Industrial Design (Product Design)
View allAll Photos Tagged ergonomics
I was in Atlanta this week shooting b-roll and stock footage for a video on office ergonomics that I am making with Dr. Mitch Garber. I missed out on the arctic vortex that gripped the Midwest, but experienced Atlanta's complete shutdown when they thought that they would get an inch of snow. Now I am off to the edit suite for the next couple of weeks to put it all together. Stay warm everyone. B
(edit it is now live and can be found here: lnkd.in/ew4RvFn)
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Get the book here www.urbexery.com/timeless/
"Ergonomics"
International Car Forest of The Last Church
Not sure why this keyboard would be on the dash of this partially buried car, but then many things at the Car Forest defy understanding
sony ergonomics do my head in, but the specs are undeniably better than my trusty 550D. too bad this is not my camera.
here we see a k-mount adapted to an EF mount adapted to a nex mount.
The quietest and most menacing LMG in the Operator line, the Mk.300 SSW is a suppressed squad automatic weapon chambered in the quiet, sub-sonic .300 AAC BLK. and patterned after the FN Minimi series of weapons. The weapon weighs an overall 18Ibs and was developed out of a request by contractors needing a weapon with suppression and firepower. And Sweetwater USA delivered with the Mk.300 SSW. Other features include...
-Heavy barrel
-Easily removable suppressor
-Aluminum forged receiver
-Improved ergonomics
-As well as SPW quality
Credit to...
Woitek...For the Reflex sight, suppressor, and charging handle.
Braydenmaine...For the Gripod and rails.
Hitman...For the sling points.
Snipes and Martyr...For the velcro sling.
And of course the SPW team for the workspace!
Dont forget to view in lightbox!
During these last years, with the arrival of mirrorless digital camera, changing equipment means spending a lot more expansive and faster depreciate value.
Why did I choose Canon when I started ?
For ergonomics and for the help i received by the photographers on Youtube chanels.
Even back then, i apreciate Cinema and paintings and Canon color tones.
In order of preference, over the past three years, which brands made me leave Canon?
1/ Leica : The unique and ultimate rendering of M lenses mounted on Leica M camera.
The result is also very good on Leica Sl but a little different.
The first SL was very attractive, the second is even more so.
More solid, more resistant to water and dust, better grip and large sensor to crop, I thought of mounting Leica SL 90-280mm F/2,8-F4.
2/ Sony : The technological advance as image stabilization with IBIS, Eyes AF, high speed burst mode and dynamic range sensor. The A9 was the best mirrorless action camera and the the A7III, a very important game changer .
3/ Nikon : The D500 and 200-500mm combo is excellent value for money.
For D850 , probably the most important features in a DSLR in relation to its size.
I'm curious to know more about the new light 500mm PFE.
Why didn't I switch? ?
1/ Leica : Leica M requires very regular practice, quite far from animal photography.
www.flickr.com/photos/garivalden/47644784091
Leica SL1 / SL2 are good but very expansive and there is no Eyes AF which is annoying in 2020.
The zoom 90-280mm at F4 are enough faster.
Note : For portraits, the SL Lens APO Summicron série is fabulous.
pbase.com/gege67/image/172465706/
2/ Sony : I do not like the skin tones, the fault of Sony lenses (same reproach for Sigma).
However, I apreciate Canon EF lenses mounted on Sony A7 or A9 that delivers pics with warm and details lacking on 5d Mark III.
Here is the gallery of a specialist in the combinaisons :
www.flickr.com/photos/mike-mkvip/
Why didn't I switch to Sony camera with Canon EF lens ?
- To have to choose between adapters Metabones (faster AF) and Sigma MC11 (more versatile)
- To have to deal with changing firmware with commercial policy
- To have to clean too often the dusts of the sensor (on my 5D, I do once a year)
- The unconfortable grip on A7, better on A9 (I shoot without tripod with 300mm 2,8 is II)
3/ Nikon : The rendering is a matter of taste, I don't apreciate the Nikon color science which I find a few « dull ».
However I regulary see Nikon D5 shots on flickr, the colors are often catchy, very dynamic for sport or wildife but not very apropriate to create my cinematographic look.
I apreciate the rendering of D500 but hard to come back to crop sensor.
I plan to shot more birds but I don't want to care and use 2 systems.
Why didn't I buy Canon EOS R et what I think about Canon RF?
Less ergonomics than 5D (touch bar) , no IBIS, no better burst mode,
Rendering very flat and dull tones especially with new Canon RF.
This is page of the Canon 28-70mm F2 RF (cost 2900 euros)
www.flickr.com/groups/canon_rf_28-70mm_l/pool/
And the page of the old (2002) 24-70mm 2,8 EF (600 euros second hands)
www.flickr.com/groups/24-70l/pool/
I'll let you guess what I prefer ;-)
About the new little 70-200mm 2,8 RF, I am very disappointed that we cannot mount new RF extender.
Photographers on the road would have loved a 200mm 2.8 for portraits and 300mm F4 for animal.
I'm curious to know more about the new Canon RF 100-500mm.
Are the new Canon R5 and R6 game changer ?
Short answer : Yes !!! because Canon catch up on Ibis and does better than Sony with Animal AF.
These last three years, here was my features list :
Camera compact / 10 shot per second / flip screen / Ibis / Eyes AF / High Iso capability
The Canon R6 is perfect for me.
Do I have still doubt about Canon R6 ?
- 20 Mpixels sensor ; Advantage for good High Iso, weigt files on computer but more difficult to crop image.
The R5 has a big sensor but it' s too expansive.
- I hope the rendering with RF lens will be better than the EOS R, otherwise, I will go on with my old EF .
- Only 600/700 shots with one battery, that would be a big inconvenience for the wedding photographer as for the off road wildlife. I can shoot 1000 pics per day without charging the battery my DSLR
- The sensor ibis default mode would permanently activate the lens stabilization and cause premature wear.
In conclusion, like many Canon owners, I find the Canon R6 very attractive.
I'm thinking of buying it in the fall of 2020.
Gari Valden
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Pentax LX - SMC Pentax-FA 31mm F1.8 AL Limited - Ilford HP5
-
First test with the 31mm f1.8 limited and I see why it has such rave reviews. Great ergonomics, lovely weight but not too heavy. Focus is smooth, aperture is perfect. Paired with a LX it's a perfect 'go to' focal length. It seems reasonably sharp on HP5. Next roll will probably be FP4 or Delta 100 for a finer grain and super sharpness!
Sonar boards on the Onandaga. If there's one thing that stands out on the boat, it's that comfort and ergonomics were not part of the design criteria.
The Ergonomics of the body doesn't go well with small hands, the bokeh from this lens is just yummy.
The Ferrari 488 (Type F142M) is a mid-engine sports car produced by the Italian automobile manufacturer Ferrari. The car replaced the 458, being the first mid-engine Ferrari to use a turbocharged V8 since the F40. In 2020, Ferrari announced an updated 488 GT3 EVO 2020 with improved front in aerodynamics, vehicle control and ergonomics with new lighter seat developed with Sabelt. The engine can produce around 600 PS (441 kW; 592 hp) and 700 N⋅m (516 lbf⋅ft) with limitations.
La Plaubel Makina II és una càmara de gran format de meitat del s. XX, extensible i destinada sobretot a la premsa. Feia servir plaques de 6,5x9cm però s'adapta sense problemes a porta-rodets de format 120, com en el cas d'aquesta.
Les primeres Makina no tenien telèmetre, però a partir de la Makina II del 1933 ja incorpora un. Posteriorment es refinarà el model amb la Makina IIS, que facilita molt el canvi de lents, i ja després de la guerra mundial, l'ultim model és la Makina III, amb molts canvis sobretot per a disparar flaix.
De fet, aquesta que tinc és una mica inusual ja que no sembla pas una Makina IIS per tal i com està montada la lent. De fet té dues parts, amb el obturador al mig, el que fa més dificil desmontar-la. Però en canvi té les dues finestretes del telèmetre rectangulars, el que és un element distintiu de les IIS. Probablement sigui una II a la que es va reformar el telèmetre per alguna raó, o bé es tracti d'un model just de transició. El que si no milloraren fou una refotuda manera d'agafar-la. Ergonomía? no en tenien ni idea!!
En tot cas és clàrament anterior a la guerra (ja que està marcada amb el DRP "Deutsches Reich Patent" en comptes del DBP de postguerra, "Deutsches BundesPatent". Crec que fou fabricada entre el 1933 i el 1936, més aviat cap al final del periode, ja que el frontal és cromat, i inicialment es produia en negre. Potser fou una de les darreres Makina II (abans del canvi al model IIS) i per això 1936 sembla la data més probable de producció.
==================
The Plaubel Makina II is a large format press camera from the 30's to 50's, strut-folding. It used 6.5x9cm glass plates but also 120 format backs, as this one.
The first Makina had no rangefinder, but in 1933 the Makina II already incorporates one. Later, the model will be refined with the Makina II S, which greatly facilitates the change of lens, and even after the World War, the latest model is the Makina III, with many refinements, especially for flash synchro. What they didn't get at all was an easy way to hold it. Ergonomics, what's that??
In fact, this one that I have is a little unusual since it does not look like a Makina IIS as the lens has two parts, with the shutter in the middle, which makes it more difficult to disassemble it. But otherwise it has rangefinder rectangular windows, which is a distinctive element of the IIS. It is probably a II to which the rangefinder was reformed for some reason, or it was just a transition model.
In any case, it was clearly made before WW2 (since it is marked with the DRP "Deutsches Reich Patent" instead of the post-war DBP, "Deutsches BundesPatent.") I think it was manufactured between 1933 and 1936, rather towards the end of this period, since the front is chromed, and initially it was produced in black. Perhaps it was one of the last Makina II (before the change to the IIS model) and for that reason 1936 seems the most probable date of production.
lommen9.home.xs4all.nl/plaubel/index.html
www.earlyphotography.co.uk/site/entry_C25.html
camera-wiki.org/wiki/Plaubel_Makina#The_6.5.C3.979_rangef...
The Baker's challenging workplace setting, depicted in an illustration by Henry Holiday (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark.
This is the image which introduced me to The Hunting of the Snark. After using the image in presentations on mental workload issues (ISO 10075) for three years, I finally took the time to read Carroll's poem. Then, in December 2008, I made my first discovery.
Fit the Fifth
301 They sought it with thimbles, they sought it with care;
302 They pursued it with forks and hope;
303 They threatened its life with a railway-share;
304 They charmed it with smiles and soap.
305 Then the Butcher contrived an ingenious plan
306 For making a separate sally;
307 And had fixed on a spot unfrequented by man,
308 A dismal and desolate valley.
309 But the very same plan to the Beaver occurred:
310 It had chosen the very same place:
311 Yet neither betrayed, by a sign or a word,
312 The disgust that appeared in his face.
313 Each thought he was thinking of nothing but “Snark”
314 And the glorious work of the day;
315 And each tried to pretend that he did not remark
316 That the other was going that way.
317 But the valley grew narrow and narrower still,
318 And the evening got darker and colder,
319 Till (merely from nervousness, not from goodwill)
320 They marched along shoulder to shoulder.
321 Then a scream, shrill and high, rent the shuddering sky,
322 And they knew that some danger was near:
323 The Beaver turned pale to the tip of its tail,
324 And even the Butcher felt queer.
325 He thought of his childhood, left far far behind—
326 That blissful and innocent state—
327 The sound so exactly recalled to his mind
328 A pencil that squeaks on a slate!
329 “’Tis the voice of the Jubjub!” he suddenly cried.
330 (This man, that they used to call “Dunce.”)
331 “As the Bellman would tell you,” he added with pride,
332 “I have uttered that sentiment once.
333 “’Tis the note of the Jubjub! Keep count, I entreat;
334 You will find I have told it you twice.
335 ’Tis the song of the Jubjub! The proof is complete,
336 If only I’ve stated it thrice.”
337 The Beaver had counted with scrupulous care,
338 Attending to every word:
339 But it fairly lost heart, and outgrabe in despair,
340 When the third repetition occurred.
341 It felt that, in spite of all possible pains,
342 It had somehow contrived to lose count,
343 And the only thing now was to rack its poor brains
344 By reckoning up the amount.
345 “Two added to one—if that could but be done,”
346 It said, “with one’s fingers and thumbs!”
347 Recollecting with tears how, in earlier years,
348 It had taken no pains with its sums.
349 “The thing can be done,” said the Butcher, “I think.
350 The thing must be done, I am sure.
351 The thing shall be done! Bring me paper and ink,
352 The best there is time to procure.”
353 The Beaver brought paper,portfolio, pens,
354 And ink in unfailing supplies:
355 While strange creepy creatures came out of their dens,
356 And watched them with wondering eyes.
357 So engrossed was the Butcher, he heeded them not,
358 As he wrote with a pen in each hand,
359 And explained all the while in a popular style
360 Which the Beaver could well understand.
361 “Taking Three as the subject to reason about—
362 A convenient number to state—
363 We add Seven, and Ten, and then multiply out
364 By One Thousand diminished by Eight.
365 “The result we proceed to divide, as you see,
366 By Nine Hundred and Ninety Two:
367 Then subtract Seventeen, and the answer must be
368 Exactly and perfectly true.
369 “The method employed I would gladly explain,
370 While I have it so clear in my head,
371 If I had but the time and you had but the brain—
372 But much yet remains to be said.
373 “In one moment I’ve seen what has hitherto been
374 Enveloped in absolute mystery,
375 And without extra charge I will give you at large
376 A Lesson in Natural History.”
377 In his genial way he proceeded to say
378 (Forgetting all laws of propriety,
379 And that giving instruction, without introduction,
380 Would have caused quite a thrill in Society),
381 “As to temper the Jubjub’s a desperate bird,
382 Since it lives in perpetual passion:
383 Its taste in costume is entirely absurd—
384 It is ages ahead of the fashion:
385 “But it knows any friend it has met once before:
386 It never will look at a bribe:
387 And in charity-meetings it stands at the door,
388 And collects—though it does not subscribe.
389 “ Its flavour when cooked is more exquisite far
390 Than mutton, or oysters, or eggs:
391 (Some think it keeps best in an ivory jar,
392 And some, in mahogany kegs:)
393 “You boil it in sawdust: you salt it in glue:
394 You condense it with locusts and tape:
395 Still keeping one principal object in view—
396 To preserve its symmetrical shape.”
397 The Butcher would gladly have talked till next day,
398 But he felt that the lesson must end,
399 And he wept with delight in attempting to say
400 He considered the Beaver his friend.
401 While the Beaver confessed, with affectionate looks
402 More eloquent even than tears,
403 It had learned in ten minutes far more than all books
404 Would have taught it in seventy years.
405 They returned hand-in-hand, and the Bellman, unmanned
406 (For a moment) with noble emotion,
407 Said “This amply repays all the wearisome days
408 We have spent on the billowy ocean!”
409 Such friends, as the Beaver and Butcher became,
410 Have seldom if ever been known;
411 In winter or summer, ’twas always the same—
412 You could never meet either alone.
413 And when quarrels arose—as one frequently finds
414 Quarrels will, spite of every endeavour—
415 The song of the Jubjub recurred to their minds,
416 And cemented their friendship for ever!
LENS MANIA: Asahi Pentax SV + Super-Takumar 55mm f1.8 (ver. II).
Here it comes! The peanuts king, with another foundling!
Just rescued form the auction market, as a result of my late digital dissatisfaction and the 'analogue spree' of these days. Not truly mint, but very close to it: camera and lens are perfectly working and clean, with just a very minor age wear.
What to say about the Asahi Pentax SV? No camera is perfect, but if there were a perfect all-mechanical 35mm SLR, this would be very near to it. Or at least, so they say. A tool devoid of any electronics, just like its predecessors, the Pentax AP, S series and K, completely and totally dependent on a competent (or incompetent!) operator to function and produce results. Completely manual, as I like them.
It was the last model of the Pentax S-series and a very popular camera worldwide, selling nearly half a million copies in it’s 7 year run. The camera has a timeless design - just like Olympus OM1 - essential body, excellent ergonomics, and a classic look that make it one of the milestones of the era. Very sturdy and durable too. Even if… I have to confess it, the ‘hard core’ and cool look of the Asahiflex-like models, with their shutter-times dial on the front instead than on the top, remain unsurpassed for me.
Released in 1962, it was an upgrade of the H1/S1 to H3/S3 models. The new top of the line. A budget S1a version, was also released in the same year, but, it was limited to 1/500s. It was equipped with a Super-Takumar 55/1.8 lens (a slower 55/2 lens for the S1a). A slight revision to the mirror design was implemented in 1964, allowing it to mount a new f1.4 lens, which translated into an orange/red R on the rewind knob - like in my version - which gives a dating after that year.
As a premium model it came with a max shutter speed of 1/1000 sec and for the first time it included a coupled self-timer (a black metal dial under the rewind knob) allowing the photographer to set the camera and have the shutter fire approximately 10 seconds later. The SV also had a newly designed automatic film counter that would reset to 0 when the film door was opened.
As for the lens, the Super-Takumar 55mm f1.8, which was born in 1958, developed and existed in several versions, of which at least nine are clearly identifiable. From the 1965 version, at least one of the glass elements was made from radioactive glass, which yellows over time. While the optical scheme remained unchanged, tweaks to the optics (surface curvature, distance between elements) can't be precluded.
Leaving out the early ‘simply’ Takumar, the Auto-Takumars, and the later Super Multi Coated and SMCs, there have been three categories of Super-Takumars:
1) fine ribs aperture ring and CCW aperture ring (1.8 - 16) from 1962
2) fine ribs aperture ring and CW aperture ring 16 - 1.8 1963 < x <1965
3) coarse ribs on aperture ring, from 1965 < x < 1971.
The model that came with the camera is of the second kind and judging from the serial number, the likelihood it might fall into the radioactive batch is very small (most likely 1964). In any case this model has no 345, 345-2, etc. numbers inscribed under the aperture control switch to identify the type, and the setting labels are a red letter M and a white letter A.
It is said to be very sharp already wide open, with good contrast and a pleasant background blur, which according to somebody could be a bit busy. We’ll see.
Based around the ergonomics and control layout of the Jovian Fleet Service Rifle, the JFPR is capable of projecting magnetically contained phased plasma as incendiary bolts in select fire mode, and in continuous fire will operate much like a flamethrower, emitting a fountain of phased plasma that can carbonize flesh and bone and melt through steel. Every squad of Jovian Marines has a "Plaz", though the weapon is usually slung when not needed.
The bolts have a range of approximately 800 meters before the magnetic containment fails, so the JFPR is typically equipped with a medium-power scope to allow for precision fire. In practice, however, the selective fire of the Plasma Rifle is notoriously inaccurate beyond 200m--and it is not at all unusual to see this replaced with a red dot or holo sight in close-range urban combat, or even the assault scope commonly employed on the JFSR.
As you can see from the inset, the scope of the JFPR is transparent--I cut off the JFSR's scope and replaced it with a length of transparent acrylic rod, which I carefully polished at both ends after sanding down a "saddle" shape in the middle. When I primed the PR, I masked off the ends to keep them clear, and after the entire thing was painted and sealed I gave the "lenses" of the scope a few coats of undiluted Future. It came out better than I had hoped.
The barrel of the PR is made from the barrel of a Tau Crisis Suit's plasma unit. I'm sure I've seen it used before for a custom weapon, but I think it looks really good with the body of the JFSR.
I didn't sacrifice a "real" usable JFSR, by the way--just a short shot which looked like the front had been melted off by hot plasma.
La Plaubel Makina II és una càmara de gran format de meitat del s. XX, extensible i destinada sobretot a la premsa. Feia servir plaques de 6,5x9cm però s'adapta sense problemes a porta-rodets de format 120, com en el cas d'aquesta.
Les primeres Makina no tenien telèmetre, però a partir de la Makina II del 1933 ja incorpora un. Posteriorment es refinarà el model amb la Makina IIS, que facilita molt el canvi de lents, i ja després de la guerra mundial, l'ultim model és la Makina III, amb molts canvis sobretot per a disparar flaix.
De fet, aquesta que tinc és una mica inusual ja que no sembla pas una Makina IIS per tal i com està montada la lent. De fet té dues parts, amb el obturador al mig, el que fa més dificil desmontar-la. Però en canvi té les dues finestretes del telèmetre rectangulars, el que és un element distintiu de les IIS. Probablement sigui una II a la que es va reformar el telèmetre per alguna raó, o bé es tracti d'un model just de transició. El que si no milloraren fou una refotuda manera d'agafar-la. Ergonomía? no en tenien ni idea!!
En tot cas és clàrament anterior a la guerra (ja que està marcada amb el DRP "Deutsches Reich Patent" en comptes del DBP de postguerra, "Deutsches BundesPatent". Crec que fou fabricada entre el 1933 i el 1936, més aviat cap al final del periode, ja que el frontal és cromat, i inicialment es produia en negre. Potser fou una de les darreres Makina II (abans del canvi al model IIS) i per això 1936 sembla la data més probable de producció.
=================================================
The Plaubel Makina II is a large format press camera from the 30's to 50's, strut-folding. It used 6.5x9cm glass plates but also 120 format backs, as this one.
The first Makina had no rangefinder, but in 1933 the Makina II already incorporates one. Later, the model will be refined with the Makina II S, which greatly facilitates the change of lens, and even after the World War, the latest model is the Makina III, with many refinements, especially for flash synchro. What they didn't get at all was an easy way to hold it. Ergonomics, what's that??
In fact, this one that I have is a little unusual since it does not look like a Makina IIS as the lens has two parts, with the shutter in the middle, which makes it more difficult to disassemble it. But otherwise it has rangefinder rectangular windows, which is a distinctive element of the IIS. It is probably a II to which the rangefinder was reformed for some reason, or it was just a transition model.
In any case, it was clearly made before WW2 (since it is marked with the DRP "Deutsches Reich Patent" instead of the post-war DBP, "Deutsches BundesPatent.") I think it was manufactured between 1933 and 1936, rather towards the end of this period, since the front is chromed, and initially it was produced in black. Perhaps it was one of the last Makina II (before the change to the IIS model) and for that reason 1936 seems the most probable date of production.
lommen9.home.xs4all.nl/plaubel/index.html
www.earlyphotography.co.uk/site/entry_C25.html
camera-wiki.org/wiki/Plaubel_Makina#The_6.5.C3.979_rangef...
Cartridge: 7.62x54mmR
Fire Rate: Semi - auto / 360 rpm
Range: 907 meters
Capacity: 14 rounds/mag
Extras: Top rail attachments, 8, 14, 26 round magazines, bipod, silencer/suppressor, sling
From the M0KII Arsenal is a one of a kind custom modded original Dragunov SVD sniping rifle. Found in an old storage facility in Stalingrad from the days of the Cold War, it was taken and modified. The handguard was cut back to accept a top rail, the receiver was refinished and a magazine-well was added. A new bolt carrier group was installed to help make the somewhat finicky SVD a bit more rugged, ad a buttpad and sling point were added to the stock. The fire selector and magazine release were also redesigned for better ergonomics. All in all, it functions just as spectacularly as the original SVD, albeit with slightly better handling characteristics and comfort. A thermal 8.6x20-50 sight was added, as well as a rangefinder that has capabilities similar to the Barrett BORS.
I worked a bit on the ergonomics and some details to make this new old race bike more mine. As usual I changed brake operation (front rhs / rear lhs). This is not an easy task, as on the top tube the rear brake cable enters the frame on the left front side. Further the crankset was changed to 175mm, I installed a Selle Flite saddle, a Nitto stem and a Soma HWY1 bar.
Specification
Campagnolo Group-Set Mix:
- Rear Derailleur Record Titanium
- Front Derailleur Daytona
- Chorus Ergopower 8-speed Levers
- Triple 175mm crank 52/42/30
Cassette: 13-14-15-17-19-21-23-26
Stem: Nitto Technomic
Bar: Soma HWY1
Bell: Crane Sakura
Rims: Campagnolo Omega Strada Hardox
Tyres: Continental Grand Prix 4000 S II 25-622
Saddle: Selle Italia Flite Flow Ti316
Frame: Eddy Merckx ‘Corsa Extra’ (Columbus SLX), No. hanger
Size: 56cm (center to center)
Eddy Merckx Frame Serial-No.: P6X-5xxxZ
New toy tool in the N-family... I've used and tried some of analogic Nikons and Leicas but ignored the existance of the F2 Photomic as in my mind it was completely outdated with this bulky viewfinder and its strange cylinder next to the viewfinder...
Well, getting hands on one, I completely have to revise this nobolous prejudice: the F2 probably is the film camera I unknowingly always desired: the analogical lightmeter of the DP-1 (no leds, like FM3), the (high?) eye-point of the viewer (almost like F3HP), the meccanical shutteraction (like the FM series), interchangable viewfinder, the ergonomics (yes! the position of wheels, buttons and shutter, the position of the self-timer-button are just great), the way to position the time wheel, the haptic and the gracile robustness... well, this camera is a masterpiece.
Experiences are the glue which will make you either bond with the camera setup you are using or eventually detach with it. Of course the specifications, image quality, ergonomics and all that will, in some way, lead you to some specific camera, but in a broad picture of life specs have very little meaning in the end. Experiences, images and memories you create are much more important and after decades nobody cares about the crop-factor, megapixels or burst rate of your setup (well you might, but only for sake of understanding how amusingly important that all once seemed). However, the experiences are the real thread of life which you will remember and be meaningful for you even after decades.
That’s why it’s really no miracle that my old Nex-5N became my dearest camera setup. It was my first digital camera that I actually bought myself instead of loaning from one from my friends. It was the camera I used when creating memories of my first daughter Aura. And finally it was the camera I happened to have when the photo bug bit me and I became a photography enthusiast that I am today. As you can see, the status of Nex-5N in my life was determined by the experiences I had with that particular camera, and if you follow this train of thought you’ll quickly understand that there are special occasions in everyone’s life when ‘that camera setup’ can emerge, and that those occasions are very much convoyed by the experiences you live. To continue this thinking, it seems to me that you can only have, at most, two or three ‘golden camera setups’ in your life, depending how active you are with your camera and what happens in your life – other setups are just ‘noise’ and uninteresting upgrades in-between the life situations. Those golden setups are the cameras you will remember with great joy and also something you will always find yourself yearning back – even if it would be totally impossible.
his is what the perfect camera setup is, and it’s what many of us are building bit by bit with lenses, accessories and such. As for my current Sony/Zeiss setup, I can safely say that there is a lot of ‘gold-potential’ there from both of the specs and the life’s point of view. For example, in terms of lenses, I’ve got great setup of different focal lengths with Zeiss image quality. Some of them are more traditional manual focus lenses (Loxia) and some of them are modern performers with AF and such (Batis & Touit). There is really nothing missing. In terms of life, I’m documenting the first steps of our second daughter Meri while Aura is also growing up, and both of them are bringing new things to our life on a daily basis. In short, I’m living the perhaps the most significant years of life and I have a camera setup to match it – at least for this year as the ‘Days of Zeiss’ project is determined to end at 31st of December. ‘Keep on shooting’, I try to remind myself every day.
And yet, one just cannot capture everything. As we were on a holiday at Åland islands, one of the greatest thing there for us was the sea. To understand how great it was for us, you have to know that normally we live at the continent and there are just lakes which we use for swimming at summer. Now that we were at the Åland islands we had an opportunity to swim at the sea – which was also first time for Aura and Meri to be in contact with the sea. This all happened on beach where there was so white and fine sand that ‘how can sand be as white as this’ Aura spontaneously yelled when she saw the beach. I took many pictures there, but my favourite moment was when I carried Aura on my lap deeper into sea. She hold her hand around my neck as she was squinting for bright sun light. When we got deep enough I threw her into air so many times that eventually it hurt my back. She was giggling and salty seawater was splashing into my eyes as I tried to threw her as high as I could. After that we got up on the dock just to run into beach and to do it again. One of those moments that wasn’t captured by the camera but I hope recollection of it will emerge from the pictures I did took. It’s all about the experiences.
Days of Zeiss: www.daysofzeiss.com
Yeah, the ergonomics are weird, but the Kiev/Zeiss Contax rangefinders are awesome to use. I have a real Zeiss Sonnar 50/2 on the way, which this lens (Jupiter-8) is supposed to be a clone of. It will be interesting to see if I notice a difference.
I was afraid that either my body or lens may have focusing issues after my first couple rolls, but this one had a lot of shots wide open that turned out fine. I have been known to confuse camera shake with bad focus at times :)
2.0GHz MacBook (2GB RAM, 80GB Hard Disk)
Notebook Cooling Pad (3 Fans under the pad!!!)
30GB iPod photo on a Dock
Microsoft Wireless Notebook Laser Mouse 6000 (Apple Mighty Mouse SUCKS in terms of *ERGONOMICS*)
En general els adaptadors a format 120 tenen unes proporcions de 6x9 cm, o potser 6x6, però aquest és de 6x8, pel que surt completament de les indicacions que apareixen a la finestreta i un anterior usuari hi va detallar (en aleman) quines xifres corresponen a cada foto. Molt util, em va estalviar la feina a mi. I funciona!
La Plaubel Makina II és una càmara de gran format de meitat del s. XX, extensible i destinada sobretot a la premsa. Feia servir plaques de 6,5x9cm però s'adapta sense problemes a porta-rodets de format 120, com en el cas d'aquesta.
Les primeres Makina no tenien telèmetre, però a partir de la Makina II del 1933 ja incorpora un. Posteriorment es refinarà el model amb la Makina IIS, que facilita molt el canvi de lents, i ja després de la guerra mundial, l'ultim model és la Makina III, amb molts canvis sobretot per a disparar flaix.
De fet, aquesta que tinc és una mica inusual ja que no sembla pas una Makina IIS per tal i com està montada la lent. De fet té dues parts, amb el obturador al mig, el que fa més dificil desmontar-la. Però en canvi té les dues finestretes del telèmetre rectangulars, el que és un element distintiu de les IIS. Probablement sigui una II a la que es va reformar el telèmetre per alguna raó, o bé es tracti d'un model just de transició. El que si no milloraren fou una refotuda manera d'agafar-la. Ergonomía? no en tenien ni idea!!
En tot cas és clàrament anterior a la guerra (ja que està marcada amb el DRP "Deutsches Reich Patent" en comptes del DBP de postguerra, "Deutsches BundesPatent". Crec que fou fabricada entre el 1933 i el 1936, més aviat cap al final del periode, ja que el frontal és cromat, i inicialment es produia en negre. Potser fou una de les darreres Makina II (abans del canvi al model IIS) i per això 1936 sembla la data més probable de producció.
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This Plaubel 120 format back is a bit unusual as it gives 6x8 images, so the numbering on the roll does not match. A former owner listed in paper all the changes in the sequence so it could be used. And it works!!
The Plaubel Makina II is a large format press camera from the 30's to 50's, strut-folding. It used 6.5x9cm glass plates but also 120 format backs, as this one.
The first Makina had no rangefinder, but in 1933 the Makina II already incorporates one. Later, the model will be refined with the Makina II S, which greatly facilitates the change of lens, and even after the World War, the latest model is the Makina III, with many refinements, especially for flash synchro. What they didn't get at all was an easy way to hold it. Ergonomics, what's that??
In fact, this one that I have is a little unusual since it does not look like a Makina IIS as the lens has two parts, with the shutter in the middle, which makes it more difficult to disassemble it. But otherwise it has rangefinder rectangular windows, which is a distinctive element of the IIS. It is probably a II to which the rangefinder was reformed for some reason, or it was just a transition model.
In any case, it was clearly made before WW2 (since it is marked with the DRP "Deutsches Reich Patent" instead of the post-war DBP, "Deutsches BundesPatent.") I think it was manufactured between 1933 and 1936, rather towards the end of this period, since the front is chromed, and initially it was produced in black. Perhaps it was one of the last Makina II (before the change to the IIS model) and for that reason 1936 seems the most probable date of production.
lommen9.home.xs4all.nl/plaubel/index.html
www.earlyphotography.co.uk/site/entry_C25.html
camera-wiki.org/wiki/Plaubel_Makina#The_6.5.C3.979_rangef...
The Czech Ergonomics Society awarded Prague Public Transport Company "The Prize for Ergonomics of Operated Trams T3". Reasons are detailed in the yearbook "ČESKÁ ERGONOMIE 2015" (The Czech Ergonomics 2015, p. 9-11) downloadable in pdf:
www.ergonomicka.cz/app/uploads/sbornik-ces-2015.pdf
www.ergonomicka.cz/e-materialy/
" CENA ZA ERGONOMII PROVOZOVANÝCH TRAMVAJÍ T3 PRAŽSKÉMU DOPRAVNÍMU PODNIKU – 2014
Zkušenosti z dalšího vývoje potvrdily, že oblíbené pražské tramvaje T3 (designér František Kardaus) považované dnes už za městské ikony, mají nejen nadčasový design, který dodnes v pražském tramvajovém parku vyniká, ale i velmi kvalitní ergonomii. Je třeba připomenout, že ergonomie nezkoumá jen fyzické, ale také psychické a komplexně organizační parametry produktů. Pražskému dopravnímu podniku je cena udělena za schopnost udržet množství těchto tramvají v provozu bez zbytečných (a v realizovaných případech většinou nekvalitních) obměn interiéru. Může to znít paradoxně, že dopravce nedostává ocenění za sérii rekonstruovaných tramvají T3, ale za nerekonstruované. Že nedostává ocenění za nákup nových tramvají, ale za provozování starých. Život je však přirozeně plný paradoxů a zde má vše logické souvislosti. Další provozování tramvají T3 dokonce nabízí východisko z finanční krize hlavního města, do které jej dostala neuvážená objednávka předimenzovaného počtu nových jednotek Škoda ForCity, nezodpovědně iniciovaná týmem primátora Béma. Výzkumy jasně naznačují, že pro dopravu handicapovaných cestujících plně stačí poloviční počet nízkopodlažních vozidel vozového parku (organizačně funkční je systém „každý druhý spoj je nízkopodlažní“). Město Praha by se z finanční krize dostalo způsobem, který naznačily rakouské železnice, když ČD prodaly podstatnou část své objednávky nových Railjetů. Radnice by tedy měla hledat odbyt pro zbytné nové tramvaje v Evropě či Asii.
Zdůvodnění ocenění
Organizace vnitřního prostoru.
Tramvaj T3 má optimální poměr míst k sezení a ke stání, čím vzniká příjemný přehledný a kapacitní vnitřní prostor. Městské tramvaje jsou určeny k dopravě na kratší vzdálenosti, při kterých není nutné sedět, takže sedadla jsou myšlena spíše pro starší a handicapované lidi, na což s oblibou zapomínají jak výrobci, tak mladí cestující.
Sedadla.
Samotná původní plastová sedadla dnes již patří také mezi obdivované dobové ikony sedacího nábytku a jsou proto vystavována v muzeích designu. Přes své poměrně malé rozměry sedáku a opěráku zajišťují pevné sezení, protože jsou na rozdíl od překližkových sedadel v tramvajích ForCity vhodně tvarována. V době začátků výroby tramvají T3 bylo diskutováno vyhřívání sedadel a následně došlo k úpravě zamezující nepříjemnému pocitu z příliš teplého sedáku. Vyhřívání plastového sedáku však zásadně zvyšuje komfort, neboť plasty s hladkou povrchovou úpravou mají malý tepelný odpor a nevhodně chladí tělo na citlivém místě. Sedadla v rekonstruovaných tramvajích T3 sice jsou použitím jiného materiálu podobně komfortní, ale jejich neprofesionální tvarování a barevnost zcela degraduje původní kvalitní styl interiéru.
K původnímu řešení interiéru patří rovněž užití umakartových stěn s decentní barevnou strukturou s jemným textilním vzorem. V rekonstruovaných tramvajích se objevily úpadkové plastové imitace mramoru, které jsou signálem absolutní nekompetentnosti projektantů i zadavatelů rekonstrukce.
Okna a vnitřní mikroklima.
Další vývoj ukázal, že zavádění kouřových skel zejména ve vozidlech hromadné dopravy je povrchním gestem, který má minimální praktický přínos a naopak mnoho nedostatků. Je špatně vidět dovnitř, když si cestující z nástupiště vybírá nejméně obsazenou část. Večer je hůře vidět ven, dominují vnitřní světelné reflexy, takže orientace při vystupování je snížena. Efekt filtrování slunečního svitu je malý, zato negativní psychický efekt při podmračeném počasí je značný (viz výzkum ergonomické laboratoře publikovaný ve sborníku sympozia Ergonomie hromadné dopravy). V tramvajích T3 si lidé na oslnění nestěžují, přesto že kouřová skla nepoužívá. Po úvodních problémech u předchozích typů T1 a T2 bylo zcela dostatečně vyřešena ventilace nastavitelnými okenními a střešními průduchy. Kdyby byl nedostatek ventilace při letním stání tramvaje v kolonách zásadní, nebyl by problém u rekonstrukcí montovat pomocné ventilátory. Ventilační funkčnost v interiéru tramvaje T3 potvrzuje zbytečnost instalování klimatizace u některých nových typů tramvají. O negativech klimatizace se mezi odborníky dobře ví, ale málo se o nich přesvědčivě a komplexně píše: energetická náročnost (zejména u zastávkových spojů), hygienické problémy s bakteriemi nebo náročnou chemií při pravidelném čistění, nesnadná nebo často ignorovaná zejména lokální nastavitelnost vhodných parametrů ad.
Informační systém.
Původní informační systém kombinoval tabulku se seznamem zastávek a zvukové hlášení, což je přijatelné řešení. Jedinou smysluplnou rekonstrukcí interiéru pro cestující by mohlo být umístění moderního vizuálního informačního systému, ovšem v žádném případě ne takového, který byl montován do rekonstruovaných T3 ad. typů nových tramvají včetně Škoda 14T Porsche design. Elektronické tabule tohoto systému zejména do interiéru „oplývaly“ velmi špatnou čitelností a naprosto neprofesionálním grafickým designem.
Slabý jas, nečitelné tvary světelných nápisů, reflexy průhledného krytu, nevhodný kontrast světlé plochy a amatérská typografie prozrazují zcela nedostatečnou kvalifikaci projektanta. Typický negativní efekt, kdy je výroba zadána bez soutěže hodnocené kvalifikovanými odborníky.
Chybějící nízkopodlažnost.
Jediným nedostatkem tramvaje T3 se jeví to, že není nízkopodlažní. Je pravdou, že její pražské předválečné předchůdkyně již s částečnou nízkopodlažností pracovaly a komunistický režim svou výrobou po válce na to již nedokázal navázat. Nicméně v dnešním provozu, kdy zcela dostačuje jen každá druhá tramvaj s nižší úrovní podlahy, se to jeví naopak jako přednost. Bezhlavé propagování snížené úrovně podlahy totiž zcela ignoruje výsledky ergonomických výzkumů, které hovoří o příjemném pocitu lidí vnímajících jízdu z vyšší úrovně nad výfuky a koly velkých vozidel. Souvisí to i s vyšším pocitem bezpečnosti, kterou má cestující ve vyšší poloze podlahy. To potvrzuje i oblíbenost nechvalně známých SUV „rodinných“ vozů, ve kterých cestující sedí na příjemnější a bezpečnější vyšší úrovni. "
Strength and Ergonomics.
round 2 of the GX7 vs EM5 battle lives on the blog HERE.
strobism: same setup as previous shot(s) using an AB800 for compositied human shots and 580EXII for cams, all fired via PW's.
47/52
I longed for a standing desk. I had planned to build one, but realized that I already owned a desk that fit the bill.
The only issue was that the raised credenza was designed to be on the backside of the desk. So I drilled some new holes in the desk and moved it closer to the edge I work from. Add in a shelf at the right height for the external display and I've got a great standing desk.
Wider, deeper ergonomic office chair that brings luxury to the business class.
The Officer's High Back Ergonomic Office Chair suits people 5' 7" and larger with a deep, wide seat and a high back that supports your entire back. A special rocking feature delivers a knockout blow to stress and when you're ready to focus on your desk or your computer, the chair can easily be set to an efficient forward lean position. Lever adjustments include chair height, seat angle, back angle, dial-in lumbar depth, back height, and sliding seat depth.
Model: Katerina
Strobist setup: SB-80DX 1/4 or 1/8 power through big diffusion panel camera left & up. Worked as big & soft light source. White reflective panel camera right. Optically triggered.
Photo for the Gordy's Straps group - my 5D2 w/85 1.2L II w/a lug mount "long" wrist strap w/pad and a "regular" lug mount strap on the Nikon F3HP.
Get your very own awesome Gordy strap from here!
The wrist pad on the 5D2 is almost essential for me the way I have it set up - the 85 1.2 is very heavy.
The strap on the F3HP was something that I realised I needed as soon as I got the F3HP. I have 2 lenses for the F3 and even with the pancake 1.8, the camera's ergonomics just make it a bit hard for me to hold. I'd hate to drop it as it's pretty minty...hence the strap.
Looking through pictures from websites, I thought the X70 does not differ too much in size from the X100T. However, my first impression upon seeing it in real life is how compact it is, almost to the size of a Ricoh GR (another wonderful compact camera).
The form factor really makes this a automatic candidate as an EDC (everyday carry). I can easily fit it into my pant's pocket or water bottle compartment of my backpack. It is also discreet enough and does not scream for attention when you are taking photos out at the streets.
Although the camera's grip isn't the best, the rubber grip is sufficient for you to get a good grip on the camera, especially whilst shooting one handed.
I am using a Thinktank Little Stuff It (seen hanging by the size of my backpack here) to protect the X70, which slots in perfectly into the Thinktank.
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Photograph taken by tecnica Photography (www.flickr.com/t3cnica).
Drop me a email (kiatography@gmail.com) if you wish to feedback about my review/ possible collaborations.
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When my local camera store called me they had a Fuji X-Pro 1 in stock, I decided to sell my Leica M8 to fund the new camera and Fujinon 35/1.4 lens.
Do I regret selling my M8? No. However, I do plan on purchasing the M9 when the prices come down even more. The experience of shooting an autofocus, digitally projected rangefinder lines (Fuji's OVF) does not feel the same as shooting with manual focus rangefinders with RF coupled lenses. Fuji's no replacement for "true" rangefinder cameras.
With the M8, I can be sure about getting good focus—aligned RF focus patch to the subject pretty much ensures my subject will be in focus . Fuji's new hybrid rangefinder still needs some work—especially in the focus department. All the news and reviews you're hearing about focus "issues" are true to some extent. But, in reality, focus on X-Pro 1 is not as horrible or slow as I have been hearing. But, then, I am also using Canon 5D Mark II, not really known for its superb focusing speed. For the type of shooting I do, Fuji's focus is fast, but not accurate when using OVF but on EVF it's good, even in low light. It is slower than the Olympus E-PM1/E-P3, however.
The other issue I read was the aperture blade "chatter." I was able to eliminate the chatter by having the camera set to "power save mode" to "on." Yes, the "chatter" was indeed loud. I thought, at first, it wouldn't matter to me, but it is loud enough to bother me after a while. It seems like it could be fixed via an updated firmware.
The Build.
Compared to the Leica M's, the build seems "cheap(er)." But, if you've never held a Leica, or have not held one for a while, the X-Pro 1's build feels good and quite solid—light, but not too light. If I dropped an M6, I'd be pretty sure it'll still work. I don't have that confidence with X-Pro 1.
It grips better than my M8 which had no grip. Ergonomics are really good. I really enjoy shooting it and carrying it around. Needless to say, it beats carrying a DSLR.
I only have one lens, 35mm/f1.4. It's too bad these lenses are quite expensive. Compared to the solid build of your usual M lenses, this Fujinon lens feels a little hollow, a little plastic. But, in terms of image quality, there's no shortcoming—it is a great lens.
While it's great that the aperture adjustments are on the lens itself, it doesn't stay open at the selected aperture like manual lenses. The aperture blades move to adjust exposure constantly (hence, aperture chatter). Also, the focus ring is too close to the aperture select ring, making it a little hard to mount, dismount the lens without moving the aperture setting unnecessarily.
Image Quality.
I am eagerly awaiting for Adobe RAW converter. I always shoot RAW, and I have tried SilkyPix to process and convert X-Pro 1 RAW files. I just don't like SilkyPix as much as Adobe Raw. So, I've set the camera to "Velvia" film simulation and shot JPEGs. I love "Velvia" simulated colors but it's too contrasty for my taste. I like the contrast of "Provia" simulation but prefer Velvia colors. Oh, well.
Straight out of camera JPEGs seem very sharp—a little too sharp—nothing I couldn't adjust either in camera or in software.
No moire. It's quite amazing.
Chromatic aberrations are inconsistent. I'd take a few shots of a SAME scene. In some pictures, I'd see some CA but in some, I don't. Can't figure out this inconsistency.
ISO.
I have shot up to ISO 6400 (when RAW is selected, it only lets you shoot up to 6400). I am a bit blown away by how clean ISO 6400 (Jpeg) look. Dare I say, "better than 5D Mk2?"
What slow start up time?
I'm using Sandisk Extreme Pro 45MB/sec. Save time is good, wake up time is good, start time time is great.
More to come…
that's it. :D finally i feel satisfied with it, even if i think it's still in need of some other modding...
UMP with improved stock and AR-style controls-ergonomics. some grouping errors are visible here and there, dammit...
credit to Wes - Chakaal - EagleMalkavian and Worlock
One advantage with our January weather is that you can shoot just about everything wide open! On 2nd thought, the only advantage of this weather!
This is with the original Voigtlander Ultron 35mm f1.7 - screw mount lens that also could be used on "Barnack" Leicas. Very good lens, though the new M-mount is better, but it is quite respectable in it's performance. I don't like the ergonomics of it - the aperture ring is smaller diameter than the focus ring and placed quite close to the front. Some fumbling of the rings.
Spring cleaning continues. This camera has a great small form factor and smooth ergonomics and controls. But alas, mine has some issues with a sticky shutter.
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