Schneider 47mm f/5.6 Super Angulon XL
since: 2018/03/14
update: 2018/04/27
reference:
1. Schneider 47mm f/5.6 Super Angulon XL
2. Super-Angulon XL
3. Comfort Technika 45 lensboard
4. How to Mount a Lens on a Linhof Technika Recessed Lensboard
5. Linhof Recessed Technika 45 Lensboard in #0 Compur Shutters 001093
6. Linhof Recessed Lensboard for Copal #0 Shutters 001015
7. Gepe 3.25" (8.3 cm) Flexible Cable Release Extension for Large Format Lenses Mounted in Recessed Lensboards
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Gepe 3.25" (8.3 cm) Flexible Cable Release Extension for Large Format Lenses Mounted in Recessed Lensboards (B&H)
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This very modern lens was introduced in the mid 1990s. It covers an astounding 120 degrees, or an image circle of 166 mm. This means that this ultra-wide lens gives 9 mm of movement even on 4 x 5" film! With a 120º angle of view to the front and of course 120º to the rear that leaves only 30º to the front left and front right in which to hide your hands and the camera!
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Angle of View: 120 degrees at f/22. 98 degrees at f/5.6.
Image Circle: 166 mm at f/22. 110 mm at f/5.6. (Diagonal of 4 x 5" film is 153 mm)
Shutter: Copal #0: 1- 1/500, time and bulb. Other shutters are available if you insist.
Flange Focal Distance: 59.1 mm. This is how far the back of the mounting flange is from the film when focused at infinity. You need to know this when figuring out if this will mount on your 4 x 5" camera successfully.
Actual Focal Length: 48.0 mm
Front Filter Thread: 67 mm
Center Filter: IIIc, part number 25637, two full stops. 67 mm mounting thread (to match the 47 XL) and 86mm front thread. I have a whole page about center filters.
Schneider also mentions the 1.5 stop IIIb filter, part number 10590, for partial correction.
This is handy since the IIIb 1.5 stop filter is the same filter as used by the 58 mm, 80 mm and 110 mm XL lenses, as well as the classic 90 mm f/8 Super Angulon.
Diaphragm: Seven blades, f/5.6 - 32. Infinitely variable. Marked in third stops
Weight: 10.9 ounces or 310 grams. Tiny.
Mechanical vignetting: is gone by f/16.
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The 47 XL is sharp everywhere stopped down. You're not supposed to photograph with it wide open; f/5.6 is for focusing. The design is optimized for use at smaller apertures. Here are the specifics at each f/stop with an 8x loupe. The circle of perfect definition shrinks a little under my 22x loupe and grows with a 4x loupe, since you different amounts of finer details. An 8x loupe is about equivalent to an 18 x 36" print.
f/5.6: Sharp within about a 40 - 50 mm circle. Gets dreamily soft outside of that.
f/8: Sharp within about a 70 mm circle. Gets dreamily soft outside of that.
f/11: Sharp within a circle of about 90 - 110 mm. Softer outside of that. Note that the full 6 x 12 format is only 112 mm wide, so this aperture is fine on this format.
f/16: Sharp all over.
f/22: Sharp within the entire field I can use on a full shifted Horseman SW612P, about 150 mm diameter.
f/32: Less sharp due to diffraction.
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SELECTING THE OPTIMUM APERTURE
Like all large format lenses it's limited by diffraction if you stop it down too far. You usually want to shoot around f/16 and stop down past f/22 only if strictly needed for depth of field.
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update: 2018/04/27
reference:
1. Schneider 47mm f/5.6 Super Angulon XL
2. Super-Angulon XL
3. Comfort Technika 45 lensboard
4. How to Mount a Lens on a Linhof Technika Recessed Lensboard
5. Linhof Recessed Technika 45 Lensboard in #0 Compur Shutters 001093
6. Linhof Recessed Lensboard for Copal #0 Shutters 001015
7. Gepe 3.25" (8.3 cm) Flexible Cable Release Extension for Large Format Lenses Mounted in Recessed Lensboards
說明: 當有加 Center Filter: IIIc 濾鏡時, 曝光需要增加 2 個 stop.
---------------------------------------------------------------------------
---------------------------------------------------------------------------
Gepe 3.25" (8.3 cm) Flexible Cable Release Extension for Large Format Lenses Mounted in Recessed Lensboards (B&H)
This very modern lens was introduced in the mid 1990s. It covers an astounding 120 degrees, or an image circle of 166 mm. This means that this ultra-wide lens gives 9 mm of movement even on 4 x 5" film! With a 120º angle of view to the front and of course 120º to the rear that leaves only 30º to the front left and front right in which to hide your hands and the camera!
---------------------------------------------------------------------------
Angle of View: 120 degrees at f/22. 98 degrees at f/5.6.
Image Circle: 166 mm at f/22. 110 mm at f/5.6. (Diagonal of 4 x 5" film is 153 mm)
Shutter: Copal #0: 1- 1/500, time and bulb. Other shutters are available if you insist.
Flange Focal Distance: 59.1 mm. This is how far the back of the mounting flange is from the film when focused at infinity. You need to know this when figuring out if this will mount on your 4 x 5" camera successfully.
Actual Focal Length: 48.0 mm
Front Filter Thread: 67 mm
Center Filter: IIIc, part number 25637, two full stops. 67 mm mounting thread (to match the 47 XL) and 86mm front thread. I have a whole page about center filters.
Schneider also mentions the 1.5 stop IIIb filter, part number 10590, for partial correction.
This is handy since the IIIb 1.5 stop filter is the same filter as used by the 58 mm, 80 mm and 110 mm XL lenses, as well as the classic 90 mm f/8 Super Angulon.
Diaphragm: Seven blades, f/5.6 - 32. Infinitely variable. Marked in third stops
Weight: 10.9 ounces or 310 grams. Tiny.
Mechanical vignetting: is gone by f/16.
---------------------------------------------------------------------------
The 47 XL is sharp everywhere stopped down. You're not supposed to photograph with it wide open; f/5.6 is for focusing. The design is optimized for use at smaller apertures. Here are the specifics at each f/stop with an 8x loupe. The circle of perfect definition shrinks a little under my 22x loupe and grows with a 4x loupe, since you different amounts of finer details. An 8x loupe is about equivalent to an 18 x 36" print.
f/5.6: Sharp within about a 40 - 50 mm circle. Gets dreamily soft outside of that.
f/8: Sharp within about a 70 mm circle. Gets dreamily soft outside of that.
f/11: Sharp within a circle of about 90 - 110 mm. Softer outside of that. Note that the full 6 x 12 format is only 112 mm wide, so this aperture is fine on this format.
f/16: Sharp all over.
f/22: Sharp within the entire field I can use on a full shifted Horseman SW612P, about 150 mm diameter.
f/32: Less sharp due to diffraction.
---------------------------------------------------------------------------
SELECTING THE OPTIMUM APERTURE
Like all large format lenses it's limited by diffraction if you stop it down too far. You usually want to shoot around f/16 and stop down past f/22 only if strictly needed for depth of field.
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