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Thanks so much for these tests, really interesting! I have the Pentax 645 35mm A and find that I cannot get this much shift out of it and the distortion is really strong... There is a lot of varying information on this lens on various forums..So I've had a chance to try out the RM3Di with the GFX50R and the following lenses via Arca Swiss adapters:
In my opinion this set up checks the important boxes for a streamlined tilt-shift system for client work.
- Canon TS-E 17
- Canon TS-E 24 ii
- HD Pentax 645 35mm
- Canon TS-E 50 Macro
Agreed that using the crop sensor is not ideal, but sometimes it could a better option. If I want an image with a 19mm angle of view then I'd use the 24mm with the full sensor. If I want a 24mm angle of view then I'd use the crop sensor. Sure, I could use the full sensor and crop, but I would rather see in the viewfinder what it will look like before I take the picture.
- The RM3Di provides the tech cam experience
- GFX50R has mechanical shutter making strobes easy to use
- Can tether using Capture One or CamRanger
- RM3Di can utilize the full shift capabilities of these lenses in addition to tilt or swing
- Between 35mm sensor and full sensor these 4 lenses provide a wide range of focal lengths from 14mm to 50mm relative to a 35mm FF sensor
I would also argue that 6755x4503 pixels is plenty of resolution for most clients most of the time. For example: Just this week, a client that does commercial interior design sent me the requirements for a new project they would like to get photographed. In their request they asked for 'high-res' images that are 4,000-6,000 pixels on the long side.
To test these theories out I photographed a commercial building and my living room.
Here is a test image taken with the HD Pentax 645 35mm and about 12mm of vertical shift @ f/16 (I took a series of images from f/8 to f/22 and the best results in terms of overall sharpness were at f/16)
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Here is a test shot in my living room with the HD Pentax 645 35mm and +/- a couple mm of vertical shift (don't remember) and a couple degrees of tilt thanks to the RM3Di (I took a series of images from f/8 to f/22 and again, to my eyes, the best results in terms of overall sharpness were at f/16–without tilt the table and chairs were not in focus)
View attachment 195323
The HD Pentax 645 35mm does allow a significant amount of shift. At least 15mm in any vertical or horizontal direction, and just starts to vignette with 15mm of diagonal shift. In the example above I shifted vertically, and simply used the lens profile available in ACR. The image above still looks a bit wonky to me. Better than straight out of camera, but still not quite right.I have the Pentax 645 35mm A and find that I cannot get this much shift out of it and the distortion is really strong... How is the distortion on this model? Easy to fix, even with movements applied?
I couldn't agree more!! For me the 3:2 format is not ideal either. I wish the aspect ratio could be controlled when in 35 format mode. It almost makes this whole idea a no go for me.With regards to the 24mm TS-E II, I feel I can get about 5-6mm (GFX format) before it starts to deteriorate... My only issue with using the 35mm mode is that I hate the "skinniness" of that format and would prefer to keep everything in either 4:3 or 5:4 format... One of the reasons I bought into the GFX system.
Can you think of a good method for shooting in a smaller resolution but keeping the aspect ratio..
Quoting myself here… I'm going to test this out using native GF lenses. It could completely derail the idea of the Arca GFX 50r for me… Oy vey!!Both of these ideas can be simulated while tethering with C1 with the crop tool
Thanks for the response, much appreciated! Seems like the newer version of the Pentax 645 35mm is indeed better, although I still see conflicting reports on this.. Might have to pick one up and compare side by side..Quoting myself here… I'm going to test this out using native GF lenses. It could completely derail the idea of the Arca GFX 50r for me… Oy vey!!
If I want to know for myself then this is the only way I've found. You can get one from BH or Adorama and return it if it doesn't work out for you.Might have to pick one up and compare side by side..
It doesn't work for me on the GFX100S. This is what I've been doing:Does C1 enable liveview on all the GFX models? I thought there were some issues with some of them?
I have questions... about that rabbit!If I want to know for myself then this is the only way I've found. You can get one from BH or Adorama and return it if it doesn't work out for you.
It doesn't work for me on the GFX100S. This is what I've been doing:
Here's images from three different fixed focal length lenses done this way. Tripod didn't move.
- Place the tripod at the point of view I like
- Use the Mark II Viewfinder app to determine the longest lens I can use for the shot
- Take a test image while tethered to C1
- Use the crop tool in C1 with 4:3 aspect ratio and watch the pixels to keep the size usable for my clients–I try not to go smaller than 8500px on the long side, but will use 6000px at a minimum if I have to.
- Once I get the RAW files where I want them to be in C1 then I export them all to the same size for further editing in Photoshop. 6000x4500 will likely be my goto.
GF 23mm - Crop was 4709 x 6278 px:
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Ferdinand! That is too good!Lol! That's Ferdinand! He lived in the yard at our previous house. When we moved we wanted to remember him properly It's a combination of a photo I took of the rabbit, stock photo, and my wife's photoshop painting skills.
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Now that' how I want to be remembered! Do you guys take commissions? I'll send a picture.Lol! That's Ferdinand! He lived in the yard at our previous house. When we moved we wanted to remember him properly It's a combination of a photo I took of the rabbit, stock photo, and my wife's photoshop painting skills.
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