Klaus Schleicher

Hello, thanks for replies. I just solved it by using third party external intervalometer.  by doing this you need not keep a watch on the screen. 
Regards
 

Get the Mamiya 645 Fotodiox adapter and then get a Mamiya 500mm lens. Excellent optics and image circle will definitely cover the GFX50 needs.

I have three of the Hartblei Pentacon Six to Fuji GFX  adapters: simple adapter, shift adapter and tilt adapter.

With them a series of longer lenses can be used.  For instance the old Enna 400mm lens is excellent on the Pentacon Six and so will easily cover the GFX format.  See a review of it here: http://pentaconsix.com/enna.htm
There are two 500mm lenses for the Pentacon Six, the Pentacon lens, which is very heavy (3.5 kg) but excellent.  See here: http://pentaconsix.com/500_560mm.htm and the much harder-to-find 500mm Arsenal APO lens, see here: http://pentaconsix.com/500_600new1.htm  At 1650 grams, this is less than half the weight of the Pentacon lens.
The above pages also give information on other long lenses, including some mirror lenses, that would mount on the GFX via any of the same adapters.

I have tested the 500mm lens on a GFX 50S, even testing its coverage with the shift adapter.  This is what I found:
500mm Arsenal/Arsat APO lens
Zero shift: Excellent resolution and coverage.  Tiny amount of chromatic aberrations.
12mm shift in any direction causes corner cut-off.  12mm shift to L or R causes side cut-off and loss of resolution near the edge.
This is probably OK with shifts up to 6 or 8mm.

Hello,
 
The next shot is a Sunrise on the Lago di Braies in the Dolomites, With the Tre Cime, It's certainly the most visited place in the Dolomites.
In autumn the place look so peaceful, it's complicated to achieve a perfect reflection as there is often wind on the surface of the lake.
I had a bit of luck as 10 minutes after the shot, the reflection completly disappeared.
 
5) Lago di Braies - X-Pro 2

 
Have a nice day !

Hello,
 
We continue with another shot taken with the x-pro2.
 
I spend the night under tent near the Alpe di Siusi and decided to do something different as all the other photographers are doing (classical view with the Sassolungo at the end of the alpe in background).
lucky as I was, the first snow over Dolomites was falling.
It was quiet a cold and windy night and didn't sleep well ... but was happy enough that my composition found in a Heavy fog the day before (without seeing the mountains at all) was worth and working.
 
4) Sassolungo morning, looks a bit like british columbia, X-Pro2 -  10-24 f4

 
Have a nice day.

A different mood for Today, the famous Tre Cime
 
Sunset view over the Tre Cime 
 
3)

 
Have a great day ! 

Thanks Woodlander, 
 
We continue we a second more composite and sureal image taken at night on the Passo di Giau with my x-t2 and 16 1.4 WR @ f10
 
2)

 
In HD here as it's really hard to compress an image like this  :
 
http://www.lfphotography.ch/Italy/i-SWs88Zq/A
 
Have a nice day.

Hello everyone,
 
I had the opportunity to spend a week in the Dolomites area to catch the autumn colors ! my trusty x-pro2 and x-t2 were from the trip.
 
We start with a classic of the Dolomites, the church of San-Giovanni in Ranui near Santa Magdalena.
 
The sky mixed with some remainings of fog, made really the mountain glow and burn in a special way.
 
1) X-pro2 - 16-55 @ f10, some exposures mixed to achieve this image as the contrast between the different plans was enormous.

 
Have a nice day and see you soon for more.
 

Some views from my office, the Airbus A32F. Helps having a small Fuji in the bag at all times, pictures taken with the X100T and the X-T1.

X-T1 / XF18-55 / SOOC

We set out mid-morning for our first ever winter visit to the canyon. The narrow, twisting road had a fair number of scary icy and snow-covered patches, but Diana's bad weather Michigan driving skills were up to the challenge.
There were very few places to stop due to the snow banks, but we found a spot near the Terrero General Store and walked back to an old bridge with a path that went down to the river. The tall trees (Douglas fir, Colorado Blue Spruce, Ponderosa Pines), shrubs, rocks, and snow-covered hills were a wonderful backdrop for the rushing waters.
We walked a bit, sat by the river, and drank in the marvels of Nature.

Open Topic. Let us combat the global warming.
This one seems fit for a PF2019 greeting. PF2019 everyone !
 

That's correct.  Its incremental. You adjust.  I use it all the time, and it works great. I'm usually at F11 - F16 range
 
 

Focal length equivalency depends on the size of the sensor. You've posted this message in the GFX-lenses section (which is for Fuji's medium format sensor cameras) but I guess you use an X-system camera from Fuji with the smaller APS-C sensor. Right between APS-C and medium format are the so-called Full Frame (FF) sensor cameras. This was in the days of film the most used size of film for amateur photographers. That is why focal lengths of lenses are often recalculated to the FF equivalency. From APS-C to FF the 'crop-factor' is 1.5x
The 10-24 f4 Fuji lens therefore has a full frame equivalency of approx. 15-35mm meaning it gives you that same angle of view. It ranges from an super wide-angle to a standard wide-angle view. That makes it perfect for architecture, indoor architecture and landscape.
The 10-24 has two main advantages for your intended use: first it doesn't have a lot of distortion in the super wide-angle mode, so you don't need software to correct the image all the time (keystone correction). Precondition is that you keep the camera and lens level at shooting (and not tilted backwards). Secondly, it has an optical image stabilizer. So, shooting indoor with longer shutter speeds isn't too much of a problem, since the lens corrects motion blur in some degree. That compensates for the fact it has not a really fast aperture (f4) so your low-light/indoor shutter speeds can be a bit longer (I would say up to 1/8s).

Since the above posting, I have taken a series of pictures of rooms in my home (we have been in lockdown!), using both the 23mm Fuji lens and the 17mm Laowa lens.  Both delivered excellent results, but I really got the best shots with the Laowa lens, as the angle of view is so much wider.  I will now definitely use the Laowa lens without any reservations or concerns, both for interiors and for outdoor shots (when they become possible, again!)

Trevor (back in lockdown after a short relaxation by the government)

Review of Laowa 17mm & Fuji 23mm GF lenses

First, the Fuji 23mm f/4 GF lens for the GFX cameras is excellent in all respects.  There is very slight vignetting at maximum aperture, but that is to be expected with such a wide-angle lens.

The 17mm Laowa lens is not in the same league.  No EXIF data on aperture transmitted to the camera, and there is significant vignetting at f/4 and f/5.6, with some vignetting even at f/11 – visible in test pictures of a brick wall, but not obvious in normal photography.  The resolution is good throughout and there is no linear distortion (e.g., barrel or pin-cushion), which is extremely important.

Contrast and saturation are lower with the Laowa 17mm lens than with the Fuji 23mm lens, but these can easily be corrected in Photoshop.

With my test pictures of the brick wall, I found that the following Photoshop settings produced an image from the 17mm Laowa lens with characteristics that were very similar to those of the Fuji 23mm GF lens.
Brightness & Contrast: Brightness: (unchanged) Contrast + 13
Colour balance: Midtones: +10 (more red, less cyan), 0 (Magenta/Green unchanged), -12 (more yellow, less blue)
Hue/Saturation: Master: Hue 0 (unchanged), Saturation +38
Vignetting (at f/11): Filter > Lens Correction > Custom > Vignette: +30 (lighten) Midpoint + 19

This may sound like a lot of correction, but it could be set up as an action in Photoshop, and it was only really necessary with my test pictures of the brick wall.  With normal pictures, a minor colour correction would produce an image that was a good colour match to images from the 23mm Fuji lens.

There is a total absence of chromatic aberrations with both lenses, and both of them produce images that have a similar degree of sharpness, with further sharpening not normally necessary.

The key fact is that the 17mm Laowa lens has an angle of view that is much, much wider than the 23mm Fujinon lens, and it corresponds more closely to the way I see scenes in landscapes and cityscapes.

Comparisons with so-called 35mm “full format” (36mm × 24mm) is complicated by the fact that the ratios of “35mm” and Fuji GFX images are different (3:2 vs 4:3).  In fact, if we reduce the height of the GFX image to achieve a 3:2 ratio, (approximately 44mm × 29mm), a large amount of the vignetting with the Laowa 17mm image disappears.

However, the angle of view for the 17mm Laowa is given as 113º, while the angle of view for the 23mm Fujinon is given as 99.9º.  This places the Laowa just slightly wider than the Voigtländer 15mm Super Wide Heliar (110º) on 36×24 format, and slightly narrower than the Voigtländer 12mm Ultra Wide Heliar (121º) on the same format.

The 99.9º of the 23mm Fujinon is significantly narrower than the 15mm Super Wide Heliar.

Both Laowa and Fuji give “full frame equivalent” focal lengths, though these are slightly complicated by the difference in format ratios.

Laowa states that its 17mm GF lens is equivalent to 13.5mm in full frame format, while Fuji states that its 23mm GF lens is equivalent to 18mm in full frame format.  This is of course extremely wide, compared with the wide angle lenses that were available in the film era, when 20mm was generally the widest, and it was not available in all mounts.

Which lens is “better”?  Technically, the Fujinon, but only the Laowa can give those ultra-wide vistas for landscapes/seascapes/cityscapes, and its technical deficiencies are easily corrected in post-production.  No amount of post-production can give a wider image than that which is given by the 23mm Fujinon (and stitching images taken with wide-angle lenses is extremely difficult without specialist software), so for me, for certain shots, the 17mm Laowa will be the lens of choice.

Hello everyone, 
my name Klaus and I'm from southern Bavaria. I'm doing nature photography, mostly landscapes (plus nightscapes in the future). I love the whole process from planing, shooting, post processing and printing. 
After 29 years as a Nikon shooter, I switched to Fuji GFX four weeks ago. Even I'm in the mid 50s, I was willing to try to carry the additional weight on my hiking trips. 😉 ATM I'm really curious about the GF 20-35/4 and hope this lens can complete my lenses in the wide-angle area. 
I hope I can learn many things here in the forum. Maybe at one point I can help other Fuji users too. 
If you are interested I have a few images displayed at. www.500px.com/klausschleicher
 
Happy shooting to all 
 
Klaus