Bryan Stephens
Workshop Member
Any you were just assimilated too... :ROTFL:Crap now I have to break my bubble levels on my new cube. ROTFLMAO
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Any you were just assimilated too... :ROTFL:Crap now I have to break my bubble levels on my new cube. ROTFLMAO
Thank you, Jack. Did I mention that I had a great time in DV?Matt, this image of Rhyolite is stellar, great job!
PS: Re printers, I am an Epson guy all the way -- I currently have a 7900, but only because I don't have quite enough room for a 9900! And like the above posters said, you get near perfect WYSIWYG output.
Matt,Thank you, Jack. Did I mention that I had a great time in DV?
At the risk of continued threadjacking, do you 7900/9900 folk use the Epson drivers, or something like Imageprint? (I don't mind that the RIP is expensive, but the gratuitous scaling with printer price is off-putting.)
--Matt
They believe that their RIP has greater value to you with a larger, more expensive printer. It bugs me too ... Especially since I own several printers and the license for the biggest doesn't allow me to use smaller printers.why do those boys ramp up the fee with more paper width?
¿Does this apply to heads?
Do we get much perceivable benefit above 120mm?
Just for fun, here are a couple of view camera shots (subject irrelevant but basically the classic wine bottle and glasses) showing indirect movements with a fairly steep camera rail, comparing stacks and front tilt. So, with the stacks (left) there is just front fall (lots) and with the single image there is both fall and about 5' of forward tilt. The AS Monolith handles movements of both standards pretty well with the IQ180 and a long lens. The stack is about ten images, but needed more planes as softness varies from place to place. Precise stacking would be really difficult with anything shorter than a 90 or so, because of the coarse focus.Actually, the trouble is the ones where the rear standard moves are simply not rigid and precise enough for today's high resolution digital backs. The closest thing out there right now to a true view camera that is precise enough is the Arca M-Line 2, and it's rear standard does not tilt for the very reason of rigidity and precision between the standards. So the workaround is you tilt the entire camera to get the back at the angle you want, then add rise or fall on either/both standards as needed for the composition, and thus get the same net set of rear tilt movements "indirectly" as you would on a full-funtion studio camera.
Bob,Mustard seed is blooming in Napa Valley now. First shot while walking around Friday morning at the Wine Country Inn in St. Helena:
(Alpa MAX, P45+, 80mm APO Digitar with 2deg back tilt, polarizing filter, 1/[email protected], shift/rise/fall to compose only; no stitching)
Next shot on the way home, just south of Oakville:
(Alpa MAX, P45+, 80mm APO Digitar with 6deg back tilt, polarizing filter, 1/[email protected], shift/rise/fall to compose)
Sure do love it when I can mix business with pleasure! Hope all enjoy,
Bob
Bob,
Very nice! I've got a long weekend to trek back to Oregon from the bay area so I think I'll take the Hwy 29 detour! Thanks for sharing.
Btw, I'll have to ping you about using the Alpa T/S adapter, especially on the back. I'm still trying to get to grips with mine and my rules of thumb that I've used with a Cambo don't seem to apply with the Alpa T/S adapter.
Bob,
Great images! You motivated me to get my tech cam up to Napa next week and see what I can find!
Graham: have lunch for Sarah and I at Mustard's, special place