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fudeen-note · 2 years

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the ultimate color of hydrangea

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紫陽花の色の極まる朝の雨

　　　　　　　　　内藤八重

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　紫陽花は、朝のうちの方が元気があるように見えます。　しとしとと降る梅雨の雨の下では、なおさらですね。　そんな雨の朝、ちょいと早起きして、カメラを担いで出掛けました。　朝の雨に極まる紫陽花を写し取るべく 1 EV の差で 7 枚現像し、high dynamic range image として仕上げました。

☆ Shooting Data ------------------------ ○ camera : OLYMPUS OM-D E-M5 Mark Ⅱ ○ lens : OLYMPUS M.ZUIKO DIGITAL ED 100-400mm F5.0-6.3 IS ○ lens : OLYMPUS M.ZUIKO DIGITAL 2x Teleconverter MC-20 ○ focal length : 800 mm ( compared to 35mm format : 1,600 mm ) ○ Tv ( Shutter Speed ) : 1/20 sec. ○ Av ( Aperture Value ) : F13.0 ○ ISO speed rate : 320

☆ Developing Data ( RAW ) ------------------------ ○ development : RAW image developed by SILKYPIX Developer Studio Pro 10.0.19.0 ○ taste : fudeen's special ○ exposure compensation ( by camera ) : -1/3 EV ○ exposure compensation ( by developer ) : ±0 EV ○ total exposure compensation : -1/3 EV ○ white balance : setting by shooting [ 5,410 K ] ○ tone adjustment : strong contrast ○ saturation : manual [ 1.09 / 8.0 ] ○ color profile : natural ○ color representation : film color Velvia ○ sharpness : pure detail 　edge emphasis [ 25 / 100 ] 　detail emphasis [ 75 / 100 ] 　black spotted outline control [ 25 / 100 ] ○ noise reduction : fine detail 　false color control : [ 30 / 100 ] 　fringe removal : [ 10 / 100 ] 　noise aligned : [ 10 / 100 ] 　noise removal : [ 28 / 100 ] 　dark side noise reduction [ a little strong ] ○ highlights controller : [ initial value ] 　color / brightness emphasis [ 25 / 100 ] 　saturation / hue emphasis [ 70 / 100 ] 　bright portion compensation [ 50 / 100 ] 　dynamic range extension [ +4.5 / 6.0 EV ] ○ development setting : adjustment of demosaic sharp [ 0 / 100 ]

☆ Exposure Blending Data ( HDRI ) ------------------------ ○ exposure blending by Photomatix Pro 6.3 ○ style : emphasized 2 ○ EV spacing : 7 images, -3, -2, -1, ±0, +1, +2, +3 ○ tone mapping method : contrast optimization ○ strength for tone mapping [ 50 / 100 % ] ○ tone compression [ -4.0 / ±10.0 ] ○ light effect [ 50 / 100 % ] ○ luminance [ ±0.0 / ±10.0 ] ○ white clip [ 6.0 / 10.0 ] ○ black clip [ 0.0 / 10.0 ] ○ 360°image [ on ] ○ color settings : image color ○ saturation [ ±0.0 / ±10.0 ] ○ color temperature [ ±0.0 / ±10.0 ] ○ brightness [ -5.0 / ±10.0 ] ○ blending / opacity [ 0 / 100 ] ○ contrast : medium contrast ○ sharpness : medium

☆ Location & Target ------------------------ ○ location : 四ツ谷界隈 ○ target : 紫陽花

#plants #flowers #紫陽花 #hydrangea #HDRI #high dynamic range #マクロ #macro #四ツ谷界隈 #tokyo #撮影ノート #annotations #OLYMPUS #OM-D E-M5 Mark Ⅱ #M.ZUIKO DIGITAL #ED 100-400mm F5.0-6.3 IS #2x Teleconverter MC-20 #photographers on tumblr

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demelza-kingston-hnd1d · 3 years

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Image capture

Camera sensors

Camera sensors are made up of an array of microscopic photosites (photodiodes) that collect photons and convert their energy into an electrical signal which is related to the photon density (light intensity). The signal from each individual photosite is then combined with the rest of the photosites across the sensor by the processor to form an image.

Sensors are made up of an array of photosites (light cavities)

Complementary metal oxide semiconductor (CMOS) sensors are widely used in digital single-lens reflex (DSLR) cameras. To produce a colour image, the photosites in a CMOS sensor are overlaid with either a red, green or blue colour filter in a grid pattern. Each 3x3 photosite grid provides the data to calculate the appearance of one pixel. A common colour filter arrangement in CMOS sensors is the Bayer array in which red and blue filters alternate with green filters.

Larger pixels collect more photons so require lower ISO and therefore theoretically produce less noise. In reality, pixel size is unlikely to cause any practical difference in image quality because once the multiple smaller pixels are combined, any effect of individual pixel size is negated.

The CMOS sensor

The Bayer Array

In charged couple device (CCD) sensors, the signal is amplified and transferred to the processor in groups. CCD sensors are common in low resolution mobile phone cameras and use a serial readout so are slower and less efficient than CMOS sensors. The Foveon sensor uses a vertical stack of layers to detect blue green and red by differences in the wavelength of each. Complete colour information is therefore collected at every photosite with no interpolation required leading to better colour and detail rendition.

The Sigma Foveon sensor

Sensor size

Camera sensors are generally categorised as full frame (equivalent to 35mm film negative), or cropped (less than 35mm, e.g. the APS-C 4x3 format). Medium format sensors are also available. Increasing sensor dimensions increase cost and also increase the angle of view at a given focal length. Conversely, depth of field at a given aperture, and digital noise both decrease with increasing sensor dimensions.

Standard sensor dimensions

As an alternative to describing cropped sensors by their actual dimensions, they are commonly described by crop factor which can be used to work out the effect of focal length choice on angle of view. A 50 mm lens (standard lens on 35mm) used on a sensor with a 1.6X crop factor becomes a telephoto lens equivalent to an 80 mm lens on a full frame sensor (1.6 x 50 mm = 80 mm). The equivalent standard lens would therefore be around 30mm. On a medium format DSLR with sensor dimensions of 43.8 x 32.9 mm, the standard lens is 65 mm.

Crop factors

Effect of sensor dimensions on field of view

Photographic dynamic range

Dynamic range refers to the ability of the camera to cope with a range of brightness in the scene and retain detail in both highlights and shadows. Dynamic range is determined by the capacity of the sensor’s photosites.

Bit Depth

Bit depth is a measure of the range of colour in a digital image defined by the number of zeros and ones, or bits, making up each colour. For example, an 8 bit JPEG allows for 256 (28) intensities, or shades, per colour channel. Data from all three colour channels is combined at each pixel (24 bits per pixel) producing 28*3 or 16,777,216 different colour possibilities.

Bit depth

Bit depth is important as it affects the colour gamut available to work with:

Effect of bit depth

Digital Noise

Digital noise takes three main forms: Random noise most commonly occurs at high ISO and causes random pixel colour and intensity. Fixed pattern noise (“hot pixels”) occurs at low ISO but long shutter times and is termed fixed pattern because the same pixels read “hot” at a given exposure. Unlike random noise, its repeatable pattern means it can often be corrected by the camera’s processor. Banding noise occurs as a processing artefact in some cameras. Sensors with larger pixels will generally be less noisy as they will gather more photons and will be less likely to require higher ISO settings.

Examples of different types of noise

Effect of sensor size on digital noise

#preproduction #technical #captureandoutput

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tekamedia · 5 years

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Rep. Jerry Nadler: Evidence Trump 'guilty' of impeachable offense - CNN Video

New Post has been published on https://newsprofixpro.com/tekamedia/2019/07/22/rep-jerry-nadler-evidence-trump-guilty-of-impeachable-offense-cnn-video/

Rep. Jerry Nadler: Evidence Trump 'guilty' of impeachable offense - CNN Video

Chat with us in Facebook Messenger. Find out what’s happening in the world as it unfolds. Read More

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Item specifics

Condition:

New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is

Brand:

Canon

Series: Canon PowerShot Optical Zoom: 5x Type: Point & Shoot Digital Zoom: 4x Connectivity: USB Weight: 6.08 Oz. Megapixels: 16.0MP Battery Type: AA MPN:

8115B001

Features: Date/Time Stamp, Exposure Compensation Color:

Black

Model:

Canon PowerShot A1400

Screen Size: 2.7″ Manufacturer Color: Black UPC:

0013803207095

About this product

Product Information Compact and easy to use, the Canon PowerShot A1400 16.0 MP Digital Camera gives you a feeling of nostalgia with its classic point-and-shoot features. From the camera’s large grip to easy grasp and comfortable hold, enjoy the Optical Viewfinder when capturing photos in bright sunlight and other weather-related circumstances. Enjoy stunning image detail with the 16.0 MP sensor and the DIGIC 4 Image Processor. When looking for grander shots, the 5x Optical Zoom brings everything a bit closer. Capture action shots in 720p HD video using the device’s built-in movie button. Other features include 1.2 to 19.2-inch macro focus range and a focal length equivalency of 28 to 140 mm. Camera flash features include a built-in flash, auto, off, forced on, and slow sync. Product Identifiers Brand Canon MPN 8115B001 UPC 0013803207095 Model A1400 eBay Product ID (ePID) 140357237 Product Key Features Optical Zoom 5x Digital Zoom 4x Battery Type AA Features Date/Time Stamp, Exposure Compensation Color Black Screen Size 2.7″ Series Canon PowerShot Type Point & Shoot Connectivity USB Megapixels 16.0MP Dimensions Weight 6.08 Oz. Width 3.73in. Height 1.17in. Depth 2.43in. Additional Product Features Exterior Color Black MAX Video Resolution 1280×720 Continuous Shooting SPEED 30fps Still Image Format Dpof 1.1, Exif 2.3 Sensor Resolution 16.0MP Camera Type Point & Shoot Display Type LCD Sensor Type CCD Camera Flash Features Slow Sync, Forced ON, Auto Flash, Flash OFF! Additional Features Automatic Flash, Date/Time Stamp, Exposure Compensation, USB Compatibility, Auto White Balance White Balance Daylight / Sunny (Preset), Tungsten (Preset), Fluorescent (Preset), Auto, Cloudy (Preset) Display Size 2.7in. Focal Length Equivalent to 35mm Camera 28-140mm Supported Flash Memory SDHC Card, SD Card, SDXC Memory Card, SDHC Memory Card, SDXC Card, SD Memory Card Flash Type Built-In Macro Focus Range 1.2-19.2in. (w)

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Item specifics

Condition:

New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is

Model:

BT3500B/37

Features: Bluetooth, Integrated Charger, Rechargeable Batter Compatible Brand: Universal MPN:

BT3500B/37

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Philips

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danielpietzsch · 5 years

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Range input with datalist

There’s another little tidbits I learned while working on the focal length equivalent tool: The HTML range-type <input> can have an associated <datalist> element to enhance its interface.

The datalist can specify input values as an <option> element. Supporting browsers – like Chrome for example – use this information to put little marks along the top of the range slider to indicate positions (= values) of particular interest.

I use this feature to mark common focal lengths in the 35mm format: 10 mm, 16 mm, 24 mm, 28 mm, 35 mm, 43 mm, 50 mm, 85 mm, 100 mm, 135 mm, and 200 mm.

What’s even cooler, is that Chrome lets the input’s handle snap to these positions.

Here’s a enlarged screenshot of what it looks like:

#writings #365writings #software development #html

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bestlensreviewstamron · 5 years

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TOP 5 Lenses for Great Landscape Photography

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Features: – Metal lens construction with hybrid aspherical element for exceptional, sharply defined images. – Multi-layered lens coating to reduce flare and ghosting. – Lens features multi-layer coating to reduce flare and ghosting. – Manual focus and aperture control. – Includes a custom designed lens protective case for safe storage. – Lens features a 6-blade aperture with clickable stops from a f/3.0-f/22. – Removable petal lens hood.

Tamron SP 15-30mm f/2.8 Di VC USD Lens See it on Amazon: http://amzn.to/2zZ4Kh9

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Sony FE 12-24mm f/4 G Lens See it on Amazon: http://amzn.to/2iAjb3z

Features: – G Lens design for corner-to-corner high resolution – Premium Optics; 4 aspherical, 1 Super ED, 3 ED glass elements – Constant F4 max aperture maintains exposure and Depth of field – 7-blade circular aperture contributes to beautiful bokeh – Direct Drive Supersonic Wave motor for fast, quiet, precise focus

Canon EF 16-35mm f/2.8L III USM Lens See it on Amazon: http://amzn.to/2zlRTIw

Features: – Canon EF Mount Lens – Filter Size: 82mm – Format Compatibility: Full-Frame / APS-C – Aperture: Maximum: f/2.8 Minimum: f/22 – Two UD lens elements – Two large-diameter GMO dual-surface aspherical elements – Subwavelength Coating (SWC) and an Air Sphere Coating (ASC) – Ring-type Ultrasonic Motor (USM) – Nine rounded diaphragm blades

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TOP 5 Lenses for Great Landscape Photography

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More from my site

Tamron 28-75mm f/2.8 Quick Review

Tamron AFF017N700 SP 90mm F/2.8 Di VC USD 1:1 Macro for Nikon Cameras (Black)

DSLR Photography equipment on a budget cameras and lenses

Tamron, Sigma & Canon 70-200 f/2.8 Portrait Lens Review: Do you need the name brand?

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Tamron 28-75mm f 2.8 Lens Image Review pt 1- Is This Lens Right For You?

from BestLensReviewsTamron http://www.bestlensreviewstamron.com/tamron/top-5-lenses-for-great-landscape-photography/%20

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istillshootfilm · 7 years

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The Best Point And Shoot Film Cameras

An Intro to Point and Shoot Cameras for Beginners

By Milosz Siebert

Taking up photography might be a little overwhelming at first, especially if you're a complete beginner. Getting to know all the effects of shutter speed, aperture, understanding focal lengths and all other technical aspects of photography can take time. Not to mention carrying all the equipment usually requires a separate camera bag, which might not be what you need right now. This is where point and shoot cameras come in.

Often designed to be as compact and as simple to use as possible, those cameras were invented to provide a decent quality camera in as small a package as possible. Fixed lenses, focal lengths and almost complete automation of picture-taking process, as well as their size (with a few notable exceptions) make them especially suited for people wanting to concentrate on the moment and not have to think about all the settings.

Although usually associated with the stereotypical tourist shooting away without thinking too much, these cameras can produce stunning results and should under no circumstances be considered "idiot-cameras", not worthy of anyone's attention. Some of the most prominent photographers of our time have used point-and-shoot cameras at some point. Stephen Shore, for example, who (along with William Eggleston) contributed to colour photography being recognised as a legitimate art form shot his entire legendary "American Surfaces" series using a Rollei 35 camera (by the way, if you're not familiar with both of these gentlemen's work, go check them out immediately!).

The simplicity of use and lack of control might be considered an advantage by some, and I do not only mean beginners. Apart from the fact that these cameras free the mind of the usual things to consider while shooting with more "advanced" cameras, they can be a great starting point at a moment of creative block. There is nothing as refreshing creatively as trying a completely different approach to what one is doing and letting go of one's habits. Point-and-shoot cameras allow you to do just that.

Probably the most important thing to keep in mind while using one of these is to be aware of their limitations and not ask them to do what they weren't designed to. This should not be very difficult, given that this guide focuses on models offering the bare minimum amount of control over all the settings.

As with any camera type, there are numerous sub-categories within the point-and-shoot world. Some of them do offer more control over what you are doing, others do everything for you and the only thing you have to think about is how to compose the shot and when to press the button (there aren't that many of those very often on those cameras, either). Instead of listing 5 similar cameras and focusing only on their technical aspects (which the complete beginner will probably ignore anyway), this guide aims at providing a wide array of choices and options, with each camera allowing you to do something slightly different than others.

As such, the following list includes : two very basic and inexpensive, fully automatic point-and-shoots, two very different instant cameras, and two upper-range cameras offering a bit more control and higher quality components.

A quick side note concerning the instant cameras. Even though they do not take 35mm film, I've decided to include them in the point-and-shoot category since this is basically what most of these these cameras are. There are currently two major players in the instant photography field - Fuji and The Impossible Project. The former has it's own range of "Instax" cameras and produces proprietary film, widely available in most camera stores (more details below). The latter started as a company making their own version of Polaroid film for used Polaroid cameras and have since been evolving at a steady rate, releasing new and updated versions of their film, as well as their own camera. They offer a huge variety of film, ranging from color to duochrome to pure black and white.

They have even started manufacturing 8x10 film for large format cameras, which is quite frankly something quite amazing to be doing these days. Their film comes in fours standards, which will fit most of the polaroid cameras available on the used market right now.

That being said, let's have a look at the cameras:

1. Olympus μ[mju:]-II

{Olympus μ[mju:]-II / Image by Morinaka / Flickr}

Perfectly fitting into our automated camera lineup, this little gem from Olympus gives you almost no control whatsoever over any of its settings. It has automatic exposure and autofocus as well as automatic ISO selection. The only two things you can (sort of) change are the flash (the camera allows you to choose from a few modes, including red-eye reduction and night fill-in flash) as well as the metering mode (spot metering is available, surprisingly). So pretty much the only thing you have to focus on (pun intended, again) is the moment and the composition. Which is not a bad thing to make you think about.

2. Yashica T3

One from a series of 4 cameras, this Yashica T3 features a very nice and sharp 35mm f2.8 lens (with Zeiss T* coating, which will eliminate basically all chromatic aberrations, flare and whatnot), full automation as well as weatherproofing. A great camera for beginners. Another interesting feature is a waist-level viewfinder situated on the top plate, allowing you to take photographs from lower angles without squatting and attracting attention.

3. Nikon 35/28 Ti (1993/94)

Although technically two different cameras, I've decided to count them as one here, as the only difference is the focal length - the Nikon 35Ti model features a 35mm lens and the Nikon 28Ti - you guessed it - a wider, 28mm. Both of these lenses are fantastic, high quality pieces of Nikon glass, with integrated ED (low dispersion) elements. Along with Nikon's great Matrix metering system, you'll be well covered in many different lighting situations. Both cameras allow for a bit more creative control by allowing you to switch from automatic to manual scale focus, for those who want to experiment with that a little. Apart from this, all the other features remain automated. With their titanium bodies, these two are a step up in build quality - as well as price - from the previous cameras. For those of you also looking for original design, these cameras also have a very curious feature on the top plate - a pair of analogue needle gauges, which will definitely attract some attention.

4. Contax T2

Another step up in price range, as well as picture control, the Contax T2 is a great little camera which adds manual focusing as well as aperture-priority mode to its standard automated features, allowing the beginner to get a first grip of why aperture matters. Apart from that, it features a very sharp 38mm f2.8 Zeiss Sonar lens.

5. Fuji Instax Wide 210 / 300

Fuji's try on the instant camera is pretty much the opposite of Polaroid cameras. It uses Fuji's proprietary Instax films which are really easy to find. The picture is rectangular, as opposed to Polaroid's famous square format and measures 62 x 99mm. Design-wise, the Fuji Instax Wide is definitely is NOT a compact camera (even the latest 300 model) but it does take decently-sized images.

Also, it does allow for some degree of control over what you are doing for those of you who want to go a step further. Some degree of exposure compensation was made possible by including "Light", "Neutral" and "Dark" settings. There is no autofocus - the camera uses what's called a fixed-focus lens, meaning that basically everything within the specified range will be sharp. The range itself can be adjusted by choosing between two focusing modes 0.9-3m and 3m-infinity. This, however is where your control over the camera settings control ends. The flash is completely automatic, meaning that the camera decides - based on the amount of the available light - whether it should use flash or not (for more creative effects, some users have been covering the flash with tape).

The image quality is quite decent, the colors are much more neutral and contrasty than what you would get from The Impossible Project films for Polaroid cameras. So it really comes down to your personal preference and the effect you are looking for. All in all, it is a fun camera to use, even though it is quite bulky and heavy.

The 210 Instax Wide model was released in 2010 and should still be widely (pun intended) available. The 300 model -a redesign of 210 -was released in 2015 and is basically the same camera in a different, slightly less cumbersome packaging.

{Fuji Instax Wide 300 / Image by www.yashicasailorboy.com / Flickr N.B.}

A much smaller (yet, surprisingly still quite bulky) Fuji Instax Mini has been growing in popularity lately. It is a similar concept but the images it produces are half the size of the "Wide" models : 62 x 46 mm. The Mini 90 models do allow additional features such as double exposure and long exposure.

6. Polaroid Instant 1000

Ah, the simplicity! Fixed focal length, fixed focus, that square format and those Polaroid colours!

If you're looking to have some fun with Polaroid without spending too much, the 1000 is a good option (they are ridiculously cheap here in Europe, you can find them on Ebay for around 30-50€). Just insert a film pack and you're ready to go.

The image quality cannot rival cameras with high-contrast, low dispersion lenses but then the Polaroid 1000 was never meant to do so. Given the single-element plastic lens, the image quality is still pretty decent.

For those of you wanting to experiment with exposure a little without thinking about the exact settings, the Polaroid 1000 does - surprisingly - offer some amount of exposure control by turning the black dial next to the lens.

There are, of course, hundreds of other options out there. Given that most of these cameras are still relatively cheap, as is film, do not hesitate to experiment with anything that catches your interest.

About the Author

Milosz Siebert is an architectural and landscape photographer based in Brussels. He also enjoys exploring abstract photography and more experimental approaches to making images.

You can see his work and follow him here :

www.milsiebert.com www.facebook.com/MilSiebertPhotography www.instagram.com/milsiebert twitter.com/milosz_siebert

#film photography #point and shoot #camera #learn #article #help #how to #milosz siebert #list #polaroid #nikon #contax #yashica #35mm #instant film

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fudeen · 18 years

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Fallen leaves & the Fall in the fall.

深山分け入って　辿り着いた滝は神秘的な澱みを見せながら秋と冬の狭間に　横たわっていた迫り来る　木枯らしの足音が　谷間に木霊する　　　　　　　　 ------------------------ 紅葉の盛りをちょっと逃がしたようで、足元には落ち葉、見上げると、裸の木が寒そうに立っていました。水量も少なめで、もうすぐ店仕舞い、といった出立ちでした。下界は今まさに盛りだったのに... 　　 ------------------------ ○ camera : CANON EOS 20D ○ lens : CANON EF-S 17-85 mm F4-5.6 IS USM with ND4 & C-PL ○ focal length : 28 mm ( compared to 35mm format : 45 mm ) ○ shooting mode : Aperture-Priority AE ○ Tv ( Shutter Speed ) : 1.6 sec. ○ Av ( Aperture Value ) : F 16 ○ ISO speed rate : 100

------------------------ ○ development : RAW image developed by SILKYPIX Developer Studio 2.0 ○ exposure compensation ( by camera ) : -2/3 EV ○ exposure compensation ( by developer ) : +1 EV ○ total exposure compensation : +1/3 EV ○ white balance : 5,200 K ○ sharpness : manual ( outline emphasis : 500, detail emphasis : 774, false outline control : 0 ) ○ tone adjustment : manual ( contrast : 1.55, contrast center : 0.44, gamma : 1.66, black level : 6 ) ○ saturation : manual ( 1.330 ) ○ color mode : expected color 2 ------------------------

○ location : 西沢渓谷 with Velbon Ultra Lux-iF & manfrotto #460MG (3Dマグネシウム雲台) ○ target : 三重の滝

#Pastoral Scenery #滝 #風景 #西沢渓谷

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lorrainecparker · 6 years

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Bigger is better? OK, but why?

Whether it’s Quentin Tarantino shooting “Hateful Eight” in 65mm, the Panavision Millenium DXL, RED’s VV sensors, the Arri Alexa 65, or the new Sony Venice, large format cinematography is being touted as the Next Big Thing (pun intended). Large format—from full-frame 36 x 24mm to RED/DXL’s 40.96 x 21.60mm, Arri’s 54.12 x 25.58 mm, and beyond—is said to deliver greater depth, dimensionality, roundness, naturalness, and just all-around goodness than plain old Super35mm at 25 x 18mm (more or less, depending on the camera). It’s not uncommon to find rapturous reports of using large formats, and there’s a raging discussion on CML this past week about just why bigger is better.

What strikes me in many of these colloquies is that it’s exceedingly hard to pin down what exactly it is about large format work that gives it that special quality. There tends to be a lot of handwaving, with amorphous terms like “naturalness”, “dimensionality”, and “roundness” that elude definition. Sometimes two images are presented for comparison: shot on different film stocks, of different subjects, with different lighting in different environments, using different aspect ratios (we are not making this up). It’s all a bit too much “is this apple more like a banana, or is this tangerine more like a guava?” for my tastes.

Trust, but verify

In an attempt to better understand the “large format experience”, I decided to shoot the same subjects on two or three formats of different sizes, varying some parameters while keeping others constant. In this way I could look at individual factors, including:

Aspect ratio

Resolution

Focal length / angle of view

Aperture / depth of field

“Look-around”

If there’s magic sauce involved, this methodology should squeeze it out.

To that end, I procured two Sony ILCs: an A6300 with a Super35mm-ish sensor, and an A7ii as a full-frame exemplar. Both cameras have the same photosite count so I could match resolutions between formats. They also have similar image rendering characteristics, so I can minimize the effects of differing color and tonal-scale responses.

Both cameras came with kit lenses, a 16–50mm f/3.5–5.6 on the A6300 and a 28–70mm f/3.5–5.6 on the A7ii. These are typical Sony kit zooms: they render images with boringly middle-of-the-road good quality, low distortion, minimal flare, and unfussy bokeh. Importantly, the lenses lack substantial differentiating “character”, so there’s nothing that calls attention to the particular lens used to make an image. Thus I can avoid the sorts of biases that might creep in from shooting one format with a crisp Zeiss prime and the other with, say, a Lomo Petzval.

You might ask why I didn’t get some proper video or cine cameras and lenses for this test, like a Sony F55 for S35mm and a Venice for full frame, and a case full of matched Zeiss primes for each. All I can say is: if you pay for the rentals and insurance, I’ll happily test ’em.

I also threw a Panasonic GH5 into the mix, with an MFT sensor half the width of full-frame. Its photosite count is 14% lower and its color and tone handling are different, but its 12-35mm f/2.8 zoom is just about as boring as the Sony kit zooms when it comes to “character”. I shot all three cameras in their Rec.709 modes (PP4 on the Sonys, Like709 on the Panasonic) to get them all as close as possible to a common rendering.

Sony A7ii: 35.8 x 20.1 mm (in 16×9); 6000 x 3376 photosites. Full-frame, “FF”

Sony A6300: 23.5 x 13.2mm (in 16×9); 6000 x 3376 photosites. Super35mm, “S35mm”

Panasonic GH5: 17.3 x 9.7mm (in 16×9); 5184 x 2916 photosites. Micro Four Thirds, “MFT”

Shall we have a look? I’ll present a series of image comparisons. In each one, I’ve varied one thing while keeping everything else constant—but I won’t say what I’ve done. Have a look at each comparison and see how the images vary—if they do.

For best results use a “large format” tablet, laptop, or desktop machine; a “small format” phone won’t give the clearest view of the images. Yes, sometimes size does matter.

Which images have the most “dimensionality”, “depth”, “roundness”, and/or “naturalness”? What have I changed between the images in a comparison, and how do those changes contribute to the “large format look”?

Afterwards, I’ll show each series again, with explanations and commentary.

TL;DR version: skip to page 2 if you want to bypass all the freakin’ Junior Detective work and just see what the heck it was I did. Because, maybe—just maybe—you have a life and want to get on with it?

Series 1

Series 2

Series 3

Series 4

Series 5

Series 6

Series 7

Series 8

Series 9

When you’re ready, go to page 2…

The post Bigger is better? OK, but why? appeared first on ProVideo Coalition.

First Found At: Bigger is better? OK, but why?

#viddy find

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syame25 · 6 months

Video

flickr

2023-08-20_13-30-46_ILCE-7C_DSCHY5694_DxO by Miguel Discart Via Flickr: museumPASSmusees 2023 - Mima - Studiolo (Jean Jullien) MIMA presents 'Studiolo'', the first European institutional solo museum exhibition by French artist Jean Jullien (1983), in which the artist's intimate paintings come to life in an immersive environment of commentary painted on the walls of the museum. ( 1 pass, plus de 220 musees Le pass musees est l'abonnement le plus genereux aux musees belges. Il vous donne acces a l'ensemble des musees participants de notre pays, pendant toute une annee. Quand vous voulez et aussi souvent que vous le souhaitez. Au programme : Decouverte des collections permanentes. Avec votre pass musees, vous pouvez visiter librement les collections permanentes de plus de 220 musees. Acces aux expositions temporaires. Vous pouvez egalement visiter les expositions temporaires gratuitement ou avec une jolie reduction. Vous beneficiez de billets de train a moitie prix, de reductions dans les boutiques des musees et de nombreux autres cadeaux reserves exclusivement aux abonnes du pass musees. Les meilleurs conseils en matiere de musees. Tous les quinze jours, vous recevez dans votre boite mail des informations sur les expositions a ne pas manquer et les plus belles decouvertes a faire dans les musees. www.museumpassmusees.be )

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fudeen-note · 2 years

Text

last smile

咲き誇り

咲き乱れ

咲き溢れる

深紅のダリア

丑年最後の微笑み

------------------------

　長い長い一年が、いよいよ最後の日を迎えました。

　行く年来る年、様々な事がありました。

　一年を締め括る気持ちをしっかりと写し撮ろうと ±2 EV に -3 EV を加えた 6 段階の露光に現像して、high dynamic range image に仕上げました。

　来たる寅年も、皆様にとって良いお年でありますように。　

このページの Photograph はこちらをクリック (click here)

☆ Shooting Data

------------------------

○ camera : OLYMPUS OM-D E-M5 Mark Ⅱ

○ lens : M.ZUIKO DIGITAL ED 12-200mm F3.5-6.3

○ focal length : 124 mm ( compared to 35mm format : 248 mm )

○ shooting mode : Program AE

○ Tv ( Shutter Speed ) : 1/20 sec.

○ Av ( Aperture Value ) : F6.3

○ ISO speed rate : 320

☆ Developing Data ( RAW )

------------------------

○ development : RAW image developed by SILKYPIX Developer Studio Pro 10.0

○ taste : fudeen's special

○ exposure compensation ( by camera ) : -1/3 EV

○ exposure compensation ( by developer ) : +2/3 EV

○ total exposure compensation : +1/3 EV

○ white balance : setting by shooting [ 5,374 K ]

○ tone adjustment : faithful

○ saturation : Manual [ 1.09 / 8.0 ]

○ color profile : faithful

○ Color representation : film color Velvia

○ sharpness : pure detail

　edge emphasis [ 18 / 100 ]

　detail emphasis [ 75 / 100 ]

　black spotted outline control [ 25 / 100 ]

○ noise reduction : fine detail

　false color control : [ 43 / 100 ]

　fringe removal : [ 20 / 100 ]

　noise aligned : [ 15 / 100 ]

　noise removal : [ 28 / 100 ]

　dark side noise reduction [ a little strong ]

○ highlights controller : [ initial value ]

　color / brightness emphasis [ 25 / 100 ]

　saturation / hue emphasis [ 70 / 100 ]

　bright portion compensation [ 50 / 100 ]

　dynamic range extension [ +4.50 / 6.0 EV ]

○ development setting : adjustment of demosaic sharp [ 100 / 100 ]

☆ Exposure Blending Data ( HDRI )

------------------------

○ exposure blending by Photomatix Pro 6.2

○ style : emphasized 2

○ EV spacing : 6 images, -3, -2, -1, ±0, +1, +2

○ tone mapping method : contrast optimization

○ strength for tone mapping [ 50 / 100 % ]

○ tone compression [ -4.0 / ±10.0 ]

○ light effect [ 50 / 100 % ]

○ luminance [ ±0.0 / ±10.0 ]

○ white clip [ 6.0 / 10.0 ]

○ black clip [ 0.0 / 10.0 ]

○ 360°image [ on ]

○ color settings : image color

○ saturation [ ±0.0 / ±10.0 ]

○ color temperature [ ±0.0 / ±10.0 ]

○ brightness [ -5.0 / ±10.0 ]

○ blending / opacity [ 0 / 100 ]

○ contrast : low contrast

○ sharpness : low

☆ Location & Target

------------------------

○ location : 四ツ谷界隈

○ target : ダリア

#plants #flowers #ダリア #ルージュ・マジック #天竺牡丹 #dahlia #HDRI #high dynamic range #マクロ #macro #四ツ谷界隈 #tokyo #写真 #photography #OLYMPUS #OM-D E-M5 Mark Ⅱ #M.ZUIKO DIGITAL ED 12-200mm F3.5-6.3 #photographers on tumblr

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budgetcamerafun · 7 years

Text

From the Mail Bag: How to Start Out With Digital Gear in Real Estate Photography

Dear Reader,

I recently received an email from my friend Karl asking for recommendations on digital cameras for starting out in real estate photography. I thought it would be great to transcribe my correspondence with him below, as I wrote a heck of a lot, and anyone considering similar moves might find it interesting. Or, if they’d just like some DSLR food for thought, I hope they can gain a little insight.

----------------

“Hey Peter! First, thanks in advance for taking the time to point me in the right direction. Its is greatly appreciated!

As you may know I work in the content department of a real estate tech company. All day, I see super shitty real estate photos that people pay good money for and publish. As such, I'm getting into real estate photography as a weekend sideline. While I still have an excellent collection of Mamiya medium format cameras I do not have a digital SLR, which seems like it might be useful (ha!).

What I'm looking for is a suggestion on a good, modestly-priced, used SLR. A lot of real estate photography is done on iPhones anyway so I don't need anything that's necessarily aimed at the professional market. I solicited colleagues for reccos but ended up with a bunch of $3000+ suggestions which is just crazy.

Thanks!”

----------------

Hey man!

Good to hear from you, and its awesome you're seeking this as a side-hustle; could prove to be very lucrative, especially with the industry insight you have at your finger tips!

In terms of DSLRs, in my opinion Canon is the best value in terms of system of lenses, solid quality, sharpness, ease-of-upgrade, etc.

For real estate photography, I'm not quite sure where the bar is set in terms of needing a full-frame DSLR or if crop-frame is acceptable. Full-frame refers to cameras with full 35mm sensors (the 5D generations, 1DS/X/C generations, 6D generations). Crop-frames are smaller-sensor DSLRs (1D generations, double-digit generations such as a 30D, Rebels, and the 7D generations).

Full-frame cameras are good for image quality, lower noise (like the digital equivalent of grain, but electronic malarkey instead of pleasant grain), larger images, and inherently sharper images. Crop-frames are good for higher focal lengths (50mm full-frame 35mm is equivalent to around 70mm on a crop), compact size, cheaper cost, more everyone-friendly since they have built in small flash, etc.

A good standard for full-frame would be a 5D or 5D mark II. The 5D typically goes for $300-400 on eBay, the 5D mark II is more like $650-800. They're sturdy but relatively compact, take great images, have good exposure latitude (they capture both highlights and shadows well), have good flash sync (fill flash is often necessary in real estate photography), and since they're full-frame they work well with wide-angle lenses. 20mm is indeed 20mm, not 35ish mm, which is beneficial to capture all of a room or an entire building in one photo.

For crop-frame, depending on megapixels needed (for online ads you don't need as many megapixels as consumerism says you do), a 30/40D is a great smaller DSLR, as is a 7D. I'm not sure of pricing, but 30Ds go for as low as $90 on eBay. You can use all lenses on them, EF or EF-S (EF-S are specifically for crop-frame and limiting as they cannot be used on full-frame). EF-S is good because they're cheaper, though poorer quality and not as good of image quality. Though remember if you use a 50mm EF (full-frame) lens, it will be closer to 70mm. Def read reviews online for all of the lenses you consider, I've barely scratched the surface with my experience. Canon lens variety RULES.

You can find solid, in-expensive Canon zooms and fixed-primes to fit your needs with all of the above. Older metal-mount primes from the early 90's (such as the EF 50mm 1.8 Mark I) and USM zooms from the early-to-late-90's have great glass in them with robust coatings. A great zoom that I use is an EF 28-105 F3.5/4 USM - good clarity and sharpness above F5.6. The EF 50mm 1.8 Mark I is a classic - great coating and tough, so is the EF 35 F2 or 28mm F1.8 USM. Quick note: EF is their autofocus line in-production since 1989 or so.

If you find yourself branching out towards other forms of photography, such as product, portrait, event, etc. it might be wise to invest in full-frame. The 5D is ok in low-light, though the 5D Mark II/II/IV/S/R or 6D are way better. Or, get a solid crop-frame and spend more money on a larger assortment of lenses and upgrade the body later.

I recently bought a 1D Mark II (new in 2005) for $220 with battery/charger which has a slightly-smaller-than-full-frame sensor, as I want to get back into gigs out here and I know it would work well for portraits and event work (great flash interchangeability, looks the part as a pro camera, 8 megapixels is enough for most portrait/event work). The glass I already have also works well with it, albeit 50mm will be more like 60ish mm.

That was a lot of typing! Let me know if you have any more questions, I'm more than happy to answer any/every question! Glad to share my knowledge with you good sir! Best,

Peter

-----------

It was an honor to receive a question and share some knowledge! Some of this is of course opinion, such as my views on EF-S lens build quality, but nevertheless I think I covered stuff well. I could share more about other brands such as Nikon, but being as I’m primarily Canon and have been for a while, I’m much more well-versed in their system.

Thanks so much for reading! As always, feel free to check out my work as well as my website, and by all means send me a message/ask me a question, I’d love to hear from you!

-----------

‘Peter,’ Thank you so much for this! I've asked a few of my recent-art school grad colleagues at work and gotten such a wide range of pretty impractical advice (you know, I'm not a ten thousand-aire or anything...). Anyway, I knew I could count on you for reasonable/thrifty advice. Given my experience in real estate I figured that'd be a good place to start but who knows what comes next.

I'll pick your brain further if anything else comes up, as I'm sure it will. Right now this is plenty of food for thought. Being so into film as I was 15 years ago I've been on one hand resisting digital like I'm some sort of purist or something. On the other hand though, I never really lost my interest in cameras/photography so this is quite exciting for me!”

#budget camera fun #camera advice #insight #photography #learning #camera recommendation #canon #slr #dslr #real estate photography #mail #questions #recommendation #learning photography #camera gear #gear

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tekamedia · 5 years

Text

The surprising history of impeachment and what it means for Trump

New Post has been published on https://newsprofixpro.com/tekamedia/2019/07/22/the-surprising-history-of-impeachment-and-what-it-means-for-trump/

The surprising history of impeachment and what it means for Trump

The surprising history of impeachment and what it means for Trump Read More

Buy Now

Price: $110.00

Item specifics

Condition:

New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is

Brand:

Canon

Series: Canon PowerShot Optical Zoom: 5x Type: Point & Shoot Digital Zoom: 4x Connectivity: USB Weight: 6.08 Oz. Megapixels: 16.0MP Battery Type: AA MPN:

8115B001

Features: Date/Time Stamp, Exposure Compensation Color:

Black

Model:

Canon PowerShot A1400

Screen Size: 2.7″ Manufacturer Color: Black UPC:

0013803207095

About this product

$110.00 End Date: Sunday Aug-18-2019 15:59:15 PDT Buy It Now for only: $110.00 Buy It Now | Add to watch list

Buy Now

Price: $69.99

Item specifics

Condition:

Open box: An item in excellent, new condition with no wear. The item may be missing the original packaging or

Brand:

Nintendo

Design/Finish: Plain Model:

Nintendo NES Classic Edition

Type: Home Console A/V Output(s): HDMI Hard Drive Capacity: 512MB Platform: Nintendo NES Classic Edition MPN:

CLVSNESA

Color:

Gray

UPC:

0004549659002

EAN:

0004549659002

About this product

Product Information The Nintendo NES Classic Edition video game console, released by Nintendo in 2016, is a miniaturized version of the groundbreaking NES from 1985. The console offers hours of fun and entertainment containing 30 of the retro games including Super Mario Bros, Megaman, Metroid, and Castlevania. This video game console is portable and easy to use. The redesigned miniature version of the NES offers an HDMI port and different display modes to choose from. It is available in matte white. Product Identifiers Brand Nintendo MPN CLVSNESA GTIN 0045496590024, 0004549659002 UPC 0045496590024, 0004549659002 Model Nintendo NES Classic Edition eBay Product ID (ePID) 224836664 Product Key Features A/V Output(s) HDMI Platform Nintendo NES Classic Edition Color Gray Design/Finish Plain Type Home Console Hard Drive Capacity 512MB Additional Product Features Product Name Nintendo Entertainment System Console Color White Product Line Nintendo Entertainment System Region Code NTSC Edition Nes Classic Edition

$69.99 End Date: Sunday Aug-18-2019 17:47:40 PDT Buy It Now for only: $69.99 Buy It Now | Add to watch list

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danielpietzsch · 5 years

Text

Horizontally scrolling table with fixed headings

For my Focal Length Equivalent utility, I created a alternative view for when you don't have JavaScript enabled (as you should, if you can).

Instead of dynamically showing the conversion based on the position of the range slider input element, I simply show a good old table with calculated equivalents at pre-defined focal lengths.

I wanted this table to list the focal lengths vertically – with one film- or sensor-format on one row – so you can easily parse the result. As such a table gets easily too wide for the parent elements container, I wanted

the table to be scrollable horizontally and

have the format name headings keep their position, so that you never lose track of which row represents which format.

Here’s the simplified table markup:

The “scrolling” bit is easily done: simply put a overflow-x: scroll; on the table’s container element, which in my case is a <figure> element (a <div> or any other block element would also do of course, if the <figure> semantic doesn’t work for you):

figure { overflow-x: scroll; }

In order for the film-format name headings to keep their position, I resorted to a fairly new value of the CSS position property: sticky. I added this to the th selectors, in combination with left: 0; so the headings stay at their original positions:

figure table tr th { position: sticky; left: 0; // you might also want a bg color, so the th covers the table // that scrolls through underneath background-color: white; }

You can take a look at this when you go to the tool and disable JavaScript in your browser. Or you can simply look at this table here:

figure.hs { overflow-x: scroll; margin: 0; -webkit-overflow-scrolling: touch; } figure.hs table { border-collapse: collapse; } figure.hs table td, figure.hs table th { padding: 0.5em 0.7em; } figure.hs table tr th { position: -webkit-sticky; position: sticky; left: 0; background-color: white; text-align: right; white-space: nowrap; } figure.hs table tr td { font-family: monospace; text-align: right; } figure.hs table col:nth-of-type(even) { background: #eee; } figure.hs table td { white-space: nowrap; } figure.hs table tr.full-frame { outline: 1px dashed black; } figure.hs table tr:hover { background-color: rgba(238, 238, 238, .4); } figure.hs table col:hover { font-size: 2em; }

Micro 4/3 5 mm 8 mm 12 mm 15 mm 18 mm 26 mm 44 mm 52 mm 70 mm 104 mm 156 mm 260 mm APS-C 7 mm 11 mm 16 mm 19 mm 23 mm 33 mm 57 mm 67 mm 90 mm 133 mm 200 mm 333 mm 35mm 10 mm 16 mm 24 mm 28 mm 35 mm 50 mm 85 mm 100 mm 135 mm 200 mm 300 mm 500 mm 6x4.5 16 mm 26 mm 39 mm 45 mm 56 mm 81 mm 137 mm 161 mm 217 mm 322 mm 483 mm 805 mm 6x6 18 mm 29 mm 44 mm 51 mm 64 mm 92 mm 155 mm 183 mm 247 mm 366 mm 548 mm 915 mm 6x7 20 mm 32 mm 48 mm 56 mm 71 mm 101 mm 171 mm 202 mm 272 mm 404 mm 604 mm 1009 mm 6x8 22 mm 35 mm 53 mm 62 mm 77 mm 110 mm 187 mm 220 mm 297 mm 440 mm 660 mm 1100 mm 6x9 23 mm 37 mm 56 mm 65 mm 82 mm 117 mm 198 mm 233 mm 315 mm 467 mm 700 mm 1167 mm 4x5 36 mm 57 mm 85 mm 99 mm 124 mm 177 mm 301 mm 354 mm 478 mm 708 mm 1061 mm 1769 mm 8x10 71 mm 113 mm 170 mm 198 mm 248 mm 354 mm 601 mm 707 mm 955 mm 1415 mm 2122 mm 3537 mm

Here's the full CSS.

#writings #365writings #css #software development

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bestlensreviewstamron · 6 years