a rifle and machinegun. He was an Army vet, too and laughed. I said the Army makes a fetish out of cleanliness because in most wars, disease kills more people than battle. I wished him luck because I knew that in a few weeks, lots of patients would be dying, and he would have to clean up after them. I was right.
Harris County has lost more than 8900 people to COVID. Texas has lost more than 69,000 people mostly due to Governor Abbott's bungling and interference with local officials trying to enact public health measures like masking in public places. That's more than we lost in the Vietnam War and all of our useless oil wars in the Middle East combined. Nationwide, the US has lost more than 732,000 deaths due to the Trumputin Covfefe Virus pandemic because Trump and his fellow RepUGLUcan idiots didn't believe in science and wanted to kill as many poor and non-white people in the cities as possible. It is evident that "conservatism" is simply another word for BACKWARDNESS because they oppose all public health measure like mask mandates, prohibitions against indoor crowds, and mandatory vaccinations that could have controlled this disease many months ago.
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
MOC: Sensor GTR. A variation of the theme from my previous Supercar - I wanted to see if I could build something a supercar that looked a bit more like it was meant for the road than for the track. Very happy with the result.
Made in ?? ; 1978 - ... . For 126 cassette . Simple viewfinder camera with fixed focus and aperture . Two shutter speeds . Socket for flipflash flashbulb bar .
I have no information relating to the artist.
Today I experimented with a Sigma 180mm lens mounted on a Sony A7RM2 body using a Metabones adaptor.
This combination does not work in Auto-Focus mode so I had to use manual focusing and this was not easy and it certainly would have been impossible without focus peaking [a feature that I have never properly employed before]. In case you are unaware focus peaking is a tool to assist you while manual focusing. It highlights the areas that are in focus so you are able to quickly focus the camera and not miss crucial shots. However, focus peaking is not as easy as it sounds because it shows you what's sharp on the viewfinder screen, not what's sharp in the actual image. Since the screen or viewfinder has a much lower resolution than the actual camera sensor areas that are highlighted as being sharp in the viewfinder can be very much out of focus in the image you actually capture.
Camera: ATIK 383L+ sensor -27°C with Atik EFW2
Optics: Takahashi FSQ85 ED “BabyQ” with focal reducer
Filters: Baader 2″
Exposure time (seconds):
SII: 13x1200 bin 1×1
HA: 10x1200 bin 1×1
OIII: 12x1200 bin 1×1
Guiding camera: Starlight Xpress Lodestar on TS-OAG9 off-axis guider
Place: Pesaro (PU) Italy
Date: 16-17-18/08/2012
ODC-Protection
We have these sensor lights around our home. They are very bright and go on if something gets close to the house.
Today i took 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 sharp.
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.
Manufactured by Agfa Kamerawerk AG, Munich, West Germany
Model: c.1970, (all models of Silette produced between 1953-1974)
Agfa logo on the front of the camera: black relief
35 mm film Viewfinder camera
Lens:Agfa Color - Agnar 45mm f/2.8
Aperture: f/2.8 -f /22 , stepless allowing for easy adjustment with the TTL meter
setting: ring and scale on the back of the lens
Focusing: front ring manual focus, w/ DOF scale
Focus range: 1-5m +inf.
Shutter: Parator speeds: 30, 60, 125, 300 +B, extremely quiet
setting : ring and scale on the lens
Shutter release: Red "Sensor" shutter release button,
very smooth and sensitive so no camera shake
Cable release socket: on the back of the top plate
Exposure meter: TTL (coupled to the lens) Selenium Optima 200 Sensor (working !.)
Exposure setting: via 1- the small needle window on the top plate, 2- the indicator in the viewfinder, set the speed and turn the aperture ring
Film speed range: ASA 25-400 (DIN 15-27), setting knob and scales on the lens
View finder: bright frame finder,
Cocking lever: also winds the film, short stroke, on the left of the bottom plate
Frame counter: advance type, manual reset by a button behind the counter window, on the bottom plate
Re-wind release and re-winding: the black lever marked R and arrow on the right lower side of the lens releases and engages the reversing gear
thus the cocking and winding lever is the re-wind lever now
Flash PC socket: none, you can use a flash sync. cord with an Agfa flash adapter
Hot-shoe: flash sync. bulbs 1/30, electronic all speeds
Self-timer: none
Back cover: hinged, opens by a latch on the right side of the camera
Film loading: special easy quick loading system
Body: metal
Tripod socket: 1/4''
serial no. LW 6837 BC
The Silette series' rangefinder models were called Super Silette. There was also an interchangeable lens rangefinder model called the Ambi Silette.
Sensors get dirty, it is impossible to change lens and keep them clean...
Mine has to be cleaned two times a year or more.
When you choose smaller apertures, the dirt spots show shamelessly. In one of my last photos, www.flickr.com/photos/henrique_silva/6600173785/, the aperture was f/36 and so every little tiny bit of dirt was showing, I spent a little time in Lightroom cleaning them, but there are still some in the picture... It was urgent to clean the 40D's sensor
Again I went trough this delicate process, I use Sensor Scope from Delkin Devices, it works well, it uses a combination of vacuum cleaner and moistened sensor wands to get the job done. Here is a before / after mosaic, it is not completly clean, but in fact there is a compromise between having the sensor damaged or have one or two dust spots...
If you want to know more about the process, I will be happy to answer!
Check your sensor for dust!
a - Create a new image in Photoshop or any other application and fill it with white
b - Set your camera to Aperture Priority, ISO100, and aperture to it's minimum f/22 - f/45
c - Set lens focus to Manual, and focus to closest possible
d - Shoot in raw or if in jpeg, turn off special image processing functions
e - Zoom in until the photoshop image fills your camera focusing screen
f - Shoot camera facing the white image on your monitor, and during this exposure, move your camera back and fourth being careful to not to point the lens outside of your white image. You can also zoom in in the image...
g - Process your image, adjust contrast, brightness, clarity, whatever, so that you get a clear view of the dirt spots!
h - Now you can go through the cleaning process - remember that what shows on the bottom of the image will be towards the top of the camera sensor...
i - Repeat the process from a to g and if you are happy with the result, then you are done; otherwise, repeat again... this time I had to make three swab cleanings. It is preferable to clean gently several times than applying to much force.
.
...::::...
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Technical Info:
Camera: Canon EOS 40D
Lens: EF-S15-85mm f/3.5-5.6 IS USM
Focal Length: 40 mm
Sensitivity: ISO 100
Exposure: 0,3 sec at f/22
Exposure bias: 0 EV
Exposure Program: Aperture priority
Metering Mode: Pattern
Flash: no flash
GPS
Coordinates:
Altitude:
©Henrique Silva, all rights reserved - no reproduction without prior permission
Seen on Flickr EXPLORE - # 376 - September 22, 2017, click here
Green trees on a suburban street in the morning sunlight. This picture is straight out from the camera, no processing except darken a the brightness a bit. What I call the magic of the CCD Sensor, no longer used in digital cameras.
Made with the Pentax Optio Z-10 point and shoot.
Los 13699 fotogramas restantes se pueden ver acá:
Y de yapa, un bellísimo collage inspirado en esos fotogramas:
Mr Negative 700S, shot at 400.
Agfa Optima 1535 Sensor.
Dev/scan by Analogue Wonderland, High Wycombe, UK.
I have had some dust stuck on my sensor since getting my A7III and sadly the rocket blower couldn't remove it. I usually pay to get my sensor cleaned but decided to give cleaning it myself a try and I'm glad I did.
He sacado "de paseo" la cámara ya casi de vintage Samsung EX1.
Los colores son impresionante porque tiene sensor CCD
Hatte ich folgendes nicht schon an anderer Stelle geschrieben?
1. Beim Filmtransport verschwindet der belichtete Film hinter einer Klappe, so ist er bei versehentlichem Öffnen geschützt.
2. Man spult den Film mit dem Schnellschalthebel zurück, nachdem man vorher einen Umschaltknopf betätigt hat!
3. Die Auslösung über den roten Sensor-Punkt ist wirklich sehr sanft und erschütterungsfrei.
Richtig! Diese drei exklusiven Merkmale der Selectronic Sensor findet man später wieder in den genial designten Optima-sensor-electronic-Modellen.
Der äußerliche Unterschied fällt natürlich sofort ins Auge. Die Selectronic sensor hatte die recht konventionelle, für die damalige Zeit aber moderne sachliche Form der Optima 500 fortgesetzt. Ein großer Erfolg war die die Selectronic nicht, aber das Innenleben hatte sich so bewährt, dass es mit kleinen Abwandlungen für die Optima Sensor electronic übernommen wurde.
Während aber die neuen Optimas einen voll programmierten Paratronic-Verschluss besaßen (man hatte keinen Einfluss auf Belichtungszeit und Blende), war die Selectronic sensor ein Zeitautomat: Die Blende wird vorgewählt, die Zeit dazu wird von der Kamera errechnet und eingestellt. Beide Werte sieht man im Sucher. Dieses System gefällt mir viel besser.
Es gab noch die Selectronic "S", die mit dem Vierlinser Solinar statt mit dem Dreilinser Apotar ausgerüstet war und außerdem einen Messsucher besaß.
Die Selectronic kostete 1971 349,- DM, die Selectronic S 449,- DM.