I can’t be sure from the photo, but looks like you could have flipped the rear format frame around as well. (The Rotamount doesn’t work in that configuration, but if you’re removing it anyway…) That would have given you even more space between the standards.
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Behind the scenes
- Thread starter danlindberg
- Start date
cunim
Well-known member
Hmmm. Never thought of that. Do you mean rotate the entire rear standard on the rail? It would be interesting to start a thread about hacks to get more extreme movements. I would be interested but few of us need such hacks, I think. The old days of contorted bellows are gone and very few digital lenses can handle large movements. The 138 is exceptional but, in contrast, the (more practical) Rodie 120 macro would be showing me abstract art at these tilts. So it comes down to a personal decision as to when stacking is better than moving and with most digital lenses, I would stack before I need extreme movements. Now that would make a more interesting topic than hacks. When is moving a better option than stacking?
MGrayson
Subscriber and Workshop Member
A theoretical answer, mind you. Straight stacking is very good at getting things *in* focus. Tilt is good at getting a smooth transition from in focus to OOF. To get the tilt "look" from a stacked image, you would have to hand-paint the masks to overcome the stacking software's desire to get detail everywhere. Maybe that's not difficult, and maybe the results look nice even if done inexactly. That I can't say.
Software to simulate tilt would be possible, and for all I know, exists. But I doubt you'd get the same look.
But the interesting possibility is stacking WITH a tilted setup. This produces adjacent wedges of in-focus image. Moving the rear standard by fixed small amounts will make equally overlapping in-focus wedges.
Matt
Will Deleon
Well-known member
BTS and final of some recent product work for toy brand.
Shot on IQ4 150, Rollei X Act II, Rodenstock 120mm macro. Heavy front tilt to minimize focus stacking. Only 3 images vs 8-10 with no tilt.
Shot on IQ4 150, Rollei X Act II, Rodenstock 120mm macro. Heavy front tilt to minimize focus stacking. Only 3 images vs 8-10 with no tilt.
FloatingLens
Well-known member
the old man by FloatingLens, on Flickr
Hasselblad 903SWC * Hasselblad CF Biogon T* 4,5/38 * Ilford FP4+
Behind the scenes with the Hasselblad SWC on the Isle of Skye.
Taking lens is the Hasselblad XCD 3,2/90.
Trotternish, UK. September 2023.
rdeloe
Well-known member
From a new project, Nothing Special. https://www.robdeloephotography.com/Works/Small-Projects/Nothing-special/
Fuji GFX 100S on Arca-Swiss F-Universalis using Schneider-Kreuznach APO-Componon HM 90mm f/4.5 in Makro-Iris mount.
Fuji GFX 100S on Arca-Swiss F-Universalis using Schneider-Kreuznach APO-Componon HM 90mm f/4.5 in Makro-Iris mount.
FloatingLens
Well-known member
dwellers among the clouds by FloatingLens, on Flickr
1/80s f11 @ ISO 100 • Hasselblad XCD 3,2/90 • Hasselblad X1D II 50c
FloatingLens
Well-known member
Greg, what a stunning result! If I may, how is this laptop mounting solution called?
MGrayson
Subscriber and Workshop Member
Greg,
If that's from a single capture, I have no idea how you lit that. Amazing result in any event!
Matt
Greg Haag
Well-known member
Thank you! The laptop mount is from a company called Inovativ. So far, it has been the lightest/most portable solution I have found. I would normally have it on the same tripod as my camera but for images like this that involve a composite of multiple images I mount it to a separate tripod.
DigiSystem Lite Kit
DigiSystem Lite Kit includes DigiPlate Lite, DigiClamps (Laptop, Universal), and your choice of a DigiBase or DigiBracket. This kit offers a lightweight solution for on-location tethering needs. Whether mounted to a rolling stand, C-Stand, tripod, or packed in a backpack, it provides a highly...
inovativ.com
Greg Haag
Well-known member
Thank you Matt! This is a composite of 19 images, 16 images of the car and 3 of the house and outdoor lighting. I opened these as layers in Photoshop. The needed 3 on the house and outdoor only to balance the different intensities. On the 16 images of the car, I did the following. I used a large LED light panel on a telescoping painters pole with 6 second exposures in otherwise near complete darkness (house lights were off) walking the length of the car. Here you have to be careful not to let the light hit you or you get ghosting that is nearly impossible to remove, I believe there were 3 of these. Next I used a small LED with a grid to accent the details, such as the trunk, tires, hood ornament, etc. I then took these images into photoshop, a composite of the images of the house served as my base image. Next, I begin on the car by taking the images with the large LED panel, one by one I lasso the parts of the image I want to use and then click layer mask and change the blend mode to lighten. I repeat this process with each of my selected images. If I would of had more time I would have lit, shrubs, trees, and the house but we had people coming over for dinner. (It is also important on the car to white balance each light source)
cunim
Well-known member
Do you have a link to a bigger version of that foggy image? Something about it .....
dj may
Well-known member
I do, however not on the internet. I will be placing this image on my website soon, as well as other images from my 12 days in Tuscany. They will be 800 pixels on the long side, so not much different from this except for the added compression.
I could add some crops if there is interest. It is quite a large file.
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