Thank you Mr. Schaetzl, reading this reminded me
that when I was doing some copy work for a friend at
moderate repoduction ratios ie. 1:4-1:7, I dispenced
with the reflex viewing alltogather and used a custom
made groundglass that sat on the inner rails of my
OM1. I used this setup to compose and focus because
most of the subject matter was one size and I could be
sure of framing and focus. I wonder if this could be
applied to the setup described it the Ziess
instructions? It should elemanate any potential
problems with the reflex system in the body.
John R.
--- Richard Schaetzl <Richard.Schaetzl@xxxxxxxx-> This
is comes close to the method Zeiss recommends
> for ultimate sharp
> tripod photos:
>
>
> 10 Steps to Success in High Performance Photography
>
> The following article is meant to be a ten
> step guide to images that are significantly
> sharper than average ones. Images that
> exploit the enormous optical potential of
> Carl Zeiss lenses, their ability to produce
> photos with phenomenal sharpness and
> impressive information content.
>
> (So hopfully, images produced by Zuiko lenses might
> benefit too)
>
> This is the ten step method used by Carl
> Zeiss applications specialists to shoot the
> high resolution demo photos which
> challenge today?s sharpest color films to
> their very limit.
>
> 1. Select a high performance optic!
> If you don?t, all subsequent steps are a
> waste of your time and effort.
>
> (Well, an Zuiko might serve as well)
>
> 2. Attach your high performance optic to
> an adequate camera. To be adequate, the
> camera needs to have an all metal die
> cast housing, strong and large bottom
> plate with tripod thread preferably located
> under the center of gravity.
>
> (Thats true for OMs, in contrast to many plastic AF
> wonderbricks)
>
> If the camera has a detachable winder or moto
> attached underneath, you may want to
> take it off for better rigidity of the whole
> system. Do not simply assume that your
> camera is in perfect condition, rather
> have it double checked for correct back
> focal flange distance, and, in case your
> camera is an SLR, for perfect alignment
> of mirror and focusing screen in relation
> to the film plane.
>
> 3. Place your camera and optic in a very
> rigid way onto a very stiff tripod and
> head, preferably with virtually no
> elasticity. Photo tripods usually prove
> insufficient for real high performance
> photography.
> You may wish to use a carbon fibre television
> tripod instead, with a fluid head
> featuring adjustable damping devices.
> Balance your camera properly on the fluid
> head, adjust the counterbalance dial for
> the weight of your camera and lens,
> choose high values on the damping
> system dials (e. g. 5 to 7 on a Sachtler
> "Video 18 Plus"), and do not fasten the
> brakes! This is the special trick with fluid
> heads: Use their damping systems,
> originally invented to enable the
> cameraman to perform smooth pans, to
> absorb equipment vibrations triggered by
> the shutter, instead. These vibrations
> could otherwise reduce or even destroy
> the optical resolution of fine structures.)
>
> 4. Select a high performance film like
> Kodak Ektar 25 Professional or Kodak
> Royal Gold 25 (color negative), or Kodak
> Technical Pan (black & white) or Fuji-chrome
> Velvia (color transparency) and
> make sure it will be processed
> adequately. Films like the ones just
> mentioned offer a resolving power of
> 150 line pairs per millimeter and beyond.
>
> 5. Use the split field indicator for focus-ing.
> Make sure the aperture is wide open.
> You may want to use accessories, small
> telescopes like the Carl Zeiss MiniQuick®
> 5 x 10 T* with 5x magnification are pretty
> handy for this task, to enlarge the center
> of your viewfinder image during focusing.
>
> (An Olympian will use the Vari Magnifinder)
>
> 6. Prefer f-stop settings in the region of
> 5.6 to 8. (To close the aperture down
> further will cost too much resolution due
> to the unavoidable phenomenon of
> diffraction (At f/8, diffraction will limit the
> resolution to 200 line pairs per millimeter
> or below, at f/5.6 the diffraction limit is at
> 280 line pairs per millimeter; see CLN 2).
> To open up the aperture more may cost
> too much resolution due to thermal
> expansion effects, film curvature due to
> moisture and temperature (The Real Time
> Vacuum System in the Contax RTS III does
> away with this problem). Mechanical
> tolerances due to wear and tear, rough
> handling and other influences like
> residual warpage of the focusing screen
> also recommend to open up no wider
> than 5.6 or 8.)
>
> 7. Use the mirror pre-release feature, if
> your camera has it (Every camera that has
> it, needs it. The opposite is not true! Not
> every camera that comes without, can
> achieve high resolution photos.)
>
> 8. Wrap your hands around the camera
> to absorb most of the vibrations that occur
> upon opening the focal plane shutter
> (you may not need a cable release at all).
> If your camera system gives you the
> freedom to use either focal plane or
> central shutter, like the Hasselblad 200-
> series cameras or the discontinued
> Rolleiflex SL 66, when combined with
> central shutter lenses, prefer the central
> shutter because of its inherently lower
> vibration levels.
>
> 9. Take written notes of all parameters
> and settings (like: Carl Zeiss Distagon
> 28 mm # 7.500.123, @ f/8, Contax RX
> # 10.531 @ 1/125, in Av-mode, Mar 3,
> 1998, focusing done with split field
> indicator for license plate in center of
> image, damping on fluid head: 7 on
> vertical, 5 on horizontal, license plate on
> truck 350 feet away, character line width
> on license plate: 3/8 inch.)
>
> 10. Select a lab that is very quality con-scious
> about equipment and materials
> and uses high performance optics in
> printers and enlargers. The best optics
> ever used in a lab for enlarging are Carl
> Zeiss S-Orthoplanar 4/60 and Carl Zeiss S-Biogon
> 5,6/40 for prints from 35 mm
> originals and Carl Zeiss S-Orthoplanar
> 5,6/105 for prints from medium format
> originals. These optics were originally
> developed for the extreme resolution
> demands of microdocumentation (beyond
> 150 line pairs per millimeter) and are, at
> magnifications of 10 x to 70 x, far
> superior to even the very best enlarging
> lenses currently available.
> Understanding and using these tech-niques
> will surely give you a better appre
> ciation of the extremely high limits which
> Carl Zeiss has spent so much effort
> designing and manufacturing into their
> lenses. More than ever before, extremely
> careful and deliberate technique must be
> used to obtain the results of which the
> equipment is capable.
>
> Found at:
>
> Camera Lens News (CLN) No. 4 June 1998
>
> You may use all the information presented by
> CLN in your own publications freely if you sen
> a specimen copy to us. Although CLN does no
> contain photos itself and is written in English,
> we may be able to provide you with images in
> many cases and German versions of the
> articles.
>
> Publisher:
>
=== message truncated ===
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