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Technical Camera Images

2jbourret

New member
Ed, I just received my 47 back from Cambo, freshly mounted for T/S. I'm having quite a bit of trouble with my LCCs in C1, can't fully overcome the magenta/green cast in certain shots. There's just a bit showing in this image, and in the sky area that's been cropped, it was very evident.
I am happy to find that getting a handle on the correct amount of tilt for differing tripod heights hasn't been too difficult, even with the P45+ display (vs. the IQ display).
 

cmb_

Subscriber & Workshop Member
Jaime - always nice compositions but the layering of the different hues throughout this image really grabs me.

Ed - It is great to see how you really worked that area around the mill for many great shots over several visits to the location. Thanks for sharing because I am gaining a lot from looking at your images and understanding your procedure.
 

etrump

Well-known member
Ed, I just received my 47 back from Cambo, freshly mounted for T/S. I'm having quite a bit of trouble with my LCCs in C1, can't fully overcome the magenta/green cast in certain shots. There's just a bit showing in this image, and in the sky area that's been cropped, it was very evident.
I am happy to find that getting a handle on the correct amount of tilt for differing tripod heights hasn't been too difficult, even with the P45+ display (vs. the IQ display).
I don't have T/S on any of my lens (yet) but I'm sure you need an LCC exposure for every shot. Of course, Phase strongly suggests a new LCC for each exposure. There are slight differences even between f/11 and f/8 all things being equal.
 

2jbourret

New member
Bill, cmb, Ed, thank you. I do look for opportunities to use layers to create 3-dimensionality and compositional geometries in my images. The new t-s mount for the 47mm should really facilitate that, as I've always felt 'dof challenged' since leaving the 35mm world.

Ed, you are right, it seems that I'll have to become much more disciplined about shooting an LCC frame for every shot I do now. Far too many variables now to use a 'stock' set of LCC's like I had in the past. I set out to do that as I began using the t-s lens, but quickly
forgot and became much less regular about it.
 

jotloob

Subscriber Member
I love this one, I'll be it is very interesting in a large print.
Ed
In fact I have shot one image per row and they really turn out great when enlarged to say 40x50 or a little above .
Unfortunately I took only one LCC shot for all shots , which turned out to be a big mistake as not all CC could be properly corrected .
So I have learned , you must take an LCC shot for each image .



Cambo RS, SK 150mm, IQ180. F/11, 1 sec, ISO 35.
Six shot stitch with some multiply in the middle to offset darkness of the framing from the foreground trees. Normally I would open the shadows in the framing but I liked the rich greens and reds on the sides.



If you've ever been to this location, to get this angle you are a fair ways from the mill. I can't remember a location that has so many good compositional options from totally different angles.

Cambo RS, HR23, IQ180. F/11, 5 Seconds, ISO 50:

Glade Creek Grist Mill .
Yes , a very famous location . I think , this mill was shot a couple of million times . I have seen many good images of this object , but you have done an
extremely good job by working out the details in the middle . :thumbs:
I am fascinated by the softness of the reflections in the foreground . Would you be prepared to sell a print ? ? ? of the first big image ? ? ?
You can PM me .

I used to shoot many landscapes here in Germany and France in B/W when I was still shooting LF .
But I do not shoot landscapes any more , because all attractive locations here are shot so many times and you will find postcards everywhere .
 

Jack

Sr. Administrator
Staff member
Ed
In fact I have shot one image per row and they really turn out great when enlarged to say 40x50 or a little above .
Unfortunately I took only one LCC shot for all shots , which turned out to be a big mistake as not all CC could be properly corrected .
So I have learned , you must take an LCC shot for each image .
Jurgen,

Just an FYI, but you can take the LCC after the fact if you know your rise, shift, tilt, aperture and of course lens. So if the image was a simple shift to each side, then getting the missing frames now would be easy. Of course you need to apply them to the singles, then process out and re merge and process as a new pano, but the point is that it can be done.
 

jotloob

Subscriber Member
Jurgen,

Just an FYI, but you can take the LCC after the fact if you know your rise, shift, tilt, aperture and of course lens. So if the image was a simple shift to each side, then getting the missing frames now would be easy. Of course you need to apply them to the singles, then process out and re merge and process as a new pano, but the point is that it can be done.

Jack

Yes I agree to what you say .
I was only aware of my mistake , when I offloaded the images from the CF card at home . No chance of having the same light situation again and today the building is locked . Therefore I tried several LCC (from my library) and have chosen the one which works best for me with some additional post correction in PS .
 

Swissblad

Well-known member
Lovely - these images are simply stunning - please keep posting.
I really like the matted frame as well.
 

danlindberg

Well-known member
Ed, I made it as a template with a few layers in photoshop. I have different files for vertical, horizontal, square and panos. So from original file I downsize to 13,34x10cm still at 300dpi (standard ratio from the Aptus) and simply copy/paste into the right layer, then downsize further and 'save for web'.

I have already sent a .psd template file to half a dozen members here, so whoever needs/wants one, it is just to pm your email and I send it :)
 

jlm

Workshop Member
woody:

we new yorkers love this sort of scene...a miniskirted babe, marching, modern architecture, a lurker, a hidden urban oasis in midtown and a 50 year old wooden water tower
 
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Jack

Sr. Administrator
Staff member
Jack

Yes I agree to what you say .
I was only aware of my mistake , when I offloaded the images from the CF card at home . No chance of having the same light situation again and today the building is locked . Therefore I tried several LCC (from my library) and have chosen the one which works best for me with some additional post correction in PS .
You do not need the same light conditions -- the LCC maps the sensor differential only. So if you use the same lens, at the same focus point, same aperture, and same shift movements, and then shoot the sky or a brick wall, it should be near perfect :) Library LCC's are fine, but only if you have one with the EXACT same shift movements and aperture.
 

jotloob

Subscriber Member
You do not need the same light conditions -- the LCC maps the sensor differential only. So if you use the same lens, at the same focus point, same aperture, and same shift movements, and then shoot the sky or a brick wall, it should be near perfect :) Library LCC's are fine, but only if you have one with the EXACT same shift movements and aperture.
Thanks Jack
:thumbup:

I will give that a try and keep in mind for future use , if required .
Hopefully not , as I have changed my workflow to strictly shoot an LCC for each image after the actual shot . That works best for me .

For me you seem to be the LCC-expert and I appreciate your contributions very much .
 
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