I’m sure their roles where largely as advisors with papers written here or there as they sat on many committees and organizations. With that said my personal observation as a member of the general public is that they couldn’t contribute much. They were extremely capable scientists from vastly different eras. Simply speaking science is built upon a body of knowledge that stood at 8 megapixels back in 1955 compared to today's 200 megapixels. In other words what they knew was good for its time but extremely coarse by today's standards

Not sure how well it looks on social media platforms, but I utilize the iPhone Air’s camera feature that allows you to take a picture with 48 megapixels, as opposed to the standard 24 megapixels. Notice anything different?

🔴 Reve 2.0 image model debuts at #2 on Arena leaderboard, uses layout-first approach instead of prompt expansion Reve released version 2.0 on June 3, ranking #2 on the Arena text-to-image leaderboard behind OpenAI's GPT Image 2 and ahead of Google's Nano Banana 2. The company claims it is the best model from a non-trillion-dollar company, trained on 10x fewer GPUs than competitors. Reve's core difference: instead of expanding prompts into English prose before rendering, it builds a structured "layout"—objects positioned with location, size, and captions—then renders natively at 4K (16 megapixels). This allows users to move subjects, edit text, or swap backgrounds without re-rolling the entire image.

My first DSLR was the canon 400d upgraded to Nikon back in 2015 I bought the D750, which is good, in 2016/17 I added the D500 crop censor purely for the extra reach, I considered using the Dx mode on the D750 but I learnt that in doing that it reduces the megapixels to 10 models

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Dear Ansel Living in the Light. Dear Ansel, thank you for your kind and thoughtful note. And even though we never met, I always sensed that if we ever did communicate, we would agree on one essential truth: the photographic work we create has always mattered more than the device we use to create it. The camera is the tool. The photograph is the legacy. You understood that. You lived that. And I’ve always admired how deeply you believed in the craft itself, not the machinery surrounding it. Today, in the world of mobile photography, that belief feels more important than ever. Many people shooting with their phones have little understanding of the history that made their work possible. They know the latest apps, but not the lineage. They know the newest features, but not the foundations. They know how to swipe, but not how to see. You, on the other hand, knew the greats firsthand. Edward Weston. Imogen Cunningham. Dorothea Lange. Brett Weston. Willard Van Dyke. Consuelo Kanaga. Alma Lavenson. John Paul Edwards. Henry Swift. Sonya Noskowiak. These were not distant names to you. They were your peers, collaborators, rivals, friends. They were the people who shaped the American photographic imagination. They were the ones who believed photography was not just a craft, but a calling. And the truth is, it is the work of you and your contemporaries that built the traditions we follow today. Even if many mobile photographers don’t know the names, they are still influenced by the vision, discipline, and devotion you all brought to the medium. That is the heart of what I’m trying to communicate here. I want you to know that those of us who care about the craft still feel your presence. We still feel the weight of your commitment. We still feel the echo of your discipline. We still feel the depth of your seeing. And even though I walk through the world with nothing more than an iPhone in my pocket, I carry a historical awareness of the work you and your peers devoted your lives to. You helped form Group f/64, a collective that believed in clarity, precision, and the inherent beauty of the world as it is. You rejected the soft‑focus pictorialism of your era. You believed in sharpness, detail, and the full tonal range of the negative. You believed the world deserved to be seen clearly, honestly, and with intention. And here’s the part that moves me: even though the tools have changed, the philosophy hasn’t. In its own way, the iPhone is a Group f/64 camera. It is sharp. It is clear. It is direct. It is democratic. It is accessible. It is honest. It allows anyone, anywhere, to make a photograph that reveals the world as it is. You hauled a Deardorff 8×10 and a Linhof 4×5 across mountains, valleys, deserts, and forests. You waited for light. You studied weather. You pre‑visualized the print. You believed the negative was the score and the print was the performance. You believed the camera was a partner, not a master. And here I am, decades later, walking through the world with a device that weighs almost nothing and fits in my pocket. But the truth remains: the device does not make the photograph. The photographer does. You knew that. I know that. And anyone who cares about the craft eventually learns that. What I want you to know, Ansel, is that the spirit of your work lives on—not in the tools we use, but in the way we see. In the way we pay attention. In the way we honor light. In the way we respect the landscape. In the way we believe a photograph can reveal something essential about the world. You would recognize the devotion. You would recognize the discipline. You would recognize the hunger to see. You would recognize the reverence for light. You would recognize the desire to make something that lasts. You would recognize the same impulse that drove you into the Sierra Nevada with a pack full of glass and wood and metal. You would recognize the same impulse that drove Weston to Point Lobos, Cunningham to the botanical gardens, Lange to the migrant camps, and Stieglitz to the streets of New York. And you would recognize the same impulse that drives me to walk through the world with my iPhone, looking for quiet moments, overlooked corners, small gestures, subtle colors, and fleeting light. Dear Ansel, thank you for reminding me that photography is not about megapixels or sensors or computational pipelines. It is about attention. It is about intention. It is about the long, unbroken lineage of people who have tried to make sense of the world through a rectangle of light. I am one of those people. You were one of those people. And even though our tools are separated by decades, our devotion is the same. I love you man-honestly, truly and deeply. Thank you for showing me and million sof others the way of living in the light. Click. Jack

Oude Samsung S4, camera 13 megapixels, mijn S24 (inmiddels verouderde ) 80. De S26 200 als ik me niet vergis.

Cars in 100 megapixels

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You would have to consider all humans to be thieves then. Because that's how we learn as well - through imitation. It's quite fundamentally wired into our biology. It's a hard line to argue on both sides. Most great artists proudly announce their own influences. If a model with 10,000,000,0000 parameters had those parameters adjusted on a set of 10,000,000,000 images from different sources. You can say that an artist "A", who made 10 of those images is being ripped off, but I to me it's not something I can convince myself of. If we go by a specific mapping, at most artist A is represented by 10 16 bit floating bit numbers, or about 20 bytes. For a comparison, a typical digital art piece might be 8 megapixels, at 4 bytes per pixel. 20 bytes would be about 0.00006% of a single image or about 5 pixels worth of data.

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wts lfb kitbeez KF-3 digicam - ₱ 1,600 - payo (prio) - can send proof and shots via dm - can sdd details: - 18x digital zoom - 64 megapixels - 3-inch display size - kf-3 camera model rfs: need funds # digicam kitbeez kf-3

sdd postar fotos com poucos megapixels com a legenda “I’ll bring the sexy back” sendo nem um pouquinho sexy