NightOwl Cat wrote:
Probably a bunch of OLD MEN at the Florida post offices, too.
Somehow I suspect that if you did pick up some of the chicks you wanted to pick up at the post office, you'd have a different sort of welcome home... remember the cartoon Bringing Up Father?
Like a dog who chases cars... what does he do when he catches one?
Ronny, what is your workflow in terms of correcting the fish eye effect with respect to this lens? I know that if you keep perpendicular to the plane, it doesn't distort in the center. I am interested in the extreme corners.
NightOwl Cat wrote:
Probably a bunch of OLD MEN at the Florida post offices, too.
Somehow I suspect that if you did pick up some of the chicks you wanted to pick up at the post office, you'd have a different sort of welcome home... remember the cartoon Bringing Up Father?
Like a dog who chases cars... what does he do when he catches one?
Zichar wrote:
I don't know if it's the fog or if I overcooked the Orton effect...
I also realised everything is set as 24mm because I didn't change that in-camera
Hi Ram
I almost never do any correcting the fish eye effect with this lens
I'm not the one who looks at extreme corners especially carefully
here is a picture directly from the camera .. just convert to jpeg and reduce and then add my usual sharpening
Finding no shot right now to show "extreme corners" no correcting
Sony A7R II + Nikkor 16mm f3.5 AI fisheye by Ronny Olsson, on Flickr
Sony A7R II + Nikkor 16mm f3.5 AI fisheye by Ronny Olsson, on Flickr
Sony A7R II + Nikkor 16mm f3.5 AI fisheye by Ronny Olsson, on Flickr
Zichar wrote:
Tbh, the main thing stopping me from buying a non-Nikon MF lens is this thread.
I brought my Fuji lenses (14mm and 27mm) along for my trip stateside but I didn't take a single shot with them. I only mounted the 27mm once to show Curtis how small the whole setup could be (sorry Reagan, he didn't seem impressed) and that was all.
I do miss the crazy wide that my 14-24mm afforded me so I'm always on the lookout.
And I rarely use longer lenses because, well, everything is way too close to everything else here in city-state Singapore
I can appreciate why the 55/1.2 is a natural fit for Curtis
Then I borrowed that hunk of glass - 105/1.8
I guess this is one of the beauties of photography as a creative exercise. There is what the camera captures and then what we choose to do with that product. Very nice treatment Chin.
ramkumar999 wrote:
Ronny, what is your workflow in terms of correcting the fish eye effect with respect to this lens? I know that if you keep perpendicular to the plane, it doesn't distort in the center. I am interested in the extreme corners.
Ram - here is an uncorrected, indoor, close-up architectural shot with mt 16/3.5 that clearly depicts the extreme distortion in the corners. The frame is slightly cropped from the original. The columns are a great indicator. You can search and download the jpegs from my Flickr and play around with de-fishing software. My B&W images will have been taken on an IR DX sensor though.
This one from Lofoten is awesome. I really gotta plan a trip up to north Norway.
When I was a kid I sometimes followed my grandparents up there during the summer. We used to fish in the fiords and hike the mountains. Great times.
/Kristian Ronny Olsson wrote:
Leighton.. love your farm shots
Kristian: Superb shots
Samy ,Chin and Chuong and everyone else great shots
Curtis, I remember the moment we both stared out at the vista in front of us, before we reached for our cameras
I spoke of a duotone treatment, reducing detail to mere layers and silhouettes – when the pre-visualised output forms in my head, it sometimes becomes a mild obsession to get it out into the real/virtual world – and you mentioned that you’d do a conversion to b&w via Silver Efex instead
>>
Years ago, when I was researching on the Great Sands Dunes National Park, I chanced upon an exquisite set of photos here on FM from Zaitz. I think if you google the GSDNP and bluetick coonhounds, you’d still see his work as Zach Boumeester (and they pop up every now and then) around, even though he’s probably stopped shooting in the past 4 years or so; oh the vagaries of a working life and making ends meet.
I found him to be an extremely talented and friendly young photographer, and we struck up a simple online friendship from advice on the dunes (beware of mountain lions and thunderstorms, plus check out Stan Rose's gallery) where I’d ask and he’d give me Photoshop tips on how to emulate a certain look and feel.
And through all my system rebuilds, I still have the duotone preset file he sent me way back – delicious bluish-grey tones with a lick of lemon yellow for mid-high tones – and I trot that out when my muse reminds me I haven’t touched that section of my photographic toolbox in a bit. If any of you are interested, PM me, I saved the instructions too – good as a base then working out the other colours as the image deems fit. It’s been awhile but I guess I’ll go drop him a Flickr mail to say hi.
From yesterday in San Francisco to celebrate Sue's birthday. She was very pleased with the day and with everything that led up to it... We really celebrated the day.
This with the 55 f/1.2 S.C. AI, my walk around lens... looking beyond the World War II vintage buildings of Fort Mason toward the relic that was once Alcatraz federal penitentiary.
Looking through the window of Greens Restaurant beyond our table and toward the Golden Gate bridge. Although it was raining as we drove to San Francisco, when we arrived there was sun on these sailboats. We had a few hours without rain. It was lovely.
