Technical Camera Lenses I Currently Use

This article is a personal account of the technical camera lenses I currently use. Every lens covered here is one I own and shoot with regularly. Nothing in this article is based on secondhand accounts or specifications alone. If the lens is not in my current kit, it isn't here.

Each lens entry includes a sample image selected from my archive. I have included images from multiple technical cameras and digital backs — the Arca Swiss Pico, Arca Swiss Rm3di, Cambo WRS1600, Phase One IQ4 150, Hasselblad CFV II 50C, and Hasselblad CFV 100C. Technical details are noted in the captions. RAW files and LCC reference frames where applicable are included in the download package available at the end of this article, giving you the opportunity to see the out of camera files and work with them yourself.

What Makes a Technical Camera Lens Different

The primary reason to use a technical camera lens over any other lens is image circle size. Modern mirrorless lenses are designed to cover a specific sensor diagonal with minimal excess. A full frame lens covers a 43mm diagonal. A medium format lens for a closed system covers roughly 55–67mm. Technical camera lenses are designed to project image circles of 70–120mm or larger, well beyond what the sensor needs to simply record an image. That excess coverage is what allows camera movements — rise, fall, shift, tilt and swing — to be applied without the image circle clipping the sensor.

Image circle size is also where most of the confusion begins, because not all published image circle numbers mean the same thing.

Understanding Image Circle Specifications

Three distinct image circle measurements are relevant to technical camera photography, and manufacturers do not use them consistently.

Image circle of illumination is the total area onto which the lens projects light. Beyond this boundary the image goes completely dark. This is the largest of the three circles and the least useful number for a working photographer.

Image circle of definition is the area within which the image meets a manufacturer-defined minimum resolution standard. This is the number that corresponds to the boundary of published MTF charts. The MTF chart shows you performance out to this edge, but it also shows you that performance degrades as you approach it. The published image circle number is the boundary of the chart, not a guarantee of uniform quality throughout.

Usable image circle is the area within which the lens actually performs well enough for critical work on a modern high-resolution sensor. This is the number that matters most for photographers, and it is the least clearly defined of the three — the subject of countless forum threads and the source of the most confusion for photographers new to technical cameras and curious about their possibilities.

In my experience, Schneider's published image circle numbers tend to reflect the image circle of illumination. The usable image circle is often meaningfully smaller than what the specification suggests. Rodenstock's published numbers tend to reflect something closer to the usable image circle — in some cases they are conservative, as the HR Digaron-S 180mm demonstrates. This difference makes direct specification comparisons between the two brands unreliable without this context. A Schneider lens with a published 90mm circle and a Rodenstock with a published 70mm circle may actually offer the same usable coverage in the field.

Every lens entry in this article includes my real-world assessment of the usable image circle based on shooting with the Hasselblad CFV 100C digital back on the Arca Swiss Pico.

Schneider vs Rodenstock: Design Overview

All of the Schneider lenses in this article use a symmetrical optical design. Symmetrical designs tend to control distortion much better than retrofocal designs, which makes them well suited to architectural photography where straight vertical and horizontal lines need to remain straight. They are also generally smaller and lighter than equivalent Rodenstock lenses, which matters when backpacking or traveling with a full kit.

The Rodenstock lenses in this article are a mix of symmetrical and retrofocal designs. The Apo-Sironar Digital 70mm and the Apo-Sironar Digital 90mm are symmetrical. The HR Digaron-W 40mm and HR Digaron-S 180mm use retrofocal designs, which provide longer flange focal distances and better correction for color cast and vignetting, most notably on non-BSI sensors, but introduce some degree of distortion that symmetrical designs avoid. Rodenstock lenses are generally larger and heavier than Schneider equivalents at comparable focal lengths.

Schneider Technical Camera Lenses

Schneider Kreuznach has exited the technical camera lens market entirely. All Schneider lenses discussed in this article are available on the used market only.

Schneider Apo-Digitar 35mm f/5.6 XL

Overview

The Schneider Apo-Digitar 35mm f/5.6 XL is a wide angle lens designed specifically for digital medium format technical camera systems. It uses a symmetrical optical design and was built to cover sensors up to 36x48mm, though it is most frequently paired with smaller digital backs where its image circle provides meaningful room for camera movements.

The XL designation indicates an extended image circle compared to earlier Schneider digital lenses. Its compact size and light weight make it a practical choice for field and travel photography, and its symmetrical design makes it well suited to subjects where straight lines and accurate geometry are a priority. Like other wide Schneider symmetrical designs, it is susceptible to color cast and vignetting, and Schneider produced a center filter for the 35XL to address it.

• Labeled focal length: 35mm
• Actual focal length (Alpa): 36.42mm
• Published image circle: 90mm at f/11

Sample Image

LCC Reference Frames

Vignetting is visible even at 0mm shift. At 18mm shift it becomes pronounced.

My Real World Experience

I primarily use this lens for architecture photography with the Arca Swiss Pico and Hasselblad CFV 100C.

I have owned two different copies of the 35XL and both perform very similarly, which speaks well of Schneider's manufacturing consistency at this focal length.

The published 90mm image circle is optimistic. In my experience the usable image circle is closer to 75mm, where it performs very well. Beyond that boundary you will see a loss of definition. If the outer edges of your frame contain blue sky or other low-detail subject matter, this may be acceptable. If you are shooting architecture with important details extending to the corners, you will likely find the falloff objectionable.

Despite its limitations at the edge, within that 75mm usable image circle this lens earns its place in the kit. It is my first choice for wide angle architectural work with a technical camera. The symmetrical design means there is no distortion to correct, which matters when shooting one-point perspective interior and exterior architecture. The flange distance is too short to use with a mirrorless camera body — this lens must be paired with a digital back to take advantage of its full range of motion.

I have the center filter for this lens but have rarely used it since upgrading to the Hasselblad CFV 100C with its BSI sensor. On older non-BSI backs a center filter would be more important. Vignetting is one of the reasons I rarely shift the 35XL more than 10mm unless the composition absolutely requires it — Capture One and Hasselblad Phocus both do a good job of removing it, but correcting this much falloff can introduce noise into the final image. I do recommend creating an LCC reference frame every time you use this lens.

Schneider Apo-Digitar 60mm f/5.6 XL

Overview

The Schneider Apo-Digitar 60mm f/5.6 XL is widely regarded as one of the standout lenses in the Schneider digital lineup. Designed for sensors up to 40x54mm, its 120mm image circle is unusually large for a Schneider lens of this focal length, giving it substantial room for shift and rise movements.

The XL designation here reflects a meaningful optical difference from earlier 60mm Schneider designs, which had a significantly smaller image circle. It uses an eight-element apochromatic design and delivers strong performance across the full image circle. Despite being a symmetrical wide-angle design, its large image circle and optical corrections make it one of the more versatile lenses in this class.

• Labeled focal length: 60mm
• Actual focal length (Alpa): 60.03mm
• Published image circle: 120mm at f/11

Sample Image

LCC Reference Frames

Vignetting is subtle at 0mm shift. At 18mm shift it is noticeably smoother and more gradual compared to the 35XL.

My Real World Experience

I primarily use this lens for landscape, architectural, and urbanscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

This lens is one of the most capable technical format lenses ever made. That is not a marketing claim — it is a practical observation based on what the lens actually delivers in the field, and the majority consensus throughout the technical camera photography community. I have owned two copies and both have performed at the same level.

Unlike many Schneider lenses where the published image circle overstates real-world performance, the 60XL largely delivers on its published 120mm specification. It can handle the full movements of my Arca Swiss Pico with the Hasselblad CFV 100C, which requires just under 110mm of usable image circle. The edges are slightly softer than the center but within what I consider the usable image circle, and I do not hesitate to use the full range of movement my camera allows. It is also the widest Schneider technical camera lens that provides full movement capability when used with a mirrorless camera body.

I had a center filter with my first copy — the last one Linhof Studio had available at the time. I stopped using it when I upgraded to a BSI sensor back. My current copy does not have a center filter and I have not felt the need for one, though I would not mind having one to complete the set. I generally don't create an LCC reference frame for this lens. The gradual vignetting is pleasant enough that I don't feel the need to correct it, and when I do want to remove it, it's not a heavy lift in Photoshop. Creating an LCC reference frame is still good practice regardless, in case you'd rather have the option.

Schneider Apo-Digitar 72mm f/5.6 L

Overview

The Schneider Apo-Digitar 72mm f/5.6 L is a slight wide-to-normal lens designed for digital medium format use. It covers sensors up to 63x63mm with a 90mm image circle and was designed to remain sharp at its maximum aperture across the full image circle.

The L designation refers to its long barrel configuration. It is notable for having the flattest field in the Apo-Digitar lineup, which makes it a popular choice for art reproduction and other applications where field flatness is critical. Its 40.5mm filter thread keeps the physical footprint compact. Schneider did not produce a center filter for this lens.

• Labeled focal length: 72mm
• Actual focal length (Alpa): 74.88mm
• Published image circle: 90mm at f/11

Sample Image

LCC Reference Frames

Vignetting is minimal at 0mm shift, and even at 18mm shift it remains subtle — less than what you'll see with the 60XL.

My Real World Experience

I primarily use this lens for architectural photography with the Arca Swiss Pico and Sony A7R V.

I have owned two copies and both perform at the same level. Unlike most wider Schneider lenses where the published image circle overstates usable performance, the 72L delivers on its published 90mm specification. The edges are slightly softer than the center, but not enough to give me pause at the limits of coverage. No center filter was ever produced for this lens, and given the edge performance it is not a significant loss.

The symmetrical design means there is no distortion correction required, making it a solid choice for architectural work. I rarely create an LCC reference frame for this lens, though it remains good practice.

Schneider Apo-Digitar 90mm f/4.5 N

Overview

The Schneider Apo-Digitar 90mm f/4.5 N is a short telephoto lens for digital medium format technical cameras. The N designation indicates a normal barrel configuration. It covers sensors up to 36x48mm with a 90mm image circle, and its f/4.5 maximum aperture is slightly faster than most lenses in this class.

It uses 40.5mm filter threads, making it one of the more compact and lightweight telephoto options available for technical camera systems. This lens is appropriate for landscape, architecture, and detail work where a moderate compression of perspective is useful.

• Labeled focal length: 90mm
• Actual focal length (Alpa): 90.69mm
• Published image circle: 90mm at f/11

Sample Image

LCC Reference Frames

You're likely noticing a pattern by now. Vignetting decreases as focal length increases, and the 90N shows even less than the 72L.

My Real World Experience

I primarily use this lens for architectural photography with the Arca Swiss Pico and Sony A7R V.

I have owned two copies of this lens and both perform at the same level. The center is very sharp and the published 90mm image circle holds up as a reliable guide to usable coverage. On a medium format sensor the slight softness at the edges is more relevant, but on the full frame sensor of the Sony A7R V, the full range of shift on the Arca Swiss Pico doesn't reach far enough into the image circle for it to be noticeable.

No center filter exists for this lens. The symmetrical design means no distortion correction is required, which combined with the focal length makes it a natural choice for architectural work. It is also a capable option for macro photography.

Schneider Apo-Digitar 100mm f/5.6 N

Overview

The Schneider Apo-Digitar 100mm f/5.6 N is a short telephoto designed for digital medium format technical cameras. It shares a similar optical character with the 90mm N but provides a slightly longer perspective and performs marginally better — it has a larger image circle and more uniform illumination across the image circle.

With a 100mm image circle and 40.5mm filter threads, it offers the same compact physical footprint as others in the Schneider N series. The 100mm focal length is less common than 90mm or 120mm in most photographers' kits, which has made it harder to find on the used market. It covers sensors up to 36x48mm comfortably.

• Labeled focal length: 100mm
• Actual focal length (Alpa): 100.95mm
• Published image circle: 100mm at f/11

Sample Image

LCC Reference Frames

Vignetting at 18mm shift is almost negligible on the 100N. By this focal length it's barely worth mentioning.

My Real World Experience

I primarily use this lens for landscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

The published 100mm image circle is accurate in practice. The edges are slightly softer than the center but I have no reservations about shooting to the full extent of the coverage. I've used this lens for cityscapes, stitched panoramic prints, and landscapes, and it performs excellently across all of them. Compact, light, and sharp, it's one of the better all-around performers in my technical camera kit. The more uniform illumination compared to the 90mm N is a practical advantage when pushing the lens to its limits.

No center filter exists for this lens. No distortion correction is required. Like the 90mm N, it handles macro photography well. The 100mm is harder to find on the used market than the 90mm or 120mm, which is worth factoring into any buying decision.

Schneider Apo-Digitar 150mm f/5.6 N

Overview

The Schneider Apo-Digitar 150mm f/5.6 N is a telephoto lens designed for digital medium format technical cameras. It covers sensors up to 40x54mm with a 110mm image circle and uses the same compact 40.5mm filter thread found across the Schneider N series.

At 150mm it is one of the longest focal lengths in the dedicated digital technical camera lens lineup, offering significant perspective compression for landscape and architectural detail work. Despite the long focal length, the lens remains remarkably compact and light — a recurring characteristic of the Schneider N series.

• Labeled focal length: 150mm
• Actual focal length (Alpa): 151.30mm
• Published image circle: 110mm at f/11

Sample Image

LCC Reference Frames

The pattern continues with the 150N. Vignetting remains negligible at both 0mm and 18mm shift.

My Real World Experience

I primarily use this lens for landscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

This is the second copy I have owned. I already had the 180mm HR Digaron-S in the kit, so strictly speaking this focal length was redundant. I bought it because the price was right — an honest reason that anyone who has spent time on the used technical camera market will recognize.

The published 110mm image circle is accurate, though I prefer to work within 100mm and only push to the full extent when the shot calls for it. The edges soften slightly at the limits of coverage, but not enough to be a practical concern in most situations. No center filter exists for this lens. I may create LCC reference frames when using large shifts, though generally they are not needed. No distortion correction required.

The 150mm N is smaller and lighter than the HR Digaron-S 180mm, which makes it the lens I reach for when weight and pack space are a concern and I want something in the telephoto range.

Rodenstock Technical Camera Lenses

New Rodenstock lenses continue to be available through dealers including the HR Digaron-S, HR Digaron-W and HR Digaron-SW lines and the Apo-Macro-Sironar 120mm, all in aperture-only or X-Shutter configurations as Copal shutters are no longer in production.

Rodenstock HR Digaron-W 40mm f/4.0

Overview

The Rodenstock HR Digaron-W 40mm f/4.0 is a wide angle lens designed for digital medium format technical cameras. It covers sensors up to 40x54mm with a 90mm image circle, and its retrofocal optical design gives it a generous flange focal distance of 69.5mm, allowing unrestricted use on virtually any technical camera body without the bellows extension limitations that affect some symmetrical wide angle designs.

The W designation indicates it is optimized for wider sensors requiring larger image circles. Its f/4.0 maximum aperture is faster than most lenses in this class. The 67mm filter thread reflects the physically larger lens body typical of Rodenstock wide angle designs.

• Labeled focal length: 40mm
• Actual focal length (Alpa): 41.85mm
• Published image circle: 90mm at f/11

Sample Image

LCC Reference Frames

Vignetting is noticeable on the HR Digaron-W 40mm, though significantly better controlled than the 35XL. The retrofocal design, slightly longer focal length, and larger actual image circle all play a role in that difference.

My Real World Experience

I primarily use this lens for landscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

The published 90mm image circle is accurate in practice. I prefer this lens over the Schneider 35XL for landscape work because the more reliable usable image circle allows me to take full advantage of stitching. I frequently shoot three vertical frames at -12mm, 0mm, and +12mm shift, producing a field of view roughly equivalent to a 24mm lens on a full frame camera.

The retrofocal design means some distortion is present, though it is well controlled within the 90mm image circle. I do not use this lens for architecture and have never found the distortion objectionable in landscape work. No center filter is available or needed on a BSI sensor. LCC reference frames are recommended when using large shifts.

Rodenstock Apo-Sironar Digital 70mm f/5.6

Overview

The Rodenstock Apo-Sironar Digital 70mm f/5.6 is a standard-to-slight-wide angle lens designed for digital medium format technical cameras. This lens is optically identical to the later HR Digaron-W 70mm — Rodenstock rebadged it as part of a product line renaming without changing the optics. It covers sensors up to 40x54mm with a 100mm image circle. The 58mm filter thread is compact for a Rodenstock.

• Labeled focal length: 70mm
• Actual focal length (Alpa): 70.00mm
• Published image circle: 100mm at f/11

Sample Image

LCC Reference Frames

Vignetting on the 70mm Apo-Sironar Digital is similar to the 60XL, perhaps slightly more noticeable. That's worth pausing on given the 70mm's longer focal length would typically suggest less vignetting, not more. It's a testament to how well-corrected the 60XL really is.

My Real World Experience

I primarily use this lens for landscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

The symmetrical design is worth emphasizing because it is the exception rather than the rule in the Rodenstock digital lineup. It means this lens can be used for architecture without distortion concerns — something that cannot be said for most Rodenstock technical camera lenses.

For landscape work I reach for this over the Schneider 72L when I want a smoother, somewhat softer rendering character. The 72L has noticeably more contrast. Both are excellent and the choice comes down to personal preference and what the subject calls for.

I purchased the 70mm Apo-Sironar Digital at a good price before the 60XL became available to me. Now that I have both, along with the 72L, the redundancy in this range is hard to justify. I'm likely to sell one of them, and I'm leaning toward parting with the 70mm since the 72L excels at reproduction work in a way the others don't.

The published 100mm image circle holds up in the field. The edges trail the center slightly but remain within what I consider comfortably usable. No center filter is available or needed. LCC reference frames are created when using large shifts.

Rodenstock HR Digaron-S 180mm f/5.6

Overview

The Rodenstock HR Digaron-S 180mm f/5.6 is a telephoto lens designed for digital medium format technical cameras. The S designation indicates it is optimized for smaller, higher-resolution sensors up to 33x44mm rather than the larger sensors targeted by the W series. Its published image circle of 80mm is notably small for a telephoto at this focal length — a deliberate design trade-off that prioritizes maximum resolution within a tighter coverage area.

In practice, the effective image circle is considerably larger than the published specification, a point documented in the technical camera community and addressed in a GetDPI thread where the cause of apparent discrepancies between the Cambo WRS standard mount and the Cambo TS mount was identified and resolved. The 67mm filter thread is consistent with the physically substantial body required at this focal length.

• Labeled focal length: 180mm
• Actual focal length (Alpa): 179.55mm
• Published image circle: 80mm at f/11 (see My Real World Experience)

Sample Image

LCC Reference Frames

Vignetting at 18mm shift is effectively identical to 0mm shift on the 180S. There may be a measurable difference if you sample with an eyedropper tool, but to the eye, there's none to speak of.

My Real World Experience

I primarily use this lens for landscape photography with the Arca Swiss Pico and Hasselblad CFV 100C.

The published image circle of 80mm is conservative to the point of being misleading. In practice I have used this lens to create a three-image panorama stitch — 20mm left, center, and 20mm right — on a 44x33mm sensor, which adds up to a clean and sharp usable image circle of approximately 110mm. Mount selection matters here, however. The Cambo WRS TS mount introduces physical vignetting before the edge of the image circle is reached due to the construction of the mount itself. The standard Cambo mount does not have this issue. This distinction caused significant confusion in the community until it was documented and explained.

The coatings on this lens render landscape colors in a way that is distinctive among technical camera lenses. The rendering is smooth and the out-of-focus areas — not something you would normally associate with a technical camera lens — are genuinely pleasant. I use it sometimes to focus through foreground elements and create interesting out of focus shapes. Of all the lenses in my kit, this is the one I use most like a conventional lens for a full frame camera.

No center filter exists for this lens and none is needed. No LCC reference frame is required.

Conclusion

If you are interested in seeing RAW files for the sample images in this article, send me an email with your request and I'll get back to you with the download link. LCC reference frames are included for any sample images where they were used.