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Author Topic: Re: Recent Professional Works 2  (Read 461955 times)

MichaelEzra

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Re: Recent Professional Works 2
« Reply #1440 on: September 07, 2014, 08:34:12 PM »

Mamiya ZD 150mm

« Last Edit: September 07, 2014, 08:36:23 PM by MichaelEzra »
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ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #1441 on: September 07, 2014, 08:48:55 PM »

Michael, Beautiful !
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Antonio Chagin
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MichaelEzra

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Re: Recent Professional Works 2
« Reply #1442 on: September 09, 2014, 11:28:58 PM »

Thanks, Antonio:)

One more from the same session:

MrSmith

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Re: Recent Professional Works 2
« Reply #1443 on: September 13, 2014, 09:29:08 AM »

more timepiece bling. A7r canon 90mm TS-e helicon focus stack.

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ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #1444 on: September 13, 2014, 10:05:45 AM »

I think is an opportune  moment to wright about Helicon Remote. I'm using it in my macro photography with jewelry and the result is astonishing. In combination with the best AF macro lens around which is the Nikon 105 G (works only with auto focus lenses) after setting first and last focus points, the software calculates the amount of shots and the distance between them in a second. Then you just have to finish it up in Helicon Focus.
« Last Edit: September 13, 2014, 11:00:31 AM by ACH DIGITAL »
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Antonio Chagin
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MrSmith

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Re: Recent Professional Works 2
« Reply #1445 on: September 13, 2014, 10:45:35 AM »

i can’t do the auto bracketing of focus as it doesn't work on the sony and obviously not with the MF 90mm but the focus peaking helps with judging the amount of focus to move and i usually don’t have to redo a stack because i have missed anything. it is a great piece of software.
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ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #1446 on: September 13, 2014, 11:07:03 AM »

What camera+lens do you use in MF for small objects?
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Antonio Chagin
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MrSmith

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Re: Recent Professional Works 2
« Reply #1447 on: September 13, 2014, 11:12:33 AM »

i meant manual focus ‘MF’. i use a Sony A7r/metabones adapter usually with a 90TS-e and 2.8 IS 100mm macro
i was going to buy an H4D-40 but i couldn’t really see any difference quality wise in other than cost, was not a fan of the HTS to get tilt and having to buy more lighting. i’ll add a cambo actus/lenses next

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haefnerphoto

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Re: Recent Professional Works 2
« Reply #1448 on: September 13, 2014, 11:31:20 AM »

more timepiece bling. A7r canon 90mm TS-e helicon focus stack.



That's really pretty!

JoeKitchen

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Re: Recent Professional Works 2
« Reply #1449 on: September 13, 2014, 04:26:29 PM »

more timepiece bling. A7r canon 90mm TS-e helicon focus stack.



Great shot.  Is the light underneath the watch from a light or was it added in post?
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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner

MrSmith

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Re: Recent Professional Works 2
« Reply #1450 on: September 13, 2014, 04:44:11 PM »

Background is rendered in post, far easier than rigging up glass/lighting
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ACH DIGITAL

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Re: Recent Professional Works 2
« Reply #1451 on: September 13, 2014, 06:59:29 PM »

That's really pretty!
Let us know of your progress with this equipment. Very interesting!
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Antonio Chagin
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JoeKitchen

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Re: Recent Professional Works 2
« Reply #1452 on: September 13, 2014, 07:56:21 PM »

Background is rendered in post, far easier than rigging up glass/lighting

But it could be done, right?

With the right tools and light modifiers, it would not be that hard to add that light through the lens? 

Black plexi, with a light underneath, very possible? 
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Joe Kitchen
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"Photography is one percent inspiration and ninety-nine percent moving furniture."  Arnold Newman
“Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself.”  William Faulkner

MrSmith

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Re: Recent Professional Works 2
« Reply #1453 on: September 14, 2014, 02:23:03 AM »

But it could be done, right?

With the right tools and light modifiers, it would not be that hard to add that light through the lens? 

Black plexi, with a light underneath, very possible? 

Yes all possible and pre digital it would have been rigged but frankly hours of work on set compared to 10 min sat in front of the computer plus the ability to change the area of light and the graduation of tones means a render is the obvious choice. Plus the light for the background is the never the right light for the subject so you end up comping it anyway.
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Kaypee

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Lens choice.
« Reply #1454 on: September 15, 2014, 02:59:56 PM »

The two images below are really good examples for a question I have been wondering for a while.

Could this angle be shot on a DSLR with a tilt shift or is it only achievable on medium format?  It seems that some interior shots cover a wide angle but still look quite close. Is this done by stitching panoramics or using a longer tilt shift like a 90mm and moving further away. It's a wide shot but doesn't have a distorted wide angle feel. I was wondering if there is a technique for tilting that allows this coverage?

Thanks KP.

Penthouse:





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haefnerphoto

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Re: Lens choice.
« Reply #1455 on: September 15, 2014, 04:41:44 PM »

The two images below are really good examples for a question I have been wondering for a while.

Could this angle be shot on a DSLR with a tilt shift or is it only achievable on medium format?  It seems that some interior shots cover a wide angle but still look quite close. Is this done by stitching panoramics or using a longer tilt shift like a 90mm and moving further away. It's a wide shot but doesn't have a distorted wide angle feel. I was wondering if there is a technique for tilting that allows this coverage?

Thanks KP.


KP, There are no tricks involved in making images like your examples.  The distance of the camera to the subject is what creates perspective, stitching won't make a difference.  Backing the camera away from the subject and using a longer lens is the only way to lessen distortion.  In photoshop it is possible to reduce the appearance of distortion by enlarging the portion of the image that recedes from the camera and making the subject matter that's closest to the camera smaller.  I use Edit>Transform>Distort to accomplish this.  My preference would be to back off the camera if there's room to do so.  Jim

Kaypee

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Re: Recent Professional Works 2
« Reply #1456 on: September 15, 2014, 04:53:39 PM »

Thanks Jim. Which lens would be in the region on a dsrl? 45mm?
Just had a quick look at your website. Fantastic work.
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haefnerphoto

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Re: Recent Professional Works 2
« Reply #1457 on: September 15, 2014, 09:08:44 PM »

Thanks Jim. Which lens would be in the region on a dsrl? 45mm?
Just had a quick look at your website. Fantastic work.

That's a safe focal length.  Usually I'll shoot with a wider lens and if the distortion/perspective bothers me I'll crop in.  More often than not your camera position is against a wall so there's not much of a choice.  Jim

chiek

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Re: Recent Professional Works 2
« Reply #1458 on: September 16, 2014, 05:46:30 AM »

Infiniti QX60 Hybrid commercial shot.



Nikkor MF25-50, 45mm set with 5mm up shift. F16, 1/2sec. ISO 800 (?)
my compact technical camera for a7R
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chiek imaging, in Seoul, SOUTH-KOREA.
Sinar P2, Hasselblad CFv-50c medium format and a7R systems
major job is products shot, especially for electronic products.
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Scott Hargis

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Re: Lens choice.
« Reply #1459 on: September 16, 2014, 01:11:11 PM »

The two images below are really good examples for a question I have been wondering for a while.

Could this angle be shot on a DSLR with a tilt shift or is it only achievable on medium format?  It seems that some interior shots cover a wide angle but still look quite close. Is this done by stitching panoramics or using a longer tilt shift like a 90mm and moving further away. It's a wide shot but doesn't have a distorted wide angle feel. I was wondering if there is a technique for tilting that allows this coverage?

Thanks KP.


Totally do-able on DSLR -- as these probably were. Doesn't look like 45mm to me, much more likely to be somewhere between 24 - 35mm. Tilt is of extremely limited use in architectural work, but shift is integral. These images were shifted down considerably.
Like Jim said, as a rule of thumb you should back up and shoot the longest focal length you can get away with.
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