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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.
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.
My latest acquisition. Very nice compact camera. Large, bright viewfinder.
The Agfa Optima sensor electronic was identical to the Agfa Optima 535 Sensor electronic and — like the Agfa Optima sensor Flash - produced in Portugal.
Manufactured in 1982.
Lens: Agfa Solitar 40mm / 1:2.8
Shutter: 1/30 sec. to 1/500
Aperture range: 2.8 to 22
Dimensions: 104 × 70 × 56 mm
Weight: 265 g
Batteries: 3 x alkaline / silver oxide 625G
Information retrieved from this website (in German), which also features beautiful photos of all the 1970s Agfa Optima line.
Another good read (in English) is the Agfa Optima 1535 page on Alfred's Camera Page.
Instagram: instagram.com/45surf
Nikon D800E Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Instagram: instagram.com/45surf
Surf Cowboys of the world Unite! :)
Epic Goddesses straight out of Homer's Iliad!
Homer's Iliad: "RAGE! Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled."
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Pretty Asian Swimsuit Bikini Model! Nikon D800E Photos Gorgeous Model Goddesses shot with Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Modeling a vintage retro swimsuit bikini straight form the 60s and 70s!
New sensors. More intelligent apps. Mobile-connected smart objects. Wearables. LTE. Augmented reality. Multi-platform development tools. Precision indoor location sensing. Ultra HD. Flexible screens. The list of anticipated future mobile technologies goes on and on.
On April 23, NYC Media Lab and Razorfish presented an evening of demos and discussion on Mobile Futures to learn what’s on the verge of commercialization, what’s still in the lab, and what advances will change the nature of media and communications in the future.
Learn more at www.nycmedialab.org.
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.
I bought a new blue cycling lycra shorts and i fall in love with it, its very comfortable and i love the color,
unfortunately i got a dirt on my sensor :-(
Shoted with Sony ILCE 6000
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I love film photography most. I started to shoot on the film when i was 12 yo. after my high school I photographed on digital and in 2020 i came back to the film. In two year i spread my point of view to film and raised my family size to medium format 6x6 and 4.5x6 and finaly in 2022 i juped to do Large format 4x5.
Are you interesed into my gear check out this page and look what i`m using and why [My photograpy gear]
If you like my work and want to support me, Thank you and go to adlg.cz/donate
All my photos are in same license, see the info on the site. If you like to use my photo outside of this license pleas write me message with your offer and plan.
Quickly view my LargeFormat 4x5 | MediumFormat 6x6 or 645 | 35mm | 360degrees photography
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
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The Meter Unit removed and lying upside-down.
There is a Green Mask (see green arrow) in a Slide and a Red Mask (see red arrow) moving with the Meter Needle.
These are used for the OK Exposure and Underexposure signals in the Viewfinder.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
"Magic Wire" is so called because of detecting proximity to antenna.
THE MAGIC WIRE
As shown in the diagram, the input tube is a type 6R7 duo-diode triode. The triode section forms the oscillator, in conjunction with the coil L1 which is center-tapped to the cathode. When the triode section is oscillating, the r.f. voltage developed from cathode to ground is impressed on the diode section, causing current to flow through R2 and making the diode plates negative with respect to ground. The control grid of the 25L6 power tube is connected to the diode plates of the 6R7 and consequently a negative bias is placed on the grid which reduces its plate current to a very low value. As soon as the triode ceases to oscillate, there is no longer any r.f. voltage applied to the diodes, the voltage drops and the 25L6 draws high plate current, causing the relay to operate.
It will be noted that no rectifier tube or filler circuit is required in this design, yet the instrument functions on either a.c. or d.c. On a.c., the 6R7 oscillations and the 25L6 draws plate current only on the positive half-cycles. This principle effects a considerable saving in construction cost and in the size of the instrument.
After the parts required have been obtained, the first step in building the unit is to make the chassis, which consists simply of a piece of 16-gauge aluminum or steel bent and drilled in accordance with the plan shown. The front panel, which is included with the standard 6 by 6 cabinet, is drilled and a hole and grommet are placed in the rear panel. The oscillator coil is made by winding 100 turns of No.28 d.c.c. wire on a one-inch bakelite tube 3-1/4 inches long. A tap is brought out at the center of the winding. When the winding has been completed, the entire coil is dipped in a hot half-and-half mixture of beeswax and paraffin to keep the winding in place and exclude moisture. The sensitivity of the outfit is largely dependent upon the efficiency of the coil, so it should be carefully made. C1 is mounted on a small piece of 1/8-inch bakelite, because it must be insulated from the panel.
Wire the chassis first, starting with the heater circuits. Do not connect in the power cord until all wiring has been completed. The shield of the 25L6 is connected to its cathode, the shield of the 6E7 to the heater terminal which goes directly to the line. When all the main wiring has been completed, bring the power cord through the rear panel hole, and solder the three terminals to the terminal strip. The antenna wire is brought in through a rubber-grommeted hole in the top of the cabinet and connected to the stator or plate terminal of C1. A knot in the wire will relieve any strain on this connection. Stranded wire is preferred for the antenna.
The capacitances of C1 and C2 are largely dependent upon the length of antenna wire desired. If only 4 or 5 feet are required, C2 may be omitted. On the other hand, if the wire exceeds 15 feet, C2 will have to be larger than the value given. If the capacitance of C1 were made large (say 150 mmf. or more), C2 could of course be omitted but then the adjustment would become too critical.
The relay employed is a 3,000-ohm plug-in type of standard manufacture. It is a double-pole model and will handle a non-inductive load of 100 watts. It is somewhat more sensitive than is required and any other good relay of 1,000 ohms or more resistance should be suitable. The capacitor, C4, is shunted across the relay coil to prevent chattering. It may be advisable, in some cases, to put a 0.1 mf. paper capacitor across the relay contacts to stop sparking on heavy loads. It is better practice, however, to use a separate power relay when operating any but light loads.
In operation, the antenna wire is strung out well away from grounded metal objects and a 110-volt lamp is plugged into the outlet on the panel. When the tubes have heated, the lamp should light when the antenna wire is touched. If it lights without touching the wire, C2 should be screwed down until the lamp goes out. These adjustments should be made with C1 about one-half mashed. The panel may then screwed in on the cabinet and final adjustment made. This is done by gradually adjusting the vernier knob of the dial until the light remains lit when adjusting but goes out when the hand is removed from the dial. This may be carried to a point where the light will flash as soon as one approaches within 3 feet of the wire or instrument. It is better not to aim for such sensitivity, though, since it will vary somewhat with line voltage. A good, practical and stable point is about six to fifteen minutes or so for the instrument to acquire a stable point of operation owing to its sensitivity.
PARTS REQUIRED
C1 - Midget variable capacitor, 60 mmf. (see text)
C2 - Trimmer capacitor, 35 mmf. or more (see text)
C3 - Tubular paper capacitor, 0.05 mf. or more, 200 v.
C4 - Electrolytic capacitor, 10 mf., 100 V.
R1 - Carbon resistor, 5 meg, 1 watt
R2 - Carbon resistor, 1 meg., 1 watt
R4 - Wire-wound resistor, 5,000 ohms, 10 watts
R5 - Wire-wound resistor, 10,000 ohms, 10 watts
1 -- Steel cabinet 6x6x6 inches, front & back panels removable
1 -- Piece 16-gauge aluminum, for chassis 5-1/2 x 7-3/4 inches
1 -- Piece bakelite tubing, 1 inch diameter., 3-1/2 inches long
1 -- Piece bakelite, 1'1/2 x 1-1/2, 1/8 inch thick for C1
2 -- Octal wafer sockets, 1-1/2 inches center for mounting holes
1 -- 5-prong wafer socket, 1-1/2 inches center for mounting holes
1 -- Relay, Utah type RAC-110, 3,000 ohm
1 -- 6R7 metal tube
1 -- 25L6 metal tube
1 -- Kurz-Kasch vernier dial, small
1 -- Resistor line cord, 280 ohms (R3)
1 -- Single outlet receptacle
Miscellaneous screws, nuts, mounting bracket, and grommets.
- James P Hughes
Nikon D800 Photos: Blonde Wavy Hair Swimsuit Bikini Model Goddess with Pretty Blue Eyes
Here is some awesome video I shot at the same time as the stills with the Sony NEX 6 camera with the 1.8 50mm prime lens bracketed to my Nikon D800:
Nikon D800 and 70-200 mm F 2.8 lens photoshoot of beautiful blonde Swimsuit Bikini Model Goddess with Pretty Blue Eyes and wavy blond hair. With the black 45SURF surfboard! Readingthe Great Books and Classics--Shakespeare's Hamlet, Homer's Iliad & Odyssey, and Herman Melville's Moby Dick! Modeling the 45surf hoodie. Everyone loves the hoodies!
The rich creamy Bokeh off the 1.8 50 mm Sony prime lens on the crop sensor is amazing! Combine the shallow-depth-of-field with Sony NEX-6 latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! I shot at wide-open 1.8 all day long! :)
She was tall, thin, fit, toned, defined, and beautiful! Wearing a hoody!
Nikon D800 Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom! :)
Million Dollar Highway US 550 Silverton to Ouray Colorado Autumn Colors Snow Stormy Moody Weather! Fall Foliage Aspens Fine Art Landscape Nature Photography DJI Mavic 2 Pro Drone Hasselblad L1D-20c Camera 20MP 1” CMOS Sensor! Elliot McGucken Master Fine Art Aerial Drone Photography Colorado Fine Art !
Dr. Elliot McGucken Fine Art Spacetime Sculpture dx4//dt=ic:
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
Photographs available as epic fine art luxury prints. For prints and licensing information, please send me a flickr mail or contact drelliot@gmail.com with your queries! All the best on your Epic Hero's Odyssey!
This is to compare 10 MP sensors in a digital SLR (DSLR) and a point and shoot (P&S) camera. I have tried to keep everything on equal footing with no unequal cropping of the original images. Both images were taken at the equivalent of 75 mm from about 1,000 feet away. View this FULL SIZE here: farm1.static.flickr.com/171/476181751_dae004f4a5_o.jpg and scroll through the image to compare the resolution at various points of the images. After you click on the link, you will have to mouse over the image to get a magnifying glass icon. Click while holding the magnifying glass over the image and you will be able to view it full size.
To me, the P&S sensor practically looks like an impressionist painting compared to the DSLR sensor. This is also the "large size" P&S sensor, as most are using the smaller 1/2.5" (5x4 mm) sensor.
See www.flickr.com/photos/samfeinstein/1928154854/ for a sharpened version.
Los 13699 fotogramas restantes se pueden ver acá:
Y de yapa, un bellísimo collage inspirado en esos fotogramas:
Camera introduced in 1971 ; made in Germany . For the 126 cassette. Magicube flash socket .Of the 3 copies that I have , I noticed a difference in the place of the eye for the carrying strap , and a difference in text indicating the film in the compartment .
M240 / 50 Summilux
Thank you for visiting and viewing.
Jim
No Usage Authorized Without Prior Written Permission.
©2015 Jim Servies Photography
All Rights Reserved.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some Background:
On 23 January 1992, the Lithuanian Minister of Defense signed an order establishing the staff for the Aviation Base of the Aviation Service. But an actual base in the Šiauliai airport territory (Barysiai airfield) was not established until March, when according to the ordinance of the Government of Lithuanian Republic, all the infrastructure, buildings, territory and 24 An-2 aircraft were passed from ”Lithuanian Airlines" to the Aviation Service of the Ministry of Defense in January 1992.
On 12 June 1992, the first time after regaining the independence of Lithuania, An-2 aircraft, marked with the double cross of Vytis on its wings – the distinguishing sign of Lithuanian Air Force – took off from Barysiai airfield. This date is considered to be the Aviation Base foundation date. In February 1993 four L-39C Albatros aircraft were brought from Kyrgyzstan.
After 1 March 1993 Aviation Service was reformed to the Lithuanian Air Force and Aviation Base was renamed the First Aviation Base of the Lithuanian Air Force. In January 1994 Lithuania officially applied for NATO membership, and the country also looked out for a relatively cheap multi-purpose fighter that would fulfill both air space defence and attack tasks, the latter primarily against potential targets at sea (e. g. fast hoovercraft landing ships operated by the Russian Baltic Fleet).
After evaluating several options, the Lithuanian Air Force settled for a surprising aircraft: the venerable MiG-21! After the demise of the Soviet Union, several international companies started to offer conversion and upgrade programs for the widely used tactical fighter, about 5.000 specimen had been built to date. One of the first companies to enter the market was Israel Aircraft Industries: IAI's Lahav Division of (IAI) had developed the so-called MiG-21 2000 upgraded fighter and ground attack version, based on the MiG-21bis and the export MiG-21MF fighter aircraft.
The MiG-21 2000 upgrade provided modifications to the cockpit configuration, avionics architecture and weapons systems, enabling the MiG-21 2000 to compete with Western developed fighters like the F-16 and to make the transition to Western standards. The aircraft's original systems and components were retained wherever mission effectiveness was not compromised.
IAI Lahav augmented the original weapons system by introducing an EL/M-2032 radar, developed by IAI Elta Electronic Industries, based in Ashdod. The radar, which uses a low sidelobe planar array antenna and pulse Doppler beam sharpening, provides all-altitude, all-aspect look-up / look-down and shoot-down capability, as well as beyond-visual-range capability. In order to make the radar compatible with Western ordnance, a new armament interface and control unit were added, too, which enabled computerized control and release of weapons, including third and fourth-generation air-to-air missiles and precision-guided munitions of Western and Eastern provenance.
This system also gave the pilot the ability to use blind attack as well as continuously computed impact point (CCIP) and dive-toss bombing techniques. CCIP bombing involves the deployment of air-to-ground weapons, using the HUD to indicate the impact point for release of the weapons. Dive-toss bombing involves the release of air-to-ground weapons at the end of a steep dive manoeuver towards the target.
The MiG-21 2000 cockpit featured a new pilot-friendly layout that overcame the shortcomings of the original cockpit layout, which was crowded and lacked most of the desired man-machine interface characteristics. It incorporated a head-up display (HUD), eye-level multifunction color displays, hands on throttle and stick control (HOTAS), solid-state charge coupled device (CCD) camera, videotape recorder, and a one-piece windshield.
The MiG-21 2000 could be equipped with a display and sight helmet (DASH) system, supplied by Elbit of Haifa, which enabled the pilot to aim the weapons simply by looking at the target. The system worked by measuring the pilot's line of sight relative to the aircraft, and transferred the information to the aircraft's sensors, avionics and weapon systems. The helmet displayed vital information, such as the missile line of sight, missile status, flight information and warning data, on the visor. The DASH helmet allowed the pilot to fly head-up and off-boresight and assisted the pilot to detect, identify and shoot earlier.
IAI Lahav's upgrade package could be tailored to meet the customer's specific operational and budgetary requirements - the Lithuanian package included the radar, cockpit and also the DASH update and was rumored to cost around 4 Mio. USD per aircraft, and Lithuania was, together with Romania (where 110 MiG-21 were to be updated), lead customer.
As conversion basis, Lithuania purchased fifteen MiG-21 airframes for an unknown sum from the Ukraine, which had inherited a considerable MiG-21 fleet after the demise of the Soviet Union but did not (want to) operate it. The deal included thirteen airworthy MiG-21bis fighters and two MiG-21U trainers with few flying hours on the clocks, and - stripped off any military equipment - the small fleet was gradually transferred as disassembled kits via air ferry in Antonov Airlines An-124 transporters to Aerostar in Romania for conversion, starting in early 1996.
The first batch of Lithuanian MiG-21 2000, three fighters and one trainer, arrived in mid-1997 from Bacau on their own power and with civil Ukrainian registrations, and the Lithuanian Air Force’s fighter squadron, the Naikintuvu Eskadra, became ready for service in February 1998.
The rest of the country’s small MiG-21 fleet was delivered in the course of the same year, and these aircraft were semi-officially christened "Globėjas" (Guardian). Since the late Nineties, the Globėjas fighters provide the backbone of Lithuania's air defenses, with aircraft holding Quick Reaction Alert. QRA missions – so-called Alpha Scrambles – have constantly been on the rise thanks to the Russia’s increased aggression towards NATO. The MiG’s have regularly launched to intercept and shadow Russian Air Force Il-20 intelligence gathering aircraft over the Baltic Sea, as well as Tu-16 and Tu-95 patrols and even some Sukhoi Su-27s.
Lithuanian pilots use “hit and run” style tactics to deal with air threats, due to the limited range and endurance of their mounts - but this is of little concern due to the country's relatively small size and the defensive nature of the machines' tasks. While the Globėjas lack a beyond-visual range missile, although they could carry one, they have the ability to carry a range of different short-range air-to-air missiles like the Israeli Python III, which Lithuania procured from Rafael in Haifa as primary air-to-air missile.
After Lithuania joined NATO organization in 2004, its (alongside Latvia's and Estonia's) air space has been protected by NATO. NATO members provide usually 4 fighter aircraft, based in Lithuania, to police the Baltic States’ airspace, where they support the Lithuanian MiG-21 fleet. The duties rotate between NATO members (which started in March 2004 with Belgium Air Force F-16s) and most NATO members that operate fighters have made temporary deployments to Lithuania.
The Lithuanian Globėjas were also in regular demand as a simulated threat, and have gone up against US F-16s, F-15s, F/A-18s and A-10s, as well as the many different European fighter types that frequently rotate into the small country, including the Eurofighter, German F-4F Phantom IIs or French Mirage 2000.
Anyway, the Globėjas' airframes sooner or later reached their flying hour limits, and will be phased out towards 2020. As a replacement Lithuania will begin taking delivery of its first batch of ex-Portuguese F-16s in 2016, while the Baltic States are considering in the near future to protect their airspace on their own.
General characteristics:
Crew: 1
Length: 14.5 [126] m (47 ft 7 in)
Wingspan: 7.154 m (23 ft 6 in)
Height: 4 m (13 ft 6 in)
Wing area: 23.0 m² (247.3 ft²)
Empty weight: 5,846 kg (12,880 lb)
Gross weight: 8,825 kg (19,425 lb)
Powerplant:
1× Tumansky R25-300, rated at 40.21 kN (9,040 lbf) thrust dry
and 69.62 kN (15,650 lbf) with afterburner
Performance:
Maximum speed: 2,175 km/h (1,351.48 mph)
Maximum speed: Mach 2.0
Landing speed: 350 km/h (190 kts)
Range: (internal fuel) 1,210 km (751 miles)
Service ceiling: 17,800 m (58,400 ft)
Rate of climb: 225 m/s (44,280 ft/min)
Armament:
1x internal 23 mm GSh-23 cannon
5x hardpoints for a wide range of guided and unguided ordnance of up to 3.310 lb (1.500 kg).
In QRA configuration the Lithuanian MiG-21 typically carry two or four Rafal Python III short
range air-to-air missiles and an 800l drop tank on the centerline pylon.
Against ground targets, unguided bombs of up to 1.100 lb (500kg) caliber or unguided rockets
can be carried; alternatively, a Rafael LITENING laser designation pod and three
Griffin Mk. 82 LGBs or a single Mk. 84 LGB can be carried, or optically guided weapons like up
to four AGM-65 Maverick or a single GBU-8.
The kit and its assembly:
This kit is the entry for the 2016 "One Week Group Build" at whatifmodelers.com, which ran from 29th of April until 8th May (so, actually nine days...). I had this project earmarked for the recent "Cold War" GB, but it fell outside of the build's time horizon. But despite the dubious kit as basis, I tackled the build since I had anything else already at hand.
The basis is the MiG-21-93 demonstrator kit from Ukrainian manufacturer Condor, one of the many reincarnations of the venerable KP MiG-21bis, but with some updates. You get, for instance, engraved, very fine panel lines, some typical details were added like the wraparound windscreen (wrong shape, though) and the radar warning fairing on the fin as well as an extra sprue with modern Russian ordnance – apparently from some other kit!
On the downside, there's overall mediocre fit due to the molds' age, some dubious details (anything appears softened or blurred…) or the simple lack thereof (e. g. there’s no ventral gun fairing at all). But there’s nothing that could not be mended, and after all this is just a whiffy version.
Since there was only one week time to build the thing and make beauty pics, the whole project remained close to OOB status, even though a lot of detail changes or additions were made in order to convert the Russian MiG-21-93 into an earlier but similar Israeli MiG-21 2000 derivative.
These mods include:
- A Martin Baker ejection seat, with wire trigger handles
- HUD made from clear styrene
- Lowered flaps
- An added jet pipe/interior for the otherwise bleak exhaust (parts from a Kangnam Yak-38)
- Hydraulic pipes on the landing gear, made from very thin wire
- Some more/different blade antennae
- Measuring vanes on the pitot boom
- Different GSh-23 gun fairing, from an Academy MiG-23
- Thinner blast deflector plates under the anti-surge doors
- A pair of Python III AAMs, plus respective launch rails
- Different centerline drop tank, from an F-5E
- Scratched chaff/flare dispensers under the rear fuselage (as carried by the MiG-21 2000 demonstrator)
Building the model went straightforward, but it took some putty work to fill some seams, dents and holes all around the kit. Biggest issue was a hole in front of the cockpit screen, where simply not enough styrene had been injected into the mould!
Painting and markings:
The Lithuanian Air Force as operator for this build was chosen because it would not only fit into the real world timeline (even though I doubt that there would have been any budget for this aircraft at that time, even if MiG-21s had not been upgraded at all...) and because the potential livery would be very simple: contemporary L-39 trainers, C-27L Spartan as well as some L-410 and Mi-8 transporters carry a uniform, dull grey livery. Why not apply it on an air superiority fighter, too?
Finding an appropriate tone was not easy, though. Some sources claim the grey tone to be FS 36306, others refer to FS 36270 or "close to Blue/Grey FS35237", but IMHO none of the cited Federal Standard tones works well. Real world Lithuanian aircraft appear pretty dark and dull, and the color also features a greenish, slate grey hue - it's a unique color indeed.
After some trials (and also wishing to avoid mixing) I settled for Humbrol 111 (German Field Grey, a.k.a. Uniform Grey) as basic tone. It's a rather dark choice, but I wanted some good contrast to the national markings. A full wraparound livery appeared a little too dark and boring, so I added light blue wing undersurfaces (Humbrol 115). The kit received a light black in wash and some panel shading, primarily in order to add some life to the otherwise uniform surface.
Details were painted according to real world MiG-21 pics: the cockpit became classic teal with light grey instrument panels, plus OOB decals for the dashboard and side consoles. The landing gear struts were painted in a light, metallic grey (Humbrol 127 + 56) while the wells were painted in an odd primer color, a mix of Aluminum, Sand and Olive Drab. Parts of the covers were painted with Humbrol 144 (Blue Grey), seen on a modernized real world MiG-21. The wheel discs became bright green.
IAI's MiG-21 2000 demonstrator from 1993 had a black radome (as well as later Romanian LanceR Cs), so I adapted this detail for my build. Other typical di-electric fairings on a MiG-21's hull were painted in slightly darker camouflage colors, while the fin's leading edge became dark grey.
The blast deflector plates received yellow and black warning stripes, and some potentially dangerous parts for the ground crews like the pointed anti-flutter booms were painted red. The Python IIIs were simply painted all-white, mounted on grey launch rails - a harsh contrast to the dull rest of the aircraft.
Main markings come from a Blue Rider Publishing aftermarket sheet for modern Lithuanian aircraft. This set also includes the small Air Force crests, which I put on the nose, as well as the typical, blue tactical codes.
The stencils come from the scrap box, the small Lithuanian flag stripes on the tail rudder were created from single decal stripes, a personal addition inspired by Lithuanian C-27J transporters. They add some more color to the otherwise murky Baltic MiG fighter.
The silver ring around the air intake as well as the stripes at the flaps and the rudder were created with simple decal stripes instead of paint.
Finally, after I added some graphite soot around the jet exhaust and some panle lines with a pencil (e .g. the blow-in doors and airbrake outlines), the kit was sealed with hardly thinned Revell matt acrylic varnish, trying to create a really dull finish.
A tough build, despite being mostly OOB, but the details took their toll. This Baltic MiG does not look flashy, but, with IAI's real world MiG-21 2000 as well as the LanceR conversion for Romania in the Nineties, this one is pretty plausible. And with the simple paint scheme, the MiG-21 looks even pretty chic!
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.
Nikon D800 and 70-200 mm F 2.8 lens photoshoot of beautiful redhead Swimsuit Bikini Model Goddess with Pretty Blue Eyes and wavy blond hair.
Here is some awesome video I shot at the same time as the stills with the Sony Alpha NEX 6 camera with the 16-50 mm power zoom kit lens for nex6 e mount cameras bracketed to my Nikon D800:
www.youtube.com/watch?v=CYfDWw7w1uk
www.youtube.com/watch?v=sZ8v2zzItis
Combine the shallow-depth-of-field with Sony NEX-6 latest face-tracking auto focus, and you can see how the moving video keeps the model's pretty blue eyes in focus, while blurring the background! The Sony Alpha NEX 6 has much better bokeh than the cameras I have been using! :)
She was tall, thin, fit, toned, defined, and beautiful! Pretty blue eyes and firery red hair!
Modeling the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Bikini!
Nikon D800E Photographs of a Beautiful Sandy-Blonde/Brunette Swimsuit Bikini Model shot with the new Nikon D800 and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5.3 ! :)
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
The books behind the pretty goddess on the Malbu bluff and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
And for those who always ask, I shoot in RAW! Always! :)
Agfa Optima Sensor compact 35mm camera
Specifications:-
Type: 35mm compact camera
Size: 104 mm x 68 mm x 54 mm (W x H x D)
Image Format: 24 x 36 mm (W x H)
Lens: Agfa Solitar, 40 mm f/2.8
Diaphragm: Automatic f/2.8 to f/22
Focusing: Manual scale pictograms on top of the focus ring/ meter/feet scale on bottom, focusing 3ft/1.09m - infinity
Shutter Speeds: 1/500 second - 15 seconds
Viewfinder: Large direct finder with parallax marks for near focus
Film Loading: Manual
Film Transport: Manual single stroke lever, also used to rewind film when the 'R' button is depressed and turned
Film Speeds: 25 ASA/15 DIN to 500 ASA/28 DIN, selected on a ring around the lens
Flash Contact: Hot shoe, aperture selected manually with flash
Cable Release Socket: On left hand side of the camera body
Tripod Socket: 1/4 in. on right hand side which doubles as camera strap attachment
Battery: 3 V625U batteries, located by opening the camera back
Using one of my Canon 700D DSLRs and the 75-300 mm telephoto 'kit' lens at it's longest focal length most of the time during Friday morning's lunar eclipse to provide as large of an image size as possible for the eclipsed moon itself (a shot of which can be found at the link attached here - www.flickr.com/photos/homcavobservatory/51689492582/ ; with it's location so near the Pleiades star cluster providing such a beautiful view, I thought I'd see if I could capture both using a single shot.
Knowing if I switched to something like a wide-field 18-55 mm zoom, I would certainly catch both in the same FOV, but then the moon with it's relatively small 1/2 degree diameter would be extremely tiny on the sensor. So using the 75-300 MM and zooming out to what I thought might provide an applicable FOV I looked in the view-finder and wasn't sure if I was able to see the Pleiades or it was simply a case of 'averted imagination' ! ;)
Being aware that any longer exposure used to emphasis the Pleiades would most certainly overexposed the moon, and of course a proper exposure for the moon would more than likely not pick up many stars in the cluster; as well as not knowing what combination of exposure versus ISO might provide a proper balance point between the surface brightness of the two disparate objects and with the temperatures below freezing at the time, I just took my best guess and bracketed around those parameters.
Upon examining the shots I found that my guess as to fov wasn't too bad, and by bracketing I found the attached frame to be a reasonable compromise between the brightness difference of two objects. Shot at 4:37 AM EST on Nov. 19, 2021 it is a 1/2 second exposure at f/5.6 and ISO 1600 using a focal length of 95mm. As presented here it is a single uncropped frame processed in a combination of PixInsight, Registax (for wavelets) and PaintShopPro and has been resized down to HD resolution with the bit depth lowered to 8 bits per channel.
Given the unknowns with respect to fov & surface brightness differences, not to mention my fingertips starting to freeze at the time ;) , I was pleasantly surprised with the result.
Wishing clear, dark & calm skies to all !
One of my Fuji X-Pro1 bodies is broken. It will power up, take a few shots, and then shut down. When I try to turn it on, it sometimes gives a message that says to turn the camera off and try turning it on again. I have also noticed a large, diffuse, white defect in the upper right quadrant of the sensor.
I later concluded that I had damaged my sensor while shooting a solar eclipse. Rather than repairing the camera, I decided to replace it with a Fuji X-Pro2.
Light Sensor Experiments.
First try out measuring leaf-shutter speed with a simple USB Oscilloscope.
Hmmm.... that Vario shutter seems quite lame !
Guess I also have to go for another light source then that cheap LED-Torch as the switching of its LED introduces quite some "noise" on the signal.
Scintillating glass optical fibers are the first viable medium for large-area, solid-state, thermal neutron sensors that have applications in national security, medicine, and materials research. Here, ultraviolet-induced fluorescence mimics scintillation.
For more information, visit www.pnl.gov/news/
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.