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!
The Fujinon GF Tilt Shift Lenses Are Finally Here!
- Thread starter Steve Hendrix
- Start date
Steve Hendrix
Well-known member
Our very own Brad Kaye recently dug into the shift/tilt metadata recording scenario and produced some helpful info:
https://www.captureintegration.com/additional-lens-metadata-for-fujifilm-gf-30mm-110mm-t-s-lenses/
Steve Hendrix/CI
https://www.captureintegration.com/additional-lens-metadata-for-fujifilm-gf-30mm-110mm-t-s-lenses/
Steve Hendrix/CI
P. Chong
Well-known member
As far as my old eyes can tell, there is no vignetting or colour shift on the 100 II. I will put on the 50S II soon to see if the non BSI sensor will get colour shifts.
P. Chong
Well-known member
Here is another, this time taken with the GFX 50S II, non BSI sensor. Three panel stitch shot at f/11. Left and right are shifted to the max of the GF 30 T/S, which is +15mm and -15mm. Stitched in Ps.
There is quite a bit of vignetting, as seen in the LCC shot I taken at f/5.6 to highlight any vignettes, but no colour shifts. The sun was very bright, and it was super hot, about 35C at mid-morning. I underexposed to ensure the cloud highlights were within the range. I ended up preferring the non LCC corrected shot, I think the vignette serves to highlight the bright sunlight on the building.
There is quite a bit of vignetting, as seen in the LCC shot I taken at f/5.6 to highlight any vignettes, but no colour shifts. The sun was very bright, and it was super hot, about 35C at mid-morning. I underexposed to ensure the cloud highlights were within the range. I ended up preferring the non LCC corrected shot, I think the vignette serves to highlight the bright sunlight on the building.
corvus
Active member
What is your workflow for assigning the LCCs? Surely each one individually on the unprocessed image and with the values of the shift or is there another method?
rdeloe
Well-known member
If you're using Lightroom, as long as the LCC is in the same place (i.e., LCC then image, or image then LCC), you can select every pair and apply flat field correction in one pass.
P. Chong
Well-known member
yes, pretty much. I always take an LCC frame after each shot with movement. And individually apply it to the shot with the same parameters- shift, tilt and aperture. Because I do it for each shot, i have it available at the exact aperture as well As the each focus point, though I am not sure that will make a difference.
corvus
Active member
Thank you for your descriptions. In principle, I do it the same way in C1 and it usually works. Recently, however, with 3 LCC-corrected shots that initially looked harmonious next to each other, I had an inconsistency in the white balance after stitching with the panorama function, as if C1 had ignored it in the middle image (see example: https://www.getdpi.com/forum/index....fx-revised-review-published.74887/post-903963 ) Maybe it's because the symmetrical (and old
Technikon 58 can't be fully corrected in some situations, because that's not the case every time.
Technikon 58 can't be fully corrected in some situations, because that's not the case every time.
diggles
Well-known member
Just something to add. When I was using the Cambo WRS my pano stitching flow was to take the left/right images first then take the left/right LCC frames. This was possible because the Cambo has detents.
The Arca does't have detents, so now my flow is LCC frame after each shot. The downside of LCC after each shot is that more time elapses between them and conditions can change slightly. It doesn't seem like this small difference would be noticeable, but at dusk it can be.
marc aurel
Active member
Sadly Adobe does not take care about shift lens users yet. No correction profiles for the Fuji GF TS lenses. They will have to implement correction for shifted lenses which will surely need some coding work. But Capture One shows that it can be done fine if you want.
Keep talking about. Maybe some day Adobe will notice that it's important to some of their users.
Hi Corvus,Thank you for your descriptions. In principle, I do it the same way in C1 and it usually works. Recently, however, with 3 LCC-corrected shots that initially looked harmonious next to each other, I had an inconsistency in the white balance after stitching with the panorama function, as if C1 had ignored it in the middle image (see example: https://www.getdpi.com/forum/index....fx-revised-review-published.74887/post-903963 ) Maybe it's because the symmetrical (and old
Did you try to export the 3 images as separate TIFF files with LCC on each. And then use the corrected TIFF files with Panorama function in Photoshop after?
If you are trying to apply LCC and Panorama at the same time in C1, possibly it is getting confused.
Best,
John
corvus
Active member
I haven't tried that yet, because what I like about C1 so far is that I can do all tasks with it - cataloging / editing / refining / exporting...
But thanks, John, I'll give it a try. I currently have an open request with C1 support on this topic. They have also asked for the original files. The answer is still pending. I'll report back as soon as there are suggestions for a solution.
corvus
Active member
Update:
The separate stitching of the corrected AND cropped individual images into a panorama works better with other software such as Photoshop (Photomerge) or even the simple ICE (Microsoft) than in C1. Thanks, John, for the tip! In my opinion, C1 always uses the uncorrected and uncropped RAW files for the panorama function and not the previously edited versions of the individual images, which may negate the adjusted white balances / color shifts.
The C1 team has now investigated the case and was initially able to reproduce it in the same way. They came to the same conclusion with differences in the white balance. However, they have decided not to prioritize resources for a fix at this time. (That's a pity) Their tip is to try to manually optimize the white balance in the output panorama. However, I don't think this is very practical, if solvable at all...
However, I would also like to emphasize that this is a special use case with special output parameters that will probably never be relevant for others. So I will probably use this intermediate step of separate software in the workflow in case of strongly shifted symmetrical lenses in combination with panoramas.
Torsten
The separate stitching of the corrected AND cropped individual images into a panorama works better with other software such as Photoshop (Photomerge) or even the simple ICE (Microsoft) than in C1. Thanks, John, for the tip! In my opinion, C1 always uses the uncorrected and uncropped RAW files for the panorama function and not the previously edited versions of the individual images, which may negate the adjusted white balances / color shifts.
The C1 team has now investigated the case and was initially able to reproduce it in the same way. They came to the same conclusion with differences in the white balance. However, they have decided not to prioritize resources for a fix at this time. (That's a pity) Their tip is to try to manually optimize the white balance in the output panorama. However, I don't think this is very practical, if solvable at all...
However, I would also like to emphasize that this is a special use case with special output parameters that will probably never be relevant for others. So I will probably use this intermediate step of separate software in the workflow in case of strongly shifted symmetrical lenses in combination with panoramas.
Torsten