The WRE-2138 and WRA-2138 Float Lens panels are lenses dedicated to the use with Digital Backs. Both feature a Rodenstock 6,5/138 HR-Float Digaron lens with Rodenstock eShutter-250 (or Rodenstock Aperture Only Mount in the case of the WRA-2138).
This very special lens design is mounted in a helical focussing mount, which drives a floating element for optimal sharpness at any focussed distance.
The WRE-2138 and WRA-2138 fit to all Cambo Wide RS camera systems.
WRE-138 shown with Rodenstock E-250 Shutter System on a Cambo WRS-1600 and Cambo PCH
The Rodenstock HR Digaron-SW float 138 mm f/6.5 is an exceptionally sharp, long focal length, lens for adjustable technical cameras.
The optical design with eleven lens elements in ten groups is very complex for a prime lens. It has the highest possible resolving power extremely close to the diffraction limit. This is not only achieved across the entire field of the largest digital sensors – but also to the edge of it’s constant 110mm image circle.
For professional technical camera users, even with the largest sensor formats, this gives ample clearance for parallel shifts for perspective corrections without excessive stopping down of the aperture according to the Scheimpflug rule.
The rotation of the focusing ring automatically controls the floating elements group and all aberrations are therefore minimized throughout the whole focusing range. Even with extreme camera movements this lens remains tack sharp.
WRE-138 mounted in Rodenstock E-250 Shutter
In the studio the electronic Rodenstock eShuttercan be controlled easily via USB from the computer or with an app from an iPhone, iPod, iPad or a similar Android mobile device. It can also be operated with the remote controller Sinar eControl with a rechargeable Li-Ion battery offering independent use on location.
Rodenstock Aperture Only Mount Rendering
When mounted as the WRA-2138, the Rodenstock Aperture Only mount is a great option when working with the latest Digital backs with built-in sensor-activated Electronic Shutter. The aperture is manually set at the lens, and in this configuration, there are no need for any sync cables between lens and back.
The Cambo WRA-2138 in Rodenstock Aperture Only Mount
Please note that limitations apply based on the individual model of digital back you are using. We refer to the manufacturer of the applicable digital backs for support and use of electronic shutter functions.
Shortest focal distance to object: approx. 1.0 mtr
Image circle of lens at any f/stop: 110 mm
Optical Movements: CCD size 37x37mm: 33/33 mm CCD size 33x44mm: 34/30 mm CCD size 36x48mm: 30/26 mm CCD size 37x49mm: 31/27 mm CCD size 40x54mm: 28/24 mm CCD size 36x56mm: 29/24 mm
Please note that the optical movements are larger than achievable due to mechanical limitation.
This lens is currently being released in small increments, with plans on a full production model being made available later this summer. Preorders are available now from any Cambo USA dealer.
In 2013 the announcement was made that no more Copal shutters were going to be produced, which was a shock to large format photographers worldwide.
Over the last six years the stock of existing shutters has been at a high enough level that Photographers were still able to get their hands on these essential lens accessories.
Late last year we were made aware that Rodenstock’s stock of these shutters had finally been used up, and that no other lenses would be mounted in a Copal-0 mechanical shutter. And sadly today I must report that new Rodenstock lenses are no longer able to be purchased with mechanical shutter options.
The Future of Shutters:
We are left now with two options for our Actus and WRS camera system customers:
The E-125 and E-250 shutter system: Built and designed by Sinar, this shutter system relies on an exterior powered control box to set shutter speed and actually trigger the shutter itself. Depending on the shutter model these units are capable of a max shutter speed of 1/125th or 1/250th of a second and allow for synchronization of flash units
Due to the form factor of these shutters, new Rodenstock optics are able to be delivered for use with both the Actus (unmounted) or mounted in the Cambo WRS mount.
Sinar E-Shutter mounted for WRS. The shutter is connected to the controller box by the thick cable attached to the shutter.
More information can be found by reading Sinar’s the E-Control PDF
Please note that the E-Controller itself is not directly available through Cambo USA, and instead should be ordered through your Cambo dealer of choice, many of whom are also Sinar-Leica dealers
Rodenstock Aperture-Only Mount:
A Computer rendering of what the new Aperture-Only mounting solution will look like on an unmounted lens.
Technical Data:
Aperture size #0
Aperture control manual
Aperture range 6 f/stops.
9-Blade Design
No Flash synchronisation
Rodenstock 23HR mounted for Cambo WRS shown in Aperture Only mount.
Coming later this quarter Rodenstock will be releasing a newly designed Aperture-Only mount for their current HR optics line-up.
This newly designed mount will share the Copal-0 sizing standard, which allows it to be used with all existing Copal-0 boards available today. And like the E-125/E-250 shutters, this new option will be available in both an un-mounted version or in a WRS lenspanel for use across the entire lineup of Cambo camera options.
This is a great option when working with the latest Digital backs that have a built-in sensor-activated Electronic Shutter (Such as the Phase One IQ3-100 and new IQ4 series digital backs). In this case, there is no need for a synchronisation between lens and back, as there are no moving and vibrating shutter parts. The desired aperture is set on the mount itself, and then the back can be fired either by touching the rear screen, or remotely via cable.
Unfortunately due to the current capabilities of the modern digital back sensor assembly, flash synchronization is limited and cannot be used in all shooting situations.
(We recommend reviewing information from your manufacturer specific to your digital back of choice for more information on this type of capture situation).
Better news for Actus camera users, as this allows for high quality optics to be used much easier than in the past with modern Mirrorless or DSLR cameras. Since ISO and Shutter speed are controlled on the rear-mounted camera, the aperture can quickly be adjusted and in many cases live view can accurately show a preview of the final image before capture.
What’s Next for Lens Shutters?
As digital back sensor technology continues to get better and better, and with the eventual packaging of a global electronic shutter into digital backs, the Rodenstock Aperture-Only mount will continue to be a light-weight and easy to use option for Photographers of all types.
As for now, we wait patiently what the future will hold, and hope to have something that is as long lasting as the legacy that Copal is leaving behind.
For more information, or to purchase lenses in E-250 & Rodenstock Aperture-Only mount, please contact your Cambo USA dealer of choice by visiting our Dealer page.
Cambo USA is happy to be a part of the Digital Transitions East Coast Tour of the new Phase One IQ4 digital back.
We will be bringing a complete Actus-DB II and WRS-1600 setup with lenses and accessories for display and demonstration purposes. So please come by and see them for yourself , while testing out the latest in digital back technology.
From DT:
“Experience Infinite Possibilities with the Phase One XF IQ4 Digital Transitions invites you to join us as we bring infinite possibilities across the East Coast. We will review the newest features in Phase One’s IQ4 150 megapixel digital back. Feel free to stop by any time during the event to try it for yourself!
This event is for photographers in every field – the IQ4 150MP has unique features that make it ideal for photographers in any specialty. DT representatives will be available to discuss Commercial, Fine Art, and Cultural Heritage specialties.”
Secure your free ticket today by visiting the links below:
Coming later this month, the WRS-HV lens plate allows you to mount lenses from the Hasselblad-500 series, in combination with the WRS series camera.
This combination will work with those digital backs that have an electronic shutter option, which works as a shutterless digital back, such as the PhaseOne IQ3-100 and the new IQ-4 series.
The aperture of the lenses can be set manually. The WRS-HV does not cock or fire the lens’ leaf shutter.
The practical use of lenses may be limited to those that have enough image circle coverage for the used digital back when using shifts.
The availability of Hasselblad lenses of the 500 series goes back a long time and this also gives you the opportunity to use particular old style legacy lenses, as well as very long focal lengths without the extreme physical extension of symmetric LF lenses.
Today in 2018, Cambo celebrates not only 72 years of accumulated expertise and dedicated craftsmanship of in-house design and manufacturing, but also 50 years of CAMBO Wide series of technical cameras.
The WRS-72|50 kit is built around an ergonomically optimised camera body. Based on the WRS-1600 introduced in 2016, the WRS-72|50 adds many exclusive design changes, including rounded corners, protected spirit levels, angled placement of a hand belt support and more. The special shaped handgrip is made of fine Rosewood. While keeping the unique body rotation between landscape and portrait position without removing digital back or lens, that help will protect your equipment against dust and damage.
The optics in this kit are Rodenstock’s finest 32HR-W and 90HR-SW, both in a tilt/swing lens panel for the best image quality and control. Additionally, Cambo has designed a new precision tilting function to the 90HR’s rear spacer, which adds an additional six degrees of tilt -or swing- on top of its lens panel movements. This offers you even more flexibility and image optimisation.
Each kit is individually numbered out of a limited series of only 50 units. It includes a Certificate of Authenticity with matching serial numbers.
This exquisite kit is delivered in a luxury Rimowa case with dedicated cavities for your equipment, including space for a digital back and extra lens or accessories.
The kit is completed with Cambo’s PCH precision controlled ball and geared head, with exclusive anniversary trim.
Full contents of the kit consist of:
WRS-72|50 body in Anniversary trim
Dedicated aluminium body cap
WTS-32 HR-W Digaron in T/S mount in Anniversary trim
WTS-90 HR-SW Digaron in T/S short barrel mount in Anniversary trim
We are pleased to announce, that we’ve joined forces with Phase One to offer the market three VERY attractive bundles of Phase One, and Cambo products.
These bundles will be available for a limited time from your local Phase One Camera Partner, starting today, February 1st.
For anyone considering making the jump to digital medium format these package bundles are the perfect solution to get you shooting in no time! And of course, we here at Cambo USA are here to support you in your journey.
Any of our Cambo USA dealers will be able to assist with the purchase of any accessories or additional lenses, and of course the Cambo USA support team is here to answer any questions that may arise, or guide you on how to get the most out of your new camera!
I have been married for the past 39 years to my lovely wife, Judi. For all of that time our home has been in Westchester County, NY. We have two adult sons, one daughter-in-law and one perfect grandchild. When not photographing, I am hiking locally, trying to play golf and rolling on the ground with my grandson.
“Japanese Maple” WRS-1200, Credo 80 and the Rodenstock 32HR – Columbia Gorge, Oregon.
What inspires you? How did you become a photographer?
I began my photographic journey as a teenager. Not any one subject pulled at me. Back then, I liked to photograph anything and everything. Nature, wildlife, landscapes, sports, things, etc. Like anyone else, I couldn’t wait for the next edition of NatGeo. Now, the great majority of my work is landscapes. Over the years, and through the course of my travels, I have been very lucky to have met many incredibly talented and creative photographers. Each one has had their own special way of delivering how they see our world. I have commented to others in the past that rather than duplicate what someone else has done, I have worked to understand the “why” behind what they do. Being able to distill those “whys” has helped me develop into being a better photographer and story teller. Being able to create images that are beautiful, intimate, dynamic and emotional comes from those gifted individuals past, present and future. It’s not just about taking a picture of a place it’s about being able to tell the story of the place without using words.
“Old Man of Storr” – Cambo WRS 1200, Phase One IQ280, Schneider 60XL.
Why Cambo Cameras/Products?
Prior to 2014, I was shooting 35mm full frame and 6×7 film. At gallery exhibits and other shows, much of what I had for display and for sale were large format prints. I felt that the size of the film/sensor on the 35mm camera limited what I could create and still maintain a high level of quality in the image. My 6×7 film camera, which I loved, satisfied my print size requirements but it was an extremely heavy and difficult system to trek out into the field. It also lacked wide angle and tilt shift lenses.
When I was introduced, in 2014, to the Cambo technical camera and related lenses, I felt that the combined system met and completely satisfied my needs as a landscape photographer. It’s overall light weight, precision movements, including rise/fall and shift, and tilt/swing and wide-angle lenses, would allow me to create the quality and scale of images I wanted with much less effort in the field. Since I try to keep post processing to a minimum this was a significant plus.
In moving to a technical camera, I’ve gone a bit backwards in time. Less automation, a much more deliberative process and a greater sense of patience to fully appreciate that which is front of you. That’s a very good thing!
What is your favorite Cambo camera system/lens combo?
A good deal of my landscape work involves getting low and close to a strong foreground object which then allows pulling the foreground and background together. For this, I most enjoy using the combination of the WRS-1200 and Rodenstock 32HR with the tilt/shift panel. With this combination, I can do most anything I want.
WRS-1200 with WTS-832 32HR Rodenstock Lens“New York Skyline-Ethereal” – Cambo WRS 1200, Phase One IQ 280, Rodenstock 32HR
Tell us about your creative process. What do you look for when creating an image?
Those who have been with me know that I take a very slow and deliberate approach to photographing a scene. I have long said it is not about how many images of a place or animal or thing that I take. Rather, it is about the one image that I see that I want to take. I do a lot of scouting prior to shooting a location. When I first visit a location, I generally leave my equipment in my vehicle. I will become familiar with the terrain, notice the positioning of the sun, tides, etc., and begin to walk in large and small circles exploring the area. I will then reverse back in the opposite direction to make sure that I have seen things that were behind me. I’ve also been known to do this while on my knees since that is generally the height at which I shoot most things. Several years ago, I had made small fiberglass cutouts based on image sizes, 3×4, 4×5 and various pano orientations. I use these cutouts to help visualize a photograph I may want to take. These days, I use an app on my phone to do the same thing, although I still carry the cutouts in case my phone’s battery dies.
“The view from Brooklyn Bridge Park” – Cambo WRS 1200, Phase One IQ 280, Rodenstock 32HR.“Along the Beach at Montauk Lighthouse” – Cambo WRS 1200, Phase One IQ 280, Rodenstock 32HR.
Dimension and depth is a big part of how I shoot. A good friend and mentor of mine would always remind me that when you think you are low enough, get lower, and when you think you are close enough, get closer. After many whacks on my head and rear-end I finally got it. As I mentioned earlier, I am generally pretty low to the ground for most of the landscape pictures I make, which helps in creating a third dimension in the image. Most locations have a “main” subject. Using an Academy Award reference, my preference is to make that main subject a supporting actor rather than the lead actor. So, for example, instead of shooting a picture of just a waterfall, I will get into the middle of the boulders below the waterfall and use them as a strong foreground which then leads your eye to the waterfall. To me, the foreground subject becomes the important lead to the main subject.
The reason I like photography is because it rewards observation and attention. An observant eye notices the infinite beauty in nature that’s in plain sight but goes unnoticed. Nature can be most beautiful in its simplicity and randomness – finding an interesting cloud formation or an interesting branch pattern among a chaotic arrangement of trees or the random patterns on sand dunes are example of things that excite and inspire me.
About Me…
Photography has been my hobby for a long time – it is what I am most passionate about. Like most hobbyists I mainly use family vacations for the pursuit of photographic opportunities. For a few years I even combined my vocation (software development) with my hobby and was involved in development of Photoshop plugins such as Topaz ReStyle, Clarity, B&W Effects, fotoFXlab, Lens Effects, Adjust 5 etc.
As with most things in life when you practice something consistently for a long time eventually you become better. A decent photographer for many years, I made a commitment a couple of years ago, to improve to a level where at least some of my work could perhaps hang on a wall next to a professional artist’s work and hold its ground. I also wanted to make large prints (60 inches wide or more) of my images which would stand up to close scrutiny.
It is an ongoing effort and has required hard work and a change in mindset. I am learning that attention to every little detail, being very selective with what is photographed, being meticulous with execution and being prepared are some of the things that can elevate a very good photograph to what some might consider photographic art.
My Photographic Philosophy…
I feel a photograph is an output of a single shutter release – a single artifact (negative or raw file). Although compositing techniques such as stitching panoramas, focus stacking images for depth of field or exposure blending of images for wider dynamic range can produce beautiful results, however I feel the resulting product is an image not a photograph. Conversely, I am very open and accepting toward post processing and consider it to be analogous to a chef adding personal flavor and presentation to a meal. In the same way post processing can be the secret ingredient or technique to add personal signature to photographs. My personal aspiration is to become an accomplished photographer as opposed to a composite image creator.
I also consider cropping to be an indication that mistakes were made at time of exposure regarding either composition, framing, alignment or choice of lens etc. So, I feel very happy when a photograph does not need to be altered via cropping. It tells me that at least desired framing was achieved successfully.
Cambo WRS System…
To get the foundations of a photograph right at the time of capture, i.e. composition, framing, leveling, depth of field, focus etc. usage of correct tools can make a huge difference. Research lead me to the so called medium format technical cameras and I decided to give Cambo WRS at try. I can honestly say I wish I owned this camera system years ago. When combined with a tilt/swing panel lens, Cambo WRS offers ability to shift, rise/fall, tilt and swing simultaneously in a very compact form factor. This means I am able to achieve the exact framing & composition and use the lenses within their diffraction free aperture range by employing Scheimpflug principle and combine that with an appropriate amount of rise/fall to capture a solid photographic artifact ready for post processing.
Cambo WRS-1600
Cambo WRS system allows me to take responsibility. There is no auto focus, auto exposure or auto anything. Camera does not make decisions for me, so if the results are bad they are because I as a photographer did not execute and I am to blame. If on the other hand the results are good then as a photographer I feel rewarded knowing I had something to do with the positive outcome and I was not merely present for the ceremonial button press (shutter release), while the camera electronics performed some wizardry.
Switching from a DSLR to a technical camera (like Cambo WRS) was not a straight forward or easy step for me. It’s a very slow and deliberate work flow and there is a learning curve which requires time, effort and persistence. For wide angle lenses, there can also be a need to capture a LCC shot, for color cast removal. These challenges may sound daunting, but I have found the results to be very rewarding. Each image is a deliberate process and a sequence of decisions – an event, and for me personally it adds to my photographic enjoyment.
With Schneider’s exit from technical camera market, Rodenstock is the only option for lenses. Luckily Rodenstock makes some of the finest lenses available. I own 23mm, 32mm, 50mm and 90mm lenses, all except 23mm, in Cambo WRS tilt/swing lens panels. Their image quality is superlative. My most used lens is 32mm as I like the (21mm equivalent) focal length but 90mm and 50mm lenses are also used frequently. In addition to these I also have a Zeiss/Hasselblad Superachromat 350mm lens that I use via an adapter. It fills my needs on the telephoto end, where native technical camera lens options are somewhat limited.
Conclusion…
In the couple of years since switching to a medium format technical camera, I personally feel that I’ve become a better photographer in many ways and have captured some of my most satisfying photographs in this time period. I don’t mean to imply that the camera system itself has made me better, just that having this system has changed my modus operandi, which has had helped me. As I am improving technically, I am finding there is much to learn and I’m just at the shore with my feet wet and a sea of information remains to be traversed. I hope to be able to continue my pursuit and capture photographs that evoke emotion, grab viewer’s attention and act as a portal to what I saw and felt.
The new SLW-84 interface plate enables the use of Sinar’s latest digital back S30/45 on Cambo cameras.
Cambo’s SLW-adapters allow the use of various digital backs on the Cambo platform of the WRS-series, the ACTUS-DB and -XL, as well as the CSL-sliding back series.
The SLW-84 interface is mounted with 3 screws to the Sinar back, which is supplied with an open interface for various adapters.
Due to the layout of the Sinar back it is by default mounted in landscape orientation, although the SLW-84 can be mounted to the Cambo system in any orientation. The use of the Cambo WRS-1600 makes it possible in the easiest way to rotate between landscape and portrait position without releasing the back mount.
