bob_salomon

But did you ask them how you could make up your own controller? You would easily solve your problem if you just used the Rodenstock eShutter system. You can download the controller app for it on the Apple App Store to see what it does.

I don’t know if American Traffic is still in business or if they have changed their name or ownership. They were in Phoenix when I sold them their lenses and controllers. That is probably Danielle. Rollei & Hensel Service - Fairfield, NJ

Compur shutters had click stops, Prontor shutters had click stops, Copal shutters did not have click stops. I am only talking about modern versions.

American Traffic Systems did for their red light cameras when they still used film. They made their own controller so you might contact them. Otherwise the Rollei repair center in Fairfield/Caldwell, NJ might be willing to tell you how. Their name is Danielle Service and the owner is Carmen.

How about the shutter scales?

That is the serial number for a 2x3 Technika lll from 1952.

The tripod is the Linhof Heavy Duty Pro, it is a current product although it is only available today in black. The Large Geared Center Column is an accessory and it is also a current product. The head and the dolly are no longer manufactured. Neither is that studio stand which has been out of production for at least 40 years. Linhof does still make studio stands but not like this old one.

And that was the whole point. Analog view cameras and lenses simply can not deliver the quality digital backs are capable of. A camera like a Linhof M679 series and digital lenses will deliver far greater quality. Again, go look at what photographers like Steven Wikes are doing.

The point was that digital backs are smaller then 45 and can, if used with experienced users, outperform film on 45.

Joe, maybe you didn’t download the digital lens brochure that is available, right now, on the Rodenstock Photo factory web site? Here is the link, and it includes digital lenses with image circles up to 150mm. http://www.rodenstock-photo.com/Archiv/Objektive%20digitale%20Fotografie%20e.pdf You may have also missed this info on the Schneider site that is also available today: https://www.schneideroptics.com/ecommerce/CatalogSubCategoryDisplay.aspx?CID=202

That still won’t cure your ignorance!

Better then you do. I also know the quality possible from quality digital. Don’t make dispersions without knowing background. I assure you my photographic experience is far deeper then yours!

No Ron, the digital sensor is ¼ the size of 45. To achieve optimal performance with the sensor you would need to shoot around f8. And that is what digital lenses are corrected for. On the other hand analog lenses are designed to perform optimally at 22. Using those lenses on a digital sensor at f8 you will not be at the optimal performance of the lens and at f22, with the digital back and an analog lens you will be in diffraction. Additionally the digital lenses have higher resolution, check and compare MTF, less fall off, check the graphs, less distortion and better color correction, again, compare the graphs. Then go look at what very large prints look like from a digital back and with digital lenses. Yes digital lens is a bit misleading, they will outperform any medium format lens on film with a quality roll back! But there design purpose was superior results on digital backs on digital platforms, be that an Alpa or a Linhof M679 series body.

Depends on the lens series. The description is in the specs. But they are based on the micron size of the sensor. The image circles of the various series will tell you how large a sensor you can use. Or, if you look at the work of Stephen Wilkes, for example, how great an area you can shift the sensor over.

Just go to the Rodenstock and Schneider web sites and download them. Also read their literature on digital lenses.

I just told you, compare those curves.

Look and compare mtf curves, distortion curves, color curves between large format digital lenses and large format analog lenses.

Go and compare the curves, then go try some!

Again, go try them, you are wrong!

Ron, go to a digital dealer and take a professional demo on quality digital backs and what they are capable of. At this time you are speaking from ignorance!

Wait until you have side by side comparison shots between analog of lenses and the same focal length digital lenses. The digital lenses reach optimal aperture at f8, the analog at f22, at 22 on digital backs you are well into diffraction with that analog lens. At f8 you are not at the optimal performance of the analog lens. Since a digital back is ¼ the imaging area of 45 film the depth of field at f8 will be the same on digital as f22 is on 45 film. Digital lenses deliver higher resolution, lower distortion and better performance over the image area then analog lenses. Go try yourself. Take your best analog lf lens from 28 to 150mm and rent the same focal length digital lens and compare them side by side at f22 and at f8.

But you missed the point. A 45 camera and large format analog lenses simply can not deliver optimal results with digital backs.

Why would that be a problem? Have you personally seen what modern backs like a Phase One can do?

And will you be using it on a digital view camera? Analog view cameras aren’t precise enough for high end digital results! Will you be using digital lenses? Same thing with analog lenses as with analog cameras! You do know that no view camera manufacturer makes a 45 digital view camera, don’t you? They make 69 digital view cameras, You also realize that the large format lens manufacturers no longer make analog large format lenses? They make digital lenses for digital view cameras. There was a manufacturer of camera body adapters in Korea that made a multiple row adapter. He showed us prototypes but don’t know if he went into serial production.

Have you done camera movements with that lens? Since it is in the Press Shutter it was probably also salvaged off a Polaroid copy camera. Have you tried comparing it to a lens like a Symmar or Sironar on the same shot?