Will Deleon
Active member
Good to see some product photography on here !
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Behind the scenes
- Thread starter danlindberg
- Start date
P. Chong
Well-known member
A sad BTS for us (me and my son) yesterday. We were set to photograph the changing of the guards at the Singapore Istana (President's Palace), when we made a series of mistakes on the Sinar X. First, after composing, focusing and loading the film carrier, we set correct exposure. Rear fall of 18mm, shutter speed 1/100s at f/11. We cocked the shutter, opened the dark slide, ready to shoot at the right moment. Last minute decided to recompose, just plain took out the film carrier with the open dark slide. Sheet #1 gone! Quickly did the recompose, and slid in the other side of the film carrier, opened the dark slide. And realised the shutter is not closed nor cocked, after we reopened it to recompose! Sheet #2 gone! Two sheets of (very precious) Provia RDP III gone! Sigh! Took this BTS scene (GFX 50s II with GF50) of Edward, my son, checking focus before these series of errors. We did not have any more film, so the scene was uncaptured.
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4x5Australian
Active member
To avoid such foul-ups after pulling the dark-slide, I found it helpful to keep holding the dark-slide in my right hand (which is my dominant hand) so that I'm prevented from using that hand until I replace it.
From that moment, I am able to use my left hand to pick up the end of the shutter release cable and trigger it to make the shot, but that's about it.
By holding the dark-slide that way, as if it's a sheet of sticky paper sticking to my hand, I'm forced to be aware that the dark-slide is out. Even if other people start talking to me.
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jotloob
Subscriber Member
I think , we all made funny faults , when shooting with a field camera . I my case ARCA SWISS 4x5 inch .
On a windy day , I was shooting a waterfall , meaning a longer exposure time . I pulled out the darkslide , but not a 100% , so that I had my right hand free .
The wind found the darkslide to be a nice toy and therefore caused vibrations . This was only found out , after the film was developed at home . 150km of driving was wasted , but a new experience was gained .
On a windy day , I was shooting a waterfall , meaning a longer exposure time . I pulled out the darkslide , but not a 100% , so that I had my right hand free .
The wind found the darkslide to be a nice toy and therefore caused vibrations . This was only found out , after the film was developed at home . 150km of driving was wasted , but a new experience was gained .
rdeloe
Well-known member
As a wise person once said, "If it doesn't kill you, it can still ruin your photo."
GeorgeBo
Well-known member
Ed Hurst made a post in another thread about speed boosters and that sent me down a rabbit hole. So I am blaming him for my latest acquisition 
I ended up getting a Metabones adapter for Hasselblad V to GFX and took it out for a field trial today.
I revisited a waterfall that I have not been to since late last fall after all the leaves had fallen. I wanted to see what the place looked like in full greenery. Below is one of the shots taken today and a few behind the scenes of the kit. This was with the 80mm 2.8 Planar CFE with a B+W 10 stop ND filter. My go to hiking kit consists of using a Peak Design carbon travel tripod with an Arca Swiss Core 60 on the PD universal head adapter. This may not be the most rigid tripod but it is always on the side of my pack. As long as it is not really windy I have never had a problem with it with heavy medium format gear.
The Metabones speed booster along with the Hassy V lens makes for a heavy kit but well worth the effort. I even carry the combo mounted to the front of my packs shoulder strap with the Peak Design Capture clip. (Can you tell I like PD gear )
I ended up getting a Metabones adapter for Hasselblad V to GFX and took it out for a field trial today.
I revisited a waterfall that I have not been to since late last fall after all the leaves had fallen. I wanted to see what the place looked like in full greenery. Below is one of the shots taken today and a few behind the scenes of the kit. This was with the 80mm 2.8 Planar CFE with a B+W 10 stop ND filter. My go to hiking kit consists of using a Peak Design carbon travel tripod with an Arca Swiss Core 60 on the PD universal head adapter. This may not be the most rigid tripod but it is always on the side of my pack. As long as it is not really windy I have never had a problem with it with heavy medium format gear.
The Metabones speed booster along with the Hassy V lens makes for a heavy kit but well worth the effort. I even carry the combo mounted to the front of my packs shoulder strap with the Peak Design Capture clip. (Can you tell I like PD gear
)
Ed Hurst
Well-known member
Here's an image I posted last week on the usual thread, which used Fuji GFX100S and Laowa 20mm shift lens (at max shift).
Long Gully Bridge, Sydney by Ed Hurst, on Flickr
What you can't see from this image is how bad the flare problem was in this situation. That bright light on the bridge was not playing nicely with the lens at all. As a side-point, this was not the case with my other lenses, made by Pentax, which handled that light much more gracefully. But they aren't 20mm shift lenses, so everything's a compromise!
Anyhow, here's a shot showing the flare... (processed horribly so that it's easier to see)
_DSF3424 by Ed Hurst, on Flickr
And now some images showing what I did about it (sorry about the quality of these - quick 'phone grabs). I set up my secondary tripod with a dark blanket to block the view of the light from the lens when shooting the stars for about 90 mins. I then took shots without that assemblage in the way (there was no troublesome flare on the bridge itself) and then composited the files together.
MicrosoftTeams-image (31) by Ed Hurst, on Flickr
MicrosoftTeams-image (32) by Ed Hurst, on Flickr
MicrosoftTeams-image (33) by Ed Hurst, on Flickr
Here's a camera shot showing the scene with the set-up blocking enough of the light (processed similarly to demonstrate the absence of flare):
_DSF3428 by Ed Hurst, on Flickr
Worth it in the end!
P.S. I have decided that this fully corrected shot is 'too corrected' - so the version I end up using seriously will not be quite as straight as this one...
Long Gully Bridge, Sydney by Ed Hurst, on FlickrWhat you can't see from this image is how bad the flare problem was in this situation. That bright light on the bridge was not playing nicely with the lens at all. As a side-point, this was not the case with my other lenses, made by Pentax, which handled that light much more gracefully. But they aren't 20mm shift lenses, so everything's a compromise!
Anyhow, here's a shot showing the flare... (processed horribly so that it's easier to see)
_DSF3424 by Ed Hurst, on FlickrAnd now some images showing what I did about it (sorry about the quality of these - quick 'phone grabs). I set up my secondary tripod with a dark blanket to block the view of the light from the lens when shooting the stars for about 90 mins. I then took shots without that assemblage in the way (there was no troublesome flare on the bridge itself) and then composited the files together.
MicrosoftTeams-image (31) by Ed Hurst, on FlickrMicrosoftTeams-image (32) by Ed Hurst, on FlickrMicrosoftTeams-image (33) by Ed Hurst, on FlickrHere's a camera shot showing the scene with the set-up blocking enough of the light (processed similarly to demonstrate the absence of flare):
_DSF3428 by Ed Hurst, on FlickrWorth it in the end!
P.S. I have decided that this fully corrected shot is 'too corrected' - so the version I end up using seriously will not be quite as straight as this one...
Greg Haag
Well-known member
Great shot Ed, thank you for the detailed BTS!Here's an image I posted last week on the usual thread, which used Fuji GFX100S and Laowa 20mm shift lens (at max shift).
What you can't see from this image is how bad the flare problem was in this situation. That bright light on the bridge was not playing nicely with the lens at all. As a side-point, this was not the case with my other lenses, made by Pentax, which handled that light much more gracefully. But they aren't 20mm shift lenses, so everything's a compromise!
Anyhow, here's a shot showing the flare... (processed horribly so that it's easier to see)
And now some images showing what I did about it (sorry about the quality of these - quick 'phone grabs). I set up my secondary tripod with a dark blanket to block the view of the light from the lens when shooting the stars for about 90 mins. I then took shots without that assemblage in the way (there was no troublesome flare on the bridge itself) and then composited the files together.
Here's a camera shot showing the scene with the set-up blocking enough of the light (processed similarly to demonstrate the absence of flare):
Worth it in the end!
P.S. I have decided that this fully corrected shot is 'too corrected' - so the version I end up using seriously will not be quite as straight as this one...
Knorp
Well-known member
Exactly my observation too, Ed. 100% vertical correction could be very unrealistic in some situations, especially when shooting a tall subject from a low viewpoint.
With the lens shift I try to correct as much as possible and then the final keystone adjustment with C1P.
Then I step back, so to speak, and lower the vertical correction to a point that - to my eye - a more or less natural looking perspective is achieved.
Kind regards.
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Maxx9photo
Active member
From today’s nature walk.
Maxx9photo
Active member
I thought it was only behind the sceneAnd where is the final image ? ? ?
Here's one, Frame averaged
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tallulah gorge?
Maxx9photo
Active member
Yes Sir!
GeorgeBo
Well-known member
I was only a few miles east of you at Brasstown Falls. Small worldYes Sir!
I have a BTS shot to share but was shooting film. Will have to wait until I am back home and get it developed later this week
Maxx9photo
Active member
I’m planning to visit there next!I was only a few miles east of you at Brasstown Falls. Small world
I have a BTS shot to share but was shooting film. Will have to wait until I am back home and get it developed later this week
Here's a behind the scenes shot to go along with the image I recently posted here. Other than some friends who wandered over after a while, I had this magical location all to myself for most of the morning - a rare treat.
Occasionally a big wave would develop out near the sea stacks and send the water right up against the rocks in the immediate foreground, where I had planted the forward tripod foot. I decided to call it a day when the water actually came over the rocks and I found myself standing shin-deep in water as I was squeezing off the shot. Luckily the camera stayed dry, although the force of the water made the shot blurry. Ironically, at some point earlier in the morning I remembered to turn off IBIS so who knows what might have been?
BTW, I used Phocus 2 on my iPhone to trigger the shutter. It's quirky and is need of a few updates to correct some notable shortcomings (e.g., no live view, disabled image review in camera when connected), but it worked flawlessly in this environment. YMMV, of course!
John
Occasionally a big wave would develop out near the sea stacks and send the water right up against the rocks in the immediate foreground, where I had planted the forward tripod foot. I decided to call it a day when the water actually came over the rocks and I found myself standing shin-deep in water as I was squeezing off the shot. Luckily the camera stayed dry, although the force of the water made the shot blurry. Ironically, at some point earlier in the morning I remembered to turn off IBIS so who knows what might have been?
BTW, I used Phocus 2 on my iPhone to trigger the shutter. It's quirky and is need of a few updates to correct some notable shortcomings (e.g., no live view, disabled image review in camera when connected), but it worked flawlessly in this environment. YMMV, of course!
John