I'm just being practical. On a cold day, the hood covers my head and lets me shoot in style and comfort
Speaking of practical, I dont think there is any practical reason for hanging shoes from a Cottonwood tree in the middle of nowhere. Here is what you will find along HWY 50.
Further down the road we almost got a room but thankfully it was full
Finally made it to Ely, birth town of "Pat Nixon" former first lady.
Speaking of practical, I dont think there is any practical reason for hanging shoes from a Cottonwood tree in the middle of nowhere. Here is what you will find along HWY 50.
There's a similar tree along Hwy 36 on the way to Redbluff
Moderator Journeys/Sports/Big Picture :: Need some help with dgrin?
Speaking of practical, I dont think there is any practical reason for hanging shoes from a Cottonwood tree in the middle of nowhere. Here is what you will find along HWY 50.
There was a Joshua tree in the Mojave that had hundreds of shoes hanging from it at one time--but someone burnt it down. Good news is that the brassier bush remains unmolested!
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Anybody can do it.
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Marc MuenchRegistered UsersPosts: 1,420Major grins
edited August 5, 2009
With my children older and not so eager to hang around while I take pictures we did not stray from the main roads much. However, when we did, everyone was very surprised by just how much there is to see. Yes, the shoe tree was cool and the old warn down buildings within the SMALL towns along HWY 50 were interesting but put it all together with a little journey into the past up to 10,000 feet in elevation and the experience is like no other. I have understood this for years and mention it in lectures at workshops and try to share it with my kids. But, there is no substitute for experiencing it first hand. Vast empty spaces dotted with the occasional outpost below thirty thousand foot tall clouds dropping rain will leave an indelible memory for my children who have been here when they were very little but needed a refresher in just how grand the West is.
My kids in a three thousand year old tree during slight detour that turned out to be three hours longer than I promised:D
No limbs twigs or needles were broken during the taking of this image:D
Part of a Bristlecone
The town in the lower right corner of this pano is called Baker. I recall being about 13 when visiting with my parents. At that time there was no National Park and the locals in the bar were up in arms about the government proposal to turn their home into a circus. They thought it would change forever the solitude of the area. WOW were they wrong The town of Baker looks the same now as it did some 25 years ago I guess even a National Park designation does not always mean tourism.
This reminds me of how fast weather travels across that valley. I can easily remember running down from the peak trying to beat the t-storm coming across. At some point, we stopped to admire the lightning before getting the heck off of Wheeler.
Moderator Journeys/Sports/Big Picture :: Need some help with dgrin?
As others have mentioned, I'm sure there are hundreds of such trees across this country and around the world.
I'll add another... you'll find another a few hundred yards and across the street from Roy's Cafe in Amboy, California along old Route 66.
I guess so, but in all the driving I have done around this country it is the first time for me. I see something similar in ski areas all over, trees under the lifts covered with panties and bras
Marc MuenchRegistered UsersPosts: 1,420Major grins
edited September 16, 2009
Just spent a week up in the Sierra's testing the new Canon 17mm T/S lens.
My first impression of it was "TOO BIG". Then after seeing the results I have concluded, it is worth both the money and the extra weight. I will post a more in depth review of it in my blog soon!
Just spent a week up in the Sierra's testing the new Canon 17mm T/S lens.
My first impression of it was "TOO BIG". Then after seeing the results I have concluded, it is worth both the money and the extra weight. I will post a more in depth review of it in my blog soon!
Oh so that's where all the good light went!
I was eying the whole lineup of new TS lenses at the Pro Photo Expo last month since Canon had their booth across the walkway from us. Can't wait to hear more about em.
I do not believe I will. Because I am blending multiple exposures to create larger files for one image, I now use slightly longer focal length lenses to create the same field of view as a 17mm. The one caveat could be greater depth of field for the near - far type of images
Following up this remark earlier in the thread, I'm curious from Marc or others who shoot this way what typically do you use as the focal length and with what lens? I've done several shots this way and like the technique, usually I use my 24-105 f/4L at around 28mm using a pano swivel. That works well for me minimizing distortion in blending the shots, but I'm curious as to what Marc and others use.
Thanks!
That works well for me minimizing distortion in blending the shots, but I'm curious as to what Marc and others use.
Thanks!
Every technique has a compromise so I am not certain how I will incorporate the lens in my work flow yet but will cover several of the issues in-depth when I write up the blog. However, the two advantages I can tell you with certainty is that the lens is sharper corner to corner than the 24mm T/S version I have "which is the older one". I now need to test the new version of the 24mm T/S to see if it is improved as well. And second, the distance covered when shifting is greater on the larger censor, which is a bonus!
It appears as of now that I am getting fewer but better quality pixels, so I am in the process of convincing myself that the 17mm is the way to go.
Marc, so your not shifting the 17mm T/S and stitching like you would with a 24mm T/S pano? is that what you mean by you "are getting fewer but better pixels"? My guess is the FG would be distorted by the wide 17mm and un workable as a pano?...
(BTW, I can wait for these points in your blog, I look forward to it)
Look forward to the blog as well! I was thinking the 17 would be too wide but your images are great. I'm especially interested to hear your thoughts on the 17mm vs 24mm TS's.
Marc, so your not shifting the 17mm T/S and stitching like you would with a 24mm T/S pano? is that what you mean by you "are getting fewer but better pixels"? My guess is the FG would be distorted by the wide 17mm and un workable as a pano?...
Aaron,
The second image is a side by side stitch with the lens cranked allllll the way in each direction, showing that the lens has a large image circle.
I have done pano stitching with the 17-40 at 17mm and yes geometric lines are very difficult to stitch, but when it comes to natural rocks, twigs and flowers much distortion can be soaked up I will be testing the new 24 T/S this week to determine if sharpness is equal to the new 17 T/S:ivar
Question for anyone using TS for landscape: I feel one of the greatest advantages of the TS with landscape is controlling DOF sharpness by tilting down, achieving uniform sharpness at relatively larger apertures. I have been going through some tutorials on doing that properly that I found, and really the most consistent advice on achieving this is: use the Live View and take multiple shots with fine variations on the tilt to compare the results of sharpness later. I found one thread with a calculator that gives near/far limits of sharpness based on tilt degrees.
I was wondering if someone with experience using the lens has any advice controlling DOF in the field (some rules of thumb, etc). I know it varies with every composition, and I have read about the Scheimpflug principle, etc., I'm just a little lost as to where to start when actually trying to put it to use taking a photo!
Thanks in advance for your help.
Question for anyone using TS for landscape: I feel one of the greatest advantages of the TS with landscape is controlling DOF sharpness by tilting down, achieving uniform sharpness at relatively larger apertures. I have been going through some tutorials on doing that properly that I found, and really the most consistent advice on achieving this is: use the Live View and take multiple shots with fine variations on the tilt to compare the results of sharpness later. I found one thread with a calculator that gives near/far limits of sharpness based on tilt degrees.
I was wondering if someone with experience using the lens has any advice controlling DOF in the field (some rules of thumb, etc). I know it varies with every composition, and I have read about the Scheimpflug principle, etc., I'm just a little lost as to where to start when actually trying to put it to use taking a photo!
Thanks in advance for your help.
The 4 variables I can think of are:
1, Distance from lens to FG subject
2, Distance to BG subject or infinity
3, Aperture
4, subject protruding plane of focus. This could be grass, tree or tall rock
Below is a typical example where I applied the normal technique, in other words, no distracting #4
First I set up the camera and composition with the bottom of the pool out of view.
Then I lowered the front standard/lens using the shift
Then I made a tilt of 2 degrees, my normal start
Then I used live view to check and make focus on the FG
Then I scrolled to BG steam (Castle Geyser) and checked focus
The next part is a play between altering the tilt degree slightly and focus until both FG and BG are in at the sweet spot of the lens which in this case was F.11
I am quite sure someone has figured out the math to make the exact tilt based upon the distance, but the time it would take to measure would most likely be greater than the time taken to complete the live view focus checks. (I really hope we get a touch screen to make live view focus checking faster)
First I set up the camera and composition with the bottom of the pool out of view.
Then I lowered the front standard/lens using the shift
Then I made a tilt of 2 degrees, my normal start
Then I used live view to check and make focus on the FG
Then I scrolled to BG steam (Castle Geyser) and checked focus
The next part is a play between altering the tilt degree slightly and focus until both FG and BG are in at the sweet spot of the lens which in this case was F.11
I am quite sure someone has figured out the math to make the exact tilt based upon the distance, but the time it would take to measure would most likely be greater than the time taken to complete the live view focus checks. (I really hope we get a touch screen to make live view focus checking faster)
That is super helpful, thanks so much. I was looking for a reasonable starting point... 2 degrees it is! Was that taken with the 17 or 24? We're anxiously awaiting your impressions and comparison of the two
Thanks for all your help.
(I really hope we get a touch screen to make live view focus checking faster)
Amen!! I have to say, however, that since you've given us this hot tip about focusing a TS lens with Live View, it's saved more bacon than a farm's worth o' pigs. What a great combination!
Just a quick follow up to what we were talking about at the shootout. I mentioned that Kenko filters were just Hoya filters rebranded for the Japanese market. The link below is where I got my Kenko Pro1 Digital Wide Band coated CPL. From what I can tell it's identical to the Hoya but for less money.
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Further down the road we almost got a room but thankfully it was full
Finally made it to Ely, birth town of "Pat Nixon" former first lady.
Muench Workshops
MW on Facebook
There was a Joshua tree in the Mojave that had hundreds of shoes hanging from it at one time--but someone burnt it down. Good news is that the brassier bush remains unmolested!
-
My kids in a three thousand year old tree during slight detour that turned out to be three hours longer than I promised:D
No limbs twigs or needles were broken during the taking of this image:D
Part of a Bristlecone
The town in the lower right corner of this pano is called Baker. I recall being about 13 when visiting with my parents. At that time there was no National Park and the locals in the bar were up in arms about the government proposal to turn their home into a circus. They thought it would change forever the solitude of the area. WOW were they wrong
Muench Workshops
MW on Facebook
As others have mentioned, I'm sure there are hundreds of such trees across this country and around the world.
I'll add another... you'll find another a few hundred yards and across the street from Roy's Cafe in Amboy, California along old Route 66.
This reminds me of how fast weather travels across that valley. I can easily remember running down from the peak trying to beat the t-storm coming across. At some point, we stopped to admire the lightning before getting the heck off of Wheeler.
where's your twin I always see with you in shots like these?
also, I didnt know you had three young'uns? what a wonderful family pic!
I guess so, but in all the driving I have done around this country it is the first time for me. I see something similar in ski areas all over, trees under the lifts covered with panties and bras
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Thank you Aaron, the oldest is off to college this year so off to work I go:cry
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Jim,
It might be more like 40:cry
because now I must buy a new one of these every year.
BTW, it has the same size sensor as the G11 YeHaaaa!
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My first impression of it was "TOO BIG". Then after seeing the results I have concluded, it is worth both the money and the extra weight. I will post a more in depth review of it in my blog soon!
Muench Workshops
MW on Facebook
Oh so that's where all the good light went!
I was eying the whole lineup of new TS lenses at the Pro Photo Expo last month since Canon had their booth across the walkway from us. Can't wait to hear more about em.
Photos that don't suck / 365 / Film & Lomography
Following up this remark earlier in the thread, I'm curious from Marc or others who shoot this way what typically do you use as the focal length and with what lens? I've done several shots this way and like the technique, usually I use my 24-105 f/4L at around 28mm using a pano swivel. That works well for me minimizing distortion in blending the shots, but I'm curious as to what Marc and others use.
Thanks!
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Every technique has a compromise so I am not certain how I will incorporate the lens in my work flow yet but will cover several of the issues in-depth when I write up the blog. However, the two advantages I can tell you with certainty is that the lens is sharper corner to corner than the 24mm T/S version I have "which is the older one". I now need to test the new version of the 24mm T/S to see if it is improved as well. And second, the distance covered when shifting is greater on the larger censor, which is a bonus!
It appears as of now that I am getting fewer but better quality pixels, so I am in the process of convincing myself that the 17mm is the way to go.
Muench Workshops
MW on Facebook
(BTW, I can wait for these points in your blog, I look forward to it)
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Blog
...pics..
The second image is a side by side stitch with the lens cranked allllll the way in each direction, showing that the lens has a large image circle.
I have done pano stitching with the 17-40 at 17mm and yes geometric lines are very difficult to stitch, but when it comes to natural rocks, twigs and flowers much distortion can be soaked up
Muench Workshops
MW on Facebook
I hope to see your results on that comparison;)
...pics..
I was wondering if someone with experience using the lens has any advice controlling DOF in the field (some rules of thumb, etc). I know it varies with every composition, and I have read about the Scheimpflug principle, etc., I'm just a little lost as to where to start when actually trying to put it to use taking a photo!
Thanks in advance for your help.
Crescent City Prints
Facebook Fan Page
Blog
The 4 variables I can think of are:
1, Distance from lens to FG subject
2, Distance to BG subject or infinity
3, Aperture
4, subject protruding plane of focus. This could be grass, tree or tall rock
Below is a typical example where I applied the normal technique, in other words, no distracting #4
First I set up the camera and composition with the bottom of the pool out of view.
Then I lowered the front standard/lens using the shift
Then I made a tilt of 2 degrees, my normal start
Then I used live view to check and make focus on the FG
Then I scrolled to BG steam (Castle Geyser) and checked focus
The next part is a play between altering the tilt degree slightly and focus until both FG and BG are in at the sweet spot of the lens which in this case was F.11
I am quite sure someone has figured out the math to make the exact tilt based upon the distance, but the time it would take to measure would most likely be greater than the time taken to complete the live view focus checks. (I really hope we get a touch screen to make live view focus checking faster)
Muench Workshops
MW on Facebook
That is super helpful, thanks so much. I was looking for a reasonable starting point... 2 degrees it is! Was that taken with the 17 or 24? We're anxiously awaiting your impressions and comparison of the two
Thanks for all your help.
Crescent City Prints
Facebook Fan Page
Blog
Amen!! I have to say, however, that since you've given us this hot tip about focusing a TS lens with Live View, it's saved more bacon than a farm's worth o' pigs.
Photos that don't suck / 365 / Film & Lomography
U bin down south recently or just hanging around with the wrong crowd
BTW 2 degrees = 2 notches
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24mm!
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Muench Workshops
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Marc,
Just a quick follow up to what we were talking about at the shootout. I mentioned that Kenko filters were just Hoya filters rebranded for the Japanese market. The link below is where I got my Kenko Pro1 Digital Wide Band coated CPL. From what I can tell it's identical to the Hoya but for less money.
http://maxsaver.net/Kenko-Polarizer.aspx
Great to meet you at the Shootout in Acadia.
Website: Tom Price Photography
Blog: Capturing Photons
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