Franco Cogoli
photographer

The strange couple



                                    


Technological progress leads to a continuous evolution in the photographic sector, and, although the sensitivity and vision of the photographer are the basis of a good photograph, the technical quality of the image allows to amplify the possibilities of use;
currently, for travel photographers, who have a budget normally lower than colleagues who practice in the studio, the possibility of acquiring a medium format system falls necessarily on some brands that offer devices with a 44x33 mm sensor (i.e. with a 70% wider surface than a traditional full frame)
Among these brands, Fuji offers the most interesting device, with a price comparable to that of a professional SLR camera; the GFX 50R  ( https://fujifilm-x.com/global/products/cameras/gfx-50r/ )  is a simple machine, which follows the philosophy of the old analog series GW / GSW. The limit of this system is given by the absence of native declining / tilting optics, which greatly limits its creativity and fields of use (for example the sectors of architecture, landscape and food) where the possibility of choosing depth of field and selective focus would be paradoxically essential on a medium format device.
However, third-party manufacturers have engineered themselves, producing advanced adapter rings and now they are able to successfully couple tilt & shift lenses designed for full frame sensors to the aforementioned medium format cameras.
In my case, to pair Canon's tilt & shift lenses, I chose a Techart ring (  https://techartpro.com/?product=techart-canon-ef-lens-to-fujifilm-gfx-autofocus-adapter )  which, moreover, communicates with the camera, and maintains the exposure data, making fieldwork and postproduction fluid.
To ensure all the possibilities of movement, I then mounted on the 24mm lens the Rear Tilt and Shift Frame, by the German Lutz Muller Fototechnik (  https://www.pocketpano.de/english/rear-tilt-n-shift-frame/ )  which allows you to mount the lens on the tripod head instead of the camera, with the advantage of being able to pass from horizontal to vertical format in an instant, simply rotating the lens ring and, in the case of multi-shot shooting, to cancel the parallax effect, with perfect frame splicing, since the shifting movement is performed by moving the lens instead of the camera body.
I preferred this solution, compared to other systems, such as the american Rogeti's Tse Frame, for greater compactness and less weight.
This agile and unusual package allows for shots that combine great quality and creativity, almost as if it were an optical bench, but with the weight of a normal reflex system

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