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Aeshna mixta, Herbst Mosaikjungfer, Migrant Hawker, Male.
The image was created in Weiach, Switzerland.
24.09.2011 – 13:27:07
Eos 7D, EF 300mm 4.0 L
ISO 200, F 6.3 - 0.33 EV, 1/800 Sec.
Manual focus, Handheld.
#6: manual
ISO Speed - 400
Exif Version - 0230
Date and Time (Original) - 2019:02:04 11:50:15
Date and Time (Digitized) - 2019:02:04 11:50:15
Exposure Bias - 0 EV
Max Aperture Value - 4.8
Metering Mode - Partial
Color Space - sRGB
Custom Rendered - Normal
Exposure Mode - Manual
White Balance - Auto
Scene Capture Type - Standard
Lens Info - 18-135mm f/?
Lens Model - EF-S18-135mm f/3.5-5.6 IS STM
Program:Manual
Lens:12-28mm f/4 G
F:8.0
Speed:1/60
ISO:200
Focal Length:14.0 mm (35 mm equivalent 21.0 mm)
Focus Mode:AF-C
AF Area:Single Area
Shooting Mode:Single-Frame
VR:Off
Metering Mode:Spot
WB:Auto1
Focus Distance:3.98 m
Dof:inf (0.94 m - inf)
HyperFocal:1.22 m
(Copyright © 2012-13 K Harwin)
Its been a while since I have uploaded a macro image, so here it is. Waited and waited for the rain to finish so I could photograph this. Lol
Used my Canon EF 100mm F/2.8 USM which is one of my favourite lens.
Equipment & Settings Used.
Camera: Canon EOS 60D
Lens: Canon EF 100mm f/2.8 Macro USM
Focus: Manual Focus
Flash: Canon 430EXII
Flash Setting: Manual
Exposure: 0.004 sec (1/250)
Aperture: f/11.0
ISO Speed: 100
Software: Adobe Lighroom 3
Tripod: Giottos 9351B
Tripod Head: Giottos MH1300-621 Ball Head
Velbon Super Mag Macro Focussing Rail
Please do not download, copy, edit, reproduce or publish any of my images. They are all my own work and are not for use without my express written permission.
Program:Manual
Lens:24-70mm f/2.8 G VR
F:2.8
Speed:1/250
ISO:125
Focal Length:70 mm
AF Fine Tune Adj:+16
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame, Auto ISO, [9]
VR:On
EV:-1/3
Metering Mode:Multi-segment
WB:Auto0
Picture Control:Neutral
Focus Distance:5.96 m
Dof:1.22 m (5.41 - 6.63)
HyperFocal:58.24 m
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:8.0
Speed:1/320
ISO:280
Focal Length:300 mm
AF Fine Tune Adj:-1
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Single-Frame, [3], Auto ISO, [9]
VR:On
Metering Mode:Multi-segment
WB:Auto0
Picture Control:Flat
Focus Distance:14.13 m
Dof:1.04 m (13.62 - 14.67)
HyperFocal:374.42 m
A welder reinforces a support beam that will act as a brace for a road being repaired in Santa Cruz, Manila, Philippines. Contractors for city infrastructure don't always supply safety equipment for their workers. It is up to the employee to bring their own.
Nothing like walking through the woods in the winter with fogged up glasses when you're manually focusing your camera. :| 6/52
Follow our challenge at 2019 P52
Manual collection
(from down to up & from left to right)
1/1 Unidentified wide angle projection lens
1/2 Industar-50-2 50mm f/3.5
1/3 Lomo T-43 40mm f/4 from Symbol
1/4 Agfa Color-Apotar 35mm f/2.8
1/5 Agfa Color-Agnar 45mm f/3.5
1/6 Carl Zeiss Jena Tessar 50mm f/3.5 T
1/7 B.J. Oehler Wetzlar Felgner Punktar 35mm f/2.8
1/8 Novar-Anastigmat 45mm f/3.5
1/9 Agfa Color-Solinar 35mm f/2.8
1/10 Lomo T-43 40mm f/4 from 8M
1/11 Enna Werk München Ennagon 50mm f/3.5 C
1/12 Rodenstock Trinar 55mm f/3.5
1/13 Meyer Optik-Görlitz Trioplan 45mm f/3.5
2/1 Gamma Magnar 55mm f/4.5
2/2 Meyer Optik-Görlitz Trioplan 75mm f/3.5 V
2/3 Isco-Göttingen Color-Isconar 45mm f/2.8
2/4 Schneider-Kreuznach Karat Xenon 50mm f/2 ▽
2/5 Schneider-Kreuznach Reomar 45mm f/2.8
2/6 Yashica Yashinon 37mm f/2.7
2/7 Agfa Color-Apotar 45mm f/2.8
2/8 Rodenstock Reomar 45mm f/2.8
2/9 Ricoh Rikenon 35mm f/2.8
2/10 Voigtländer Color-Lanthar 50mm f/2.8
2/11 Olympus D-Zuiko 28mm f/3.5
2/12 Enna Werk München Haponar 5cm f/2.9 C
3/1 Voigtländer Ultron 50mm f/2
3/2 Yashica Yashinon 4,5cm f/1.8
3/3 Carl Zeiss Jena Tessar 50mm f/2.8
3/4 Yashica Yashinon 45mm f/2.8
3/5 Kuribayashi Petri Orikkor 4,5cm f/1.9 A.C.
3/6 Samyang 8mm f/2.8 UMC Fish-eye II
3/7 Jupiter-8 50mm f/2
3/8 Revuenon @Mamiya-Sekor 50mm f/1.4 Auto MCF
3/9 Yashica Yashinon 45mm f/1.4
3/10 Reflecta @Tomioka 55mm f/1.8
3/11 Minolta MD 50mm f/2
3/12 Vivitar @Komine 28mm f/2.8 WA MC
3/13 Kōwa Kōki Seisakusho Kowa 50mm f/1.9
4/1 Meopta Anaret 105mm f/4.5
4/2 ŁZK Lucar 50mm f/1.6
4/3 Nikon EL-Nikkor 50mm f/2.8N
4/4 Meopta Belar 50mm f/4.5
4/5 Lomo-16KP 50mm f/1.2
4/6 Meopta Meostigmat 50mm f/1
4/7 Epson PL 22mm f/2
4/8 Helios-44 58mm f/2
4/9 Taylor-Hobson 1½ inch f/1.9
4/10 Industar @FED I-61 53mm f/2.8
4/11 Ricoh XR Rikenon 50mm f/2.0
4/12 Porst @Cosina 50mm f/1.7 Auto MC
5/1 PZO Emitar/S 80mm f/4.5
5/2 Staeble Stellar 85mm f/2.8
5/3 Macro-Revuenon @Enna 28mm f/2.8 MC
5/4 Revuenon @Cosina 55mm f/1.2 MC
5/5 Pentacon 50mm f/1.8 MC
5/6 Pentor @Tomioka 35mm f/2.8
5/7 Kindermann Color 90mm f/2.8 MC
5/8 Helios-44 58mm f/2
5/9 Isco-Göttingen Projar 85mm f/2.8
5/10 Helios-44M-5 @Valdai 58mm f/2
5/11 Tokina 28mm f/2.8
5/12 Carl Zeiss Jena Biotar 58mm f/2
5/13 Konica Hexanon AR 50mm f/1.7
6/1 Inoxar Paris 100mm f/2.8
6/2 Leitz Wetzlar Elmaron 85mm f/2.8
6/3 Isco-Göttingen Projar 100mm f/2.8
6/4 Meopta Miron 100mm f/2.8
6/5 Minolta AF Zoom 35-70mm f/3.5-4.5 with MF adapter
6/6 Tamron 35-70mm f/3.5-4.5 CF Macro BBAR MC
6/7 Minolta MD Zoom 35-70mm f/3.5
6/8 Agfa Agomar 85mm f/3.5
6/9 Meyer Optik Görlitz Diaplan 80mm f/2.8
6/10 Pentacon AV 80mm f/2.8
6/11 Vivitar @Komine 55mm f/2.8 Macro
6/12 Tokina SD 28-70mm f/3.5-4.5
7/1 Taisei Kōgaku Converto-Tamron 135mm f/4.5
7/2 Reflecta @Docter-Wetzlar Agomar 90mm f/2.8
7/3 Pentacon 100mm f/2.8
7/4 Meyer-Optik Görlitz Diaplan 100mm f/3.5
7/5 A. Schacht Ulm Travegar 105mm f/3.5 R
7/6 Leica Hektor-P2 85mm f/2.8
7/7 Vivitar @Komine 135mm f/2.8 AT
7/8 Kalimar @Samyang 35-70mm f/2.8 MC
7/9 Carl Zeiss Jena Sonnar 135mm f/3.5 MC
7/10 Minolta AF 70-210mm f/4.5-5.6 II with MF adapter
7/11 Jupiter-37AM 135mm f/3.5 MC
7/12 Simpson Optical - Chicago 3½ inch f/2.5
7/13 Leitz Wetzlar Colorplan 90mm f/2.5
8/1 Rubimat 500mm f/8
8/2 Benoist Berthiot Cinestar N2 150mm f/2.3
8/3 Carl Zeiss Jena Kipronar 12cm f/1.9
8/4 Voigtländer Heliar 18cm f/4.5 D. R. P.
8/5 Revuenon 500mm f/8 Mirror
8/6 Kobori Koboron AF 60-300mm f/4-5.6 UMCS Zoom Macro
8/7 Meopta Dittar 150mm f/3.5
8/8 Pentacon 200mm f/4
8/9 Braun Super Paxon Vario 70-120mm f/3.5
8/10 Rathenower Optische Werke Visionar 77mm f/1.6
8/11 Schneider Kreuznach AV-Xenotar 150mm f/2.8 HFT
8/12 Kiron 28-105mm f/3.2-4.5
Tamron 500mm ƒ8 (1983)
Nikkor 50mm ƒ2 (1977)
Nikkor 200mm ƒ4 (1977)
Vivitar 28mm ƒ2.8 (c. early 80s?)
Nikon D200
Sigma 70-300mm ƒ/4-5.6 DG Macro
Photographed on blue paper, lit with one Amazon VT560 bounced from the ceiling.
It was soon after dawn; I had captured a magic sunrise on the Arno - the Ponte Vecchio being involved, of course. Hopefully some of that magic has been captured in my bracketings... I have not processed any of them still.
I was going back to my hotel to have a shower and a good breakfast before attending the second session of my training course, when I caught this scene and... what would have you done, being in my shoes? Well, I hurriedly placed my tripod and shot. Of course.
This image is the result of a painstaking manual blending of the three shots.
I have tried to process the bracketing as a HDR image, of course, but I was very annoyed by the ghosts of the two persons walking toward the camera (people have the bad habit of moving :-) and the overexposed shot sports a lengthy 1/5 second speed).
In my - admittedly poor - experience ghost masking is by far the worst feature in HDR workflow. It is very difficult to obtain good results when you have ghosts in a HDR image: the best thing, if acceptable, is to tolerate them (e.g. I tolerate ghosts from waving flags) - on the other hand, working manually allowed me to kill the ghosts from the overexposed shot in a very straightforward, painless way.
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Lipca Rollop Automatic 2.8
Fujichrome Astia 100F