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Interiors/Acrhitecture with S System


Seveningred16
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Hi- I'm new to the group and am looking for input with regard to shooting interiors/architecture with the S system.  I currently have an SL2 and a Q2, but have been eyeing a S007.  My wife is an interior designer and wants me to take photos for a large residential build that will be completed in the next 60 days (interior and exterior). I thought about getting an SL16-35 for this and it's still an option.  However, the 007 files look amazing. Does anyone have experience shooting interiors with the 007 system?   Thank you in advance!

-Steve

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Thanks.  The 24mm lens is what I was looking at and yes, have also thought about the possibility of using it with my SL2 as well. 

Since you're using the combination with the 006, do you feel you have to focus stack to get everything in focus?   I read that a few other users do this to ensure their images are in focus and sharp across the frame. Thoughts?

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The S24 is magnificent on the S, but if I were using the SL for interiors, I'd get something wider, or something like the Canon 24 TS-E. The Laowa 17mm is quite distortion-free. I used it on a GFX 100 with no vignetting!

And if you REALLY want to go nuts, the Voigtlander 10mm RWA (Ridiculously Wide Angle) lens works. It's linear,  but just too weird. 

Edited by mgrayson3
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My commercial work is architectural, but I use 'Leaf' digital for that on an Arca Swiss F Metric with Rodenstock glass. I bought the S 007 for my dance photography. 

I wouldn't choose the S system for architecture. The 24mm is very nice but without shift it is limited. Probably better for interiors. 

It would be lovely to be able to put a Canon or Nikon shift lens on the S system. Does anyone know if there is an adaptor yet? 

On the Fuji medium format system it is possible to put a shift lens on the 100GFX. I think the 24mm shift is similar to a 19mm on that system. Which is pretty good. Canon also do a 50mm which will be around 40mm on the GFX. 

I don't think either the Canon or Nikon shift lenses really sparkle at 100mp but they are certainly passable. A friend who has the 100gfx has sent me some examples.

 

 

 

 

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1 hour ago, Nick Guttridge said:

It would be lovely to be able to put a Canon or Nikon shift lens on the S system. Does anyone know if there is an adaptor yet?

Neither would be able to focus very far away (assuming they clear the mirror), both systems have a shorter register distance than the S.

john

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2 hours ago, mgrayson3 said:

The S24 is magnificent on the S, but if I were using the SL for interiors, I'd get something wider, or something like the Canon 24 TS-E. The Laowa 17mm is quite distortion-free. I used it on a GFX 100 with no vignetting!

And if you REALLY want to go nuts, the Voigtlander 10mm RWA (Ridiculously Wide Angle) lens works. It's linear,  but just too weird. 

Thanks for your comment.  Shocking there was no vignetting on the GFX 100!

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1 hour ago, Seveningred16 said:

Thanks for your comment.  Shocking there was no vignetting on the GFX 100!

Untitled by Matthew Grayson, on Flickr

17mm on GFX 100, no cropping.

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I just did an architectural commission on the S3 with the 24mm, as the client wanted color digital images, but I have to admit, I really missed my 4x5. I think if you are serious about architecture, having access to tilt shift is more important than SL2 vs S. I would certainly try before you switch. The S system is a bit like Hotel California these days...

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On 2/4/2021 at 9:22 AM, Stuart Richardson said:

I just did an architectural commission on the S3 with the 24mm, as the client wanted color digital images, but I have to admit, I really missed my 4x5. I think if you are serious about architecture, having access to tilt shift is more important than SL2 vs S. I would certainly try before you switch. The S system is a bit like Hotel California these days...

SL2 will work good on a cambo Actus with L mount for tilt shift function.

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It sounds good in priniciple, how is it in practice? My concern would be that the adjustments would be so tiny as to be fiddly (at least with tilt), the other concern would be lenses. What are the main view camera lenses that are up to the resolution challenges of 47mp on 35mm? I know most of my LF Rodenstock and Schneider lenses, even the APO Symmar L and APO Sironar S line lenses are good, but not great on digital. I know there are digital ready view camera lenses, but have they kept pace? Most of these cameras hit diffraction already at f11.

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On 2/8/2021 at 3:49 AM, Stuart Richardson said:

It sounds good in priniciple, how is it in practice? My concern would be that the adjustments would be so tiny as to be fiddly (at least with tilt), the other concern would be lenses. What are the main view camera lenses that are up to the resolution challenges of 47mp on 35mm? I know most of my LF Rodenstock and Schneider lenses, even the APO Symmar L and APO Sironar S line lenses are good, but not great on digital. I know there are digital ready view camera lenses, but have they kept pace? Most of these cameras hit diffraction already at f11.

the flange is short enough for L mount, I usually just use Enlargining lens for anything around 60mm~up , it's super flat and hight resolution, more than enough to cover 40mp, even up to 50mp... For wide angle, it's quite a lot harder.

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Yeah, that is what it seems like. I was looking into it, and it seems like a camera like the GFX or other larger sensor camera is the best balance of wide angle lens availability to room for rise. This led me down the rabbit hole to looking at tech cameras and the prices really are very high when a whole system is spec-ed out. I was looking at the RLd3, as it would be nice to use 4x5 and my existing lenses, but even just mounting a lens is 1200 euros, and then you cannot use it on another body. For me, the interest would be using it modularly, so something like a Linhof plate or at least something that could be easily swapped out with a lens wrench would be ideal. The modern digital tech cam lenses are also extremely expensive and a bit hard to get an overview of and determine what is the best choice. It seems like the Actus is still the most practical, but lens choice is an issue. I do have a 45mm APO Componon and 90mm APO componon that I use for the darkroom, and I did some of my MFA work on them using a DIY lens mount on an monorail, though that was on 4x5. They were quite good on 4x5 (at high magnification ratios...of course, DOF was small). It really would be nice if Leica just made something like a 19mm, 21mm or 24mm TS lens for the SL.

Edited by Stuart Richardson
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I've toyed with the notion of an Actus with an SL, but never really got there, mainly due to my own confusion over lens choice (closest consideration I had was the 60mm Actar) and considerations of infinity focus and image quality.

There are other modular options like the Arca Swiss Universalis, where I think it might be possible to alternate between 4x5 film and digital cameras like the GFX?

Separately, Fuji themselves seem to produce a plate for their GFXs to go onto 4x5 .....VIEW CAMERA ADAPTER G | Accessories | FUJIFILM Digital Camera X Series & GFX – USA (fujifilm-x.com) ....but in my instance, I don't know whether my 4x5 field camera (a Walker Titan XL, that is superb with film) would be precise enough with a digital back compared to the metal & all-geared alternatives.

 

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