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Fred Flohrschutz

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About Fred Flohrschutz

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  1. Everyone is talking about the Film Look, so just as a frame of reference: The Full- Format everyone is always referring to is NOT the format of 35mm motion pictures It is the 24mm x 36mm STILL frame format for 35mm FILM cameras. The 35mm Motion picture camera aperture is 0.866 by 0.630 in (22.0 by 16.0 mm) or less then 1/2 of the area of STILL frame camera's 24mm x 36mm.
  2. It seems that without using the anamorphic modes you can shoot Continuous Open Gate 3:2 (5184x3456) or 4:3 (4992x3744) using the 6K Photo and selecting "Run Stop" rather than Burst mode. Demo by Peter Gregg:
  3. I posted a link to my One drive with a few Pentax 645D jpegs, but it seems like it's broken. Here is one which I believe is good: https://1drv.ms/f/s!Agjz04kRC3VT2zbzCk2-emql_jPF Let me know.
  4. You should not have to have a One Drive to see the pictures I posted. Let me know if the link is not opening, I may have to share them differently. They are in my Public folder. Please let me know. By the way, I put in the fact I have a Canon 5D MkII and a Panasonic GH4 so you guys would know I haven't crawled off into the Medium format corner of Photography and hid. The Panasonic is Stellar as my Travel rig. 7-14mm, 14-140mm, & 100-300 in a tiny bag no one trys to steal.
  5. My apologies to anyone who wanted to see Medium format pictures. Here is a ink to my Public One Drive folder: https://onedrive.live.com/?id=53750B1189D3F308!11702&cid=53750B1189D3F308 When viewing click the top toolbar "View Original" to get close to the original. I believe you can also save the picture to use your own tools to examine. They are Jpegs.
  6. I have owned and shot with a Praktisix and 80mm Biometar, Hasselblad 500c and 80mm Planar & 150mm Sonnar, Pentax 645 N and N II with 35mm f:3.5, 40, 50, 75, 120mm f:4.0 Macro (Superb) 135mm, 300 f:4.0 Manual and 300mm f:5.6 AF fixed focal lengths. I also have the Pentax AF 33-55mm, 45-85mm, and 90-160mm old school Zooms. I added a Pentax 645D (33 x 44MM sensor) in 2014 for $3800, and never looked back. By the way I spent between $150 and $750 on each of the lenses, all of which I still own. Lola was shot with the 45-85mm @ 70mm - f:11 - 1/125 sec 800iso , no flash hand held. One really nice thing is Pentax RAW can be Saved in camera as DNG as I always do. I think my higher Def images didn't load due to sizes over 20MB. All are Jpegs. I also Shoot Canon 5d Mk II, Panasonic GH4.
  7. Why is the Hateful Eight said to be filmed in 70mm Anamorphic with the non - 70mm Theatres titled "70mm Roadshow Version" . Tarantino supposedly located the Ultra Panavision 70 Cameras, along with the Panavision 70 Anamorphic lenses unused for something like 40+ years. and paid for them to be CLA'd so they would work in the cold temperatures with new lubricants. I think the Anamorphic ratio is something like 2.76 : 1. I think the film was projected horizontally and the 70mm was the width exposed along the length of the film, so maybe the film stock is 65mm wide. Sorry about musing while I typed.
  8. If the body of the camera is designed with full-frame and M 4/3 compatibility intended, it is pretty straightforward. You begin with an interchangeable mount capable of mounting either the full-frame or the M 4/3 mount, and the M 4/3 mount is defined by the back-focus depth of the M 4/3 specification. The full-frame mount can project forward for the back-focus of the Lens line to be designed so designed or adopted. This is by definition a compromise, but it could be done. I believe Panasonic would probably start a full-frame , independent Camera Line. ( Cheaper than Leica, but an all-out premium camera in their line.) Perhaps using the Leica mount and designing a Panasonic companion lens line?
  9. I have the good fortune of having shot Leica and Leicaflex, so my 35mm Summilux M is similar to the 50mm work with. I am going to get the Kiron tilt-shift Leica R adapter to use with a 21mm Liecaflex S.A. I suspect your existing lenses will lead most users to their choice of bodies. I have a pair of GH2s and I still can shoot excellent 1080P. I do wish there was an acive Cannon mt Metabones adapter so I could effectively shoot my 17-40mm f:4 L on the GH series cameras. If you spend the same amount you get the GH4 expansion foot, and that opens a whole new can of worms or maybe caviar? You chose a pair of cameras which will give professional video, so it's bells & whistles, Lenses, and features. There is no wrong choice. Every time Video looks static I now realize it is me, not the gear. What a feast of goodies!!!
  10. If you look at the screw head on the camera above and behind the subject camera in the "Top right corner" crops it is significantly better defined in the Noctilux shot than the same screw head in the SLR Magic shot. In addition the flare from the satin finish at the top of the wind and shutter speed knob indicates possible decentering (double imaging) in the SLR Magic shot. (This could be camera shake, but it appears to worsen as the corner of the image is approached. Photographing a subject such as a metal scale placed diagonally across the point of focus is one method used in tuning the exact point of focus in DSLRS and leaves much less to subjective interpretation. Thank You For This Test.
  11. All f:0.95 lenses have a very discrete plane of focus with a tiny depth of focus to either side. I can see from your first shot comparison that the Leica lens is focused behind the point where SLR Magic lens is focused. The pebbled leather and the screw head on the camera body behind the intended subject are both much better defined in the Noctilux shot than in the SLR Magic shot. Consider a focus shot where a finely detailed machinest scale is photographed at a slight diagonal through the area of the plane of focus. This is a good way to define the specific plane of focus on any lens and is less subject to interpretation. I am VERY impressed with the SLR Magic lens by the way. I have shot with the older 50mm f:1.2 Noctilux on film with a fluorescent tube in the picture at full aperture. I was amazed at the way the lens could represent detail slightly outside the well-contained flare envelope.
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