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Aerial Drone Panorama! Million Dollar Highway U.S. 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 US 550!
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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
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“The clearest way into the Universe is through a forest wilderness.” --John Muir
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“The mountains are calling and I must go.” --John Muir
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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!
A technical drawing of the latest version of the Sensor Fish, illustrating the various directions in which the device’s motions are recorded.
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.
sensor size
Full Frame
APS-H
APS-C
Micro 4/3rds
Black Magic Cinema Camera
Digital Bolex
Super 16mm Film
16mm Film
Digital Bolex @ 2K
Ikonoskop &
Digital Bolex FullHD
and the image circle of the S16 Optar Illuminas
8mm,
9.5mm,
12mm,
16mm,
25mm,
50mm
APS-C sensor, X-Trans CMOS III.
Flagship model of Fuji X series. My husband wrote the review in Japanese, I took the photos of the camera, in March.
The first part
news.mynavi.jp/articles/2016/03/09/x-pro2_1/
The latter part
This is a crop of the bottom right hand corner of an image taken with a pinhole lens. It shows numerous drops of liquid (probably oil) on the sensor filter.
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
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The 3th screw of the Top Cover is hidden underneath a thin Plate inside the Accessory Shoe.
I could not find another way to remove this Plate without bending it in the middle. Maybe somebody else does ?
The bend is however light and it might be possible to correct it.
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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 !
The sensors detect the level of pellets and email operator when to order more fuel.
Oakridge Elementary Biomass Heat System. Fuel: wood pellets
Oakridge, OR
See www.zylstra.org/blog/2017/05/measure-your-city-meetjestad... (sensorhut still to be painted white)
IR HDR. Pikes Peak in the background. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
This is a 5 megapixel image sensor from my old HTC Aria Smart Phone.
This is a little bigger than 1:1 macro since the Nikkor 40mm 2.8G DX can be manually focused a little past 1:1. I used both of my SB-700's for this. They were set to 1/50th power.
This photo is taken with a 32 year old lens (!). The Nikon 135mm f/2.8 from 1980. It's the predecessor to the modern portrait lens, 135mm f/2.0 DC.
This lens produces very unique and lovely looking images at 2.8, though it is mildly soft at this aperture. It goes all the way to f/32. Something I've never seen in such an old lens. Those others I've got has maximum of f/22 and f/16. Has not had the chance yet to shoot at max aperture.
© Jonas Bo Grimsgaard (2012)
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reason for more sensor dust?
If you have a D600, please leave a comment how your shutter and sensor look like.
Note that I really had to look for the scratches to see them (unlike the D7000 in the other picture that is much older). Managed to make them visible in 1 of 5 pictures I took, depending on the light angle.
12th October 1980 Hawker Siddeley Harrier GR.3, Construction Number: 712204 / Registration Number: XZ968 / Alternative Code: 9222M.
Famous throughout the world as the first jet fighter capable of vertical take off and landing, the Harrier was utilised by the Royal Air Force as a ground attack and reconnaissance aircraft in the Close Air Support role (CAS).
The Harrier GR.3 was a development of the Harrier GR.1, being fitted with improved attack sensors, electronic countermeasures and a more powerful engine over the GR1. The simplicity and flexibility inherent in the Harrier design proved their worth in service in Germany. In time of war the Harrier was to be deployed away from established airfields, which were vulnerable to attack. Instead it was to be operated from short, rough strips of ground and hidden in camouflaged ‘hides’, from which it would attack the enemy’s approaching armoured formations.
These qualities came into their own during the Falklands War, RAF Harriers were deployed to the Royal Navy aircraft carrier H.M.S Hermes, as part of the Task Force sent to recapture the Falklands Islands. The Harrier GR.3 performed attack sorties from the aircraft carrier, and later from basic landing strips on the islands, often in conditions that would have grounded conventional aircraft.
In addition to operations with RAF Germany, the Harrier GR.3 has also seen service with the Royal Air Force in Norway and Belize. The concept of a high performance fighter aircraft being able to take off and land vertically was almost unbelievable until the Harrier was developed. The scientific, technological and engineering challenges which were overcome in order to achieve the remarkable performance enjoyed by this aircraft marks it out as one of the most special machines.
General characteristics -
▪︎Role: V/STOL Ground-attack Aircraft
▪︎National Origin: United Kingdom
▪︎Manufacturer: Hawker Siddeley
▪︎First Flight: 28th December 1967
▪︎Introduction: 1st April 1969
▪︎Retired: 2006
▪︎Status: Retired
▪︎Primary Users: Royal Air Force / United States Marine Corps / Spanish Navy / Royal Thai Navy ▪︎Produced: 1967 to the 1970's
▪︎Number Built: 278
▪︎Developed From: Hawker Siddeley P.1127/Kestrel
▪︎Developed Into: British Aerospace Sea Harrier / McDonnell Douglas AV-8B Harrier II / British ▪︎Aerospace Harrier II
▪︎Crew: 1
▪︎Length: 46 ft 10 in
▪︎Wingspan: 25 ft 5 in / 29 ft 8 in with ferry tips fitted
▪︎Height: 11 ft 11 in
▪︎Wing area: 201.1 sq ft / 216 sq ft with ferry tips fitted
▪︎Aspect Ratio: 3.175 / 4.08 with ferry tips fitted
▪︎Empty Weight: 13,535 lb
▪︎Maximum Takeoff Weight: 25,200 lb
▪︎Fuel Capacity: 5,060 lb internal / 2 x 100 imp gal, 790 lb drop-tanks for combat / 2 x 330 imp gal, 2,608 lb drop-tanks for ferry
▪︎Powerplant: 1 x Rolls-Royce Pegasus 103 vectored-thrust high-bypass turbofan engine, 21,500 lbf thrust with water injection
▪︎Maximum Speed: 731 mph, at sea level
▪︎Maximum Diving Speed: Mach 1.3
▪︎Combat Range: 360 nmi - 410 mi, ho-lo-hi with 4,400 lb payload / 200 nmi - 230 mi, lo-lo with 4,400 lb payload
▪︎Ferry Range: 1,850 nmi - 2,130 mi, with 330 imp gal drop-tanks / 3,000 nmi - 3,500 mi, with one AAR
▪︎Endurance: 1 hour 30 minutes combat air patrol 100 nmi - 120 mi, from base / 7 hours plus with one AAR
▪︎Service Ceiling: 51,200 ft
G Limits: +7.8 −4.2
Time to Altitude: 40,000 ft in 2 minutes 23 seconds from a vertical take-off
Take-off Run CTOL: 1,000 ft at max. TO weight
▪︎ARMAMENT -
▪︎Guns: 2 x 1.18 in ADEN cannon pods under the fuselage
▪︎Hardpoints: 4 x under-wing & 1 x under-fuselage pylon stations with a capacity of 5,000 lb, with provisions to carry combinations of -
▪︎Rockets: 4 x Matra rocket pods with 18 x SNEB 68mm rockets each
▪︎Missiles: 2 x AIM-9 Sidewinders Air-to-air missiles
▪︎Bombs: A variety of unguided iron bombs, BL755 cluster bombs or laser-guided bombs
▪︎1 x Reconnaissance pod
▪︎2 x drop tanks for extended range/loitering time.
Information sourced from -
en.m.wikipedia.org/wiki/Hawker_Siddeley_Harrier
www.rafmuseum.org.uk/research/collections/hawker-siddeley...
Sensor's been cleaned up by Nikon School on January. This is a picture of the empty blue sky in June.
Camera is currently being fixed at Nikon's, I hope this will be its last trip.
This actually isn't from a Gibson GL1RA 045N-08A. This flame sensor is similar and seems to work fine, but it's shorter than the OEM part.
Related blog post: kingant.net/2015/04/lets-learn-about-furnaces/
I came across this interesting comparison on the internet today. I'm toying with the idea of getting another compact camera and at present it's a toss up between the Sony 100 iii (still available though newer models have been released) and the not yet released Panasonic TZ90.
The Sony has a 1" sensor whilst the Panasonic has a 1/2.3" sensor; this is somewhat outweighed by the Panasonic's longer optical zoom range and more flexible screen.
Given the generally poor performance of my Ricoh GR4 (which has a 1/1.7'' sensor) compared with my iPhone 6 (1/3'' sensor) perhaps I don't need another compact camera anyway.
D300 + af200 mm + ais 35 mm reverse.
SB-29-s flash.
40 pictures @ 5 um zerene stacking.
I found the sensor type number on the chip:
Image sensor CCD KC73129
• Number of Total Pixels: 537(H) ´ 597(V)
• Number of Effective Pixels: 500(H) ´ 582(V)
• Chip Size: 6.00mm(H) ´ 5.10mm(V)
• Unit Pixel Size: 9.80um(H) ´ 6.30um(V)
100% crop image on the corner.
The nDETECT sensors undergo testing at Sandia. Money from DOE’s Energy I-Corps program will help the technology advance toward commercialization.
Learn more at bit.ly/3TqfJHw
Photo by Craig Fritz
Here is an older picture, as I am without my 5d at the moment.
Working on the Heidelberg exposed Set, revealed how desperate my MkII was in need of some serious sensor cleaning (Thx Russ). After weeping over messed up shots, I brought the cam in and will be able to pick it up on Tuesday.
It feels weird not having my Cam, like something is missing.
Email: info@infinitioptics.com
HD Cooled MWIR Thermal Infrared MTC Imager
The Viper contains a high sensitivity 10μm cooled HgCdTe (Mercury Cadmium Telluride or MCT) sensor with a high definition resolution of 1280×720 and an ultra-long cooler lifetime of 24,000 hours. The cooled sensor is able to detect differences in temperature as small as ±0.02°C, providing more detail for tracking of targets at extreme ranges in total darkness and through most obscurants, with performance on par with 2500mm thermal systems.
Ultra Long Range Night vision Thermal MWIR Cooled Infrared Surveillance Thermal Military Camera PTZ 4k & HD CCTV LWIR CMOS CCD CMOS Range Gated Gen II Intensifier starlight Gyro Night Vision PTZ Zoom Laser IR Illuminator Illumination Camera CCTV EMCCD Cooled uncooled Thermal Infrared NIR SWIR Shortwave Infrared Auto Track ZLID Zoom Telephoto Continuous Surveillance Camera System EO/IR Auto Tracking GPS LRF Laser Range Finder DMC Digital Magnetic Compass IP 67 Rugged MIL-810-STD Slew To Cue Radar Integration Lens Optics Marine Extreme weather Outdoor Wireless ONVIF 4k HD Resolution DDE WDR Focal length EO/IR Electro Optics Detection Recognition Identification Human Vehicle Ultra Long Range Day Night Vision imager Sensor
The Viper is a revolutionary ultra Long range surveillance HD Cooled Thermal multi sensor PTZ camera boasting a long-range 128X visible day/night camera, long-range 55+km HD MWIR Cooled thermal infrared zoom, and optional ZLID NIR illumination with LRF. This multi-sensor payload enables the Viper to provide high resolution imaging in virtually any environment from heavy fog to complete darkness. Designed for weapons systems pointing and accuracy, it meets and exceeds MIL-STD-810F military ratings for shock, vibration, temperature and dust/water ingression. This makes it the ultimate long range camera system for 24/7 situational awareness and long-range recognition and identification of targets
Key Features:
›› Ultra long-range military grade EO/IR PTZ surveillance
›› Tri-Sensor payload: HD visible, ZLID illumination & thermal
›› Day/Night 1080p HD IP ONVIF 1/2.8" or 1/1.8" CMOS sensor
›› 16-2050mm Zoom Lens (with motorized 2x doubler)
›› 128X zoom range for an incredible 19°–0.15° field of view
›› Auto focus & motorized fog/parasitic light filter
›› enhancements: DWDR, HLC, ROI, EIS, 3DNR, Fog/Haze
›› Color: 0.06 Lux; B&W: 0.005 Lux (0 Lux with IR ZLID)
›› ›1-5km ZLID IR Laser illumination that syncs with zoom lens
›› HD 1280×720 10μm, MCT cooled thermal imager
›› 85–1400mm auto-focus germanium Zoom thermal lens
››Up to 40km of human detection & 55km of vehicle detection
›› Rugged -40°–+60°C IP67 sealed with anti-corrosion finish
›› Elliptical Synchronous Drive Weapons grade pan tilt driver
›› Endless 360° rotation with speeds up to 240°/s
›› Absolute positioning zero backlash 0.00025° resolution
›› State of the art Multi -axis gyro stabilization & EIS stabilization
›› Meets and exceeds MIL-STD-810F for shock and vibration
›› EMI MIL-STD-461E for electromagnetic interference
See It All 24/7 Day Night surveillance
Infiniti’s cooled thermal cameras let you see further than any
other night vision technology, using heat rather than light to
see objects. This cooled thermal imaging camera is equipped
with a midwave, cooled Indium Animonide (InSb or MCT) detector, producing ultra-sharp thermal images of 640×480~1280x720 pixels. This will satisfy users that want to see the smallest of details and demand the best possible
image quality. It allows the user to see more detail and detect smaller objects from a further distance. Coupled with a high sensitivity, and leading germanium optics, this camera offers extreme long-range performance and excellent image
quality.
17X Continuous Zoom Germanium Lens
The cooled MCT thermal core is paired with a precision-engineered low f stop germanium zoom lens allowing you to view targets with a 16X optical zoom range from 85mm to 1400mm. This allows for long range detection of thermal targets by offering anything from a 8.6° to 0.5° field of view. These lenses also feature auto focus capabilities, delivering crisp, clear images even when adjusting zoom, ensuring
optimal performance and situational awareness in the wide field of view and crisp details in the narrow field of view.
Extreme Long Range Detection
The Viper is a Mid-Wave Infrared (MWIR) thermal camera which means it operates on 3,000nm–5,000nm wavelengths where terrestrial temperature targets emit most of their infrared energy. Using real-time image enhancements (anti-blooming, contrast enhancement and scene optimization), this system is capable of detecting vehicles up to 55km away.* While thermal is a significant investment, its superior range and performance allows it to replace and outperform all other solutions, making it a viable option for many applications.
DICE Dynamic Image Contrast Enhancement optimizes thermal infrared imaging compare with FLIR DDE
Image result for DRS cooled thermal
Cooled HD MWIR Thermal Infrared MTC MID-Wave IR Camera Core
Real-time Thermal infrared image optimization via advanced image processing DICE is much more than simple digital detail edge enhancement. DICE powered by DRS proprietary Edge Enhancement and optimization techniques coupled with Dynamic Contrast Thresholding and Adaptive Rescaling. Unlike other digital detail enhancement technologies on the market, DICE is dynamic intelligent image optimization for incremental and proportionate response making superior to image contrast enhancement that is done digitally making Infiniti thermal cameras far superior resulting increased ranges and sharper images compared to other infrared sensors.
Thermal GE germanium Infrared Zoom Lens with Auto Focus MWIR Cooled ThermalOur Germanium lenses are perfect for Mid-Infrared applications. These lenses stand up well to harsh environments and we offer the most popular sizes with Anti-Reflection Coatings. Germanium is subject to thermal runaway, meaning that the transmission decreases as temperature increases. Germanium’s high density (5.33 g/cm3) should be considered when designing for weight-sensitive systems. The Knoop Hardness of Germanium is 780, making it ideal for IR applications requiring rugged optics.
Germanium lens
High Index of Refraction
Minimal Chromatic Aberration Due to Low Dispersion
Perfect for Rugged IR Applications
Popular Sizes Available with AR Coating from 3-12μm
Continuous Zoom with integrated Auto Focus
F2~f5.5 for sharp long-range imaging
IP 67 sealed are used as viewing windows for enclosures
HD MCT, 40–835mm, 45km
HD MCT, 85–1400mm, 55km
SD InSb, 150/750mm, 40km
SD InSb, 15–335mm, 33km
SD InSb, 36–715mm, 45km
SD InSb, 85–1400mm, 50km
SD VOx, 95/275mm, 18km
ultra-long-range-hd-cooled-thermal-infared-night-vision-ptz-mwir-lwir-zoom-ge-cctv-security-laser-ir-lrf-gyro-stablized-slew-to-cue-camera-infiniti-optics-copy
Rugged MIL-810-STD -50~65C IP 67 Nitrogen Pressurized Enclosure 85~1400mm Continous Zoom MWIR Infrared Lens for 55km of Vehicle Detection Infrared Night Vision Zoom Surveillance Camera
Continuous Zoom Thermal Infrared, SWIR, MWIR and LWIR Optics
Infiniti’s optics are precision engineered and designed to offer unparalleled performance. Our custom made long-range optics are similar to telescopes in that they uses large mirrors to reflect and focus light, with much larger diameters, allowing them to gather and collect significantly more light than traditional lenses. We can achieve focal lengths of up to 9000mm and resolution of up to 60MP on VIS/NIR. Traditionally these optics were only utilized by NASA for space observation and in military spy satellites costing upwards of 250 million dollars. Infiniti has brought this technology to security & surveillance sensors, providing ultra-long-range surveillance and reconnaissance to marine and terrestrial applications for military logistics, critical infrastructure protection, and homeland security.
hd-2050mm-continous-zoom-ir-correcred-lens-128x-optical-zoom-162050mm-focal-lenth-telescopic-optics-with-auto-focus-haze-fog-filter-infiniti-electro-optics
This allows Infiniti Optics to provide up to 400% greater zoom power and higher resolutions than our competitors who offer a maximum of 1100mm before the use of a doubler. Infiniti’s ultra-long-range electro-optics pass rigorous control processes and performance benchmarks to ensure maximum optical clarity. These ultra-long-range optics, unlike standard lenses, are not measured in line pairs but in ARC resolution, which is a standard for evaluating telescopes for space observation. Infiniti’s 3050mm lens can resolve a 7mm feature at 1km, making it vastly superior in range and performance than any other zoom lens. Since these types of optics are not like standard lenses, they do not have an iris or shutter, they are unable to be installed in most imaging applications because they are can’t adapt to changing light. Infiniti’s optional Automatic Light Optimizer (ALO) uses the video signal to automatically adjust the amount of light that hits the sensor, performing the same function as a shutter and iris in a traditional camera and lens. The ALO eliminates over and underexposure by providing the correct amount of light for the camera producing the best image.
Image result for starlight camera
HD Visible/NIR CMOS HD Day Night Camera
The Viper’s visible camera was designed and optimized for long range surveillance. It uses a 1/2.8" progressive scan or 1/1.9 star light CMOS sensor with an HD resolution of 1920×1080 and a fantastic signal to noise ratio of 55dB. The 1/2.8" sensor has excellent spectral sensitivity for both visible and NIR wavelengths and features an automatic IR
cut filter, making it a true day/night camera providing clear color images by day and black and white images at night. The 1/2.8" sensor provides the best balance between light sensitivity and maximum zoom, making it particularly suited for long range surveillance.
Real Time Image Processing & Optimization
The Viper also integrates the latest technology in real-time image processing such as BLC, HLC, DWDR, EIS, ROI, 3D DNR, ABF, Defog/ Haze etc. Each of these image enhancements can be automatic or user-defined and calibrated based on the application requirements. Since the camera is native IP, all of these settings can be changed and configured remotely, along with remote PTZ and zoom control.
16~2050mm Long Range 128X Continuous Zoom Lens
The Viper comes equipped with a precision engineered 16–2050mm IR-corrected continuous zoom lens with motorized HD doubler, offering an incredible 128X zoom range from 19° through to a very narrow 0.15° FOV when paired with the 1/2.8" sensor. That's equivalent to a “full-frame” DSLR camera using a 13,500mm lens! Infiniti’s zoom optics are built with the highest quality Japanese fluorite ELD low dispersion glass, and the integrated rapid auto focus allows long range
recognition and identification of targets without operator intervention.
Integrated Haze/Smoke/Fog Filter
The lens also incorporates a motorized fog filter that is used with the camera’s monochrome mode and de-haze image processing to see through fog, smoke, smog and haze that render standard optical cameras unusable. Infiniti’s HD Zoom camera is a perfect synergy between precision craftsmanship, state of the art sensor hardware and the latest image processing for unparalleled range and performance.
1–5km IR ZLID IR Laser infrared Illumination
Many laser illuminators overexpose the center of the screen and leave the edges dark. Our laser has an adjustable 0.5° to 19.5° angle of view, and Infiniti’s ZLID (Zoom Laser IR Diode) technology synchronizes IR intensity and area illumination with the zoom lens for outstanding active IR performance, eliminating over-exposure, washout, and hot-spots for clear images in complete darkness. An optional LRF is also available that can automatically turn off the laser if an object is detected within the NOHD making it safe.
Weapons Grade Gyro Stabilized Pan Tilt Drive/ positioner
The integrated Dual Elliptical Synchronous Drive P/T Positioner is weapons systems grade positioner designed for
military applications and is able to withstand shock and vibration for use on tanks and navy vessels. The pan tilt implements an Elliptical Synchronous Drive for high torque to handle large payloads while providing micro steps as precise as 0.00025° for smooth manual control or automatic slew to cue tracking when used with Video Analytics, VTMS systems, Radar, AIS and weapon systems. The integrated multi-axis gyro stabilization uses a high-rate MEMS gyro in combination with the pan/tilt to mechanically stabilize the payload, reducing the effects of vibration, oscillation, pitch and roll for
unparalleled stabilization on tanks, humvees, assault vehicles and more.
Rugged And Robust military grad MIL-810-STD
The Viper is comprised of military grade, precision engineered
components and manufactured using unique processes to offer absolute performance. It uses a military style connector to supply power, video, and communication over a single cable and does not require a junction box or external electronics of any kind, increasing reliability and the amount of time required to install the system. The entire system is designed for the most demanding mobile applications.
It is MIL-STD-810F/G tested and certified and is sealed to a minimum of IP66 making it water and dust proof. Its internal heater/blower allows it operate in conditions from –50°C to +65°C and both the pan/tilt and enclosure use a tough anti corrosion finish for continued operation in the most brutal and harsh climatic conditions.
Intuitive And User Friendly
While the Viper is an extremely sophisticated multi-sensor system it is also a user friendly plug-and-play solution controllable by touch screen, mouse, VMS systems, DVR/NVR or 3-axis joystick. This allows the Viper to be operated by any individual with little or no training and ensures compatibility with new and existing equipment.
Remote Connectivity IP Internet Ready ONVIF 2.2 Profile -S
The Viper is an IP system that allows you to instantly and remotely connect, and control it through the internet in real-time from anywhere in the world using Ascendent Remote Management Software (ARMS) on your laptop, iPhone, or Android device. For remote or mobile applications Internet bandwidth is often limited, which why our DVRs, NVRs and IP cameras can record at one resolution and stream
at another. Our web client also allows you to change your settings, update firmware and activate image enhancements in real time even including back focus lens adjustment.
Applications
Force Protection
Perimeter Security
Embassy Protection Forces
Mobile/Fixed Command Centers
Ruggedized Surveillance
Tactical Command and Control
Day/Night Situational Awareness
Anti-Pirate systems
Wireless Secured Communication
Enterprise Video Management
GPS Enabled Video Analytics
Threat Detection Technologies
Radar, Microwave and Electromagnetic
Ranger Finders and Target Acquisition
UAV Equipped with Multi-Sensor
Sniper Detection
Options:
Extreme Low light Progressive Scan and EMCCD imaging
Ultra HD 12MP 4k Resolution Day Night Zoom Cameras
SWIR Short Wave Infrared 400~2,200nm Cameras
LWIR Long Wave Infrared Thermal Imaging 7~13um
MWIR Mid Wave Infrared Thermal Imaging 3-5UM
EO/IR Electro Optical and Thermal IR imaging multi sensor
ZLID Zoom Laser IR Infrared invisible light illumination 1-5km
Integrated Window Wiper with Nano Coating
Non ITAR long range Night Vision cameras
10~40km LRF Laser Range Finders
Fiber Optic Gryo Stabilization
Laser Pointer and Designators
LRAD Long Range Acoustic Hailing Device
Radar Slew To Cue Auto Target Tracking
Contact Information:
Website: www.infinitioptics.com
Email: info@infinitioptics.com
Phone: 1.866.200.9191
Agfa Silette LK Sensor, introduced 1970, perhaps one of the last Silettes and an early Agfa with the red shutter release button. The body is based on the Agfa Optima 200 from 1968.
It is a low-budget camera, the lens barrel and the housing are made of plastic, though the top and the bottom look like metal. This camera hasn't a rewind crank, the rewinding is done by the advance lever, when the button "R" is tripped before, so the inner mechanism is complex.
The lens is a Color-Agnar 2.8/45 mm with three elements, the shutter is a Parator with 1/30 to 1/300 s and B. The Selenium exposure meter is coupled and the match needle is displayed in the viewfinder and on top, the ASA range is from 25 to 400 ASA. All settings has to be done manually, like on all Silettes, I think. The LK has a thread for a cable release on the backside and a hot shoe. There is no self-timer, no focussing aid and the frame counter has to be reset manually.
(If you want to remove the top plate: there is a third screw hidden in the hot shoe. The cover in the hot shoe has the most diabolic clip mechanism I've ever experienced.)
Principal investigator Jacques Loui, left, and a firmware developer are part of a team redesigning high-performance radar as a flexible, multipurpose sensor.
Researchers are working to replace legacy analog radars commonly used by the military with a new, digital, software-defined system called Multi-Mission Radio Frequency Architecture. The overhauled design promises U.S. warfighters unprecedented flexibility and performance during intelligence, surveillance and reconnaissance operations, even against sophisticated adversaries.
Learn more at bit.ly/3hKHWM7
Photo by Craig Fritz.