Hi all,
I'm shooting this Nikkor 90mm lens on a Shen Hao view camera.
Does anyone know what the closest distance you can focus with with this lens?
Thank you in advance,
cayenne
It depends on your bellows extension... LF lenses don't have a particular close focus limitation.
Say you have a 190mm max extension (TFC45-IIB), the SW 90 has a flange focal distance (infinite focus) of 97mm. So you can give some 90mm more bellows than when focused at infinite.
Formula is:
1/F = 1/D + 1/B
where F = focal length, D = distance, B = Bellows Draw
1/90 = 1/D + 1/180 (180 is effective as to the 90 focal you add 90mm extension beyond the extension for infinite focus.)
2/180 = 1/D + 1/180
2/180 - 1/180 = 1/D
1/180 = 1/D
D = 180mm. You have to be able to focus something at 180mm. If your max bellows extension it more then you can focus even closer.
Those 180mm are counted from the Front Nodal Point which may be located inside of the front cell, so distance from the front element should be even lower than those 180mm, perhaps 150mm.
Regards
Why is that?If I recall that type of work is best used on cameras that have a monorail setup vs a view camera.
Monorails tend to have longer bellows and allow for greater movements than view/field cameras.Why is that?
Monorails tend to have longer bellows and allow for greater movements than view/field cameras.
Good point. One can easily set the rear standard in a position (too close to the subject) so that no position of the front standard (while focusing) will ever give a focused image. I found the best way to focus macro is to move the bed or rail (moving both standards at once).Also, rear focus becomes very useful at macro ranges.
Remember that this focus distance is front the nodal point not the film plane, this causes the weird effect that at macro distances your focus point moves in strange ways as the lens movement is a significant fraction of the working distance.
Ofcourse, some field camera's have rear focus (my shenhao doesn't..... and i want it) but most monorails already have this.
With rear focus the lens stays in the same position but the film plane moves, thus a lot of complexity goes away.
I'm new to LF photography. Both my field camera's standards can be moved. Is there a procedure that suggests using one or the other first or combining them? Or doesn't it matter?Also, rear focus becomes very useful at macro ranges.
Remember that this focus distance is front the nodal point not the film plane, this causes the weird effect that at macro distances your focus point moves in strange ways as the lens movement is a significant fraction of the working distance.
Ofcourse, some field camera's have rear focus (my shenhao doesn't..... and i want it) but most monorails already have this.
With rear focus the lens stays in the same position but the film plane moves, thus a lot of complexity goes away.
Please explain why that matters.Also, rear focus becomes very useful at macro ranges.
Remember that this focus distance is front the nodal point not the film plane, this causes the weird effect that at macro distances your focus point moves in strange ways as the lens movement is a significant fraction of the working distance.
Ofcourse, some field camera's have rear focus (my shenhao doesn't..... and i want it) but most monorails already have this.
With rear focus the lens stays in the same position but the film plane moves, thus a lot of complexity goes away.
Dan, I guess my question was for regular landscape, architectural or portraiture photography not macro. What is best practice for focusing when both standards can be moved?
I wear eyeglasses and have astigmatism. Any particular type of reading glasses?Reading glasses?
Look into the dark cloths that are sort of like "jackets" that the camera "wears" and you slide up under. Can't recall the name, but many people are crazy in love with 'em. You don't need to hold them in place.Got it. Thanks. My main problem is I need another arm. What with keeping the cloth in place, and moving and tilting the standards, I haven't figure out how to handle the loupe. You have to be a contortionist when shooting view cameras.
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