Last month I received a wonderful birthday gift — a 1950′s Franka Solida III medium format folding camera. The camera shoots 6×6 images on 120 film. The Franka features a very sharp 80mm Schneider f/2.9 [sic] Radionar lens. For this first roll I shot Kodak E100VS slide film and then cross processed in C-41 negative chemistry. This roll of film was in another camera and then got pulled out and used in the Franka. Due to these shenanigans the roll wasn’t wound tightly and light leaks are visible on the edges of some images.
The Franka is really fun to use. Here’s the shooting process:
Open the case if you’re using it.
Press the button on the bottom of the camera to release the lens. Unlike many folding cameras of this vintage, the lens opens from the side.
Use the rangefinder to figure out the focusing distance.
The rangefinder is not coupled to the lens, so next you focus the lens.
Set the aperture and shutter speed.
Cock the shutter
Press the shutter release.
Once you get the hang of it, this isn’t a lot of work. The camera is very compact when folded up, and was only about $200. The eBay seller Certo6 has a very informative vintage folding cameras website. The shutter on my Franka seems spot on, the lens is very clean, and everything works really smoothly. I’m looking forward to more shooting with this beautiful little classic.
Time-lapse technical details:
The images were shot with a GoPro HD camera set to record a photo every 2 seconds.
The results were imported into Lightroom 3, developed, cropped to 16:9, and settings synchronized.
Next I made a collection in Lightroom with the time-lapse images and the film scans from my first roll.
Using Lightroom’s slideshow module, I set each image to appear for 0.3 seconds.
In order to show the film scans and a few key frames for longer than 0.3 seconds I made virtual copies of those images.
I tried exporting the slideshow from Lightroom but the pacing seemed a lot different than the preview I was seeing from within Lightroom. I used ScreenFlow screen capture software to record the preview, add the end titles, and upload the 720p video to YouTube.
Engine room of the World War II victory ship S.S. Jeremiah O'Brien -- by Joe Reifer
In 2007 the company where I worked was a sponsor of the International VR Photography Association (IVRPA) conference and I got to attend some of the seminars. This event led to an interest in creating 360×180 interactive panoramas, and I purchased the necessary equipment including a Nodal Ninja tripod head, a Canon 15mm fisheye lens, and a copy of PTMac for stitching. Long story short — I got frustrated with the learning curve and hours spent post-processing, and gave up.
Four years later and the software has come a long way. I purchased a copy of PTGui and re-stitched the panorama from the engine room of the S.S. Jeremiah O’Brien. Big thanks to Telstar Logistics for providing access to this amazing location. My shooting technique was not precise at the time, and I remember having a lot of trouble stitching the images. This time around PTGui perfectly stitched everything together in no time. The resulting panorama was then brought into Pano2VR where I covered the tripod and created an optimized output file.
In less than a few hours after I installed PTGui and Pano2VR on my computer, I’m already getting excellent pano stitching and pretty nice output results. Of course there’s a lot more fancy finishing options I could pursue, but I’m pretty happy so far. The learning curve isn’t as steep anymore.
In addition to re-processing some old panos, I’m going to make some new ones. Four years ago I was shooting with a Canon 5D and the 15mm fisheye. This required 6 shots around, 1 up (zenith), and 2 down (nadir). The final file was about 11,000×5,500 pixels. This time around I’m able to make the same size output file with a lot less work on both the shooting and post-processing side. I’m using a Canon 5D Mark II with a Nodal Ninja R1 pano head which is small, lightweight, and really easy to setup. Instead of a 15mm fisheye I’m using a new version of the Tokina 10-17mm fisheye. While this lens is advertised for APS (1.6x) sensor cameras, for the last few years panorama photographers have been sawing off the lens hood to use this lens on full frame cameras.
The good news is that the Tokina now comes in a “no hood” version in both Canon and Nikon mounts. The Tokina gives you more pixels than the Sigma 8mm fisheye. On the Canon 5D Mark II you can shoot a full 360×180 pano in four shots. No zenith shot to worry about, and just patch or cover the tripod (or shoot a 5th image for the nadir if you prefer). At 10mm you can do 3 shots, but you don’t have as much resolution. If you want more resolution you can do 6 shots around at 15mm tilted slightly downwards plus a zenith shot. If you have a backup camera with a smaller sensor, then set the Tokina at 10mm and do 6 around.
The weather forecast and sky chart for Pacifica looked promising, and I’ve always wanted to shoot the ruins of the Sweeney Ridge Nike missile site at night. SF-51C was an Integrated Fire Control (IFC) site to identify targets, and then the missile would be launched, guided, and detonated. The Sweeney Ridge site now contains 4 buildings in various states of decay, perched on a hill overlooking the San Francisco Airport on one side, and the ocean at Rockaway Beach on the other. On a clear day or night the views are incredible.
Sweeney Ridge is part of the Golden Gate National Recreation Area (GGNRA), and is legal to visit at night. In addition to the former Nike buildings, Sweeney Ridge is also where the Spanish first saw the San Francisco Bay in 1769. Captain Gaspar de Portola and 60 men rode up from San Diego, looking for the Monterey Bay. They were smart and visited in October. Fall is a great time to visit this location, and spring can also have clear weather and wildflowers.
Hiking up Sweeney Ridge
The easiest way to get to the Nike site is to take the Sneath Lane exit from Highway 280, and drive up the hill to the end of the street. Hike 1.3 miles up the paved path to the ridge, and turn right to follow the paved path another 1/2 mile to the Nike site. Bay Area Hiker has some good information on the flora and fauna. Bring lots of layers — it can get windy up on the ridge.
We started our night hike with relatively clear skies lit by the full moon. As we ascended the hill we were met by cold blasts of 20 mph winds. Uphill into the wind with 25 pounds on your back is a good workout. Just when we got to the top of the ridge the fog and clouds started moving in. We explored the building interiors and saw some fresh graffiti and a huge rat. There appeared to be someone sleeping in one of the buildings. So much for shooting interiors. The weather was still reasonably clear over the Bay and SFO, so I decided to shoot a panorama. The wind was really ripping, and the clouds and fog kept obscuring the view. I switched gears and decided to do a time-lapse instead.
Shooting and Post-Processing the Time-Lapse
The camera was set to a manual exposure of 6 seconds at f/8 ISO 400. I used a Canon 5D Mark II with a 24-70/2.8L lens set at 43mm. The exposure was biased to protect the highlights in the airport and city lights. The full moon helped bring just a little bit of blue tonality to the sky. Color temperature was set to 3400K. I shot in high quality small jpeg mode which yields a file that’s 2784×1856 pixels. This allows a little bit of room to crop while still maintaining a file that could be full 1080 HD.
After I was happy with my exposure and white balance, I set the camera to continuous drive mode, and locked the cable release. This setup will keep shooting 6 second shots until you run out of batteries or space on your memory card. I ended up shooting the time-lapse for just about an hour. The resulting images were imported into Lightroom where I applied a little bit of highlight recovery, fill light, and sharpening. Next I exported these files at 720×480 at about 100KB each. I used Quicktime Pro to put the time-lapse sequence together, and after some experimenting decided on 10 FPS. I imported the resulting mov file into iMovie to add titles, credits and music.
iMovie File Quality and Compression
The mov file looked great when I played it in Quicktime. After importing the file into iMovie, the video quality looked terrible. The video compression in iMovie was causing pixellated clouds. After a lot of searching and experimenting I figured out a fix to balance the video quality and file size:
960×540 is the native size for the Large import setting in iMovie. Using this size for the video that you import, means iMovie doesn’t have to change your file size. This size works just fine for the 480 setting on YouTube. I went back to Lightroom and re-did my export at 1080×720 with 140KB files.
Using H.264 compression in Quicktime Pro leads to a better quality file than letting iMovie compress your video. After creating the time-lapse in Quicktime Pro, I exported the file with the following settings: Best quality, H.264 compression, multi-pass encoding, 960×540 letterbox.
The resulting file was imported into iMovie, and the video quality looked way better. If anyone has alternate ideas for using iMovie to add titles and music without losing video quality I would like to hear your technique. I hope these technical details are helpful, and that you have fun making your own time-lapse videos!
Abandoned cement plant 360 degree night panorama -- by Joe Reifer
This 360 night panorama of an abandoned cement plant is composed of 14 vertical images shot with a Canon 5D Mark II and 24-70/2.8L lens at the 24mm setting. The exposure time was 1 minute at f/8, ISO 800. The short exposure time helped get the right amount of cloud movement in the sky, and kept the white disc of the moon relatively static. Jupiter is visible at center right.
The Perseid meteor shower was intense last night — I haven’t seen so many shooting stars in a long time. The animals were also enjoying the full moon at this location. We encountered bats, owls, and a rather aggressive skunk.
My technique for shooting and stitching panoramas is continuing to evolve. I used to adjust all of the images in Lightroom and then use Photo — Edit In — Merge to Panorama in Photoshop. This activates Photomerge, which works really well in Photoshop CS4 and CS5. If you’ve shot the images in the exact order that you want them stitched, this technique is great. But sometimes the composition might look better if the images were laid out in a different order. By separating the loading, aligning, and blending of layers in Photoshop, you can easily control the layout of your pano in post-production. Here’s how:
Adjust all of your RAW files to the same settings in Lightroom or ACR. Applying lens corrections and removing vignetting at this stage can help with the success of your Photomerge.
From Lightroom choose Photo — Edit In — Open as Layers in Photoshop. If you’re using Bridge, choose Tools — Photoshop — Load Files into Photoshop Layers.
Assess which image you’d like to have in the center of your composition. Select this layer in the Photoshop layers palette, and click the lock icon. This tells Photoshop to use this layer as the middle of your panorama.
Next use shift+click to select all of the layers for your pano.
Choose Edit — Auto Align Layers. I typically use the Cylindrical projection for this type of panorama.
Choose Edit — Auto-Blend Layers. Make sure to select Panorama and check the box that says Seamless Tones and Colors.
If you didn’t pick the right image for the center of your pano, just go back a few steps in your Photoshop history. Unlock the layer that you chose the first time, lock the one you’d like to try next, and start again at step 4 above. I hope this tip for how to control your composition when using Photomerge is helpful!
The moonrise over Bodie ghost town image was photographed on the night of the June full moon. The streak of light you see beginning over the horizon is the moon! I opened the shutter just as the moon cleared the hills behind town. There was still a very faint amount of twilight left to help light the foreground. Light painting from various photographers is visible in the foreground.
The exposure time was about 50 minutes at f/16 with Kodak E100VS film using a Mamiya 7II camera with a 43mm f/4.5 wide angle lens. I often get asked what kind of film works well for night photography, and I highly recommend E100VS for moonlit landscapes. For shooting street scenes in urban areas with mixed lighting, Fuji RTP (64T) is an excellent choice.
My typical full moon night exposure with E100VS is 45 minutes at f/11. I stopped down to f/16 due to the remaining light of the blue hour, and because I was shooting into the moon. I wasn’t sure if shooting directly into the moon would work without flare, and I’m happy with the results. I may experiment with using a polarizer or ND filter to extend exposure times at f/11 or f/16 into the 2+ hour range for a longer moon trail. The 43mm lens stops down to f/22, but the sharpness is not optimal due to diffraction.
Do you have experience with hours long exposures shooting into the moon, or know of any night photos with long moon trails?