5 SLD elements, 1 aspherical element, 4 HR elements, 11-blade rounded diaphragm.
No tools or hassle… just place your Mac Pro’s factory feet into the Rover Pro’s polished stainless-steel housings and secure with a few hand twists.
When you’re done moving your Mac Pro around, the Rover Pro makes it just as quick and easy to convert back to the factory feet for stationary use.
Field shot aperture series crops—80/2.8
The resolution chart page is predictive of what me might see on a flat (planar) outdoor subject for the Hartblei 80/4. This page confirms those findings.
Images taken on the 24.4MP Nikon D3x. Try as I might, it’s really hard to make a level image. A bubble level on camera top disagrees with the ballhead level, and both disagree with the built-in “virtual horizon”. And unless I screw my head on straight in the morning, it’s a challenge.
A Picture Control Contrast = +1 setting was used in Nikon Capture NX2 to compensate for the low contrast lighting. White balance was set to Cloudy. The f/11 frame was “pulled” -1/6 stop to better match the f/8 frame in brightness.
Center (slight off-center)
Contrast is low wide open, peaks nicely at f/4 - f/5.6, and holds well through f/8 and f/11.
These crops are at the top edge of the shifted frame, outside the unshifted 35mm frame.
Results remain unconvincing until f/8, with f/11 offering the best contrast and detail.
At the extreme top left shifted corner, results at f/2.8 and f/4 are undesirable. Things perk up at f/5.6 and start to look fairly good at f/8, with f/11 offering the best results.
The same results seen on the resolution chart are present at near-infinity focus. Shoot the 80/2.8 at f/11 when using full shift, and excellent results are possible.
Distortion is very low, making the Hartblei 80/2.8 quite usable for architecture.
Vignetting is a non-issue by f/4, and largely irrelevant given the optimal shooting aperture of f/11.
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Lloyd recommends 32GB RDIMM modules for most users (more expensive LRDIMMS are for 512GB or more).
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