one tip, Linhofs have a top track above the focus rail for just this purpose, wide \ standard \ telephoto designs; that means wide lenses, which have the rail right back and you drop_bed, with rear tilt to clear the field of view of the camera base, standard = focal length apart, Telephoto means full out, for long extensions (also with these the rear plate can be pulled off the standard to allow extra ext. (~530mm total?); Also for ~75mm wide angle lenses and under you need a special focussing belows, as for these "field" cameras the std is on the storage rail, so you can't focus (and for some lenses, a recessed board to get the rear element close enough to obtain infinity focus).
Thanks for the video, one question... What 90 is that? Looking to get a Chamonix and Nikon 90 f8 or 4.5 but would want it to fit without taking the lens apart everytime I want to use it. Thanks
great video, and also one point, with cameras like Linhof Technika's the standards' position on the "focus rail" is set by movable (and raise/lower) stops, so how does one tell if, say buying a second hand camera, that these stops are correctly set up; also the question is relevent to the lensboard type, ie std, top-hat, or Recessed?, and when you say 58mm is wide angle, are you saying it is ~18mm lens equiv. in 35 mm format?
Against all good judgement I ordered an 8x10 Svedovsky and got a Schneider Kreuznach 300- and 360mm from 80 years ago. The 360 covers even 11x14. Also bought and refurbished an 8x10 Polaroid processor.
Too many folks venturing into the world of view cameras bring their roll film camera habits with them into a world where roll film camera habits, tendencies and all often do not apply. The view camera is essentially a light tight box that is flexi in the center with the ends of this box movable, one end holds the lens, the other holds the ground glass and film holder frame. Too many decide and purchase camera first, then discover the lenses they need and want for their image making goals flat will not work with the view camera they purchased. This common problem is compounded by the current fashion of wanting/owning the lightest weight field folder view camera. The print image goal (outdoor landscapes, studio table top, architectural, macro, portraits and ...) must be the top priority list as this will drive the lenses required to achieve these print image goals which fixes what the view camera must support. For those venturing into view camera should consider ownership of modern view camera lenses made by Rodenstock, Fujinon, Schneider, Nikkor from the early 1980's to about 2000. Majority of these modern VC lenses are in a Copal, Prontor Pro, Compur shutter with proven reliability, repeatability, durability and plenty of image circle once the appropriate focal lengths and lens type is chosen for a given sheet film size. . Modern view camera lenses from these big four are essentially much the same optical performance wise as there were nil "hobbyist" view camera lenses made as the view camera has been the essential image making tool for image makers trying to put food on their table, roof over their head earning their daily survival in the extremely competitive world of commercial image making. Know modern view camera lenses are optimized for best optical performance at f22 and ideally should be used with taking apertures of f11 to no smaller than f45 as diffraction will impact optical performance. Vintage view camera lenses are a different kettle of fish, not ideal or recommended for those trying to learn how to view camera as the learning curve is already steep enough without the problems that come with VC hardware that does not function properly.
Hi Nico, thank you! By the way, is there any sort of wiki, or database/site out there that lists the image circles for all LF lenses? That would be helpful to know what covers what.
Like Daniel mentioned the Large format web is pretty good for most things. If you google 4x5 lenses or 8x10 lenses you will find their charts. Then you can go into each manufacturer and find the specs, but its not always a quick search.
@@tauernphotos They also have a list for 6x9 / 6x12 / 6x17 / 5x7 / 8x10 . you can find them most of the time when searching for someone per example "8x10 Lenses". Th lists are always one of the first sides that pop up
It's too bad you failed to mention, a 57mm ultra wide-angle lens doesn't cover a 4X5 negative. It images a circle of about 105mms at f32 and infinity. I owned one and traded for a Super-Rodegon 65mm f 5.6 which WILL cover a 4X5 negative at f22 and infinity or closer. My "money maker" is a 305mm f5.6 APO-Rogenar-S on my 8x10 Toyo View V. Everytime I click the shutter, $280-odd dollars go into my bank account, shooting Fujichromes. I call it my 1990 Cadillac because the lens cost about QUADUPLE what an El Dorado did! As long as the art director's want big 'chromes, I'll make 'em.
good sum up, one guide would be to have wooden go-gauges, which measure from the film plane, to the desired infinity focus for the lenses, and you can label which lens it is for, saving confusions, even something like a carpenters wodden square, or simmilar. the Linhof's have a focus scale on the bed of the camera, with a pointer on the upper rail, if the pointer is on the scale of the lens you have on currently, all's good :-) , but this also gives a clue as to which way to go to get close.
OMG I am surprised that people get to large format without understanding those basics principle of f distance .... I guess most hipster come from digital and just want something they can brag about . F they didn’t notice with their digital lens that when you rotate the ring to focus it does basically change distance between glasses and film, and 210 mm are longer than lens than 35 mm . It’s exactly the same principle .... G i am so surprised again. Anyway man your are really patient and keep up the good work .
I am not a hipster, but a 50+ woman who does not come from digital photography, and totally new to film in general (in ernest this time around), so no, I wouldn't have known about this at ALL. Please be patient with new people like me, not all of us have your long experience and genius, which I humbly bow to.
one tip, Linhofs have a top track above the focus rail for just this purpose, wide \ standard \ telephoto designs; that means wide lenses, which have the rail right back and you drop_bed, with rear tilt to clear the field of view of the camera base, standard = focal length apart, Telephoto means full out, for long extensions (also with these the rear plate can be pulled off the standard to allow extra ext. (~530mm total?); Also for ~75mm wide angle lenses and under you need a special focussing belows, as for these "field" cameras the std is on the storage rail, so you can't focus (and for some lenses, a recessed board to get the rear element close enough to obtain infinity focus).
Thanks for the video, one question... What 90 is that? Looking to get a Chamonix and Nikon 90 f8 or 4.5 but would want it to fit without taking the lens apart everytime I want to use it. Thanks
Great info as usual!!! Nobody ever explained it as clearly as you did!!!
Thanks Brian, I do try to digest it as much as possible.
that 90 you can connect if you unscrew the back of it and put the bellows over it after putting it back together on the camera.
Yeah, I have done it before, now I mostly use it on a Sinar so I dont need to do that.
Thanks Nico, you as always are a excellent teacher! I constantly learn from you.
Thanks Cerita! Remember if you have any doubts let me know.
@@NicosPhotographyShow Thanks Nico! Awesome.
Is that the camera they hurt, during the move? Thanks for video
great video, and also one point, with cameras like Linhof Technika's the standards' position on the "focus rail" is set by movable (and raise/lower) stops, so how does one tell if, say buying a second hand camera, that these stops are correctly set up; also the question is relevent to the lensboard type, ie std, top-hat, or Recessed?, and when you say 58mm is wide angle, are you saying it is ~18mm lens equiv. in 35 mm format?
Against all good judgement I ordered an 8x10 Svedovsky and got a Schneider Kreuznach 300- and 360mm from 80 years ago. The 360 covers even 11x14. Also bought and refurbished an 8x10 Polaroid processor.
Too many folks venturing into the world of view cameras bring their roll film camera habits with them into a world where roll film camera habits, tendencies and all often do not apply. The view camera is essentially a light tight box that is flexi in the center with the ends of this box movable, one end holds the lens, the other holds the ground glass and film holder frame. Too many decide and purchase camera first, then discover the lenses they need and want for their image making goals flat will not work with the view camera they purchased. This common problem is compounded by the current fashion of wanting/owning the lightest weight field folder view camera.
The print image goal (outdoor landscapes, studio table top, architectural, macro, portraits and ...) must be the top priority list as this will drive the lenses required to achieve these print image goals which fixes what the view camera must support. For those venturing into view camera should consider ownership of modern view camera lenses made by Rodenstock, Fujinon, Schneider, Nikkor from the early 1980's to about 2000. Majority of these modern VC lenses are in a Copal, Prontor Pro, Compur shutter with proven reliability, repeatability, durability and plenty of image circle once the appropriate focal lengths and lens type is chosen for a given sheet film size. . Modern view camera lenses from these big four are essentially much the same optical performance wise as there were nil "hobbyist" view camera lenses made as the view camera has been the essential image making tool for image makers trying to put food on their table, roof over their head earning their daily survival in the extremely competitive world of commercial image making. Know modern view camera lenses are optimized for best optical performance at f22 and ideally should be used with taking apertures of f11 to no smaller than f45 as diffraction will impact optical performance. Vintage view camera lenses are a different kettle of fish, not ideal or recommended for those trying to learn how to view camera as the learning curve is already steep enough without the problems that come with VC hardware that does not function properly.
Well done!! (As always!)
Thanks!
Hi Nico, thank you!
By the way, is there any sort of wiki, or database/site out there that lists the image circles for all LF lenses?
That would be helpful to know what covers what.
Here you’ll find the informations you are looking for. ;) www.largeformatphotography.info/lenses/LF4x5in.html
Like Daniel mentioned the Large format web is pretty good for most things. If you google 4x5 lenses or 8x10 lenses you will find their charts. Then you can go into each manufacturer and find the specs, but its not always a quick search.
@@tauernphotos They also have a list for 6x9 / 6x12 / 6x17 / 5x7 / 8x10 . you can find them most of the time when searching for someone per example "8x10 Lenses". Th lists are always one of the first sides that pop up
It's too bad you failed to mention, a 57mm ultra wide-angle lens doesn't cover a 4X5 negative. It images a circle of about 105mms at f32 and infinity. I owned one and traded for a Super-Rodegon 65mm f 5.6 which WILL cover a 4X5 negative at f22 and infinity or closer. My "money maker" is a 305mm f5.6 APO-Rogenar-S on my 8x10 Toyo View V. Everytime I click the shutter, $280-odd dollars go into my bank account, shooting Fujichromes. I call it my 1990 Cadillac because the lens cost about QUADUPLE what an El Dorado did! As long as the art director's want big 'chromes, I'll make 'em.
good sum up, one guide would be to have wooden go-gauges, which measure from the film plane, to the desired infinity focus for the lenses, and you can label which lens it is for, saving confusions, even something like a carpenters wodden square, or simmilar.
the Linhof's have a focus scale on the bed of the camera, with a pointer on the upper rail, if the pointer is on the scale of the lens you have on currently, all's good :-) , but this also gives a clue as to which way to go to get close.
OMG I am surprised that people get to large format without understanding those basics principle of f distance .... I guess most hipster come from digital and just want something they can brag about . F they didn’t notice with their digital lens that when you rotate the ring to focus it does basically change distance between glasses and film, and 210 mm are longer than lens than 35 mm . It’s exactly the same principle .... G i am so surprised again. Anyway man your are really patient and keep up the good work .
I am not a hipster, but a 50+ woman who does not come from digital photography, and totally new to film in general (in ernest this time around), so no, I wouldn't have known about this at ALL. Please be patient with new people like me, not all of us have your long experience and genius, which I humbly bow to.
at 3:31, don't you mean sKewing, as in askew, not screwing :-)), as this is a camera, Not a german Frauline !!!