View allAll Photos Tagged sensors
i had trouble telling what was sensor dust, wall dirt or monitor dirt...
November 3rd 2006 Nikon D50
The O2 sensor connector is behind the starter, and for most bikes the starter must be removed to access it.
Before doing anything, disconnect the negative cable from the battery to prevent a short.
Top yellow arrow points to the power connection to the starter. This is live even if the ignition is turned off. After disconnecting the (-) cable at the battery, then disconnect this wire.
Middle yellow arrow points to a friction fit connector. Just pull it off.
Bottom blue arrow points to the O2 sensor connector.
This is the CCD sensor out of a Casio Exilim digital camera. The LCD was shot, and it was not worth it to get a new one. Plus it was more fun to take it apart :)
That's a pair of wire cutters it's resting on.
Using Arduino to get the cost of probeware down (for science education).
Vernier's cheapest interface is $61 and handles one sensor: www.vernier.com/mbl
Arduino Uno is $30 and has 6 analog inputs: www.sparkfun.com/products/9950
Our goal is to interoperate with this curriculum: www.concord.org/activities/research-focus/probeware
A simple, quick, and very cheap circuit to turn on an LED when it gets dark. Read more about this project here.
It's pretty annoying when you spend a load of cash on a new toy and the manufacturer hasn't ironed out all the kinks! It seems the mirror of my Nikon D600 is spraying lubricant on the sensor, as the spots visible here are not dust and have increased in number over time.
This shot is completely untouched other than being converted from RAW to JPEG. It is a worst case scenario shot, blue sky at f22, taken to illustrate the extent of the problem.
I took the camera to the shop today, they wouldn't replace the body, so I had to send it in to Nikon for repair. It will be gone for about 2 weeks after only 10 days of use. I am glad I didn't sell my K-5 (just most of its lenses).
It's a real shame as I was just getting used to the camera and liking what it can do. I'd stil recommend this camera, but I'd wait a year until they have fixed this quality control issue.
This is what I get for breaking my rule and buying a new product Day 1.
Oh well, I have got some spots to remove in Lightroom for the next batch of Kusatsu pictures...
Here is a picture of the area, with the starter removed. The O2 sensor connector is easily accessed.
You should do this before building the modification unit, to see the orientation of the male-female connectors, and of the 4 sensor wires.
The Aerosol Polarimetry Sensor (APS) is designed to study aerosols by observing how light behaves when scattered by the aerosol particles.
Credit: Raytheon
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Sensor ultra-sônico produzido pela SeeedStudio.
O campo de detecção vai de 3cm a 4m. Este sensor trabalha com 5v.
API: garden.seeedstudio.com/index.php?title=Ultra_Sonic_range_...
Solarize: Sky II - Sony Cybershot DSC F-717 - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Busted webcam sensor with lens removed.
RX100 with:
52mm CarrySpeed magnetic adapter:
Huge Filter/Macro lens set (52mm):
Variable ND filter (52mm)
In a retired jet at Sandia, Dennis Roach and Ciji Nelson prepare Structure Health Monitoring (SHM) Sensors.
The Comparative Vacuum Monitoring sensor is a self-adhesive rubber patch, ranging from dime-to credit-card- sized. The rubber's underside is laser-etched with rows of tiny, interconnected channels or galleries to which an air pressure is applied. Any propagating crack in the materials under the sensor breaches the galleries and the resulting change in pressure is monitored. The sensors are made by Structure Monitoring Systems, Inc. (SMS) of Australia, are inexpensive, reliable, durable, and easy to apply. They provide equal or better sensitivity than is achievable with conventional inspection methods. Besides aircraft, SHM techniques could monitor the structural well-being of spacecraft, weapons, rail cars, bridges, oil recovery equipment, buildings, armored vehicles, ships, wind turbines, nuclear power plants, and fuel tanks in hydrogen vehicles.
For more information or additional images, please contact 202-586-5251.
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Just thought I'd share this little tip with everyone on how to check to see if you need a sensor cleaning. I noticed a couple of spots in the top right corner of some of my photos and thought it was the lens at first. After switching lenses and seeing that the spots were still there I thought I'd investigate sensor cleaning procedures.
I found this site:
www.cleaningdigitalcameras.com/inspecting.html
that explains how to take a test shot (seen above) to see how much dust is on your camera sensor. As expected I have a couple of dark spots in the top right of mine ... and a bunch of others I hadn't noticed in my photos.
It's been just over a year since I got my camera so I'm going to send it in for a professional cleaning which will hopefully get rid of 99.99% of the dust.
Hope this tip proves helpful.
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Nikon D800E Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
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Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Do you clean your own sensor? I bought the MARUMI Low Pass Filter Cleaning kit which I will attempt to use next time I have dust on the sensor. Getting tired of having the camera shop do it.
Lighting details: SB800 on camera bounced off ceiling. SB600 handheld pointed at a 1m diameter reflector on the floor angled to point to me. Triggered with Nikon CLS.
Agfa Optima 6000 Pocket Sensor with 110 cartridge reloaded with 16mm Eastman Double-X negative film. Developed in R09 One Shot 1+60, 7 minutes at 20ºC.
photo-analogue.blogspot.co.uk/2017/09/agfa-optima-6000-po...
A live juvenile fish (left) and the previous version of the Sensor Fish (right) are shown side-by-side as they’re exposed to a simulated dam turbine environment. This test helped PNNL researchers correlate the injuries some fish experience with the Sensor Fish’s measurements.
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.
Here you can see the D40x sensor with its IR blocking filter removed. Without this filter, and without an IR passing filter, the D40x now records both IR and Visible light.
SNL Dennis Roach with a Comparative Vacuum Monitoring (CVM) Sensor showing galleries etched-sensors underside. He lead team that's evaluating some-sensors for Structural Health Monitoring (SHM) aircraft and safety equipment.
The Comparative Vacuum Monitoring sensor is a self-adhesive rubber patch, ranging from dime-to credit-card-sized. The rubber's underside is laser-etched with rows of tiny interconnected channels or galleries to which an air pressure is applied. Any propagating crack in the materials under the sensor breaches the galleries and the resulting change in pressure in monitored. The sensors are made by Structure Monitoring Systems, Inc. (SMS) of Australia, are in expensive, reliable, durable, and easy to apply. They provide equal or better sensitivity than is achievable with conventional inspection methods. Besides, aircraft, SHM techniques could monitor the structural well-being of spacecraft, weapons, rail cars, bridges, oil recovery equipment, buildings, armored vehicles, ships, wind turbines, nuclear power plants, and fuel tanks in hydrogen vehicles.
For more information or additional images, please contact 202-586-5251.
Agfa Optima Sensor compact 35mm camera
Specifications:-
Type: 35mm compact camera
Size: 104 mm x 68 mm x 54 mm (W x H x D)
Image Format: 24 x 36 mm (W x H)
Lens: Agfa Solitar, 40 mm f/2.8
Diaphragm: Automatic f/2.8 to f/22
Focusing: Manual scale pictograms on top of the focus ring/ meter/feet scale on bottom, focusing 3ft/1.09m - infinity
Shutter Speeds: 1/500 second - 15 seconds
Viewfinder: Large direct finder with parallax marks for near focus
Film Loading: Manual
Film Transport: Manual single stroke lever, also used to rewind film when the 'R' button is depressed and turned
Film Speeds: 25 ASA/15 DIN to 500 ASA/28 DIN, selected on a ring around the lens
Flash Contact: Hot shoe, aperture selected manually with flash
Cable Release Socket: On left hand side of the camera body
Tripod Socket: 1/4 in. on right hand side which doubles as camera strap attachment
Battery: 3 V625U batteries, located by opening the camera back
For those who've wondered at my probably annoyingly often references to the damage to my camera, here it is in all its glory.
The only reason I'm sharing this is because of the amazing flare my 10-20mm produced here.
New safety installation at the industrial railway of Stadler when crossing the main road. This system operates independently of the normal train protection. If a shunting loco stands above this sensor, the system can be activated by a smartphone app. Staad, Altenrhein, Switzerland, March 7, 2015.
This is the Oxygen Sensor, also called Lambda Sensor or O2 Sensor. It's screwed into the exhaust crossover to sample tailpipe emissions, and send a signal back to the ECU. For this project it's not necessary to remove the sensor, which is good since they are often corroded in place.
There are 4 wires inside the black wiring sheath;
2 white for the sensor heater
1 grey for sensor ground
1 black, the signal wire - the important one for us