User manual HARTBLEI PELENG

[. . . ] 83° (equivalent to 24 mm focal length for a 35mm cameras) with optical unit shift . . . 0 to 12 mm (0 to 11 mm for Kiev 88) in any direction Tilt movement range: TS-PC . . . 880 grams R ES O L IO N T BL UT A ES The average values of the tests of several lenses performed on the films with the resolution of 200 lines per mm ­ Kodak T-max 100 by INFPHO laboratory. Line resolution per millimeter: PC Hartblei 3. 5/45 Aperture Aperture Aperture Aperture Aperture 3. 5 5. 6 8 16 22 Distance from the center of the frame: 0mm 8mm 19mm 40 38 25 35 38 32 45 40 36 55 45 35 55 40 40 29mm 21 26 31 35 32 37mm 20 23 25 31 31 The resolution at 6 mm of shift in lines on millimeter (in the direction of shift / in the direction opposite to shift): PC Hartblei 3. 5/45 Aperture 3. 5 Aperture 8 Aperture 22 Distance from the center of the frame: 0mm 19mm 29mm 20 35/25 25/25 30 35/25 30/25 55 35/34 30/30 37mm 25/20 20/16 30/27 The resolution at 12 mm of shift in lines on millimeter (in the direction of shift / in the direction opposite to shift): PC Hartblei 3. 5/45 Aperture 3. 5 Aperture 8 Aperture 22 Distance from the center of the frame: 0mm 19mm 29mm 30 22/22 21/20 35 32/27 25/20 50 38/35 33/30 37mm 15/10 25/15 27/22 The resolution at tilt (in the range of sharpness) in lines on millimeter: PC Hartblei 3. 5/45 Aperture 3. 5 Aperture 8 Angle of tilt: 3° 35 40 6° 35 35 8° 25 30 The resolution at tilt-and-shift (in the range of sharpness) in lines on millimeter: PC Hartblei 3. 5/45 Aperture 3. 5 Aperture 8 Aperture 22 Tilt / Shift: 3°/6 mm 37 47 50 3°/12 mm 35 45 42 6°/6 mm 30 40 42 6°/12 mm 28 35 37 8°/6 mm 25 40 40 8°/12 mm 30 40 40 The data of the tests of a Nikkor 50mm / f=1. 8 AIs lens are listed for comparison (tests are performed on the same technique): Nikkor 1. 8/50 Als Aperture 1. 8 Aperture 8 Distance from the center of the frame: 0mm 8mm 38 40 40 50 19mm 32 39 O P ER A T N G IN S T UC T N S IO R IO Lens Mounting and Removal To mount and remove the lens, please follow the instructions in the user's manual of the camera. [. . . ] Focusing To focus, rotate the focusing ring with the distance scale on it until the image is sharp in the viewfinder (it is preferable to do this with the aperture being maximum open). Determine the depth of field using the distance scale and the depth-of-field scale, and check it visually by the image on the focusing screen, in the viewfinder at the chosen aperture. When focusing the lens after it has been shifted, it is possible that the microprism and the split-image rangefinder of the viewfinder of the camera may darken. In that case, check the image sharpness on the matte spot of the focusing screen. Orientation based on a distance scale after the lens has been shifted shall not give precise result. MC PCS HARTBLEI 3. 5/45 Aperture Setting MC TS-PC HARTBLEI 3. 5/45 MC TS-PC HARTBLEI 3. 5/45 Super-Rotator To set the aperture, rotate the aperture ring with the scale number on it until the selected one matches with the red mark on the fixed ring. Lens Shifting To shift the optical unit of the lens, rotate the shifting ring with the shift scale on it. Choose the direction of the shift by rotating the lens about the bayonet axis. To rotate the lens, push the shift direction release button on the shift mechanism. The lens can be turned around the bayonet axis 360° in any direction and may be fixed at each 15°. The lens may be used in positions between these intervals as well. To shift the lens more than 10 mm the vignetting is used, a darkening toward the corner of the viewfinder shows i. e. the decrease of the intensity from the center to the edge of the frame. When using lens tilt and open aperture there will be a difference in the quantity of light falling on the opposite edges of the frame. With 6° tilt (and more for TS-PC Super-Rotator) and simultaneous 6 mm and more shift for 6x6 format vignetting occurs. With 6° tilt (and more for TS-PC Super-Rotator) and simultaneous 9 mm and more shift vignetting occurs in both 6x6 and 6x4. 5 formats. P R A C T A LA D V IC ES A N D EXA M P L IC ES Bellow you find several pairs of pictures that illustrate possibilities provided by the lens shift and/or tilt functions. The picture « A» illustrates the standard position in which lens shift and/or tilt functions are not used, and the picture " B" illustrates the uses of the given functions. Both shots from each pair are made without change of the point of shooting. Remove or Increase the Distortions With the help of the control system of PCS and TS-PC lenses, you can if necessary remove or increase the effect of difference of level between a photographer and an object (Photo 1A, 1B). Photo 1A Photo 1B When photographing architectural objects, the distance from the lens to upper and lower parts of the object is different. It would result in a distortion known as a " falling building" effect (the parallel vertical lines unnaturally come up to one point). Similar problems arise when photographing a model on a catwalk, interiors, sculptures placed on high stands, paintings and architectural details located at an unreachable height. To correct this view, keep the plane of the film parallel to the photographed object (do not tilt the camera upwards or downwards). Then, to obtain the desirable composition, shift vertically the optical unit of the lens and as a result distortion problem is eliminated (Photo 2A, 2B). Photo 2A Photo 2B Sometimes, instead of removing the distortion, there may be a need to exaggerate the reduction of perspective. To do it, tilt the camera and shift the lens in the direction, opposite to the tilt. [. . . ] To do it, tilt the camera and shift the lens in the direction, opposite to the tilt. Eliminating or Adding Light Patches and Reflections When photographing objects that have a reflecting surface (for example, a show-window of the building, a mirror), the reflection of the photographer or patches of light can appear in the frame. To fully overcome this, it will be necessary to transfer the point of shooting to one side and to shift the lens in the opposite direction, while keeping the planes of the object and the film parallel. It would allow you to work without polarization filters and labor-consuming retouching of the photograph on your computer (Photo 3A, 3B). Photo 3A Photo 3B Tilting the TS-PC and TS-PC Super-Rotator Lenses and Adjusting Depth of Field While photographing interiors, still lives, portraits, objects for advertising it often happens that total control of the depth of field is required. [. . . ]