oh yeah
exp 8 sec apert 13 iso 50
h3d 39 hc 35

first one 3 frame stitch
second one 2 frame stitch

m*

Thanks Nick.

JR

Thank's Mark, love your shot as well!

Some Fuji GX680 shots i made today using the 100mm F4....

I've been watching this thread for a while, but here's my first submission.

Just a quick portrait of my 5 month old son this afternoon, I shot a few frames to make a new print for Mothers Day next weekend.

P30+ on H1, 100mm, 1/80th @ f/2.2 @ ISO400

I hope to add some other more serious images soon.


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For when you want to shoot with something besides a camera!
The new Walther PPS

Aptus 75 on Sinar with Rodenstock 45mm




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A silghtly disturbing juxtapostion in the previous two posts.

Bruce,

The DOF is absolutely perfect in your image.

Done while shooting or tweaked later?

Ed

Thanks Ed,
It was all done in camera. I think it was shot at f22 with a front swing only.

Bruce

peetwentyone, peetwentyone, onedesstwo, onedesstwo

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JR

Thank You.

JR

Love em James, but what's the story with the plant, I think it's great but love to know the reason/story it makes me curious.

It's a green fashion series where the wardrobe is all natural and follows a couple in New York from arriving at Grand Central, to waking in the hotel to in the village spending a day with their "tree"

I had planned a session in the Park at Strawberry Fields, but got rained out so spent most of the shoot in available darkness.

JR

Crop of Alpa/schneider 35mm/P45+

of a 'medium format car!

Victor

Thanks James.
That tree was getting a whole story in my head
Love it when that happens

ixpress132+H2+lightsword.

Sinar p3, Sinarback 54H, Sinaron digital 120 mm Macro, Broncolor A4 (1/6000 sec)

Christopher, nice image! I am curious, 1/6000 - is that a flash duration from the power pack?

Thank you Michael! Yes, that was the reason to buy the bron grafit A4.

t 0.5 1/240–1/10000,
t 0.1 1/80–1/6000 s

Hi all,
I'm not a pro but just wanted to share some of the images I've taken this past moth as part of the SoFoBoMo project (http://sofobomo.org). This has been a month of firsts for me. First time doing portraits, and first time using a Mamiya 645AFD with an Imacon 96C back. I am blown away by the quality of the files from this old(er) back.

You can see the book at
http://www.yyapp.com/blog/?p=245

Rafa






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Playing with a Mamiya ZD without the IR cut filter

Wish this were possible with the Aptus backs.. i could even live with no filter/optical glass over the sensor, and use an IR cut filter on the lens (ala Betterlight solution).. as an option

anyone from Leaf add an opinion on this possibility?


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Hi collum, is that a ZD back or a camera without IR filter?

that's a ZD back with the IR cut filter removed (so nothing in front of the sensor)

Another street shot, just for fun:



150mm Sonnar PQS

Graham that is really amazing!

Excellent composition and light. Nice!

Thanks. I have ZD camera, wondering if it is possible to use it in the same fashion - shoudl give it a try:)

ixpress 96c on fuji gx680 100mm. tungsten light and plexi .

A few from today:


Mamiya 645AFD/II with Leaf Aptus 22








MvrGr.
Frank

Absolutely love the last one! Superb.

Cheers,
J

I feel your skin is over retouched, you still need to see some skin texture.

100% shows lots of detail, downsizing is a dissaster sometimes with this kind of work.

Here's one from yesterday...H2/P30+

One of today. DPS for a mag. Ixpress384/H2/50-110

Very nice image! I like it a lot...

Did you shoot this one in 4-shot mode?

Yes, this was done in 4-shot mode.

Pardon the stupidity, but what is 4-shot mode?

This is not really on-topic for this thread but if you are familiar with the bayer filter which covers most modern sensors, then you will be aware that each pixel senses only one of the three RGB channels, and the other two RGB values are interpolated. With multishot, the sensor is shifted into four different positions (1 in origin, 1 pixel across, 1 pixel down, 1 pixel across plus 1 down) so that when the 4 shots are combined by software, each pixel has a real (not interpolated) value. This results in extra resolution and I believe also less moire.

*Increased resolution
*No moire (almost never)
*No color artifacts
*More accurate color
*Enhanced detail, especially in shadow

Multi-shot is a limited application (subject can't be moving, requires electronic shutter and tethered operation) but within those limitations, the file quality easily exceeds any single shot capture.

Steve Hendrix
www.ppratlanta.com/digital.php

I'd be too afraid to attempt 4-shot,
expecting the shirts to somehow billow between captures,
but congratulations.

I've been testing the H2 with a P21+ back for the past week. Yesterday, I headed east from San Diego out into the desert. The skies were cloudy by the coast and I wanted to test out the 1/800 sync speed. All I can say is I love this camera and back. I'm gonna have a hard time going back to small format.



John

Rollei 6008 + Sinar e22 (my old back)

Beautiful shot, Graham. Very pensive...

Mike.

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JR

n i c e

eye looks alittle weird on that one James.
But love the overal look

Which is why I always take a single shot first so if the 4-shot has areas that are not perfect I can always mask in these parts from the single shot.

thx.

fixed

JR

I use this mode of action for some very critical industrial pictures: a model with a textile machine in the afterground (with a certitude of a big moiré: thousands of vertical microscopic alternances between black, grey and white).

First, a general picture of the machine in 4 (or 16) shots mode, and then the show of the model "working" on the machine in 1 shot mode. A very heavy studio base (generaly a Foba) assure the precision of the ensemble.

The imbrication of the zone with the model is easy.

In "normal" works, i'm using 4 shots Mode for 90%, 16 shots for 5%, and the rest in 1 shot (for people's photo's).

PdF