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Fun with MF images 2024
- Thread starter MGrayson
- Start date
MGrayson
Subscriber and Workshop Member
The subject of over processed skies came up in another thread, so I thought I'd throw in today's example. X2D Mamiya 645 50mm shift lens @f/11. 12mm shift, although it doesn't look it. No visible lines, but lots of dust - despite removing dozens of the little blobs, I missed several. Part of it is the f/11, but 100% Dehaze will definitely bring them out. Clarity generates small sharp halos. Dehaze is more gentle.
This time it was both dentist and brother-in-law. Still the same damn subway stop.
Matt
This time it was both dentist and brother-in-law. Still the same damn subway stop.
Matt
Last edited:
CF058926
Sea Stacks @ Sunset by John Ngai, on FlickrWRS 1250 | IQ4 150 | SK 60XL | f/16 | 3-image horizontal stitch | 6.000s, Automated Frame Average
It's been around 6 months since I've gone out for what might pass as a serious shoot (that pesky day job keeps getting in the way), so it was nice to spend the past weekend with some very good photography friends in Big Sur along the California coast. This image was from the first evening of the trip, after a 4+ hour drive in traffic. My skills were a bit rusty but came back to me eventually. Photography aside, it was just nice to enjoy the view and breathe in the ocean air.
A few more images to come soon...
John
f6cvalkyrie
Well-known member
Some of the flowers of the Camelia collection in the Botanical Garden in Leuven, Belgium have already fallen off and someone had the good idea of arranging them in a a cut-out of a rock to make a colourful feast for the eye (and the camera)
Stay safe,
Rafael
Phase One DF - IQ 140 - Mamiya 120/4 Macro MF
Stay safe,
Rafael
Phase One DF - IQ 140 - Mamiya 120/4 Macro MF
diggles
Well-known member
Yesterday morning, on the way to a work meeting, I walked by an alleyway that I found interesting. The camera was in the truck so afterwards I took a few moments to make some photos with the new Hasselblad 100C and 35XL. It really is a nice combo.
Each of these images was created using camera movements ranging from 5-10mm of camera fall and/or shift. The LCC images were pretty clean, but I didn't bother inspecting them for banding
Smile. You're On Camera. by Warren Diggles, on Flickr
Everything Dances by Warren Diggles, on Flickr
Listen by Warren Diggles, on Flickr
Each of these images was created using camera movements ranging from 5-10mm of camera fall and/or shift. The LCC images were pretty clean, but I didn't bother inspecting them for banding
Smile. You're On Camera. by Warren Diggles, on FlickrEverything Dances by Warren Diggles, on FlickrListen by Warren Diggles, on Flickr
MGrayson
Subscriber and Workshop Member
John,
WRS 1250 | IQ4 150 | SK 60XL | f/16 | 3-image horizontal stitch | 6.000s, Automated Frame Average
It's been around 6 months since I've gone out for what might pass as a serious shoot (that pesky day job keeps getting in the way), so it was nice to spend the past weekend with some very good photography friends in Big Sur along the California coast. This image was from the first evening of the trip, after a 4+ hour drive in traffic. My skills were a bit rusty but came back to me eventually. Photography aside, it was just nice to enjoy the view and breathe in the ocean air.
A few more images to come soon...
John
Did you take any extreme measures to prevent the horizon light from turning yellow (usually Red Channel blowout). I don't know if the IQ4150 is especially good that way, or if you took steps, but it's a hard problem to avoid in other cameras I've used.
Lovely colors all around.
Matt
MGrayson
Subscriber and Workshop Member
Warren,Yesterday morning, on the way to a work meeting, I walked by an alleyway that I found interesting. The camera was in the truck so afterwards I took a few moments to make some photos with the new Hasselblad 100C and 35XL. It really is a nice combo.
Each of these images was created using camera movements ranging from 5-10mm of camera fall and/or shift. The LCC images were pretty clean, but I didn't bother inspecting them for banding
Love the colors in the last image - intense and real.
Matt
diggles
Well-known member
Thank you Matt!
Thanks, Matt. I'm 99.9% certain that I used a 3-stop grad ND filter to tame the light at the horizon (it was blinding, I was having trouble seeing anything behind the camera). It's hard for me to judge yellow vs orange in the unprocessed raw file but the L*ab values on the horizon just above the distant rock in the original capture were 82/19/37, 76/30/46 after I pushed the recovery slider down to -100, and 72/36/64 after selecting the area just above the horizon and adding a bit of saturation (all in C1). Interestingly, in the unprocessed file the L*ab values on the sun itself were ~100/~0/~0 and yet I was able to recover it as yellow and not white in the processed file. Go figure.
If you're interested in pursuing this further, in the interest of keeping this thread focused on imagery perhaps you can start another thread to tease this all apart? I'm sure Soup will be happy to serve as your trusty teaching assistant, although you may need to ask him whether he has any orange tabby friends...
John
MGrayson
Subscriber and Workshop Member
That's a good idea. I've always been frustrated with sunrise images, especially the difficulty of recreating the beautiful coral pink. Of course, this will be sensor dependent, but I have the Leica S3 and Hassy X2D on hand. And I wake up early. Soup, I'm afraid, is unlikely to provide a proper reflection. He may participate in the Behind the Scenes in his role of "What are you doing and why aren't you feeding me?"
My understanding of Highlight Recovery is that it uses surrounding unblown color values to interpolate, but I don't know the details.
Matt
stngoldberg
Well-known member
Bunch of orchids
stanley
stanley
Hi Peter, you seems to like the rendering of the 90/3,2, right?
It has that special soft-sharp delicate way to render, I think.
KR Thorkil
MGrayson
Subscriber and Workshop Member
Lovely! Anza-Borrego was my favorite place when I lived in San Diego (ok, Mt. Palomar and the Wild Animal Park, too). But I never saw it so lush!
PeterA
Well-known member
Hi Thorkil,
none of the XCD or newer V lenses are cheap so one should expect excellent performance- and I haven't been disappointed with the 30/45 /35-75/90/120 Ive bought so far. As for the 90 3,2 these are my observations with a couple of shots to illustrate:
Shoot wide open and close in to your subject and you can get the Leica Noctilux/Summilux) rendering with no loss of micro contrast or super fine detail
- step back and close down to 5.6- 11 and you still get high subject separation and pleasing OOF rendering but more environmental information
step back even further to shoot a landscape or urban scape and you get as above.
I don't have the 80 1.9 to compare against or the new V - but I think the 80 1,9 is a target future present to myself although purportedly slower focusing than this 90 or the new V 90 2.8.
PS As an aside : used camera bodies are becoming ridiculously cheap compared to their new prices these days- one could buy a 'used' GFX1000 / 100S and a GFX 110/2 for example for the price of a 'new Hasselblad V 90/2.8. I have seriously considered adding a Fuji 100S just for a couple of lenses from Fuji which I think are outstanding eg the 110/2.
Cheers
Pete
PeterA
Well-known member
Take it easy Matt .I'm having a COVID rebound, which means I have a note from my doctor saying I can only take pictures of Soup. Here's a low-key treatment of the sleeping cat. X2D, Pentax 645 150/3.5 at f/8, 1/13 sec, ISO 6400.
Matt