Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: rueyloon on May 13, 2007, 12:28:27 am
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hello
guys, would you guys share on what equipment do you use for architecture shoots ?
I have a 24mm TS on canon 5D and a 35mm shift, 50mm shift and a 17mm for my Aptus to be used on the truewide.
I still face problems of getting the whole image in when I'm just a street across the building or shooting across from a junction. It seems that I need a 20mm shift for such a situation. What do you guys do when faced with this problem ? Or how do you set up your equipment such that you can easily face any of the problems faced on the wide angle end of the shooting ?
I do really hope the answer is just to "try harder", I would hate to buy more equipment. I'm not in a spending mood, I would just like to learn how do guy guys face such situations.
I'm still new in moving into shooting architecture so anyhelp would be great as I don't have a mentor here that I can easily consult.
thanks for the help.
cheers
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A 17mm on a truewide? What kind of lens ist this???
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A 17mm on a truewide? What kind of lens ist this???
[a href=\"index.php?act=findpost&pid=117219\"][{POST_SNAPBACK}][/a]
I guess a 17-35 2.8 nikkor zoom (doesnt cover the whole chip??)
S
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I guess a 17-35 2.8 nikkor zoom (doesnt cover the whole chip??)
S
[a href=\"index.php?act=findpost&pid=117221\"][{POST_SNAPBACK}][/a]
yes, the nikkor at 17mm, there is a bit of vignetting, but at 20mm, it covers the while chip, which will give you about a 17mm equivalent on a 35mm fullframe camera.
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come on man need some help here.
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relative cheap options:
to go realy wide, try to get a good copy of the sigma 12-24.
its sharp enough and has hardly any distortion (perhaps 1% barrel at 12mm).
then shift in photoshop.
and if dont want to spend any money, find a different viewpoint, further away. a 12mm fullframe-picture gives you quite strong perspectives. unless you are realy carefull with the 12mm architects might not like the picture very much.
another choice (for more resolution) would be stitching three shifted frames.
since you asked: I use the 12-24mm on a 5D mostly for architecture inside. and a mamiya zd with a 50mm shift and the 35mm for exteriors (and interiors). it´s my setup to work fast and get enough shots on a day.
if you have more time (to shoot) or money (to spend) a different setup would of course be preferable (cambo, alpha...)
stefan marquardt
www architekturbild de
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the sigma 12-24 is a phantastic option. it seems to be the onliest wa retrofocus lense under 20mm ever built with good correction for distortion. as stephan said its not so easy to use it but if you know that the results can be amazing together with the 5d. carefully corrected the image is good enough for any a3 print, even mixed with mf shots.
for shots with less wideangle i use than my mf lenses with the gottschalt, ofcourse still better,
but for a price point 10 times higher than the 5d with the sigma.
there is no alternative to the sigma if you want to go wider than 24mm on a 35mm system. on mf systems the rodenstock 28Hr ( equ. 21mm ) and the schneider 24 xl ( equ. 17mm ) are the best solution.
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Why not use stitching? There is a very advanced application AutoPano Pro (http://www.autopano.net). In this case longer zoom, higher optical quality lenses can be used to produce a higher resolution image. Ofcourse a spherical panoramic bracket is a must for serious applications.
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Why not use stitching? There is a very advanced application AutoPano Pro (http://www.autopano.net). In this case longer zoom, higher optical quality lenses can be used to produce a higher resolution image. Ofcourse a spherical panoramic bracket is a must for serious applications.
[a href=\"index.php?act=findpost&pid=117670\"][{POST_SNAPBACK}][/a]
you'll be able to cover the angle usinging stitching, but when you do a rectilinear projection, the quality does down quite dramatically. Stitching is the same as tilting the camera and correcting for perspective later on. The sides lose alot of detail.
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I use a 5D setup, 17-45, 24TS, 35 Olympus PC, 45TS, etc. and a complete 4x5 outfit 47, 65, 90, 150 etc. with the ability to scan in house. Stitching solves many problems that a wide lens will not cover, but is a last resort beyond a two image stitch because it is not very cost effective, time wise, on usual AP budgets.
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I use a 5D setup, 17-45, 24TS, 35 Olympus PC, 45TS, etc. and a complete 4x5 outfit 47, 65, 90, 150 etc. with the ability to scan in house. Stitching solves many problems that a wide lens will not cover, but is a last resort beyond a two image stitch because it is not very cost effective, time wise, on usual AP budgets.
[a href=\"index.php?act=findpost&pid=117689\"][{POST_SNAPBACK}][/a]
Give AutoPano pro a chance:) It automatically recognises panoramas from an entire set of files which may include various panoramas and single images and is capable of fully automated stitching. Excellent workflow tool with quality results.
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Give AutoPano pro a chance
I have. It is a problem solver, but not anywhere near as productive as having the right equipment to begin with. On tall buildings, as he describes, give me a 4x5 and the right lens any day.
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Rainer.
I'm thinking on buying a Digi 20 Gottschalt. I'm not sure if I should spend that money on it or use it to help finance a Canon 90mm TS.
Will you please talk a little bit about your experience with it? How much did you pay?
How would you rate this investment on a scale of 1 to 10?
Thanks
Eduardo
Ps Could you post a picture of the 5D with the Gottschalt?
for shots with less wideangle i use than my mf lenses with the gottschalt, ofcourse still better,
but for a price point 10 times higher than the 5d with the sigma.
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Rainer.
I'm thinking on buying a Digi 20 Gottschalt. I'm not sure if I should spend that money on it or use it to help finance a Canon 90mm TS.
Will you please talk a little bit about your experience with it? How much did you pay?
How would you rate this investment on a scale of 1 to 10?
Thanks
Eduardo
Ps Could you post a picture of the 5D with the Gottschalt?
[a href=\"index.php?act=findpost&pid=117755\"][{POST_SNAPBACK}][/a]
i use the gottschalt with emotion 22+75 mf backs not with the 5d. i would rate my mf equipment very high...
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Rainer.
I'm thinking on buying a Digi 20 Gottschalt.
I would check first, if you can reach infinity with the 5d-Digi20 setup.
I looked at that option too but decided against it. you would be much better (and much cheaper!) with the zörk psa and the pentax 35 af setup (plus the 12-24mm).
stefan
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Rainer.
I'm thinking on buying a Digi 20 Gottschalt.
I would check first, if you can reach infinity with the 5d-Digi20 setup.
I looked at that option too but decided against it. you would be much better (and much cheaper!) with the zörk psa and the pentax 35 af setup (plus the 12-24mm).
stefan
[a href=\"index.php?act=findpost&pid=117813\"][{POST_SNAPBACK}][/a]
.... thats right .... the psa + pentax 35af is great.
about the sigma: you have to test the 12-24 before buying it. sample variation is immense, most lenses do not have 4 sharp corners for bad centration, but every third has. so you should try if all corners have same sharpness, otherwise you probably will be unlucky with it.
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.... thats right .... the psa + pentax 35af is great.
about the sigma: you have to test the 12-24 before buying it. sample variation is immense, most lenses do not have 4 sharp corners for bad centartion, but every third has. so you should try if all corners have same sharpness, otherwise you probably will be unlucky with it.
[a href=\"index.php?act=findpost&pid=117822\"][{POST_SNAPBACK}][/a]
I understand the Zoerk is not totally functional (or, totally functional but really awkward) with dslr's
with chunky grips like the 5D. With the Gottschalt, you move the camera not the lens, so you don't have miss-registration when stiching. I think you can buy an extra item with the Zoerk that lets you keep the lens still and move the camera only, but from the pictures I've seen, it only makes it more awkward. From the little clip at Gottschalt site, the Digi20 seems to be easy to operate. I know all information "at distance" often can be misleading.
How much is the Digi20 anyway?
Eduardo
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I understand the Zoerk is not totally functional (or, totally functional but really awkward) with dslr's!>>>
wrong. believe us, (rainer and me) the zörk psa and the 5d are (considering the price!) a perfect and easy to use combo. and you can choose if you shift the lens or the camera. (with exterior architecture I always just shift the lens for stiched frames. with interiors you better shift the camera).
gottschalt states for the digi20: for "product and repro work" . which makes me feel, it doesn´t reach infinity perhaps. check that first!
stefan
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I have had several interior and exterior photographers that have chosen the Cambo Wide DS system with a Phase One DB. There is a bit of a learning curve to learn the new workflow, but seem to be happy with the system.
Thank you,
Chris Lawery
Sales Manager
Capture Integration
www.captureintegration.com
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Stefan,
I was told the Zoerk's main something, couldn't move freely around because the 5D grip was on its way of rotation. Good to know is fully functional with the 5D.
I almost bought one last summer to use with 3 Hasselblad CF lenses.
Thx
Eduardo
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Stefan,
I was told the Zoerk's main something, couldn't move freely around because the 5D grip was on its way of rotation. >>>>
it doesn´t go around a full circle, but that is not a problem. you still get the lens into any position you want. I used the canon-mamiya psa plus a canon-pentax shiftadapter for 2 years on many architecture and interior assignments with the 1ds and the 5D and never has this been as a problem. I whish he would still make the bigger mamiya645 to pentax67 shift-adapters, but he says there is not enough demand. I would by one without hesitation in a second, for my mamiya zd.
stefan
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Chris, what do you mean by the learning curve, is the Cambo system complex, or are you referring to a film to digital change?
David
I have had several interior and exterior photographers that have chosen the Cambo Wide DS system with a Phase One DB. There is a bit of a learning curve to learn the new workflow, but seem to be happy with the system.
[a href=\"index.php?act=findpost&pid=117957\"][{POST_SNAPBACK}][/a]
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I am using the Cambo WDS with a P45. I think the steepest part of the learning curve is C1 which I am new to. I don't think using the Cambo is complex at all.
Using the 24mm schneider lens with the lens cast is an issue when trying to remove all the effects. It is not possible to use one LCC file for this lens even though there is no shift. The slightest change of shift and the slack evident in the lens mounting gives major change in the LCC file. Had the Horsemann SWD11 which is not good. Maybe should have gone for the Alpa? But I do like the horizontal shift capability of the Cambo and I am getting some lovely images out the kit.
Steve Townsend
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Thanks Stefan:
You are making think again about buying the PSA.
My rig would be a 5D and 3 CF Hasselblad lenses. 50, 80, 150.
Let me ask you a few things. I've been to all pages I googled including all those at Zoerk's site and couldn't find answers to many questions. This guys should have short videos showing the different parts and how to operate these things. So easy to do it since Youtube!
Hope you (or somebody else, please) can answer them:
I understand the PSA can shift up to 20mm either way. I am not interested in doing 1:3 ratio panoramas. I am only interested in doing shifts on the short 24mm axis to produce ultra resolution images.
1. Is this possible with the 5D in both orientations? I mean: vertical position (to produce a stitched horizontal image) and horizontal position (to produce a stitched vertical image) ?
2. If yes, how do you acomplish shifting all 20mm on the 24mm axis? Do you need to take first a picture in no-shift position and then shift 20mm, shoot, then rotate 180 degrees and shoot a third image? If yes, does it take long? Awkward? Difficult? - I'm used to 4X5 field cameras. Well, rusty now.
3. I want to always shift the camera not the lens. Is it absolutely necessary to have the tripod adapter for the PSA? - About the L bracket. What is the function of this with the PSA?
4- Articles talk about the RSS L bracket. I own already a very nice L bracket from Manfroto. Need to buy the RSS?
Maybe too many questions. Hope it is not a burden.
Thank you for doing Zoerk's job. (sarcasm)
Best
Eduardo
Stefan,
I was told the Zoerk's main something, couldn't move freely around because the 5D grip was on its way of rotation. >>>>
it doesn´t go around a full circle, but that is not a problem. you still get the lens into any position you want. I used the canon-mamiya psa plus a canon-pentax shiftadapter for 2 years on many architecture and interior assignments with the 1ds and the 5D and never has this been as a problem. I whish he would still make the bigger mamiya645 to pentax67 shift-adapters, but he says there is not enough demand. I would by one without hesitation in a second, for my mamiya zd.
stefan
[a href=\"index.php?act=findpost&pid=118113\"][{POST_SNAPBACK}][/a]
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I am using the Cambo WDS with a P45. I think the steepest part of the learning curve is C1 which I Had the Horsemann SWD11 which is not good. Maybe should have gone for the Alpa? But I do like the horizontal shift capability of the Cambo and I am getting some lovely images out the kit.
Steve Townsend
[a href=\"index.php?act=findpost&pid=118198\"][{POST_SNAPBACK}][/a]
What did you find lacking in the SWDII? On paper it seems like an ideal camera for architecture and I've considered it for my next setup. Right now I'm using a Fuji GX680III. It has been my film to digital transition camera, but now I'm more interested in a purely digital camera.
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David,
That is what I meant. Going from 100% film on a 4x5 to a 39MP DB on a Cambo Wide DS, you will need little time to learn a new workflow. I've seen great results from clients that have made the switch.
Thank you,
Chris
Chris Lawery
Sales Manager
Capture Integration
www.captureintegration.com
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I have a WDS here with me, but it will still cost me a couple of thousands more to get the lens and the digital back adapter.
anyone using them ? I find getting focus through gestimating quite useless, I can't get critical focus. When I shoot tethred I can tell that 1 mm diff does make quite abit of difference, even for distance objects.
cheers
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What did you find lacking in the SWDII? On paper it seems like an ideal camera for architecture and I've considered it for my next setup. Right now I'm using a Fuji GX680III. It has been my film to digital transition camera, but now I'm more interested in a purely digital camera.
[a href=\"index.php?act=findpost&pid=118294\"][{POST_SNAPBACK}][/a]
Doesn't the SWDII only have 17mm of shift?
I am using the Alpa XY, P45, with the 24, 35, 47, 60, and 100mm digitars. It is a great system. Nearly all the lenses and accessories are readily available. The whole system must be priced to compare the Alpa versus Cambo options. If you find that the Alpa is $26K and the Cambo is $24k then, in the long run, I would choose the system with the wider range of lenses, accessories and camera bodies which also has the best craftmanship. The C1 software has a great combination of stability, speed, and workflow.
Working with Nikon and Canon systems meant barrel distortion, chromatic abberation, low resolution, limited bit depth, increased highlight blooming, poor highlight transitions, and the need for perspective correction in Photoshop (robbing even more resolution from the already small file).
Working with a Cambo/Alpa/Phase/Leaf/Sinar system takes less time in post and produces much higher quality results.
For a working photographer the system is also very reasonably priced when compared to 4x5 film, processing, and polaroids.
Of course, the resolution is not realized for magazine publishing. But when I shoot the one job in 10 (or 100) for which it matters, the quality is there. I don't fear the architect ordering 30"x40" prints to hang next to prints from 4x5 images. The MkII and D2x files just can't keep up.
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Eric,
Just curious, your website is very professional with many wonderful images. You have a great eye. A couple of the images in the residential portfolio show a fair amount of barrel distortion. What were those shot with?
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Eric,
Just curious, your website is very professional with many wonderful images. You have a great eye. A couple of the images in the residential portfolio show a fair amount of barrel distortion. What were those shot with?
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=118314\")
I'm not exactly sure which images you mean Kirk. The last image was shot with a Nikon 17-35 and I'm sure has barrel distortion (it never really jumped out at me though). All the rest are Schneider lenses on 4x5 film. I don't see the barrel distortion in any of them.
My web site is mostly 4x5 film with some 35mm digital mixed in, so here is a gallery of just Alpa images shot with the Aptus 75:
[a href=\"http://www.ericstaudenmaier.com/alpa_sample]http://www.ericstaudenmaier.com/alpa_sample[/url]
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What did you find lacking in the SWDII? On paper it seems like an ideal camera for architecture and I've considered it for my next setup. Right now I'm using a Fuji GX680III. It has been my film to digital transition camera, but now I'm more interested in a purely digital camera.
[a href=\"index.php?act=findpost&pid=118294\"][{POST_SNAPBACK}][/a]
I agree on paper it seemed the same to me, but in reality I think it needs gearing. More importantly though to change lenses you need undo four tiny screws and then redo the same. Also the same tiny screw heads are provided to lock the shift which you had to screw quite tight to stop it slipping. Not particularly pleasant to use in my two weeks of use before I sent it back. The Cambo is bigger which is not so good and with the completely ridulous handle even more so!!
Steve Townsend
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Using the 24mm schneider lens with the lens cast is an issue when trying to remove all the effects. It is not possible to use one LCC file for this lens even though there is no shift. The slightest change of shift and the slack evident in the lens mounting gives major change in the LCC file.
[a href=\"index.php?act=findpost&pid=118198\"][{POST_SNAPBACK}][/a]
I agree. I always make a Lcc for each shot I do with the Cambo WDS, finding that even a minuscule change to the camera affects the Lcc.
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hi eduardo, the answers to your questions:
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1. Is this possible with the 5D in both orientations? I mean: vertical position (to produce a stitched horizontal image) and horizontal position (to produce a stitched vertical image) >>
yes, an elbow braket (can be selfbuilt for 10 euros, or bought from herr zörkendorfer or from manfrotto) is needed. you frame the pic, take one frame on the left shifted position, than one frame in the unshifted position and the last frame in the right shifted position. sames goes for up and down/vertical stitching. its very easy and takes a few seconds - perhaps as long as exposing two sheets of 4x5 film, or so.
<<<2. If yes, how do you acomplish shifting all 20mm on the 24mm axis? Do you need to take first a picture in no-shift position and then shift 20mm, shoot, then rotate 180 degrees and shoot a third image? If yes, does it take long? Awkward? Difficult? - I'm used to 4X5 field cameras. Well, rusty now.I want to always shift the camera not the lens. Is it absolutely necessary to have the tripod adapter for the PSA? - About the L bracket. What is the function of this with the PSA?>>>
yes - you need the psa with the tripod adapter (i think it´s 50 euro more or so). and the L-braket. you need the L-braket to turn the whoole psa into a horizontal position to do take a horizontal three-frames-stich.
<<<4- Articles talk about the RSS L bracket. I own already a very nice L bracket from Manfroto. Need to buy the RSS?>>>
no, i use my manfrotto L-braket to. I did chop a tiny bit of where it interferred with the psa.
the whole thing is rather easy to use, even if it sounds a bit complicated. once you have it in front of yourself, it´s easy to see what to do with it.
<<<Maybe too many questions. Hope it is not a burden.
Thank you for doing Zoerk's job. (sarcasm)>>
no problem - I think I have spend hours on the phone and via mail with fellow photographers to explain the psa to them. now, if only he would build me a mamiya-pentax psa for that, I would be happy.
stefan
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I am using the Alpa XY, P45, with the 24, 35, 47, 60, and 100mm digitars. It is a great system. Nearly all the lenses and accessories are readily available. The whole system must be priced to compare the Alpa versus Cambo options. If you find that the Alpa is $26K and the Cambo is $24k then, in the long run, I would choose the system with the wider range of lenses, accessories and camera bodies which also has the best craftmanship. The C1 software has a great combination of stability, speed, and workflow.
[a href=\"index.php?act=findpost&pid=118307\"][{POST_SNAPBACK}][/a]
Hi Eric
Mmmm, I might wish I had gone for the Alpa System rather than the Cambo.
Couple of questions for you if you would be so kind.
1. Do you still use the 12SWA?
2. Are the Alpa XY lens compatible (without re-mounting) with the 12SWA and/or the TC?
3. Do you use the P45 with a H1/2 or somethingelse?
Regards Steve Townsend
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I use a couple of different things. I use the truewide as well (as does Rueyloon) but have recenty bought a Flexbody as well. I already had several CF lenses for my 503CW so I just had to get the body and I found one for a very reasonable price.
With the cropped 43x31 sensor you can have all the shift (over 20mm) the flexbody can deliver and the full 30degrees of tilt without getting to the edges of the image circle.
Yesterday, I had to do a building (very boring one but these need to be photographed as well ) and without a lot of effort I was able to stitch a 80MP wide angle file with virtually no distortion. I rotated on a panorama plate and used the shift of the back to do 2 rows.
I have been working with the thing for the last couple of weeks and find it a nice piece of equipment to work with. I have not yet ran into the limitations of movements of the thing but have promised myself to have the thing redone into a bendyblad as soon as I do.
What I really like about the flexbody is the size and weight. Only about 800 grammes!
It would be nice when Live Video would become real life video, as in on the display that would mean I can get rid of the ground glass and RMFx finder. Because I work really slow to begin with when using stuff like this I don't mind taking the ground glass of and replacing it with the back but it would be nice.
I think the Alpa & Cambo are also very nice, especially the glass for the Alpa but I just don't have the economical justification to go for that (read, I am a poor schmuck trying to make money and do not belong to the bunch that can afford to invest in stuff like that, YET )
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I would agree with Eric. Do an LCC for each shot on your Cambo Wide DS. I know of one photographer that actually made LCCs for each of his lenses and with several shifts. He labeled
each of them and applies them through C1. It's a fail safe way to make sure he has a LCC
for his shots.
Chris Lawery
Sales Manager
Capture Integration
www.captureintegration.com
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I'm not exactly sure which images you mean Kirk. The last image was shot with a Nikon 17-35 and I'm sure has barrel distortion (it never really jumped out at me though). All the rest are Schneider lenses on 4x5 film. I don't see the barrel distortion in any of them.
Eric,
I am not saying the BD is huge. "Laundry" and the untitled library/study image show about the amount of barrel distortion that I encounter on my Canon 24TS. I guess maybe I am very sensitive to BD after shooting 4x5 exclusively for 29 years. Since last October I started shooting all editorial on FF Canon and find some very slight correction is almost always necessary.
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Hi Eric
Mmmm, I might wish I had gone for the Alpa System rather than the Cambo.
Couple of questions for you if you would be so kind.
1. Do you still use the 12SWA?
2. Are the Alpa XY lens compatible (without re-mounting) with the 12SWA and/or the TC?
3. Do you use the P45 with a H1/2 or somethingelse?
Regards Steve Townsend
[a href=\"index.php?act=findpost&pid=118355\"][{POST_SNAPBACK}][/a]
1. Do you still use the 12SWA?
Yes, I bought the 12SWA initially hoping that I would like the XY when it was released. I have recently shot a landscape project which the SWA was ideal for.
2. Are the Alpa XY lens compatible (without re-mounting) with the 12SWA and/or the TC?
Yes, the lenses and P45 with adapter go seemlessly and very easily between all Alpa cameras. I did adjust the shim in my Alpa/H1 adapter by 1/10th of a millimeter when it first arrived about a year ago. I have used 3 Phase backs and 5 Leaf Aputs backs on the Alpa. One of the backs required a 1/10mm adjustment further from the lens. I should also be able to use that crazy 160 MP seitz scan back in the future as well.
3. Do you use the P45 with a H1/2 or somethingelse?
I have the H1 mount but do not own an H1. It seemed at the time to be a viable platform that would mean a good resale value on the P45+. I ordered the value added P45+ and have a free mount change until December. I hope the ne new Rollei camera will become compatible with Phase before then, so I have the option to switch I used the Aptus 22/75 from April last year until December. I jumped ship last December preferring the software that Phase provides.
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Eric,
I am not saying the BD is huge. "Laundry" and the untitled library/study image show about the amount of barrel distortion that I encounter on my Canon 24TS. I guess maybe I am very sensitive to BD after shooting 4x5 exclusively for 29 years. Since last October I started shooting all editorial on FF Canon and find some very slight correction is almost always necessary.
[a href=\"index.php?act=findpost&pid=118375\"][{POST_SNAPBACK}][/a]
Hi Kirk,
I agree about the study image. The Laundry image was definitely shot with the Schneider 90mm on 4x5 film though, so I think it's just an illusion.
I started shooting for money in 1993 and used the 4x5 from then until spring of last year. It's getting pretty dusty now. I miss the inexpensive lenses.
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The Laundry image was definitely shot with the Schneider 90mm on 4x5 film though, so I think it's just an illusion.
Eric, I looked at your architecture galleries, very good stuff you have there, (apart from the fact that the lower left of the laundry also looks curved here) may I ask with what camera you shot the "Museum of contemporary Art" in LA?
http://www.ericstaudenmaier.com/site/image...es/large_03.jpg (http://www.ericstaudenmaier.com/site/images/comm_images/large_03.jpg)
Judging by the degree of shift and the distance I'd say it was with a 4x5 film, right?
Thanks,
Bernhard
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Stefan.
Danke, danke, danke.
Since you live in Germany, I'm going to ask if you know or ever used the Digi 20 from Gottschalt.
If so, how would you (or other fellow photographers) compare it to the Zoerk PSA?
Thoughts?
Eduardo
no problem - I think I have spend hours on the phone and via mail with fellow photographers to explain the psa to them. now, if only he would build me a mamiya-pentax psa for that, I would be happy.
stefan
[a href=\"index.php?act=findpost&pid=118353\"][{POST_SNAPBACK}][/a]
[/quote]
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Eric, I looked at your architecture galleries, very good stuff you have there, (apart from the fact that the lower left of the laundry also looks curved here) may I ask with what camera you shot the "Museum of contemporary Art" in LA?
http://www.ericstaudenmaier.com/site/image...es/large_03.jpg (http://www.ericstaudenmaier.com/site/images/comm_images/large_03.jpg)
Judging by the degree of shift and the distance I'd say it was with a 4x5 film, right?
Thanks,
Bernhard
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=118394\")
That shot is 4x5. It could be done with any of the P45/A75/E75 backs and a 35mm digitar, but only just. The 47mm lens has slightly more shift. Again, there are no Alpa shots on my web site. Theses images are ALL Alpa:
[a href=\"http://www.ericstaudenmaier.com/alpa_sample/]http://www.ericstaudenmaier.com/alpa_sample/[/url]
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hmm..... with all these, should I be considering going back to my arca swiss 69 instead ? will I be able to focus the 24mm on the arca swiss ?
The main reason I don't want to go this route is that I'm not too comfortable handling the digital back so often during a single shoot, as we all know, with every handling there is an increased chance of something stupid happening.
anyone with experience shooting architecture with a digital back on a view camera ?
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hmm..... with all these, should I be considering going back to my arca swiss 69 instead ? will I be able to focus the 24mm on the arca swiss ?
The main reason I don't want to go this route is that I'm not too comfortable handling the digital back so often during a single shoot, as we all know, with every handling there is an increased chance of something stupid happening.
anyone with experience shooting architecture with a digital back on a view camera ?
[a href=\"index.php?act=findpost&pid=118481\"][{POST_SNAPBACK}][/a]
The widest lens that is still PRACTICALLY focusable (a word?) on the 69 is the Super-Angulon 38mm.
On Paper the 24mm and 35mm work, but the reality is that it is very hard to maintain focus across the frame with these lenses.
Yair
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Stefan.
Danke, danke, danke.>>>
hi eduardo - hey, if know some german, you should give herr zörkendorfer a call. make sure you use a cheap phoneconnection - even when i phone him for a quick question, i never get of the phone in under an hour or two. he is a real photo-optics and mechanics freak and a well of information.
<<Since you live in Germany, I'm going to ask if you know or ever used the Digi 20 from Gottschalt.>>
no never used one. I once send gottschalt two emails about the digi20 and never got an answer. I was trying to find out, if the digi20 can focus at infinity. in the description is says: "Product-photography" whereas all the other cameras mention "architecture...). so you should check that first. by the way. before i got to know all those solutions (zörk,...) I build my own solution, by adapting a sigma sd9 to my arca swiss 4x5 view camera, using mf lenses and stitching up to 6 frames for an architecture-image. the resolution of those images was probably as good or even better than a 39mpixelsensor. but just to much work taking and stitching all those frames. If you still have your 4x5 and the hasselblad lenses wy don´t you try to build one yourself. a 100 euros/dollars should by you everything you need. (When you do, you will learn, that the main problem is to get the system to focus at infinity).
stefan
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Stefan:
Sorry, I don't speak german. But most likely Herr Zorkendorfer does english.
Your suggestion about building my own rig is a good idea. As a matter of fact, I already have done it for Hasselblad film magazines. Getting infinity was possible but barely. Doing it for the 5D must be next to impossible, because of the extra depth of the reflex box. Nevertheless. I 'm going to give it some thoughts.
Where do you think I could find a reliable locking Canon EF throat connector?
If I find this part, the rest should be easy.
On the other end (lens connector), where could I find one for a CF Hasselblad lens? In the past, I made them out of their own plastic caps. I don't want to do that now, because of safety resons.
Best
Eduardo
Stefan.
Danke, danke, danke.>>>
hi eduardo - hey, if know some german, you should give herr zörkendorfer a call. make sure you use a cheap phoneconnection - even when i phone him for a quick question, i never get of the phone in under an hour or two. he is a real photo-optics and mechanics freak and a well of information.
<<Since you live in Germany, I'm going to ask if you know or ever used the Digi 20 from Gottschalt.>>
no never used one. I once send gottschalt two emails about the digi20 and never got an answer. I was trying to find out, if the digi20 can focus at infinity. in the description is says: "Product-photography" whereas all the other cameras mention "architecture...). so you should check that first. by the way. before i got to know all those solutions (zörk,...) I build my own solution, by adapting a sigma sd9 to my arca swiss 4x5 view camera, using mf lenses and stitching up to 6 frames for an architecture-image. the resolution of those images was probably as good or even better than a 39mpixelsensor. but just to much work taking and stitching all those frames. If you still have your 4x5 and the hasselblad lenses wy don´t you try to build one yourself. a 100 euros/dollars should by you everything you need. (When you do, you will learn, that the main problem is to get the system to focus at infinity).
stefan
[a href=\"index.php?act=findpost&pid=118495\"][{POST_SNAPBACK}][/a]
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The main reason I don't want to go this route is that I'm not too comfortable handling the digital back so often during a single shoot, as we all know, with every handling there is an increased chance of something stupid happening.
anyone with experience shooting architecture with a digital back on a view camera ?
[a href=\"index.php?act=findpost&pid=118481\"][{POST_SNAPBACK}][/a]
I find the 47mm the widest I can comfortably focus on the view camera. I moved to the Cambo WDS for a better solution to the wider (35mm, 24mm) lenses.
As far as handling the DB, I routinely swap between the Cambo and the Hassy on a shoot, typically using the Cambo for wide shots and then swtiching to the Hassy for detail/vignettes. This interchangability is one of the biggest advantages to a mfdb imho.
That said, I always do the "wiggle test". Cheap insurance for an expensive piece of gear.
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hmm..... with all these, should I be considering going back to my arca swiss 69 instead ? will I be able to focus the 24mm on the arca swiss ?
The main reason I don't want to go this route is that I'm not too comfortable handling the digital back so often during a single shoot, as we all know, with every handling there is an increased chance of something stupid happening.
anyone with experience shooting architecture with a digital back on a view camera ?
[a href=\"index.php?act=findpost&pid=118481\"][{POST_SNAPBACK}][/a]
I shoot landscape, not architecture, with P45 and Arca-Swiss 6x9. I currently use 35mm Digitar as my widest lens. I gave up on the factory original GG and have been using one from Maxwell Precsion Optics very satisfactorily. It's focus is tack sharp and screen is a magnitude brighter than the factory original.
I am in process of getting 24mm Digitar. It will focus infinity with 15mm recessed lens board, and with rear standard reversed. I use center filter for both 35 and 47, and will use one with 24 also.
Regarding an accidental drop of DB, I am being careful, take time and took out an insurance for it
Jae Moon
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I shoot landscape, not architecture, with P45 and Arca-Swiss 6x9. I currently use 35mm Digitar as my widest lens. I gave up on the factory original GG and have been using one from Maxwell Precsion Optics very satisfactorily. It's focus is tack sharp and screen is a magnitude brighter than the factory original.
I am in process of getting 24mm Digitar. It will focus infinity with 15mm recessed lens board, and with rear standard reversed. I use center filter for both 35 and 47, and will use one with 24 also.
Jae
Is your P45 a Hassy"V" mount? What type of GG did you get from Maxwell Optics?
I also use an Arca for normal to telephoto work and would like a more precise viewing system. Does your ground glass have a split image focus?
For ultra wide lenses, you are going to be challenged.............the helical focus mount of a 24xl/ Cambo WDS moves the lens only one mm. To move the focus of the lens one millimeter you have to rotate the lens focusing grip 5 inches.
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Your suggestion about building my own rig is a good idea. As a matter of fact, I already have done it for Hasselblad film magazines. Getting infinity was possible but barely. Doing it for the 5D must be next to impossible, because of the extra depth of the reflex box. Nevertheless. I 'm going to give it some thoughts.Where do you think I could find a reliable locking Canon EF throat connector? If I find this part, the rest should be easy.On the other end (lens connector), where could I find one for a CF Hasselblad lens? In the past, I made them out of their own plastic caps. I don't want to do that now, because of safety resons. Eduardo[a href=\"index.php?act=findpost&pid=118577\"][{POST_SNAPBACK}][/a]
Eduardo, when I built mine, I used a spacer ring(?) to get an camera-mount and a lens-mount. I fixed the lensmount on a recessed arca lensboard and mounted the lens - and thats important!!!: on the front-element-side to an other arca recessed lensboard. with that trick, you can focus easy to infinity and have hugh amount of shift too. I built myself an universal lensmountplatething which lets me connect any lens from any brand to it.
this pic (http://www.stefanmarquardt-architekturbild.de/achitecture_nr_1_frima__gmp/achitecture_nr_1_frima__gmp.html) was one of my first pictures with this setup and consisted of 6 stiched sd9 images.
stefan
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I shoot landscape, not architecture, with P45 and Arca-Swiss 6x9. I currently use 35mm Digitar as my widest lens. I gave up on the factory original GG and have been using one from Maxwell Precsion Optics very satisfactorily. It's focus is tack sharp and screen is a magnitude brighter than the factory original.
I am in process of getting 24mm Digitar. It will focus infinity with 15mm recessed lens board, and with rear standard reversed. I use center filter for both 35 and 47, and will use one with 24 also.
Regarding an accidental drop of DB, I am being careful, take time and took out an insurance for it
Jae Moon
[a href=\"index.php?act=findpost&pid=118623\"][{POST_SNAPBACK}][/a]
Dear Jae
I have used the 24mm on both an Arca monolith 6x9 and a Misura, yes it can focus at infinity, but I had a very hard time getting the focus on the entire frame, the result, from my point of view, varied from just useable to not useable at all....
The focus distance, as I recall from memory, from about 0.6 meter to infinity is about 1.6 millimetres, so even the slightest misalignment in the camera will show clearly.
That’s one of the main reasons for, that I'm using an Alpa XY these days.
Very best,
Adam
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Jae
Is your P45 a Hassy"V" mount? What type of GG did you get from Maxwell Optics?
I also use an Arca for normal to telephoto work and would like a more precise viewing system. Does your ground glass have a split image focus?
For ultra wide lenses, you are going to be challenged.............the helical focus mount of a 24xl/ Cambo WDS moves the lens only one mm. To move the focus of the lens one millimeter you have to rotate the lens focusing grip 5 inches.
[a href=\"index.php?act=findpost&pid=118646\"][{POST_SNAPBACK}][/a]
Prakash:
My P45 is H mount so I can share it between Arca-Swiss and H2 (for auto focus ). When I got my A-S, I could not focus with its provided GG; not only it is dark and very grainy its focusing is off slightly even in best circumstances. I got Maxwell Hi Lux Brilliant Matt GG which has much brighter screen with finer Fresnel lens patterns. It does not have the split image focus. I use a Schneider loupe (10x) for final focusing and Wista 5x for general focusing and composingI
have used the 24mm on both an Arca monolith 6x9 and a Misura, yes it can focus at infinity, but I had a very hard time getting the focus on the entire frame, the result, from my point of view, varied from just useable to not useable at all....
The focus distance, as I recall from memory, from about 0.6 meter to infinity is about 1.6 millimetres, so even the slightest misalignment in the camera will show clearly..
[a href=\"index.php?act=findpost&pid=118646\"][{POST_SNAPBACK}][/a]
Adam:
As I indicated earlier, I do not have 24mm yet and 35mm is my widest lens. Both you and Prakash are right, it is not easy to focus A-S with its not-so-precise rack and pinion gearing. I wish they would implement more precision gearing for focus, such as the one used in a micrometer.
I believe both 24 and 35mm focus from infinity to close up within less than 1.5mm movement of focusing rail, which is less than a wiggle of the knob.
A question to Adam, I am not totally clear what you mean by the difficulty of focusing entire frame. Is it with front-tilt or without any movement? The image circle of 24mm barely cover the P45 image sensor, 60mm diagonal. I would appreciate it much if you elaborate your experiences in more details. I didn't write the check for 24mm yet.
Jae Moon
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Prakash:
My P45 is H mount so I can share it between Arca-Swiss and H2 (for auto focus ). When I got my A-S, I could not focus with its provided GG; not only it is dark and very grainy its focusing is off slightly even in best circumstances. I got Maxwell Hi Lux Brilliant Matt GG which has much brighter screen with finer Fresnel lens patterns. It does not have the split image focus. I use a Schneider loupe (10x) for final focusing and Wista 5x for general focusing and composingI
Adam:
As I indicated earlier, I do not have 24mm yet and 35mm is my widest lens. Both you and Prakash are right, it is not easy to focus A-S with its not-so-precise rack and pinion gearing. I wish they would implement more precision gearing for focus, such as the one used in a micrometer.
I believe both 24 and 35mm focus from infinity to close up within less than 1.5mm movement of focusing rail, which is less than a wiggle of the knob.
A question to Adam, I am not totally clear what you mean by the difficulty of focusing entire frame. Is it with front-tilt or without any movement? The image circle of 24mm barely cover the P45 image sensor, 60mm diagonal. I would appreciate it much if you elaborate your experiences in more details. I didn't write the check for 24mm yet.
Jae Moon
[a href=\"index.php?act=findpost&pid=118675\"][{POST_SNAPBACK}][/a]
Sorry for not being precise. I meant, I had a very hard time, with the 24mm, to produce a sharp image, edge to edge with my arca's without any movements - if you standards not are completely align with each other you will get one side of the frame in focus and the other out of focus.
I could not achieve that perfect alignment with my Arca's most of the time.
The 35 mm works ok on the Arca if you are careful. But the 24 are a different beast in my opinion.
I would strongly recommend, if possible, trying the 24mm on your camera to see if it works for you, before you write the check.
Before I got the Alpa XY, I first got the Alpa TC only for use with the 24 mm, a compact and precise solution that don't take up much more space in the bag than a 24 mm on a lensboard - cost is an other story...
Very best,
Adam
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Stefan:
Can you explain what do you mean by "spacer ring"?
And where should I look for them?
Better yet, if you can show us a picture of it.
Much better yet, a picture of the whole contraption too.
If you prefer, you can email me direct, Thanks. uaiocervantes@gmail.com
Eduardo, when I built mine, I used a spacer ring(?) to get an camera-mount and a lens-mount. I fixed the lensmount on a recessed arca lensboard and mounted the lens - and thats important!!!: on the front-element-side to an other arca recessed lensboard. with that trick, you can focus easy to infinity and have hugh amount of shift too. I built myself an universal lensmountplatething which lets me connect any lens from any brand to it.
this pic (http://www.stefanmarquardt-architekturbild.de/achitecture_nr_1_frima__gmp/achitecture_nr_1_frima__gmp.html) was one of my first pictures with this setup and consisted of 6 stiched sd9 images.
stefan
[a href=\"index.php?act=findpost&pid=118659\"][{POST_SNAPBACK}][/a]
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Can you explain what do you mean by "spacer ring"?
[a href=\"index.php?act=findpost&pid=118701\"][{POST_SNAPBACK}][/a]
Extension tube for macro photography ??
S
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Extension tube for macro photography ??
exactly. couldn´t think of the right name. you find them on ebay cheap. I am afraid, I cant take a pic because the camera is in a different location and partly dissembled. I dont use it very often since I have the zörk and the zd.
stefan