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Technical Camera Images

rayyen

Member


Special thanks to Phase One Hong Kong lending this back for me to test during weekend.

This photo was take by:
Alpa 12 STC
Alpagon 40mm/f4.0
Phase One IQ3-100
2 photos stitch into 1

- - - Updated - - -



Special thanks to Phase One Hong Kong lending this back for me to test its capability.

This photo was take by:
Alpa 12 STC
Alpagon 40mm/f4.0
Phase One IQ3-100
2 photos stitch into 1
 
it's been a long time since i posted some images here - though watching this thread regularily. it's always a pleasure thank you guys!


some weeks ago i've been to venice/italy. looking for misty days, but all i've got was sunshine - but no reason to leave the camera in the bag anyway :D
arca rm3di with hasselblad cfv-50 and schneider 43XL (2shot horizontal shift)
 

Attachments

beano_z

Active member
Beano,

What is your take on using the 32HR lens? Many photographers here on the forum talk about issues with potential distortion, or unevenness when stitching, but then I see these great pristine images, that make me think that the lens really is capable of rendering some great landscapes without too much post-processing. I am intensely debating right now going with either the 32HR versus the 40HR lens.
I am thinking that I am leaning towards the 40HR at this time, so that I can avoid using a center filter, or even a LCC, and still stitch together some fine landscapes relatively seamlessly.
I think I might confuse you even more when I tell you I did not use any centre filter nor shot any LCC's for any of my images. Of course, I don't intend to make any money out of them, so I never was bothered, there are obviously lots of more demanding users who can only accept perfect images. I do run the files through the ALPA lens corrector to straighten things out before stitching, which does help a lot with straight lines, it's a piece of cake in Photoshop, not tedious at all. However, post-processing is required and often lots of it, but my feeling is it's got more to do with my digital back / shooting style than with the lens, I do a similar amount of post processing no matter which lens I use.

From my limited experience, the biggest PITA when using the 32 is filters, like ND's and GND's. The 86mm from by itself is already big, but you'll need to go even bigger when buying filters if you want to keep any margin for shifting (and / or stitching). The 32 is also a much larger and heavier lens than the 40, do keep that in consideration if you already have lots of stuff in your bag already.

Anyway, I guess I've written a lot of stuff which should fit better in another post, if you want to hear more practical experience on the 32 from an amateur shooter, just PM me ;)
 

Smoothjazz

Active member
Thanks Beano.
I am debating whether I would want to have the 40mmHR versus the 32mmHR lens as my wide angle lens, but there are certainly pros and cons for these fine lenses. I already have a 50mmHR, but it is a bit of an in-between focal length (still an excellent optic). I do some high mountain hiking and photography, and the idea of another very large lens in my backpack is somewhat painful- I am already at my weight limit. I am leaning towards the 40mm lens, thinking that I could always stitch together a really wide composition when the need arises.
In any event, before I purchase, I plan to try each lens, as they can be rented from Capture Integration.
 

Pelorus

Member
shrine-stitch-04_shrine-stitch-06-lores.jpg

Melbourne from the Shrine of Remembrance.

"They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning,
We will remember them."

Alpa STC SK 48 Leaf Aptus II-7 3 image stitch with 10mm shift.

Apologies for the whie box...It's a text box with my name which I can't edit for some reason :-(
 

H3dtogo

New member

70HR, Arca, IQ380
Great picture of one of our national landmarks :) It is one of the few buildings that has a company doing an active copyright infringement search for any use without payment :-(
That building is payed with taxpayers money but the family Waterkeyn (the architect) receives hundreds of thousands of euros for any kind of use of any kind of image from the Atomium.
 

Pelorus

Member
Great picture of one of our national landmarks :) It is one of the few buildings that has a company doing an active copyright infringement search for any use without payment :-(
That building is payed with taxpayers money but the family Waterkeyn (the architect) receives hundreds of thousands of euros for any kind of use of any kind of image from the Atomium.
That's extraordinary. I'd be interested to understand the basis for their claims. That's a bit like saying "I designed my house so you must pay me for any photos of it, even though you stand in a public street to take the photo". Or am I missing something?

Edit: The link to these claims is here. It's interesting that they assert "author's rights". I wonder if it would stand up to the test of the courts. (Edit: I'm now disabused of my naive view about photographs and understand the highly limited law in some countries) Imagine such a claim by the family of Utzon for the Sydney Opera House for instance.

An then I find myself here. To learn that, in this respect at least, I live in one of the freer countries in the world.

It's a sad state of affairs with tendencies to even less availability of sensible freedoms.
 
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GrahamWelland

Subscriber & Workshop Member
Great picture of one of our national landmarks :) It is one of the few buildings that has a company doing an active copyright infringement search for any use without payment :-(
That building is payed with taxpayers money but the family Waterkeyn (the architect) receives hundreds of thousands of euros for any kind of use of any kind of image from the Atomium.
There are a surprisingly large number of sights that have copyright protection and licensing requirements. This is an interesting list but by no means comprehensive at all. Even things like the tree on the rock at Pebble Beach is theoretically off limits.
 

jlm

Workshop Member
recognizable car brands?

porche, flatiron bldg, rockefeller center? exterior of stock exchange?

i would venture to say these prohibitions get violated daily

makes me want to paraphrase Charlton Heston (of all people) "...my cold dead shutter finger"
 

GrahamWelland

Subscriber & Workshop Member
recognizable car brands?

porche, flatiron bldg, rockefeller center? exterior of stock exchange?

i would venture to say these prohibitions get violated daily

makes me want to paraphrase Charlton Heston (of all people) "...my cold dead shutter finger"
I would think that these all fall under commercial/editorial use of the images but not to the personal work that people show here. I agree with you that I would flagrantly ignore any of these 'restrictions'. The Eiffel Tower and London Eye and UK National Trust properties are a few of the locations where I've definitely run into the tripod police restricting what they consider "Commercial" shooting vs personal.
 

jlm

Workshop Member
i got stopped one time shooting large oil tanks from a public road in Bayonne. they "made" me delete the images, so i showed them the play back of the images, and when i went to the next one, they assumed i was deleting. he,he

 

Wayne Fox

Workshop Member
So they finally solved the mystery of the moving rocks. Pretty simple explanation, takes a little of the fun out, but they are still cool to shoot. Getting better with tilt focus, can usually dial it in with Live View in about 20 to 30 seconds.


Arca Swiss rm3di, IQ3 80 back, Rodenstock 40 HR-W, 1/30th at f/16, ISO 50.
 
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