peterfauland

<p>A big THANK you to all of you. @Scott Ferris: I have to agree with you. It's 1,25 f-stops overexposed compared to some other shots. This makes it even more difficult to work on. @parv: I like your version. I would reduce the "red-brown" a bit more overall and it's quite ok. <br>

All in all, I would say this is why concert photography is so interesting and challenging. Light is not too easy to control and one has to catch the PERFECT moment.</p>

<p>Cheers,</p>

<p> Peter</p>

<p>Thank you everybody for your input and fast response. The case is pretty hopeless (I knew it). As in most cases flash was not allowed. Where ever flash is allowed it makes life a lot easier in PostProduction. I will try what Howard proposed (replacing/ duplicating channels). For this one I can unfortunately not upload the CR2-file but I will try to find another sample from another shooting. It would be very interesting - and not only for me I assume - to see who comes up with which solution for the final image.</p>

<p>Cheers,</p>

<p> Peter</p>

<p>PS.: Here would be another example of red LED light concert nightmares :</p>

<p>http://works.fauland-photography.com/images/cl/11/_MG_3815.CR2</p>

<p>Dear fellow photographers,</p>

<p>Recently I run into more and more concerts where mainly red LED-lights are used. This gives terrible color separations and artefacts in the images. I shoot RAW all the time. So there should be some freedom to "fix it" somehow. Up to now, I mainly reduce "vibrance" a lot ... just as much to turn the image totally into a black&white one. Still, I am not happy especially, if the client would prefer to have "real" color shots.</p>

<p>Are there any recommendations out there, how to get the maximum image quality out of RAW-files like this ??</p>

<p>Thanks for your input !</p>

<p>Cheers,</p>

<p> Peter</p><div></div>

<p>Now, it's quite some time since people from all over the world use <strong>this</strong> particular post in order to get more info on "digital large format cameras" using a (Canon) DSLR as "filmback".</p>

<p>As I had the same vision some years ago, tried it out and optimized it over the years I started to include some background info in my blog. Today <strong>digital large format </strong>photography is the main part of this little online-publication and I keep getting very nice response and made already a few interesting contacts.</p>

<p>So, it was time to update, upgrade and improve a bit. Feel free to come and visit <a href="http://fauland.wordpress.com" target="_blank">fauland.wordpress.com</a> !</p>

<p>I would love to further exchange ideas, hear how you built your camera and <strong>of course</strong> check out images, created like this.</p><div></div>

<p>In principle not bad. Only problem: The plate is not wide enough - as you can even see on one of the product-pictures - you "open the rear standard" very quickly, which would make light enter (and the thing not usable). I guess you have a movement of around 10 mm left and right .... If you check my adapter on http://fauland.wordpress.com you will see that I can really use the full movement. This is only limited by the fact that at a certain _extreme_ value you started getting shadowds on the CMOS of the camera, in case you are too far "off center".<br>

PS.: To get an EF-mount, you can get a macro extender via ebay (few dollars). If you have access to a somehow equipped workshop you can cut and machine a "piece of metal" and you end up with a better version of this 200 bucks fotodiox adapter.<br>

Cheers,</p>

<p> Peter</p>

Dear Robert,

Thanks. I will check them out.

Peter

Hi,

Can anybody give me a personal recommendation for a print service in London for a

Fine Art Wedding Album ?

Thanks a lot ...

Peter

Dear Geoff,

Just to make this clear: The 90mm could be only used for macro work. As you found out, 135mm is fine for landscapes, architecture etc. - with the possibility to use all the movements of the front and rear standard. Now, I have also a 121 mm in use, where focus to infinity works fine, but a swing e.g. is not possible as the two standards are already "at the limit" talking about distance between them.

One has to know the limitations of a system like this (super wide angle e.g.) but I am very happy with it as it is right now. One day a MF-Digiback will be fitted to the camera ... One day ...... :-)

Best Regards

Peter

Dear Geoff,

I am working with a Sinar monorail camera, using a EOS 5D as "digital back". Stitching the single frames together is no problem. The movements of the camera are nicely usable. The only point of warning is the choice of lens ! As the CMOS of the camera is sitting well behind the position where the plan film would be, the total distance "CMOS -- center of lens" is the limiting factor. With only shift, rise/fall movements a 90mm works in my setup - this is for sure the shortest possible.

Are you interested in landscapes ? still life ? macro ?

more details on my adapter and the camera are on http://fauland.wordpress.com. Ask any further questions there.

Best Regards

Peter

Nobody used this Adapter ? I am surprised ....

Peter

Thanks Ellis,

for pointing this out. What would be a Sinar X !? I've seen ebay adverts from time to time ....

Thanks

Peter<div></div>

Dear Gregory,

That is in deed a good point. The front standard could stay "F" .... As it is only holding the lens. Bellows, etc. are compatible. I think I will go shopping ...

Thanks

Peter

Dear all,

I was just wondering, if anybody who was working with the CameraFusion

MetaStitching Back (SB01) ground glass (GG01) setup could tell me a bit about

"everyday life use" with this combination ?

Thanks

Peter

I am also the happy owner of version B. I wonder which adapter I would need to use it on my EOS 5D ? Anybody knows ?

Thanks ...

Peter

Hi Ellis,

Please, tell me a bit more about the PRACTICAL differences between P standard vs. F standard. For the macro it was a Schneider-Kreuznach Super Angulon 90mm. The landscapes I am for the time being shooting with a Schneider-Kreuznach Symmar 135mm. You are right. To get a working focus to infinity with this setup was not so easy. Even with a "flat" lensboard the 90mm can't focus to infinity. I am actually thinking of modifying the recessed board to use it "the wrong way round" to be able to use this great lens. The distance CMOS - rear lensboard plane is 65mm. This is the critical factor in order to find an "as wide as possible lens" .... At least some 25mm are needed in order to have the bag bellow be flexible enough for all these nice movements. So assuming the optical center of any lens being near the front lensboard this would give me : f_min(infinitiyfocusOK) = l + 90mm with l being the length of the rear lens element. I keep on searching ....

If you want to be uptodate on this project, feel free to check out

http://fauland.wordpress.com and leave any comments, ... :-)))

Best regards

Peter<div></div>

Dear all,

Thanks for all the advice and input. After some month of research and some weeks

of getting the stuff together, I have a working digital large format camera now.

Using a EOS 5D on the "film side" and a Sinar F monorail camera, I am using two

lenses for the moment: A Schneider-Kreuznach Super Angulon 90mm and a Schneider

Kreuznach Symmar 135mm. Only the second one can be focused to infinity. Here I

show one panoramic landscape image and one macro shot.

In case somebody is interested to follow this project in more detail, feel free

to vist http://fauland.wordpress.com

Best regards

Peter<div></div>

Dear all,

I just wanted to post a question on photo.net but - as soooo often - you guys are already "fully into that" :-) Talking about this "on-eos.com ebay-adapter" mentioned above. Anyone with a EOS 5D could give me some more detailed info on how the system performs (with which LF, which lens, etc.) ? I am thinking of getting a monorail camera and then such an adapter, which I could also build myself, as I have access to a workshop equipped for jobs like this.

Let me tell you quickly what's my "project": I am working on a documentation of a construction site (see att.). Up to now I was photomerging several 35mm shots. I used a "Pentacon-Six Shift Adapter" to use a MF lens on my 5D, where I was essentially taking three shots (one "left", the center one and a "right" one to be photomerged). Being not yet 100% happy I was thinking about a 4x5-with-5D solution. Any thoughts ?

Best regards

Peter

PS.: Side remark: In this image one sees several shots taken at different times overlayed<div></div>

Sorry for the double posting !

Peter

Dear Sheldon,

I agree with you. For real _landscape_panoramic images a wider angle lens is what I will use. Here it was first tests. In addition I should add, I was documenting a technical setup at a research facility and in the end the overall resolution of 7000 px (longside) allowed to see the sub-mm structures in the 100% crop. As only the inner part of the lens is used there are no problems with distortions etc. whatsoever, and compared to my tries stitching the pics taken with the 35mm lenses here even PS itself manages right away to put them nicely together.

I will post some "nice for the public" images a bit later ...

Peter

<big>The 80mm</big> was the first one I tested. For <i>real</i> panoramic landscapes one would use something more "wide angle" of course. To explain a bit more in detail: I am doing some photo documentation of a technical setup at a reseach facility. The "80mm using three of them" pano gives me a high resolution file long side around 7000 px which is good for later on cropping on all the little details (sub-mm structures come out very clear.

<p>

During tests with stitching "normal" 35 mm EF-lens pictures together I had always problems with lens distortions in the end.

<p>

Now even PS itself manages to put the pieces together. As only the center part of the lens is used anyway I did not expect differently.

<p>

I will post something "interesting for the public" soon.

<p>

<i>Peter</i>

Dear Gary,

I don't know how so many of you are changing your lenses. I have a 5D with now more than 40.000 shots - I do half landscapes half studio, with countless lens-changes ... And absolutely no dust problem ! Preparing the lens before, then unmounting the one from the camera with the lens facing downwards and quickly changing, that's all I do. Of course, that does not work in a sand storm :-))

Bye

Peter

Meanwhile I got the ARAXFOTO Pentacon Six to EOS adapter !

I used it mainly for panoramic shots with a 80mm (medium format of course) lens: One shot center, one 10 mm to the right, one 10 mm to the left and then putting everything together in PS CS2.

I am very happy.

Dear all,

On the www.araxfoto.com website I found a "Shift Adapter For Use P-SIX Lenses On

35mm Cameras". I have a few P-six mount lenses for my ARAX medium format camera.

It would be for sure nice to be able to use the tilt-shift lens e.g. on my EOS

5D. Did anybody ever try this adapter ?

Would be nice to get some feedback before buying .....

THANKS

Peter

Dear all,

Following exactly the install steps, everything goes as it should till the step

where you ADD the printer via the Printer Setup Utility, after the successful

installation of the driver. The printer model is listed in the pull down menue,

but after clicking ADD just nothing happens and the printer is not in the list

of available printers.

Anybody any idea ???

Thanks

Peter