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Third-party lens

Schneider-KREUZNACH PC-Super-Angulon 28mm F/2.8

Shift lens • Film era • Discontinued

Abbreviations

PC Perspective Control lens.

Features highlight

I/C mount
Shift -11..0..+11 mm
Lens rotation
Fast
F.E.
Preset
MF

Specification

Production details
Announced:<No information>
Production status: Discontinued
Production type:Mass production
Original name:Schneider-KREUZNACH PC-SUPER-ANGULON 2.8/28 MULTICOATING
System:-
Optical design
Focal length:28mm
Speed:F/2.8
Maximum format:35mm full frame
Mount and Flange focal distance:Interchangeable mount
Diagonal angle of view:75.4° (35mm full frame)
Lens construction:12 elements - 10 groups
Floating element system
Diaphragm mechanism
Diaphragm type:Preset
Number of blades:6
Focusing
Closest focusing distance:0.28m
Maximum magnification ratio:1:6 at the closest focusing distance
Focusing method:<No information>
Focusing modes:Manual focus only
Manual focus control:Focusing ring
Tilt and Shift mechanism
Shift range:-11..0..+11mm
Tilt range:Not available
Lens rotation:Yes
Tilt/Shift rotation:-
Physical characteristics
Weight:565g
Maximum diameter x Length:⌀75×89mm
Weather sealing:-
Fluorine coating:-
Accessories
Filters:Screw-type 67mm
Lens hood:Screw-type 60013 (round)
Teleconverters:<No information>

*) Source of data: Manufacturer's technical data.

Manufacturer description

The SCHNEIDER PC-SUPER-ANGULON 28mm f/2.8 is a very high-quality wide-angle lens for 35 mm analog and digital SLR cameras and provides a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and for manipulating the perspective especially for use in architectural and product photography.

Whereas normal 35 mm lenses have an image circle diameter of around 44 mm so that all four corners of the image are inside the image circle, the PC-SUPER-ANGULON 28mm f/2.8 provides an incredible 62 mm image circle. Decentration up to 11 mm is possible within this area using a dove-tail guide which can be adjusted easily and exactly The rotatable mount allows any desired shift direction.

Vertical shift is the most popular: upward, especially when photographing high buildings, so that the camera does not have to be tilted upward; and downward for product shots at an oblique angle or also for shots from high locations such as towers or mountains so that the camera does not have to be tilted downward. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.

These converging lines can be prevented with the PC-SUPER-ANGULON 28mm f/2.8 just as with adjustable large-format cameras. If the adjustment range of 11 mm (the clearance of the camera bayonet fixes this limit) is not sufficient in extreme cases due to the oblique view being too steep, the parallel shift of the lens largely prevents the sloped position of the con-verging lines and furthermore also reduces the vertical compression of the imaged object which would otherwise occur. The image then again corresponds to the natural visual impression.

The adjustment takes place at a shifting knob on a flexible shaft which is easy to grip and sensitive in operation Millimeter scales on mutually opposite sides allow comfortable reading in any shifting knob position. Since the shift is possible at both sides of the zero position, the most favorable orientation can always be chosen, e.g. irrespective of the shift direction with the knob at the bottom with free hands, or rather at the top at the tripod.

With a shift to the left or to the right, the shifting knob can always be at the left so that the right hand can hold the camera and remain on the release button.

With a diagonal shift, the adjustment path should not go beyond the lock noticeable at 9.5 mm to prevent vignetting.

The rotary mount, however, also allows horizontal movements or a shift in a slanted direction, e.g. to be able to take a frontal photograph without any distortion from a lateral location or a location with a slanted offset if this would otherwise be impossible due to an obstacle or potential refections.

The PC-SUPER-ANGULON 28mm f/2.8 already produces an exceptionally flattened image at full aperture within the 62 mm image circle which is thus twice as large in area relative to the image circles of other 35 mm lenses. Sharpness and contrast are increased further in the central area used without shift by stepping down slightly to f/4 to f/5 6. Sharpness, contrast and brightness naturally drop outside this area due to the huge image angle with an open aperture. The full aperture with a decentered lens is therefore only intended for the image composition and the focusing. A good imaging performance is obtained at the edge when stepping down further in dependence on the adjustment path; an aperture of 11 is recommended at maximum shift. Distortion and vignetting are exceptionally low.

The maximum path of 11 mm at both sides can be utilized to the full in the shift direction of the short image edge (vertical in landscape format and horizontal in portrait format) if the lens is stopped down to at least f/8. On a shift in the direction of the long image edge (horizontally in landscape and perpendicular in portrait), low vignetting of the image corners opposite to the shift (= of objects on the same side of the shift because of the upside-down image) may occur over the last half millimeter. It is therefore recommended only to utilize the shift path up to 10.5 mm here and to stop down to f/11 with more than 9 mm to avoid this vignetting in critical motifs.

The noticeable latch step at 9.5 mm should not be exceeded diagonally even at f/11 with parallel shifts since then the image corner decentered the most will contact the image circle edge.

While the image quality falls considerably in the close range with many wide-angle lenses, the good imaging properties of this lens are maintained thanks to “floating elements” (a distance-coupled axial shift of a lens element group relative to the remaining system). This makes this lens very interesting e.g. for model shots.

The camera mount of the lens is fastened using Phillips screws and can be replaced to match the new camera on a change of the camera system. The user can make the refitting him or herself using a size zero Phillips screw-driver. The PC-SUPER-ANGULON 28mm f/2.8 with fixed Leica R bayonet mount was only available from Leica.

Only the oversized B+W WA filters of the size 67 EW can be used with the SCHNEIDER PC-SUPER-ANGULON 28mm f/2.8 due to the extremely large image angle utilized at maximum shift up to 93.4°. Furthermore, a special lens hood with a filter mount is also available which does not produce vignetting at maximum shift. The filter plates of 74mm diameter which can be inserted there are held in this specal lens hood by an adapter ring belonging to the lens hood.

From the editor

The following interchangeable mounts were available for this lens: Canon EF, Canon FD, Contax/Yashica, M42, Minolta/Sony A, Minolta SR, Nikon F (AI), Olympus OM, Pentax K, Rollei QBM.

Comments

Thanks for a helpful review, when you say a ‘fixed Leica R bayonet mount’ how do you mean fixed, is in that this model can not be refitted like the Schneider-Kreuznach?


Schneider-Kreuznach branded PC-Super-Angulon 28mm F/2.8 lens for the Leica R mount never existed. Leica branded PC-Super-Angulon-R 28mm F/2.8 lens (which was added to our database separately) is optically and mechanically the same as this Schneider-Kreuznach lens, except for the lens mount which is not interchangeable.


Hello.
I have a Schneider Kreuznach PC-Super-Angulon 28mm f / 2.8 with Nikon F mount.
Is it possible to replace the Nikon mount on the lens with a Fuji X-mount? Exists?
Or should I use a Nikon F> Fuji X-mount adapter? Which one do you recommend in case.

Thanks


Schneider-Kreuznach never made dedicated Fujifilm X interchangeable mount for this lens because the lens is designed for 35mm full-frame SLR cameras and Fujifilm mirrorless cameras are APS-C. So, you should use a Nikon F – Fujifilm X mount adapter. I think that Kipon adapters can be safely and easily recommended. Kipon even offers Nikon F (AI) – Fujifilm X focal reducer (speedbooster), so you can get practically the same angle of view with this lens on a Fujifilm APS-C mirrorless camera as on a Nikon 35mm full-frame SLR camera.


Thanks a lot for the answer.

The 28mm full frame ported to APS-C becomes a 42mm. Still usable as a shift if you have space. To have nice sober images with less wide angle effect.
However it might be interesting to be able to use it with a speedbooster (I knew the Metabones, but i read that you suggest Kipon). So i could have a 28mm even on APS-C.

I talked about these speedboosters on a forum and many told me that the “focal reducers” would, however, worsen the beautiful quality of this lens (instead on his site Metabones says the opposite, in addition to increasing the brightness he says that it increases the quality of the MTF). Who is right?


I think that there is no reason not to trust Metabones. The function of the focal reducer is that it fits the image circle formed by a full-frame lens into the width of the APS-C sensor, which leads to increase in image sharpness and effective lens speed.

If we talk about the deterioration of the “beautiful quality of this lens”, then in what sense? Given the fact that the main application of this lens is to shoot wide-angle scenes (with perspective correction when needed). When combined with focal reducer, this functionality of the lens won’t change at all.

In terms of optical aberrations? When using a focal reducer, they will be more or less the same as on a full-frame camera. I mean lateral chromatic aberrations and distortion in the first place. And they can be easily corrected in post-production. Also, when shooting landscapes or architecture, you usually stop down to f/8 or more, so vignetting and some of the aberrations (longitudinal CAs, spherical aberration, astigmatism, field curvature) at these setting are gone anyway.

In terms of bokeh and recognizable character of the lens? But this wide-angle lens, while being pretty fast, was not designed to provide impressive bokeh and/or recognizable character. This is not a portrait or a fast standard prime lens, after all.

So, I don’t quite understand, as to be honest, what do those people mean by saying that focal reducers would worsen the beautiful quality of this lens.


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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

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Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

MF

Sorry, no additional information is available.

Shift lenses

Shift lenses are high-quality lenses, usually wide-angle, that provide a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and manipulating the perspective especially for use in architectural and product photography.

Whereas normal lenses designed for 35mm full-frame cameras have an image circle diameter of 43.27mm so that all four corners of the image are inside the image circle, shift lenses provide much larger image circle (60mm or even more). Decentration of the lens is possible within this area.

Vertical shift is the most popular: upward when photographing high buildings, and downward for product shots, so that the camera does not have to be tilted. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.

Lens rotation

By using rotation, the direction of the entire lens can be switched.

Tilt/Shift rotation

By using Tilt/Shift rotation, the relationship of the tilt and shift operation directions can be switched from right angle to parallel.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Floating element system

Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.