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Author Topic: Images shot with new Schneider Super-Digitar 28 XL Lens  (Read 16714 times)
Enda Cavanagh
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« on: March 02, 2011, 04:12:41 AM »
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Hi everyone
I have posted several images on my website shot with my new Schneider Super-Digitar 28 XL Lens. They are of the new Dublin Airport Terminal 2. I haven't had a chance to shoot landscapes since October so these are I have.  Embarrassed Vignetting was removed with the digital central filter as there is no analogue centre filter supplied. Some of the images had huge movements. For example up 11 and left and right 15 for panoramics. The movements on the lens are pretty incredible when you consider the focal lengths. It has allowed me to take a type of shot that was previously impossible. Some noise may be evident with such movements but dfine from Nik Software does a good job of removing it. (sometimes not needed). There may be some softening along the edges but this can be compensated with extra sharpening along the corners with Nik software sharpener pro if necessary. (usually not needed)

There are too many to post onto Luminous Landscape Site. Here is the link to the 1st of the images.

http://www.endacavanagh.com/architecture/dublin_airport_terminal_2_daa_davis_langdon_pks_airport_dublin_ireland

In total there are 12 consecutive images. If you click "view larger images" for any panoramic images you can see the image in a much larger size to get an idea of what it looks like. 750ppi images just don't show panoramics as the should.

Take care
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mediumcool
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« Reply #1 on: March 02, 2011, 06:28:14 AM »
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Some nice stuff—I really like the walkway for the sunlight and the blurred figures (… don’t need no stinkin’ releases!).

Which back?
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Enda Cavanagh
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« Reply #2 on: March 02, 2011, 06:45:01 AM »
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Now you're with me. I mean I don't like static figures in my shots anyway but at the same time I don't want to be running around an airport going up to strangers saying ah hello, you wouldn't sign that for me like a good lad.

I use a Hasselblad H3D 39 back on a Cambo wide DS. Waiting to see what they will bring out to compete against that lovely new Phase one.
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mediumcool
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« Reply #3 on: March 02, 2011, 07:33:01 AM »
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… I don't want to be running around an airport going up to strangers saying ah hello, you wouldn't sign that for me like a good lad.

Ah, but it’s all in the accent—an Australian saying “Come on mate, sign this bloody form!” wouldn’t play as well.  Smiley
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brandtb
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« Reply #4 on: March 02, 2011, 07:45:35 AM »
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Great image!!
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« Reply #5 on: March 08, 2011, 09:10:22 PM »
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Enda,

Great images!

Since no CF is available, how many stops of fall off do you experience there is with this lens, and within what IC/shift?


Anyone knows what is the weight and size of this lens?


Thank you.

Regards
Anders
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David Watson
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« Reply #6 on: March 09, 2011, 03:02:42 AM »
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Enda

Beautifully conceived and executed. 

David
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Enda Cavanagh
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« Reply #7 on: March 09, 2011, 06:01:22 AM »
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I would say ball park about 3 or 4 stops is the worst case scenario with the greater movements. When I say greater I am talking about 17 left or right for example. Obviously the lesser the movement the lesser the light fall off. The digital centre filter than neutralizes the light fall off in photoshop. It pisses me off that you have to do it this way because
1  You have to take notes of every new lens movement and aperture. Not that, that's big a deal. I use notes on my iphone and email it to myself so I have a digital recored.
2  After processing the images in phocus and getting rid of the colour cast using the calibration shots you than have to
3  Use the plugin in Photoshop to get rid of the fall of.
4  If it's an architectural commission as opposed to a landscape shoot, I have to forward a lot of proofs to my client. I process the RAW files first as JPG fast previews. The images are processed practically instantly. I than have to use the plugin to remove the light fall off in photoshop. Many of my images as you saw are panoramics. I than have to do quick editing on the images to make them look more impressive when viewed at about 800 pixels. Once the client picks the images I than have to do the whole thing again using the high res TIF Files. You might think this is doubling the work but it takes about 20 seconds to process a tiff fill from phocus. I normally have minimum 3 exposures per image and many of my images are panoramics. All the editing in photoshop takes a lot more time with the large files from a medium format camera. Also because of things been so bad in the construction industry here in Ireland, clients are quite often severely restricted on the number of images thy may purchase, irrespective of the quality of the shots. They might only buy 6-10 images out of 25 - 30 views. They still want all the views.
5 with larger lens movements you sometimes have issues with noise. This can be removed using for example Nik Define for example, but it's still more time wasted.

Bottom line is my workflow is gone to hell with this lens, but I'm telling you now there is nothing else like it on the planet. The shots capable with it are just unlike anything else out there due to the movements possible with a lens of this focal length. Plus it's sharp as hell.

It's a love hate relationship but unquestionably it's the best purchase I have made since getting my medium format camera/view camera system
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haefnerphoto
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« Reply #8 on: March 09, 2011, 06:18:58 AM »
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Enda, Great work!!  How many days were you on the airport assignment?  Do you have any experience with the 32mm Rodenstock?  Jim
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Anders_HK
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« Reply #9 on: March 09, 2011, 06:28:09 AM »
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Enda,

Many thanks for the explicit description!



Does anyone know if this is easier to deal with in Capture One??? Say if for landscapes one want to maintain 1-2 stops falloff for pano stitching but clean off color cast (say 2 frames with de-centered fall off and color cast)Huh Thanks!

Regards
Anders
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Enda Cavanagh
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« Reply #10 on: March 09, 2011, 06:31:02 AM »
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I was at it 8 times!! 4 were wasted visits due to snagging and security access not been correctly sorted out by my client. To be honest the airport police seemed to have different protocols every time I went. I spent longer there than my brief but it's not often you get such a great commission and I was having a ball shooting it. Smiley

No I have never used the Rodenstocks. I have the Schneider 24, 35 and 47mm lenses
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Enda Cavanagh
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« Reply #11 on: March 09, 2011, 06:38:27 AM »
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To be honest I'm not sure. I haven't used Capture one in about 4 years. I would be very interested to hear from others when they have experience on this. These beautiful new Phase one backs could be even more tempting. I'm waiting patiently for the Hasselblad back to compete against them. I hope it won't just be the upcoming 200meg MS back. I have taken shots using the 35mm and 47mm schneiders without the analogue centre filter, where I used the equalize intensity tool in phocus and the results are fine until you go to the extreme movements. The image circle on the 28mm is way beyond either of these lenses so the equalize intensity tool results in significant noise. 
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mediumcool
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« Reply #12 on: March 09, 2011, 07:06:29 AM »
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This is serious envelope-pushing, but well done … We should all have such problems!
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BernardLanguillier
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« Reply #13 on: March 09, 2011, 02:32:18 PM »
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Interesting. Does this rely in HDR techniques?

Cheers,
Bernard
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A few images online here!
Enda Cavanagh
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« Reply #14 on: March 09, 2011, 02:38:23 PM »
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Ya I use HDR expose to give a more natural look. It doesn't have that awful over the top look that you see with tone mapping. it does a fantastic job at pulling detail out of the highlights and shadows without it looking unrealistic
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haefnerphoto
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« Reply #15 on: March 09, 2011, 10:06:55 PM »
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Ya I use HDR expose to give a more natural look. It doesn't have that awful over the top look that you see with tone mapping. it does a fantastic job at pulling detail out of the highlights and shadows without it looking unrealistic

Enda, It looks a little over done to me but the subject matter and composition are so great it's not a distraction.  I often use Photomatix in the Exposure Fusion mode (H&S adjust) which gives me a look I describe as how we see things with our eyes (lots of detail).  Jim
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Enda Cavanagh
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« Reply #16 on: March 10, 2011, 01:49:34 AM »
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Enda, It looks a little over done to me but the subject matter and composition are so great it's not a distraction.  I often use Photomatix in the Exposure Fusion mode (H&S adjust) which gives me a look I describe as how we see things with our eyes (lots of detail).  Jim
That's funny because I too used to fuse the images in photomatix for quite some time to give a more natural feel as opposed to tone mapping. However HDR expose is much better way of retaining detail in the shadows and highlights. In my opinion it does it in a more realistic way than fusing the images in photomatix where you have a high tonal range but shadows suddenly are blackened out.
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haefnerphoto
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« Reply #17 on: March 10, 2011, 06:09:10 AM »
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Enda, I'll download it today and check it out.  Jim
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Enda Cavanagh
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« Reply #18 on: March 10, 2011, 06:21:25 AM »
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Cool. You just need to get the controls right or you'll get a strange haloing along the edges of highlight areas. Good luck with it.
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Lightbox
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« Reply #19 on: March 10, 2011, 03:30:37 PM »
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There seems to be a lot of haloing in certain images from the airport series, did you use halo reduction in HDR Expose? Also there is a bit of contrast mismatching, I haven't come across an HDR program that doesn't create this to some degree, see the attached image.

Love the results from the composition and lens in use though, great camera work.
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