DOCSLIB.ORG

Camera Lens Mount Charts by IB/E Optics Fdtimes Has Been Obsessed with Lens Mounts Lately

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Camera Lens Mount Charts by IB/E Optics FDTimes has been obsessed with lens mounts lately. Thanks to IB/E Optics for the charts on these 2 pages. M MOUNT EF MOUNT X MOUNT E-MOUNT MFT MOUNT B4 MOUNT PL MOUNT XPL MOUNT Mount Flange Focal Depth Inside Diameter of Mount Flange Focal Depth Inside Diameter of (FFD) [mm] Mount (ID) [mm] (FFD) [mm] Mount (ID) [mm] Fujifilm X-series 17.7 ~ 43.5 Nikon F 46.5 44 Sony E-mount 18 46.1 Leica R 47 49 Canon EOS M-mirrorless 18 47 Éclair CA-1 bayonet 48 46 Hasselblad XCD 18.3 61 ARRI PL 52 54 Sony FZ mount (on F55/F5) 19 ~ 64 Leica S 53 ~ 66.5 MFT (Micro Four Thirds) 19.25 ~ 38 Panavision PV 57.15 49.5 Leica SL 20 51 ARRI XPL (Alexa 65) 60 72 Fujifilm GX Medium Format 26.7 ~ 63 Hasselblad H 61.63 ~67.5 Leica M 27.8 44 Mitchell BNCR 61.468 68 Panavision SP 70 (Primo 70) 40 ~66 ARRI Maxi PL (765) 73.5 64 Canon EF 44 54 Hasselblad 500/200 74.9 69 B4 Mount 48 55 Issue 81-82 • Apr-Jun 2017 1 Sensor Size Comparisons of Still & Motion Picture Cameras Panasonic Canon 7D II Sony F5/F55, FS5, ARRI ALEXA Blackmagic Blackmagic MFT AJA CION RED RAVEN VariCam 35 / LT 22.3 x 14.9 FS7 24 x 12.7 AMIRA 16:9 mode Pocket 2.5K 17.3 x 13 22.5 x 11.9 23 x 10.8 24.5 x 12.9 ID: 26.82 ID: 27.15 23.8 x 13.4 ID: 27.26 12.5 x 7 15.8 x 8.8 ID: 21.64 ID: 25.45 ID: 25.45 ID: 27.78 ID: 14.33 ID: 18.09 2.8K Blackmagic URSA ARRI ALEXA ANSI B4 Mount APS-C Canon C100 Mini Pro, 4.6K 4:3 mode S35 Silent 2/3” video (SONY NEX) C300, C500 RED SCARLET-W 25.3 x 14.2 23.8 x 17.8 24.89 x 18.66 RED Mysterium-X 8.8 x 6.6 23.5 x 15.6 24.6 x 13.8 25.6 x 13.5 27.7 x 14.6 ID: 29.07 ID: 29.7 ID: 31.10 ID: 11 ID: 28.21 ID: 28.21 ID: 28.94 ID: 31.31 ARRI ALEXA Sony A 7 series, Nikon RED WEAPON 8K VV ARRI ALEXA 65 Open Gate mode D810, Canon 5D series 40.96 x 21.6 54.12 x 25.59 28.17 x 18.13 RED Dragon 6K FF 36 x 24, ID: 43.27 ID: 47.19 ID: 59.87 ID: 33.52 30.7 x 15.8 ID: 34.53 Size: width x height mm ID: image diameter Macro VV T2.9 Raptor lenses for Large Format There are 3 Macro VV T2.9 Raptor lenses from IB/E Optics: 100mm, 150mm and 180mm. Image circle diameter is 55mm with a PL mount to cover Full Frame, VistaVision, RED W8K, and beyond. With an XPL mount, they cover the 60mm image circle of Alexa 65. IB/E Optics has measured shading (brightness from center to the edges) with 20% brightness as the cut-off. The worst case scenario is usually at infinity. For this specification all Raptor Macro lenses cover up to 52mm without restriction over the entire the focus range. The 150mm cov- ers the full ALEXA 65 sensor without restriction and the 100mm and 180mm cover the ALEXA 65 sensor at close focus macro area, but not quite at infinity. See chart on page 4. Manufacturer: IB/E Optics: www.ibe-optics.com Band Pro is the exclusive distributor: bandpro.com 0.8x Velociraptor The IB/E Velociraptor is a 0.8x Speed Booster rear attachment for Raptor Mac- ro lenses. It reduces the image circle from 46.6 mm to 36 mm for ANSI S35 Silent and RED Dragon 6K format coverage. The maximum aperture of the Raptor is boosted from T2.9 to T2.3. 2 Apr-Jun 2017 • Issue 81-82 How a Large Format Lens (like an Alexa 65 or IB/E Optics Raptor) covers various Sensor Sizes ANSI S35 Silent RED Dragon 6K FF Sony A7 series, Canon 5D series, Nikon D810 24.89 x 18.66 30.7 x 15.8 36 x 24 ID: 31.10 ID: 34.53 ID: 43.27 IB/E Raptor XPL coverage on ARRI Alexa 65 RED Weapon 8K VV 54.12 x 25.59 ID: 59.87 ARRI ALEXA 65 40.96 x 21.6 2.39:1 Spherical 54.12 x 25.59 VistaVision 2.39:1 Spherical ID: 47.19 37.7 x 25.5 ID: 59.87 ID: 45 Raptor max. image diameter: Anamorphic 55 mm (with PL mount) Why are the edges 36 x 24 60 mm (with XPL mount) soft? Because an ID: 43.6 image circle rarely Alexa 65 Spherical Widescreen has a sharp, defined 54.12 x 22.64 circumference. How a Raptor with 0.8x Velociraptor covers various Sensor Sizes Velociraptor reduces the image circle from 46.6 mm to 36 mm and boosts maximum aperture of the Raptor from T2.9 to T2.3. ANSI S35 Silent Sony A7 series, Canon 5D series, Nikon D810 RED Dragon 6K FF 24.89 x 18.66 36 x 24 30.7 x 15.8 ID: 31.10 ID: 43.27 ID: 34.53 ARRI ALEXA 65 RED Weapon 8K VV 54.12 x 25.59 40.96 x 21.6 ID: 59.87 ID: 47.19 Issue 81-82 • Apr-Jun 2017 3 Macro VV T2.9 Raptor lenses IB/E Optics and Band Pro have 3 Macro VV T2.9 IB/E Optics VV Raptor Macro Primes Raptor lenses: 100mm, 150mm and 180mm. • Focal lengths: 100, 150, 180 mm Their image circle diameter is 55mm with a PL • Aperture: T2.9-T22 mount to cover Full Frame, VistaVision, RED • Focus Rotation: 300 degrees W8K, and beyond. With an XPL mount, they • MOD (100/150/180 lens): 12.3”/15”/18.5” cover the 60mm image circle of Alexa 65 (tests • Max. Aperture at Inf & MOD: T5.3 are underway to determine edge shading with all • Iris Rotation: 70° focal lengths at all apertures.) • Iris Blades: 9 The lens mount is UMS PL—Universal Mount • Industry Standard Gear pitch: 0.8 MOD System—familiar to users of IB/E Extenders, Ex- • Image Circle: 46.6 mm panders, and Conversion kits. It quickly converts, • Length Flange to Front 100, 150: 145 mm / 5.7” without tools, between PL, Canon EF, Nikon F, • Length Flange to Front 180: 200 mm / 7.9” Sony E and MFT mounts. • Front Diameter all 3 lenses: 95 mm • Weight (kg) 100, 150, 180: 1.5/1.9/2.9 kg Band Pro Film & Digital is the exclusive • Close Focus Magnification: 1:1 worldwide distributor of IB/E Raptors. • UMS PL Mount (converts to F, EF, Sony E, etc) www.bandpro.com • Adjustable flange focal distance (no shims) www.ibe-optics.com • At 1:1 magnification, you only lose ⅔1 stops. IB/E 0.8x Velociraptors Raptor with Velocirapter 0.8x Speed Booster rear attachment. It reduces the image circle from 46.6 mm to 36 mm for ANSI S35 Silent and RED Dragon 6K format coverage. It also boosts the maximum aperture from T2.9 to T2.3. IB/E 1.4xVV and 2xVV Extenders Below: chart of Raptors, effective focal lengths, recommended format coverage and maximum image circles. Macro 100 with 1.4x and 2.0x is grayed out because you’d use 150 and 180 instead. AbelCine is the distributor of IB/E Extenders. abelcine.com Raptor Raptor Raptor Max. image Recommended Macro 100 Macro 150 Macro 180 circle (mm) Format L-R: PL T2.9/100mm T2.9/150mm T2.9/180mm 52 mm VV Velociraptor 0.8x, 1.4xVV Extender and 2xVV Extender. XPL T2.9/100mm T2.9/150mm T2.9/180mm 60 mm ALEXA65 The VVx1.4 and VVx2 extender (macro only) (macro only) increase the focal length only and 0.8x T2.3/80mm T2.3/120mm T2.3/145mm 36 mm S35 not the image circle. They are 1.4x T4.1/140mm T4.1/210mm T4.1/250mm 52 mm VV designed for VistaVision format. 2.0x T5.8/200mm T5.8/300mm T5.8/360mm 52 mm VV LED Ring Light for Raptors This is very good! An LED Ring Light for Raptors. Ring light strobes have been common on still photo macros—but rarely seen in cine. The IB/E Ring Light clamps onto the 95mm front diameter of the Raptor. Since it’s often difficult to find space to light a 1:1 macro product shot, this new Ring Light helps a lot. 4 Apr-Jun 2017 • Issue 81-82.
Recommended publications
  • Test Pentax 645D an Accessible Medium Format DSLR?

    Test Pentax 645D an Accessible Medium Format DSLR?

    Test Pentax 645D An accessible medium format DSLR? o announce a camera costing With time, cameras evolved, and The 645D sports digital SLR will have no problem card followed by the other, etc.) €10,000 as "accessible" might today the most modern models the classic form of a solid medium working with a 645D. As the overall The Raw format used is DNG, and T sound somewhat strange to (Hasselblad H and Leica S) have format camera. It ergonomics are based on highly in- images can be read directly by many photographers. The term de- abandoned the "body plus inter- is pleasing to tuitive controls, you can instantly Adobe software. Other Raw conver- serves a few explanations. Finan- changeable back" form for a solid handle and find your way around. ters (DxO and others) should very cially, it is justified because a 40 architecture that enables a more ef- comfortable to Original functions are also found use: Pentax has shortly be able to read 645D files. Mpix digital medium format cur- ficient design. This is the type of given it the very in the 645D, for example double The camera handles nicely. The rently sells for more than €15,000, construction used by Pentax. best in APS-C SLR level (front/back and right/left tilt), a grip, which seems a little uncomfor- whereas the Pentax 654D is at The "body plus separate back" ar- ergonomics. A misty landscape Use in the handheld position would be good! camera is less rapid (continuous very useful feature for shooting table at first, turns out to be very ef- Jpeg and Raw €9,900 (including VAT).
  • ARRI Launches Large-Format Camera System

    ARRI Launches Large-Format Camera System

    Contact: Thomas Feuchtmann Head of Marketing BU Camera Systems +49 89 3809 1712 [email protected] Reegan Koester Corporate Communications Manager +49 89 3809 1768 [email protected] NOT FOR RELEASE UNTIL FEBRUARY 2, 2018 (11 AM CET) ARRI launches large-format camera system • A complete new system: ALEXA LF camera, ARRI Signature Prime lenses, and LPL lens mount. • Intimate and emotionally engaging images with an immersive, three- dimensional feel, pulling the viewer in. • Compatible with existing lenses, accessories, and workflows. February 2, 2018, Munich/London – At the BSC Expo in London, ARRI today unveils a complete large-format system that meets and exceeds modern production reQuirements, delivering unprecedented creative freedom. Based on a large-format 4K version of the ALEXA sensor, the system comprises the ALEXA LF camera, ARRI Signature Prime lenses, LPL lens mount, and PL-to-LPL adapter. It is also compatible With existing lenses, accessories, and WorkfloWs. ALEXA LF camera Featuring a sensor slightly bigger than full frame, ALEXA LF records native 4K With ARRI’s best overall image Quality. Filmmakers can explore a large-format aesthetic While retaining the sensor’s natural colorimetry, pleasing skin tones and proven suitability for HDR and WCG WorkfloWs. Versatile recording formats, including efficient ProRes and uncompressed, unencrypted ARRIRAW up to 150 fps, provide total flexibility. “The larger ALEXA LF sensor has the same optimal pixel size as other ALEXAs, resulting in a 4448 x 3096 image,” says Marc Shipman-Mueller, ARRI Product Manager for Camera Systems. “This doesn’t just add definition, it creates a whole new look—one that is truly immersive, With a three-dimensional feel.
  • SKYPANEL New Accessories for the Family of LED Soft Lights

    SKYPANEL New Accessories for the Family of LED Soft Lights

    NEWS IBC ISSUE 2015 SKYPANEL New accessories for the family of LED soft lights ELECTRONIC ALEXA MINI CONTROL SYSTEM AMIRA Karl Walter Lindenlaub ASC, BVK Expanded options for lens and New application areas for tries the Mini on Nine Lives camera remote control the highly versatile AMIRA EDITORIAL DEAR FRIENDS AND COLLEAGUES We hope you can join postproduction through ARRI Media, illustrating us here at IBC, where we the uniquely broad range of products and services are showcasing our latest we offer. 18 camera systems and lighting technologies. For the ARRI Rental has also been busy supplying the first time in ARRI News we are also introducing our ALEXA 65 system to top DPs on major feature films newest business unit: ARRI Medical. Harnessing – many are testing the large-format camera for the core imaging technology and reliability of selected sequences and then opting to use it on ALEXA, our ARRISCOPE digital surgical microscope main unit throughout production. In April IMAX is already at work in operating theaters, delivering announced that it had chosen ALEXA 65 as the unsurpassed 3D images of surgical procedures. digital platform for 2D IMAX productions. In this issue we share news of how AMIRA is Our new SkyPanel LED soft lights, announced 12 being put to use on productions so diverse and earlier this year and shipping now as promised, are wide-ranging that it has taken even us by surprise. proving extremely popular and at IBC we are The same is true of the ALEXA Mini, which was unveiling a full selection of accessories that will introduced at NAB and has been enthusiastically make them even more flexible.
  • Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35Mm Single Lens Reflex Cameras and CLE

    Minolta Electronic Auto-Exposure 35mm Single Lens Reflex Cameras and CLE Minolta's X-series 35mm single lens user the creative choice of aperture and circuitry requires a shutter speed faster reflex cameras combine state-of-the-art shutter-priority automation, plus metered­ than 1/1000 second. These cameras allow photographic technology with Minolta's tra­ manual operation at the turn of a lever. The full manual control for employing sophisti­ ditional fine handling and human engineer­ photographer can select shutter-priority cated photo techniques. The silent elec­ ing to achieve precision instruments that operation to freeze action or control the tronic self-timer features a large red LED are totally responsive to creative photogra­ amount of blur for creative effect. Aperture­ signal which pulsates with increasing fre­ phy. Through-the-Iens metering coupled priority operation is not only useful for quency during its ten-second operating with advanced, electronically governed depth-of-field control , auto~exposure with cycle to indicate the approaching exposure. focal-plane shutters provide highly accu­ bellows, extension tubes and mirror lenses, The Motor Drive 1, designed exclusively rate automatic exposure control. All X­ but for the control of shutter speed as well . for the XG-M, provides single-frame and series cameras are compatible with the Full metered-manual exposure control continuous-run film advance up to 3.5 vast array of lenses and accessories that allows for special techniques. frames per second. Plus, auto winders and comprise the Minolta single lens reflex A vibration-free electromagnetic shutter "dedicated" automatic electronic flash units system. release triggers the quiet electronic shutter.
  • AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION

    AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION

    AUTO LENS ADAPTER USER MANUAL LAE-CM-CEF Canon EF/EF-S Lens to Canon EOS-M Camera INTRODUCTION Thank you for purchasing the Vello LAE-CM-CEF Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera. This adapter allows you to mount any Canon EF or EF-S lens to a Canon EOS-M camera. With an EF or EF-S lens mounted to a Canon EOS-M camera using this adapter, all automatic functions, such as auto focus and auto exposure, are available and fully operational. A removable tripod mount collar with a ¼" socket is included. 2 CONTENTS INCLUDE • Vello LAE-CM-CEF Auto Lens Adapter - Canon EF/EF-S Lens to Canon EOS-M Camera • Front and rear caps • Removable tripod mount collar • User manual 3 INTRODUCTION The Vello Auto Lens Adapter – Canon EF/EF-S Lens to Canon EOS-M Camera can expand the arsenal of lenses for your Canon EOS-M camera using lenses you already own. With this adapter, you can mount any Canon EF or EF-S lens to a Canon EOS-M camera. Just attach the adapter to your EF or EF-S lens, then mount the lens and adapter to your Canon EOS-M camera. 4 When using an EF lens, there will be a crop factor of 1.6x, so that the apparent focal length of the lens will be 1.6x of the actual focal length. With EF-S lenses, there is no apparent change in the focal length. All camera functions will operate normally, including auto focus, auto exposure, and touch-screen modes.
  • Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue

    Caractéristiques Optiques De La Prise De Vue 65Mm État Des Lieux Des Techniques À L’Usage De Ce Format Large De Prise De Vue

    ENS LOUIS LUMIERE La Cité du Cinéma, 20 rue Ampère, 93213, BP 12 La Plaine Saint-Denis Cedex, France Tél : 33 (0) 1 84 67 00 01 www.ens-louis-lumiere.fr Mémoire de fin d’études et de recherche Section Cinéma Promotion 2014 - 2017 Caractéristiques optiques de la prise de vue 65mm État des lieux des techniques à l’usage de ce format large de prise de vue Etienne SUFFERT Ce mémoire est accompagné de la partie pratique intitulée Caractéristiques et spécificités de la prise de vue en ARRI Alexa 65, essais et comparatifs optiques. Directeur de mémoire interne : Pascal MARTIN Coordinateur de mémoire et Président du Jury : David FAROULT Coordinatrice de la partie pratique (PPM) : Dominique TROCNET Etienne SUFFERT Mémoire de fin d’études - ENS Louis Lumière 2017 !2/!166 REMERCIEMENTS : Je tiens à remercier chaleureusement toutes les personnes qui de près ou de loin m’ont permis de réaliser ce mémoire et rendre possible sa partie pratique l’accompagnant. L’Ecole Nationale Supérieure Louis Lumière et en particulier : Pascal MARTIN Mon directeur de mémoire, pour ses conseils et son intérêt pour le sujet Tony GAUTHIER Pour son partage de connaissance et ses conseils Dominique TROCNET, Françoise BARANGER, John LVOFF Pour leur soutien administratif, leur compréhension et pour avoir rendu possible la réalisation de la PPM Laurent STEHLIN Pour son aide précieuse et ses conseils lors de l’élaboration de la PPM Didier NOVÉ, Arthur CLOQUET Pour l’accès et la réservation du matériel nécessaire à la PPM Alain SARLAT, Elena ERHEL Pour leur investissement et leur
  • When You Buy the New Gfx100s and Trade in Any Working Full-Frame Or Medium Format Digital Camera

    When You Buy the New Gfx100s and Trade in Any Working Full-Frame Or Medium Format Digital Camera

    OFFER ENDS 30 APRIL WHEN YOU BUY THE NEW GFX100S AND TRADE IN ANY WORKING FULL-FRAME OR MEDIUM FORMAT DIGITAL CAMERA FUJIFILM-CONNECT.COM/PROMOTIONS The GFX100S and GF50mmF3.5 lens shown are sold separately. See in-store or online for details. Terms and conditions apply To claim your trade-in bonus, simply fill out the details over the page. The bonus will be paid directly into your bank account after the claim has been validated by FUJIFILM UK. Once validated, the bonus will be paid within 14 days. CANON PHASE ONE CANON EOS-1D C PHASE ONE XF 100MP CANON EOS-1D MKII PHASE ONE 645DF+ CANON EOS-1D MKII N PHASE ONE IQ1 100MP CANON EOS-1D MKIII PHASE ONE IQ140 CANON EOS-1D MKIV PHASE ONE IQ150 €500 TRADE-IN BONUS CANON EOS-1D X PHASE ONE IQ160 WHEN YOU BUY THE NEW GFX100S AND TRADE IN ANY WORKING CANON EOS-1D X MKII PHASE ONE IQ180 CANON EOS-1D X MKIII PHASE ONE IQ250 FULL-FRAME OR MEDIUM FORMAT DIGITAL CAMERA CANON EOS-1DS PHASE ONE IQ260 CANON EOS-1DS MKII PHASE ONE IQ280 HASSELBLAD NIKON CANON EOS-1DS MKIII PHASE ONE IQ3 50MP HASSELBLAD A5D-50C NIKON D3 NIKON D800 CANON EOS 5D PHASE ONE IQ3 60MP HASSELBLAD A5D-80 NIKON D3S NIKON D800E CANON EOS 5D MKII PHASE ONE IQ3 80MP HASSELBLAD H4D-31 NIKON D3X NIKON D810 CANON EOS 5D MKIII PHASE ONE P20+ HASSELBLAD H4D-40 NIKON D4 NIKON D850 CANON EOS 5D MKIV PHASE ONE P21+ HASSELBLAD H4D-60 NIKON D4S NIKON D810A CANON EOS 5DS PHASE ONE P25+ HASSELBLAD H5D-200C NIKON DF NIKON Z5 CANON EOS 5DS R PHASE ONE P30+ HASSELBLAD H5D-50C NIKON D600 NIKON Z6 CANON EOS 6D PHASE ONE P40+ HASSELBLAD H5X NIKON D610
  • Operations Instructions Manual Table of Contents

    Operations Instructions Manual Table of Contents

    E-mount Parts and controls Triple-dial-control Custom Key assignment AF/MF button/AEL button General Operations Instructions Manual Table of contents This instruction manual - Operations - describes the basic operation of the camera, and some advanced operations using the major functions. See Getting Started for information on how to set up the camera, and the Handbook on the CD-ROM (supplied) for more detailed functions and operations. Parts and controls Recording ...........................................................................................................................................................................................................3 Playback ...............................................................................................................................................................................................................5 Setup .....................................................................................................................................................................................................................6 Triple-dial-control Triple-dial-control operation ..................................................................................................................................................................7 Control Dials .....................................................................................................................................................................................................9 Settings modes ............................................................................................................................................................................................10
  • User Manual H4D-200 MS H4D-60 H4D-50 MS H4D-50 H4D-40 H4D-31

    User Manual H4D-200 MS H4D-60 H4D-50 MS H4D-50 H4D-40 H4D-31

    H4D User Manual H4D-200 MS H4D-60 H4D-50 MS H4D-50 H4D-40 H4D-31 H4D C O N T E N T S Introduction 4 Lens cap 33 System requirements 8 Filters 33 Warnings & restrictions 8 Lens shades 33 Shutter and aperture control 33 1 H4D models 9 Depth-of-field calculation 34 2 General overview – Depth-of-field / visual preview 34 controls and displays 13 Infrared focus settings 34 Button functions 14 Focus assist 34 Display information 15 Manual focus 35 Grip display 16 Autofocus 35 Viewfinder display 17 Single 36 Sensor unit display 18 Continuous 36 Spirit level 19 True Focus 37 Buttons and controls – details 20 Audio feedback 22 6 Light Metering & Exposure Control 41 3 Camera Body 24 ISO & white balance button 42 Carrying strap 25 Metering method 43 Rechargeable battery 25 Exposure method 43 Battery charger 25 Manual exposure mode 44 Charging the battery 26 Automatic exposure mode 44 Rechargeable battery grip − general 26 AE-L button 45 Rechargeable battery grip − precautions 27 Exposure compensation/Quick Adjust 46 Battery life 27 Battery status 28 7 Profiles 48 Power 28 Making a profile 49 On 28 Using profiles 50 Standby 28 Viewfinder screen 28 8 SU – introduction 51 Accessory connection 29 Parts and components 53 PC-connector 29 Overview of menu system and navigation 55 Base plate 29 Overview of menu structure 56 Description of menu items 57 4 Viewfinder 30 Parts & Components 31 9 SU – initial settings 58 Attaching and removing the viewfinder 31 Setting the menu language 59 Eyepiece adjustment 31 Capture storage 60 Eye cup 31 Capture destination 60 Integral flash unit 31 Compact cards 61 Formatting 62 5 Lenses 32 Tethered to a computer 63 Parts & Components 33 Attaching a lens 33 Removing a lens 33 The images in this manual were not taken with a Hasselblad H4D.
  • Carl Zeiss Oberkochen Large Format Lenses 1950-1972

    Carl Zeiss Oberkochen Large Format Lenses 1950-1972

    Large format lenses from Carl Zeiss Oberkochen 1950-1972 © 2013-2019 Arne Cröll – All Rights Reserved (this version is from October 4, 2019) Carl Zeiss Jena and Carl Zeiss Oberkochen Before and during WWII, the Carl Zeiss company in Jena was one of the largest optics manufacturers in Germany. They produced a variety of lenses suitable for large format (LF) photography, including the well- known Tessars and Protars in several series, but also process lenses and aerial lenses. The Zeiss-Ikon sister company in Dresden manufactured a range of large format cameras, such as the Zeiss “Ideal”, “Maximar”, Tropen-Adoro”, and “Juwel” (Jewel); the latter camera, in the 3¼” x 4¼” size, was used by Ansel Adams for some time. At the end of World War II, the German state of Thuringia, where Jena is located, was under the control of British and American troops. However, the Yalta Conference agreement placed it under Soviet control shortly thereafter. Just before the US command handed the administration of Thuringia over to the Soviet Army, American troops moved a considerable part of the leading management and research staff of Carl Zeiss Jena and the sister company Schott glass to Heidenheim near Stuttgart, 126 people in all [1]. They immediately started to look for a suitable place for a new factory and found it in the small town of Oberkochen, just 20km from Heidenheim. This led to the foundation of the company “Opton Optische Werke” in Oberkochen, West Germany, on Oct. 30, 1946, initially as a full subsidiary of the original factory in Jena.
  • Hasselblad Expands Reach of Medium Format Imaging for Even More

    Hasselblad Expands Reach of Medium Format Imaging for Even More

    Press information – for immediate release Gothenburg, Sweden 19 June 2019 HASSELBLAD EXPANDS REACH OF MEDIUM FORMAT IMAGING FOR EVEN MORE CREATIVE VERSATILITY Introducing the X1D II 50C, XCD 35-75 zoom lens, Phocus Mobile 2, and revealing details of the upcoming CFV II 50C digital back and 907X camera body Following the revolutionary introduction of the world’s first mirrorless medium format digital camera, the X1D-50c, Hasselblad introduces new additions to its product portfolio that bring the joy of medium format photography to image makers with the capabilities to support their creative endeavours. This includes the evolved X1D II 50C camera, the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens and Phocus Mobile 2. In addition, Hasselblad reveals the development details of the upcoming CFV II 50C digital back and 907X camera body. Hasselblad’s newest offerings yet again expand the potential of medium format pho- tography with modularity and flexibility, all while offering the brand’s renowned, stunning image quality. X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimising the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience. Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package.
  • LEICA SL-SYSTEM Technical Data

    LEICA SL-SYSTEM Technical Data

    LEICA SL-SYSTEM Technical Data. Camera Type LeiCa SL (Typ 601) Order No. 10 850 Mirrorless Fullframe System Camera Current Firmware 2.0 Lenses Lens Mount Leica L-Mount Applicable lenses Leica Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH. Order No. 11 176 Leica APO-Vario-Elmarit-SL 90–280 mm f/2.8–4 Order No. 11 175 Leica Summilux-SL 50 mm f/1.4 ASPH. Order No. 11 180 Lenses from the Leica T Camera System, Leica M-Lenses with Leica M-Adapter T, Leica S-Lenses with Leica S-Adapter L, Leica R-Lenses with Leica R-Adapter L and Leica Cine lenses with Leica PL-Adapter L. Sensor Type 24-MP-CMOS-Sensor (24 × 36 mm) Resolution Full Frame (24 MP): 6000 × 4000 Pixel, APS-C (10 MP): 3936 × 2624 Pixel Filter IR-Filter, no Lowpass Filter ISO ISO 50–ISO 50000 Sensor Cleaning Provided Processor Type Leica Maestro II series Internal RAM 2 GB: 33 DNGs or 30 JPEGs and DNGs image Image Data Format JPEG, DNG Colordepth 14 bit (DNG), 8 bit (JPEG) JPEG Color Space Adobe RGB, ECI RGB, sRGB Motion File Format MP4, MOV Resolution 4K (4096 × 2160) @ 24 fps; 4K (3840 × 2160) @ 25 and 30 fps; 1080 @ 24, 25, 30, 50, 60, 100 and 120 fps; 720 @ 24, 25, 30, 50, 60, 100 and 120 fps Bitrate 8 bit (recording); 10 bit (HDMI not recording) Color sampling 4:2:2/10 bit (HDMI only); 4:2:0/8 bit (recording on SD card) Video L-Log selectable Audio Manual/Auto; Stereo microphone, 48 kHz, 16 bit; Wind elimination Audio external via Audio-Adapter Audio-In (3.5 mm phone jack), Audio-Out (3.5 mm phone jack) Movie Length Max.