So Rajan,
You are also hooked by the combination of the Canon 5DI and the 24mm TSE. For you picture her t works so well. Are you doing any post-processing.
I also looked at "Fog over Lake Mývatn" . This photograph s indeed deliciously wonderful with it's generous layering of pastels above the green landscape at the base of the picture. Why are you not also shooting overlapping images to cover the adjacent vew as this would be perfect for a panorama?
Asher
Asher,
Yes, the 5D Mark II and TS-E 24L II combination works beautifully. As you know, Canon's new version of TS-E 24 is a fantastic optic.
What's the logic of applying PK sharpener's "Capture Sharpening" (an implementation of the late Bruce Fraser's ideas) to Focus Magic. Do they advise sharpening so early in your workflow?Apropos of post-processing: typically my first step is to do capture sharpening via Topaz InFocus which is a very good deconvolution programme once you get the hang of it.
For this particular image, I worked in LAB space to crisply bring out the colour separation (with tips drawn from the wonderful book Photoshop LAB Color by Dan Margulis). Then seasoned it lightly with my favourite Nik plugin Color Efex Pro - needless to say, the defaults have to be modified, sometimes significantly.
At the time, I was not mentally prepared to shoot panoramas. But with your prodding I have now come around to it (and I now also have the RRS basic pano kit). So don't be surprised if you see some panos in the coming months.
Even now with Large Format 8"x10", I now go for my widest lens, the Schneider Super Symmar XL at 150mm dividing by 7.5-8 one gets 18.75mm to 20mm equivalent focal length, akin to stitching several overlapping 24mm shots on my 5DII!
Off-topic, but bloody heck, Asher, I had no idea you were shooting the SSXL 150 on 8x10in - what a dream combination!
Hopefully, here, very shortly when my first negatives return to be scanned! This is all new to me as I've been locked into stitching and hours on the computer. Enough is enough!Where can I see some of your work with this combination?
Rajan,
What's the logic of applying PK sharpener's "Capture Sharpening" (an implementation of the late Bruce Fraser's ideas) to Focus Magic. Do they advise sharpening so early in your workflow?
I wonder whether the work in LAB space really pays off. I have to check if I have Margolis' book still.
Hopefully, here, very shortly when my first negatives return to be scanned! This is all new to me as I've been locked into stitching and hours on the computer. Enough is enough!
Asher
Asher,
I don't understand your question. I don't use PK Sharpener. That software, I understand, does not use deconvolution. Whereas Topaz InFocus does. Deconvolution helps recover some of the sharpness/detail lost during capture due to the anti-aliasing filter on the DSLR sensors.
Rajan,
The custom of so-called "capture sharpening" came from Bruce Fraser and the PK software which packages his ideas. So I wondered why you would use the deconvolution at the early stage immediately after translating the RAW file. That's what capture sharpening is.
Asher
Rajan,
The custom of so-called "capture sharpening" came from Bruce Fraser and the PK software which packages his ideas. So I wondered why you would use the deconvolution at the early stage immediately after translating the RAW file. That's what capture sharpening is.
Bart,
Would it help the software developers if Canon, Nikon etc made available the transfer function data of the AA filters for every body? Wouldn't that provide a good initial point?