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Fuji GFX100S and Roddy55 and schneider 47mm on Arca Swiss

Vilpo

Member
A slightly off topic perhaps, but what is the story with the Rodenstock apo sironar digital 45mm lens? It does not draw much attention here.
 

vjbelle

Well-known member
Rod..... does the Rotafoot add any distance over the standard DSLR adapter? If so that could affect whether or not the widest lens could be used with movements.

Victor B.
 
Ah..... missed it. Thanks for posting. I do not own that lens but have the 90 SW and the 138 float both of which are stellar. The 50 Digaron would be as wide as I would need on the GFX and as mentioned above if I needed wider then I could shift 17mm LR and have a fov of a 35mm lens.

Victor B.
Does that also leave image circle room for "front rise", to keep verticals straight?

Thanks!
 

Alkibiades

Active member
Does that also leave image circle room for "front rise", to keep verticals straight?

Thanks!
You mean with the 50 HR?
the front rise will be the same. 17 mm.
With classic large format cameras you really do the front rise with the front standart.
But the new digital large format cameras are much more precise build and espacially for the stiching the "front rise" will be done not by rising the front standart but by rising down the rear standart.
It is the same movement indeed, but for stiching much better.
 

vjbelle

Well-known member
I don't own that lens so I can't give any practical information. The image circle of the Rody 50 is 90mm and shifting LR in portrait position 17mm is at the end of their recommended shift limitations. I would think that there is not much room for rise however there is some rise just by the orientation change from landscape to portrait. I would more than likely be using and needing the wider FOV in a landscape setting rather than shooting architecture. With 17mm LR shifting the effective sensor size changes to 3X2. To keep 4X3 format requires shifting 13mm LR which would leave some room for rise. Either way there is a gain in pixel dimensions which would allow for manipulation and cropping to obtain a final needed outcome.

Edit: I was looking at maximum movements for a 40X54 sensor ( I also own a DB with that sensor size). If you are referring to a 100s then for sure there is room for rise as the maximum recommended movements for a 33X44 sensor are 23/20.

Victor B.
 
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vjbelle

Well-known member
Very disappointing to find out that the Digaron 50mm will not work with the Rotafoot on the MF-Two. I felt that the Rotafoot would add some distance between the standards and as it turns out it does. This means that the 50mm will focus to infinity when using the Rotafoot but there is no room for movements.

Victor B.
 
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Alkibiades

Active member
Very disappointing to find out that the Digaron 50mm will not work with the Rotafoot on the MF-Two. I felt that the Rotafoot would add some distance between the standards and as it turns out it does. This means that the 50mm will focus to infinity when using the Rotafoot but there is no room for movements.

Victor B.
These are indeed a very bad news.
Do you know if the 60xl schneider is working on it?
 

nazdravanul

New member
I wonder if the hard vignette of 18-20mm, reported here, is any different with the GFX 100 (not s), and if it's a permanent limitation of the GFX body or is it just restricted to Arca-Swiss cameras - both M-line and Universalis ?
 

Alkibiades

Active member
I wonder if the hard vignette of 18-20mm, reported here, is any different with the GFX 100 (not s), and if it's a permanent limitation of the GFX body or is it just restricted to Arca-Swiss cameras - both M-line and Universalis ?
It is a limitation of the Fuji camera body, there is no doubt about that. Becouse all Fuji GFX shares the same dimensions of the lens adaptation and sensor position, there limitation should be at them all the same. If you take for example a Sony a7r IV or other sony camera there will be no limitation.
 

Alkibiades

Active member
Hmm, ok, got it, thank you. That's a bit of a bummer - it seriously limits my view camera choices.
18-20 mm movements possibilities is not bad. Shift lenses have only 12 mm.
When you stich the 18-20 limitation is not a problem, becouse you dont need the whole image.
 

nazdravanul

New member
18-20 mm movements possibilities is not bad. Shift lenses have only 12 mm.
When you stich the 18-20 limitation is not a problem, becouse you dont need the whole image.
The problem is I need a view camera for (mostly) tabletop and (some) macro applications. Combining shift, tilt and swing could get me into trouble with the 18-20mm limitation ... maybe :))) .
 

Alkibiades

Active member
The problem is I need a view camera for (mostly) tabletop and (some) macro applications. Combining shift, tilt and swing could get me into trouble with the 18-20mm limitation ... maybe :))) .
no, I dont think it will. most lenses have even not as big image circle that allows you 18 mm movements, and most lenses that have the bigger image circle will not performe well at such big movements.
 

nazdravanul

New member
no, I dont think it will. most lenses have even not as big image circle that allows you 18 mm movements, and most lenses that have the bigger image circle will not performe well at such big movements.
Is the 18-20mm limitation on Fuji GFX bodies valid at all focusing distances ? (I would assume so, but maybe I’m wrong)
 

rdeloe

Well-known member
Is the 18-20mm limitation on Fuji GFX bodies valid at all focusing distances ? (I would assume so, but maybe I’m wrong)
The "sensor cavity" of GFX cameras is the constraint. With large shifts, you get mechanical vignetting because the sensor is in a "tunnel", and the front edges of the tunnel block the light.

I use a 50R on a camera that allows me to combine all kinds of movements (e.g., tilt and swing with shift and rise). I don't do a lot of work at "tabletop" scales, let alone 1:1, but I do a lot of close-in work with view camera movements. I very rarely encounter mechanical vignetting problems.
 
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