Very nice image Don. Been thinking about a Wide DS, the 24 and 35 myself
Very nice image Don. Been thinking about a Wide DS, the 24 and 35 myself
Please stop spending my money. I saw the Cambo in Florida and got a little to excited about it. That is very dangerous
i am saving my pennies for that HTS 1.5, the HC TSE adapter... release scheduled for Jan.
I'm continuing my testing of the new Cambo RS 1000 going out this morning to an area less than an hours drive from my home in Tucson. This entire experience is exciting to me as up till yesterday I had never held or used a technical camera. My greatest concerns going into this was to master an entirely new capture workflow and the critical focus that I demand of my images; what I found that I've had little to no problems other than to remember to remove the lens cap (twice).
I was originally going to test a Cambo WDS however an actual paying customer came along and rented it leaving me with two choices; wait till an another time or use a brand new right out of the box RS 1000 - yeah it didn't take me long to decide. I'm glad the glitch in rentals happened as the RS 1000 is made specifically for digital and among other improvements Cambo placed all the movements on the back leaving the lens static. I'm not going into any depth review of this marvelous system seeing as how is has been completely covered earlier by Jeff.
Here's my impressions from using a TC for the first time and specifically the RS 1000. To sum it up I like it. I've used the 24 and 47mm lens that were supplied and find that for me the 24 is too wide and the 47 is nice. Please don't get me wrong both lens are great it just a matter of personal preference. When I place my order (are you reading this Chris?) I plan on ordering the system with a 35mm and eventually getting a 55mm.
I would not have the great opportunity to test this kit were it not for the great folks at Capture Integration and Chris and Dave.
So, here's a test image consisting of 2 images stitched into a panorama. Cambo RS1000 P45+ 47mm lens shot f/8 at 1/250. First image was shifted 10mm left and the second shifted 10mm right with the back centered and no rise.
So far I've found that working with this system is not as difficult as I made it out to be - I just have to remember the darn lens cap!
David - Thank you for the very kind words. The Mamiya 28mm and P45 is certainly usable even with the slight fall offs in the corners as I almost never use the entire image, rather seeing the image within the image. The 24mm on the Cambo is too wide for me however that's based on very limited testing so the jury is out till I use it next week at the North Rim; I am leaning towards the 35mm mainly as I won't be chained to a center filter and I'll be able to use shifts. Let me find the images from yesterday and I'll post a comparison of the two lens.
Guy - Too funny! Tell ya what I'll buy lunch when we finally meet in person.
One last thought is that I've found I don't need the viewfinder (at least so far) while composing the image that I want. So far it's been scary easy!
Jack or Guy - let me know if you'd perfer a new thread re the RS.....
Hello all. I just got to Iceland, but I have not had a chance to take too many images yet. It was sunny and Fall-like when I got here, but just two days ago we got the first snow! Winter comes quickly around here...and then it goes away and gives you more rain, then it comes back, then it goes away again...repeat until May.
Anyway, not too many images yet.
This a big iron smelter with Icelandic horses in the foreground.
This is a color version, just up the fjord from the last one.
And here is one from a town right across the bay from Reykjavik:
Nothing I am particularly proud of yet, but they are serviceable, so I figured I would post them. They were with the Hy6, emotion 54LV and the 80mm and 180mm lenses.
Stuart - I like the last one ...and my eye is asking for more width on the right ( water?) of the frame as we view it.
The church looks 'almost human' as if it is sitting there, defying the cold, the roof like folded arms under a cloak. A stong geometric contrast to the mountains on the left. Event the line of poles, mimicing the cross on the steeple, add to the structure defying the elements.
The B&W vs subtle color also contribute
very nice, Stuart: I like all 3.
Thank you all. Peter -- you are right about the right side there...I should have tried some more in that direction. If I remember correctly, I wanted some of the mountains in the frame, and I was too lazy to root around for the 40mm lens so I could have both!
As for the church, that little thing sticking out on the steeple is a sign that says "1857" -- so it has been sitting there in the cold for a very long time...at least very long for Iceland.
Stuart, I really like the first one!
Don do you have one of these from CI. If not have Chris send one out to you. They work great
is this for WB in front of the lens?
or like the Whibal, reflective?
It would be great to be able to shoot a reference for light BEFORE a series
Victor you need one of these . Take a shot with this on the lens than use as the reference to calibrate , works great.
I like the middle one in color - I find your rendering very film like, and I mean that as a compliment. Looks real, looks great!
Thanks Eric, but the compliments go to Thierry and the people at Sinar. That is basically the back as it outputs -- ISO 50, white balance set for daylight, and then a little bit of a curve to enhance the contrast (completely necessary, as the dynamic range of the backs is just huge...to get a more slide film like rendering requires quite a bit of black clipping). My experience is that in a photo, the eye does not know what to do with a huge dynamic range...it just looks dull. Even though we can see it in real life, I think the difference in our scanning vision versus the static display of a photo necessitates a photo that is much contrastier than the scene actually is in reality. Oddly, this unnatural contrast looks more natural to the eye.
After selling the entire Canon 1DsMKIII kit I'm now taking the H3D-II/31 to every wedding. It's fast enough and shoots excellent ISOs up to 800 ... although I use 200/400 most frequently. You just get addicted to the richer files and it spoils you. Since I provide every wedding client with 3 or 4 17"X22" display prints, it makes for a real show stopper of a presentation.
I am avoiding the 35mm DSLR as much as possible. So far I have been doing really well without and certainly shooting jobs that most folks would not take a MF but as long as i have ISO 800 and can use the Metz 54 effectively than those kinds of jobs seem to be fine. My biggest issue is the weight and long hours holding it but i can deal with that. Obviously the S2 would be better for me on a lot of work. So when that comes out just have to see how that may play out but honestly I am really happy with MF all around, just have to adjust to it sometimes. i have a wedding late this month for a friend. I don't normally do weddings but for friends I can at least do a couple a year. I may borrow or rent a Nikon maybe. LOL
I just like the look of the files. Marc's shot above is a great example of that
Recent shot of a leadwood (one of the hardest woods on the planet) sculpture by Zimbabwe artist, Mopho Gonde, taken for an upcoming charity event at Call of Africa Gallery, in Fort Lauderdale, Fl. in his honor and for the benefit of disabled veterans. Credit for the lighting concept goes to Guy and Jack from the recent lighting workshop and my friend Andre Rowe at TYE studios for setting up the 7 lights needed for this toaster oven sized piece of art. For the ecologically minded no live trees are cut down for any of this artist's work. BTW, it's a Cape Buffalo, one of the more dangerous animals (to man) in Africa.
BTW folks this is Davids bike that Jack and I lit at the workshop we used 10 lights and ran out of lighting. We could have used at least 5 more. Just never have enough light. Truly one of my favorite things to do in Photography is work with lighting. This shot was my camera but Jacks' P45 plus with a 80mm lens
Keep trying to get out each day now as we are nearing peak color time for foliage in the upper Midwest (Wisconsin). Here are a couple from the weekend.
Lovely colors, Kurt
I was just going back over some of my H3D 31 test shots and found this which I liked and thought I would share.
Four image stitch with a P45+ down in Long Beach by the docks.
Andrew - nice one. Can you tell me - is this a square 4 image stitch and then cropped?
Lovely shot Andrew! What is your exposure time like for this? At least several seconds by looking at the smoke...how do you control noise?
Here are a few I took yesterday. All Hy6 and 54LV:
(Yeah, I know, rainbows are gay. Hahaha. I am tolerant, what can I say?
These last two would probably both be black and white if I were doing it seriously. I just wanted to leave one in color so you can get the idea as to what it actually looked like:
Andrew's got that night shot stuff down. Great image!
Thanks Thierry. I have to say I am still loving the Hy6. I like the 54LV as well, though I am still figuring out how best to process the files and get the most out of the back. I wish there were someone around who could give me a real hands on tutorial on what things to look out for, how to set up white shading files, how to deal with black references, what sort of processing can give the back the best results and so on. I know much of the skill is finding these things out for yourself, but I must admit I am having some difficulties getting exactly what I want. I am sure it just takes time, but it would be nice if someone here (in Iceland) could help. I know that is pretty unlikely.
By the way, I am not in any way disappointed! I think it produces outstanding files, I just don't feel like I am making the most of them yet. In actually capturing them, the Hy6 is extraordinary -- it is so intuitive and easy to work with. It is quite amazing.
Thanks Thierry, Justin and Peter! The image is comprised of four horizontal shots combined in Photoshop with Photo merge. I was incredibly surprised to see how little noise there were in the images even when I tried to over expose them at 1.5 stops. I would have chosen ISO50, but the bridge I was on had a lot of large trucks passing behind me and I'm almost certain that the images would have been soft at 2.5 minutes.
Sorry about the image, it looks like there's some banding from converting it to SRGB!
Hey Thierry, if you need anyone to test out any of your backs at night, you can definitely give me a call
Hi Andrew - just some clarification if you dont mind. 4 horisontal shots within the AlPA MAX horisontal shift limits OR 4 horisontal shots meaning - a whole camera shift was included?
I ask because I didn thing that teh 35mm Schneider image circle was large enough for 4 horisontals without moving whole camera body laterally. Unless of course you had very large overlap percentage per shot?
Andrew -- GREAT shot! I assume you had the camera vertical and did four frames panning horizontally? And just to clarify, what was the exposure/aperture, and which lens?
If I remember, I believe each shot was at f/16, 1m15s @ ISO50. The long exposure capability with the Phase backs was one of the main reasons why I chose this manufacturer.
Hey Pete, I did not do the horizontal shifts on the 12 Max, there wasn't enough coverage to get the 170 degree view of the factories with a horizontal shift. I had to do some free transforming to get some of the distortion from the panoramic merge out of the image, I think it was a fair trade off in a bit of sharpness for a more natural look. I'm hoping that the Rodenstock 23HR will feed my hunger for super wide lenses when it comes out
Ahhh..I am asking because I am waiting for my Max to arrive and couldnt get my mind around how you got so much X&Y coverage with a simple horisontal movement using the Max's horisontal stops....and a wide angle..so I was thinking you must have done a large crop...
I look forward to your opinion re the rodenstock when you get it.
I've just finished a small ALPA lens test with Eric Staudenmaier that included the 24XL, 28HR, 35XL, 47XL and 72XL. The 28HR's max shift capabilities are about 12mm before the image becomes unusable. I would LOVE to try and do this same shot using a 47XL Digitar with it's absolutely ridiculous image circle. Though, I'm not too sure my Mac Pro will be able to handle a +10gig image!
I'll definitely report back as soon as the 23HR is released, that lens is like the Mamiya 28mm for Guy
I spent the past couple days at the North Rim of the Grand Canyon testing/evaluating a Cambo RS 1000 along with a P45+. The time spent was for me to see if I liked the system, could adapt to a new workflow, and more importantly capture images that would be of higher resolution and just all around better than what I've been using before (Phase 645, P30+ mainly with a Mamiya 28mm lens). Went to the North Rim in hopes of catching decent fall colors; spending the time in learning the technical aspects of shooting with a technical camera. We found that we were about a week to ten days early for the burst of colors and the sky was just plain crappy with no clouds in sight; here are samples from the past 3 days.
2 shots: 47mm; 10mm fall and 10mm shift either direction. I was standing right off the road shooting down into the path. f/11 @1/15 ISO 50.
two shots taken with Cambo RS 1000, P45+ and 47mm lens. ISO 50, Custom WB, f/11 @ 1/60 and 10mm shift left and right. Opened in CS3 Bridge, merged using bridge and PP in CS3.
North Rim view - single image f/11 @ 1/500 with 10mm fall
These sample just don't do justice to the images taken then again it's hard to really tell the quality of any image in a small JPEG.
My conclusion is that this system is very good to great; in fact I'm waiting to hear back from Chris at Capture Integration has to an order status. Once the order is placed I'll be selling my 28mm lens so stay tuned!
Once again I want to thank Dave and Chris at Capture Integration for allowing me the opportunity to have the equipment for the test.
The very reason I asked about exposure time --- and one of the reasons I chose Phase over other options too. I do primarily landscape, and at early dawn or later dusk, I need to go over one minute exposures with some regularity
The images look spectacular. I am glad that you see the difference the Cambo with movements and the superb image quality of the Digitar lenses.
You'll need to send us a new file for us to print for our wall in Miami with the change in seasons (and camera system).
You may also want to consider the Cambo Wide Compact System as well for a walk around compact camera w/o movements (the TC of the Cambo line) that shares the lenses and accessories with the RS.
Went out this evening quickly for a few shots with my newly acquired AFD and P30+. Unfortunately, the 30+ has a few issues and will headed back, but Chris at CI has been very helpful and a replacement is in the works.
This camera is great. Obviously clunkier than my Canon days, but the images... wow! So crisp. The WB and metering seem to be a lot more random than the Canon, so I'll have to be on my toes a bit while I learn things.
This shot isn't amazing by any means, but it's the best I got from my short trip out.
Welcome to the dark side
Nice fall colors, Justin!
It took me around a week before I stopped taking random pictures on my desk just to see how damn sharp everything was.