How did you accomplish this?Originally Posted by plaubel
How did you accomplish this?
PMFJI. Joe, some sizes of Comparons, Componons and Componon-Ss have cells that are direct fits in standard shutters.
On another topic, you've mentioned that enlarging lenses are, in general, symmetric and don't have to be reversed when shooting above 1:1 or making reductions. Even setting aside tessar types, which are highly asymmetric, plasmat types are optimized for printing, generally for printing not all that large. 6x to 12x covers most of them. This requires asymmetry. Lenses that are really symmetrical are optimized for 1:1.
Since you've got the gear in 135 format to do macro, you owe it to yourself to at least investigate what is being done the past decade or so with focus stacking. The depth of field possibilities with small format macro lenses shot at f/stop sweet-spots for extreme resolution are pretty astounding. It's relatively simple to combine slices of images like an electron microscope scan in Photoshop nowadays. Compare this to the many challenges of 4x5 shooting macro at effective apertures often to f/90 and f/128 at rather shakey levels of extension. Macro is one of several reasons large format is no longer optimal for many kinds of commercial work. Even those who still love process and revere film for what it does best --as I do-- ought to be aware of the areas where LF has been surpassed
Yes, that slipped my mind. The only Componon I have is a 28mm and it is NOT "convertible". I assume this feature only occurred on some of the longer lenses. I know that Computar made some enlarger lenses designed to do the same thing -- perhaps other manufacturers did as well. VERY handy indeed!!!
Sorry, Bob...
Not rue.
Per the Copal #1 shutter data sheet as provided by the manufacturer,
the front thread is 40mm with a 0.75mm pitch.
- Leigh
If you believe you can, or you believe you can't... you're right.
Actually, I prefer a bit longer lens for close-ups.
You can use any lens.
Macro lenses are optimized for close-up work (reproduction ratios of 10:1 or less, down to 1:1) as compared with regular lenses which are optimized for more distant work (reproduction rations of 20:1 or greater).
But all lenses will produce images of all subjects at all distances.
You might get slightly better results with a macro lens, but the difference is slight, not huge.
- Leigh
If you believe you can, or you believe you can't... you're right.
I think this is what I was confused about. I guess in the LF world, any lens would work cause we have bellows. So I'll play around with my new Ysaron 127mm.
Hi Eric,
The critical thing with LF work is your maximum bellows exrension.
There's a simple rule that holds for all lenses:
For a 1:1 reproduction ratio, the bellows extension from infinity focus equals the lens focal length.
So your maximum bellows extension, and whether you can add bellows like on studio cameras, determines your maximum reproduction ratio with any particular lens.
- Leigh
If you believe you can, or you believe you can't... you're right.
Much depends on how much bellows you have and how much magnification you want to achieve. With my 180mm Fujinon A and 360mm of extension, all I can get to is 1X. For more magnification, my only option is to go with a shorter lens, so I switch to my 100mm Minolta Bellows lens. But even that only goes so far, at which point I switch to my 50mm Minolta Bellows lens, etc. I can end up with a really short lens pretty quickly.
The hardest thing has been to find out how to unscrew the Componon S cellgroups from the barrel.
After that, I just screwed the lensgroups into the copal as usual.
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