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05-10-2021, 09:18 AM   #16
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QuoteOriginally posted by vijaykishan Quote
Very useful information, thank you. I wish the Superrotators we still built (not the super expensive Zeiss type), my copy works well, and I wish I had the option to buy with a narrower angle of view.
I agree. The Zeiss are super expensive. Do you use the Rotator more for shifts or tilts? Probably won't work well, but have you tried a teleconverter to get narrower angle of view? Being off center or tilted will probably foul up working with a rear mounted teleconverter. A front mounted 1.5 or 2X might work well.

Thanks,
barondla

05-10-2021, 09:26 AM - 1 Like   #17
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QuoteOriginally posted by barondla Quote
Thought the whole idea of tilt was to get depth of field without stopping the lens down significantly?
On a View Camera, when you TILT your front standard, you "shorten" the lower part of the bellows, meaning you focus the upper portion of the image on a far-away or infinity subject, and you "lengthen" the upper part of the bellows to focus precisely on near or foreground objects (the Scheimpflug Principle). Problem is the middle of the image may be totally fuzzy at large apertures as the focal length of the lenses is quite long (90 mm WA, 150 mm Normal and 300 mm Short Tele on 4X5), so you have to close down the diaphragm to f/22 (the optimum f/stop for most large-format lenses) or f/32 to obtain overall sharpness. Try reading Ansel Adams books to learn about how to handle a large-format apparatus.

Best Regards

Last edited by RICHARD L.; 05-10-2021 at 09:31 AM.
05-11-2021, 01:27 AM - 1 Like   #18
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QuoteOriginally posted by RICHARD L. Quote
On a View Camera, when you TILT your front standard, you "shorten" the lower part of the bellows, meaning you focus the upper portion of the image on a far-away or infinity subject, and you "lengthen" the upper part of the bellows to focus precisely on near or foreground objects (the Scheimpflug Principle). Problem is the middle of the image may be totally fuzzy at large apertures as the focal length of the lenses is quite long (90 mm WA, 150 mm Normal and 300 mm Short Tele on 4X5), so you have to close down the diaphragm to f/22 (the optimum f/stop for most large-format lenses) or f/32 to obtain overall sharpness. Try reading Ansel Adams books to learn about how to handle a large-format apparatus.

Best Regards
Indeed, additionally as mentioned the DOF cone is the thinnest near the Lens plane which neccesiates the need for smaller apertures to ensure one has sufficient DOF in the foreground. With a larger aperture, it is very hard (to my old eyes at least) to focus even when composing the frame :-/ . One needs to strike a delicate balance between diffraction and DOF. Once that is done, one is rewarded with some very nice oppurtunities.
05-29-2021, 11:52 PM - 1 Like   #19
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Tilted large-format lenses take whatever the focus plane is (even if it's not particularly planar) and lean it over such that the lens board, film plane, and focus plane intersect on a line. If the large-format lens has a very flat field (as the biogon types do), then there will be no real loss of sharpness at the center, as long as the subject in the center is on the focus plane.

If the subject isn't planar, however, one must find a compromise position of the focus plane and then stop down to increase depth of field.

This image, for example, was made on 4x5 film using a 90mm Super Angulon. Every part of the subject that sits in the focus plane is critically sharp, and this photo require both tilt and swing. But I still had to stop down to f/45 to achieve the appearance of sharpness over the whole staircase.



Rick "who dripped sweat on the ground glass for 45 minutes making that photo" Denney

06-18-2021, 01:28 PM   #20
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QuoteOriginally posted by RICHARD L. Quote
On a View Camera, when you TILT your front standard, you "shorten" the lower part of the bellows, meaning you focus the upper portion of the image on a far-away or infinity subject, and you "lengthen" the upper part of the bellows to focus precisely on near or foreground objects (the Scheimpflug Principle). Problem is the middle of the image may be totally fuzzy at large apertures as the focal length of the lenses is quite long (90 mm WA, 150 mm Normal and 300 mm Short Tele on 4X5), so you have to close down the diaphragm to f/22 (the optimum f/stop for most large-format lenses) or f/32 to obtain overall sharpness. Try reading Ansel Adams books to learn about how to handle a large-format apparatus.

Best Regards
This ! excellent point and book recommendation. there is lots to learn from the old masters, even with the new fangled digital stuff, physics dont chage. I just wish mine was a LOT more flare resistance when shooting into the sun. Thank you.
06-18-2021, 01:34 PM   #21
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QuoteOriginally posted by rdenney Quote
Tilted large-format lenses take whatever the focus plane is (even if it's not particularly planar) and lean it over such that the lens board, film plane, and focus plane intersect on a line. If the large-format lens has a very flat field (as the biogon types do), then there will be no real loss of sharpness at the center, as long as the subject in the center is on the focus plane.

If the subject isn't planar, however, one must find a compromise position of the focus plane and then stop down to increase depth of field.

This image, for example, was made on 4x5 film using a 90mm Super Angulon. Every part of the subject that sits in the focus plane is critically sharp, and this photo require both tilt and swing. But I still had to stop down to f/45 to achieve the appearance of sharpness over the whole staircase.



Rick "who dripped sweat on the ground glass for 45 minutes making that photo" Denney
You owe me a keyboard Rick ! LOL, true, excellent picture there and thanks. despite not having much experience with a TRUE LF, I can appreciate the effort that went into that particular photograph ! I have heard of the almost legendary 90mm superangulon, would love to hear more about that, as in flare resistance, corner sharpness with tilted or shifted to the extreme, coma, Bokeh, other abberations, Quality of coating etc, would be even better to see a comparison between this lovely lens and a regular 90mm in harsh conditions. I know I know, this is silly with an LF lens, but I'm eyeing a bellows setup with the K1 with the 90mm Super Angulon. Thanks in advance.
07-02-2021, 02:06 AM - 2 Likes   #22
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QuoteOriginally posted by UlrichSchiegg Quote
I just love to play around with the Wiese lens! The tilt effect on MF gives the pics such a dreamy, unreal look!

Wiese on a Wiese(=meadow)
(Click to enlarge)






---------- Post added 2nd Jul 2021 at 11:30 ----------

Here two examples to tilt the sharpness plane along the building structure (lens wide open, about f4 or something like that, can't remember exactly):





B.T.W. the LV of the 645z is very helpful to find the right tilt angle and sharpness level ...

07-02-2021, 09:29 AM - 1 Like   #23
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QuoteOriginally posted by pixiac Quote
I just love to play around with the Wiese lens! The tilt effect on MF gives the pics such a dreamy, unreal look!

Wiese on a Wiese(=meadow)
(Click to enlarge)






---------- Post added 2nd Jul 2021 at 11:30 ----------

Here two examples to tilt the sharpness plane along the building structure (lens wide open, about f4 or something like that, can't remember exactly):





B.T.W. the LV of the 645z is very helpful to find the right tilt angle and sharpness level ...
Neat examples. Especially like the building "tunnel".

Thanks for sharing,
barondla
07-03-2021, 10:17 AM   #24
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QuoteOriginally posted by pixiac Quote
I just love to play around with the Wiese lens! The tilt effect on MF gives the pics such a dreamy, unreal look!

Wiese on a Wiese(=meadow)
(Click to enlarge)






---------- Post added 2nd Jul 2021 at 11:30 ----------

Here two examples to tilt the sharpness plane along the building structure (lens wide open, about f4 or something like that, can't remember exactly):





B.T.W. the LV of the 645z is very helpful to find the right tilt angle and sharpness level ...

Excellent examples there - thank you. Are these lenses still offered for sale ?
07-05-2021, 05:24 AM   #25
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QuoteOriginally posted by vijaykishan Quote
Excellent examples there - thank you. Are these lenses still offered for sale ?
As far as I know not, must be from analog era. I bought it used from a photographer who switched back to (not Pentax) full frame.
07-06-2021, 12:47 AM   #26
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QuoteOriginally posted by pixiac Quote
As far as I know not, must be from analog era. I bought it used from a photographer who switched back to (not Pentax) full frame.
Shoot, pity that they are not in production. those were some very nice renders. Now we need to trawl the bay for scraps :-/ . Thanks for the info and enjoy your setup, they are really good.
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