T
thsinar
Guest
... so do I.
Thierry
Thierry
Steve Hendrix of PPR Atlanta has a rebutal to many of the points raised in this article.
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Steve Hendrix of PPR Atlanta has a rebutal to many of the points raised in this article.
YES1. Size of sensor and size of photocells matters (where have we heard that before)
YES2. AA filters don't do us any favors unless you really need them for your work
YES3. CMOS vs CCD - the former isn't the end-all be all.
YES, and I would say it again, like many times before: "garbage in - garbage out"4. Current sensors are lens-limited. The inability of 99.9% of existing lenses to resolve what a good sensor can deliver is one of the biggest handicaps faced and is an issue that mainstream lens makers need to start addressing ricky-tick.
Jim when you stitch using the A75 on the Horseman, do you get color shifts?
I'd imagine it might be a workflow issue if you had hundreds to do at a time..
it is effectively a workflow issue, when you have hundreds of files to process with white shadings, one by one: it can easily take hours of corrections. Architecture photographers among others do have such issues to deal with.
There is a solution for Sinar files which is called the Brumbaer tools, a set of 2 small applications which do apply the "white shadings" automatically to the right files, as many as you want and in a batch process: it is called the Brumbaer "eMotion DNG Converter" and is a freeware. It saves hours of work. Beside applying white shadings to correct color shifts (due to the lens fall-off or due to shifts/tilts/swings), it does as well and automatically correct the wished amount of lens vignetting separately (if wanted), denoises the files (if wanted), and it does automatically correct the centerfold effect present in some situations.
The quality of those DNGs produced by these Brumbaer converter are praised by all using it.
Best regards,
Thierry
wide open, the image circle' not that big.. allows you maybe 8-10mm in each direction... stopped down, however, you can go the full shift.. corners are degraded a bit (similar to what you'd find on a typical canon superwide)Jim, How about the 4 up stitch that Horseman shows that's something like a virtual 70mm x 82mm sensor after stitching ? Is there enough image circle with the 35mm lens to make this work? It seems like you would have an extremely wide angle of view this way, maybe too wide for most compositions, but HUGE resolution.
Ray, you are going through the same thought process I went through. It really IS application sensitive. For most commercial work it was a simple choice for me ... a leaf shutter camera was far more important than a focal plane one, and I needed a higher sync speed for outdoor fill. A hint concerning this is the fact that Hasselblad 500 cameras and all the copies of it; plus Rollei (and now the Hy6); Fuji, and Mamiya RZs are the dominate commercial systems ... and have been for as long as I can recall.Resurrecting this one.
After playing with MF Phase backs in Puerto Rico, I was just blown away by the difference compared to 35 mm (M8 & D3).
I just sold an M8 lens, VF, two Zeiss primes for Nikon, the D300 (which I had been holding for a friend since upgrading to the D3), Nikon grip, and miscellaneous stuff.
This MF stuff is indeed a slippery slope.
I want to use it for some fashion/portrait & product work.
I have been surprised on product shots too many times where the end use is planned to be of a specific size in a magazine and it ends up being a two page spread (which is stretching the D3 and previously the D2x), or when a shot suddenly becomes the cover and therefore an 8ft. banner later.
The DR, color, and detail of the files were all just amazing.
I did struggle at first not really realizing in my head that I needed to stop down 2-3 stops to get the same DOF which I was thinking of from 35mm. Another surprise was that, when handheld, the old 35mm rule of 1/focal length for shutter was not fast enough to prevent motion blur. These things really want good light.
I was thinking of the Mamiya/Phase system, but struggle over the focal plane shutter vs. a leaf shutter. The added vibration of the focal shutter is a disadvantage and so is the low flash sync speed of 1/125.
My mind is also going in the direction of staying away from any of the microlens systems, as I want to be able to do tilt/shift for products. That is another issue in itself as neither Mamiya nor Hassy have T/S lenses for their current bodies. This slope is getting even more slippery if I have to get some sort of "technical" camera to use with the back.
After viewing the files from Puerto Rico, I've decided to just bite the bullet and go for a 39MP back vs. the 22MP. What a difference in detail. Even on a few which had a little camera shake from me, they recovered nicely when I down sized them to the equal of the 22MP back. This means that I get so much more detail when shot correctly, and the ability to still recover if I have a very slight bit of motion.
Sorry to the Sinar guys but after seeing David struggle with his camera all week long, that just dropped out of the equation.
Now the issue is Mamiya or Hassy. The Mamiya/Phase is a more open system, but I want the advantages (for me) of the leaf shutter. The Hassy seems very well integrated, has the leaf shutter, but is a closed system.
What to do?
Yes, I have fallen down this slope with the rest of you guys.
Ray
PS: Still keeping the M8 & D3, I'm just reducing the kits and focusing on what I really use them for vs. having a one camera does all system. The M8 is down to 28 Cron ASPH, 35 Cron ASPH, 50 Lux ASPH, 90 Elmarit. The Nikon D3 is down to 24-70/2.8, 105 VR Macro, 70-200/2.8 VR, and the 1.7 Extender. I think both systems are still very usable in their areas. MF has seduced me for the really great files and all of the strobe work.
Guy was across the street getting his while you were busy workingObviously I did not have my coffee yet!
L
RayResurrecting this one.
After playing with MF Phase backs in Puerto Rico, I was just blown away by the difference compared to 35 mm (M8 & D3).
I just sold an M8 lens, VF, two Zeiss primes for Nikon, the D300 (which I had been holding for a friend since upgrading to the D3), Nikon grip, and miscellaneous stuff.
This MF stuff is indeed a slippery slope.
I want to use it for some fashion/portrait & product work.
I have been surprised on product shots too many times where the end use is planned to be of a specific size in a magazine and it ends up being a two page spread (which is stretching the D3 and previously the D2x), or when a shot suddenly becomes the cover and therefore an 8ft. banner later.
The DR, color, and detail of the files were all just amazing.
I did struggle at first not really realizing in my head that I needed to stop down 2-3 stops to get the same DOF which I was thinking of from 35mm. Another surprise was that, when handheld, the old 35mm rule of 1/focal length for shutter was not fast enough to prevent motion blur. These things really want good light.
I was thinking of the Mamiya/Phase system, but struggle over the focal plane shutter vs. a leaf shutter. The added vibration of the focal shutter is a disadvantage and so is the low flash sync speed of 1/125.
My mind is also going in the direction of staying away from any of the microlens systems, as I want to be able to do tilt/shift for products. That is another issue in itself as neither Mamiya nor Hassy have T/S lenses for their current bodies. This slope is getting even more slippery if I have to get some sort of "technical" camera to use with the back.
After viewing the files from Puerto Rico, I've decided to just bite the bullet and go for a 39MP back vs. the 22MP. What a difference in detail. Even on a few which had a little camera shake from me, they recovered nicely when I down sized them to the equal of the 22MP back. This means that I get so much more detail when shot correctly, and the ability to still recover if I have a very slight bit of motion.
Sorry to the Sinar guys but after seeing David struggle with his camera all week long, that just dropped out of the equation.
Now the issue is Mamiya or Hassy. The Mamiya/Phase is a more open system, but I want the advantages (for me) of the leaf shutter. The Hassy seems very well integrated, has the leaf shutter, but is a closed system.
What to do?
Yes, I have fallen down this slope with the rest of you guys.
Ray
PS: Still keeping the M8 & D3, I'm just reducing the kits and focusing on what I really use them for vs. having a one camera does all system. The M8 is down to 28 Cron ASPH, 35 Cron ASPH, 50 Lux ASPH, 90 Elmarit. The Nikon D3 is down to 24-70/2.8, 105 VR Macro, 70-200/2.8 VR, and the 1.7 Extender. I think both systems are still very usable in their areas. MF has seduced me for the really great files and all of the strobe work.
Woody,Ray
I may be wrong but I thought there was an adapter to use V lenses on the Mamiya. If so you get the advantages of an open system and still get to use the great V lenses although I guess not with using the leaf shutter. Probably works like V lenses on the 203FE where the leaf shutter is locked open and the focal plane shutter of the body does the work.
Woody