Try a 90 angulon. Not the SA version. I have a wollensak 90 that can hang close to it, but nothing can touch my 4" red dot.
Try a 90 angulon. Not the SA version. I have a wollensak 90 that can hang close to it, but nothing can touch my 4" red dot.
Lots of ideas. Some of the lenses associated with the Mamiya Universal 6X9 system were able to resolve in the 80 lppm world. And they're all sized for No. 0 shutter, although the original Seikosha shutters do not have a cable release socket which is frustrating once they come out of the focus mechanism. The 75mm f5.6 is well loved, and there was a 100mm f2.8 which was a japanese copy of Zeiss Planar. Even the tessar types were very excellent. Many 20X30's made with this system back in my youth.
I also agree with Bill. Many of the original Kodak lenses have been tested and proven to be resolving in the extreme high numbers. So you may be looking in the wrong place. Old cameras are notorious for not focusing where their ground glasses claim they are. Be smart before you waste a bunch of $$$. Get John Williams book, Image Clarity and work through the entire system of high resolution instead of going after silver bullet lenses.
Ah, 'Image Clarity' available in Kindle format $5. I sat on my Kindle last week, but I can still read it on my Air 11.
Thanks for the book suggestion!
Already have it, instant delivery.
Tin Can
Now it comes down to what you really mean.
How big, or small is tiny?
How badly do you want sharp?
What about distortion, color fringing (the more color fringing the wider fine lines against a high contrast background will be in black and white), aberrations?
What is cheap? And 80 lppm is not even close to what these lenses can do. Neither is a reversed enlarging lens.
So here is the benchmark of what is easily acheivable with off the shelf lenses for roll and digital material. Note: those lenses that use the cover glass of the sensor as part of the formula require a screw-in rear glass plate with film. 80
"HR Digaron-S special features:
➢ Resolution up to 100 line pairs/mm, pixel size up to 5 μm.
➢ The open aperture is free of vignetting and can be used as a working aperture.
➢ Excellent imaging performance at working apertures from 5.6 to 8.
➢ To avoid blurring and color fringing caused by the sensor protection glass, the calculation of the optical design includes a 2 mm thick sensor glass..
➢ Perfect symmetric reproduction due to special adjustment of the optical elements.
➢ Thanks to the retro focus design of the wide-angle lenses there is no additional light fall-off and no color fringing on the sensors with micro lenses due to extremely oblique light incidence.
➢ Enough space left for camera movement between lens and sensor even withshort focal lengths.
Available focal lengths: 23 mm, 28 mm, 35 mm, 60 mm, 100 mm, 180 mm
HR Digaron-W special features:
➢ Resolution up to 100 line pairs/mm, pixel size up to 5 μm.
➢ Openaperture is free of vignetting and can be used as a working aperture.
➢ Excellent imaging performance at working apertures from 5.6 to 8.
➢ To avoid blurring and color fringing caused by the sensor protection glass, the calculation of the optical design includes a 2 mm thick sensor glass..
➢ Perfect symmetric reproduction due to a special adjustment of the optical elements.
➢ Thanks to the retro focus design of the wide-angle lenses there is no additional light fall-off and no color fringing on the sensors with micro lenses due to extremely oblique light incidence.
➢ Enough space left for camera movement between lens and sensor even withshort focal lengths.
Available focal lengths: 32 mm, 40 mm, 50 mm, 70 mm
HR Digaron-SW special features:
➢ Resolution up to 100 line pairs/mm, pixel size up to 5 μm.
➢ Open aperture is free of vignetting and can be used as a working aperture.
➢ Excellent imaging performance at working apertures from 5.6 to 8.
➢ ITo avoid blurring and color fringing caused by the sensor protection glass, the calculation of the optical design includes a 2 mm thick sensor glass..
➢ Perfect symmetric reproduction due to the special adjustment of the optical elements.
Available focal lengths: 90 mm (further focal lengths will follow)
I simply use the same small lenses as for 4x5, choosing from among modern Fuji A's, Nikkor M's, and even small plasmats. And I consistently get sharper results than from any of my dedicated MF lenses. People will no doubt contest that assessment, but once you figure in the ability to control plane of focus using view camera movements rather than just stopping down, it is logical. Unfortunately, the shortest focal length tiny lens I own is a 105 Nikkor M, so can't help you with that 80mm
category. But I bet the aspheric 80mm Schneider would do the trick nicely - but it ain't cheap either.
Bob, I just went to http://www.rodenstock-photo.com/ to see claimed coverage for these lenses. I'm sure that they're all outstanding but not all will cover 2x3. No HR-Digaron-S covers the format but the two longest HR-Digaron-Ws do. The site doesn't list HR Digaron-SWs, does list Apo Sironar digitals. Is HR-Digaron-SW the new name for Apo Sironar digital? By any name, they all cover 2x3 but the shorter ones have quite short back focus.
The information you posted could be more up-to-date that what's on the site. Or, perhaps, vice versa.
Cheers,
Dan
Digaron-S (former name: Apo-Sironar digital HR)
23 mm f/5.6 1:∞ 5.6-8 112° 70 mm
28 mm f/4.5 1:∞ 5.6-8 101° 70 mm
3 5 mm f/4 1:∞ 5.6 90° 70 mm
60 mm f/4 1:∞ 5.6 60° 70 mm
HR Digaron-W (former name: Apo-Sironar digital)
40 mm f/4 1:∞ 5,6-8 94° 90 mm
50 mm f/4 1:∞ 5,6-8 84° 90 mm
70 mm f/5,6 1:∞ 5,6-8 70° 100 mm
90 mm f/5,6 1:∞ 5,6-11 70° 125 mm
Apo-Sironar digital / Apo-Macro-Sironar digital
5 mm f/4.5 1:∞ 8-11 111° 105 mm 28 / 25 26 / 21 25 / 22 21 / 18
45 mm f/4.5 1:∞ 8-11 107° 125 mm 39 / 3 5 38 / 3 2 36 / 3 2 32 / 29 8 / 7 4 / 3
55 mm f/4.5 1:∞ 8-11 95° 125 mm
105 mm f/5.6 1:∞ 8-11 62° 125 mm
135 mm f/5.6 1:∞ 8-11 58° 150 mm
150 mm f/5.6 1:∞ 8-11 53° 150 mm
180 mm f/5.6 1:∞ 8-11 45° 150 mm
120 mm f/5.6 1:5 - 2:1 8-11 55° - 24° 150 mm
100 mm f/4 1:∞ 5.6 3 9° 70 mm
180 mm f/5.6 1:∞ 5.6-8 25° 80 mm
Dan,Originally Posted by Dan Fromm
What I listed was taken directly from the new information that will replace what is currently on the factory web site. It is also basically the same as the latest brochure from Rodenstock.
What I quoted was written within the last month.
The 90mm 5.6 HR Digaron-W went out of production over 2 years ago and was replaced at the 2012 Photkina with the current 90mm SW lens. The 90mm SW is the first, and so far the only, lens in this new series. More lenses are in preparation for the SW series. The SW covers 120mm at F8.
6x9cm requires a 100mm circle of illumination at infinity. 6x7cm requires 91mm. So, of the current Rodenstock digital lenses 10 cover a 120mm circle, or larger (including the 120mm Apo Macro Sironar Digital) and 9 cover a 90mm or smaller circle (3 cover 90mm).
However, in the digital lenses from Rodenstock there is a 32mm, two 35mm, a 40mm a 45mm a 50mm and a 55mm as well as a 60mm.
While the 32mm only cover a 90mm circle one of the 35mm covers a 105mm circle, the 40mm covers 90mm but the 45mm covers 125mm. The 50 covers 90mm but the 55 covers 125mm and the 60mm covers 70mm.
So, while not all of them cover 6x9 there are other Rodenstock lenses that do at the same, or very nearly the same, focal length. For digital applications the choice of lens is also driven by the pixel size and that is not a factor for film. The lenses for the smallest pixel sizes also have the narrowest circles.
Unfortunately for film shooters using 6x7 or 6x9 the 23mm and 28mm lenses will not cover those formats. But then again, like the 32mm these are very large and rather heavy lenses. The 28mm weighs 29.3 oz, the 23mm weighs 26.5 oz and the 32mm weighs 28 oz. The 32 uses an 82mm filter and the 23 and 28mm take 72mm filters. Also rather large is the 90mm SW weighing 24oz and using 72mm filters as well.
In comparison the 35mm 4.5 digital weighs 10.6 oz and takes 67mm filters. So the lenses that are the largest, and the shortest and the most expensive would meet only one of the OP requirements, SHARP!
Does anyone have experience with the shorter focal length lenses Horseman once marketed for 6x9? No - I certainly don't expect them to be as acute as these new
digital lenses, and no, I'm not interested in buying any myself, but am simply curious.
I have the 65mm and 75mm Horseman lenses, called Super Horseman. They are good lenses, capable of about 70 lpm in the center, 45-55 on the corners of 6X9 cm format.
My fairly late vintage Schneider 65mm MC Super Angulon f/5.6 is quite a bit better than the Horseman. It will do about 90 lpm in the center, and 75+ lpm on the corners (of 6X9 cm format).
My personal opinion is that last generation MC lenses like the Super Angulons, Apo-Symmars and Apo-Sironars, etc. are good enough for film of ASA 100 or more because the limit to resolution is usually film, not the lens. For digital sensors of pixel size less than 5 μm you probably need a digitar lens.
Sandy
For discussion and information about carbon transfer please visit the carbon group at groups.io
[url]https://groups.io/g/carbon
My Fuji A's and Nikkor M's seem plenty sharp, and indeed film limited for 6x9. Shot my last roll of Efke 25 on this past trip, and otherwise did all the B&W 120 shots with ACROS, which has better quality control anyway, along with a lovely spectral sensitivity in the mtns. I also carried it in full 4x5 sheets. So it's nice to have one camera and one set of lenses and filters which cover both formats efficiently. The drive back from Wyoming had to be scheduled a bit more carefully because I had
certain campsites in mind, wanted to reach them before dark, was taking backroads rather than the freeway, and therefore only had time to set up the 4x5 for a limited number of shots. So I also had a P67 for quickie road shots, which proved invaluable this trip with rapidly changing dramatic clouds and so forth. Good lenses, but probably not quite as sharp as some MF rangefinder lenses. Better lens selection, however, esp longish, and nice to use in the wind, when view cameras
tend to become kites.
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