Dale Allyn
New member
Sounds like a fashion faux pas to me.
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Hi Guy,Got to run to a all day job. Real simple on the AFDIII body . Mirror lockup set self -timer to 3 seconds or more . Hit the shutter the self-timer goes and you got a shot. Now I get excellent results with all my lenses with this technique. The only time was high winds in Sedona with my 300mm the wind was gusting around 25 miles and hour and very low light. My 150mm I have gone minutes with no issues. No cable releases needed when using the self timer and that goes all the way to 30 seconds with camera after that and longer times I go to the electronic release. This has been with a 2 series Gitzo. I did order a 3 series just waiting for it to come. But my issues have been very rare and BTW the Phase back screen you can tell on the LCD if your sharp or not. You DON"T need a 3 inch LCD to check this or a laptop. I do this everyday with a Phase one back. Also the S2 is not higher res LCD than anything else in MF from my understanding just bigger. Need to check the specs but I think a Nikon has a bigger pixel count.
It's so tempting, especially with the spine of an ex-rower and compulsive computer user! Also, Icelandair charge £7 per kilo excess baggage one way (nearly three times what I paid per pound of my own flesh for the ticket!)Tim, you had lots of "home work" this a.m. with all those replies. Thanks for replying to my post.
Like others have suggested (and you surmised) it sounds like you were a bit under-gunned for support. I'll know not to chicken-out and go too light now, thanks.
Also, not sure how much tripod stuff you do, but I have found that some rigs (maybe most rigs) have a "weak spot" at which certain shutter speeds challenge the setup more than others vis-a'-vis vibration. It's often in the 1/15 to 1/30 second range, but dead weight on the rig usually fixes it. My Mamiya, even with mirror up, has quite a "whack" upon shutter release so I try to weight the rig when shooting at slower speeds. That's part of why I like a robust head and heavier leg-set.
I appreciate you sharing your experiences. It's a good reminder for me not to go too light, or take shortcuts (not that you were doing that), which I can tend to do if I'm impatient.
Thanks.
I saw it in so many shots: I tend to press once for MUP and then pretty quickly (three seconds or maybe a tad less) press again to shoot but in a lot of shots where I was waiting for a wave, I actually had to re-press because the MUP timed out and I still got similar blur. The more I think about it the more I think it's likely to be a sympathetic vibration in the rig from the shutter, rather than the MUP reverb, but I will test the hypothesis... as indeed I test everything!Tim, that crop is interesting. It doesn't look like general softness, but rather like a two-position blur. The "one large whack" theory seems to gain some credence here. Can you repeat it now? Does it fix it if you set the release to go off after 6 seconds?
My feeling is that you're right and that in the end this is not practical for use in the field where the shooting spot is cold, windy and reached via a foot hike. So I need to use one stop higher ISO and one stop wider aperture, both of which are do-able most of the time, and then I'll have the shutter sweet spot of 1/125th where the effect is absent. Luckily the shutter in the Cambo/Schneider combo allows 1/30th of a second even with wind and so on... and gives such great results.In studio I have seen similar vibration (with close-up and macro), but I now hang sandbags from the center, beneath the camera/head, and on all three legs. This has stopped this "chop" looking vibration. In fact, with one combo I used to place a sandbag right on top of the camera because it was stubborn.
We see this in photomicroscopy much more, and weighting over a super-stable floor is mandatory. We often resort to steel plates and weights all around the setup.
The dudes had just landed nearly 100 tons of cod. They can afford haute couture!Sounds like a fashion faux pas to me.
Tim, I agree. In the field we make all sorts of compromises and adjustments. I do a lot of "back country" stuff, hike in on foot, climb to awkward locations, etc. When I remember, I nearly always place weight on my tripod and often very gently place my hand over the prism of the camera to help absorb or dampen vibration. Working (or playing) in the field is different than studio or comfy "low-land" work.My feeling is that you're right and that in the end this is not practical for use in the field where the shooting spot is cold, windy and reached via a foot hike. So I need to use one stop higher ISO and one stop wider aperture, both of which are do-able most of the time, and then I'll have the shutter sweet spot of 1/125th where the effect is absent. Luckily the shutter in the Cambo/Schneider combo allows 1/30th of a second even with wind and so on... and gives such great results.
Or get a D£X...
I am confused because you said that C1 could not handle it, but C1 can still output a 16-bit TIFF, so I do not see what the benefit of exporting to LR has over say adjusting highlight levels in C1?Hi Jack,
Tried flash and daylight and all the curves - the red channel is just blown but it's OK because it exports into LR as a tiff and can be cleaned up adequately there. It's the extreme reflectivity in bright sunlight of Icelandic fishermen's high vis jackets and trousers that does it!
I am confused because you said that C1 could not handle it, but C1 can still output a 16-bit TIFF, so I do not see what the benefit of exporting to LR has over say adjusting highlight levels in C1?
Cheers,
I love C1 now... even got mostly used to its workflow... it's just this one weird effect with the high vis clothing that seems to freak it out. And the recent update seems to have made it more stable on my eight core Xeon too....I'm pretty convinced that if one knows C1 that lots of images can be well handled without export. Unfortunately, that doesn't describe me. I've been impressed by the results of some folks who obviously know how to use C1 well. I look forward to a time when I can learn to get more of the app, as I'm still doing my conversions in C1 and finishing in PS (Phase files).
It'll be worth it to me to sign-up for some guidance on the app at some point, so that I can get results like Jack and others do from C1. I love the RAW conversions, but don't use many of the tools to my best advantage, as I stubbornly cling to my other workflow.
So if I understand you,Though C1 shows the areas as being totally clipped beyond recovery, and on screen with highlight warning turned off those areas look posterised, if you export the file as a 16 bit tiff and then open them in LR you can then use LR adjustments to unclip and de-posterise. I know, weird, search me!
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Jack, I'll test all this again later cos I did a lot of fiddling back and forth but in summary as I remember:So if I understand you,
1) You did not apply the highlight slider in C1 to the file, and
2) You output it to LR using LR as an OUTPUT image editor and NOT a raw converter and corrected it there -- and ostensibly that same work could have been done is CS.
I just wanted to clarify this point as it sounded like you originally were saying using C1 as a raw converter didn't work, but using LR as the raw converter did work -- and that simply made no sense to me
Cheers,
Sounds like you may want your local C1 tech to walk you through the C1 adjustments. This is something we teach on our workshops, and once understood, C1 will deliver a superior file from a Phase back over any other raw converter -- though admittedly not all of the required C1 adjustments are intuitive.Jack, I'll test all this again later cos I did a lot of fiddling back and forth but in summary as I remember:
By the time the exposure slider, the highlight slider or the levels editor had been tweaked so as to remove all clipping in teh high vis clothing, the rest of the file was a mess as viewed in C1
But make the file look broadly well-balanced in C1 but still with blown high-vis areas, then export to 16 bit tiff to LR and those areas were warned as far less blown and more easily corrected without screwing up
Opening the RAW file directly into LR also gave better control over the blown areas.
I think....
I am not aware of anything unusual in the Leica M8 DNG format. I am a 3D graphics programmer by trade, and took a crack at writing a DNG decoder, and was able to dump the entire header without needing to know any special things about the format; just working from the TIFF 6.0, TIFF/EP and DNG specs.Carsten - I understood what you meant. My point was that Leica tweaked the DNG format in such a way that none of DNG portable storage / viewers can read the embedded JPEG in the DNG file. This topic has come up before. I think there is one device that does, but its rendering time is painfully slow (like 60 seconds per image). It's likely Leica will follow a similar approach with S2 DNGs (assuming they are DNGs), so it's safer to assume the S2 will NOT be supported by portable storage devices.
For reviewing images on site, if possible a laptop is vastly superior IMO. I like the portable storage devices, but a laptop offers much more.