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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.
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
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.
Hatte ich folgendes nicht schon an anderer Stelle geschrieben?
1. Beim Filmtransport verschwindet der belichtete Film hinter einer Klappe, so ist er bei versehentlichem Öffnen geschützt.
2. Man spult den Film mit dem Schnellschalthebel zurück, nachdem man vorher einen Umschaltknopf betätigt hat!
3. Die Auslösung über den roten Sensor-Punkt ist wirklich sehr sanft und erschütterungsfrei.
Richtig! Diese drei exklusiven Merkmale der Selectronic Sensor findet man später wieder in den genial designten Optima-sensor-electronic-Modellen.
Der äußerliche Unterschied fällt natürlich sofort ins Auge. Die Selectronic sensor hatte die recht konventionelle, für die damalige Zeit aber moderne sachliche Form der Optima 500 fortgesetzt. Ein großer Erfolg war die die Selectronic nicht, aber das Innenleben hatte sich so bewährt, dass es mit kleinen Abwandlungen für die Optima Sensor electronic übernommen wurde.
Während aber die neuen Optimas einen voll programmierten Paratronic-Verschluss besaßen (man hatte keinen Einfluss auf Belichtungszeit und Blende), war die Selectronic sensor ein Zeitautomat: Die Blende wird vorgewählt, die Zeit dazu wird von der Kamera errechnet und eingestellt. Beide Werte sieht man im Sucher. Dieses System gefällt mir viel besser.
Es gab noch die Selectronic "S", die mit dem Vierlinser Solinar statt mit dem Dreilinser Apotar ausgerüstet war und außerdem einen Messsucher besaß.
Die Selectronic kostete 1971 349,- DM, die Selectronic S 449,- DM.
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-1.3 total of 5 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
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.
Camera: Olympus E-M1X
Shot with: Pentax K-01 & SMC Pentax-FA 100mm F2.8 Macro
Photo: Thomas Ohlsson Photography
Performance de Carol Lesz em 25.03.2023 na Fundação Vera Chaves Barcellos, Viamão/RS, para a cadeira Laboratório do Corpo, Instituto de Artes, UFRGS, professora Paola Zordan. Foto: Juliano Verardi.
Placemeter uses computer vision algorithms extract movement data in real time. The Kaiser Permanente Center for Total Health is using the Placemeter sensor in conjunction with our already installed Eco-Counter to measure pedestrians on the Metropolitan Branch Trail, 2nd Street, NE, Washington, DC USA
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.
The camera wasn't switching on which I cured by bending these 2 contacts closer.
The battery shows as powered up but you can't do anything until these make contact.
The sliding door wasn't quite making them touch.
The 2 long screws fit the back right top and bottom as you look at it if you take the case off.
The loose part is the film counter sensor and is glued weakly in place normally.
Now i've found out the bottom film wind sprocket is totally jammed and the camera chews up film :-( and makes a horrifying grating sound.
Until the film is loaded and recognised It still doesn't shoot.
I did get it cheap at a charity shop so it's no great financial loss if it doesn't work.
White and blue Gladiolus flower macro fine art abstract on APS-C sensor using 28mm lens with extension tubes.
Part of my Serious Pictures from a Small Camera series. Just trying out a new coat pocket camera - This is a view of Cat Craig off of Skyreburn
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.
My cat Luna, shot on my sigma dp2 quattro, no post production done except the conversion to b/w. Lots of drama straight out of the camera.
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.
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.
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
Photographed using the Agfamaticn 2008 Pocket Sensor, and Lomography's "Tiger" 110 format film.
I believe this was taken outside a The Good Guys store.
A close-up view of the light sensor employed by the phase detection autofocus system in the DSLR camera I took apart after its shutter failed. The horizontal and vertical rows of dark rectangles are the light-sensitive elements. Horizontal rows detect vertical edges in the scene, and vertical rows detect horizontal edges.
The 5 mm scale bar drawn at the bottom of the frame shows the size of the sensor chip. The resolution of the 4k version of this photo is about 3 µm per pixel.
"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
The Nikon D7000 is a wonderful camera, but some suffer from an unfortunate issue with lubricating oil from the shutter or mirror mechanism getting splattered over the righthand side of the low-pass filter that covers the sensor. This results in bright splodges with dark rings around them appearing in photos. Annoyingly Nikon is dragging its heels about officially acknowledging this issue and is making it unnecessarily difficult to get affected cameras repaired. My D7000 is currently being serviced by them for the 3rd time due to this problem. All they did in previous services was to clean the sensor, so the oil spots quickly reappeared after I got the camera back. I'm pushing to have the camera body replaced but I don't know what my chances are. Not a happy camper.
Agfa Optima 1535 Sensor • Agfa Paratronic Solitar S 1:2.8/40
Agfaphoto Vista 400 film in Tetenal Colortec C-41
Scanned with Plustek OpticFilm 120 at 1600dpi with Silverfast AI Studio
Marché de Montagne
Lautenbach-Zell • Haut-Rhin • Alsace • France
Satellite: Sentinel-2. Sensor: MSI (MultiSpectral Instrument).
Visualization RGB: bands 8 (NIR), 4 (red), 3 (green). False color.
En la imagen en falso color la vegetación destaca en rojo brillante frente a los colores ocres de las zonas urbanas y los negros y azulados de los ríos y zonas pantanosas.
El río Magdalena atraviesa esta zona pantanosa dirigiéndose hacia el NW escindido en dos cauces. Magangué (124.000 habitantes) se halla en la parte superiro izquierda de la imagen. Aproximadamente a la misma altura pero en el centro de la imagen tenemos Santa Cruz de Monpox, con 44.00 habitantes, oficialmente: "Distrito Especial, Turístico, Histórico y Cultural de Santa Cruz de Monpox", Patrimonio Mundial de la Unesco.
El río Cauca (abajo, hacia el centro izquierda de la imagen). con aguas de color mucho más claro, desemboca en el Magdalena.
Esta imagen ha sido procesada con el navegador EO Browser (apps.sentinel-hub.com/eo-browser) de Sentinel Hub. Sentinel Hub es un motor de procesamiento de datos satelitales, dentro del programa de observación de la Tierra Copernicus (copernicus.eu) de la Unión Europea, operado por la empresa Sinergise. EO Browser es gratuito y fácil de usar. El norte siempre está arriba.
This image has been processed using the EO Browser (apps.sentinel-hub.com/eo-browser) by Sentinel Hub. Sentinel Hub is a satellite data processing engine, within the European Union's Earth observation programme Copernicus (copernicus.eu), operated by the Sinergise company. EO Browser is free and easy to use. North is always up.