Phase One, Schneider, and Mamiya Lens Tests
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Wide Angle Tech Lenses + IQ180

A 6-frame 280 megapixel image using a Schneider 60mm XL on Cambo Wide RS with Phase One IQ180.
note: this test was done prior to improvements in the LCC routine of Capture One Pro. Better results regarding color at the edge of the image circle should be expected when using the improved “Wide Angle Tech Camera” LCC option.
Capture Integration Test
We performed our own test with the IQ180 and a variety of tech camera lenses:
- Schneider 28mm XL Super Digitar*
- Schneider 35mm XL Digitar
- Schneider 43mm XL Digitar
- Schneider 60mm XL Digitar
- Rodenstock 70mm HR
*note there is also an older Schneider 28mm Digitar lens. This is the Super-Digitar, a brand new lens released in 2011
Test Parameters
Captures were made with +/-20mm of shift and 25mm of fall, 5mm of fall, and 15mm of rise. The exception was the 28XL lens which limited mechanical shift to +/- 17.5mm. Since the Cambo Wide RS moves the back rather than the lens the lens remained stationary and the 25mm of fall of the back resulted in a “rise” of the image. The lens was set at f/11.3 for all exposures. Exposure varied slightly with the cloud coverage, but was generally around 1/15th for the exposure and 1/4th for the correlating LCC capture. The LCCs’s were analyzed in Capture One 6.2.1 using the “Analyze (Technical Wide Angle)” option and then applied to the appropriate frame. Each of the 6 exposures was then processed with sharpening disabled (at this stage) as 16 bit TIFFs in the camera’s native ICC profile, and stitched using “reposition” and “blend” mode in Adobe Photoshop CS5 (since this is tech camera stitching the images did not need to be geometrically reshaped – only repositioning is required). The final file was then flattened, cropped slightly (1mm of movement or so to account for slight variations in alignment when shifting the back), lightly sharpened (USM: 100%, 1.0 radius, 1 threshold), converted to the ProPhoto color space and saved as level 12 JPGs. Please note that since they are in the ProPhoto color space they may not appear correctly on the web if viewed without conversion to sRGB. That is one reason we zipped the files (so that users did not accidentally view them in a browser and make color judgements).
Resulting Composites
This resulted in composites around 280 megapixel each which would print around 6 feet wide at a native 240dpi. When evaluating the image at 100% you are viewing a very very small section of a very large file.
Rodenstock 32HR
A somewhat similar test, of the Rodenstock 32HR vs. Schneider 28XL Super Digitar has been posted at the GetDPI forum. We did not have a 32HR in a Cambo mount the day we did this test.
Phase One’s KB Article
Phase One maintains a lens-recommendation list for ultra-wides. However the article outlining Phase One’s official recommendations has not yet been updated to include the IQ180, the new Schneider lenses. Nor does it take into account show the vast improvement provided by Phase One in the “Technical Wide Angle” option in the LCC tool.
A Note About Center Filters
The 35XL and 43XL were tested here WITHOUT the optional center filter (none were available the day of the test). Using a center filter evens out the light in the captured frames (reducing lens vignette) which reduces the amount of work the LCC has to do.
Complete the Below Form to Download the Test Files
Note: The Leaf Aptus-II 12, which shares the same 80mp Dalsa Sensor, is likely to perform nearly the same as the IQ180.
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Normal Focal length Mamiya AF/Phase One D/Schneider Lenses
Testing Notes:
This test was performed with the new Phase One IQ180 digital back on a Phase One DF camera and the following lenses:
*Mamiya 80mm/2.8 AF Lens
*Phase One 80mm/2.8 D Lens
*Schneider 80mm/2.8 LS Lens
These minimally sharpened full-res JPGs will allow you to compare these lenses wide open and stopped down. This was a somewhat limited test due to some lighting constraints.
Comparison of old and new 80mm lens:
- Minimum Focus Distance
- Mamiya 80mm f/2.8: 2.2 feet
- Phase One 80mm f/2.8: 2.3 feet
- Schneider 80mm f/2.8: 2.3 feet
- Lens Design
- Mamiya 80mm f/2.8: 6 elements in 5 groups
- Phase One 80mm f/2.8: 6 elements in 5 groups
- Schneider 80mm f/2.8: 6 elements in 5 groups
- Size and Weight
- Mamiya 80mm f/2.8: 1.7″ x 2.8″ and 8 oz
- Phase One 80mm f/2.8: 2.0″ x 3.2″ and 11.6 oz
- Schneider 80mm f/2.8: 2.5″ x 3.4″ and 17.6 oz
- Filter Thread Size
- Mamiya 80mm f/2.8: 58mm
- Phase One 80mm f/2.8: 67mm
- Schneider 80mm f/2.8: 72mm
Processing Notes:
- Default Sharpening. (which is amount = 140, radius = 1.3, threshold = 1.0)
- Noise reduction set to defaults except for luminance = 0
- White balanced based on sample of the subject
- f11 exposures tweaked +/- 1.79 stops for consistency
- All other settings left at default
- Lens Corrections off
Downloads:
- Coming soon
Mamiya AF 80mm f/2.8 . Shot at f/2.8 (left) and f/11 (right)
Phase One D 80mm f/2.8 . Shot at f/2.8 (left) and f/11 (right)
Schneider LS 80mm f/2.8 . Shot at f/2.8 (left) and f/11 (right)
Testing Notes:
This test was spurred by the new Mamiya 150mm f/2.8 which has received a lot of hype.
These minimally sharpened full-res JPGs will allow you to compare the older 150mm f/3.5 lens with the newer 150mm f/2.8 lens. For reference we included the 120mm macro lens, often considered Mamiya’s sharpest lens. The two versions of the 150mm lens were taken from the same tripod position. The 120mm lens was taken from 20% closer in order to have the same subject size.
Comparison of old and new 150mm lens:
- Minimum Focus Distance
- 150mm f/3.5 lens: 1.5 meters
- 150mm f/2.8 lens: 1.0 meter
- Lens Design
- 150mm f/3.5 lens: 5 elements in 5 groups
- 150mm f/2.8 lens: 8 elements in 7 groups
- Size and Weight
- 150mm f/3.5 lens: 3.2″ x 3.1″ and 1.2 lbs
- 150mm f/2.8 lens: 4.7″x 3.3″ and 1.7 lbs
- Filter Thread Size
- 150mm f/3.5 lens: 58mm
- 150mm f/2.8 lens: 72mm
Processing Notes:
- Minimal Sharpening. (“pre-sharpening 1″ which is amount = 200, radius = 0.5, threshold = 1.0)
- Noise reduction turned down (luminance = 10, color = 15)
- Full-Res JPGs at 100 quality
- White balanced based on grey card (crops below are of text on a purple piece of paper)
- Exposures tweaked +/- 0.15 stops for consistency
- contrast, saturation, shadows, highlights, brightness, curves all left at default
- Lens Correction on (C1 4.1.1 has minimal lens correction, 4.2 Pro promises more)
Downloads:
- Mamiya 120mm f/4.0 Macro Lens (full-res, uncropped JPGs)
- Mamiya 150mm f/3.5 Lens (full-res, uncropped JPGs)
- Mamiya 150mm f/2.8 Lens (full-res, uncropped JPGs)
120mm Mamiya f/4 macro lens. Shot at f/4 (top) and f/5.6 (bottom)


150mm Mamiya f/3.5 lens. Shot at f/3.5 (top) and f/5.6 (bottom):


150mm Mamiya f/2.8 lens. Shot at f/2.8 (top), f/4 (middle) and f/5.6 (bottom)



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Mamiya 28mm Lens
Below is an image our Miami Technician, Doug Peterson, captured of one of the life guard stations down the street from our old sunny Miami Beach location (we’re now located in Miami).
Camera: P30+ with Mamiya AFD and 28mm lens

Downloads
Full Res JPGS
- Mamiya 28mm [no adjustments, no sharpening, no noise reduction]
- Mamiya 28mm [with C1 adjustments, sharpening and noise reduction]
- Mamiya 28mm [with C1 adjustments, sharpening and noise reduction AND Photoshoping]
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Canon 1Ds Mark III Tilt-Shift Options

“Your only as good as your glass!”
With pixel sizes diminishing, this adage is as true today as ever. We can now “peep” at a level never before possible. The X2 Pro gives us T/S capability with a variety of new and older glass that is in our bag. This test shows how these lenses stack up against one another.
Camera: Canon 1Ds Mark III
The Hasse 60mm and the Schneider 80mm Digitar were used in conjunction with the Cambo X-2 pro.
Downloads
The following are available as 100% TIFFs.
(You may need to right click and “save as”.)
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Horseman 24mm and 35mm lens
A major concern in architectural photography is the barrel distortion of wide-angle lenses. Here are two images taken using a Horseman 24mm and Horseman 35mm lens. Placing the building’s edges at the frame-edge allows the examination of the distortion of these lenses.
Digital Back
- Phase One P45
Lenses Tested
- Horseman 35mm
- Horseman 24mm
Test Specs and Notes:
- Horseman lenses were
- Rodenstock 35mm APO-Sironar digital f4.5 lens
- Schneider 24mm APO-Digitar XL f5.6 lens
- End of the day, Jewish Museum of Florida, Miami Beach, FL
- Minimal environmental vibration (e.g. no moving vehicles or construction nearby)
- Lenses set to near prime aperture (f11)
- Processed in Capture One 4.0
- P45+ Easy Grey Profile response curve
- Exposure adjusted <1 stop per image to compensate for changing lighting conditions
- Sharpening: 130, 1.3, 1.0
- LCC applied for each lens/movement combination
- HDR: Shadow=10, Highlight=20
Downloads
The following sets of images are available as compressed folders of 100% JPGs.
- HM_24mm_f11
- 0mm rise
- 10mm rise (with corner vignetting from out of image-circle movement)
- HM_35mm_f11
- 0mm rise
- 15mm rise
- 15mm fall
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35mm Lenses: Cambo Wide DS vs Medium Format
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P45+ on a popular medium format body* with 35mm
P45+ on CWDS 35mm – with 10mm rise and LCC (Schneider lens)
Download 100% JPGs of the following combinations:
- MF 35mm lens, f8
- MF 35mm lens, f11
- MF 35mm lens, f16
- CWDS 35mm lens, f8
- CWDS 35mm lens, f11
- CWDS 35mm lens, f16
- CWDS 35mm lens, f11, with 10mm rise
Test Specs and Notes:
- CWDS lens was a Schneider lens: APO Digitar f5.6 35mm XL-102deg MC
- Exposed for details in dark shadows of door.
- Bright Sunny Day, Approx: 3pm, Jewish Museum of Florida, Miami Beach, FL
- SLR: Mirror lockup triggered remotely via Capture One
- Cambo WideDS triggered by cable release
- Minimal environmental vibration (e.g. no moving vehicles or construction nearby)
- Lenses set to near prime aperture (f8, f11, f16)
- Processed in Capture One 4.0
- P45+ Outdoor Daylight Profile, Film Extra Shadow response curve
- Exposure -0.4 stops
- Sharpening: 130, 1.3, 1.0
- No Noise Reduction
- LCC applied to CamboWideDS
- HDR: Shadow=22, Highlight=25
*This test is to illustrate the advantages of a technical camera with the latest digital lenses. In order to continue to stay unbiased we have decided not to publish which manufacturers medium format 35mm lens was used. Compared to any medium format system a technical camera has the advantage of a purpose-driven, non-retrofocus lens design.









