Let us know how well you are able to image the differences in your prints. I would think the more you rely on digital algorithms to fix lens distortions, the worse off your objectives (real differences between individual prints) will be.
Let us know how well you are able to image the differences in your prints. I would think the more you rely on digital algorithms to fix lens distortions, the worse off your objectives (real differences between individual prints) will be.
Today DSLRs correct distortion perfectly in firmware, you won't notice any resolving power flaw because that, absolutely, just deactivate it in the menu and compare USAF 1951 shots. Today's designs can priorize other lens preformance parameters, because distortion and lateral chromatic aberration are solved by the camera itself, camera knows the lens, and has a map for the corrections at every focus distance and zoom position (if zoom). I tested that with my particular gear.Originally Posted by cowanw
Small amounts of distortion like from a macro lens not being at an ideal focus are easily corrected from raw files and look very natural. Big distortion like if you use a 18-300 superzoom and expect a flat field of focus at macro distances are not fully correctable; you could correct the shape but not the focus. LRs chromatic abberation correcting is simply magic when you need it but will probably not be needed much with a quality macro lens.
I have found that the best way to copy artwork is using a phase one P45 with a hasselblad and the 100mm lens,I am told it was designed to be distortion free and that seems to be the case. I then cross polarize the light and lens, a brief description of how to go about it is here
https://www.stagedepot.co.uk/lightin...ting-gel-sheet
I get the filters over the lights form here
https://www.polarization.com/polarshop/
In my experience the quality of a 35mm digital, I use a canon D5Mk3 is ok ish but not in any way as good as a phase, and quite honestly the extra cost for the phase is well worth it, and it will hold its value far more than a 35mm option
My goals are for Web presentation, do you feel a phase outranks a 35mm for this application?
I'd look carefully at a Nikon D810 + a 60mm or 105mm micro-Nikkor. The camera has terrific resolution and dynamic range, there are tons of great lenses for it, it's at the end of it's product cycle, and so it's not that old but can be had for a good price.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
Question:
Bob, are you planning to use this Camera on a Copy Stand (Vertical) or on a Tripod (Horizontal)?
At the Image Magnifications cited above...
This decision will also help you to determine your best choice of 'Lens F.L.' -- For the proper 'Working Distance'.
--
Thank-you! Regards,
-Tim.
_________
Canon 5D MkIII with Zeiss Milvus manual focus prime should be more than good enough - a lot more than good enough.
Honestly, any of the suggestions made would give very good results with some tweaking.
“You often feel tired, not because you've done too much, but because you've done too little of what sparks a light in you.”
― Alexander Den Heijer, Nothing You Don't Already Know
What Tim said. The best of the 100-105mm macros are superb lenses, but unless you've got a monstrous copy stand or are working at some distance from wall-mounted subjects, they'll be too long for the largest works you want to copy. Actually, if you go with a full-frame 35mm format, it may pay off in convenience and production efficiency to invest in two macro lenses - one in the 50-60mm range, the other 100-105.
I don't think you need to go to a medium format camera/back for web use. Careful technique including optimal lighting should allow you to convey an impression of the physical character of your prints even with a 35 format. Especially if you're not intending to make prints from these captures, medium format adds disproportionate expense - not just in purchase but also in repair cost should your equipment ever need service - for marginal improvements in technical quality.
If you want to try to squeeze out maximum technical image quality for the least money, and given that you're working with subjects that sit still, the multi-shot/pixel-shift feature of the Pentax K-1 full-frame camera can yield astonishingly good results.
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