Tag Archives: TS-E

Building a technical camera – Part IV

20150322_130154Step Four of Building a technical camera: adding left/right shifting to the back element

Last time, I showed you the results of milling out a chunk of the back element of the Fuji camera. Today, I’ll show you why I did it, and how to mount different parts together and insure they are perfectly parallel or perpendicular to each other.

For that particular step, I bought a cheap Chinese precision rail system on eBay. For $8 USD, it’s hard to get a better system that can be modified, drilled, cut or tapped. The following picture shows you exactly what this part looks like before modifying and mounting on the camera.

DSC01151First step was to take apart the rail itself (with the screw sticking out of the slot), from the support piece that is originally meant to attach on the tripod head. In the final design, the parts will be flipped: the rail will become the support (attached to the camera, see below) and the other part with the precise movement knob and the stopper. The latter part will be modified so I can attach a support plate for the camera.20150404_192705

You will find below a few pictures that I shot while adjusting the rail to the camera so that these two part are perfectly perpendicular to each other. This step is very delicate, because the slightest misalignment between them will lead to the sensor plane not being perpendicular to the lenses, effectively creating unwanted tilt. 20150404_192717

To make sure the parts were perpendicular, I used the precision of the milling machine and an indicator, see below:

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Just so you have a better sense of what things will look like eventually, here is a photograph of the back element with the inverted support part that I’ll drill and tap in order to mound the camera standard:20150404_193117No a few photographs of the camera with the rail system, where you can see how left/right shift will work:

DSC01173 DSC01171 DSC01164 DSC01160 Next step:

Drill the rear standard support (part with the two knobs in the pictures higher).

Conclusions:

1/ this was one of the most delicate but easiest steps so far. Easiest when you have the right tools, but these are hard to come by and even harder to let a machinist let you use his toys πŸ™‚

2/ I found a solution to add rear swing (left/right tilt) by ordering a precise optical rotating stage for about $80 USD from China. I’ll give you the details in a later post if you are interested (please use the comment below if so). I’ll first work on a prototype that won’t have swing, see how it goes and then add the rotating stage.

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Building a technical camera – Part II

20150322_125637

Step Two of Building a technical camera: taking apart a GX680

For those of you who did not see my first post about it, you can find it here. In a few words, after many discussions with my photographer friend Satoru Murata, I decided to throw myself into a new project: building a technical camera that I can use to mount almost any lens on a Sony a7/II/R/S body, much like the Cambo Actus system, but on the cheap side.

Getting to it now. You will find higher and below a few pictures of the (very functional) Fuji GX6800 III I bought recently and took apart these last few days…

Scary, right? πŸ™‚

Because it was the first time I took one apart, I actually ended up removing more parts than I should have, but I guess it does not matter too much since I’ll show you next that I basically milled (cut out with a power tool) entire parts of the camera (already done) and I’m now too committed to go back and put things back together.20150322_125815

To get to the bare minimum of the camera (front, back elements and railing, see the terrible phone picture below), all I needed to do was de-attach the bellows from the front and back elements, and mostly to unscrew and remove the camera body (back element) from the railing system.

11046131_10153153202593485_1501836423_oThe idea now is to keep the front standard as is, because it has all sorts of movements (tilt, shift, swing) for the lens. However, I want to modify (mill) the back element in order to remove the different parts with red arrows on the picture below: a couple of posts that were used to screw the body on and the front and rear metal parts on which it rested.

The goal is to create a platform on which I can fix a 2-way rail. This rail will eventually be used as a support for the camera board and it will allow for left/right shifting of the camera (great for shooting panos, blue arrows on the picture below).

Sans titre-1 copieI’m also thinking about adding swing to the back of the camera. The way I see it, it will require a precision rotating stage (similar to what can be found in science labs doing optics), but I’m having issues finding something cheap and precise enough. Ideally, it also has to be about 1 to 2 inches (~25-50mm) in diameter and I would like to have: a knob to rotate the stage, and one to lock in it place. It also needs to handle 3-4 pounds (~2kg) of weight. If you have suggestions, please fire away!

Conclusions of this part:

1/ Taking this guy apart was easy peasy, and probably the most straightforward part of the project. I can’t stress enough that I’m happy I’ll never have to put the Fuji back together. It seems now that I have multiple small parts all over my work table, and I have no clue where most of them would go πŸ™‚

2/ Next part is using a milling machine to reduce some of the back element in order to create a nice resting platform. I’ll show you some pictures of this step, but if you are not familiar with how to work these machines, please don’t go ahead on your own repeating what I’ll do. You can get hurt. Badly. If not worse.

3/ If you are aware of where to acquire new or used (small 1 to 2” dia) rotating stages (with a precision adjustment knob and able to carry ~3-4 pounds), please shoot me a message. I am currently designing the next steps, and would love to get my hands on one. Worse case scenario, I’ll start with a prototype that does not have swing if I can’t find one.

4/ As usual, if you have questions or ideas, send them my way!

Till next time!

Upcoming Long Exposure Workshop in Maine

flyer-4 copyWell, seems like it took me a little longer than expected to share it, but behold! πŸ™‚

I am glad to announce that I will be mentoring a workshop with Satoru Murata in Maine March 28-29.
You will learn how to shoot and process unique and breathtaking long exposure seascape photography, and we will visit 5 of the most iconic lighthouses of the Portland and Rockland areas.
This workshop is supported by some of the major players in the industry: @Sony, Formatt-Hitech, SmugMug, Mirex and HCam.de, so be prepared for some surprises!

Places are limited to 8 in order to give you the best experience possible, and the first two to register will have a 10% discount.
Attendees are welcome to register to any or both days of the workshop.
Sunrise and sunset options are also available.

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So check out the details and program here:
http://www.thibaultroland.com/Workshops
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And don’t hesitate to get in touch if you have questions!

For examples of what subjects we will shoot, take a look at my series:
http://www.thibaultroland.com/Beacon-of-Hope

Please feel free to share, thanks!

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BIG announcement tomorrow

Big announcement tomorrow!!
If you’re interested in seascape photography and want to learn how to shoot long exposures and produce breathtaking images, keep an eye out… and keep March 28-29 free πŸ™‚9N6A0402 copie_resize

Feature on Pullitzer Prize winner Brian Smith’s blog

brian_smith_featureI you want to learn more about my photography and the techniques and gear I use, check out the great feature that Brian Smith did of my work on his blog:

http://briansmith.com/long-exposure-photography-thibault-roland/

In this feature, I talk about my beloved Sony a7R camera and the different lenses I use, ranging from Canon to Mamiya and VoigtlΓ€nder. I also show my setup when taking tilt shift photographs and point you to the different adapters you can use to turn “old” medium format lenses into fully manual and inexpensive tilt shift beauties πŸ™‚

If you have questions on any of these aspects, please don’t hesitate to ask you questions below or on Brian’s blog!

Have a good read!

PS: of course, if you don’t know Brian’s work yet, please check it out ASAP!

New architectural photograph coming soon

10295073_10152794782118485_2926526480416932124_oI finally finished a long exposure image I’ve been working on for the last 3 weeks…
Iit’s a 6 photographs panorama that I took in Boston recently (each image is about 5 minutes exposure and 36MP, shot with my new @Sony β€ͺ#β€Ža7R‬ camera), that I stitched together in post to make a final file about 10,000 x 8,000 pixels, 16 bits.
After upgrading my computer system, I finally nailed it! I so needed fresh “blood” to handle 500MO tif files πŸ˜€
Will share soon~ish…

In the mean time, you see here an image representing the finished picture, with some of the hard selections I made in post-processing in Photoshop.
I know it’s pretty abstract right now, but if you look hard, the picture is there, I promise πŸ˜‰

Two intense weeks with the Sony a7R.

Those of you who followed my last trip know that I brought along my new Sony a7R camera. Before this trip, I was working exclusively with my Canon 5d Mark III and thought it was the best camera I could use for long exposure…

So it was a challenge at first for me to make the decision that I would mostly use the a7R for that trip. I was concerned that not being familiar with the system and might have issues while shooting and realize later that all my pictures were junk. I could not have been more wrong… but let me elaborate.

The gear I used during the trip:

Sony a7R

Sony Vertical Battery Grip for Alpha a7/a7R/a7S

Metabones Canon EF Lens to Sony NEX Camera Lens Mount Adapter Mark IV

Mirex Canon to Sony E mount tilt/shift adapter (for manual aperture control lenses)

Sony Wireless Remote Commander

– a bunch of Canon lenses including 24mm TS-E, 17-40mm f/4.0, 50mm f/1.2, 85mm f/1.2

My first impressions after I received the camera:

Initially, I thought that the camera itself was small, maybe too small, compared to my Canon 5d Mark III. But rapidly I realized the size and weight of the a7R was were actually a great advantage compared to my Canon. Smaller means lighter, and lighter means less strain when you carry it around, or that for the same weight you can pack up an additional lens. Cool!

On top of the obvious increase in resolution (36.4MP for the Sony a7R; 22.3MP for the 5D), another huge difference in my opinion the absence of anti-aliasing filter on the images. I was very curious about that point, I after shooting a few images, I want to stress out that they are EXTREMELY sharp, much more than the 5D. So much that I had no idea what my lenses were capable of until I used the a7R . Really impressive! (see images below)

My other first impression was “I still can’t believe this is a mirrorless camera, and I can attach any FF (or MF) lens I want. This is amazing!!” And true to its promises, with an adapter, I could mount all of my very precious tilt shift or fast lenses on it.

My third main focus was the back screen that can be oriented in almost any direction, and allows the photographer to shoot from very high, or very low, which is almost impossible with Pro Canon or Nikon cameras.

Field use:

My first day using the camera “seriously” was in Death Valley National Park, CA. As you can imagine, there are smarter ideas than going there in August, and it was 120+F (52+C), but I still braced myself, and thought it would be a test for both the machines and the man πŸ™‚ I spent almost two days in the area, and used my a7R most of the time. I have to say that I was very much impressed by the little guy. It worked very well, and looking back at the pictures from then I am surprised by the low noise level and very small number of “hot pixels”. One thing I should say is that after almost a full day under the unforgiving blazing sun, the a7R internal temperature was over 120F and the firmware shut the camera off to prevent it from burning white. Only solution for me, use the 5d instead and cool the a7R in the car with the A/C running.Β  I shot with my 5d for about 30 minutes until the a7R was ready to go, and the 5d turned extremely hot because of the insane heat. Here is a behind the scenes image of when that happened:

I need to state now that one of the things I like the most with the a7R is the Electronic ViewFinder (EVF). Some people say they don’t like it… well, especially for long exposure, I think it is amazing! Why? Two main reasons: 1/ no need to tape the viewfinder anymore to avoid diffraction, it’s electronic! 2/ I use the back screen a lot to setup my camera at the best spot, and it implies that the outside isn’t so bright that you can’t see a thing. With the EVF, you don’t have this issue anymore. You can just take a look with your eye stuck to it, reducing the ambient light to virtually zero, and use the zoom in function to digitally zoom on a detail and precisely focus on it. Something impossible on any other Pro SLR out there!

Along the trip, it became clear to me that another very important feature makes the difference between the 5d Mark III (and other high end cameras) and the Sony a7R. Only the a7R allows you to shoot at ISO 50. Why is that important? Because some day, the sky is just too bright to use exposure times longer than 2 minutes at ISO 100, even with 16 stops. Sure it’s rare, but it happens and why not have the advantage? But my main reason why I love the low ISO follows: if you want to shoot wide open with fast lenses or tilt/shit lenses, you’ll need to either increase the filter attenuation (sometimes not possible), or reduce the sensitivity of the sensor. Impossible when you’re stuck to ISO 100. Going down one stop to ISO 50 can make all the difference between an OK photograph, and a killer shot πŸ™‚

The one drawback of the camera to me is the absence of a counter during long exposure shooting like that of the 5D. This is not a big deal, since you’ll always have a watch or cell phone with you, but it would make things easier, especially that the screen at the back actually stays on during the acquisition. No doubt a firmware update should solve that issue and allow time to be shown on the screen in a future version.

Side note: you know I do long exposure, and use mostly tilt/shift lenses when I work. Being able to rotate, tilt and shift such lenses implies that they have cracks on them. And having cracks for long exposure photography is an issue since it will create diffraction patterns and ruin the photograph. This is the reason why every time you see a behind the scenes picture of my camera, it is wrapped in a cloth. Old school, but effective method πŸ™‚

A few test shots:

You will find here a few pictures I shot with the A7r during that trip. They are plain Raw images, with absolutely NO PROCESSING. To give a better idea of the quality, I also added a couple 100% crops of these images.

Bodie Ghost Town, CA:

DSC00554 copy

Yosemite NP, Vernal Falls, CA:

As you can see, the images rendered (again, raw with no adjustments) are very sharp, due to the absence of the anti-aliasing filter.

Please note that these photographs have been shot with my 24mm TS-E lens. They are two horizontal images (top, bottom) that have been stitched together. Exposure times of at least 4 minutes for each, and I used the new Firecrest Formatt-Hitech ND 16 stops filter. I will write another article later focused on this filter alone.

Verdict:

I would recommend the Sony A7r camera in a heart beat. It is a great camera for most subjects (with the exception of action shooting when using third party lenses), and especially for long exposure.

In my opinion, the a7R has a number of advantages compared to the competition that make all the difference: the EVF makes focusing much easier, especially in bright environments, and no need anymore to cover the viewfinder to avoid diffraction during LE. The size and lightness are also nice features, and above all, being mirrorless, the a7R can be used with any third party lens provided the right adapter (Nikon, Canon, or even medium format lenses!). Of course, that is without mentioning the absence of anti-aliasing filter, increased resolution, lower ISO, and the exciting new and future native lenses…

So seriously… what’s keeping you from switching over to Sony? πŸ™‚

 

Bonus:

As a bonus, here is one of the images I showed you before, fully converted to B&W:

Details: 24mm TS-E lens, two horizontal pictures stitched (top/bottom); f8; 275 seconds; ISO 50; 16 ND stops Firecrest from Formatt-Hitech.

For more photographs from that trip, or to order Fine Art prints, please follow this link to my website.