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Das Topmodell Optima 1535 Sensor mit Paratronic Verschluss und den Zeiten 15 - 1/1000 s, hochwertigem Objektiv (Solitar S 1:2,8/40, 4 Linsen, Mehrschichtvergütung), einem eingebauten Mischbildentfernungsmesser zur punktgenauen Scharfstellung des Objektives, kam 1979 in den Verkauf für ca. 300,- DM. Die Agfa Optima 1535 war der eigentliche Höhepunkt der Serie. Sie war baugleich mit der Agfa Optima 1035 Sensor electronic, allerdings ohne Selbstauslöser, dafür mit einem Messsucher zur präzisen Entfernungseinstellung. Kleiner Nachteil dieser Kamera ist der Sucher, der nicht ganz so strahlend hell ist wie die Sucher der anderen Agfa Optimas dieser Baureihe. Passend zur Kamera gab es auch das im Design angepasste würfelförmige schwarze Optima-Lux-Blitzgerät (Leitzahl 12), das eine eigene Messzelle besaß und von zwei separaten AAA-Zellen versorgt wurde.
Techn. Daten:
Objektiv: Solitar 1:2,8/40 mm (4 Linsen, mehrfach vergütet)
Sucher: Leuchtrahmen und Parallax-Marken, Belichtungs-LED
Belichtungsmessung: Cadmiumsulfid-Belichtungsmesser, innerhalb des Filtergewinde
Programmautomatik: LED-Anzeige rot/grün im Sucher
ASA - Einstellung: 25 - 500 ASA.
Verschluss: Agfa Paratronic
Zeiten: 15 - 1⁄1000 s & B, stufenlos
Blendenbereich: 2,8 - 22
Blitz: Hot shoe
Blitz: Keine Automatik, bei Blitzbetrieb muss man die Blende rechnen und einstellen
Filmzählwerk
Drahtauslöser-Anschluss
Stativgewinde an Kameraseite
Batterien: 3 x Alkali/Silberoxidzelle 625G
Gewicht: 286 g
Produktionsort: München
Damaliger Preis: ca. 300,- DM
Encara que parega que el sensor estiga brut, realment són gavines volant i avisant del temporal que s'apropava.
Aunque parezca que el sensor esté sucio, realmente son gaviotas volando y avisando del temporal que se acercaba.
EXPLORE, 26 de març de 2009, #245
If you would like to use any pic from my gallery, don't hesitate contact me, I'll reply you gladly.
I'm far from being a mechanic, but managed to replace these parts on my car. Oil leak fixed. Hopefully, evap issue fixed too.
Praktica LTL
Pancolar 50mm f/1.8
Kodak Gold 200
Argentix/Unicolor development
Pakon F135 scan
Testing out an infrared sensor I picked off of the auction site, works pretty good. I put a 3.5 mm plug on it and hooked it to the camera axe. Model number is E18-D50NK.
Selasphorus rufus
The first thing to say is that each electronic sensor has a protective filter over it, so we are not actually touching the electronics. That would be a disaster. Most people send the camera off for a service and a clean and that's a very good idea. After all this is an expensive investment and we want to make sure our camera works as well as possible for as long as it can.
But, it is quite easy to clean your sensor at home. All you need is a kit (like the one I've shown). This includes sealed sterile swabs and a little cleaning fluid (they are essential - do not try to clean your sensor with a cloth where you can scratch the dust into the sensor filter). There are also many videos on YouTube showing you how to use these dust cleaning swabs, but provided you get the right size for your camera (mine is full frame) a simple swipe will suffice.
For a DSLR you obviously need to lock your mirror up before the clean, and then lower it immediately afterwards. Then with the other side of the swab give your mirror a quick wipe as well. Do not apply too much pressure. After all, these are only tiny dust particles - you should not have any dirt.
My Leica D-Lux 7 which I used to take these pictures has a fixed lens, so it will never need its micro-four-thirds sensor cleaned.
Introduction to CMOS Image Sensors
evidentscientific.com/en/microscope-resource/knowledge-hu...
Camera: König Pilsner beer can
Sensor: Ilford multigrade RC De Luxe paper
Aperture: unknown
Focal lenght: unknown
Exposure: 15 days
The St-Damase lake is a little quiet lake on Mt. Rougemont ideal to leave a camera tie-wraped to a tree during 15 days.
This picture was taken with a beer can tranformed into a pinhole camera. It is a 15 days exposure on some ilford multigrade paper.
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
So this poor camera will be scavenged for spare parts :-(
Why that ? You might ask.
Well, because it has several problems, transport and shutter not working properly, it is worth almost nothing in the collectors market but still it can provide me with lots of screws, nuts., springs, etc. etc.
Besides that this demolition will cure my curiosity about the technical workings of such an auto-exposure camera. Almost nothing to find about repairs on the Internet so publishing some images will perhaps help others in their repair quests.
Amazing. I finally cleaned my sensor and I'm overjoyed with the clean skies! This is pretty much right out of the camera, no cloning out dirt spots. Taken in Felicity, CA, just this side of the Arizona boarder.
This shot with Rolleiflex T, Tessar 3,5/75mm + Rolleinar 1
Fomapan 100, Kodak D76 1+1, 10 min
CanoScan 9000F Mark II
True macro photograph (magnification on sensor was 2.6:1) of the larva of an Angle Shades moth (Phlogophora meticulosa). This rather chubby caterpillar was mooching around some Clematis plants, hopefully a sign of Spring on the way. Nice and slow moving, so was able to use a macro focussing rail with a 50mm EL Nikkor enlarger lens reversed on extension tubes giving the magnification. Illuminated using a ringflash.
Shot at FL-Studios. Post-processing done in Capture One 20.
The heresy continues... that Goerz (taking lens) dates back to around 1904. Such gentle rendering. Perfect match for digital!
~~~ GAS info ~~~
Ebony RW45e
SK Makro-Symmar HM 5,6/120
Linhof Quick Release Plate
Press 'L' for fullscreen.
Thanks for visiting!
Slightly sensored for social media :-)
Not perfect, but I think it's at least better than putting on a star or white paint...
Hope to get book and ebook of Aijule out this weekend.
Got a rather long BTS video from this weekend: youtu.be/mdSjQcJuzTk
The Flickr Lounge-Its a Bargain
I bought this washer over 10 years ago and it is still working perfectly! It wasn't super expensive since I got it in New Mexico where the prices are much lower than in New York state. It works much like a front-loading model in that it has no agitator and it also has a water sensor so I never uses more water than it needs.
I will be using this camera in week 457 of my 52 film cameras in 52 weeks project:
www.flickr.com/photos/tony_kemplen/collections/72157623113584240
Today i took the opportunity to use a Sony NEX-7 [Crop-Sensor] with a Sony-Zeiss Full-Frame 35mm 1.4f lens.
I have recently read that using a full-frame lens with a crop sensor may not produce better results than using a lens designed from a crop-sensor camera and in fact the images will be less sharp.
When starting out, many photographers choose to go with a crop body and invest in full frame lenses. This is usually recommended as a good approach as you can keep your lenses and swap out your body for something newer down the road, eventually leading to that high quality full frame sensor that you always wanted. However some experts, especially Tony Northrup, claim that starting out with the full frame lens and crop bodies does not provide you with the sharp images.
In my case I had a top end full frame camera [Canon 1DSIII] with a set of very expensive glass and I was not at all happy as the combination was way too heavy and totally unsuitable for street photography. About five years ago I decided that I needed a better solution and after using a Sony NEX-5 for about a year I decided to purchase a NEX-7 and switch from DSLR to Mirrorless [at the time that was a big gamble]. In theory it would be possible to use my Canon lenses with the NEX-7 but in reality it was not a workable solution. The NEX-7 featured a crop-sensor so I purchased a set of suitable Sony lenses and they were not expensive.
My reason for getting the NEX-7 and associated lenses was greatly reduced weight coupled with the fact that my equipment did not attract unwelcome attention.
The NEX-7 performed way beyond my expectations and I was really pleased and then towards the end of last year because the camera was giving problems at random I threw all logic out the window and took an ever bigger gamble by purchasing a Sony A7RMkII full frame mirrorless camera which is larger and heavier than the NEX-7.
To be honest, there is no comparison between the two cameras, the A7R is very much superior and while it is heavier it is actually easier to use. Also the Canon lenses actually work with the A7R but using the necessary adaptor was a pain and added weight. However the Canon lenses showed what the A7RMkII could do so I decided that maybe I should consider getting some native Sony FE prime lenses and then I discovered that they all were expensive and heavy [ unless I got manual focus lens such as the Loxia ]. Anyway I ended up with a set of primes [and no cash] but I now have serious weight issue especially when I travel.
I was planning to use the NEX-7 as a backup or when I travel but the crop-lenses are not very good so it would make no sense to leave my full-frame lenses behind so a possible solution would to bring along one of the FE primes [35mm 1.4f] but then I came across discussions online claiming that FE lenses underperform when used with a crop-sensor. Of course there is another issue in that the NEX-7 is at the end of its life and needs to be replaced by something like the A6300 but as I already said I have no spare cash.
I'm currently film testing this little beauty, it has been tested and cleaned up with a new colour and some tlc. She's ready to rock and roll all over again! On sale very soon!
Agfa Selectronic Sensor 35mm Film Camera
Sensor
Max resolution 4000 x 3000
Other resolutions 4:3 (3264 x 2448, 2048 x 1536), 3:2 (4000 x 2672, 3264 x 2176, 2048 x 1360), 16:9 (4000 x 2248, 3840 x 2160, 1920 x 1080), 1:1 (2992 x 2992, 2448 x 2448, 1920 x 1920)
Image ratio w:h 1:1, 4:3, 3:2, 16:9
Effective pixels 12 megapixels
Sensor photo detectors 13 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Processor Venus Engine
Image
ISO Auto, 100-6400
White balance presets 5
Custom white balance Yes
Image stabilization Optical
Image stabilization notes 5-axis hybrid IS in movie mode
Uncompressed format RAW
JPEG quality levels Fine, standard
Optics & Focus
Focal length (equiv.) 25–600 mm
Optical zoom 24×
Maximum aperture F2.8
Autofocus
Contrast Detect (sensor)
Multi-area
Center
Selective single-point
Tracking
Single
Continuous
Touch
Face Detection
Live View
Digital zoom Yes (4X)
Manual focus Yes
Normal focus range 30 cm (11.81″)
Macro focus range 1 cm (0.39″)
Screen / viewfinder
Articulated LCD Fully articulated
Screen size 3″
Screen dots 1,040,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic
Viewfinder coverage 100%
Viewfinder magnification 0.7×
Viewfinder resolution 1,440,000
Photography features
Minimum shutter speed 60 sec
Maximum shutter speed 1/16000 sec
Aperture priority Yes
Shutter priority Yes
Manual exposure mode Yes
Subject / scene modes Yes
Built-in flash Yes
Flash range 8.80 m (at Auto ISO)
External flash Yes (via hot shoe)
Flash modesAuto, auto w/redeye reduction, forced on, forced on w/redeye reduction, slow sync, slow sync w/redeye reduction, forced off
Continuous drive 12.0 fps
Self-timer Yes
Metering modes
Multi
Center-weighted
Spot
Exposure compensation ±3 (at 1/3 EV steps)
AE Bracketing ±3 (3, 5, 7 frames at 1/3 EV, 2/3 EV, 1 EV steps)
WB BracketingNo
Videography features
Resolutions 3840 x 2160 (30p, 24p), 1920 x 1080 (60p, 60i, 30p, 24p), 1280 x 720 (30p), 640 x 480 (30p)
Format MPEG-4, AVCHD
Microphone Stereo
Speaker Mono
Storage
Storage typesSD/SDHC/SDXC card
Connectivity
USBUSB 2.0 (480 Mbit/sec)
HDMI Yes (mini-HDMI)
Microphone port Yes
Headphone port No
WirelessBuilt-In
Wireless notes802.11b/g/n
Remote controlYes (wired or smartphone)
Physical
Environmentally sealed Yes (Water and dust resistent)
BatteryBattery Pack
Battery descriptionLithium-ion battery & charger
Battery Life (CIPA)380
Weight (inc. batteries)691 g (1.52 lb / 24.37 oz)
Dimensions132 x 92 x 117 mm (5.2 x 3.62 x 4.61″)
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Lviv, Ukraine.
Viewfinder camera: AGFA Optima 1035 Sensor
Lens: Agfa Solitar S 40mm f/2.8
Film: Kodak 400 T-max
Filter: Rodenstock Yellow medium (8)
Film was scanned by "Mark" Studio Lab. in Chernivtsi. I am happy with the results.
To see the pictures taken with this camera click here.
Thank you for your comments and Fav's.
SET 2 – HLT Remodel: 2-17-2023
For our final interior shot of this visit, I am standing literally right beside the exit doors of the inner vestibule; you can see the security sensor on the right-hand edge of the frame. Lots of interesting things to note in this one! First, the carpeting – which I believe to be original to the store – as well as the lower ceiling over this entry area. Both features would ultimately end up being removed in the remodel.
Second, and perhaps most importantly, is the main subject of the photo: from this angle, we can get a very clear look behind the “Welcome to Target” wall, revealing the still-intact Food Avenue Express curved wall and colorful wall tile! Sadly (but not unexpectedly), this too would be removed in the remodel, so I’m glad I got at least one really good shot fully showcasing how those remnants were still visible even after the new welcome wall was built.
Third, if you look to the right of the welcome wall/Food Avenue, you’ll see the interior-facing register of the Guest Services department. The other registers were located in a standalone room behind a separate entrance accessible only from within the vestibule, common of Target stores from this era. On our way into the store on this particular evening, Guest Services was vacant, and that would have been a perfect photo opportunity. I want to say it was still empty on the way out, but some employees were mulling about in this general vicinity after I took this pic, and I didn’t feel bold enough to take a picture of the Guest Services neon in front of them. I’m sad I didn’t, as by my next visit… well, spoilers :( l_dawg got a great shot of it though, which is also very helpful in visually explaining the layout setup I described earlier.
Fourth, and finally, if you take a look at the little hallway in-between the Food Avenue space and the interior Guest Services space, you’ll see the built-in glass case within which the weekly ad pages used to be tacked up. From a long, long time ago, I remember my family coming in here and looking at the ad in the case to see the sales and media new releases for the week… I also have memories of standing in line at this guest services register, back when it actually used to be staffed. So many good memories of this store.
(c) 2024 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
'TRIUMPH TRIDENT - TRIUMPH CHESTERFIELD' - TAKEN ON A PANASONIC LUMIX DMC-FX12 COMPACT CCD SENSOR CAMERA. - AUGUST 2024
I put these together for a training program I am building. These are posted mainly for my fellow Nikon Trainers to have easier access to them.
The sister image is here: www.flickr.com/photos/pva1964/4211866567/in/photostream/
There is still so much misinformation out there about the DX vs. FX format and how it effects the image.
The number printed on the lens barrel (i.e. 35mm f/2) That number is the measured distance between the optical center of the lens and the image plane. That measurement does NOT change as the sensor changes size. The lens can NOT be "just like" a different focal length. The lens does NOT "become" a different focal length as the sensor size is changed.
The only noticeable optical difference between a DX and FX lens is the size of the image circle. That is, the size of the circle of light "projected" through the lens and onto the sensor.
Cropping the image causes it to fill more of the viewfinder, but it does not... DOES NOT... magnify the image in any way.
Optical properties of a given lens or focal length remains unaffected by a sensor crop. Properties such as Depth of Field and compression characteristics at a given working distance remain completely unchanged as the lens projects a smaller DX image circle or a larger FX image circle.
To see what happens when you think that DX cropping can magnify a given lens and change those optical properties check this out: www.flickr.com/photos/pva1964/sets/72157622696975118/
Agfa Optima Sensor
Agfa Optima Sensor 535
Agfa Optima Sensor 335
Three sisters of a family of eight.
The Agfa Optima Sensor, left, was made in Portugal.
Agfa Optima 1535 Sensor • Agfa Paratronic Solitar S 1:2.8/40
Ilford Pan 400 film developped in Caffenol CLCS 80min @15°-20°C
Scanned with Plustek OpticFilm 120 at 2400dpi with Silverfast AI Studio
Walferdange • Luxembourg
Caffenol CLCS
500 ml Filtered Water
8gr Anhydrous Washing Soda
5gr Vitamin C
0.5gr KBr
20gr Instant coffee ("Cora")
60 sec. slow agitations then let stand for 79 minutes
El sensor que está en segundo plano es inductivo y detecta cuando el piñón de ataque del prelanzador está en reposo (LED verde) y cuando está accionado (LED rojo). Este único LED está encima del panel de instrumentos al lado del cuenta revoluciones del rotor y se ilumina en verde o rojo según el sensor detecta o no el piñón de ataque. Es un elemento que nos indica que una vez prelanzado, el piñón a descendido completamente y se puede iniciar el despegue al pasar de color rojo a color verde.