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Fun with MF images 2026
- Thread starter drevil
- Start date
TimTheHoff
Well-known member
Paul Spinnler
Well-known member
Tim - so vs. the P65 how do you like the P20 - some people say it has a very filmic distinct look
TimTheHoff
Well-known member
I used the P20 a lot years ago. I liked it almost as much as the P65. It was a very good back for its time on the Hassy 500cm, though not as good on a technical camera. The only thing that drove me crazy was the cable to the lens’s X-sync contact… there were always problems with it.
The look was organic. I really liked it.
well...one...one-two...one-two-three...one-two-three-four
(just to honor the danish painter Wilhelm Hammershøi - 1865-1916)
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/20 f8 hand through C1
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/10 f8 hand through C1
Thorkil
(just to honor the danish painter Wilhelm Hammershøi - 1865-1916)
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/20 f8 hand through C1
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/10 f8 hand through C1
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/15 f8 hand through C1
Hasselblad X2D with Leica 24/2.8M Elmarit Asph at iso3200 1/15 f8 hand through C1
Thorkil
cunim
Well-known member
I haven't made any new shots in months, so by way of easing back in I'll use something from my comfort zone. This is a Sailor (Japan) fountain pen - model King of Pen. Old school ebonite body and distinctive nib feel. Superb quality but very restrained. In shooting something this subtle, I try to see it through the eyes of its designer. Every glint and curve was intentional and interesting for him or her. The fun lies in trying to make that interest appear in what is, at heart, a black rubber tube.
IQ4, Rodenstock 120 macro, f16, single plane, lotsa tilt. Composite of three exposures. Two hard LED lights, one diffuse panel LED, two mirrors, and a strobe under the frosted table.
IQ4, Rodenstock 120 macro, f16, single plane, lotsa tilt. Composite of three exposures. Two hard LED lights, one diffuse panel LED, two mirrors, and a strobe under the frosted table.
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mristuccia
Well-known member
MARIELLASR2425
Siracusa, Harbor (Sicily)
Cambo WRS-1600 | HB CFV-100c | SK 72L
Siracusa, Harbor (Sicily)
Cambo WRS-1600 | HB CFV-100c | SK 72L
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John Leathwick
Well-known member
Some images from a recent 5-day trip to Arthurs Pass in NZ's Southern Alps. All were taken with a GFX100s/F-Universalis, with lenses noted below each...
-John
Rodenstock Grandagon-N 65mm - left-right shift +/-15mm - all I needed was some more inspiring light!
S-K Apo-Symmar 100mm with left-right shift - these boulder fields are habitat for NZ's alpine wren, which came and checked me out while I was taking this.
S-K Digitar 47mm with +/- 8mm of rise/fall
Nikkor M 200mm with left right shift of 15mm, front rise of 10mm - while fending of clouds of voracious 'sandflies', small biting black-flies
-John
Rodenstock Grandagon-N 65mm - left-right shift +/-15mm - all I needed was some more inspiring light!
S-K Apo-Symmar 100mm with left-right shift - these boulder fields are habitat for NZ's alpine wren, which came and checked me out while I was taking this.
S-K Digitar 47mm with +/- 8mm of rise/fall
Nikkor M 200mm with left right shift of 15mm, front rise of 10mm - while fending of clouds of voracious 'sandflies', small biting black-flies
Paul Spinnler
Well-known member
S3 - Belvoir Park, Zurich
gcap
Well-known member
Paul Spinnler
Well-known member
Best buy of the year, the 72 AD, right
It is a perfect lens within its IC. In my book it is right up there with the 70 HR and in some regards better, especially for architecture.
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mristuccia
Well-known member
Yes. And honestly it is has been a big surprise for me. I didn't expect such quality level. I needed something around that focal length and I resorted to buying the 72L from @Whisp3r because the 60XL is way out of my budget.Best buy of the year, the 72 AD, right
I've re-shimmed the 72L by following the well know procedure shared by @rdeloe, it needed a bit less shim than what I've found already there. Now it is perfectly fine-tuned for my CFV-100c.
My constraints for tech cam lenses: copal shutter and rectilinear design.
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Paul Spinnler
Well-known member
The 72 also lends itself very well for this more compressed, nicely proportioned look - not too long like the 90/100 and also not too small IC to be overly constaint in capturing architecture with a more LFesque feel to it. Massively undervalued due to availability - but it punches at the same level as the 70 HR and re CA control even supercedes it. I think when it was regularly for sale it cost a bit less than the 70 HR in Alpa mount, but not much more. It should be a 3-4k lens performance-wise. Keeper.
rdeloe
Well-known member
I haven't had a chance to use my new APO-Digitar 72/5.6 in a lot of actual photography (as opposed to evaluation photography). However, so far I haven't seen anything to complain about. I especially appreciate that it is the only lens on my technical cameras where tilt and swing are completely "neutral". I don't need to correct the composition with rise/fall or shift after applying tilt/swing. The lens is also extremely unfussy. It has a nicely flat field of focus and performs reliably and consistently across the image circle. No fuss, no muss.
It's a 75mm lens by the way. Marketing won the arm wrestling contest with engineering when they decided on the name. In my book, 74.9mm rounds up to 75mm, not down to 72mm!
Paul Spinnler
Well-known member
It is the secret SK gem. Alognside the 120 ASPH also THE repro lens given the extremely low distortion. And no CA. There's just the a tad smaller IC gripe, but for some uses it IS a superior choice over a 70 HR whenever accurate reproduction is needed. And it weighs nothing.
It does generate a bit lens cast when shifted, but besides this, it is literally perfect. Short of the 60 XL, it is an excellent choice. But even if you own a 60 XL, the 72 XL is a nice "tad" longer focal length. I'd never sell mine. Clearly can be seen how good it is in the tech cam thread with the building shots.
It does generate a bit lens cast when shifted, but besides this, it is literally perfect. Short of the 60 XL, it is an excellent choice. But even if you own a 60 XL, the 72 XL is a nice "tad" longer focal length. I'd never sell mine. Clearly can be seen how good it is in the tech cam thread with the building shots.
DMPhoto-IT
Active member
Hi Marco, what do you mean by fine-tuning? Does it also work for the other Digitar lenses like the 28 and 35? Could you tell me where I can find the procedure explained by @rdeloe, please?
mristuccia
Well-known member
Hi @DMPhoto-IT,
Here are some threads where such topic is discussed:
Wide symmetrical lenses on Fuji GFX bodies: the case of the Schneider-Kreuznach APO-Digitar 35/5.6
Mirrorless medium format cameras from Fuji and Hasselblad combined with digital view cameras from manufacturers such as Arca-Swiss and Cambo are an economical way to gain tilt, swing, rise, fall and shift movements. As with every tool, there are limitations. Notably, the flange distance of all...
www.getdpi.com
Diagnosing optical performance problems
This topic comes up a lot, and has come up again in Warren's APO-Digitar performance thread. To avoid taking Warren's thread even further off course, I'd like to start a conversation here. This is my take on diagnosing optical performance problems. There are lots of experienced people here, so...
www.getdpi.com
Objective APO Digitar Performance Testing - Let's Compare Our Results
Over the years, there's been a lot of discussion about the performance of APO Digitar lenses at various shift amounts, particularly with wide angles. Reports vary - some photographers are achieving excellent results at 15-20mm of shift on the larger Phase One IQ4 150 sensor, while others report...
www.getdpi.com
I usually only focus on shimming the front cell, which varies the distance between it and the rear cell, until I achieve the best and most uniform sharpness across the entire IC. That means flattening the lens field curvature for a specific camera or digital back body, as the thickness of the sensor’s covering glass affects the optical formula.
