Fuji GFX100S and Roddy55 and schneider 47mm on Arca Swiss

[Alkibiades]

here the same test with Digitar 47.
the same story, a really sharp lens, perform extremly well on 100MP chip.
no LCC needed even at 18 mm movement.
the edges are still sharp and absolutly usable.
but use of centerfilter would be not bad or a correction in capture one.
all test files are simple jpg.

 

[stevev]

Looks pretty good! Thanks for posting.

 

[orftoden]

For what it's worth, I can confirm Alkibiades observations. Ironically, using the lens he sold me (thank you again-- it is a beauty) it performs really well on my M-line 2/GFX 100s setup. I am also impressed with the Rodenstock 60mm f/4 HR Digaron-S and the Rodenstock 100mm f/5.6 HR Digaron-S lenses. If you can nail the focus, all three of these lenses deliver.

 

[wallpaperviking]

Thanks for posting these...

What is the Minimum Focus Distance of these lenses? I really struggled to find the relevant information online.

Thanks again!

 

[wallpaperviking]

Or is there no such thing as M.F.D when using these digital lenses on a bellows type view camera? Same as in Large Format film photography? Can you just extend the bellows out further?

Thanks!

 

[Alkibiades]

Or is there no such thing as M.F.D when using these digital lenses on a bellows type view camera? Same as in Large Format film photography? Can you just extend the bellows out further?

Thanks!

exactly! there are no limitations. You just need a longer bellows- arca offers them afcourse.
If you use a closer distance so schneider apo digitar 80,90,100 are very well performers. If you need a real macro so 120 apo digitar M or 120 apo sironar macro are the first choice.

 

[Alkibiades]

For what it's worth, I can confirm Alkibiades observations. Ironically, using the lens he sold me (thank you again-- it is a beauty) it performs really well on my M-line 2/GFX 100s setup. I am also impressed with the Rodenstock 60mm f/4 HR Digaron-S and the Rodenstock 100mm f/5.6 HR Digaron-S lenses. If you can nail the focus, all three of these lenses deliver.

thanks!
yes all digaron -S lenses are great choicee for the 33x44 mm sensor.
But also Digaron-W 50 mm is a great option for use with Fuji-Arca combo.
it has the same problems with vignitting that starts at 18-20 mm like at 55 and 47 mm.

 

[RodK]

The 47mm can be used, but very tight on many DSLR/Mirrorless bodies.
Also, Arca-Swiss is now offering the new rotaFoot, which is an even better mounting for the camera and lenses as it does not require DSLR removal to change orientation.
The rotaFoot is very thin and uses the same bellows as the setup to use the L bracket, but simpler and more precisely square to the front standard.
Someone above commented that the 55mm had issues with 20mm shift, but what aperture was the image made at?
To get the best image quality, and maximum movement, the lens needs to be stopped down to F11-11.5 on a GFX50, and about F8-8.5 on a 100mp unit. While you can stop down more to make anything a comparison will show the quality in comparison is around these parameters. a 90mm and longer lens, will give you the ability to stop down another stop from the above parameters. So 50mp MF can produce wonderful images at F16-16.5 with a 90mm lens and longer. And with 100mp sensors you can get to F11-11.5 wit a 90mm and longer lens.
We have tested a 100mp Phase back at both F11 and F8 and a 40mm Rodenstock. When compared with no adjustments, the F8 image was significantly better than the F11 image.
Then we ran the F11 through Capture One's tab for cleaning up diffraction, and it got a lot better. But it still was not as good as the untouched F8 image.
Just some observations.

Glad to see people are striving for quality.

 

[Alkibiades]

The 47mm can be used, but very tight on many DSLR/Mirrorless bodies.
Also, Arca-Swiss is now offering the new rotaFoot, which is an even better mounting for the camera and lenses as it does not require DSLR removal to change orientation.
The rotaFoot is very thin and uses the same bellows as the setup to use the L bracket, but simpler and more precisely square to the front standard.
Someone above commented that the 55mm had issues with 20mm shift, but what aperture was the image made at?
To get the best image quality, and maximum movement, the lens needs to be stopped down to F11-11.5 on a GFX50, and about F8-8.5 on a 100mp unit. While you can stop down more to make anything a comparison will show the quality in comparison is around these parameters. a 90mm and longer lens, will give you the ability to stop down another stop from the above parameters. So 50mp MF can produce wonderful images at F16-16.5 with a 90mm lens and longer. And with 100mp sensors you can get to F11-11.5 wit a 90mm and longer lens.
We have tested a 100mp Phase back at both F11 and F8 and a 40mm Rodenstock. When compared with no adjustments, the F8 image was significantly better than the F11 image.
Then we ran the F11 through Capture One's tab for cleaning up diffraction, and it got a lot better. But it still was not as good as the untouched F8 image.
Just some observations.

Glad to see people are striving for quality.

And I am glad that Arca develope new products- I got my Fuji gfx adapter last week, and I find it a pity that i didnt know the new products before.
All my test shots are made with F11. this is the aperture that I use 90 procent in my work. Afcourse F8 would be better- on all lenses, but in the practical use it is mostly not possible. You can use F8 for landscapes and products shots, where you can tilt. But no way when shooting architecture. even with 35mm when you use tilt-shift lenses from canon-nikon you must take F11 to get good edges.
I try to use 5,6-8 with digaron 23 mm and digaron W 32,40,50 and SW 90 mm. I see the difference even on the old 80MP back, but you need a subject that allows you to use F8. This is the differance between theory and practical work.
And when you work you want to on the work, not only on technical stuff.
about the vignitting: the combo Fuji and arca have vignitting that starts with 18 mm vertical shift or horizontal 25mm.
I tested till now 47,55, digaron 50 mm.

 

[wallpaperviking]

Once again,

A few things -

In my experience, one can have very different results with different copies of the Rodenstock 55mm Lens. This can be the case with many pre-owned lenses.

Remember that the GFX 100S is a BSI sensor, so if one intends to use on a view camera, for that reason alone, it is worth having a 100S vs a 50-S/50-R or an original 100, since the sensors in those models is not BSI and are much more prone to color cast.

The simple reason you can extract just a bit more room to include a few shorter lenses with the Arca solution vs the Cambo solution is that the Arca incorporates an L Bracket for mounting the camera, and the bellows connects directly to the camera. The Cambo has a mounting bracket that the camera attaches to, and on the other side the bellows then attaches. Both approaches have their pluses and minuses. The Arca approach allows some shorter lenses. But to rotate the camera, you must remove the bellows, and remove the camera and then re-seat it. The Cambo has in-line rotation so this is not necessary. I do know that Arca is soon introducing an in-line rotation solution that will be similar to the Cambo, so you may choose one or the other. Cambo does also offer an optional camera mounting solution that removes the in-line rotation and embeds the bellows connection. This allows for some shorter lenses to be utilized.

So - there are numerous ways to solve this puzzel from both manufacturers.


Steve Hendrix/CI

Am I right in thinking that you can use the Universalis with the Electronic Canon lens board whereas with the Cambo Actus you cannot? So no way to get aperture control with the Canon TS-E lenses?


On the other hand, the Universalis still allows their own electronic lens board to be used, even with the new "RotaFoot" ?

Thanks!

 

[wallpaperviking]

And I am glad that Arca develope new products- I got my Fuji gfx adapter last week, and I find it a pity that i didnt know the new products before.
All my test shots are made with F11. this is the aperture that I use 90 procent in my work. Afcourse F8 would be better- on all lenses, but in the practical use it is mostly not possible. You can use F8 for landscapes and products shots, where you can tilt. But no way when shooting architecture. even with 35mm when you use tilt-shift lenses from canon-nikon you must take F11 to get good edges.
I try to use 5,6-8 with digaron 23 mm and digaron W 32,40,50 and SW 90 mm. I see the difference even on the old 80MP back, but you need a subject that allows you to use F8. This is the differance between theory and practical work.
And when you work you want to on the work, not only on technical stuff.
about the vignitting: the combo Fuji and arca have vignitting that starts with 18 mm vertical shift or horizontal 25mm.
I tested till now 47,55, digaron 50 mm.

Thanks again for the in depth breakdown of these lenses, very interesting to me! I currently only have the GFX 50S so a lot of this is not particularly relevant at the moment, as I imagine the colour cast with these lenses would be pretty horrible... Am considering the GFX100S though..

You don't have the Canon 50mm TS-E by any chance? I just received one and would love to know how these various lenses compare. As you note, these 35mm lenses only enable 12mm Shift, which isn't a great deal really...


When you say that "the combo Fuji and arca have vignitting that starts with 18 mm vertical shift or horizontal 25mm", that is when the camera is in "horizontal/landscape" orientation?

If so, that is somewhat the opposite of the issues that most people run into with such lenses right? They generally run into vignetting issues and/or running out of image circle, when the camera is a vertical/portrait orientation?

So the issue is that vignetting is being caused by the top/bottom of the Fuji lens mount? The section of your test image shows the bottom being blacked out, once again, I also would have thought the top would be more of an issue, when doing such extreme "front rises" ?

Thanks again and apologies if I am missing something obvious here....

 

[Alkibiades]

Thanks again for the in depth breakdown of these lenses, very interesting to me! I currently only have the GFX 50S so a lot of this is not particularly relevant at the moment, as I imagine the colour cast with these lenses would be pretty horrible... Am considering the GFX100S though..

You don't have the Canon 50mm TS-E by any chance? I just received one and would love to know how these various lenses compare. As you note, these 35mm lenses only enable 12mm Shift, which isn't a great deal really...


When you say that "the combo Fuji and arca have vignitting that starts with 18 mm vertical shift or horizontal 25mm", that is when the camera is in "horizontal/landscape" orientation?

If so, that is somewhat the opposite of the issues that most people run into with such lenses right? They generally run into vignetting issues and/or running out of image circle, when the camera is a vertical/portrait orientation?

So the issue is that vignetting is being caused by the top/bottom of the Fuji lens mount? The section of your test image shows the bottom being blacked out, once again, I also would have thought the top would be more of an issue, when doing such extreme "front rises" ?

Thanks again and apologies if I am missing something obvious here....

fist of all you can use the 50 MP sensor with all these lenses and yes the CC will be strong but still removable by capture one. I am sure 12-15 mm can be corrected with no issuice, more maybe not. it is magic to see that the 100 sensor dont need CC in the most situations- but i would do it anyway when centefilter is not used.
All test shots are made here are made with the camera in landscape position- horizontal position.
to the Canon 50mm TS-E : yes I have the lens also, as I have 17-24II, 50 mm canon T-S lenses, also zeiss 35mm shift, mamiya 50 shift, canon 11-24 mm on hartblei T-S and the 15 mm shift from laowa. sadly I sold my hartblei -zeiss 40 mm lens before 100S was introduce, this would also be a great lens for this.
In my opinion the 50 mm canon is the best T-S lens with simply Incredible performance. And it works very well on Fuji.
I use for this a simple adapter that you get for 300 euro. Works fine with all canon lenses.

 

[Alkibiades]

I done some testshots also with longer lenses also.
The vignitting at 20 mm ist still there as also with a longer 135 mm lens.
I tested Schneider Apo Digitar 4,5/90 mm and Schneider Apo Digitar N 53° 5,6/100 mm.
here we starts with Apo digitar 90 mm

 

[Alkibiades]

here the Apo Digitar 53°n 5,6/100 mm

 

[Alkibiades]

both lenses perform very well, and really sharp even at 20 mm rise.
I found the 100 mm tick sharper aspecially at the corners- this could be becouse the 100 mm has much larger image circle.
I tested also the 100 mm at 28 mm rise.:

 

[Alkibiades]

the 100 mm is a great lens, even at 28 mm movements the lens is really sharp even at the borders.
the 90 mm seems also to have strong CA wide open, at 11 not where the 100 mm has no CA even wide open.
at 28 mm shift you see the vignitting.

 

[Alkibiades]

here the test on other subject.
first 90 mm- both lenses with 20-22 mm rise- you see some vignitting on the bottom

 

[Alkibiades]

now the same with the Apo Digitar 5,6/100 mm:

 

[Alkibiades]

both lenses performe really well on 100 MP. even the corners are really sharp at 20 mm movements.
The 100 mm is even sharper at the corners.
this is logic becouse the 100 mm has much larger image circle.
all test shots made with F11.
the 100 mm is crazy sharp even at F5,6.
the 90 mm perform very good at F8, but wide open it have CA .

 

[wallpaperviking]

Awesome! Love ya work!