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Technical Camera Images
- Thread starter danlindberg
- Start date
mristuccia
Well-known member
More from the shooting of the Shell Haus (Berlin).
Cambo WRS-1600 | CFV-100c | SK 35XL | around 10mm back fall
Cambo WRS-1600 | CFV-100c | SK 72L | some back fall
Cambo WRS-1600 | CFV-100c | SK 72L | some back fall
Cambo WRS-1600 | CFV-100c | SK 72L | crop
Cambo WRS-1600 | CFV-100c | SK 35XL | around 10mm back fall
Cambo WRS-1600 | CFV-100c | SK 72L | some back fall
Cambo WRS-1600 | CFV-100c | SK 72L | some back fall
Cambo WRS-1600 | CFV-100c | SK 72L | crop
danlindberg
Well-known member
Just before darkness.
John Leathwick
Well-known member
A last one from me for 2025. I took my son, visiting from up north, to a popular para-gliding site for him to fly - the evening wind didn't turn up, but the sun did as a large thunder storm passed to our west. This is a flat stitch of three images in XPan format taken with left-right shift of 20mm with my GFX 100s/F-Universalis and an S-K Apo-Symmar 150mm. The landscape is an old eroded volcanic cone, mantled with deep deposits of loess blown in off the exposed ocean floor during the last glaciation.
-John
-John
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diggles
Well-known member
A couple of years ago I tried the Mamiya G 50mm on the Cambo Actus with my GFX. Had SK Grimes mount it on a Cambo board, but I ended up selling the whole Actus system and all the lenses.
Back in September I decided I wanted to try the 50 again, this time with the Pico. Sent it back to SK Grimes to mount it on a recessed Pico lens board. Just got it back yesterday after 3 1/2 months—ridiculously long, but whatever, I have it now and I'm happy.
My goal is to pair it with the SK35XL for architectural projects when I don't need flash. Since selling the GFX and picking up a Sony system for my architectural work, I wanted to see how the Sony + Pico + Mamiya G 50 combo would perform. Took it out yesterday for some initial tests.
I didn't record movements, so I'll do my best to remember.
This one is at f/11 and about 12mm of camera fall…
This one is at f/11 and about 6mm of camera fall, and it was taken in crop mode making it ~75mm equiveland focal length…
This next one is also at f/11, the camera was in vertical orientation, about 4mm of camera fall and 12mm of left right shift. I wasn't quite lined up right…
After a bit I decided to try out some exposures at f/16 and the sharpness appears to improve. This could just be that more is in focus, not sure. This one is about 4mm of camera fall and about 12mm left right shift. I originally did 18mm LR, but didn't like what was on the right hand side so I cropped it.
and this last one is a significant amount of shift. I'm standing beneath the mechanical that is above so it is about 6mm of shift to the right and about 12mm of camera fall.
It's a very nice option for the 50mm focal length and the Pico with a full frame camera. I will be trying it with the CFV100C + Pico at some point. PM me if you are interested in seeing any of the original files.
Back in September I decided I wanted to try the 50 again, this time with the Pico. Sent it back to SK Grimes to mount it on a recessed Pico lens board. Just got it back yesterday after 3 1/2 months—ridiculously long, but whatever, I have it now and I'm happy.
My goal is to pair it with the SK35XL for architectural projects when I don't need flash. Since selling the GFX and picking up a Sony system for my architectural work, I wanted to see how the Sony + Pico + Mamiya G 50 combo would perform. Took it out yesterday for some initial tests.
I didn't record movements, so I'll do my best to remember.
This one is at f/11 and about 12mm of camera fall…
This one is at f/11 and about 6mm of camera fall, and it was taken in crop mode making it ~75mm equiveland focal length…
This next one is also at f/11, the camera was in vertical orientation, about 4mm of camera fall and 12mm of left right shift. I wasn't quite lined up right…
After a bit I decided to try out some exposures at f/16 and the sharpness appears to improve. This could just be that more is in focus, not sure. This one is about 4mm of camera fall and about 12mm left right shift. I originally did 18mm LR, but didn't like what was on the right hand side so I cropped it.
and this last one is a significant amount of shift. I'm standing beneath the mechanical that is above so it is about 6mm of shift to the right and about 12mm of camera fall.
It's a very nice option for the 50mm focal length and the Pico with a full frame camera. I will be trying it with the CFV100C + Pico at some point. PM me if you are interested in seeing any of the original files.
rdeloe
Well-known member
I'm glad you kept your Mamiya G 50mm after all the hassle of having it set up. I thought you'd sold it.
That lens is crucial in my setup because it's the widest lens that shifts a lot that I can fit on my technical cameras with GFX bodies. A couple months ago I figured out how to break the G lenses down so that I don't have to send them out to have the shutter locked open. That's a relief because Bill Rogers, who did all my other Mamiya lenses, has his eye on retirement soon.
One thing to note is that performance improves dramatically with correct cell spacing. It should give very strong results wide open unshifted, and good results across the whole shifted image circle at f/4. My copy only needs f/8 to be excellent across the whole image circle.
diggles
Well-known member
I did end up selling that one, this is a new copy. The sharpness I am describing is more back to front sharpness, not sharpness throughout the image circle. Although, I may try some shimming to see if that can improve. I'm pleased with the results, but based on your experience I think it could be better. Did you determine that you needed to increase or decrease the spacing?
rdeloe
Well-known member
Ah, I see. My shimming experience won't be directly useful because I'm fighting the GFX thick sensor cover glass problem, so I needed a lot less than factory standard. You might need a bit less than factory standard; it's unlikely that you'd need more. I'm just guessing though because I've never shimmed one for the back you're using. With correct shimming, the field of focus should be nearly perfectly flat across the whole image circle.
Here's a quick demo. This is across the street from my place. I'm focused on the garage door frame of the house in the centre. Notice the smokestack on the roof of the 2nd house from the right.
Here's that smokestack at f/4, f/5.6, f/8 and f/11. There's a bit of CA and softness in these uncorrected images at f/4. It tidies up nicely at f/5.6, and doesn't get a lot better at f/8. All f/11 does is cause softness from diffraction. Arguably f/8 has better contrast than f/5.6, but to my eye it's giving up a bit of detail(but this is very high magnification so I'm being picky).
diggles
Well-known member
rdeloe
Well-known member
do tell
I made videos as I worked, and then wrote up detailed notes for myself. The videos consist mainly of me muttering things like, "How the &*% do I get that off?", "Oh oh. Oh crap", and "Ack, where did that ball go??"
Seriously though, I figured it out because I had what I thought was a deader. I bought a copy last year that the seller said had a "stiff focus ring". It wasn't stiff. It was jammed. I sent it to Bill Rogers and he said it was a wreck, and had probably been dropped. So I figured I had nothing to lose. The cells were good and if I made a mess of the housing, it was no big loss.
It turns out the problem was some large particles of grit in the helicoid -- probably big grains of sand. I stripped it all the way down, removed the electronics, removed the shutter blades, and cleaned out the helicoid; the helicoid was too damaged to be usable so I put it back together and locked it down tight to infinity. That's ideal for me anyway because I focus the lens by rail.
Long story short: it's an even better copy than the excellent one I had before.
John Leathwick
Well-known member
A stack of 33 images from the garden this morning - GFX 100s/F-Universalis/OM bellows 80mm lens at F/8 at approximately 0.75x, 5 degrees front tilt plus rear rise, stacked in Zerene Stacker, finished in PS.
-John
-John
rdeloe
Well-known member
The year started with leaden, grey skies and icy-cold temperatures. I wasn't up for cold weather photography over the holidays. Instead, I spent some time exploring light and form with a subject I had in my kitchen cupboard.
I rarely use focus stacking, but for this project, it was the only way to get where I wanted to go with the images. This is the first black and white work I've completed in several years. I've lost the inclination to work in black and white, so this isn't a monochromatic rebirth. Rather, my lighting is so basic and rudimentary that colours were all over the place. The subject is monochromatic (silver and black), so converting to black and white sorted out the random colour issues efficiently.
The rest of the project is here: https://www.robdeloephotography.com/Works/Pulcina All the images are made with my F-Universalis, and either the Schneider-Kreuznach APO-Digitar 120/5.6 or 150/5.6.
I rarely use focus stacking, but for this project, it was the only way to get where I wanted to go with the images. This is the first black and white work I've completed in several years. I've lost the inclination to work in black and white, so this isn't a monochromatic rebirth. Rather, my lighting is so basic and rudimentary that colours were all over the place. The subject is monochromatic (silver and black), so converting to black and white sorted out the random colour issues efficiently.
The rest of the project is here: https://www.robdeloephotography.com/Works/Pulcina All the images are made with my F-Universalis, and either the Schneider-Kreuznach APO-Digitar 120/5.6 or 150/5.6.
John Leathwick
Well-known member
rdeloe
Well-known member
Thanks John. They almost didn't see the light of day. I gave up part-way through the project because I could not tame the light and the reflections. Studio lighting is really hard! However, sleep often brings new ideas and I thought of a different approach that worked better and let me keep going. Unfortunately, it involved using even less light, so I was focus stacking with 20 second exposures for some of the images.
diggles
Well-known member
I was in Golden yesterday and had a couple of hours to go for a photo walk. Since using the Sony for architectural work is still a new proposition I wanted to run it through some more testing. All of these images are the Pico + Sony A7R5 + Canon 24 TSE II (some full frame and some in crop mode for 36mm equivalent focal length).
2 Image LR Stitch with camera in vertical orientation and crop mode…
Single full frame image
2 image vertical stitch with camera in horizontal orientation and full frame
Single full frame image
Single full frame image
2 Image LR Stitch with camera in vertical orientation and crop mode…
Single full frame image
2 image vertical stitch with camera in horizontal orientation and full frame
Single full frame image
Single full frame image
A few pictures from a visit to Leipzig, Germany. All shot with an 11 mm lens on a 17,3x13 mm sensor, all handheld. Mostly wide open at F4, partly due to lack of light and partly due to a stuck aperture. The last three are from the zoological garden at the city.
That leveling the camera thing may be necessary for architecture. On the others it was more a freestyle try and error approach.
That leveling the camera thing may be necessary for architecture. On the others it was more a freestyle try and error approach.