GFX 100 Using HARTBLEI RBZ-S Adapter with Mamiya 75mm RZ 67 Lens with DAS

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  • Опубліковано 23 січ 2025

КОМЕНТАРІ • 39

  • @Dstonephoto
    @Dstonephoto 2 роки тому

    All of your videos are truly breathtaking. As someone relatively new (3 years) to the field of photography and trying to learn the science of it all I find your tests, enthusiasm, and insights simply brilliant. Thank you so much for all of this info. This certainly beats forum posts by angry old men suffering from Duning-kruger. Where this can really start to get interesting is with automation.

    • @christopherleggettphotography
      @christopherleggettphotography  2 роки тому

      David, Welcome then to the world of photography. If you are intending to make it your profession, may i suggest you look at other lines of work, as photography is becoming increasingly harder and harder to make a living. If you are in it for the passion, then welcome on broad, as, for me, there is no better thing. And in your comment, you wrote a very cleaver thing. Automation! With the complexity of my approach, automation is the answer. With EV bracketing, focus stacking, and DAS, to be able to have automation would be fantastic.

    • @Dstonephoto
      @Dstonephoto 2 роки тому

      ​@@christopherleggettphotography Thanks. I realize quitting my job to pursue fashion photography was not the most right-brained/rational thing to do. But we only live once. I just said f-it and went for it. That said, I'm leaning towards purchasing a second camera for video in order to not be a completely broke hobo. But yes, there's a command line program called GPhoto which allows interfacing with cameras and for which one can write (as I have) user interfaces in order to control cameras. I do find it unfortunate that photography has taken a back seat largely as a result of simple distribution problems. That said, what I do love about this industry is the intersection and interdependence of art and commerce. I find the merit-based approach on-par -- if not better than -- other "honest" sectors such as law or academia. To quote the great Selena Gomez: the heart wants what it wants. During lockdown I ended up doing a deep dive into the history and science of things, and to be honest my mind was blown discovering the accomplishments, researh, and achievements from the likes of Kodak color scientists, Avedon's assistant, Edward Land, Gabriel Lipmann (holography!), Technicolor, Cinerama, and so on. From a business standpoint, I find it fascinating and intriguing that the money lies in the less glamorous aspects of it such as scientific imaging, architectural, and product photography. I'm probably a bit of an outlier here, but I firmly believe the field of imaging (as your Hartblei guys in Ukraine demonstrated) is ripe for a whole world of untapped innovation. Just look at the world of focal reducers - I've constructed some crude (omg are they crude) optical testing benches and spliced them with some of my (god, it's easy to spend money on this gear) Rodenstock and Kodak 4x5 lenses with impressive results. The Canon M50 paired with a Viltrox speedbooster and the 40MM pancake gives me monochrome results which blow my mind. So here's my million-dollar question for you concerning the GFX system: if I compare the results of the 50 or 100 series with the likes of a Pentax 645z I feel severely underwhelmed seeing the GFX sample images on various forums, Flickr and Juzaphoto vs those taken with a 645Z or even a Leica S2 007. Do you think it's possible that camera sensor design (or maybe it's something else) ends up with a tradeoff when balancing color (I want to say fidelity but I'm not sure that the right word) with resolution? Or are we seeing something else at play? Not sure this question will make much sense, but it's a topic I've tried to research without finding any tangible results. It's probably up there with discussions where people ask why Leica lenses deliver a delicious result which is unmatched by other lenses but whose discussions devolve. As you're a working professional in this field, I would love to hear your insights on the future and business side of things. Again, thank you so much for taking the time to post all of these videos -- they're pure gold. Have a great week and Merry Christmas! I seriously rank the quality of your insights up there with guys like NorthLight Images, Vistek, and the guy from Lens Rentals. It's boring info at times, but equally mind-blowing and and makes for good knowledge bombs.

    • @christopherleggettphotography
      @christopherleggettphotography  2 роки тому

      @@Dstonephoto Wow! Your message deservers a better answer than I am presently able to offer, as i am on assignment. Will get back to you ASAP. what is your email address?

  • @loydsa
    @loydsa 2 роки тому

    Christopher I only recently found your channel and am very glad I did. You are providing excellent information in an easily understandable way. Thank you so much for making and posting this and your other video's.

  • @gelbebond
    @gelbebond 3 роки тому

    Thank you for this informative video. I don’t quite understand the reason to use the Hartblei adapter when the Mamiya RZ 75 TS lens will allow pretty much the same 9 shot map across a scene. I have a Fotodiox adapter which has the helicoidal focussing and then I can use the shift and rotation movements on the RZ 75mm. Perhaps I’m missing something? Thank you.

    • @christopherleggettphotography
      @christopherleggettphotography  3 роки тому

      There are 2 reasons i use a Hartblei adapter... 1) I have one. 2) a gentleman, whom i regard as one of the smartest camera fellow i know, wrote this to me about the Fotodio adapter.....accidential shutter release (one should use it in „B“ mode)
      poor quality of helicoid
      everything is shiny inside
      at maximum length of helicoid you can see the light through it as well as all shiny metal parts

    • @gelbebond
      @gelbebond 3 роки тому

      @@christopherleggettphotography thank you for your reply. Agree on the Fotodiox adapter and made some modifications to limit issues.
      Best of luck with the Hartblei.

  • @friedhelf
    @friedhelf 4 роки тому

    Thanks allot. Very enjoyable as always.
    Wouldn't you use the shift adapter also just to have the shift function for compositional and perspective control matters and not only for stitching? That isn't a feature the fuji-lens offers, or did i miss something?

    • @christopherleggettphotography
      @christopherleggettphotography  4 роки тому

      No, sadly there are yet not GF Shift lenses. But if i shot a photo just using the Shift function (34mm) on the Mamiya 75mm, and the took a shot with a GF32-64mm lens zoomed to 40mm, then cut some of the top off and did the same with the bottom, both images would look the same.

  • @PentaconSixExpert
    @PentaconSixExpert 2 роки тому +1

    Christopher
    Thank you for this video. Because of it (or in spite of it?!) I have just bought the Hartblei adapter that you show, and the 75mm Mamiya shift lens. Shooting 3 × 3 shots (nine images), the resolution is phenomenal (and the file size is about 490 MB). I have two options for stitching: Photoshop (CS6 of 2013) and Serif Affinity Photo. (I bought Lightroom years ago but didn't like it.) Photoshop puts the layers containing the vignetted edge images on top of the non-vignetted centre images, resulting in vignetted areas (dark patches) within the stitched photo wherever there are joins that include some vignetting in a component image. (I have shot at f/22 and shifted the Mamiya 20mm L or R and the Hartblei adapter 12mm up or down.) Affinity Photo does a better job, but not perfect, but it outputs a file with just a single layer, unlike Photoshop, which retains all the component layers. This makes correcting stitching errors with the Affinity stitch difficult.
    Any suggestions from you would be welcome.
    Trevor

    • @christopherleggettphotography
      @christopherleggettphotography  2 роки тому

      Welcome to the rather exclusive club.Now, even more exclusive with the sad crisis in the Ukraine.
      Straight to the point.... My option is that you cannot afford to not be up-to-date with PS software. I pay around $10 p/m for a subscription to use latest PS and LR. It is money well spent. I cannot comment on Affinity, as i have never used it. View my latest video on PH, DAS, and stitching.
      ua-cam.com/video/jT3v4PGoO20/v-deo.html
      From that, you can see how amazingly good PS new algorithms are. And I have to say, that I am not sure how I would cope with keeping my over half a million photos, organised without LR. When I am in the field shooting architectural photos for my clients, I have to field stitch my DAS (Dual Axis Shifting) with camera tethered to my laptop, and for that, i use LR and FUJIFILM X Acquire.

    • @PentaconSixExpert
      @PentaconSixExpert 2 роки тому

      @@christopherleggettphotography Thank you for the very helpful answer. I have not yet started shooting tethered to the laptop. I will view your latest video, if I have not already seen it, as I have been viewing all your videos, sometimes more than once, to grasp all the details.
      I hope to buy further items from Sergey and certainly hope that the sad situation will soon end.
      Affinity Photo is constantly being upgraded, at no further charge to those who have purchased the program. As my old version of Photoshop does not recognise Fuji RAF files, I converted them to jpegs in the free Fuji Silkypix raw converter, then joined those jpegs in Photoshop and Affinity, with the results previously reported. But I have now stitched the original raw files in Affinity, and the results are much better and largely acceptable, with only minor healing brush/cloning tweaks required.

    • @christopherleggettphotography
      @christopherleggettphotography  2 роки тому

      @@PentaconSixExpert Curiosity... Where are you located?
      Next, keep images in RAW as long as possible and even if you have already used them to produce a final edited photo, do not discard them. As technology keep improving, I find myself going back and re-editing older ones with newer and better technologies. and, as such, better results.

    • @PentaconSixExpert
      @PentaconSixExpert 2 роки тому

      @@christopherleggettphotography Thank you for the good advice. I am in the U.K. I first bought Hartblei adapters in order to be able to use medium format and 35mm "full frame" analogue lenses on my GFX50S. I have shot more tests and done more stitches, always with better results in Affinity Photo than in my now rather old version of Photoshop. I have wondered about exploring another program for stitching, such as On1 Photo Raw. I would be pleased to send you a sample for comment, but not via this medium. Via your website, perhaps?
      Trevor

    • @christopherleggettphotography
      @christopherleggettphotography  2 роки тому

      @@PentaconSixExpert Trevor... Sure lets get in touch through my email ... cjl@christopherleggett.com, or Telegram and Whatsapp +628123854320
      Also, have good news for you. There is another bloke in London who recently bought the same gear as you and he is very enthusiastic on the subject. Will first ask him if it is ok to give you his contact.

  • @still_dope
    @still_dope 4 роки тому

    so far to understand the priciples and the math behind your DAS teqnique, but i'm completely amazed. is clare why hartblei has chosen you for test it! i think your videos have already change my approach on photography quite strongly.

  • @jackdmore
    @jackdmore 2 роки тому

    'The Compensator'
    Jokes aside, absolutely fascinating. Keep it up! 👍

  • @RedShiftedDollar
    @RedShiftedDollar Рік тому

    I'm curious about the focus stacked result vs a single image at f/16. I believe this is past the diffraction limit of the lens, so at 100mp, 3.76 micron pixels, the airy disk (f/16 airy diameter = 21.3 microns) coming from the lens will be larger than a pixel. So no matter how many extra megapixels you capture at the sensor plane (via pixel shift you simulate 1.9 um pixels), the resolution is limited by lens diffraction and the final image should look about the same. To get the best results you need resolution to be limited by the sensor. So at larger apertures, the lens will experience less diffraction resulting in smaller airy disks. If the airy disks are 1/4 pixel in size then you will gain the greatest pixel shift benefit. For the GFX I believe this occurs somewhere between f/4 and f2.8.
    So in all cases, with a regular 100mp photo on GFX, resolution will decrease as you go beyond F/8.
    In all cases, with pixel shifted 400mp photo on GFX, resolution will decrease as you go beyond F/4.
    I base this on a diffraction limit calculator found here: www.cambridgeincolour.com/tutorials/diffraction-photography.htm
    Although it's a lot more complicated than this in real life due to other sources of blur like real lens performance at various apertures and focal distances. The peak sharpness point of a lens likely needs to be determined experimentally. One trick is that if you pick an aperature and photograph a Seimens star and see aliasing, then your lens is outresolving your sensor and you will benefit from pixel shifting. If you take a pixel shifted image of a Seimens star and see aliasing, then you know you are still not diffraction limited and therefore you are achieving maximum resolution. You may be able to stop down the aperature a bit to increase depth of field with no resolution penalty.

    • @christopherleggettphotography
      @christopherleggettphotography  Рік тому

      I sadly have to admit that your comments are way above my pay grade.😩

    • @RedShiftedDollar
      @RedShiftedDollar Рік тому

      @@christopherleggettphotography Sorry, I spent the last few days reading Jim Kasson's blog and I think it rubbed off on me a little too much. 😆
      In this video you took a pixel shift image at f/16 which raised a question about diffraction.
      What I meant to say is that the diffraction blur you cannot avoid at small apertures like f/22 causes the pixel shift image to have the same real resolution as the regular image taken there. This is because the blur is what limits resolution. Pixel shift is useless stopped down. In order for pixel shift to have a chance at enhancing resolution you need to open the aperature wider than f/11. And peak resolution enhancement can occur somewhere around f/4. Since you took your pixel shift at f/16 I became curious to know whether you noticed improved resolution in the combined image. I suspect you did not, but the best way to really know is to look at the pictures.
      Fuji should really document this somewhere.
      And by the way, I think what you do in photography is on the cutting edge of what's possible and I learned a lot from your videos.

    • @christopherleggettphotography
      @christopherleggettphotography  Рік тому

      @@RedShiftedDollar Thank you, as now I am on the same page with you. Very interesting and it warrants me to do some further testing and if the results are as I expect, it my justify me making a segment on Fuji Pixel Shifting. Who knows, Fuji might even see it. But you shall be credited for the input. Thank you. 🙏🏻

    • @christopherleggettphotography
      @christopherleggettphotography  Рік тому

      @@RedShiftedDollar Just did a test based on your comments. I shot with both GFX100 and S and the results concur. f8 & f11 come out as even winners. f4 is awful, 5.6 is much better, then f16 to f22 progressively worse. here is a link to view the test image which have been downsize for uploading purposes.... www.christopherleggett.com/home/view_pg_all/b7d71ff81
      Use the focus broad when viewing.
      Your thoughts pls.

    • @RedShiftedDollar
      @RedShiftedDollar Рік тому

      @@christopherleggettphotography That’s an interesting result. I was expecting better performance at wider apertures. This is a great topic to explore experimentally for this reason. The sources of blur are complex and they vary from lens to lens. The connection between diffraction blur and aperture that I outlined in a previous post is only half the battle. The other half is aberration, and aberration blur usually gets worse as the aperture widens. So even in the plane of focus, a lens wide open will be soft. So there is a point of maximum performance somewhere in between. So for the lens you used in this test, that is somewhere around f/8 f/11. This is already close to the point where diffraction becomes detectable with the 100mp sensor, so I expect you were not able to achieve true 400mp results using pixel shift at any aperture. My takeaway is that you might be able to get better pixel shift results with a different lens. Only when you have a lens that can achieve peak pixel shift performance at f/4 or wider will you achieve a true 400mp result. For the lenses in your collection, the ones that can achieve the best performance at wider aperture’s will be your best ones to use with pixel shift.
      But even when you do find your sharpest lens at 400mp, you face another blur problem which is depth of field. So now you need to either photograph flat objects where everything is in focus, or you need to focus stack a lot more images.
      But I think achieving true 400mp images that are sharp all over is a holy grail of photography.

  • @joelsjaarda3807
    @joelsjaarda3807 4 роки тому

    Great detailed video. Lovely photo of your daughter that you zoomed in on! You said the first image is 375MB - so you must be stitching the jpegs. I've noticed this before when you discuss the file sizes. Does this reflect your regular work flow? I've never really used jpegs from my GFX100, but I admit that stitching raw files is no party...

    • @christopherleggettphotography
      @christopherleggettphotography  4 роки тому

      No, no. No jpegs. Always in RAW. I make jpg when i give the client an image, but only edit and work in RAW.

    • @joelsjaarda3807
      @joelsjaarda3807 4 роки тому

      @@christopherleggettphotography So was the stitched image that was 375MB the final JPEG?

    • @christopherleggettphotography
      @christopherleggettphotography  4 роки тому

      @@joelsjaarda3807 No, it is the DNG file size in LR. When opened in PS in 16 bits?Channel it becomes 1.61 GB in size and then if one makes a jpeg (which i did for you), it becomes 141.9 MB

  • @dazNilo
    @dazNilo 3 роки тому

    Interesting product, but very cumbersome to use. As you said, for client work there would be no justification to spend 5 minuten for one shot when you can take the same shot in 10 seconds. But for fine art photography, when you really need the resolution, there could be an application for this solution. I´m thinking Gursky type shots, with lots of fine detail in it. As for the pixel shift shot, I think there is something wrong with your technique or equipment, as the pixel shift photo seems to be softer than a single shot image.

    • @christopherleggettphotography
      @christopherleggettphotography  3 роки тому +1

      First, thank you for you feedback, but more importantly, turning me on to Gursky. Amazing artist. Next, this weekend, I will post a new video about the use of the Mamyia 75mm, where a normal lens is left is the dust by comparison. As for the sift softness, and as my GFX100 did once fall off the tripod, I did a bunch of tests, but could not detect any problems. Therefore, I am not sure what originally went wrong with that shot.

  • @winheiMR
    @winheiMR 5 місяців тому

    Leider eine recht sperrige und kosten intensive Anlage, habe aber mehrere RZ Objektive per Hartblei Adapter, leider nicht günstig, im gelegentlichen Einsatz. Würde mir lieber dafürhalten Fujinon 25-30mm kaufen, leider auch recht teuer.

  • @anthonybarton8438
    @anthonybarton8438 4 роки тому

    This video may help ! ua-cam.com/video/FgynYwXm1vM/v-deo.html