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Technical camera workflow post yours.
- Thread starter Boinger
- Start date
For some reason I always take the LCC shot at the end of a series of pictures. I guess probably because I'm in the moment and just want to get on with it, but this approach presents problems. Specifically, when working at dusk, by the end of a session the light is really dark and to get a well exposed LCC shot can often take a 1m+ exposure (I also use a CF.) When I remember and have time, I take the LCC when the light is still good. I don't trust myself to note down the exact camera settings to do the LCCs later, call me paranoid...
I use a Linhof Techno and a sliding back with a Credo 60, so don't have live view. I find this setup to be exceptionally easy to use, despite what some people say about using the GG. I come from a 4x5" and technical camera 6x7cm background, so maybe I'm just practiced at it.
To be honest there are only two things I loathe about my Credo, being the dark frame after a long exposure and the less than up to the minute CMOS shadow recovery (and by extention DR when preserving highlights in high contrast scenes.) I can get by with only 50ISO, but those things drive me a little crazy at times, despite still producing perfectly usable results. YMMV.
I use a Linhof Techno and a sliding back with a Credo 60, so don't have live view. I find this setup to be exceptionally easy to use, despite what some people say about using the GG. I come from a 4x5" and technical camera 6x7cm background, so maybe I'm just practiced at it.
To be honest there are only two things I loathe about my Credo, being the dark frame after a long exposure and the less than up to the minute CMOS shadow recovery (and by extention DR when preserving highlights in high contrast scenes.) I can get by with only 50ISO, but those things drive me a little crazy at times, despite still producing perfectly usable results. YMMV.
dchew
Well-known member
It is roughly 2 stops. You want to extend the shutter speed, not change the f-stop. The LCC card filters out some light; that’s why you have to increase the exposure. You just want a nice histogram with the LCC. Middle to two-thirds up the scale seems to work well.
If the sun is out, or at least of there is a bright horizon, you can swing the camera around to get more light on the sensor when shooting the LCC. That shortens the exposure time.
As for other workflow, I use the electronic shutter all the time now. I can’t detect any issues with landscape images, and it makes changing lenses so much easier without cords, switches and cable releases.
Dave
If the sun is out, or at least of there is a bright horizon, you can swing the camera around to get more light on the sensor when shooting the LCC. That shortens the exposure time.
As for other workflow, I use the electronic shutter all the time now. I can’t detect any issues with landscape images, and it makes changing lenses so much easier without cords, switches and cable releases.
Dave
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Good tips above - I didn't realize about the shutter speed vs. f stop, good to know. Thanks.
Usually shoot the LCC right after the shot, so it has the same shifts as the shot. Also, easier to find in C1 when processing - just look to the end of a particular sequence, find the LCC, and adjust.
There are some cases (60mm, with center filter), where the LCC isn't critical, and if in a hurry, don't shoot one. If there is a critical issue (like sky shift), might throw the image into BW. Also, one can (if well organized!) make a set of LCCs to have on stock - I typically shift in 5mm increments, and so one could (in theory) take an LCC from a set pile of pre-shot ones, and apply it. I'm not so disciplined, and haven't been able to do this, but sometimes in a pinch one can even (if you can remember the shift pattern) do one after the fact...at least get some improvement.
As to the ground glass and composition - there seem to be two ways of working: one is very deliberate, and set up and compose carefully. That's best with a stitching back, maybe live view (which my Credo 60 doesn't have). The other is a bit more "run and gun" and with a combination of a slightly looser approach to framing, and chimping, manages just fine. Both are used. Depends on one's preferences. I like to move around outside in an area for shooting, say about a 100 yard radius for an hour or two. Keeping the back directly on the camera, on the tripod and slung over the shoulder, works well for that. A stitching back works well for a athoughtful set of architectural shots in a discrete area.
Usually shoot the LCC right after the shot, so it has the same shifts as the shot. Also, easier to find in C1 when processing - just look to the end of a particular sequence, find the LCC, and adjust.
There are some cases (60mm, with center filter), where the LCC isn't critical, and if in a hurry, don't shoot one. If there is a critical issue (like sky shift), might throw the image into BW. Also, one can (if well organized!) make a set of LCCs to have on stock - I typically shift in 5mm increments, and so one could (in theory) take an LCC from a set pile of pre-shot ones, and apply it. I'm not so disciplined, and haven't been able to do this, but sometimes in a pinch one can even (if you can remember the shift pattern) do one after the fact...at least get some improvement.
As to the ground glass and composition - there seem to be two ways of working: one is very deliberate, and set up and compose carefully. That's best with a stitching back, maybe live view (which my Credo 60 doesn't have). The other is a bit more "run and gun" and with a combination of a slightly looser approach to framing, and chimping, manages just fine. Both are used. Depends on one's preferences. I like to move around outside in an area for shooting, say about a 100 yard radius for an hour or two. Keeping the back directly on the camera, on the tripod and slung over the shoulder, works well for that. A stitching back works well for a athoughtful set of architectural shots in a discrete area.
dchew
Well-known member
When stitching two images into a pano, I always shift the back to the left first, then right. Same with the LCC. After you process the LCC in C1 you won't be able to tell which is which and this helps me know which LCCs line up with which images. I think you have an HB back, so not sure how the process works in their software.
The other thing I force myself to do is not switch things around with the camera in my hand. Never good to have more than one thing in your hand at a time. Always put the camera on the tripod, then add stuff or swap lenses.
Dave
The other thing I force myself to do is not switch things around with the camera in my hand. Never good to have more than one thing in your hand at a time. Always put the camera on the tripod, then add stuff or swap lenses.
Dave
stngoldberg
Well-known member
Regarding the LCC. I find that increasing the EV by 1 usually results in a histogram that is in the middle, but occasionally I also need plus 2 EV,
Also sometimes I find that I do not need to increase the EV to obtain a middle histogram while correcting the lens cast with an LCC.
Stanley
Also sometimes I find that I do not need to increase the EV to obtain a middle histogram while correcting the lens cast with an LCC.
Stanley