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Technical Camera Images

GrahamWelland

Subscriber & Workshop Member
Casual walk on the beach with the SWA and SK 72 L.

Handheld • Guesstimate focus • 1/60 • f8 • iso 50 • no shifts

Dan, yet another great shot. Simple, clear, exquisite composition, very much your signature style I think. Ditto the family group shot.

Love to see more ...
 

kuau

Workshop Member
Around 7:15 tonight out down the street from me in Telluride.
arTec, 135mm F8, 1 second

Steven



 

danlindberg

Well-known member
Thierry, :p no way I can shoot 'normal' portraits. I have tried, but when I am finished with all the fiddling, the subject is about 2 km away.....

Graham, thanks, simplicity is what usually draws me into an image. In my workshops I talk more about excluding rather than including in the search for interesting comps.
 

cs750

Member
Dan....Graham's description: "Simple, clear, exquisite composition, very much your signature style" nails the essence of your style; it's a style which I find very appealing. Do you have a workflow summary for the art of "excluding"? Charles
 
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cs750

Member
Jamie, a few seconds after posting my comment on your image it dawned on me how silly my comments were in not realizing the problems of trying to get that shot with a technical camera; a great job. Sometimes I am just plain slow like a technical camera! Charles
 

jotloob

Subscriber Member
My first post here and my first shot with
RODENSTOCK HR DIGARON-W 4/40 , f11 , HELIOPAN pol-filter .
5mm vertical shift . HASSELBLAD CFV-50 . Slight crop due to vignetting by too much shading from LEE universal shade .

 

Jack

Sr. Administrator
Staff member
A couple from our New Hampshire workshop, processed at the airport while I'm waiting for the plane. Both shot with my Arca, both from bridges looking down:

70mm HR, 2 sec @ f11 with 1/2º of tilt and 15mm fall, processed in C1:



70mm HR, 30 sec @ f11 using a 6-stop IR-cut ND filter, 2º tilt and 20mm fall, processed in C1:

 

jotloob

Subscriber Member
Jack

#2 is just great . :thumbup:

I understand tilt in landscape photography but Not a shift of 20 mm .
I Never used shift with landscape photgraphy .
Am I missing something here ?
 

danlindberg

Well-known member
Well, I am ofcourse guessing here, but since Jack was standing on a bridge looking down, he simply didn't want the 'looking-down' image but rather straighten up the trees and more as if he was on the ground.

I use rise quite often when in a forest.
 

2jbourret

New member
Nice, Jack. Especially like the second.
Here's one of mine, from this week after our first snowfall:
Fall color in transition, near Ketchum, Idaho. 2 shot stitch,
Cambo/47xl/P45+
 

GrahamWelland

Subscriber & Workshop Member
Well, I am ofcourse guessing here, but since Jack was standing on a bridge looking down, he simply didn't want the 'looking-down' image but rather straighten up the trees and more as if he was on the ground.

.
That's quite correct. Jack was on a bridge using 20mm of fall. I was 15ft below him using 6in of boots in the stream ... He stayed dry for a shot that is very similar in overall composition as mine taken below standing in the water.
 

2jbourret

New member
Nice, Jack. Especially like the second.
Here's one of mine, from this week after our first snowfall:
Fall color in transition, near Ketchum, Idaho. 2 shot stitch,
Cambo/47xl/P45+
My post lost it's image somewhere along the way - I'll try again tomorrow.
 

Jack

Sr. Administrator
Staff member
Thanks guys, and we missed you on this one Stu!

Jurgen, Dan and Graham are exactly correct -- since I was up on a bridge, I used fall to "lower" the viewpoint in the image. Had I wanted to see more of the trees and kept them vertical, I would have used rise. I regularly use small amounts of shift and/or rise/fall to adjust my composition :)
 

Jack

Sr. Administrator
Staff member
A comment about live view and a crop from the second image above...

I've started using live view to focus in the field with tilts and I can tell you it works amazingly well. The hardest thing to get used to is the 2 or 3 frame per second refresh. So you go to 100% view, make a small adjustment then pause to let the frame refresh and see if it's better or worse, repeating as necessary until everything is right. Another tip: you can white balance the live view image by droppering it while it is playing and this helps the preview significantly. Note that this WB does NOT affect the image, only the live preview color balance. Anyway, it was live view that let me nail the precise focus and tilt for this image, which required a few very slight iterative tilt and focus tweaks to get the foreground and background rocks in optimal focus -- if you've ever worked a view camera under the hood with a loupe on the GG, then you've done these these tilt and focus tweak iterations. It works the same way here, just with the slight pauses.

This is a crop from the lower center part of the larger foreground rock. Keep in mind this is a 30 second exposure and I am on a small bridge that vibrates along with 4 other shooters, and a breeze is blowing, AND this is nearer the outer edge of the lens' IC. Granted it's not perfect, a few of the leaves are obviously being moved by the slight breeze and there are a few hot pixels, and I'm into an area of the IC where I'm getting some resolution falloff -- but considering all of that, it's still a pretty impressive result IMHO:

 
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