Linhof Technorama 612 pc II Medium Format Panorama Camera Instruction Manual

Linhof Technorama 612 pc II Medium Format Panorama Camera

OPERATING INSTRUCTIONS

LINHOF TECHNORAMA 612 PC II

We would like to congratulate you on acquiring your new Linhof Technorama 612 pc II. This is a sophisticated precision camera with many exclusive features which should be treated as a fine optical instrument and operated with proper care. The following instructions will help you to use your Technorama correctly and to get excellent results and many years of reliable service from your camera. The Technorama 612 pc II allows professional hand-held panorama shots in vertical or horizontal format on roll film using the extreme format 6×12 cm (2 1/4 x 5 in.). The main feature of this camera is the built-in 8 mm lens rise that creates the effect of a shift lens offering total perspective control both with high or low camera angles. This feature avoids converging lines, especially with most motifs like architecture, industry and objects of art. The superbly finished, allmetal construction of the camera body in Linhof precision quality guarantees high-end photography even under extreme circumstances in off-road areas. The Linhof Technorama 612 pc II is a system camera with 5 interchangeable lenses.

FEATURES AND CONTROLS

TECHNORAMA 612 PC II

•  Shutter release at camera body, including a cable release socket
• Film advance/rewind knob with fold-out crank
• Rotating frame counter with index for 6 photos on 120 and 12 photos on 220 roll film
• Detachable, precision bright line frame viewfinder for interchangeable lenses.
• Spirit level integrated into viewfinder (control of vertical orientation of camera in either horizontal or vertical format)
• Recessed accessory shoe for flash, exposure meter etc.
• Lowered upper 3/8” tripod socket on top of camera (allows shooting from an elevated point with a turned camera)
• Eyelets for camera strap
• Knurled locking knobs for lens panel change (changing of lenses only with inserted dark slide)
• Slot for inserting dark slide when changing lenses. Dark slide is normally stored in the camera back.
• Lowered lower 3/8” tripod socket at bottom of camera (cannot be seen in illustration)
• Recessed fold-down retaining lock for opening/locking detachable camera back. To close, turn locking key firmly through approx. 180°.
• X-sync nipple, shutter fully synchronised to 1/500 sec.
• Index mark for focusing. Depth-of-field available is indicated by the pairs off-stop figures at either side of the focusing index.
• Safety lock to prevent unintentional shutter release. Shutter can be released as long as the green end of the locking pin is visible. To lock, push safety pin all the way down so that the red end becomes visible.
• Easy-to-grip focusing ring, can be turned to the right or left for distance.
• Aperture setting lever, can be pushed to the right or left.
• Precision shutter cocking lever, in free move can be pulled in one direction.
• Shutter speed selector ring, can be turned to the right or left for different shutter speed.
• Dark slide, can be pushed, has to be inserted on both sides into the shaft. Normal storage position: in camera back.
• Film supply with leaf spring, can be bent outwards. (To take the unexposed film spool)
• Film take-up spool with leaf spring, can be bent outwards. (empty spool inserted).
• Precision film transport roller (Sensitive surface)
• Sliding film transport release knob with direction indicator on top. Can be pulled to the right, allows transport after shutter release.
• Reference arrow on counterdisk to indicate the start position of film travel
• Reference mark for correct positioning of paper leader, start position: start mark on film seal paper and reference mark on camera are next to each other when positioning new roll film.

FILM LOADING AND UNLOADING

• To open the camera, turn the fold-down locking key (12) on the bottom of the camera to the ‘off’ position and remove camera back.
• Insert empty film spool in the take-up chamber on the right side by pressing the leaf spring downwards.
• Make sure that the wind key engages properly. You might need to wind the spool in order to position it correctly.
• To load an unexposed film roll: place an unexposed roll of film in the supply chamber (21), remove tape seal completely and pull film including the film covering paper until paper leader can be threaded into the middle of the take-up spool.
• Pull release knob (24) in the direction of the arrow, if necessary, and advance film by turning the film advance knob (2) until the marks of the backing paper (either arrow or triangles), are opposite the red reference triangle (26) on the camera housing. Make sure the film is in correct position without any folds or creases.
• Check film pressure plate for correct adjustment.
• For change-over from 120 to 220 film, push down and slide the pressure plate as indicated by the arrow and the red/green reference marks. 2.4 Attach camera back again and lock it by turning the fold-down key (12).
• To adjust film counter: while pulling the release knob (24) rotate film counter disk (3) on top of camera until the two reference triangles face each other and you can definitely notice the clicking noise. You might need to adjust by carefully turning forwards or backwards.
• Film transport, preparing for the first shot: Pull release knob (24).
• Turn film transport knob (2) until it stops automatically and locks in position for the first photo.
• Index on film counter disk now points to frame 1, camera is ready for use. 6 photos are available with roll film 120, 12 photos when using a roll film 220.
• After each shot and before winding the film to the next stop, pull release knob (24).
• After the final shot pull film release knob (24), keep it pulled and re-wind the film completely with the film transport knob (2), until the counter disk (3) does not move any more. This guarantees that the exposed film is fully rewound onto the spool. Now you can open the camera and take out the film
• X-sync nipple; shutter fully synchronised from B to 1/500 sec.
• Index mark for focusing (symbol: triangle). Depth-of-field available is indicated by the pairs of f-stop figures at either side of the focusing index.
• Helical focusing ring and distance scale in metric or feet calibration. Triangle (14) in the middle of the depth-of-field scale indicates focusing distance selected (the optimal depthof- field level). The close-up distance shown left from the double bar are for reference purposes only, indicating the depth-offield available at short distance.
• Aperture scale in 1/3 increments. Aperture setting lever with additional aperture scale.
• Shutter cocking lever. Anti-clockwise cocking (when looking at it from the lens side) necessary before each release.
• Shutter speed selector ring, B, T, 1 – 1/500 sec. B-setting: shutter open as long as release button is pressed. T-setting: First press – shutter open, second press – shutter closed.

CAMERA OPERATION

• To take photos : After the shutter is cocked, shutter times, aperture settings (external light meter) and focusing distance (with the help of the depth-offield indicator ring) are adjusted manually in the conventional way and you can now take your photo.
• Shutter release: the shutter release pressing point lies in the lower third of the shutter release way. After each shot, pull release knob (24) and transport the film with the film transport knob (2) until it locks for the next frame. Shutter is always cocked with button (18). The camera is ready for the next shot.
• To use a cable release: for best results, use original Linhof T-lock cable release with extra long release pin (022767).
• Shutter lock: the shutter cannot be released as long as the release lock is engaged (red end of locking pin (15) is visible) or the shutter is not cocked.
• Before taking film out of camera, make sure you have rewound the film completely: After the sixth and final photo (with 120 film) or the twelfth photo (with 220 film) pull film release knob (24) in direction of the arrow. Keep it pulled and rewind film with the film transport knob (2) completely until the film counter disk (3) does not move any more. This guarantees that the exposed film is fully rewound onto the take-up spool.
• Double/multiple exposures: Double and multiple exposures can be taken by simply re-cocking the shutter as often as required without transporting the film any further.

LENS CHANGE

• Change of lens: Push dark slide (20) into slot (10) on camera front until it reaches its end position. Due to the safety lock provided, the lens assembly can only be removed if the dark slide is inserted behind the lens.
• Positioning of camera: Hold or place the camera with the lens facing up, open knurled lens panel locking knobs (9) – left turn, in direction of arrows. Change lens and tighten both locking knobs – right turn. Pull and return dark slide to its storage compartment in camera back.
• Perspective control (pc): The built-in pre-shift acts as a lens rise (for architectural photos) or a lens drop, if camera is held upside down (for interior photos) to provide images from a lower or higher viewpoint without converging lines. Using the precision viewfinder with its reflected spirit level, the camera can be perfectly aligned in either position to obtain a correctly composed image with straight vertical and horizontals by means of the reference cross. For images with pronounced forefront and top view the camera is turned. For the use of the tripod there are two threads (7) and (11) – see also page 19.
• Attention: When taking pictures from an elevated viewpoint, do not tilt the camera in the usual way. If you do so, be aware that the built-in pre-shift of the lens leads to extremely converging lines in your photo. (Exception: if that is a means of your wanted design). When taking top view pictures, always turn the camera. This way the pre-shift works as a low-shift. A look through the viewfinder will convince you.
• The lenses are specially selected for the Technorama 612 pc II, featuring state-of-the-art technology in optical and mechanical engineering. It should be remembered, however, that those large format expert lenses achieve their highest performance when stopped down. For maximum corner to corner sharpness please use f/16 to f/32. Up to f-stop 22 the general performance of the lenses increases and therefore the optimum reproduction quality.

Lens in copal shutter and focus mount on precision lens panel with integrated body release and safety lock to prevent unintentional shutter release.

Perspective Control:
The illustration shows the position of the picture format within the image circle. With this pre-shift e.g. architectural photos can be taken realistically without converging verticals.

The focal effect of the picture section is visible in this photo.

LENSES

• 5 interchangeable lenses with individual angles of view are now available. In addition to the proven wide-angle lens Technorama Super Angulon XL 5,6/58 mm four high performance lenses are  offered: 80 mm, 120 mm, 150 mm and 180 mm focal length. All lenses are equipped with especially long dimensioned helical mounts for precise focusing even at close-range.
• The integrated anti-shock supports of the tubes provide an optimum mechanical protection for the shutter release system facilitating the perfect positioning of the camera.
• Technorama lenses made by Schneider/Bad Kreuznach and specially selected by Linhof are totally distortion-free of optimum quality.
• Thanks to shutter speeds from 1 s to 1/500 s the Technorama permits hand-held photography.

APERTURE AND DEPTH-OF-FIELD CONTROL

Adjusting of f-stop: The aperture scales covers a range from f/5.6 to f/32 (58 mm) or f/64 respectively in 1/3 increments. For optimum edge to edge sharpness, the aperture setting of between f/16 and f/32 is recommended. With higher aperture openings (like 8 or 11) the sharpness at the edges cannot be achieved. Larger openings than f-stop 22 do not produce better results. Extremely small openings, while increasing the depth-of-field, may degrade the image on account of diffraction.

Depth-of-field: The depth-of-field describes the area where there is still enough, but continuously diminishing sharpness in the front and the background of the photo. The depth-of-field ring (14) between distance scale and shutter allows convenient depth-of-field calculation with any given lens opening. Optimum sharpness is basically obtained in the level of an exact distance setting (14). The pair of f-stops figures on both sides of the focusing index marks the respective depth-of-field area: the smaller the aperture, the more the depth-of-field is prolonged (f-stop 22 is acknowledged to be smaller than f-stop 16 or 11).

Example: For 58 mm lens – an aperture of f/22 and camera focus to 2.5 m (8.2 ft): a sharp image will be produced from 1.3 m (4.3 ft) to infinity (blue arrow in illustration on page 8).

Depth-of-field in close-up distances: Although a minimum distance is indicated, the focusing scale extends further down. The area left of the double bar is not to be applied to the focusing mark. It is only used for depth-of-field definition in the close-up area when lens is stopped down accordingly.

CENTER FILTER

Use of the Center Filter:

Super-wide-angle lenses have a natural fall-off of illumination towards the corners which is caused physically. In order to compensate this loss in brightness, concentric graduated grey filter have be en designed for the wide- angle lenses. These filters have a transparency which increases gradually from the center to the edges. To avoid too long exposures times and with consideration of the exposure latitude of the film emulsions, the vignetting of the lenses has not been fully compensated. For maximum results and definition when using Center filter, it is necessary to stop down the lens by one to two full stops, since only then the maximum compensating effect of the Center filter can be achieved.

Additional filters :

• Additionally used filters should be screwed in the thread of the Center filter, since otherwise the effect of the Center filter will be changed negatively.
• For the lens Super Angulon XL 5.6/58 we recommend the center filter, code number 022282. This Center filter requires an approximate 3 x exposure increase which is equivalent to opening the lens by 1 1/3 or 1 2/3 stops (depending on the motif).
• As colour negative and black-and-white films have a wider exposure latitude and allow to correct the image in the printing process, you can do without a center filter in most cases and still obtain a well-balanced print. In many instances, slightly darker corners even help to enhance the image and to dramatise the pictorial content of a picture.

Attention: The center filter should not be screwed in too tightly to avoid inadvertent unscrewing of the front lens section when removing the filter.

THE PRECISION OPTICAL VIEWFINDERS

High quality viewfinders: The crystal clear optical viewfinders (Albada) with brightline finder frames for 58/120 mm, 80/150 mm and 180 mm lenses showing the built-in vertical shift is part of the system camera Linhof Technorama 612 pc II. The optical viewfinder is attached to the camera using the accessory shoe in the center of the camera body.

Brightline frame in viewfinder: Precise framing of the subject is accomplished by the bright line frames. The viewfinder shows the image area with a safety margin of approximately 10%, so the picture covers slightly more than can be seen in the viewfinder.

Visible in the finder: Spirit level and brightline frames for picture sections, parallax corrections for close-range photos and reference cross for horizontal and vertical orientation

Looking at the motif: On account of the extremely large viewing angle, the viewfinder shows a slight amount of barrel distortion which, for technical reasons, is not fully eliminated. The distortion is apparent in the finder only and does not affect the actual image. Both lenses are totally distortion- free and, naturally, all horizontals and verticals are reproduced as straight lines on film.

Reflected spirit level: The reflected spirit level, visible in the finder, controls the vertical orientation of the film plane not only with the camera in the conventional horizontal position, but in the vertical mode as well. To avoid converging lines do not tilt the camera, always check the spirit level to be sure, that the camera is properly aligned.

Alignment of the camera: Horizontal alignment (lateral levelling) is controlled by the reflected reference cross which shows if the camera is tilted to the left or right side. A convenient method to control parallelism between film plane and main subject plane (front of the building, for instance) is to project an imaginary line from the camera position to the object which meets the main object plane at a 90° angle. Lines on the floor can be very helpful for this. The point where the projected line meets the object line should be positioned in the center of the reference cross. This method works with both horizontal and vertical subjects.

Vertical photos : When taking vertical pictures of symmetrical objects (church interiors, for instance) proceed as follows to compensate for the lens displacement incorporated for horizontal images: If also the horizontal lines should be kept parallel (for instance the floor lines or back wall of the rooms) disregard the vertical center line and frame your subject off center in such a way that the subject’s center line coincides with the imaginary dotted line

Finding a motif without camera: The viewfinder can also be used separately for easy determining the selected photo area.

SECTIONAL ENLARGEMENTS

The elongated 6×12 cm format with its 1 : 2 aspect ration is eminently suitable for dramatic effects in technical and artistic photography, it is ideal for architecture, scenic, interiors and equally adaptable to both horizontal and vertical subjects. By choosing the proper viewpoint – the illustration shows a photo taken from a neighbouring building – the total film format can be used for the composition of the photo (1) If the photographer, however, has to shoot from ground level, the Technorama 612 pc II still allows him to record even extremely high (or respectively low situated) subjects without converging lines: simply check the vertical alignment of the film plane with the aid of the reflected spirit level and frame the subject according to finder delineation and reference cross. Print only the appropriate selection of the image, cropping any unwanted foreground matter (2).

HORIZONTAL PHOTOS FROM AN ELEVATED VIEW-POINT

Horizontal photos from an elevated view-point: those photos can be taken without converging lines by turning the camera upside down – the built-in lens rise now becomes a lens drop. To do this, the camera is equipped with a second tripod socket on the top of the camera housing (7). The spirit level works also in the inverted position.

Attention : When shooting from an elevated position, always turn camera upside down as shown on the illustration. Only by doing this you enable the camera to use the built-in lens rise as a lens drop. If you do not turn the camera, extremely converging lines will be the result!

USE OF FLASH

The shutter is fully synchronised from B to 1/500 sec. The left accessory shoe can be used to mount a compact flash unit. As this accessory shoe is not equipped with a flash contact, connect flash gun with the X-sync nipple (13) on the shutter by means of a suitable flash cord. When working with the Super Angulon XL 5.6/58, the use of 2 flash units, mounted on a suitable flash bracket, is recommended on account of the wide angle of view. To avoid hot spot in the center, the flash guns should be angled outward

TECHNICAL DATA

GENERAL COMMENTS

Camera Aluminium Case 022471
For added protection during transport we recommend to keep the camera always in its custom-designed sturdy aluminium case (022471) accepting a camera with four lenses and finders.
Maintenance of the rubber transport roller
After prolonged use, the surface of the rubber transport rollers may become shiny and slightly slippery. It is recommended to clean these rollers from time to time with a soft cloth and some cleansing solvent (Isohexan).

NEED HELP

SYSTEMTECHNIK GMBH | RUPERT – MAYER – STRASSE 45 | 81379 MÜNCHEN / GERMANY
TEL. +49.89.72492-0 | FAX +49.89.72492-250 | info@linhof.de | www.linhof.de

References

• Linhof Fachkameras und Fotozubehör für professionelle Fotografie aus München

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