Which Cambo Actus View Camera Is Right For You?

Article by Capture Integration’s Steve Hendrix

The Cambo Company – for those of you who do not know – is based in the Netherlands and has been in business since 1946 (that is nearly 80 years, folks!). Cambo is a dedicated and successful manufacturer of excellent photographic solutions, including 7-12′ Studio Stands, Reproduction Copy Stands, Video Support Devices, Technical Cameras and of course, View Cameras. All designed and manufactured in-house at Cambo Netherlands. The Actus View Cameras are known for their user friendly approach, compact size and light weight, and their ability to work with many, many digital cameras and lenses of all kinds (see comprehensive list at bottom of the article).

For a company with such a rich history of photographic products, continuing in the digital age is anything but a certainty, but Cambo has thrived by focusing on innovation and responding to modern market demands.

Since the Cambo Actus B Mini View Camera re-energized the view camera sector of the photographic industry in 2014 and (re) introduced view cameras to the masses in the digital age, they have been very busy with the Actus product line. New digital camera mounts have been added, new lens mounts have been added, the Actar lineup of lenses has expanded, and the various models of Actus View Cameras has increased.

But which Actus model is the one for you? There are important features and differences for each.So let’s start – and we’ll go small to large.

Cambo Actus-B Mini

Cambo Actus B Mini with Leica M11 and Rodenstock 90 APO Sironar Lens Front View

The Actus-B

The Actus-B Mini is the smallest and lightest Actus model, weighing only a little over 2 pounds. To achieve this compactness, it has segmented movements, with rear vertical and horizontal shift and front tilt and swing. The Actus B Mini is fully geared with the exception of the rear horizontal shift, which is a manual movement. All movements have friction locks except for the front tilt/swing.

The Actus B Mini is one of two Actus’s that have restrictive formats. In the case of the Actus B Mini, only digital cameras with sensor sizes 35mm and smaller are compatible, no medium format cameras or digital backs can be mounted. Some of the newer mirrorless 35mm cameras have too large a bayonet to fit on the Actus B Mini, and those will require the Actus G (see below).

To change from one camera to another, say, from a Sony A7R to a Fujifilm XT5 you just unscrew 4 screws and swap out the bayonet mount. Using digital cameras on the rear of a Cambo Actus B Mini allows the use of many lenses, as most digital cameras have a focal plane shutter that can be used to set exposure. All digital cameras can rotate orientation on the Cambo Actus B Mini with a release lever.

Cambo Actus B Mini Key Specs

Dimensions – L x W x H: 15 x 10 x 17 cm

Weight – 1000 grams (2.2 pounds)

Front Swing – 360º (Cool!), geared

Front Tilt – 19 degrees total, +10º/-9º, geared

Rear Shift Vertical – 27mm total, +12mm/-15mm, geared

Rear Shift Horizontal – 40mm total, +20mm/-20mm, manual

Cambo Actus B Mini – Who is it for?

• Those who highly value size and weight (on the lesser side)
• Those who have a primary single 35mm or smaller camera platform they will use it with
• Those who do not mind (horizontal) manual shift

Cambo Actus-G

Cambo Actus G with Fuji GFX 100 II and Cambo Actar 24 Lens Front View

Aha, at first glance, the Actus-G looks similar to the Actus B Mini, and it is. However, there are significant differences. It sits a bit taller, since it is designed to accommodate cameras from various size formats – micro 4/3 to medium format. All movements are geared, even the rear horizontal shift, which is manual on the Actus B Mini. Depending upon which digital camera is mounted to the rear, it may come with a spacer block for the front standard, so the camera is level with the lens at the zero vertical position. This camera can accept all the digital cameras that the Actus B Mini can, but it also can accept Canon R, Nikon Z, Leica SL, Hasselblad X1D/X2D, Fujifilm GFX, and even digital backs.

The Actus G has an interchangeable rear bayonet that locks and can be swapped just by flipping a locking lever. So no need to unscrew anything, unlike the Actus B Mini. The Actus G is a bit larger/heavier than the Actus B Mini, but it is also a much more versatile platform. Using digital cameras on the rear of a Cambo Actus G, like Actus B Mini, also allows the use of many lenses, as most digital cameras have a focal plane shutter. All digital cameras can rotate orientation on the Cambo Actus G with a release lever.

Cambo Actus G Key Specs

Dimensions – 15L x 12W x 17H cm

Weight – 1150 grams (2.5 pounds)

Front Swing – 360º (Cool!), geared

Front Tilt – 19 degrees total, +10º/-9º, geared

Rear Shift Vertical – 27mm total, +12mm/-15mm, geared

Rear Shift Horizontal – 40mm total, +20mm/-20mm, manual

Cambo Actus G – Who is it for?

• Those who value small size and weight
• Those who may use a variety of camera platforms, 35mm, medium format, digital backs, etc.
• Those who prefer all geared movements

Cambo Actus-DB2

Cambo Actus DB II and Hasselblad 120mm CF Lens Front View

The Cambo Actus-DB2 bears strong resemblance to the Actus G, in terms of size/weight and features. You can see a geared knob at the end of the rail, which means it also has rear geared horizontal shift. Know that longer rails/bellows are an option with all these cameras, we show a longer rail above to illustrate.The Actus DB2 comes with a slightly longer default rail than the Actus B Mini and Actus G (175mm vs 155mm).

The Actus DB2 is dedicated to digital backs, it does not accept digital cameras. So, if you have pretty much any digital back, it will mount to the Actus DB2, via an interface adapter made to fit the native camera mount of your digital back (most commonly Phase One/Mamiya 645, Contax 645, Hasselblad H 645, Hasselblad V).

Benefits of a digital back are that you can use short view camera lenses, which are limited with digital camera bodies, because the sensor is pushed further away from the lens elements, which expands the focal flange distance beyond many the spec of most short view camera lenses. Digital backs can work with ESS (Electronic Sensor Shutter) with many lenses, or with a copal or X shutter outfitted view camera lens. Digital Backs can be manually rotated by removing and re-seating the SLW Adapter, but Cambo also makes a rotating lever solution for digital backs in Phase One/Mamiya 645 and Hasselblad V Interfaces.

Cambo Actus DB2 Key Specs

Dimensions – 18L x 10W x 21H cm

Weight – 1200 grams (2.6 pounds)

Front Swing – 360º (Cool!), geared

Front Tilt – 19 degrees total, +10º/-9º, geared

Rear Shift Vertical – 27mm total, +12mm/-15mm, geared

Rear Shift Horizontal – 40mm total, +20mm/-20mm, manual

Cambo Actus DB2 – Who is it for?

• Those who only want to use a digital back on their view camera.
• Those who are not as concerned with size and weight.
• Those who value the most movements possible.
• Those who want a fuller feature set from their view camera.

Cambo Actus-MV

Cambo Actus MV with Phase One IQ4 150 and Phase One 40 HR-W X Shutter Lens Front View

Hmm, now what could the MV in Cambo Actus-MV stand for? Most Volume? Many Variables? Morally Viable? Well, no, it stands for Maximum Versatility. There are good reasons for this. While the Actus MV is the largest/heaviest of our group of Cambo Actus view cameras represented here, it also has the most capability, the most features, and can be used with the most camera/lens combinations.

The Actus MV is fully geared, but also adds nearly all movements to both standards. Now there are full movements (shift/tilt/swing) on both standards with the exception of rear swing. And some of the movement latitude has been expanded. The tilt and swing adjustments also now have friction locking, so all movements can be locked or restricted.

Cambo also produces fine focus and fine tilt gearing (that increases the gear precision by a factor of 5x), which is an option on all Actus View Cameras, but is standard on the Cambo Actus MV. The Actus MV also comes with a longer base rail and now telescopes, meaning both standards can move away from each other, to expand the bellows draw beyond what the existing rail would allow. There is also a quick release for both standards to slide off the rail, making for fast, easy packing.

While it is larger and heavier than all other Actus View Cameras, it still presents a slim footprint that makes it easy to pack. Digital Backs can be manually rotated by removing and re-seating, but Cambo also makes a rotating lever solution for digital backs in Phase One/Mamiya 645 and Hasselbload V Interfaces (which is also a compatible option for the Actus DB2).

Cambo Actus MV Key Specs

Dimensions – 20L x 12W x 28H cm

Weight – 2800 grams (6.2 pounds)

Front Swing – 30º/30º, geared

Front Tilt – 30 degrees total +15º/-15º, geared

Rear Tilt – 30 degrees total +15º/-15º, geared

Rear Shift Vertical – 30mm total, +15mm/-15mm, geared

Rear Shift Horizontal – 40mm total, +20mm/-20mm, manual

Cambo Actus MV – Who Is It For?

• Those who are not as concerned with size and weight.
• Those who value the most movements possible
• Those who want a fuller feature set from their view camera

Cambo Actus Compatibility Chart

	Actus B Mini	Actus G	Actus DB2	Actus MV
Phase One Digital Backs		X	X	X
Hasselblad Digital Backs		X	X	X
Legacy Digital Backs **		X	X	X
Hasselblad X1D/X2D		X		X
Fujifilm GFX Mirrorless		X		X
Fujifilm X Mirrorless	X	X		X
Canon EF DSLR	X	X		X
Canon R Mirrorless	X	X		X
Canon M Mirrorless	X	X		X
Nikon F DSLR	X	X		X
Nikon Z Mirrorless		X		X
Sony E Mirrorless	X	X		X
Leica SL Mirrorless		X		X
Leica M Rangefinder	X	X		X
Pentax K DSLR	X	X		X
Olympus/Panasonic Mirrorless	X	X		X

Chart by Steve Hendrix @ Capture Integration

** Legacy digital backs can be used if they are in any of the following interface mounts (with corresponding Cambo SLW Adapter): Phase One/Mamiya 645/Contax 645/Hasselblad H 645/Hasselblad V/Sinar 3 30/45, Leaf AFi/Sinar Hy6

Quick Tips/Fun Facts/Fancy Questions

• On all Cambo Actus models except the Actus MV, the front Swing movement can turn 360º! This can allow you to add a bit more bellows extension if you are already at the max limit of your focus rail.
• Can you really use your classic Panasonic G1 with that little sensor on a Cambo Actus? Yes, of course! And you can shift that sensor a long, long way inside those image circles.
• Can you use a Fujifilm X100VI on a Cambo Actus? No, you cannot – why? Because the lens is fixed to the camera. But you could use a Fujifilm XT5!
• Yes, you can use a film back on the Cambo Actus. There’s enough clearance for a 6×7 opening, and Cambo indeed makes an adapter that accepts Mamiya RB 6×7 film magazines, as well as ground glass and a viewing loupe.
• The shortest focus rail for the Actus is 155mm. The longest is 450mm.
• Cambo does not manufacturer optics. However, they pick optics from other manufacturers and create custom Actus mounts (called Actar lenses) that incorporate an Actus lensboard and a manual aperture ring on the lens (when needed). Typically what must be taken into account – is there the the ability to create a manual aperture ring, does the lens have an ample image circle, and does it provide sufficient focal flange distance in order to achieve infinity focus with most of the compatible cameras that can be used on the Cambo Actus View Cameras. See the article “Seeing Sideways with Cambo Actus” at the bottom of this article for some more details.
• There are numerous beneficial accessories available for the Actus, including Fine Focus Gearing, Extra Long Bellows, Extra Long Rails, Base Tilt Mechanisms, Compendium Lens Shades, Remote Focus Whips, Rotating Digital Back Adapters.
• You can mount Rodenstock and Schneider view camera lenses in Alpa or Cambo WRS lenspanel to a Cambo Actus View Camera via adapters, but only if they are short barrel versions.
• You cannot mount a Hasselblad 907x/CFV 100c to an Actus via the XCD Bayonet (only X1D/X2D). The shutter release button prevents this, but just remove the 907x portion and then you can mount the CFV 100C digital back itself. With ACDB-991 on Actus-MV and Actus-G; for Actus-DB2 you only need the SLW-80.
• Why can’t I use my native lenses with my camera on the back of the Actus? Several reasons, one being electronic lenses have no way to communicate with their native camera body when separated. And even if you worked around that, the bellows and standards of the Cambo Actus are in between the lens and body and essentially act as an extension tube, so you would at best lose infinity focus.
• Cambo frequently puts together “Kits”. For example, A Cambo Actus-GFX kits includes the bayonet for the Fujifilm GFX cameras, a Cambo Actus-XCD kit includes the bayonet for the Hasselblad X1/X2D cameras, and at times Cambo will also include select Actar lenses as a full kit with a choice of camera bayonet..
• If you desire 1:1 macro with a view camera lens longer than 120mm, you will need a longer rail than the default rail (typically at least the AC-330, which is a 300mm rail).
• The following 3rd party lenses can be used with Cambo Actus view cameras: View camera lenses in Copal-0/1/3, M39, Leica R, Hasselblad V, Mamiya RB-RZ, Nikon F, Mamiya 645, Pentax 645, Canon EOS EF, Alpa 12.
• Cambo Actar lenses come in the following focal lengths: 15mm, 19mm, 20mm, 24mm, 35mm, 60mm, 80mm 90mm, 120mm and 105 Macro. Every Cambo Actar Lens is compatible and will achieve infinity focus with any digital camera or digital back you can mount to an Actus with the exception of the Cambo Actar 15 and Actar 60 with DSLR bodies and the original Fujifilm GFX 100.
• Cambo makes a lensboard for Hasselblad V Lenses that incorporates a shutter activator.This means you can use the leaf shutter in the lens for use with higher sync with strobe.

Have More Questions?

There are in depth articles about every model of the Cambo Actus View Cameras from our website linked below. And if you’d like to find out more, or discuss the viability of a view camera solution for your use, just reach out to us!

By Steve Hendrix

Thanks for reading! If you have any questions feel free to reach out!

Steve Hendrix

Steve@Captureintegration.com – 404.543.8475

A big Thank You to Steve Hendrix and Capture Integration.

Fujikina

For decades Photokina was the photo industry’s leading trade show. It wasn’t a yearly event. The biennial frequency was a good reason for exhibitors to put a lot of effort and resources in it. Which in turn generated great interest from the public, which in turn… A bit of a chicken-and-egg story. Brands like Kodak and Fujifilm usually occupied one complete hall of the venue. Cambo was always present. Maybe not booking a hall of its own, but with a very respectable booth.

Saturday April 6th Fujifilm will host an event at the Telegraphenamt Hotel in Berlin. A bit tongue in cheek it’s named Fujikina. We’re glad that they invited us to participate. The real Photokina may have been great, a small event like this usually gives more opportunities to interact with guests. Who may bring their own gear to experiment with the solutions we’re showing. All very welcome.

At Fujikina Cambo will show various solutions for Fujifilm cameras. The Cambo Actus and Actus-MV view cameras, the RPM-GFX helical to tune your GFX for archival photography, and the new Cambo Film Capture Stage RPS-500. Feel free to bring your own negatives or slides to put it to the test.We’re looking forward to meet you.

More about the Fujikina: Link to Fujikina 2024

Pictures speak louder than words

This may very well be our shortest blog in years. All specs and details about Cambo solutions for the archival industry can be found on our website, but this video probably gives a good overview of the RPS copy stand in just a few minutes. And it has a guest appearance of Cambo USA’s Anthony Wallen.

There’s No Secret Sauce

Marcel Boldú is what they call a “self-taught photographer”. In Venezuela, where he grew up, there were no specialized schools to teach you the tricks of the trade. The 1990s were challenging times to learn new skills; no YouTube tutorials, the few commercial photographers around were often reluctant to share their knowledge and shooting film made the learning curve even steeper. At least slower, compared to the digital workflow that enables you to review results in real-time. Marcel started as an assistant to a well-known fashion photographer. An exciting time, as he describes it, but after two years he decided to take the plunge and start as a commercial photographer.

Learning was a mix of experimentation and observation. Looking at magazines, analyzing composition and light and trying to replicate the result was the way to proceed. Before exposing the first roll of film, Marcel meticulously made notes of the position of the lights and modifiers and the output of each strobe. After the actual shoot he eagerly awaited the developed slide films. Examining transparencies on the light table was often a frustrating task, as the results rarely came close to what he had imagined. However, he still recalls the moments of intense joy when the photos exceeded his expectations.

“As I progressed, I became a passionate observer of light. I learned
that photography is a combination of vision, technique, and light, where light
is the secret ingredient.”

There’s no secret sauce for success, but hard work and perseverance are rewarded and Marcel became a successful commercial photographer, working for major agencies and cooperations in Venezuela. In 2016 he decided to move to Miami. Having a good portfolio and about 20 years of experience didn’t open many doors though. Marcel faced the need to understand and adapt to the colors and flavors of his new home country. “You’ve got to unlearn to learn”, as he would say.

In a relatively small market like Venezuela a photographer needs to be versatile in order to survive. As a commercial photographer Marcel Boldú can photograph everything. From small objects to cars and from food to lifestyle.The US however, is a highly specialized market. This market responded very positively to his style and approach of food photography. Nowadays about 80% of his assignments are food related.

“Throughout my nearly 30 years of career, I’ve had the privilege of collaborating with highly experienced and talented creatives and agencies”. The assistants and prop stylists working alongside Marcel have become regulars on set and reward his loyalty by frequently exceeding his expectations. When Marcel tells us about his first foray into the world of motion pictures  – nowadays he’s a Director and DOP as well – he doesn’t hesitate either to give credit to those who were important to him when taking on that new challenge.

In 2009 Marcel Boldú was offered the opportunity to direct a television commercial for a Down Syndrome support institution. It enabled him to work alongside the renowned Hungarian DOP Gyula David. As his first serious AV production this turned out to be a pretty overwhelming experience. They worked with a big crew, shot Arri cameras – film, not digital – and used all the tools and tricks you can think of. The hard work paid off and the production won Silver at the ANDA Awards. This achievement was a decisive signal to Marcel to move forward and to expand his services. Please check out the motion section on his website to see more.

We admire Marcel’s Instagram posts. If you’re following him, you might have seen some behind-the-scene footage of Marcel working with his Cambo Actus-XL View Camera. It’s paired with a Fujifilm GFX and a full set of Actar lenses, ranging from 19 to 120mm. Using a view camera is a kind of anti-stress therapy stimulating his creativity. The versatility of the view camera, offering movements like tilt, shift and selective focus, greatly contributes to the image making process. Some things might be achievable in post, but there’s nothing like translating your vision into the final image in one single shot.

Visit Marcel Boldú’s website to see more of his work.

Not the average Petrolhead

© Jonathan Taylor

Jonathan Taylor is a travelling photographer. His commercial work for big corporate clients like McDonalds, Jimmy Choo, Christian Dior and Primark leads him all over the globe. Often at night, or in the early hours of the morning, Jonathan will be there to capture the perfect retail spaces, before they are opened to the public. Being in these diverse and often exotic locations he will often take the opportunity to do some non-commissioned work on his lifelong passion of cars, for which he has built up a substantial portfolio.

© Jonathan Taylor

Cloud 9 Photography is the Leeds based company that Jonathan runs with his wife Zarina. They’ve been in the Architectural Photography Industry for over 30 years now and have developed a particular specialism in retail, working for some of the world’s top fashion brands, who want to rest assured that their boutiques are captured to the same exacting standards as employed in their products and store construction. Jonathan is a keen advocate of the technical camera. We’re proud that he’s been using one of ours for over a decade.

“There are many reasons I work with a technical camera and Phase One back, but I guess the first reason is image quality. This is sometimes hard to get across to people, but I like to describe what you get on screen as looking like the actual texture of a subject rather than a photograph of the subject. So much detail is lost by 35mm that even when viewed at screen size Phase files have much more life to them.” For a photographer like Jonathan, there’s also a place for 35mm gear. He does own an extensive range of Canon equipment, but whenever he’s got the time, he’ll prefer to shoot with the Cambo. Being an experienced photographer, very often he will find that time to use the tech cam.

“The technical camera allows me to stitch perfectly, play with the plane of focus and most importantly adjust the perspective and shape of architectural spaces. Whilst 35mm shift lenses may also give you this control, it is so much more precise on my Cambo.”     

© Jonathan Taylor

March 2014 we had Jonathan at our Photography Show booth, where he launched his book Cars of Cuba. Indeed, a topic hard to combine with commercial assignments. That’s a bit different about the book he has just published, titled Cars of the Emirates. Some of the photographs in there were made right before and after doing a presentation at the Phase One Stand Out event in Dubai, 2016. After that, his work must have led him to The Emirates at least twenty times. And it was never the same as it was during a previous visit.

Due to the Covid lockdowns and lots of commercial work, the Cars of the Emirates project has only just been finalised. December 2023 sees the images exhibited in Dubai at two prestigious car showrooms, Tomini Classics and Pupil of Fate. With prints up to 2 meters wide, the quality of the Phase One 150mp files shot with Rodenstock lenses on the Cambo, will really come into their own.

© Jonathan Taylor

Jonathan has always kept his automotive photography as a personal diversion from his day-to-day work on the high street. Thus he’s entirely free to explore his own artistic and aesthetic ideas. Whereas a lot of car photography nowadays is done with CGI and a big team with art directors and marketing executives, Jonathan prefers to keep his automotive photography as pure as possible. Usually, he works with just one assistant and a single Profoto head, maybe adding a reflector or two.

The secret to his images is scouting the right cars and locations. He will always be on the look out for the locations, often driving for hours around a city, recording the light direction and the possibilities of parking a supercar. The cars are sourced through his extensive network on social media and then paired with appropriate locations. This is very much a labour of love, but one that he uses to enhance his profile among his clients in the world of retail.

© Jonathan Taylor

The missing link

The use of a Mirrorless camera body on a Cambo Actus view camera gives access to a vast choice of lenses. Since most cameras have an in-body focal plane shutter, you’re not limited to leaf shutter lenses. We offer our ever expanding range of Actar lenses, new lenses from Rodenstock and adapters for many legacy lenses. The latter including several medium format systems.

There was however a gap: A 35mm lens suitable for use with cameras like Fujifilm’s GFX-100s. Yes, we’ve got this adapter that enables the use of 35mm lenses from Pentax’ 645 system. Highly valued. There’s also a rebuilt of the Contax 645’s Carl Zeiss Distagon-35. Nice, but it requires a pre-owned lens, which is getting harder to find. Not in the least due to our activities.

Help was on the way though.This is a Cambo lens plate but credit where credit is due: The lens is Silvestri’s Silvetar 5.6/35mm. We were pretty pleased when one of our dealer informed us, that they had already supplied several to Cambo owners.

The specs are promising: The Silvetar has a long (65.4) Flange-Focal distance and a small rear element. That’s what you need when using it with anything other than a digital back. The image circle is specified as 75.6mm. That does not only suffice for cameras like the GFX-100s and the X2D, it still enables a reasonable bit of movement when using the larger sensor in Phase One’s IQ3 and IQ4 backs.

We were eager to try this new lens. Silvestri in Italy kindly sent a demo.

The first striking thing when opening the box is the small size of the lens. It can be fitted to every m39 or #1 (41.7mm hole) lens plate. Good to have that choice.

Contax 4.0/35 and Silvetar 5.6/35. Here both focused at infinity.

It’s not for us to publish a test on other manufacturer’s products. We’re obviously curious to see how it performs and also wanted to compare it to the Distagon-35. The Silvetar has one major advantage over that lens: It’s available. Brand new, you don’t need to search eBay to find a good one. There are definitely differences in the look and feel of the images both lenses produce. The Silvetar shows more light fall-off at first glance. That cleans up nicely at f8 but can still benefit from an LCC. Very easy to make an LCC though, thanks to the tiny front element. The Silvetar’s image circle is large. Both lenses provide about 14mm of rise/fall when using a 33x44mm sensor in landscape orientation. For the Distagon that’s also the limit. The Silvetar can be shifted upto 20mm without showing any vignetting that can’t be corrected in post. However, the image quality towards the outer edge deteriorates when going beyond 15mm. This may still provide good results when there aren’t any fine details in that part of the image, like in the sky above a building or landscape.

In case you’ll be in New York the 6th or 7th September, we’ll be happy to welcome you on our booth. The Silvetar will be available for a demo on one of our view cameras.

Silvetar 5.6/35 left Distagon 35 at the right

Add a Cambo WRS Body to your XT for More Shift

By Steve Hendrix

The Phase One XT Camera represents a great innovation for technical camera photography. It features the X Shutter, which provides complete control of the lens shutter and aperture from the rear interface of the IQ4 digital back, which allows even exposure bracketing, and other control features. And complete electronic integration, no cables, no wake up. However, due to its compact size, the XT Camera is limited to 12mm shift in any direction. Meanwhile, Cambo WRS technical cameras have been around for years and offer shift up to 20mm or 25mm. 

Dave’s prized #2 65 Anniversary Edition WRS 5000 (Not for Sale!)

The lens interface for the Phase One XT lenses shares the same mount as the Cambo WRS lens interface. Can an XT lens be used on a Cambo WRS technical camera? Yes it can. Considering every lens in the current Rodenstock lineup except the 23HR-S and 32HR-W has extensive shift latitude well beyond 12mm, it seems a shame to not take full advantage of that.

Yes, with the Cambo there’s a cable. But all X Shutter lens operations can be controlled from the IQ4.

Rodenstock 40HR-W/50HR-W/70HR-W/90HR-SW/138HR-SW/180HR-S – all these lenses have more shift latitude than the XT Camera can accommodate.

This goes as well for legacy Schneider lenses, in which lenses from 43mm and beyond will also perform in excess of 12mm shift. And yet, the integration and the compact size and light weight are such strong features of the XT Camera.

So why not add a Cambo WRS/WRC body to your existing XT system? Have photographers ever relied upon only one camera? (rarely) If you already have a Cambo body and would like to modify it to accommodate XT lenses, this is done easily enough. Please contact us and we’ll take care of this process for you.

Cambo’s version of a Happy Meal.

A good example of an image that a Cambo WRS body opens up is the one below, which was taken with a Phase One IQ4 150 digital back on a Cambo WRS 1600 and the Rodenstock 90 HR-SW lens. This lens has a 120mm image circle, and can easily shift in excess of 30mm. The below capture was shifted 20mm. I could not have captured this with the XT camera and the 90mm lens, but having a modified Cambo body for these occasions allows that capture to happen.

Rodenstock 90 HR-SW, 20mm vertical shift.

By Steve Hendrix

Thanks for the read! If you have any questions, feel free to reach out.Steve Hendrix

404.543.8475 | steve@captureintegration.com

Care and Conservation

In our age of information the need for digitisation of cultural heritage and objects of art has immensely increased. An often time consuming task, which requires craftmanship, dedication and patience. A lot of patience. This three-volume scientific publication about medieval paraments (elements of liturgical garments) required 18 months of work at the photo studio of the National Museum in Gdansk, Poland.

Foto7 in Gliwice has been Cambo’s distributor in Poland since 1989. The pioneering years. During a visit I had the pleasure to sit down with Grzegorz Nosorowski, the National Museum of Gdansk’s photographer and digitisation expert. Grzegorz brought his own Cambo Actus, Sony A7rIV and an Image Engineering test target. At the Foto7 showroom he set  up the gear, checked alignment with a ZigAlign and started to test a few Actar lenses. By the conscientious and methodological approach one could tell here’s an experienced and skilled photographer at work.

Indeed Grzegorz Nosorowski can look back upon about forty years of professional experience. As a young man he was interested in artistic photography. As so many of us, he started to develop film and do his own printing in a make-shift darkroom. His business really started to flourish in the 1990’s. In those years Poland experienced a huge economical and political transformation. This resulted in rapid growth of the advertising market and a high demand for commercial photography. The country however didn’t have the photographic services – labs, retouching specialists, suppliers – photographers in Western-Europe were accustomed to. Grzegorz was running his own studio, shooting all kinds of subjects, from food to fashion and from architecture to aerial. He mainly worked on 4×5” film and did – had to do –  his own E6 developing. A service he soon started to offer to fellow photographers. Pioneering years indeed. It resulted in a professional laboratory with rack-and-tank machinery as a parallel business alongside the studio.

When the chemical process became too time consuming for most commercial applications, Grzegorz closed down his lab and exclusively concentrated on photography. Being passionate about technical perfection and constantly looking into solutions for challenging tasks he gradually became the go-to photographer for the digitisation of artwork, manuscripts and old prints. After a period of freelance co-operation, the National Museum in Gdansk asked him to become their staff photographer.

Back to the medieval paraments. Not long after Grzegorz had joined the Museum’s staff, a curator brought these old and fragile items into the studio. Flat, no reflections. Initially it seemed an easy task. However, the interlaced yarns in the fabric had a pattern that interfered severly with the camera sensor’s matrix and the moiré effect became totally unacceptable. The only solution available at the time was to revert to a Phase One Powerphase FX scanning back connected to a Cambo 45 Repro-D.

The Cambo 45 Repro-D shown with a more contemporary Phase One back and X-shutter

The procedure came back to mind when just recently Grzegorz had to photograph a large scale painting on textile. This time a Cambo Actus was used, combined with a Sony A7r. Its pixel-shift mode ensured adequate resolution and avoided moiré. The Cambo MBX Stand provided the necessary stability. Grzegorz greatly values the Sony’s pixelshift solution when maximum tonal range and color accuracy is needed.

Photographers digitising our cultural heritage may not gain much public acclaim. There is however a large group of professionals working in this industry and in general they’re not averse to share their experiences and best practices. Grzegorz himself is a digitisation expert at the National Institute for Museums and Public Collections training and tutoring photographers around Poland.

More about the museum: Muzeum Narodowe w Gdańsku

Our partners in Poland: Foto7

Just tailor it to your needs

Sometimes one needs to be reminded that the obvious may not be that obvious to all. Dave Gallagher, owner of Capture Integration and a valued Cambo partner, loves the RPM-GFX system. He emphasised the need to clarify its use better. And more in particular the use with Rodenstock’s HR-Digaron 105 Macro. We took that to heart: This kit deserves some more love.

The Cambo RPM-GFX system is built around a helical focusing mount for use on the Fujifilm GFX. The front side accepts various lens plates and extension tubes. Cambo offer adapters for #0, #1, m39 and V-Groove lenses and extension tubes of 25 and 50mm. Since the helical itself has 25mm of travel, this enables any magnification required.

The HR-Digaron 105 Macro really is what its designation suggests: A dedicated macro lens. Not recommendable for infinity. It shines in the 1:4 – 4:1 range.

It performs exceptionally well in the aformentioned magnification range. Unfortunately the documentation that comes with the lens is a bit sparse. Rodenstock has a manual online. But there are a few things to know before getting started. The lens comes with a tiny allen key. In the box its aperture and floating element – more about that later – are locked. Loosen both before use.

Most modern lenses have a floating element. It won’t bother you; the thing moves with the helical when focusing. However, the Rodenstock’s floating element is set manually to the desired magnification ration. Here it’s at 1:1.

It does make a huge difference. Some photographers report disappointing results with this lens and often the culprit is found here.

In order to focus properly at the needed magnification we may have to add one or more extension tubes. These WHF-7 (25mm) and WHF-9 (50mm) are stackable.

*This needs to be added to the Fuji’s Flange-Focal distance and the helical at its maximum extension.

To scan 35mm film with the aforementioned set-up you’d need 75 or 100mm of extension to meet the highest FADGI and Metamorfoze levels. 75mm would actually suffice and leaves some space to include a test target in the frame. 100mm is needed to fill the Fuji’s sensor completely.

The RPM-GFX can be used with many other lenses. Here a Schneider is fitted into its m39 mount.

The RPM-GFX leaflet and Cambo Repro brochure

Taking Toronto

B3K Digital in Toronto have been Cambo’s partner in Canada for many years. Co-founder Walter Borchenko is a keen photographer himself. When we first spoke about the ability to combine a Nikon PC-19 with a Phase One IQ4 he immediately welcomed the idea: “Can’t wait to get my hands on it”.

So we knew what to do when the first batch of WRE-2019 lens panels was ready. One was reserved for Walter. Glad to hear that the lens has not disappointed him. “This really is a mind bending lens. Super impressive resolution”.

B3K first showed the lens on their annual Open House. It got a lot of interest from Phase One XT oweners, who would like to add something wider than the Digaron-23. During and after the Open House Walter took the lens out to take some test shots in Toronto.

©Walter Borchenko

A crop from the image above. Walter: “On this image I shifted to the left about 10 mm to straighten the left side of the stairs. I also did a drop of about 5mm to get some sky above the building on the right”.

©Walter Borchenko

“This is the area of the CN tower at 100%. Detail is excellent”.

April 12th B3K will show the Cambo WRS tech cams and the new WRE-2019 in Montreal. We’re looking forward to see the images.

Not in Canada, but at Cambo in Kampen. Same POV, left a Digaron-23 and at the right the WRE-2019