View allAll Photos Tagged pixelshift
Processing film has many pitfalls, I didn't wash the developing tank out properly after the last batch of film, resulting in this roll having a foam cycle while being developed Oppps... Learning as we go!
Yashica MAT 124
Ilford HP5 + 400
RO9 Special 30:1
8 minutes
PENTAX K-1 Pixelshift (166 MB file)
Edited in lightroom and PS elements
(The new feature of the Pentax K-3II)
Pentax K-3II
DA 35mm 2.8 Macro Limited
Out of camera jpeg
If you want to see the same image, the same file without Pixel Shift Resolution (in camera raw), click here:
www.flickr.com/photos/lepidoptorologicbeauty/18548968756/...
This is the dying light of a spectacular sunset at Antelope Island Utah, near Salt Lake City. A recent road trip with Kevin Benedict around Utah had us chasing sunrise and sunset in a variety of awesome locations handpicked by Kevin, with mostly disappointing results. On nearly every day we had perfect looking conditions only to have our hopes crushed at the last minute by some wayward cloud on the horizon blocking out the sun. This day, however, we experienced the opposite - almost entirely cloudy all day with a sudden break at sunset. The sunset colors appeared all around us, making it difficult to chose which direction to shoot in. Finally, it settled in the west with a beautiful glow silhouetting this lineup of hills across Great Salt Lake (I do not know which hills we are looking at here).
The quoted title is from the Shakespeare play "Henry V", with King Henry trying to motivate his troops to attack the enemy castle one more time. Our fearsome foe on this night were the mosquitos, which were out in such great numbers that they literally formed walls along the sides of the causeway leading to the island. It took some considerable courage to breach their defenses with a charge down to the beach where they were fewer in number. Very fortunately, they did not seem to be in a biting mood, settling for hovering in the thousands above our heads with an angry hum. If they had been hungry, I'm fairly certain our bleached bones would still be resting on the beach.
This shot was taken a good 30 minutes after sunset, and we were already packing up to go when we noticed the cloud tendrils adding some interesting detail to the remaining light, so I hurriedly popped my camera back on the tripod and fired one last shot. Most of the frame was dark with just this thin layer of backlight so I decided to crop to a wide pano style emphasizing this golden backlight. Taken with Pentax K-1 and Pentax 70-200mm F2.8 lens using "Pixel Shift".
My thanks to Kevin for his expert arrangement of our itinerary. I'd never heard of Antelope Island but it turned out to be a perfect ending to our tour de Utah.
Cette photo n'est pas une photo de l'éclipse, mais plutôt celle de la Lune qui se couchait au dessus de Montréal hier soir...
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This is not a photo of the eclipse, but rather of the Moon setting over Montreal last night...
#pentax #pentaxk3mkiii #pentax_fa250600 #PixelShift
My second early morning here, I was able to get a crisp shot with the 70-200, and Pentax's cool PixelShift.
Maybe the most photographed tree in New Zealand, but this is my take.
Distant snow-capped mountains; a handful of toothpick wind turbines in the middle distance; a few late-turning orange-covered trees among the dark green conifers in the foreground. View of the mountains of Glen Orrin and Strathconon from Fyrish by Alness.
für 16 fach Pixelshifting mit der M4 - musste die Originalgröße von 300 MB aber für Flickr reduzieren.
Shot on new Kodak Ektachrome 100 with Contax RX camera and CZ Distagon 35mm f2.8 lens in 2018. Digitized with Sony A7R3 camera and Sigma 70mm F2.8 DG Macro lens using Pixel Shift mode.
I saw this cluster of trees and small island off the shore of Loch Assynt in passing earlier in the afternoon; by the time I returned it was pitch black night with nothing but a little moonlight to illuminate. A pixel-shift taking the exposure from a base 30s up to 2 minutes made the water silky silvery smooth.
I've shot this scene several times over the last few years - er, decades - but it remains a favourite location, particularly at dusk or sunrise.
Also in low-key glowy colour.
2 x 5 stack and stitch, 10 focus stacks with live subjects, had to rerun the Sphinx Moth stack and do some retouching as one leg and antenna moved. Hard to get the moths to settle with the warmer weather but once they settle for the day they can perch really still.
Bradgate Park, Leicestershire.
Hasselblad 501CM
Carl Zeiss Distagon 4/40 T* CF FLE
Hoya R72 filter
f11
1/30th second
Gitzo GT3532LS
Arca-Swiss Z1
Rollei IR400 (effective EI 25)
Developed in Ilfotec DD-X 1:4 at 20 C for 8 mins
Digitised using 16-shot pixel-shift capture
Toned
Best viewed fullscreen in the lightbox (press L + F11)
Church of St James. Normanton on Soar, Nottinghamshire.
Hasselblad 501CM
Carl Zeiss Planar 3.5/100 T* CFi
f11
1/250th second
Hand-held
Kodak T-Max 400 (at EI 800)
Hasselblad Orange filter
N+1 development in DD-X 1:4 at 20 °C for 10 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)
Experimenting with pixel-shift some more. It's supposed to enhance colors, so what better subject than Christmas lights?!
Shot with pre-production Lumix S1R and Lumix S Pro 50/1.4, 187MP PixelShift RAW. Developed in SilkyPix Developer Studio 8SE Beta and edited from 16bit TIFF in Lightroom CC Classic 8.2. Shot in high winds, hanging on to the tiny carbon tripod for stability. Image resolution: 16736 x 10774px (180MP, slightly cropped)
Location: Grosshamn, Ramsvik Sweden.
Exposure: 0.5 sec (x8 PixelShift), f/8.0, ISO800, NiSi Lanscape CPL + 6 stop IRND
(Developed with DS8 Beta, artifacts can be visible in some areas, PixelShift Mode2 was used with the S1R).
The 187MP 14bit RAW images from S1R are seriously insane...
It's hard to get a sense of scale from this place. At the bottom of the waterfall are quite a few 'rock poolers'.
If you look closely at the aforementioned shot titled 'Velvet 56 Falls' (link provided below in the comments), down at the bottom left of that shot you will see the same first dark pool as seen in this shot pictured top right (above).