View allAll Photos Tagged Sensors
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).
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.
Johnshaven boats.
With a minumum aperture of f/3.5 and a small sensor the combination of E-M5 with kit lens offers no chance of shallow depth-of-field, so here it's faked (badly!).
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.
I never noticed before that the trams have a sign saying “Warning Anti-Climb Paint”
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.
I have 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.
Canon PowerShot SX60 HS – mit 65-fach-Zoomoptik
Megazoomriese
"Sonnenkamera" - Die Kamera mit kleinem Sensor braucht halt viel Licht!
Crop #003
Edit by Aviary
vivid Colors and sharper
distance: 40 m
#
Wozu so eine 65-fach Zoom Kamera taugt!
What you can do with a 65x optical zoom Bridge Camera.
Zoom optisch / digital: 65,0fach / 4,0fach ( ~ 260,0fach)
Der rückwärtig belichtete CMOS-Bildsensor der Canon PowerShot SX60 HS ist 1/2,3 Zoll groß und löst 15,9 Megapixel auf (4.608 x 3.456 Pixel) auf. Zwischen ISO 100 und ISO 3.200 lässt sich die Sensorempfindlichkeit einstellen, die Wahl ist dabei in ganzen oder in Drittelstufen möglich. Die Bilder und Videos werden von einem Digic-6-Bildprozessor verarbeitet. Dessen Integration sollte für eine schnelle Arbeitsgeschwindigkeit sowie eine gesteigerte Bildqualität bei höheren Sensorempfindlichkeiten sorgen.
Ebenso können der Makromodus mit 0cm Naheinstellgrenze und der manuelle Fokus mit Fokuslupe und Peakingunterstützung überzeugen.
Belichten kann die PowerShot SX60 HS zwischen 15 Sekunden und 1/2.000 Sekunde, die Belichtungskorrektur ist um plus bis minus drei Lichtwerte möglich.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
EXKURS:
Mit P-S-A-M Menü - with Nikon, Minolta, Konica Minolta, Sony, Olympus, Sigma
P - TV - AV - M - with Canon, Pentax, Leica
===============
Das ist die Abkürzung für einen Programmstandard, den auch jede DSLR mitbringt.
Übersicht aller DSLR - DXO Sensor und Performance:
The DxOMark Sensor Score measures the RAW image quality data without considering the resolution, speed or lens sharpness.
en.wikipedia.org/wiki/List_of_digital_single-lens_reflex_...
P = Programmautomatik, die Kamera steuert die Verschlusszeit und Blende automatisch ( +/- Belichtungen können vorgegeben werden)
Es wird immer eine gute Belichtung erreicht.
... (The difference between Program mode and Full Auto mode is that in program mode, only the exposure is automatic, while other camera settings (e.g. shooting mode, exposure compensation, flash) can be set manually; in Full Auto mode everything is automatic.
en.wikipedia.org/wiki/List_of_digital_camera_modes)
Tv - Tv (for "time value"
Shutter speed priority
You may specify the shutter speed while the camera sets the corresponding aperture
S = TV = Blendenautomatik, Du wählst die Verschlusszeit vor und die Kamera steuert die dazu passende Blende automatisch (Halbautomatik)
Verwacklungsfreie Bilder:
- Tierfotografie,Teleaufnahmen, Sportphotografie 1/500 oder 1/1000 als Vorgabe.
- oder lange Belichtungszeiten zum Einfrieren von Bewegtem -
Quellwasser sieht dann auch wie Eis
Nachteil ISO geht bei wenig Licht in den Keller und das Foto wird grieselig.
A - Av: Aperture priority or 'Aperture value'
A = AV = Zeitautomatik, Du wählst die Blende vor und die Kamera steuert die dazu passende Verschlusszeit automatisch (Halbautomatik)
Ideal zum Freistellen und Bokeh, wenn f/1.8 etc. möglich.
oder für mehr Schärfentiefe bei f/8 oder kleinerer Blende.
M = Manuelle Einstellung, Du wählst die Blende und Verschlusszeit manuell. Die Kamera gibt Empfehlungen, passt aber nichts an.
(Man kann " MF save" einstellen, damit total falsche Belichtungen wie in P korrigiert werden.)
Gut für Experimente und wenn keine Schnappschüsse gewünscht werden.
Raw:
====
Deine SX60 speichert bei RAW die Belichtungszeit (Verschlußzeit), Blende und ISO.
Alle anderen Einstellungsoptionen wie Kontrast, Weißabgleich, Farbsättigung, digitale Schärfung usw. fallen beim Fotografieren mit RAW weg, weil diese Einstellungen erst später bei der Nachbearbeitung auf dem Blechotto (Konvertierung am PC) vorgenommen werden.
Nachteil:
Die vom Kamera-Bildprozessor im RAW-Format nicht durchgeführte Rauschunterdrückung und Perspektiven-korrektur.
Bei JPEG greifen automatisch in der Kamera integrierte Routinen, die Du nun nachträglich am PC mit Spezialprogrammen zeitintensiv nachholen mußt.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Advantage Bridge Kamera:
==================================
Die Fehler des fest eingebauten Objektivs kennt der Hersteller genau und kann durch ein korrigierendes Eingreifen der Kameraelektronik die meisten Abbildungsfehler des Objektivs bei verschiedenen Brennweiten und Blenden automatisch korrigieren.
Selbst bei 21 mm Weitwinkel ist nichts oval oder bauchig!
www.ralfonso.de/Fotoschule/fotoschule160.html
■Hybrid Auto erstellt HD-Filmtagebuch
■Manuelle Steuerung Belichtungsparameter
Mit der Canon PowerShot SX60 HS Bridge-Kamera macht Fotografieren Spaß.
Dank 65-fachem optischen Zoom und Ultraweitwinkelobjektiv können Sie weit entfernte Motive ganz nach heranholen und bekommen weitläufige Landschaften optimal aufs Bild.
Falls Sie das Objekt beim Heranzoomen verlieren sollten, hilt Ihnen der Zoom-Assistent, das gewünschte Motiv gleich wieder zu finden.
Der integrierte Bildstabilisator gleicht Verwacklungen aus, sodass Sie bei Tag und Nacht gestochen scharfe Aufnahmen bekommen.
12 Testberichte – Durchschnitts-Testnote: 2,0
www.idealo.de/preisvergleich/OffersOfProduct/4588931_-pow...
Auflösung bei ISO min 1.271 Linienpaare
Auflösung bei ISO 400 1.094 Linienpaare
Auflösung bei ISO 800 1.023 Linienpaare
Auflösung bei ISO 1600 934 Linienpaare
Textur- / Detailtreue bei ISO min 80 Punkte / 90 Prozent
Textur- / Detailtreue bei ISO 400 60 Punkte / 65 Prozent
Textur- / Detailtreue bei ISO 800 75 Punkte / 35 Prozent
Textur- / Detailtreue bei ISO 1.600 90 Punkte / 25 Prozent
BEST of of Flickr
taken by Canon Powershot SX60 HS IS
www.flickr.com/search/?q=sx60
-----------------
...
■ Ultraschallmotor für leises Zoomen und Fokussieren
■ Highspeed-Reihenaufnahmen
- CFM mode Creative filters mode
Mit maximal 8,3 Bildern pro Sekunde ist die Serienbildbildgeschwindigkeit hoch, diese Geschwindigkeit ist aber auf sechs Bilder in Folge begrenzt.
Sind diese erreicht, lassen sich allerdings weiterhin gute 6,2 Bilder pro Sekunde festhalten bis die Speicherkarte voll ist !!
Ps
Bei meinem Test waren 600 Bilder beim Start eines Rennlaufes mit AF-Verfolgung kein Problem!
Anders gesagt: Einmal clicken - 600 Fotos! in etwa eineinhalb Minuten.
www.flickr.com/photos/eagle1effi/15780278177/
Image Stabilization IS On (2), high.
Focus Distance Upper 39.69 m
Focal Length 247 mm - aka 1365 mm
"handheld" mit Kontrolle über den Schwenkmonitor
ISO Speed 100
handheld
distance 40 m
full optical zoom 65x
1365 mm
some small crop
...
Exif data
Camera Canon PowerShot SX60 HS
Exposure 0.004 sec (1/250)
Aperture f/6.5
Focus Continuous
Continuous Drive Continuous, Speed Priority -
Tv (for "time value"
Satellite: Sentinel-2. Sensor: MSI (MultiSpectral Instrument).
Visualization RGB: bands 8 (NIR), 4 (red), 3 (green). False color.
En la visualización en falso color la vegetación se ve en color rojo, mientras que las ciudades y el suelo desnudo se ven en tonos de ocre. En verde claro destaca la gran cantidad de sedimentos que deposita el río en el mar.
El delta del Irrawaddy comienza aproximadamente a 93 km por encima de Hinthada (Henzada) y a unos 290 km de su base curva, que da al Mar de Andamán. El distribuidor más occidental del delta es el río Pathein (Bassein), mientras que el más oriental es el río Yangon, en cuya orilla izquierda se encuentra la antigua capital de Myanmar, Yangon (Rangún). Como resultado de las fuertes precipitaciones que varían de 2000 a 3000 mm al año en el delta, y el movimiento y la carga de sedimentos del río, la superficie del delta se extiende hacia el mar de Andamán a un ritmo de unos 50 metros (54,7 yd) por año.(es.wikipedia.org/wiki/R%C3%ADo_Irawadi)
Esta imagen ha sido procesada con el navegador EO Browser (apps.sentinel-hub.com/eo-browser) de Sentinel Hub. Sentinel Hub es un motor de procesamiento de datos satelitales, dentro del programa de observación de la Tierra Copernicus (copernicus.eu) de la Unión Europea, operado por la empresa Sinergise. EO Browser es gratuito y fácil de usar. El norte siempre está arriba.
This image has been processed using the EO Browser (apps.sentinel-hub.com/eo-browser) by Sentinel Hub. Sentinel Hub is a satellite data processing engine, within the European Union's Earth observation programme Copernicus (copernicus.eu), operated by the Sinergise company. EO Browser is free and easy to use. North is always up.
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.
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!
APS-C sensor swabs, fluid and dry brush with magnifying glass, cleaning the Sony α 77 ii sensor today.
Sony α 77 ii
DT 18-135mm ƒ/3.5-5.6 SAM
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.
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.
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.
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.
This is the short-range planetary sensor dome. Above the bridge is the stellar array, while long-range sensors are arranged around the navigational deflector, pointing only in the direction of travel.
Los 13699 fotogramas restantes se pueden ver acá:
Y de yapa, un bellísimo collage inspirado en esos fotogramas:
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.
The dust on my CMOS..easily seen against a blue sky! See NOTEs on screen..
Clean guy here!
www.flickr.com/groups/1759159@N24/discuss/721576667846499...
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