Bryan Stephens
Workshop Member
The lonely caboose in Rhyolite across from the train station
Cambo WRS, HR40, P40+
Cambo WRS, HR40, P40+
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Perfect. Your cyan ski went awayI corrected the color temp and think this one looks a little better
I agree! I actually had to add keystoning to the bank picture. I may not have added enough.
--Matt
Another angle of the dunes at sunrise.
Cambo WRS, HR40, IQ180
Matt, this image of Rhyolite is stellar, great job!And speaking of the bank in Rhyolite,
At this size, you can't even see the sign that legibly states "Pavement Ends" at the end of the street.
--Matt
Guys, leave some residual keystoning, please. They look better, more natural.
(I know I'm getting in deep trouble for saying this)
Eduardo
¿What are the pictures of?Guy settin g up his shot of the Rhyolite general store. You can see he has live view on in the TIFF image.
Then this is my image of that shot, as I was just waiting for him to finish his turn.
Cambo, HR40, IQ180
Guys, leave some residual keystoning, please. They look better, more natural.
(I know I'm getting in deep trouble for saying this)
Eduardo
Yes, Jack (and Eduardo) ... but if you use a "proper" tech camera with a full range of yaw-free movements, you do not tilt the camera, you tilt the rear standard, and, having set up the shot, you should be able to (quickly and easily) produce alternative versions with varying degrees of rear tilt?I agree Eduardo. Just a skosh of upward camera tilt is preferable to a "perfect" rendering from a dead-level camera -- it looks un-natural to me unless it has it. That said, I think Matt executed his perfectly.
The hills in the distance are nice...could you have used a lens of three (or four) times the focal length, from three or time the distance, and made the hills almost fill the height of the frame?And speaking of the bank in Rhyolite,
At this size, you can't even see the sign that legibly states "Pavement Ends" at the end of the street.
--Matt
I think this is a completely valid approach when shooting at large apertures (not really applicable in this shot I guess).I agree! I actually had to add keystoning to the bank picture. I may not have added enough.
--Matt
The difference is that my shot without Guy was about 4 minutes after my shot with Guy, so the sun had set even further.¿What are the pictures of?
I see them as picture of the building in the landscape, and I would (if there was room) have used a much longer lens to make the image of the mountains behind at least as big as the building.
In the shot with Guy, the building is framed by the mountains ¿hills?
...and is it a difference in lighting or "Hasselblad colour"?
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.¿Trouble is these cameras tend to be heavy and bulky, so few people use them outside the studio?
I shot with a 28mm lens and Bryan a 40mm lens so I am much closer to the scene which changes the perspective.The difference is that my shot without Guy was about 4 minutes after my shot with Guy, so the sun had set even further.
I actually like the contrast of the sunlit building in contrast to the darkening sky, and landscape.
Crap now I have to break my bubble levels on my new cube. ROTFLMAOI think this is a completely valid approach when shooting at large apertures (not really applicable in this shot I guess).
Use tilt to get the plane of focus exactly where you want it and then use keystone correction in software to reintroduce a believable perspective. You could use focus stacking for a similar effect, but it is messy and frankly I think it is difficult to attain the same quality.
When we made the keystone tool in Capture One we found that an 80% correction (the default) is usually a good amount. This means that you only need to "undo" about 20%, so you won't loose much of your crop.
In fact you may get a slightly larger crop than you otherwise would. The top of the image tends to be sky which is easy to fill in (e.g. content aware fill).