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Behind the scenes

T

tsjanik

Well-known member
dchew said:
On our last day together in Colorado, we found a lovely road near Mount Wilson that just kept going and going. We left the second half of the road for another year's investigation. It had one spot with a thick grove of aspens. This is the same location from which @jng and @diggles posted images. Both of these images have ~15mm lens rise with the Rodi 138f. As usual, it took a while to wait for the right combination of cloud cover and wind breaks. The woods were incredibly dense; there were almost no sky holes to touch up.

I was the last one to duck in the car as it started to rain.






Here is the ominous sky just before we headed down.


Dave
Click to expand...
Stunning Dave. Sticks #1 in particular.
Tom
 
rdeloe

rdeloe

Well-known member
My usual routine when a new lens shows up is to test it thoroughly on some familiar subjects, and then if it passes muster, take it out for some "field trials" to shoot the kinds of things I would use it for, the way I would use it. This is especially important when I've had to remount or rebuild the lens in order to use it on my outfit. That was the case with this Leica PC Super-Angulon-R 28/2.8, which I had to thoroughly rebuild to use as a lens for tilt and shift; in its unmodified form, it's just a shift lens.


R. de Loe _T2B2194.jpg​
After a bit more shimming last night to tighten up alignment of the mount, I took my hacked Super-Angulon out today for a quick field trial.

For a person who shot black and white almost exclusively since the late 1980s, I haven't made any black and white photos since April. I've gone "all in" on colour for a few projects, so I'm out of practice shooting for black and white. It's not my practice to make a picture and then decide black and white or colour when I'm staring at it on the computer. But that's what happened here. When I made the photo, I didn't see that this is obviously a black and white image.

This image used some swing along the face of the bridge. I needed f/16 to get enough in-focus detail on the right in the space between the abutment and the bridge.

R. de Loe GFX02924.jpg
Leica PC Super-Angulon-R 28mm f/2.8, hacked and remounted for use as a tilt shift lens.
 
GeorgeBo

GeorgeBo

Well-known member
I posted this image in the Technical Camera Images thread and thought I would post a behind the scenes here.

CFV II 50C on Cambo Actus with Nikkor-SW 65mm/4. -15mm rear vertical shift and a few degrees of front tilt.
Arca Swiss Core 75 on Robus RC-5570 Series 3 tripod. Backpack 5.11 Rush 24 with F-stop cube ICU

And an ugly mug shot my son took of me climbing back out from the waterfalls :)

George

B9679288-3.jpgIMG_4235-2.jpg


IMG_8493-2.jpg
 
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P. Chong

P. Chong

Well-known member
Still having fun with the Alpa 12 STC Silver Edition. Here is the former Supreme Court of Singapore. The building was remodelled, and now houses the National Gallery. The Supreme Court has moved a block away into new premises which look like an UFO...more in another post later.

This is also a rather famous corner featured in the Singapore Grand Prix. And a simple BTS with the Alpa.

nationalgallery.jpg

national-gallery-bts.jpg

More photographs from that session is found here.
 
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GeorgeBo

GeorgeBo

Well-known member
Posting a not so common behind the scenes from my holiday greeting shot in the Fun with MF thread.

I recently picked up a Kapture Group TrueWide sliding back from another member of the forums and had some fun with it today. Here are a few behind the scenes of the kit with the CFV II 50c and a Bronica NIkkor 75mm medium format lens adapted to the Copal No 3 shutter. I replaced the focusing screen with a Bright Screen that I had made with 13mm microprism field in the center and 44x33 framing lines to match the CFV sensor. Shimmed the focusing screen mount to match the focus of the digital back and am now good to go. :)

Thought you fellow gear-heads would like to see this kit ;)

George

B9679328.jpg

Z72_0361.jpgZ72_0362.jpgZ72_0364.jpg​
 
A

anyone

Well-known member
GeorgeBo said:
Posting a not so common behind the scenes from my holiday greeting shot in the Fun with MF thread.

I recently picked up a Kapture Group TrueWide sliding back from another member of the forums and had some fun with it today. Here are a few behind the scenes of the kit with the CFV II 50c and a Bronica NIkkor 75mm medium format lens adapted to the Copal No 3 shutter. I replaced the focusing screen with a Bright Screen that I had made with 13mm microprism field in the center and 44x33 framing lines to match the CFV sensor. Shimmed the focusing screen mount to match the focus of the digital back and am now good to go. :)

Thought you fellow gear-heads would like to see this kit ;)

George
Click to expand...
Glad to see that you have fun with the Kapture Group TrueWide and it's nice to see my old camera back in use! Love the look of the Nikkor.
 
dchew

dchew

Well-known member
Many of you know I have been preparing for the trip of a lifetime to Antarctica. I can't thank my brother enough, as he made this possible. Knowing I would not be able to use the technical camera from the ship, I sourced a whole GFX system. Some used, some new and some borrowed. That system worked fine during the trip with no issues. But I couldn't bear to not bring a minimal technical camera kit especially since part of the time we would be on land in Patagonia.

Cruises to Antarctica often include Zodiac cruises, kayaking and some landings with hikes or penguin assaults. It's the penguins who are more curious than the humans. The process associated with these mini excursions include bringing the ship into a bay and keeping it in one place while the activity is ongoing. Used to be an anchor did the job, but no more. Now there are digital anchors that use GPS to directly control the ship. The ship I was on was the National Geographic Resolution, and it has two of these crazy drives called Azipods. The screws are direct drive from electric motors, housed in the pod. That means two things. First, the Azipods can rotate 360 degrees independently. Combined with two bow thrusters and the digital anchor, the ship can sit in exactly the same spot without moving. And, the direct drive electric motors have very little vibration. How little? Well, that's what iPhone apps are for!



I've used this app in the past for some anecdotal tripod testing in wind. This is about equal to a slight breeze. As I mentioned in the Technical Camera thread, I got this crazy idea: If 1) the ship stays rock solid in one place, 2) there are no waves in the bay, and 3) the ship vibrations are low enough, can I...? No way. But does it hurt to try? Pixels are free. So I tried. Not just a single image either; a two-image stitch! Thanks to Glen Serbin for the action shot (from another day).



Here is the image from the Technical Camera thread, and a 100% crop below. I can't tell if there is any image degradation, and I have nothing to compare it to. But it appears pretty darn good to me.





And the stitching? Went together in PS just like any other two-image stitch I've done. So with the right ship and the right conditions, we can break convention.

Dave
 
dj may

dj may

Well-known member
dchew said:
Many of you know I have been preparing for the trip of a lifetime to Antarctica. I can't thank my brother enough, as he made this possible. Knowing I would not be able to use the technical camera from the ship, I sourced a whole GFX system. Some used, some new and some borrowed. That system worked fine during the trip with no issues. But I couldn't bear to not bring a minimal technical camera kit especially since part of the time we would be on land in Patagonia.

Cruises to Antarctica often include Zodiac cruises, kayaking and some landings with hikes or penguin assaults. It's the penguins who are more curious than the humans. The process associated with these mini excursions include bringing the ship into a bay and keeping it in one place while the activity is ongoing. Used to be an anchor did the job, but no more. Now there are digital anchors that use GPS to directly control the ship. The ship I was on was the National Geographic Resolution, and it has two of these crazy drives called Azipods. The screws are direct drive from electric motors, housed in the pod. That means two things. First, the Azipods can rotate 360 degrees independently. Combined with two bow thrusters and the digital anchor, the ship can sit in exactly the same spot without moving. And, the direct drive electric motors have very little vibration. How little? Well, that's what iPhone apps are for!



I've used this app in the past for some anecdotal tripod testing in wind. This is about equal to a slight breeze. As I mentioned in the Technical Camera thread, I got this crazy idea: If 1) the ship stays rock solid in one place, 2) there are no waves in the bay, and 3) the ship vibrations are low enough, can I...? No way. But does it hurt to try? Pixels are free. So I tried. Not just a single image either; a two-image stitch! Thanks to Glen Serbin for the action shot (from another day).



Here is the image from the Technical Camera thread, and a 100% crop below. I can't tell if there is any image degradation, and I have nothing to compare it to. But it appears pretty darn good to me.





And the stitching? Went together in PS just like any other two-image stitch I've done. So with the right ship and the right conditions, we can break convention.

Dave
Click to expand...
Very nice. I guess you have to go back. 😉
 
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