sinar. View camera photography of the 1990s or mera Cs eho to] Go Wee ne ee en eet Crete ie eee ree enn edFOR THE ULTIMATE Outlook to the end of the millenium Is siNor halide fm reaching the end ofits Useful Ife in professional photography? ‘Ae stil pictures facing a similar revol tion with CCD sensors as video moviesin the last ton years? Much research and development is go- ing into electronic image recording, Yet {or high-quality single images, siver ha- lide fim is Ikely to remain the original ex: posure medium well into the next cen- tury, Electronic image sensors are stil a Jong way from the quality level of large- format sheet fim. Electronics has, how- fever, made considerable advances in subsequent processing of photographic originals. Scanners scan the original dot by dot (without the constraint of short Fealtime exposures) and electroricaly store the result a high information densi ties. Computers then take over to ready the image for photomecharical printing, This brings great benefits in productivity ‘and enormous scope for image process: ing. Those advances are ai least one reason for the higher qualty demands IMAGE now being made on photographic origi- nals. Even with perfect image process- ing, the final printed result can at best ‘only match the quality of the original image. Computerised image manipula: tion may occasionally save unsharp, ex- Cessively contrasty, colour-distorted or otherwise fauity pictures. But this is ex- pensive and the quality fals far short of that ofa property taken photograph, Inits roe of producing high-quaity orgi- nals, the view camera must therefore ‘meet even higher requirements. Demands facing photographers ~ and large-format view cameras ~in the 1990s Originals of better definition ‘and resolution Modem view camera lenses such as the SINARON range are designed and made {0 close optical and mechanical tolean- (02s. They can thus fully match the resolu- tion ofthe latest film generation. But this Is subject to certain conditions: = The ground gjass screen plane must ‘coincide very closely with the fim plane. ‘The solution: The SINAR 4x5" precision sheet film holder holds the fim's emulsion side fat ‘and locates it within +/~ 0.03 mm of the {ground glass screen plane, = Every camera movement directy in- volved in image sharpness (focusing, swings and tits) must permit highly precise setting, The solution: The electronic seneors of the SINAR & Permit settings to the nearest 0.05 mn and the nearest 0.1° of arc = Whenever possible, the working aper- tute should be between (/18'/ and 11222/s — smaller only in exceptional cases. The soktion: The ‘cluster program’ for object points with the SINAR @ computes the optimum 2 depth of field wedge and usualy allows a \working aperture one to two stops larger. Boosting productivity Commercial photographers are under constant pressure of deadiines. itis not easy to keep producing outstanding ‘work with one eye on the clock; you need ‘2 camera that takes over the technical figuring The solution: The computer program for focusing and exposure with the SINAR e, Reproducibility ‘You may like to keep a set standing until you know that the shot was right, Yet you often have to repeat a setup and shat ~ either immediately or months or years later The solution: The SINAR 8 program for storing settings ona diskette, Meticulous creativity With complex setups, camera settings become apainstaking quest fora perfect image on the focusing screen, Once that is found, no one must touch the cameral The solution: ‘The SINAR e image control program for any image scale, ttee perspective choice, {and indication of utised lens coverage.FOR THE ULTIMATE ‘Tone values, exposure control and best reproduction in print ‘When shooting, you often approach the Fight exposure by successive approxima ‘tons via innumerable instant print tests, ‘And the final shot stil needs bracketing exposures. The solution The SINAR e exposure program with ts visible display of tone values and bright- ness range. Quality comparison with a studio setup Fig. a SINAR e setup Exposure data: 210 mm SINARON s lens 4.4° vertical tit 2.8° horizontal swing 16% Image scale 1: 8.5, Fig SINAR p2 setup Exposure data: 210 mm SINARON s lens 4° vertical tit 132% Enlargements of the resolution target images, set aut in sharpness sequence from 1 to 9 with indication of percentage sharpness (100% = sharpest), ‘The results summed up: — Computer-controlied location of depth Of fled wedge for best sharpness distribution permits 17s stops lerger ‘aperture. = Using the optimum working aperture yields an average 10% higher resolu tion on the fir, ~ Setting up the camera is three times as fast —and postive, Fig. a: Exposure with SINARe Comparieon of resolition sivane 4 ==” = F = = a = = 85% f 2 2 a = = 70% i = a we i g 3 aN P 2 a = i ua ¥ ae 607% IMAGE Fig. b Exposure with SINARp2 19 — “Bel ~EGl a ~Eal ~Fei “Emi ~L[_ mt fi ~f—m1FOR THE ULTIMATE The practical test To demonstrate the main features of SSINAR e operation against the conven- tional approach, 35 German professional photographers were invited to the Kas- per Studio in Rielasingen (W. German towitness a shooting session of three a: signments. For this occasion, organised fon June 12, 1990, Kasper propared tte demanding setups: a table-top ‘group, an interior and a closeup product shot. With no further preparation, H.C. Koch, equipped with a SINAR e, had to get on with it Table-top group The job’ The arrangement of jars has to fll the frame and record sharp all over. The background should show just recognis- able detail. The glass jars atthe right are toappear, enhanced perspective, sightly larger than those atthe left, Ughting is by flash. Requiredis.a transparency suitable for reproduction in print. Handled with the 4x5" SINAR 9, with 210 mm SINARON § lens in OB au ‘Aperture mount How shooting cffered from the tradi alwa ts encured re liable sharpness with minimum stop- pling down — 1/2228! — Perspective alternatives were easy to ry out and judge. — No bracketing exposures were nee ed usta single original transparency (on Kodak Extachrome 100 P fir. Fast shooting: From composition to the exposure the whole job took about 45 min, including running explana: tions to the audience. IMAGE ‘The interior (see cover) The job: The fantasy setup of chairsin theirframes should fll the image area and appear without converging verticals. The gap between the wal, it from behind by flash, must show just vsibie highlight de- tall. The somewhat darker foreground wall is to give depth to the picture; the spotighting on the chairs should convey the artifcia-ight atmosphere. The strip Cf wall near the bottom should record in medium brightness, All chairs must ap- ear in bright red detail the foreground Chair can be a litle darke Handled with the 4x5" SINAR e, with 210 mm SINARON s lens in DB auto: aperture mount, mixed lightingFOR THE ULTIMATE How shooting difered ftom the tradition: al way: = For setting up, the photographer fo cused in turn on all image points that had to be sharp; sot the image stan- dard to vertical, and folowed the com puter program to adjust the horizon tal-axés tit and vertical-axis swing on the lens standard. Surprisingly, this yielded a working aperture as large as 1/22. The traditional way — especially ‘with large setups — rarely uses swings (or tits at al. That, however, requires more extensive stopping down, which calls for twice as much ight for each stop smaller. — You can assign precise tone values to specific subject areas. The grey strip, of wall was read as a midtone, and yielded an exposure time of 21 sec. (with automatic. reciprocity. failure compensation). The background vis ble through the gap between the walls was read in information made, and the fi-in flash adjusted accordingly to bring that point to a luminance lovol 2 EV above the midpoint brightness. The intended tone values ofthe chairs, wall and floor were checked with fur ther info mode readings. ~ Only one exposure was made, on Ko- dak Ektachrome 100 P fr, — Once the job was explained, the pho- tographer needed just 1 min. to shoot it — including the commentary for the observers. — Thanks to exact readings of tone val ues and brightness range, no bracket: ing exposures were needed here, either. Automatic allowance of rec procity failure in the computation elim Inated any need for trial exposures. Info-Metering mode: Closeup The job: The art director spectied a grouping of lipsticks, 10 be arranged in natural per- ‘spective in front of a background show: ing just visble tone. The ipsticks are to be at about 1:1.5 reduction, the whole shot to be an original for reproduction in prin. Handled with 4x5" SINAR_e, with 300 mm SINARON s lens in DB auto- aperture mount How shooting differed from the tradition- al way’ = Selting up the camera to a specified image scale — normally tricky with closeups ~ is particulary straightfor- ward with the SINAR e: the computor [program indicates the exact distance for the required scale = Focusing: The significant subject points to be sharp were focused and Perspective adusted by the move- ‘ments ofthe rear standard = The resulting optimum swing/tit set- ings permitied an 22% aperture, Al- ternative perspective adjustments and composition changes were easy, too. This easy way of perspective con within the whole of the lens’ image IMAGE field encourages the use of this crea- tive approach, The monitor athe time Clearly indicates the optical limits. ~ As you gain up to two F-stops with the SSINAR @, you can in such closeups ‘quickly cover even complex setups extending in depth and directly see whether an intended arrangement 1s feasible with acceptable image quality — The cluster program for abject points Clearly indicates possible physical or ‘optical obstacies to cover any portion Of the subject — and cisplays the avai able adjustment range to ensure a perfect pictur. = Exposure readings in the fm plane of fer compiete control of the tone val ues. They yield perfect exposures, with controled brightness range even in closeups, without requiring bracket ing exposures. Exposures straightfor ward with both reflacted ighting and transilumination, Here again, a quarter of an hour cov ted the whole job from setting up to the exposure — complete with ex planations to the watching photogra- phers. 4 Contrast readings of the brightest and darkest object points required to show detail helped to keep the brightnessFOR THE ULTIMATE range inallthree cases within the permis sible maximum of four f-stops. For the bbeneft of the engraver and Itho produc tion these points. were marked (max. 4/2:stops). That way the originals Could bbe scanned in a standardised run withno ‘need for corrections. That improved ro- [production and in turn saved some 40% Inprocess costs, Please adjust the len Working Apert; 22 + 3/3 1k x 0 + Go £0 aight reading | | mine Vertical shite Economic aspects ‘The folowing advantages balance the in- vestment cost of a SINAR e camera: Improved quality of the results = Perfect control of the threo-dimen: sional object space and its perspective rendering on the flat fim ~ Need for less light power by the use of larger lens apertures ~ More scope for creative image control = Fim savings = Increased productivity and hence time saved by easier camera settings, ox- posure measurement and. lighting control ~ Convenient data storage permits easy reshooting View camera photographers should evaluate these advantages of computer: aided photography and set them against the cost ofa SINAR e camera, Ifyou fully write off this investment over five years, the weekly financing cost at normal inter- est rates is about SFr. 120.- to 160— Irespective of currency, this is equiva lent to the cost (including processing) of ten sheets of 4x5" colour fim. The practical demonstration shows that working with the SINAR @ quickly saves that sum many times over! MAGE Anything can be certifed - but i's trus: (On June 12, in the presence of an expert audience, H.C, Koch shot the three jobs inrecordtime andin outstanding quai, reer Rudolt-Diese!-Strasse2 -7703 Rielasingen "7 Progrest, Edson, NJ o8820-1102 oneeso sinar’ SINARAG CH-8245 Fouorthalen/Switzerland ‘Telephone 41 (0)83 29.35 35 ‘Telex 897 108 sina ch Toletax 41 (0}53 29 35 78