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Author Topic: Michaels hot new system.  (Read 22885 times)

michael

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Michaels hot new system.
« Reply #20 on: March 09, 2006, 10:10:31 am »

Understood.

But, I have to say that since the show opened (and at the opening as well)  a great many people have asked about the glacier shot on the back wall, and what was it about it that made it look so different than the others.

Michael
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Jack Flesher

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« Reply #21 on: March 09, 2006, 10:43:28 am »

Quote
The P45 and similar backs can be used tethered, and a 100% magnification preview can be seen on-screen within a few seconds of taking a shot.


Michael
[a href=\"index.php?act=findpost&pid=59841\"][{POST_SNAPBACK}][/a]

Michael:  I just re-read this and now have another question:  Does your answer above imply the P45 back CANNOT focus in real time?  IOW, do you have to shoot, then review for focus?  

If so, then it seems to me to be les useful in a thethered situation than I first understood.  Real-time focus is a *huge* benefit when adjusting focus, tilts and swings.  Review focus can only confirm, not optimise. Moreover, how do you know which direction or even how much to change focus when reviewing, and how many times do you have to capture and review to get it "perfect?"  

Obviously perfect focus is not hyper-critical in many landscape situations, but it is in most studio applications, especially when you are trying to extract the maximum potential from your lenses and sensor...
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BlasR

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« Reply #22 on: March 09, 2006, 11:13:53 am »

I'm sick and sad,  who going to give me information about p25? I'm going to be sick for another month or so.
No fear.  So now Michael, going to be print larger then 13 x 19.
I'm getting crazy here, now I'm sick sad and, crazy. What can I do,what can I do?

BlasR
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BlasR
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michael

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« Reply #23 on: March 09, 2006, 11:14:06 am »

No, a P45. nor any medium format back that I'm familar with, can not focus in real time. The chips would simply get too hot.

This is a plus for scanning backs. But with an SB you must shoot tethered, while with a 1 shot back you can if you wish, but it's not manditory.

But,
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Jack Flesher

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« Reply #24 on: March 09, 2006, 11:41:47 am »

Quote
No, a P45. nor any medium format back that I'm familar with, can not focus in real time. The chips would simply get too hot.

This is a plus for scanning backs. But with an SB you must shoot tethered, while with a 1 shot back you can if you wish, but it's not manditory.

But,
[a href=\"index.php?act=findpost&pid=59892\"][{POST_SNAPBACK}][/a]

FWIW, at least some of the multi-shot capable MF backs like the Sinar and Leaf allow for real-time focus...

For me, this is a significant enough shortcoming with the P45 to have me look at some of the new multi-shot capable offerings.  With them, you can shoot single-shot capture, but usually do need at least a small additional device to do so.
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Jack
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macgyver

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« Reply #25 on: March 09, 2006, 01:32:47 pm »

Michael, thanks for the response.  That's interesting to know.
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dbarthel

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« Reply #26 on: March 09, 2006, 04:25:49 pm »

I just put my wife and two cats on eBay. Kidding of course. Having done my time with 4x5 and 8x10, this really excites me.

Nice job of putting together a supurb system Michael.
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Gary Ferguson

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« Reply #27 on: March 09, 2006, 04:37:39 pm »

Quote
but I'm left with one question. How durrable is something like that system in the field in less than stellar conditions?

I only use my M679/P25/6x9 film back for architectural and studio work, so I don't take it anywhere that's not easily accessible by taxi! However, in the last three years it's blown over twice (I now hang a bag from the hook on the tripod's extending column), been dropped in the mud on a Thames embankment, showered with sea spray at Brighton marina, been bounced around in the back of a Land Rover and squashed into the back of endless sports cars, had Christmas decorations stuck all over it by my six year old, and (this being London) been rained on...and on...and on.

And it still keeps coming up smiling and asking for more. I've had Leica M's and Nikon F3's withdraw injured after a lot less.
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Stephen Best

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Michaels hot new system.
« Reply #28 on: March 09, 2006, 04:58:41 pm »

In my youth I went on a mountain climbing course in New Zealand ... we don't have any real mountains in Australia. Sitting around a soggy campfire in the valley I was showing off the new climbing boots I'd bought especially, extolling the virtues of these very sturdy, elegant and expensive boots from Austria. The instructor leant over, picked up and weighed the boots and didn't say anything. The next day (and night) we ascended to the glacier and I nearly died from exhaustion despite being about as fit as others in the party. Not long after, the boots got burnt from being placed too close to a fire to dry out and were subsequently tossed. Was it my subconscious that made me do it? :-).

Michael's kit looks very fine and if I had the money to spare (unlikely!) I'd surely buy something similar. Nobody can question the credentials of the component parts. But would I end up actually using it? That's the question. My 4x5 film kit (with tripod) weighs about half of Michael's (presumably without) and even then I consider it a bit of a burden. It does the equivalent of a 70MP grain-free capture (24x30 at 360ppi). Apart from a greater stop range I'm not sure what problems an expensive digital kit like this solves. The depth-of-focus issue looks like a right royal pain. Also I see the means to continually check "what I got" a bit of a distraction. But all this is my perspective. I'll be following this saga to see where it all leads.
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Gary Ferguson

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« Reply #29 on: March 09, 2006, 05:25:42 pm »

Quote
Apart from a greater stop range I'm not sure what problems an expensive digital kit like this solves.

I can only talk from my own experience, the biggest problem with architectural/cityscape photography in Europe is that 95% of potentially great shots are spoiled by a parked delivery van, a thicket of ugly street signs, scaffolding, or a rubbish skip. The real work starts after the shoot, when you have to Photoshop all these distractions away. I've used the same M679 for architectural work for the last three years, with both a 6x9 film back and a P25 digital back. In terms of resolution and image quality from 6x9 or a P25 different people will have their own preferences, but in terms of ease and quality of editing there's just no room for debate, life's about a thousand times better in an all digital environment.
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Ben Rubinstein

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« Reply #30 on: March 09, 2006, 08:39:32 pm »

Does that sliding back cause dust problems?
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michael

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« Reply #31 on: March 09, 2006, 09:40:02 pm »

Medium format backs don't really have dust problems because you have direct access to the sensor for cleaning at any time (or at least it's cover glass and IR filter).

Just take the back off and rub it on the front of your shirt to clean it off, but do watch out for buttons, they can cause scratches which can only be removed with the use of a fine rubbing compound.

(If anyone quotes me on this I'll scream).

Michael
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John Camp

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« Reply #32 on: March 09, 2006, 10:15:01 pm »

Quote
(If anyone quotes me on this I'll scream).

[a href=\"index.php?act=findpost&pid=59947\"][{POST_SNAPBACK}][/a]

Quotes you about what?
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jani

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« Reply #33 on: March 10, 2006, 05:03:19 am »

Quote
My 4x5 film kit (with tripod) weighs about half of Michael's (presumably without) and even then I consider it a bit of a burden. It does the equivalent of a 70MP grain-free capture (24x30 at 360ppi). Apart from a greater stop range I'm not sure what problems an expensive digital kit like this solves. The depth-of-focus issue looks like a right royal pain.
Why do you think it "looks like a right royal pain"?

It is a necessary effect from high resolution and large print size.
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Jan

mikeseb

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« Reply #34 on: March 10, 2006, 08:52:11 am »

Bear with me while I restate the painfully obvious. I can't help myself.

This article is interesting on several levels. There is the obvious gee-whiz gadgeteer aspect: you gotta admit, a brand spanking new shiny compact view camera with state-of-the-art lenses and digital back. Too cool for school, and gives me a bad case of photon envy.

More seriously, it illustrates the maxim "use the right tool for the job." What seems like an extravagant expenditure for an amateur like me (I couldn't get this past the Finance Committee--aka wife--without major and unspeakable concessions even if I had the dough!  ) makes perfect sense for the pro shooting 2000 frames a year and engaged in a three-year architectural commission for which this system is ideal.

With medium format (film OR digital) seemingly in a slow death spiral, and with MF's traditional turf under encroachment from DSLR's below and LF from above, this seems to make perfect sense.

Michael, I'm guessing that your architectural commission is the Brickworks renovation? If so, I can see why you went this route. Wish you'd given me dibs on the 350 Tele-apo-tessar and that P25!

Looking forward to seeing some of your work product!
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michael sebast

Dinarius

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« Reply #35 on: March 10, 2006, 01:15:25 pm »

Could someone please point me in the direction of Michael's article?

Many thanks.

D.
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DarkPenguin

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« Reply #36 on: March 10, 2006, 01:18:41 pm »

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Dinarius

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« Reply #37 on: March 10, 2006, 01:36:21 pm »

Quote
www.luminous-landscape.com
[a href=\"index.php?act=findpost&pid=60010\"][{POST_SNAPBACK}][/a]

Thanks that's very helpful! ;-)

I've been using the search facility here and I can't find it.

Anyone else?

D.
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DarkPenguin

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« Reply #38 on: March 10, 2006, 01:41:53 pm »

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Sfleming

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« Reply #39 on: March 10, 2006, 09:00:53 pm »

Having followed Michael's gear upgrades for about four years now I found this one somewhat perplexing.  Until I got my LL Video Journal and watched the segment on Clyde Butcher.  I think Clyde got TO Michael.
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