usm
Well-known member
Why? Would be interested!!I’ve given presentations on this but this forum unfortunately forbids linking to them.
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Why? Would be interested!!I’ve given presentations on this but this forum unfortunately forbids linking to them.
Competing with the forum sponsorWhy? Would be interested!!
Haa! You remember very well, Ray! Yep, same topic, new year. I sold the IQ180 and kept the 5DSr. By the time we all got done trying to solve the issues I think there was something goofy with the IQ180. Processing those images just shouldn't be that hard.@KEVINS What did you end up doing with your IQ180 that you were trying to get working last year (I think the same topic)? I think you were on a DF+ body at that time (or similar).
Thanks a lot, Ray!Thanks Kevin! You'll find that the cameras you're considering are both great and that the other suggestions of the original line of fuji 100mp cameras will also satisfy your use case. I like the idea of the gen 1 version + lighting that was suggested as a good approach. But regardless, you can't go wrong. I'd recommend trying whatever you can first. I know our friends at Capture Integration will provide the opportunity to try these out (if not the earlier versions, certainly the latest) and will probably apply rental fees to purchase, though I don't want to put words into their mouths .
Good luck on both the purchases and your oil paintings!
I would expect the DB's to be way out of my price range unless they were stripped down versions to only do high res/color accuracy versions..For superior colour accuracy, there was a Sinar CTM system (Colour to Match), with a dedicated two-filter stage and software taking multiple exposures to match the colour almost ideally. It worked with Sinar backs only which is not so bad, as their CCD sensors are one of the best colour-accurate backs ever produced and the last back from Sinar, the Sinar Exact offers pixel shifts and true colour without any extrapolations at all, all at up to 192 megapixels.
CTM system plus Sinar Exact would be one of the most colour correct systems on the planet but the question is, if getting a 15 years old gear that works tethered and in-studio only is something that @KEVINS would be interested in. The second question remains, if any of the Sinar dealers can still supply a full CTM system with software, licence and patches.
Color To Match (CTM) | sinar
sinar.swiss
HHmm, I can't find much on the components of this system. Would there be a more specialized forum/location to search for these or to find out info on them? With a few searches I did do the same websites came up, nothing different..12 years ago the Exact's price was around 30K USD.
I bought mine 3 years ago for around 8K (USD), so I am guessing you could find it for 5-6K now but it doesn't show secondhand often.
The CTM system would be much harder to get and the Sinar dealers' price may be obscene.
Yeah, I don't think I have ever seen a complete system show up on eBay, just bits and pieces.The CTM system would be much harder to get and the Sinar dealers' price may be obscene.
I think these, well mostly the second, should be a good starting point for all the different bits and pieces - Sinar is really unique and every little bit has a code, which are all in these system configuration manuals. Searching for CTM brings up a lot of lists of the individual parts, which can be useful for assembling everything from separate sales. Though for this, you may need to purchase the license still? IDK much about CTM at all. I'm sure @daz7 knows a lot moreHHmm, I can't find much on the components of this system. Would there be a more specialized forum/location to search for these or to find out info on them? With a few searches I did do the same websites came up, nothing different..
The Sinarback S 30|45 is the latest back, based on the Leica S7 sensor. This is not the back you would want, as it can only do 37mp with a fairly small sensor and no multi shot. The Exact is a special, special back and is slightly older. It uses a Dalsa FTF 6080C, A CCD with 8000 x 6000 pixels, 48.0mp, 48 x 36 mm. The key is the multi shot capability. It can provide a true, 192MP image, with no color interpolation. It uses a very precise mechanism to do this, which I believe will still outperform a GFX100(s) multi shot capture as the GFX series uses a less precise stabilization mechanism to shift the sensor and seems to not recover (much) more detail: https://blog.kasson.com/gfx-100s/fujifilm-pixel-shift-combiner-accurate-color-mode/ - note that to get a similar result to the Exact, it needs to be in color accurate mode, with only a 100p file, and still needs 16 shots!One of my basic questions I have is: How does the resolution compare to these 100MP cameras? I see a Sinarback S 30|45 Digital Back that "only" has 37MP which seems small and was released in 2016..
Sinar S30/45 back is a different animal and got nothing to do with previous Sinar's Exact or 86h digital backs - it is the same crop (30x45mm, hence name) sensor as used in some Leicas 15 years ago and only nice for video. There is no multishot or true-colour capability. Most probably any modern CMOS sensor would be better than S30|45.How does the resolution compare to these 100MP cameras? I see a Sinarback S 30|45 Digital Back that "only" has 37MP
If you are thinking a DIY route, it would be much easier to build a multi-shot solution on a Phase One Achromatic platform, and have a filter wheel with whatever bands you want to combine. Much more math/hands on work though. Much easier than reverse engineering the CTM system to sorta work IMO though.By the way, I am wondering if there is a workaround way to use a Sinar CTM software only without their expensive slider but I am not sure if that would invalidate the licencse plus I have never seen a secondhand licensed CTM software for sale.
Theoretically, it shoudl be possible to replace the slider or build a DYI slider for use in a two shots mode - one taken through the Schotts GG475 glass and the second through Schott's BG39 glass. all while using a back with clear glass replacement for the stock sensor filter.
If you want AF, and good corner-to-corner resolution, you are best served by a native Fuji lens. The 80mm prime is a f/1.7 lens. The 45-100mm zoom covers this range, as well. The 80mm has savings of $450, £550, and 500 euro at the moment.******
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NEW TOPIC: Lens for the Fuji 100S
I think I have settled on the Fuji GFX 100S so now I would like some opinions on the len(s) of choice.
I am limited by how far away I can get from the painting(s) to get the entire piece in the photo.
This distance is an absolute MAX of 15ft.
With the IQ180 I had the 80mm prime worked perfectly and I was able to get it against the back wall and still get my widest painting (60" wide) captured.
Desires:
1. Very little distortion. The IQ180 was great with little/no distortion but my Canon lens (100macro and others) always had distortion that had to be fixed. Not a huge deal but just realized how great it was to not need to straighten images with the IQ180.
2. Good quality glass to take advantage of the 100mp sensor.
3. Uses AF
4. Works seamlessly with the 100S so does not need to be a Fuji lens.
So with an 80mm lens in mind and the above considerations got any suggestions for a lens?
Kevin