The GetDPI Photography Forum
Great to see you here. Join our insightful photographic forum today and start tapping into a huge wealth of photographic knowledge. Completing our simple registration process will allow you to gain access to exclusive content, add your own topics and posts, share your work and connect with other members through your own private inbox! And don’t forget to say hi!
Behind the scenes
- Thread starter danlindberg
- Start date
dchew
Well-known member
Is that a right handed smoke shifter? I’ve heard about those but never actually saw one before.
Dave
Last edited:
JeffK
Well-known member
Along the dinosaur trail in Alberta’s badlands
it will be days before I’m able to process raw files.
unfortunately, too many folks around the hoodoos at Drumheller to setup a tech cam, but was able to use an iPhone14pro to create some images
Made our way to the Dinosaur Provincial Park…
it will be days before I’m able to process raw files.
unfortunately, too many folks around the hoodoos at Drumheller to setup a tech cam, but was able to use an iPhone14pro to create some images
Made our way to the Dinosaur Provincial Park…
Last edited:
Not MF, but here's a messy behind-the scenes set up. Note the heater to raise the temperature displayed by the thermometer.
And the final image (star filter highlight added in post, but there was a backlit highlight there. No other post was done, all in-camera as shown in the BTS:
And the final image (star filter highlight added in post, but there was a backlit highlight there. No other post was done, all in-camera as shown in the BTS:
JeffK
Well-known member
Very Sugimoto
John Leathwick
Well-known member
A first post from me in this fascinating thread. We had some beautiful spring weather last week, and headed up into the Hakatere basin on the eastern side of New Zealand's Southern Alps where a lot of scenes from Lord of the Rings were shot. The setup shot taken by my wife with her tablet, the main event was shot as a two-image flat stitched panorama with a Mamiya RZ 140 macro and Fujifilm GFX 50SII, coupled together with an F-Universalis.
John
John
P. Chong
Well-known member
the Mamiya 140Macro is an interesting lens. I have the RB version, not sure if optically similar as your RZ. The optics are certainly superb, and when mounted on the RB is nowhere near macro, it needs extension tubes. Of course on a view camera, this limitation is not there. I tried it on my Sinar 4x5, and the image circle is enormous, easily covering the entire large format film.
John Leathwick
Well-known member
I bought the 140Macro to provide a bit more working distance for macro with my F-Universalis. For macro, it is very close in performance at 1:2 to my Schneider ApoComponon HM90, which I had previously regarded as my best macro option, with both of these clearly ahead of the Olympus bellows macro lenses (80 and 135mm) that I had used previously. However, it has also surprised me as an option for landscape, provided that the floating element is set to infinity. And as you say, the coverage is immense - I can use the full 25mm of lateral shift on my F-Universalis without any appreciable drop in resolution or illumination.
-John
Will Deleon
Well-known member
Decided to walk down to the beach before dinner was ready. The kids love coming out to run around, especially since the weather is cooler in Los Angeles. I'll post more shots on other threads 
.
IQ4 150, Cambo 1250, Rodenstock 45mm Digital
.IQ4 150, Cambo 1250, Rodenstock 45mm Digital
dj may
Well-known member
Turning negatives to positives. I shot the original with a 6x6 camera from a small airplane in Alaska in 1978. I mount the Leica S3 with APO-Macro-Summarit-S 120 lens on a very sturdy copy stand (@Charles S ) with a Arca-Swiss Core Level 75. The negative is placed in an enlarger negative carrier on a light panel. All surfaces are leveled so that the negative and camera sensor are parallel.
cunim
Well-known member
This is an admission of defeat. You can see from the first image that my camera is totally maxxed out. I can't tilt any more because the metal of the frames is conflicting. I can't even focus close enough - for the same reason. At the 0.7:1 reproduction ratio you get a grouping of factors that make movements problematic. So after struggling for a while and ending up like this, I recomposed the image, reset the movements, and stacked.
As to the image, it is part of my project documenting antique fountain pens with calligraphic nibs. This is a Wahl Eversharp Doric carrying the funky adjustable nib that Wahl introduced in the 1930's. A pleasure to use. The phrase is one my wife likes. The word under the body of the pen is "draft".
As to the image, it is part of my project documenting antique fountain pens with calligraphic nibs. This is a Wahl Eversharp Doric carrying the funky adjustable nib that Wahl introduced in the 1930's. A pleasure to use. The phrase is one my wife likes. The word under the body of the pen is "draft".
Last edited:
for the shots like that, Sinar cameras are made for. You can tilt front and rear standards by more than 60 degrees each in any direction you want. Adjusting these cameras for Scheimpflug principle is a breeze. You could easily shoot the scene above with everything in sharp focus, including the ink tank, without any stacking.
cunim
Well-known member
Used to have an 8 x 10 P2. Always wanted to try a P3 with digital, but the problem here is not the amount of tilt the camera can do. Really, this is an abnormal situation and it's all my fault.
Normally, a telephoto lens uses the standards to focus so I would have a large bellows extension to work with and lots of room for tilt and swing. In contrast this 138 float lens uses the floating element to focus internally and the distance between the standards is short. In the camera picture you will see the base of the tilted front standard is hitting the base of the vertical rear standard. The camera could tilt more but my lousy technique prevented that. That's sort of the point of this post - showing how badly a view camera setup can be done.
I should have removed the rotaslide to bring the back deeper into the camera body. That would put about 1 cm more distance between the standards and I think it would have all worked then. Usually, I can get this lens to work superbly well for tabletop. Just this time I decided to stack instead. For some reason, I always feel sad about doing that.
I let the ink and part of the writing transition to blurry on purpose. Makes stacking a bit less boring but might have been a mistake. No shortage of those here.
Last edited: