I went through several tests and here is a kind of workflow for a panorama stitch using Mamiya ULD 50 on Fuji GFX via dual shift adapter:
1. The lens must be initially wide open with the floating system positioned at infinity.
2. To avoid color shifting caused by lens vignetting or dark shadows, you must define the custom white balance point prior to shooting (it is on the second page of the main menu). I used the 77 mm milky white lens cap on the ULD 50mm at F/4.5.
3. Using both high pixel peaking and magnification, focus must be achieved by moving the helicoid from infinity towards the close-up distance achieving the most saturated conditions, primarily at the edges of the frame.
4. To avoid field curvature issues, use F/11 or higher; otherwise, the corners will be smeared. Alternatively, focus checking/adjustment must be performed in the corners at maximum shift.
5. Adjust the sharpness using the floating system for the frames with the closer objects and return it back each time after shooting.
6. Nine frames should be sufficient to create the final image.
Here is an unedited example how it works shooting perspective corrected panorama in the upper part of the 100mm image circle of ULD 50mmlens by 12mm up-shifting and 20mm left-right shifting. It took couple of minutes to combine them in Photoshop using separate layers. The small up-shift of the images from left to the right (about 1-2mm of sensor) is caused by worm drive of the shift module of Sekor-Shift 75mm lens, which is a part of my custom dual shift adapter.
The final image is about 230 Mb.
1. The lens must be initially wide open with the floating system positioned at infinity.
2. To avoid color shifting caused by lens vignetting or dark shadows, you must define the custom white balance point prior to shooting (it is on the second page of the main menu). I used the 77 mm milky white lens cap on the ULD 50mm at F/4.5.
3. Using both high pixel peaking and magnification, focus must be achieved by moving the helicoid from infinity towards the close-up distance achieving the most saturated conditions, primarily at the edges of the frame.
4. To avoid field curvature issues, use F/11 or higher; otherwise, the corners will be smeared. Alternatively, focus checking/adjustment must be performed in the corners at maximum shift.
5. Adjust the sharpness using the floating system for the frames with the closer objects and return it back each time after shooting.
6. Nine frames should be sufficient to create the final image.
Here is an unedited example how it works shooting perspective corrected panorama in the upper part of the 100mm image circle of ULD 50mmlens by 12mm up-shifting and 20mm left-right shifting. It took couple of minutes to combine them in Photoshop using separate layers. The small up-shift of the images from left to the right (about 1-2mm of sensor) is caused by worm drive of the shift module of Sekor-Shift 75mm lens, which is a part of my custom dual shift adapter.
The final image is about 230 Mb.
