Thanks!

Thanks - not something I've tried - I'll give it a go

Thanks - glad it was of interest

Thanks - it was my first [brief] visit.

Thanks - I've some more work this coming week ;-)

Thanks - need to go back for when I'm not in the middle of a job ;-)

Thanks - glad it was of interest

I'll be looking at big prints from this when I next test a larger printer [44']

@@KeithCooper would love to see one of those

Me too... ;-) I'm having a look at the 32-64mm lens as a 'proper' lens option for the camera - focal length fits nicely what i use when not using the T/S lenses

@@KeithCooper my use is for street photography usually put on adapted sigma art 1.4 105mm to get about 86mm or put it on my Baby Lumix GH5 so have a low light 210mm which is so useful my old canon pap slide zoom 35-350 is a 70-700 so weird and wonderful

Which particular lens? and in what way?

@@KeithCooper There is only one that I know of... it's got a creamy look which takes away the macro hardness without looking soft. I don't know how else to explain it. I focus stack with helicon focus...

Thanks Although for my commercial macro work [electronic components and engineering] 'macro hardness' is perhaps more of a compliment ;-)

I'll have a look, but it will need to be astounding for me to pay for it ... I'm told the software budget is 'not much'...

@@KeithCooper Yes indeed. At one time you could pick and choose cameras or a exclusive license for one. Those days are gone. However you can try it for a period of time, 30 days I think. If I didn't think the results were superior I wouldn't have kept up with it. In fact I have one coustermer who noticed the difference and prefers the results. Fuji even recommends it as the raw processor.

Thanks

Just checked and the current version simply won't run on my Mac [nor will the latest PS for that matter, but I know PS well enough after 25 yrs to be fine with that. ;-) ] Unfortunately, absolutely zero chance of getting a new computer at the moment unless someone sends me a winning lottery ticket this weekend ;-)

Unfortunately [for my wallet] the Fujifilm 30mm TS matches my number one choice for my Canon of the TS-E24 II Next on the GFX would be my TS-E24 II - more than wide enough The PC-E 19 would be a strong contender if it wasn't for the [tiny] 'F' mount which causes far too much vignetting at shift. Wider works, but I need it much less often and it is much more tricky to make really effective use of such wide angles [when shifted].

Thanks for that - I've not seen the hot pixels in any significant amount on this one. I do need to do more low light testing - the cathedral shots were pushed a lot and hand held. I'm editing on a 2012 Mac Pro - lots of RAM, SSD and a fast graphics card really seems to work quite well [2x 4k 32" displays] - bulk exporting a series of RAW->JPEG conversions showed all 24 cores running at a hefty usages. Slower than my 5DS for sure but not alarmingly so

I've got to have a more detailed look at the IBIS, but the fact that it is just one side of the image suggests a slight lens misalignment. Stepping back is often not an option when I'm working in towns with an original medieval street plan, but with tall building, but yes - crop options are there too.

@@KeithCooper You're probably correct in thinking that something happened to your 24mm TS-E to make the one side soft. Something happened to mine to make the entire image soft, so I have to get it repaired too. I don't recall dropping it, but like you say it could have been bumped. I have the original Sony RX100 [mark I - 20MP compact camera] which I found out too late has a really soft right side. I learned the hard way to check for that before the warranty runs out. It doesn't seem possible how a less than stellar IBIS could only make one side softer. With Heaton, it was definitely both sides that were soft. The Hasselblad lens should have been tack sharp at f/8 on the edges. It's possible that Heaton tilted the camera during exposure, which that one axis of the IBIS couldn't handle, or maybe that tilt axis of their IBIS is inadequate? If you're interested, it's Thomas Heaton's KZfaq video entitled "Hasselblad Do a Lightweight Field Kit, But is It?," posted on May 31, 2023. He shows the image at minute-13:33. The softness is easy to see if you watch in 4K. He zooms into the one side too. I'm retired now, so have the time to look at every video and print review of all of the GFX cameras that I could find, and no one has complained about the IBIS delivering soft edges. Regarding not being able to step back when your back is against the wall, across the street, that's one of the coolest things about this camera. There is no way you could shoot your TS-E lenses wider than 24mm and 17mm unless you were shooting the GFX medium format camera! In order to understand how Fuji's 7 crop modes relate to the 35mm lens circle, I printed out their page of the 7 different aspect ratio shapes and the 35mm FORMAT rectangle, so I could place them on top of one another, comparing them especially to the 35mm FORMAT rectangle. That's how I discovered that the 65:24 IMAGE SIZE just barely extends beyond the tightest 35mm lens circle, so all Canon SLR lenses should be able to shoot in 65:24 on GFX cameras. I know that's not an aspect ratio you'd normally use, but this oversized sensor size is super sweet that way, and so many others! Just cutting back from full 4:3 to full 3:2 may cut vignetting enough when your back is against a wall, and could get rid of the soft top when shooting in landscape mode. If the shot can handle the crop. If the 17mm isn't wide enough, there is still the Laowa 15mm shift lens option too. You mentioned the 90mm TS-E. Would you be interested in doing a video on how it works on the GFX 100S? I have one of those also. It's their early model; is incredibly sharp. I wonder how it does with shift and vignetting on the GFX, since it is their early model, which they made smaller than their mark II versions. I just discovered that Canon also makes 50mm, 90mm and 135mm *macro* TS-E lenses, and the 90mm macro has a bigger image circle than mine (77mm filter size). My 90mm TS-E has a tiny 58mm filter size. So maybe the macro version of the 90mm is like a mark II version of the original 90mm TS-E non-macro, so would likely vignette less on the GFX. I haven't seen any reports on how either work on the GFX sensors. Either would be interesting, if you have the time. Amazing how much you get done - very much appreciated!!! God bless!

I've tried the 90 [original] and it works really well with the camera - a video is on my to-do list ;-) I've reviews of all the Canon TS-E lenses on the Northlight site - the new 90 & 135 are some of the sharpest lenses I tested. The new 90 is an entirely different lens - the name and mount are the only similarities ;-) I might be getting the Laowa 20mm shift to test as well - I only reviewed the Canon mount version last year.

@@KeithCooper Looking forward to the Laowa 20mm video and especially the 90 TS-E. Your TS-E reviews on your site are incredible! I really had no idea the original 90 was replaced by the macro version, which isn't a full macro. I thought macro lenses had to be 1:1 magnification to be called macro. GOOD NEWS! I'm particularly interested in the Laowa 15mm shift, and just discovered the price has been lowered by Laowa about $200. They announce on their website that the 14 blades aperture version is available now in all lens mounts, and are pricing them the same as the 7 blade version! If only one side of your images is consistently soft, including when shot on a tripod without IBIS, then it's definitely lens misalignment. I've never thought possible that IBIS could affect parts of images. With Thomas Heaton's Hasselblad example, it makes sense that the sensor could rotate too much, so the center could be sharp and the sides not. But only one side not sharp: could one side of the sensor raising or lowering out of synch with what's needed while the other side did not even happen?

@@jefffenske1958 They don't have a 20mm spare at the moment, so the next laowa lens I test will be the plain 17mm I'm pretty sure, it's the lens with the softness, but I do need to test more to be sure...

Yes, maybe, but at a cost I've no interest in... I've managed this whole century without using a win pc and it's unlikely to change

@@KeithCooper Use whatever you like but when stuff breaks like this,it's probably Apple broke it. Back in the 1970s I used to write software for IBM mainframes. IBM guaranteed that, with a few exceptions, programs written then would continue to work into the distant future. As far as I know, that still holds.

Yes, I'm used to Apple breaking things since I started looking after Macs at a job some 35 years ago ;-)

a good alternative to the Mamiya 80 is the Pentax 67 75mm... Very cheap and really sharp. I just don't know if it is good enough for 100MP :) .... According to reviews the Pentax 67 55mm is also a great lens.... And of corse these 67 lenses have larger image circles than the 645 lenses

Thanks - I need to do a few more experiments with the 55/80. That said, my perceptions of 'good for 100MP' is somewhat at variance with a fair bit of received 'forum wisdom' ;-) I've a few real clunkers, which seem to work - just not sure when I'd use them. Diffraction is a 'feature' not some lurking beast... I've had people already tell me that the TS-E24 and 17 are not really suitable...

Potentially good lenses... However, looking at the specs [on-line and in my tilt/shift book] these lenses are shift lenses not tilt? I'd not really want an F mount lens due to the mount vignetting from its relatively small size. Also the 28mm lens is known for some barrel distortion - definitely not something to deal with when shifted and taking architectural photos I don't know the Olympus one. When writing the book, I did try to get some examples of these to test, but was unable to at the time - I cannot afford to buy old lenses like this just for testing.

@@KeithCooper I understand, but they are very useful as normal wideangel lenses.

Thanks - They are definitely up to the job in that respect. It was the issues with much shift which would concern me for my uses, and I do use shift a lot ;-) I actually use one of my old Zuiko 24/2.8 lenses from my OM-2n, via an adapter [on an EOS RP] for recording almost all the video on this channel - tried it on the GFX, but not very good in the corners ;-)

@@KeithCooper After this video, I started following you, and found a lot of fun in your feed that I will watch and I completely agree with "your statement"; who cares! Today's cameras and technology can produce completely clinically clean images, which is what we want? But like you, I am also hooked on tilt & shift optics, architecture, but also landscape and art photography, preferably in combination. I have several systems, everything from m43 all the way up to 4x5". Optics I can use across platforms. Last time, when I was almost certain to buy a GFX 50R, I bought a Mamiya 7 with 43mm instead .My thought about a photo is: will someone want to have it on the wall and enjoy it for a long time. By the way, I'm a OM/Zuiko nerd. My nearly first camera was a OM2, and now I have the OM3Ti and nearly the most of the f:2.0 line up, and Nikon F's.

@@KeithCooper Almost twenty years ago, I was engaged by a museum. Take pictures of the art collection. Was when I started to delve deeper into Pro-Photo versus aRGB and wanted to make everything the best possible. A valuable thought process, when is good enough, good enough? How to illuminate acrylic paintings without reflections and without expensive lighting equipment etc. The answer; minimum possible light and long exposure time.

Who knows? I'll have to admit though that I find football slightly less interesting than watching paint dry ;-)

@@KeithCooper agreed it was a bit like watching my dying Epson 11880

Never mind bringing in new coaches ( aka Epson repair ) all the time who could not fix anything ... until I consolidated to a P20000 five years back ... and then it was like playing in Premier League again ( TG I did not buy Canon ).

Yes, the P20000 is my usual answer when people say 'what printer should I get' with no additional info... ;-)

Yes, it's the slight mount vignetting I point out at the bottom corners of the Birmingham picture. This only happens at extreme shift. It's not the adapter, but the EF mount itself See my more detailed look at this in my other GFX lens reviews and notes

@@KeithCooper that’s what I thought would happen! I was going to get a Nikkor 35mm PC to use for shift stitching on my 40MP X-H2 then I realised that I would most likely get image cut off from a non optical Nikon to Fuji lens adapter. I’ll try a 50mm with a shift adapter. Thanks and welcome to Fuji world!

Thanks - the F mount impinges even more in this way unfortunately

Thanks - it all depends on the image, since there is no specific "X megapixels = max picture size" relationship At a basic level, the GFX100S image would print at almost 40" x 30" at 300dpi When I'm next testing a really big printer I'll have a better look!

@@KeithCooper Got it. I personally recently purchased a EPSON P900. But I haven’t really got into all the larger stuff printing yet. Still just testing things out on the A4 and occasionally A3. Since I am also a Fuji system user and wondered about upgrade to their medium format line up one day. So I was just curious to know your findings on this. Again, thanks for all the insights you are providing through all the amazing videos. Cheers!

I do have a video looking at making a large B&W GFX100S print on the 17" P5000 kzfaq.info/get/bejne/lbifabtmxq7JYJs.html

It's there on the 5Ds, when fully shifted, but he important bit to note is that the [relative] softness is only on one side, which points much more to a slight lens misalignment

Yes - the same for both, I just assumed people would be less familiar with the Mamiya lenses

@@KeithCooper ok. Thanks. I thought i might have missed something.

No signs of AF in a tilt/shift [yet] ;-)

@@KeithCooper yes. The work you showed is beautiful!

I'm not using C1 because of the cost and utility - I pay for photoshop, lightroom comes 100% ignored in the subscription. DxO - well I've reviewed their software since Optics Pro V1 [before it supported raw files] and done beta testing in the past...

@@KeithCooper I used it for design interiors until about 10 years ago, but then one day on the job it would not open and I needed to wait until Monday to get login support ... that was worse than Silverfast ( who were the worst pursesnatchers in the buisiness ) ... but I agree I could never warm up to Lightroom - ACR is still better for my brain

SF are still the only company where someone took exception to one of my reviews and phoned me up to complain that I should have run the review by them first... I took great pleasure in telling the guy where he could go ;-)

@@KeithCooper laughing my butt off ... just remembering their demo videos ...

The 32-64 would be a better fit for when I want an 'ordinary' lens

@@KeithCooper Okay so a wider angle Zoom. Pity that there are not a 32-100mm lens to Fuji GFX. A good part in your video when you discuss your MF lenses. My main reason for getting the 100s is to reuse my old MF lenses and to be able to crop to HB pan format in the camera. I’m still saving for a D850.I got higher taxes that have delayed my upgrading time table...