dominique_cesari

It's a nice thing to understand the relevant problem in a question

before the answer :-)

<p>

Obviously, you are correct in asking the distance from film plane to

nodal point.

<p>

Unfortunately, I have not the answer, as Rodenstock doesn't offer

comprehensive data sheets on the Internet as Schneider does.

It sounds like the lens is of the kind that Nikon used to sold as

process lenses or in a shutter. I think that they have been made in

the '60. They were made in different focal length and named APO-

Nikkor.

<p>

Look at the B&H site, they probably have a photograph of the present

telephoto 360 Apo-Nikkor

However it's hard to add something after SK Grimes, you may have a

mook at my page :

<p>

http://www.multimania.com/cesarigd/photo2.htm

<p>

(in French), showing a photograph of fungus and an enlargement. At

the bottom of the page, "champignons sur les lentilles"

<The geometry of the RAYS IS the same for telephoto vs long non-

tlephoto>

<p>

At least for the part of the path between the digergent group and the

film.

<p>

And for retrofocus design ?

(which is not a concern for LF, I must admit)

Glenn wrote :

"For a given focal length lens, the geometry of rays is the same for

all optics"

Not at all : think to telephoto and retrofocus design.

Kerry,

I baught a Marumi effect filter (not N.D.) at a give-away price. I

was aware that it was probably of poor quality, and yes it is.

RIP Arles Rencontres Internationales de la Photographie

BP 96

Maison des Rencontres d'Arles

10, rond-point des Arènes

BP 96

13632 Arles Cedex France

fax: (33)0 490 499 439

vox: (33)0 490 498 140

r.i.p.arles@pacwan.net

<p>

www.rip-arles.org

The lens was introduced at the end of 2000, you may find info on the

German site :

http://www.schneiderkreuznach.com

<p>

image circle : 137 mm (read on a thread of sept 7 2000 by Kerry

Thalmann)

QG de Bakker is true, the locking of the 6093 T have been improved. The 6093 was a pity : using it with a 180 mm and over, the bellows act like a spring and shrink.

At least with mine. If you fall upon one second hand, try it twice.

In my opinion, to be fair Hasselblad would have had to give a free 6093 T replacement to everybody having baught a 6093 new .

By the way, there is some other minor differences.

I noticed three differences from the Discovrey and the F-Line Basic :

<p>

- the rubber covers are yellow in the Discovery and black in the F-

Line B (!)

<p>

- as Michael stated, the Discovery comes with a non-telescopic rail,

and very important with a non-consistent connector of the rail on a

head, as the F-Line comes with an Arca-style sliding block.

<p>

- the Discovery has a simplified lock for the shift of the standards

based on a screwing bolt, in place of a spring loaded on the F-Line

<p>

For the price, the Discovery would be an excellent buy, apart the

connector which is boring. You probably will have to replace it and

also will want a longer rail (telescopic or not).

I used fishing leads for mine.

<p>

Prefer a great number of small pieces. Few bigger would spare time

while seewing, but could dammage the glass.

The correct address of my page is :

http://www.multimania.com/cesarigd/photopmat.htm

My page (in French) about Widelux is at :

http://www.multimania.com/cesarigd/photopmat

Price (in France) 500 $ B+ Reliabilty : good, but not a workhorse

image quality : very good

<p>

IMHO : the Widelux is not a LF camera. For all-round pano

photographs, stitching is the way to go now. It still may be of use

for creative pictures and moving subjects. A Widelux 1500 (using 120

roll film) is worth for large prints..

210 mm is the distance from the nodal emerging point to the film

plane when the lens is focused at infinity

<p>

The lens has some width. Obviously one must mention the part from

which the distance to the the film is measured. Genarally, you

consider the flange of the lens, resulting in the measurement of the

flange to film distance (which is never the focal of the lens but may

be close to it).

<p>

A teacher in optic said "the distance of infinity depends upon the

optical system that you are using".

The infinity for an optical system is a distance at which, moving

noticeably toward direction or away, you may not observe a shift in

the focus with the cosnidered system (noticeably needs a further

developppement). It may be at 1 meter for an interferometer ... at

least 10 km for a 10 inches aperture SC reflector. Perhaps at 200

yards for a 210 mm lens.

The data sheets of Kodak are at

http://www.kodak.com/global/en/professional/support/databanks/filmData

bankIndex.shtml

<p>

For the E100S, no correction is needed from 1/10000 s to 10 s. Kodak

don't suggest anything for longer exposures.

You probably are aware of Kerry Thalmann' assesmnent on the Toho-

Shimo FC 45X at http://largeformat.homepage.com/toho.htm

The place in Paris to rent LF is Claude Rigal's shop as mentionned

above. It's name is Compact Photo Pro and its URL is at

http://www.compact-photopro.fr/uk/index.html

I mention a lot of other hiring shops (Bip Photo, Abdon ...) in Paris

at my page

http://www.multimania.com/cesarigd/photo8.htm (in French, a training

for your tour?)

But, you are going to the French Riviera. I can't suggest anything,

but there surely are retailers there.

The camera I saw which impressed me the most was a Deardorff 8x10. On

pictures, an Ebony.

I amn't aware of a 58 mm Rodenstock. I don't know the flange to film

distance of the 55 mm. For the 58 mm XL Schneider, it's 69 mm.

I use regularly 24x36 shift lenses (28 PC Nikkor + 34 TSE Canon) and an MF system for landscape/architectural work. I searched to improve PC capacity to my MF system and purchased a Flexbody an then a PC-Mutar.

My opinion is that none MF SLR allow satisfying answer to architectural needs : one would need at least 20 mm rise on a lens not longer than 50 mm, and shift not only vertical but also diagonal (this is very important).

For landscape use, the Flexbody would help seriously to improve depth of field and follow the 1/3-2/3 rule for horizon, but is unfriendly.

So, if you still own a Pentax or a Rollei system, yes the lenses that you asked about are worth buying. If you don't have one of these systems, the Rolleiflex will help you in landscape, but not in architecture, and it's really highly priced.

The classical suggestion of using a view camera instead of MF is not operationnal in my opinion : I use a 4x5. It's another world in bulk, time to operate and authorizations to work. It doesn't replace what could allow an SLR.

My former poster isn't clear at all about the "shift" of the target

on the background. As my English is too poor, I will try to summarize

it in a small draw.

I presume that you plan to use your 110 Schneider Super Symmar XL.

Yhe dedicated page at

http://schneideroptics.com/large/super_symmar/110xl/daten.html

include numerous data, but unfortunately not the palce of the nodal

point. However I'm prone to deduce from the principal point

separation of 18,8 mm at infinity indicated on that page, that the

nodal point is roughly 12 mm in front of the diaphragm.

<p>

To check yourself : put your camera not too far from a vertical

target, set it on a head with a panoramic base, with a generously

long Q/R perpendicular to film plane, the supposed nodal point at

vertical of pan head axis. (this is easy with a monorail, if its long

enough, with a counterweight in the front).

Focus on the target, then rotate left and right the camera. If the

target shifts, you aren't at the vertical of the nodal point. Pull

and push the camera until there is no shift.

<p>

By the way, I'm astonished that you plan only 8 frames with such a

lens on 6x9 for 3600

I got mine without a manual.

To be fold the body must absolutely be 1) cocked 2) the lens set on infinity.

You will discover everything by yourself playing with the camera at arrival before loading it (you are surely aware of aligning the arrow on the paper with the mark in the body, selecting 120/220 on plate and counter etc ..).

The bellows of this camera is prone to leaks. I suggest to shoot a roll under bright sun (and moving the body in various angle under the sun or a strong light before and after some exposures) and have it processed immediatly. It's more effective than a control with a light in the camera. The bellows may have been fixed; have a look at the inner corners to detect it.

One another thing : when a roll is finished, unload it immediately, or the film may stretch slightly out of the spool in the camera and take light on its sides when opening the back.