A pleasant waterfall in the Allt na Drochaide burn, a tributary to the Water of Ruchill, Glen Artney.

This was the first, and so far only, time I've felt the urge to invert the tripod's centre-column and dangle the camera millimetres above the water. In the process, I discovered a bug with the Pentax K-1: if you use live-view upside-down, the image inverts itself correctly but all the settings controls (histogram, etc) do not. It's tricky enough wondering where the control dials have gone, let alone where the numbers they control are to be found on screen. D'oh!

金沢東門前

Linhof Technikardan S45

Schneider-Kreuznach Apo-Symmar L 5.6/150

31mm front rise

10° upward tilt of camera

10° front tilt of both standards

2° front left swing

1° rear right swing

f32

21 seconds

Kodak T-Max 100

Gitzo GT3532LS

Arca-Swiss Z1

Self-developed in DD-X 1:4 at 20 °C for 7 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 regret not bringing my FA43 to the same lookout point that I previously shot the week before with the Sol 45. I thought it would make for an interesting comparison between the two lenses.

A week later and it was significantly hotter, and the water run off looking somewhat less impressive. Mind you... the Sol 45 would give the water that added extra look of volume as well (that really wasn't there at the time).

Which do you prefer?

(Sol 45 version in comments)

Another re-digitisation of an older slide, with more accurate repro.

Linhof Technikardan S45

Nikkor-M 9/300

5mm front fall

9° front forward tilt

f29

11 seconds

Fuji Velvia 50

Gitzo GT3532LS

Arca-Swiss Z1

Lab developed

Digitised using 16-shot pixel-shift capture with a 99 CRI light source and an IT8-calibrated custom profile.

(best viewed fullscreen in the lightbox)

viele Details mit Pixelshift

Details aus dem Wald mit Pixelshift

1989 Kodak Ektar 25 film, on a 1954 Kodak Retina IIa, with Kodak Series VI filter, shot on 2002 Kodak Ektachrome 100 EPN 220 film.

Pixelshift

Schnelle Umsetzung von der Idee bis zur Bildbearbeitung (15 min)

Hasselblad 501CM

Carl Zeiss Distagon 4/50 T* CFi

f13

1/2 second

Hoya R72 filter

Gitzo GT3532LS

Arca-Swiss Z1

Rollei IR400 (effective EI 12)

Self developed in DD-X 1:4 at 18 C for 9.5 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)

Moon over Westernport bay, Victoria, Australia.

(2019-01-21_P0236E_SanRemo_DxO_crop5)

at Nigatsu-do (二月堂), Nara.

10mths ago I spoke about Voigtlander making their top of the range "APO Lanthar" lenses in Standard Focal Lengths, this wish is coming true with their announcement of the 50mm f2.0 APO Lanthar for Sony FE. Hopefully they will follow up with 35mm, 28mm, 24mm and 21mm! www.flickr.com/photos/86145600@N07/45571301165/in/datepos...

2 years ago, I mentioned that it would be great if Olympus can implement handheld pixelshift high resolution mode, they made that happen in their EM1X (Jan2019) and this will hopefully be available in their upcoming mainstream E-M5III, finally! {Update, too bad, no handheld high resolution mode for E-M5III but it’s available with the E-M1 Mk3.}

www.flickr.com/photos/86145600@N07/28315156439/in/album-7...

Replaced with new edit from RAW file developed with Capture One 22, 15 Sept 2022.

Hasselblad 501CM

Carl Zeiss Distagon 4/40 T* CF FLE

Hasselblad Orange filter

f13

1/4th second

Gitzo GT3532LS

Arca-Swiss Z1

Kodak T-Max 100

Developed in Pyrocat-HD 1:1:5:95 A:B:IPA:water at 22 °C for 15 mins (minimal agitation)

Digitised using 16-shot pixel-shift capture

Toned

(best viewed fullscreen in the lightbox)

Linhof Technikardan S45

Linhof Techno Rollex 6x12 back

Schneider-Kreuznach Apo Symmar L 5.6/150

f22

1/4th second

3° front foward tilt

3mm front rise

Gitzo GT3532LS

Arca-Swiss Z1

Fuji Acros 100 (EI 64)

Self developed in Pyrocat-HD, 1:1:5:95 A:B:IPA:water, 22.5 C, 14 mins, minimal agitation

Digitised using 16-shot pixel-shift capture

Toned

(best viewed fullscreen in the lightbox)

versuch mit PIXELSHIFT - original datei 128 MB

mal etwas mit den Pixelshifting gespielt - viele Details

schöne Baumwurzel mit Moos - Pixelshifting

16 frame pixel shift, downscaled to 4K.

This recipe works well for Fomapan 400 @ 1600. The time is slightly longer than what most other people use. D-76 stock solution, 24 minutes at 20C (or 12 minutes at 27C to speed things up). Inversions every 2 minutes. The film stays relatively low contrast. FPP76 mixes up more easily than Kodak's version. I haven't used ID-11, but I've heard it has less problems mixing as well. Then there's the new Adox D-76 that just got released. I haven't found anything better for pushing Foma film.