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Fun with MF images - ARCHIVED - FOR VIEWING ONLY

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Shelby Lewis

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Such kind comments from everyone. Thanks You!

Ed... firstly, thanks for such kind and thoughtful comments. Much appreciated.

re: composition with the sax. I totally see what you are saying and this is something I struggled with on this shoot. It's the first sax player I've shot and the physical problem with moving the sax into the composition is that (and this isn't readily apparent in a flattened telephoto headshot) the sax neck and mouthpiece begin to collide with the hair/body if it is moved in any closer since they actually extend back over her shoulder... unless the player holds it flat-sideways to the camera. At that point, though, you lose the DoF effect on the neck/emblem.

It was really awkward finding a place for the instrument in a tight headshot... at least for me.

I totally agree with you, though, that it would be nicer if it were more into the composition. Maybe next time we'll use a soprano sax, which generally has a straight neck. Hmm...
 

2jbourret

New member
P65+, Sensor+, ISO 400, 300mm, f/5.6, 1/100, processed at 200% in C1.

http://whiterivergallery.com/blog/wp-content/uploads/2011/03

Ed,
I neglected to ask (or I missed) whether this incredible pano is from stitched frames, or is cropped from one frame?
I assume that you went to a higher ISO and a higher shutter speed due to the fact that you were shooting with a telephoto, and wanted to be sure it was steady? Sensor+ allowed you to achieve a low-noise ISO 400, but it effectively reduced your sensor to 15MP from 60, correct?
Do you feel that you miss any shooting opportunities due to long exposure limitations of the P65+, as compared to the P45+, or that the Sensor+ feature compensates?

Again, an incredible shot. I'm trying to understand some of the considerations that allowed you to achieve it! Thanks.
 

etrump

Well-known member
P65+, Sensor+, ISO 400, 300mm, f/5.6, 1/100, processed at 200% in C1.

http://whiterivergallery.com/blog/wp-content/uploads/2011/03

Ed,
I neglected to ask (or I missed) whether this incredible pano is from stitched frames, or is cropped from one frame?
I assume that you went to a higher ISO and a higher shutter speed due to the fact that you were shooting with a telephoto, and wanted to be sure it was steady? Sensor+ allowed you to achieve a low-noise ISO 400, but it effectively reduced your sensor to 15MP from 60, correct?
Do you feel that you miss any shooting opportunities due to long exposure limitations of the P65+, as compared to the P45+, or that the Sensor+ feature compensates?

Again, an incredible shot. I'm trying to understand some of the considerations that allowed you to achieve it! Thanks.[/QUOTE]

The large pano is a stitch of six sensor+ exposures. As processed it is some 20k pixels wide (note the 100% crop sampling).

You are correct, Sensor+ does cut the resolution of each exposure from from 60MP to 15MP. That said, my experience confirms Phase One's claim that the Sensor+ image is sharper and smoother than you would see from a 15MP bayer sensor. This is due to some internal sensor magic I don't understand. It appears as though the 15MP is antialiased from the full resolution much the same way you would see when downsizing an image using Bicubic Sharper in photoshop.

Furthermore, I have found that capture one does an excellent job of scaling images up to 200%. Visually it seems better than upsizing in photoshop. Anything requiring over 200% I use Perfect Resize from OnOne. Doesn't replace the resolution lost with Sensor+ but produces acceptable results in most circumstances.

You are also right about the long lens, I wanted to stay at or above 1/100 on the shutter speed to avoid long lens shake.

Finally, I almost never shoot exposures longer than 30 seconds. When I upgraded to the P65 I went through six months of images and had 1 or 2 that we over a minute. If I wanted to shoot star trails or something similar I decided my Nikon would be ok for that job.
 

Woody Campbell

Workshop Member
Alpa 12 Max + 60meg 'blad + 36mm Schneider APO. The back had 10mm of rise. f11 ISO 100 1 sec. 6 images focus stacked with Helicon Focus. The high resolution "HPF" focusing ring really facilitates focus stacking. The Schneider handles extreme backlight very well - not a hint of purple fringing and very little veiling flare. There is a small amount of uncorrected color shift (it's actually over corrected) because I got lazy and opened the aperture rather than lengthening the shutter speed to make to "flat field" scene calibration exposure.

This will be my Daily Blog post for Thursday.

 

jlm

Workshop Member
so woody, how did you adjust perspective...in PS? looks like you shot form the street level, i see no sign of camera tilt, can't imagine that 36mm would see that high, the TC does not have shifts...
 

Terry

New member
Woody -
Is that 36mm the one listed as Alpa exclusive on their site (similar to 35 with different filter size) or a new lens design?
 

Woody Campbell

Workshop Member
so woody, how did you adjust perspective...in PS? looks like you shot form the street level, i see no sign of camera tilt, can't imagine that 36mm would see that high, the TC does not have shifts...
Shot at street level - actually about knee high. Pointed up to get the top of the flag pole. Verticals converged wildly. Used perspective tool in LR to correct perspective - it looked best actually slightly under corrected. Extreme perspective corrections in post usually don't work out well, because the pixels on the flag end of this image are effectively being uprezed (and the ones at the bottom of the image downrezed) and the geometry starts getting weird. Starting with 60 megs of file really helps on the uprez issue (but I wouldn't print this larger than 20 inches or so on the long dimension) and in this case you don't have any cues as to what the flag should look like so you don't notice the geometry. The shoot included the ball on the top of the flagpole which came out way too large and elongated - I cropped it out.

After adjusting the perspective the image is keystone shaped. The long format that you see is what's left after cropping the keystoning off.
 

Woody Campbell

Workshop Member
Nice book collection, and nice platinum on the wall ;)
thanks - the platinum print is an image from the Gobi Desert taken by my friend Lois Connor. She makes her own paper and shoots 7x16 film in a camera that she had made. She's now scanning and printing digitally, large.

The one beneath it is and Edward Weston from Oceano.
 
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Woody Campbell

Workshop Member
WOW! :thumbs:

Using the Image Bank Woody?

-Marc
Marc - thanks. I made this to show myself that it can be done - I've been exploring the limits of the TC and the 12 Max. It's great having both. The Max is the real deal as a technical camera - assuming that you focus stack rather than tilt - it's the most really satisfying digital tech camera that I've seen or used. And for a mere $2k more you get the TC, which with the 36 is the Hasselblad Superwide C, but digital. Another dream come true.

Yes on the image bank. I'm also have a third party battery (which I don't have with me - I'm traveling) which does not work reliably. My image bank has gotten slightly wonky - it seems to eat batteries.

The new external battery doodad is due from Hasselblad in the first half of April. It attaches to the bottom of the back; is quite thin; plugs into all three ports; has sync in and out ports in it; and like the image bank uses Sony video batteries. It only works on the 60.
 
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Woody Campbell

Workshop Member
That 36mm looks very nice. Just keep teasing me Woody. LOL
Terrific lens, but the 60 meg back pushes it to its limit - slightly noticable at the edge unshifted, noticeable more shifted (I also have the Alpa max). I'm spending some time with it sorting out the real limits on shifting. Appears to be about 10mm with this lens. When shifting more with this lens (around 12 or 13) the H back starts to have an issue with centerfolding (probably caused by the very acute angle that the light is striking the back at) but 10mm is the limit on the good part of the image circle anyway. I hadn't commented on the centerfolding earlier because until recently I was using beta firmware.

The lens draws beautifully. On the tech camera I shoot at f11, which is optimum. For the TC I use whatever.

I can't really describe how fun it is to have 60 megs in your hand ready to shoot at whatever.
 

Woody Campbell

Workshop Member
Woody -
Is that 36mm the one listed as Alpa exclusive on their site (similar to 35 with different filter size) or a new lens design?
Terry - It's the Alpa exclusive.

My next problem with this is deciding on a third lens to use with my Max. I don't want to go beyond 3 - I'd like to keep this kit fairly compact. I'm thinking of the 120 Schneider on the Alpa list but I'm having second thoughts.

I'd love to hear any views on what the perfect longish focal length for landscape is.

Regards,

Woody
 

Guy Mancuso

Administrator, Instructor
Thats the problem I'm mostly shooting a lot of landscape with long lenses sometimes like a 150 /110mm on a P40 crop sensor. This maybe my biggest reason not to commit yet to a tech cam although I love the TC until I get the new IQ back which can confirm focus much easier on the fly than I am going to wait it out. Using long lenses is really tough. But I would think a 120 on your Hassy back would be a really nice focal length to have in the bag for sure.
 

cmb_

Subscriber & Workshop Member
My next problem with this is deciding on a third lens to use with my Max. I don't want to go beyond 3 - I'd like to keep this kit fairly compact. I'm thinking of the 120 Schneider on the Alpa list but I'm having second thoughts.
What do you have besides the 36? I have the 47 and the 4.5/90 digitar (I'm in NYC also if you want to give them a try).
 
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