Lacanobia subjuncta

Linhof Technikardan S45

Fujinon C 12.5/450

50mm front rise

5.5° upward camera tilt

5.5° forward tilt of both standards

f22

1/2 second

Lee Red 23A

Fuji Acros 100 (EI 64)

Gitzo GT3532LS

Arca-Swiss Z1

Developed with Pyrocat-HD 1:1:100 at 22 °C for 14 mins (minimal agitation) in a modified Paterson Orbital

Digitised using 16-shot pixel-shift capture

Toned.

(best viewed fullscreen in the lightbox)

Noctilucent Clouds, around 1am - Crieff across Strathearn from Auchterarder

A total 2 minutes of exposure to see what the NLCs and ordinary clouds would get up to over that kind of timescale.

a red delicious apple hangs ready to pick in an orchard near Yakima WA

Pero morrisonaria

Hasselblad 501CM

Carl Zeiss Sonnar 4/180 T* CF

f11

1/4th second

Gitzo GT3532LS

Arca-Swiss Z1

Agfa Copex Rapid / SPUR DSX (Rated EI 25)

Self developed in SPUR Dokuspeed SL-N, 24:12:564mL A:B:deionised water at 20 C for 10.5 mins.

Digitised using 16-shot pixel-shift capture

Toned

Note: my images are processed to appear correct on a calibrated, professional grade colour-accurate monitor set to Adobe RGB output / 6500 K temperature / gamma 2.2. Many consumer grade screens (particularly mobile phone screens) at default settings will display these images with too much saturation and contrast, so please bear this in mind when viewing on such devices.

(best viewed fullscreen in the lightbox)

I first stumbled across this composition a couple of years ago - a very strong sense of depth - and have been meaning to update my "take" on the scene ever since.

So, passing by the area again, I called in and made this long exposure, black+white, pixel-shifted focus-stack image of it.

Receding layers of rock (till/diamicton and Catterline lava+psammite+quartzite+feldspar conglomerate) leading the eye toward Todhead Point lighthouse in the distance.

Prints and things available from the website: www.shinyphoto.co.uk/gallery/catterline

Infra Red Landscape in PixelShift.

This is *beta version, because i'm not satisfied with the artefact in the clouds

Z8 (FW v3.0 - Beta)

Z 105mm MC (Micro)

Westcott Solix LED + Westcott Apollo (Octabox)

Promaster LED (thru the background)

Focus Shift + Pixel Shift

This is the one they chose.

I was asked to test the new 3.0 firmware and make a few images using the newly combined features of Pixel shift and Focus Shift. During the testing process, I was asked to make an image that Japan would end up using to launch the new firmware. I was incredibly honored that they chose this one.

This was captured as 1,600 NEF files... merged using NX Studio to 50 NEFX (180,000,000 pixel) files... then stacked in Helicon to a single image of about 1.09 GB. Then in Photoshop Elements, it was 'dumbed down' to the 5 MB file.

Z8 + FW 3.0 (beta)

Z 105mm MC (Micro)

Westcott Solix + Apollo (Octabox)

Pixel Shift with Nikon NX Studio

Focus stacking with Helicon

I was asked by Nikon to test shoot the 3.0 FW with a special interest in the new ability to use Pixel Shift and Focus Shift at the same time.

Pixel Shift is an option where the camera moves the sensor during a series of captures. This series is then merged in the Nikon NX Studio software. In this case, the pixel shift option was set to the maximum capture option of 32 images. The camera exposed an image then moved the sensor… about half the width of a single pixel… and exposed the next one. For 32 images. Those 32 NEF (RAW) files were merged into one massive NEFX raw file that now has a resolution of about 180,000,000 pixels.

Focus Shift Shooting is an option where the camera makes an exposure then shifts focus to a different plane and makes another exposure. The cool part is that the camera is automatically setting the shift movement so that a series of images can be stacked on post in such a way to increase the depth of the PLANE of focus. This results in a subject the can have a nearly unlimited amount of the subject focus. Not just more depth of field, but depth of actual in focus.

The Z8 FW 3.0 is the first time anyone has offered both at the same time on a full frame professional camera.

Shot with the Nikon Zf, using pixel shift (32 image Pixel Shift) with the 135mm f1.8 Plena lens

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Leucania linda

Linhof Technikardan S45

Schneider-Kreuznach Super-Angulon 5.6/72 XL

32mm front rise

f22

15 seconds

Kodak Portra 160 (EI 100)

Gitzo GT3532LS

Arca-Swiss Z1

Lab development

Digitised using 16-shot pixel-shift capture

Note: my images are processed to appear correct on a calibrated, professional grade colour-accurate monitor set to Adobe RGB output / 6500 K temperature / gamma 2.2. Many consumer grade screens (particularly mobile phone screens) at default settings will display these images with too much saturation and contrast, so please bear this in mind when viewing on such devices.

(best viewed fullscreen in the lightbox)

Hasselblad 501CM

Carl Zeiss Sonnar 5.6/250 Superachromat CF

f13

1/2 second

Fuji Acros 100 (EI 64)

Gitzo GT3532LS

Arca-Swiss Z1

Self developed in Pyrocat-HD 1:1:5:95 A:B:IPA:deionised water at 22 °C for 14 mins (minimal agitation)

Digitised using 16-shot pixel-shift capture

Toned

Note: my images are processed to appear correct on a calibrated, professional grade colour-accurate monitor set to Adobe RGB output / 6500 K temperature / gamma 2.2. Many consumer grade screens (particularly mobile phone screens) at default settings will display these images with too much saturation and contrast, so please bear this in mind when viewing on such devices.

(Best viewed fullscreen in the lightbox)

Walking back to my car after the car light trail session, I had to walk by the 5-season's tree. There was still enough glow in the sky to see the clouds behind it, but overall things were pretty stationary. I had seen a couple of similar pictures browsing flickr the past couple months that I wanted to put my own spin on it. Given the stationary foreground, I decided to try the pixel shift feature of the K-3ii again.

www.bluemountainsbotanicgarden.com.au

My second Autumn offering today, I spoil you Flickroonies!

mal etwas mit den Pixelshifting gespielt - viele Details

Hasselblad 501CM

Carl Zeiss Sonnar 5.6/250 Superachromat CF

f9.5

1/2 second

Gitzo GT3532LS

Arca-Swiss Z1

Fuji Velvia 50

Lab development

Digitised using 16-shot pixel-shift capture

Note: my images are processed to appear correct on a calibrated, professional grade colour-accurate monitor set to Adobe RGB output / 6500 K temperature / gamma 2.2. Many consumer grade screens (particularly mobile phone screens) at default settings will display these images with too much saturation and contrast, so please bear this in mind when viewing on such devices.

(best viewed fullscreen in the lightbox)

The days are getting shorter and there's definitely a nip in the air, but that does have the advantage that if you can find an insect, it's likely to be relatively still rather than super-energised like they are in the height of summer. So they're still enough to let you photograph them. This little fella was. This is a natural light focus stack of 38 images in Zerene Stacker, with El-Nikkor 50 reversed at 5.6, at Denbies Hillside Dorking, images at 1/4s, ISO 100.

This also uses pixel-shifting, a new feature introduced by Pentax in its latest flagship the K-3II, which Pentax gave me to use as a Pentax Brand Ambassador. I shot one run with and another run without and there's definitely more detail in the pixel shifted stack. But, there's also an unusual pixel matting that I've never seen before and is only really clearly visible at 250%+. I suspect that the wind might have been the cause for this rather than any particular issue with the camera. Pixel shifting takes 4 consecutive images and moves them by one pixel, to get more resolution and detail, so on shots like this which was 1/4s, any mild breeze has scope to introduce misalignment.

Update - called "checkerboard effect" - diglloyd saw it too.

One thing I must praise is the Wimberley PlampII, a device to hold stems still for this type of photography. I have 3 plamp-like devices, 2 homemade and 1 proper PlampII, and the PlampII is the best of the lot with the longest neck and a great 'fine adjustment' clip on one end, which rotates in 360 degrees and grabs a stem really softly. Could not do this sort of photography without it.

Any sufficiently advanced technology is indistinguishable from magic.

— Arthur C. Clarke

I shot this yesterday at 7:30am for my class on using Nikon's Studio NX as the one and only raw processor if you shoot Nikon.

Raw processed in Studio NX, No color correction, nothing else. Picture Control is set to Standard. Control Points were used to darken the background in In Studio NX. Some dust removal, schmaltz removal and specular highlight reduction in Photoshop using generative fill. No other adjustments to color, sharpness or contrast. Shot with a with 105mm MC. The final Pixel Shite images is 46.75 inches by 30.972 inches at 360 ppi.

To put this into perspective the file is 2 inches bigger than my biggest printer (Epson 9575) can print coming out of a Z8.

Nikon100 #nikonlove #kelbyone #photography #onOne @NikonUSA

#mirrorless #Nikonz8 #105mmMC #NikonNoFilter #niksoftware #nikonUSA #Epson

#wacom #xritephoto #calibrite #onone #sunbounce #fineartphotography #kolarivision

#DxO #iamgenerationimage #iamnikon #B&H #PhotogenicbyBenQ

#nikonLOVE #hoodman #infrared #pixelshift

#nikonnofilter #nikonambassador