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Thread: Schneider Super Angulon XL 47mm f5.6

  1. #31
    Steven Ruttenberg's Avatar
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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Gudmundur Ingolfsson View Post
    Attachment 178378Attachment 178379 Interiors Hotel Reykjavík 2008, both shifted 12mm,one down, one up !
    Was that with center filter and 4x5 film? Did you crop it any?

  2. #32
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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Jac@stafford.net View Post
    I hope that one day you can try the 10mm lens. The first thing you should notice is how very large it is compared to other wide lenses for 35mm. I hope someone more knowledgeable can tell us whether its construction helps defeat the problems from angular projection of the rear lens to film/sensor.
    I use an IRIX 15 mm lens (gonna get their 11mm) and it has a 100 degree field of view on the long side of 36x24. It is an impressive lens with extremely little distortion. I am sure it has a decent size image circle, but haven't measured it. Could be used on an Cambo Actus I think. My friend wants to try it out.

  3. #33
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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Pere Casals View Post
    You still have great movements: Tilt and swing !!!

    You would have no translational movements, Shift/Rise, but with Tilt ans Swing you may keep in focus a near flower and a distant mountain, so this is no a nasty limitation for landscape, but it can be for architecture.
    Very true. I am still working to learn how to tilt/swing, not as easy as it looks on paper.

  4. #34

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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Steven Ruttenberg View Post
    Very true. I am still working to learn how to tilt/swing, not as easy as it looks on paper.
    Steven, that's quite easy...

    Simply thing how you want to place the plane of focus, then if you tilt-swing the lensboard the focus plane does the same, it also tilts-swings in the scene in the same way. In the rear stand standard it just works the counter, if you tilt/swing in one sense then the focus plane in the scene does it in the other sense.

    ... but if you tilt/swing in the rear then (with on axis tilt) the center of image circle remaind in the center of the sheet. A tilt/swing in the front standard displaces de image circle like if illuminating with a torch, and you may have to put the image center in the center of the sheet again with shifts/rise...

    ...just take a 3D scene with near and distant objects and pactice half an hour by placing objects at different distance in the focus plane, doing it both with front or rear movements... after that you can also can practice shift-rise.

  5. #35
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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Pere Casals View Post
    Steven, that's quite easy...

    Simply thing how you want to place the plane of focus, then if you tilt-swing the lensboard the focus plane does the same, it also tilts-swings in the scene in the same way. In the rear stand standard it just works the counter, if you tilt/swing in one sense then the focus plane in the scene does it in the other sense.

    ... but if you tilt/swing in the rear then (with on axis tilt) the center of image circle remaind in the center of the sheet. A tilt/swing in the front standard displaces de image circle like if illuminating with a torch, and you may have to put the image center in the center of the sheet again with shifts/rise...

    ...just take a 3D scene with near and distant objects and pactice half an hour by placing objects at different distance in the focus plane, doing it both with front or rear movements... after that you can also can practice shift-rise.
    Thanks for the pointers and info.

    I so wish I didn't have to work. Photography, especially the travel to a places, set up etc to finally pushing the shutter release and all that follows afterwards is so much more fun than being an engineer. But it keeps the roof over the family 's head so guess it's all good.

  6. #36

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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by Steven Ruttenberg View Post
    Very true. I am still working to learn how to tilt/swing, not as easy as it looks on paper.

    Steven - Corran's right. Even at f22+, it is difficult achieving full 5x4inch film area with the SA XL 47mm f5.6 lens on a field or technical camera. It is possible on a dedicated plane parallel rigid rear standard dedicated architectural type camera with geared shift for precise zero'ing (and still hard work). The challenge with this super wide angle, lies more in trying to terminate and zero all movements completely.

    I've always preferred the square format and work 4x4 inch format, using 1/2 inch either side for handling. Perhaps this is too different a work flow, although it enables the lens to be used with cross-shift movements (image), without the fastidious energy to work within its tight image circle.

    RJ

    Click image for larger version. 

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  7. #37
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    Re: Schneider Super Angulon XL 47mm f5.6

    Hi RJ - nice photo!
    Bryan | Blog | YouTube | Instagram
    All comments and thoughtful critique welcome

  8. #38
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    Re: Schneider Super Angulon XL 47mm f5.6

    I like the square format as well. I am not locked in to a certain aspect ratio. Definitely a nce image. Zeroing isn't so bad, but if you go for square crop and shoot it that way, then you have plenty of image still with movements. Just have to make sure the vignetting doesn't creep into the part of image you want to keep.

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    Re: Schneider Super Angulon XL 47mm f5.6

    Thanks Corran - it is a kind of "here's one I did earlier" - shot a decade ago - at night. Returning to using the lens recently, I'm amazed at how much I have been struggling with remembering how to use it - this includes photographing my tripod feet....unintentionally.

    Steven - in field use, checking for vignetting on an already darkened LF ground glass with an extreme wide-angle lens - at night - in a busy city precinct isn't as easy.

    Advocates of the shining pen torch from the object end of the lens to check the corners will struggle with craning their neck 120 degrees across each corner to check for vignetting. This is how tight the tolerances of the IC for the SA XL 47mm f5.6 is - especially at wider apertures.

    When we willingly embrace limits, we discover our freedom. The square format makes the best use of the image circle of any production lens, over and above the rectangular format. I do shoot rectangular format too! Although with this particular lens and its limitations, I've found it easier to adapt the format to match the lens.


    RJ

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    Re: Schneider Super Angulon XL 47mm f5.6

    Quote Originally Posted by RJ- View Post
    Thanks Corran - it is a kind of "here's one I did earlier" - shot a decade ago - at night. Returning to using the lens recently, I'm amazed at how much I have been struggling with remembering how to use it - this includes photographing my tripod feet....unintentionally.

    Steven - in field use, checking for vignetting on an already darkened LF ground glass with an extreme wide-angle lens - at night - in a busy city precinct isn't as easy.

    Advocates of the shining pen torch from the object end of the lens to check the corners will struggle with craning their neck 120 degrees across each corner to check for vignetting. This is how tight the tolerances of the IC for the SA XL 47mm f5.6 is - especially at wider apertures.

    When we willingly embrace limits, we discover our freedom. The square format makes the best use of the image circle of any production lens, over and above the rectangular format. I do shoot rectangular format too! Although with this particular lens and its limitations, I've found it easier to adapt the format to match the lens.


    RJ
    I try to make sure the lens is squarely centered on the frame front to back before shooting. At night corner vignetting isn't as big a problem as during the day. But the square crop is as you say works very well with a circle. I like the freedom of wide lenses for many things and sometimes you have to know your limitations with them and use those to your advantage.

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