View allAll Photos Tagged pixelshift
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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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.
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
One of the medium format images I will tape to anti-newton ring glass and redigitize at 1:1 with image stitching to see how much detail is actually here. The essential film holder is fast, but doesn't keep roll film flat enough.
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!
Prise de vue à partir du Belvédère Kondiaronk, Chalet du Mont-Royal. 13 novembre 2016.
Capturé avec le boitier Pentax K-1 en mode Pixel-Shift.
Hasselblad 501CM
Carl Zeiss Sonnar 5.6/250 Superachromat CF
Hasselblad 81B filter
f6.7
1/4th second
Gitzo GT3532LS
Arca-Swiss Z1
Fuji Velvia 50
Lab development
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)
The Pool of Asmodeus.
Just look at those Edit's... ha!
Quite a few steps involved with this shot.
Firstly I realised that F9, ISO 100, meant a 25 sec exposure for a pixelshifted image, this meant that some fern was moving/blurring even after Motion Correction was applied PP (RawTherapee).
So I took a second shot that was higher ISO (1600) but same aperture to capture the motion blurring fern still.
These two shots were then stacked.
Finally a 3rd shot was taken with 50sec exposure for the water, this was stacked on the aforementioned stack to bring about a smoother glossier water affect.
Lots more editing in LR and Topaz (Clarity and Adaptive Exposure) whilst unmasking the affect from the water to keep it with that glossy look).
A labour of love indeed.
Still I am quite happy with the outcome, no highlights blown, a nice exposure and sharp in places with movement only where I wanted it.
My third attempt at digitising this slide; here with an improved light source and a new IT8-calibrated workflow. The gamut of the original is huge, and the colour and tone of the sky in particular is very tricky to reproduce precisely. I finally feel like I've done justice to the original.
Note: this copy has an embedded P3 profile rather than the usual sRGB, as the latter simply could not render the yellows of the foliage properly. That crap standard seriously needs to be phased out. Anyway, those with wide-gamut displays should hopefully be able to enjoy it.
Linhof Technikardan S45
Schneider-Kreuznach Apo-Symmar L 5.6/150
29.5mm front rise
15° upward tilt of camera rail
f25
1/4th second
Fuji Velvia 50
Heliopan Slim High Transmission SH-PMC CPL
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)