Any one using Fuji GFX for architecture?

[S@W]

Gents,

Can you enlighten me here: what’s the advantage of shift lenses these days against applying keystoning in post? Is it all about resolution?

I have used a Canon 24mm T/S in the past, still have it and never use it anymore. I see shift lenses as being expensive, cause vignetting, don’t have a wide range of focal de istances available, aren’t always that sharp near the edges, etc.


Hope to learn from you here, thanks in advance!

Regards,
Jaap.

+1
I Try to figure out if the gf 23mm can do the job instead of the canon 24mm ts (architecture & Landscape).
The gf is reporter to be a great performer & should be sharper in the edges, maybe also after keystone correction.
But keystoning isn’t the panacea (proportions and curves alterations).
Shift to break the 4x3 format and 1or 2 degres of tilt is appealing; using adapters isn’t.

[David Eichler]

Gents,

Can you enlighten me here: what’s the advantage of shift lenses these days against applying keystoning in post? Is it all about resolution?

I have used a Canon 24mm T/S in the past, still have it and never use it anymore. I see shift lenses as being expensive, cause vignetting, don’t have a wide range of focal distances available, aren’t always that sharp near the edges, etc.

Hope to learn from you here, thanks in advance!

Regards,
Jaap.

It is partly about resolution and partly about additional compositional options. If you are referring to the original Canon 24mm ts-e lens, the newer perspective control lenses are of much higher optical quality. Even so, the original Canon 24mm ts-e lens was the standard lens for small format, for many architectural photographers, until superseded by the newer designs, though I doubt it had the ability to be used  on a larger format as is reportedly possible with the newer designs.

[TonyVentourisPhotography]

I’ve considered trying out a gfx with 23mm for architecture.  Compose using the crop mode for perspective and distance, and then shooting full file and cropping to the 35mm framing.  This would let me digitally shift via crop without perspective correction in software and end up with a 30mp file roughly.  This will for sure b a better option with the 100mp version.  I’ve experimented with this method before and it works decently enough. 

[OwenR]

I’ve considered trying out a gfx with 23mm for architecture.  Compose using the crop mode for perspective and distance, and then shooting full file and cropping to the 35mm framing.  This would let me digitally shift via crop without perspective correction in software and end up with a 30mp file roughly.  This will for sure b a better option with the 100mp version.  I’ve experimented with this method before and it works decently enough.

Tony, the Canon 24TS and Pentax 645 35mm (with Kipon shift adapter) would solve that problem and let you keep the full resolution file.  Both can be shifted a fair degree. Someone would only need to produce a 30mm shift to make the system complete.

[marc aurel]

I’ve considered trying out a gfx with 23mm for architecture.  Compose using the crop mode for perspective and distance, and then shooting full file and cropping to the 35mm framing.  This would let me digitally shift via crop without perspective correction in software and end up with a 30mp file roughly.  This will for sure b a better option with the 100mp version.  I’ve experimented with this method before and it works decently enough.

That depends on the amount of shift you need. The GFX sensor is 33m high. Difference to 24mm is 9mm. So the larger sensor has 4,5mm more height on top and 4,5mm more on the bottom. So you can get 4,5mm of virtual shift with that method. Not enough for my work, your needs may differ. Quite a difference to the 12mm that a Canon shift lens offers.   

[TonyVentourisPhotography]

Yeah I love my 15mm and 20mm shift with the cambio I have...but rare is it that I ever actually need that.  I find more than 8mm is uncommon for my general projects.  The convenience of a modern workflow and better tethering, and nice clean iso 200, 400, and 800 has won me over.  If Fuji released a 300mm shift ide be first in line.  I was always been 50/50 on the canon 24 tse mk2.  So I’ve been reluctant to pursue it on the gfx. 

[rastas]

I feel like I'm an expert in this area... using the GFX50 for architecture. I was one of the first ones to get that camera when it first came out, and used canon tilt shift lenses with it in clumsy way. My workflow involves using the camranger and canon to shoot architecture, and was trying to get the same workflow with the fuji (wirelessly controlling it with an ipad). But there wasn't a good solution for this. There were workable solutions, bad solutions, but non good, so I sold the camer and went back to the canon/TSE lens combo, which works great.

However! camranger is coming out with a camranger that will support the 50s and 100gfx - they've told me this, and I plan to get the gfx100 and use with canon tse lenses. Can't wait!

[OwenR]

I feel like I'm an expert in this area... using the GFX50 for architecture. I was one of the first ones to get that camera when it first came out, and used canon tilt shift lenses with it in clumsy way. My workflow involves using the camranger and canon to shoot architecture, and was trying to get the same workflow with the fuji (wirelessly controlling it with an ipad). But there wasn't a good solution for this. There were workable solutions, bad solutions, but non good, so I sold the camer and went back to the canon/TSE lens combo, which works great.

However! camranger is coming out with a camranger that will support the 50s and 100gfx - they've told me this, and I plan to get the gfx100 and use with canon tse lenses. Can't wait!

I'm honestly not sure that my copy of the 24TS would hold up with 100mp, and suspect my Pentax 645 35mm may be the same. I'd buy this new camera in a heartbeat if they paired it with a stellar 30mm shift lens, but as it stands I can't really see any commercial advantage based on resolution alone. My clients certainly do like to print large, and I've seen hotel images on 3m wide advertising boards, but without the specialist architectural lenses I could probably do something more useful with the spare 10k.

[Kirk_C]

Your GFX is not a digital back.

There is this. http://www.fujifilm.com/products/digital_cameras/accessories/others/#vca

[marc aurel]

There is this. http://www.fujifilm.com/products/digital_cameras/accessories/others/#vca

Only works with longer focal lengths. Interferes with the grip of the GFX. Because of this the adapter plate is always quite far from the sensor. So no wides Rodenstock or Schneider can be used (with infitinity focus). Which disqualifies that as a solution for architecture in my opinion.

[Kirk_C]

Only works with longer focal lengths. Interferes with the grip of the GFX. Because of this the adapter plate is always quite far from the sensor. So no wides Rodenstock or Schneider can be used (with infitinity focus). Which disqualifies that as a solution for architecture in my opinion.

Are you speaking from experience ?

Recessed lens boards and a bag bellows would be standard practice for obtaining a large enough image circle to cover the sensor. We just don't know what focal lengths could be used.

Not everything in architectural is shot wide. I've shot high end commercial properties from across the street and 20 stories up in Manhattan. I compressed them against the skyline with a 360mm lens on an Arca Swiss 6X9 Monolith to produce a very normal perspective architectural shot.

If the grip would interfere than I don't think Fuji would list this as an accessory for both the S and R, which they do.

[marc aurel]

Are you speaking from experience ?

Recessed lens boards and a bag bellows would be standard practice for obtaining a large enough image circle to cover the sensor. We just don't know what focal lengths could be used.

Not everything in architectural is shot wide. I've shot high end commercial properties from across the street and 20 stories up in Manhattan. I compressed them against the skyline with a 360mm lens on an Arca Swiss 6X9 Monolith to produce a very normal perspective architectural shot.

If the grip would interfere than I don't think Fuji would list this as an accessory for both the S and R, which they do.

Hi Kirk,

I agree that architecture photography is not always wide. My statement was not precise. This adapter is just not working as a general solution for all focal lengths you need for architecture. I use a 50mm TS lens regularly (and sometimes a 90mm TS, occasionally longer focal lengths too). But the majority of my images are taken with wider lenses (I make my money with architecture photography).

I have not used the adapter myself. But Fuji is very clear on that matter: http://digital-cameras.support.fujifilm.com/app/answers/detail/a_id/19979/~/how-to-attach-the-view-camera-adapter-g-%28gfx-50s%29

There they say: "If the total length of the shortest length of a bellows(*1), the thickness of the VIEW CAMERA ADAPTER G (30.1mm) and the flange focus of GFX 50S(26.7mm) is greater than the flange focus of your lens, it cannot focus on the infinity." So about 60mm is the closest you can get the lens flange to the sensor. I don't know all the view cameras lenses data, but I am pretty sure that excludes most lenses you would call "wide".

Recessed boards will probably not help I guess. Because the adapter itself has an inner diameter that is about the same as the diameter of the G mount. You would have to try, but I am very sceptical. I think they could not make the adapter thinner because the adapter plate is very wide (that would interfere with the GFX grip otherwise). But I am not 100% sure of that. Maybe if they had started with the GFX 50R instead of the S the adapter could have been thinner, because the grip is less deep.

Best regards -
Marc

[vjbelle]

Marc..... I am waiting and very hopeful that the NWS 23mm APO will solve the wides with movements issue on a GFX.  You can see it at http://www.nws-instruments.ch/

Victor

[kers]

I would like to know if focus by wire- as all Fuji lenses have- is working well for architectural photography or that i gives some problems.

[vjbelle]

Every GFX lens that I own is smooth and very accurate manual focus.  I've had other focus by wire lenses that were difficult to manually focus.

Victor

[kers]

Every GFX lens that I own is smooth and very accurate manual focus.  I've had other focus by wire lenses that were difficult to manually focus.
Victor

OK good to know; i have they idea that with focus by wire it could be possible to change manual focus from say 90 to 360 degrees.
Is that implemented?

[Aram Hăvărneanu]

I don't have a GFX, I only played with one, but manual focus felt exactly like my Fuji X lenses, which to me is completely unusable. YMMV.

[vjbelle]

OK good to know; i have they idea that with focus by wire it could be possible to change manual focus from say 90 to 360 degrees.
Is that implemented?

That is not available on the GFX lenses nor was it with the Sony E lenses. 

Victor

[Kirk_C]

Recessed boards will probably not help I guess. Because the adapter itself has an inner diameter that is about the same as the diameter of the G mount. You would have to try, but I am very sceptical. I think they could not make the adapter thinner because the adapter plate is very wide (that would interfere with the GFX grip otherwise). But I am not 100% sure of that. Maybe if they had started with the GFX 50R instead of the S the adapter could have been thinner, because the grip is less deep.

Well that makes complete sense. Thank you for the information Marc.

Given the success of these cameras I hope we'll see more after market products developed for it.