kill muff

<p>Steven, all I was trying is that a force (AFM) observations show that under specific growth conditions, step flow shift has taken place, independent of the HD sensor layer thickness. For the surface morphology and roughness in 105μm x 105μm areas, we attain values of root-mean-square (rms) as high as 300 nm for the best luminance sample. XDL investigations of the compressive orthorhombic biaxial layer pitch indicate that the relaxation may not network a conventional expected relaxation, and as evidenced for Rxm films epitaxially manufactured by radio sputtering. Grow of the layer with mismatch 15 % of a lattice generate inordinately large density defects.<br>

The devices will only be used on the field through charge distributions. Maybe the wrong forum for this question. EOS sensors have relatively low d-states.</p>

<p>Bob, are you saying that you are not open to theoretical expectation mechanics? Sensors have come along way since sony's semiconductor.</p>

<p>Jamie, I didnt come here to get teased.</p>

<p>John, I would like to think that a picture of a bunny with a breakfast item as a hat would help me with this problem. Unfortunately, it helps a little but can it buy me another set of TGAs?</p>

<p>Nathan, that would be just a passive process based on 0.02 pixel pitch. Angel, this would be used in automotive screening and cluster velocity based software. In some rare occasions, for determining probability tests for UDS color field work. The problem is that the EOS censor fails to get rid of residual magnetic charges in lower temperatures, so taking it up to the Antarctic would be a snap to boot it but it'll only be running on TGA PinConnect.</p>

<p>Whatever happened to the classic Leica digital bodies? I am trying to figure out an old problem I was having like 10 years ago with my classic Digilux. Every time I hook up a Sandmatch interface to I/O in my new Digilux 3, I notice I am able to squeeze an extra 0.451 effective mega-pixles from the camera's main board. The software didn't work as well for my oldie Digilux 1 as it got wiped every time I booted the flow transistor. And plus there is more apparent noise in the shadows when exposed to 60 pmt gradient. I have to lug this contraption every time I go traveling. Any ideas of how to cut down on the weight of the rig?</p>

<p>I was wondering if anyone knows how I can wire 4 or more eos censors together to run a rig system off a coupled crystal processor. In simple terms, how can I make a single big censor using 2 from an HD flip video camera, one from an old PC webcam and one from an infrared security camera (the bypass 3 censor strata-dataification 8). Yes, I am aware that TGA PinConnect makes cold-brimator chip connectors with version simulation. How do I know when the signal is tethered to TimeReel instead of an offset register device? If anyone can help with the datafication translation, that would be great. thanks</p>

<p> </p>

Ok, I dont know much about tilt/shift period, let alone RZ67's tilt/shift capabilities or even RZ67 it self. Im

looking to buy a medium format camera and noticed on Mamiya's website that they have 75mm shift lens.

Now from what ive read on the description, and my limited understanding of the tilt/shift world, I can use

this wide-angle lens and correct any sign of distortion that accompanies wide-lenses...theoretically.

 

1. I shoot a lot in tight spaces, in-doors (you know, subject within their own living space), and i find it

difficult to achieve a generous shot without having to use a wide-angle lens...the problem is that I do not

wish to have the wide-angle characteristic in my shots. Is this the lens for me?

 

2. I hear that 75mm is not wide enough for most wide-shifter users. What is the difference between

getting a 50mm lens and getting the Mamiya tilt-shift adaptor to go with it? I figure that I will be able to

use the device on all other RZ lenses (according to Mamiya's web-site), so would it be a good investment?

But ive read on a photo.net forum that the adapter only works properly on lenses 100mm and higher.

Urg, im so confused. And whats up with the SB lenses? What do they do?

 

Ive been searching on Photo.net's forums on topics about Tilt/shift but other than the somewhat

confusing "How Shift Lenses Change your Life by Frank Sheeran", there are only topics on specific

problems on specific lenses.

I was just wondering if this path suits my needs according to the more experienced. Also I want to stick

with medium-format so please do not suggest LF.

 

Thanks for your time.

"quality photographers will get quality images regardless of what camera is used."

 

Mark, are you pin-pointing in order to make your argument? Of course people can get

"professional" or "quality" results from both cameras. And some may say that Mamiya has

"higher image quality" compared to Hasselblad...i kind of agree too. But what you are

missing is that im not looking for the "high-quality" of the two lens lines. Im looking for

strictly lens character. I know they are both super high-quality, so i am confident in both

cameras as far as producing "professional" images. <<<but thats not what im asking.

 

But if you were to solely argue that both lens lines produce the same "looking" images and

that film/filters/post-processing is key to everything in the image's "looks", that would be

a more sound argument in this forum.

 

People, opinions are fine...just read the original post to understand just what is being

asked.

Mike Janocko , apr 08, 2006; 01:31 p.m.

http://www.hevanet.com/cperez/test/fourcameras.html

 

<<<yes, ive read that link before. But everytime i find hassy images, they "look" hassy-

like. The same goes for Mamiya. Mamiya tends to look Mamiya-like. This review seems to

not credit Hasselblad much, and there are many links that do the same to Hasselblad's

reputation. I guess everyone has their own opinion. The day will come when i will be able

to afford a Hassie and i guess i have judge for myself. I am lucky enough to own an

"excellent-enough" camera: a Mamiya 645 with 80mm Sekor C lens (and for many people

in my school, this would be their dream camera). Yes, i should be thankful for having it.

But once i get my hands on a Hassie and if i can decern the difference between the two

cameras... i guess thats all that matters. I know im mature enough to appriciate a lens for

its quality and not its prestigious title. Some say both companies produce strikingly similar

lenses and it wouldnt dramatically effect the "look" of the images over more important

factors ie: film, filters, post-production. People, dont get caught-up in sharpness..it is

only one factor in judging lens quality.

 

But Im still on the side that favours the thought that lens choice is crucial in the outcome

of "looks".

 

I guess ill have to see for myself.

 

Thanks to everyone that has posted!!!

sorry, before i was so rudely interupted, i was going to thank Arthur for the wonderful zeiss

shots. well, done.

Rach, i couldve sworn that a cameras lens has alot to to with "mood". The way it handles

boukeh, color rendition, and contrast. If you increase the contrast post production, it wont

replace the contrast quality of the lens. ex. take a holga, it houses a very low contrast lens,

and increase contrast in post-production...not the same as capturing contrast through the

lens.

 

Each lens and format has its own quality/charm: rolleiflex vs. hasselblad vs rz67 vs holga

vs etc.

 

Yes, the photographer has alot to do with the image but each camera/lens has its unique

look. every step and every tool is key to what you want out of a photo. Duh.

Hi, I was wondering what medium-format camera i should invest in. I am aware of the

many comparisions between Hasselblad and Mamiya on photo.net but I am unable to find

an answer to my not-so-common question: Do zeiss T* lenses of the Hassie produce

"better looking" images compared to the higher-end K/L or sekor Z lenses of the Mamiya

6x7 outfits?

 

When comparing lens quality, people commonly dispute which is sharper. But what Im

wondering is which line of lenses produce a better "mood" or "atmosphere".

 

From the limited amount of Mamiya RB/RZ users who post sample images on the net, I

have noticed that Mamiya lenses produce super "clean" images: neutral colors, realistic

tonality and very sharp. In other words, very "realistic". Most shots had the "look" of high-

resolution digital cameras.

 

Hasselblad, on the other hand, seemed to produce "moody" results. The zeiss lenses

appear to show-off detail, unlike the Mamiya lenses that definatly contain the resolution

(sometimes even more than Hassie) but seem to not flaunt it in the way zeiss lenses do. (I

guess this is a measure of how contrasty a lens is?)

Overall, hasselblad T* results appear to have a more "film-like" charm as opposed to the

cleaner digital look of the Mamiya lenses.

 

I was wondering if this was just a misconception on my part due to all the die-hard-

hassiers that post large amounts of images on the net. Perhaps Mamiya 6x7 results havent

had much chance to prove to me that they are completly capable of the same dramatic

results as Hasselblad?

 

I am totally aware of the drawbacks of the cumbersome RB/RZ outfits. I set most of my

shots up, so bulkyness is not a huge factor. I am also aware of the on going debate

between 6x6 vs. 6x7, so this is not a question of format. Price is not so much a factor: Im

willing to save up the extra bucks for ideal results. As I have read somewhere on the net,

Hasselblad tends to make otherwise non-interesting shots more interesting, just for the

reason of how the lens renders detail, tonality and contrast. What do you think of this

statement?

 

Thanks for your time.

~Raffy

i dont remember the exposure times and f/stops. i should record them. But i always shoot in iso 100. The other iso settings it comes with (200, 400) are very grainy and would suck at doing night shots because of all the dark areas where noise lurks. Hmmm...i like taking shots that hold the shutter open for long periods of time. Maybe thats why im having trouble...thanks chi! Digital Darkroom?..is that a program????

well, its set to the highest resolution 2240 x 1680, and to tiff. I dont think i under exposed the pictures. well, you guys tell me: http://www.photo.net/photodb/folder?folder_id=227838

i never realy lift any of my pictures, i actually darken the blackpoints. Is a larger megapixle camera the answer if the noise is buggin me? The photoshop plug in sounds likea good idea though, thanks!

Can someone tell me why the images from the digilux 1 are very noisy

even at high resolution/quality levels? Is it the size of the ccd or

the method of how i transfer the images to computer?<div></div>