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Author Topic: gear for Interior Photography  (Read 14375 times)

Sean H

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gear for Interior Photography
« Reply #20 on: January 31, 2008, 11:40:25 pm »

Stephan,

You are welcome. Your aesthetic about the contrast with the concrete and colourful chairs is something that I admire and aspire to. I'm often tempted to go to a construction site (after hours) and put an object and photograph the contrast. But it is a dreadful Winter over here so now's not the time for that.

I think that the security guards were aware of the town's (and their shopping centre's) decline. It is unfortunate that they don't appreciate art or the irony of the situation (a so-called perfect town now a centrepiece of ugliness). But then we don't have to live and rot there. At least they didn't wreck your equipment.

Keep up the good work; you are an inspiration to the rest of us.

Sean
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marcwilson

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« Reply #21 on: February 27, 2008, 01:57:27 pm »

Quote
Hi Stefan,

Yes I do use the grid screen on the 5d and with the canon 16-35mk2 the viewfinder shows less than what I get in the actual shot.
I'm going away for a couple of weeks but will test it out with a non gridded screen I have also and the other lenses to see what is going on when I get back.

Marc
[a href=\"index.php?act=findpost&pid=170052\"][{POST_SNAPBACK}][/a]

so tested this again and on my 5d with all lenses the framing is not 100%.
I've tried with three lenses, 2 differnet screens (grid and non grid)...anyone else have this issue...its a real pain?

now found this info so it seems to be normal with the 5d..stephan, how do you not get this problem?


"Canon implemented a new viewfinder on the EOS 5D, covering 96% of the recorded frame in a 0.71x magnified perspective. The viewfinder has a 20mm eyepoint with a -3 to +1 dioptric adjustment. Some users may object to the 96% coverage, seeking the full 100% view provided by the 1Ds Mark II; however, those who have made a career shooting with 35mm bodies have likely become accustomed to the crop and have learned to work with it. Those who remain disenchanted with the 5D’s viewfinder coverage might at least take solace in the manner in which the view is altered. Unlike the 20D, which primarily took its 5% liberties from the top and left segments of the frame, the discrepancy in the 5D’s recorded frame is much more evenly dispersed. Files recorded with the EOS 5D will contain about an eighth of an inch more of the scene all around the frame, resulting in a far more accurate representation of the composition."

although having put up with it for the last few months its now getting to be a real pain...takes the art and technique out of strict viewfinder composition in interiors.

Marc
« Last Edit: February 27, 2008, 02:07:54 pm by marcwilson »
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ixpressraf

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« Reply #22 on: February 27, 2008, 02:11:43 pm »

Quote
so tested this again and on my 5d with all lenses the framing is not 100%.
I've tried with three lenses, 2 differnet screens (grid and non grid)...anyone else have this issue...its a real pain?

now found this info so it seems to be normal with the 5d..stephan, how do you not get this problem?
"Canon implemented a new viewfinder on the EOS 5D, covering 96% of the recorded frame in a 0.71x magnified perspective. The viewfinder has a 20mm eyepoint with a -3 to +1 dioptric adjustment. Some users may object to the 96% coverage, seeking the full 100% view provided by the 1Ds Mark II; however, those who have made a career shooting with 35mm bodies have likely become accustomed to the crop and have learned to work with it. Those who remain disenchanted with the 5D’s viewfinder coverage might at least take solace in the manner in which the view is altered. Unlike the 20D, which primarily took its 5% liberties from the top and left segments of the frame, the discrepancy in the 5D’s recorded frame is much more evenly dispersed. Files recorded with the EOS 5D will contain about an eighth of an inch more of the scene all around the frame, resulting in a far more accurate representation of the composition."

although having put up with it for the last few months its now getting to be a real pain...takes the art and technique out of strict viewfinder composition in interiors.

Marc
[a href=\"index.php?act=findpost&pid=177762\"][{POST_SNAPBACK}][/a]

The canon 5d is strictly spoken a camera for the amateur market. You only pay half or less  the price of the pro bodies, so there must be a difference. Get a DSIII or a hasselblad and everything will be OK  ;-)
« Last Edit: February 27, 2008, 02:12:13 pm by ixpressraf »
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marcwilson

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« Reply #23 on: February 27, 2008, 02:28:06 pm »

Quote
The canon 5d is strictly spoken a camera for the amateur market. You only pay half or less  the price of the pro bodies, so there must be a difference. Get a DSIII or a hasselblad and everything will be OK  ;-)
[a href=\"index.php?act=findpost&pid=177768\"][{POST_SNAPBACK}][/a]


I know, I know!!...it's all in the pipeline!
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danazoo

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« Reply #24 on: February 27, 2008, 10:45:32 pm »

The Cambo Wide DS is an excellent camera for architecture of any kind. It is the perfect combination with a Phase One digital back. I have used this system from film thru teh current digital version. If you are interested, contact me directly, as I may be selling my system soon. Regards, Dana Hoff
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pixjohn

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« Reply #25 on: February 28, 2008, 12:05:35 am »

Thats kind of funny responce, "It is the perfect combination with a Phase One digital back" "as I may be selling my system soon" why? I also use the cambo wide ds with an Aptus 75 and really like the system.

Quote
The Cambo Wide DS is an excellent camera for architecture of any kind. It is the perfect combination with a Phase One digital back. I have used this system from film thru teh current digital version. If you are interested, contact me directly, as I may be selling my system soon. Regards, Dana Hoff
[a href=\"index.php?act=findpost&pid=177878\"][{POST_SNAPBACK}][/a]
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juicy

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« Reply #26 on: February 28, 2008, 08:37:22 am »

Quote
The canon 5d is strictly spoken a camera for the amateur market. You only pay half or less  the price of the pro bodies, so there must be a difference. Get a DSIII or a hasselblad and everything will be OK  ;-)
[a href=\"index.php?act=findpost&pid=177768\"][{POST_SNAPBACK}][/a]

   Yes, the 1Ds3, hmmm, with a tilted viewfinder... Now that's a perfect camera for architecture !  

(Sorry, couln't resist.   )

Cheers,
J
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stefan marquardt

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« Reply #27 on: February 28, 2008, 09:18:19 am »

Quote
..stephan, how do you not get this problem?
Marc
[a href=\"index.php?act=findpost&pid=177762\"][{POST_SNAPBACK}][/a]


hi marc,

  I never found it to be a problem. getting 1 or 2 % more on each side of the frame doesn´t bother me. never even noticed it. its the alignment of verticals/horizontals that is crucial to me.  i only use the 5d with the sigma 12-24. the zoom and the grid makes framing and alignment of verticals and horizontal in the room to the viewfinder-grid very easy and exact. then I zoom out again to the desired frame.
in the raw-software I never have to re-level or re-align with the 5d (compared to the ZD, which I have a far more difficult time getting any alignment right).

stefan
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david o

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« Reply #28 on: February 28, 2008, 10:08:13 am »

I can't recall if I ever had a camera with 100% viewfinder. From Nikon F4 to 5D thru Pentax67, Mam645 none were/are 100%.

Except may be with the viewfinder out on F4 and Pentax67.

But I am used enough to my camera to exactly know what will be in the frame. Doesn't bother me one bit.
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marcwilson

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« Reply #29 on: February 28, 2008, 11:51:56 am »

Quote
I can't recall if I ever had a camera with 100% viewfinder. From Nikon F4 to 5D thru Pentax67, Mam645 none were/are 100%.

Except may be with the viewfinder out on F4 and Pentax67.

But I am used enough to my camera to exactly know what will be in the frame. Doesn't bother me one bit.
[a href=\"index.php?act=findpost&pid=177965\"][{POST_SNAPBACK}][/a]


for a lot of work it does not bother me either but its on the lower budget quicker jobs of residential interiors for brochures etc where the edge of the frame is often a small gap between sofa and chairs, tables, walls, etc that the 100% view would simply be nicer...not essential as yes you get to know what is around the frame or recompose slightly after a quick lcd check, just nicer.

Stephan I agree completely though with the grid screen zoom for lining up verticals etc...a real aid.
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david o

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« Reply #30 on: February 28, 2008, 12:30:26 pm »

Quote
Stephan I agree completely though with the grid screen zoom for lining up verticals etc...a real aid.

[a href=\"index.php?act=findpost&pid=178001\"][{POST_SNAPBACK}][/a]


It's the way to go...
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Gary Ferguson

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« Reply #31 on: February 28, 2008, 01:45:00 pm »

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If you are on a limited budget whats the point of investing in half an MF system

Buy a 1DS3 and every TS lens they make

[a href=\"index.php?act=findpost&pid=169906\"][{POST_SNAPBACK}][/a]

Agreed.

I mainly use a P45+ on a Linhof M679cs for external shots, but increasingly I just use a Canon (5D or 1Ds MkIII) with the three T&S lenses plus 14mm and 35mm lenses for interiors. Key reasons are,

1. Access to a really wide lens. I can use the sliding carriage on the Linhof to quickly stitch two frames and give an ultra wide effect, but who wants to deal with a 110Mb + image.

2. Much more compact for use in cramped interiors.

3. Critically important, you don't need so much room behind the camera, especially with an angle finder.

4. The new software that Canon ships with the 1Ds MkIII allows quick and accurate correction of distortion with the 14mm and 35mm L lenses.

5. Reasonable file sizes for HDR shots.

6. Easier to achieve larger depth of field with smaller apertures than with a MFDB.
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Kirk Gittings

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« Reply #32 on: February 28, 2008, 02:11:13 pm »

S.

I have made my living shooting interiors and architecture for 30+ years. It would be god to hear what you expect your clientel to be. For instance the quality that is necessary for magazine work may be insufficient for a large advertising campaigns for a manufacturer. These days I primarily shoot for magazines and national architecture firms., and over the years I have accumulated a magazine clientel that is very lucrative. I shoot both with a 4x5 view camera (with film scanned in house)  and a Canon 5d with all TS lenses (plus a 35 Olympus PC). This seems to cover all bases well for the moment. I will upgrade the 5D sometime this year. Though we do far less lighting with digital, you will need to think about lighting too, both strobe and continuous, which is still very necessary for quality work.
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Thanks,
Kirk Gittings

danazoo

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« Reply #33 on: February 28, 2008, 09:47:09 pm »

I am glad that you found my courteous response "funny'. Professionally speaking, the Cambo Wide DS is a superb camera and perfect for shooting architecture. I have seen little else that compares to this lens/camera set up. Some six years ago, I had a film version of the Cambo Wide. Last year, I purchased the Cambo Wide DS digital version. Along with that, I got a Phase One P25 digital back which was upgraded last Summer to a P25+ back.

Over the past year, my client base and career direction has changed somewhat. More and more, I have been shooting subjects that are better suited for gear other than a 4x5 system. Hence, I may be selling my Cambo Wide DS and P25+ back. I offered to discuss such a venture offline with any interested parties.

I trust that the above is a more worthy response, to your personal liking, and will be addressed with less hositlity.
Regards,
Dana Hoff


Quote
The Cambo Wide DS is an excellent camera for architecture of any kind. It is the perfect combination with a Phase One digital back. I have used this system from film thru teh current digital version. If you are interested, contact me directly, as I may be selling my system soon. Regards, Dana Hoff
[a href=\"index.php?act=findpost&pid=177878\"][{POST_SNAPBACK}][/a]
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