What Is A Standard Len For A Linhoff 4x5 S Camera

Main Technika with digital back

Master Technika with stitching slides and digital back

The most important feature of view cameras used is the large shooting format. Decisive for the utilise of the view camera is the mechanical adjustability, i.e. perspective corrections, rectification of converging lines or the Scheimpflug rule.

he Digi Adapter 001693 for International Back 4×5 is equipped with a Hasselblad Five connector. Information technology creates the connectedness from conventional 4×5 cameras to digital backs adjusted to Hasselblad V. With an appropriate ground glass mask, the image plane can be marked on the ground glass. The image aeroplane must of course be matched.

A special changeable slide is available for the Master Technika cameras (001618). This allows the Primary Technika to be used for subject photography with digital backs with ground glass control. This is recommended as an accompaniment for the RD1 repro camera.
The prerequisite for this is the hands removable rotating back. The MT interchangeable slide allows quick changeover from setting on the groundglass to shooting. It accepts the camera adapter plates for connecting the various digital backs (Hasselblad H, Hasselblad V, Mamiya 645 AF/AFD). The built-in shift allows the entire interchangeable wagon to be shifted 15 mm upwardly and fifteen mm down. Multiple exposures (stitching) increase the shooting area of the digital backs.
Camera adapter plates, focusing screens and viewing systems are the same as for the universal interchangeable carriage.

However, those who use digital backs with big view cameras must accept limitations. Delight refer to the following sections.

Let's look at the size of the digital backs: With a scrap size of 53.7 mm x 40.iv mm (PhaseOne, Leaf), 43.8 × 32.9 mm (Hasselblad), to proper name just a few examples, the digital imaging area of the sensors is far beneath the classic large format 4×5. The same applies to the lenses, or more than precisely the lens focal lengths and image circles.

Large format cameras, which were designed for shooting on conventional film and considerably larger shooting formats, now take to be adjusted to the requirements of the modest sensor formats. The diagram illustrates the size ratio of a 4×v″ flat film to currently mutual sensor sizes of digital backs. The 4×five or nine×12 view cameras (or even larger) are exactly adapted to this large recording area in their mechanics, their adjustment paths and the corresponding large format lenses. Withal, if "only" a small surface area is to be captured in the highest resolution, digital lenses should exist used – in guild to run into all quality requirements – which in turn practise not have such a big paradigm circle to take advantage of the mechanics of the large view cameras. And this is exactly where compromises accept to be made!

The huge aligning ranges of the view cameras chop-chop bring the actual recording format of the digital backs to the edge of the paradigm circumvolve, and the light rays fall obliquely onto the recording surface. This causes color shifts and quality losses. The colour shifts tin be compensated with a calibration (exposure through opal deejay and subsequent calibration in the conquering software of the digital backs).

Not all 4×5 view cameras take optimal fine drives for setting the minimum necessary adjustment paths – whether for focusing or for camera adjustments – every bit precisely every bit necessary. This is especially necessary when shooting with alive view, where control is via the monitor.

For half dozen×nine cameras such equally the Linhof Technikardan Due south half dozen×nine and the Main Technika 6×ix, the universal digi-adapter six×ix for camera adapter plates, lawmaking 001691, is available. This then allows the digital backs to exist attached direct with corresponding adapter plates 001700, 001701, 001702.

Digital backs crave specially corrected digital lenses in order to exploit the full quality of their resolution. These lenses, in plough, have image circles that are matched to the scrap sizes, i.e. the image areas of the digital backs. Of form, this means that the adjustment paths of large 4×5 view cameras tin can just be used to a small-scale extent.

The focal lengths besides work according to the shooting format (dominion of thumb: normal lens corresponds approximately to the format diagonal). Wide-angle shots are also just possible to a limited extent due to the design of large view cameras. The necessary (curt) flange focal length is often not achieved.

Digital lenses, in conjunction with adaptable studio cameras, ensure optimum prototype quality of digital recordings: They offering the best sharpness for total apply of high-resolution chip sensors, excellent dissimilarity for brilliant images of high detail recognition, distortion correction to the greatest extent possible, and optimal image field flattening that takes into account the perfect flatness of digital sensor surfaces, in contrast to film.

With the One thousand 679cs and the Techno, Linhof offers ii camera models that meet all the requirements of high-stop digital photography. Thus, direct and indirect parallel shifts for perspective control too as focus shifts according to Scheimpflug are also possible in digital photography.

The view camera designs of the Linhof Thousand 679cs and the Linhof Techno arrange the shooting expanse of the digital backs. The necessary aligning paths are based on the recording format. Digital lenses for these view cameras offering the necessary high resolutions and the correspondingly large image circles to use camera adjustments sensibly and in high-end quality.

Source: https://linhof.com/en/digital-with-4x5-cameras/

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