For 222 years, Portugal has been waiting for the completion of the National Palace in the Lisbon suburb of Ajuda. In 2018, the completed half of the building will finally be concluded with a befitting completion building - at least that's what the current timetable looks like. The individual rooms of the palace will be renovated during the project and partly designed differently. The Swiss ALPA photographer Hans Rupp, together with the "court photographer" Maria Pedro Fonseca, was given exclusive access to the palace in order to document the current state as comprehensively as possible. The photographer Rosa Araci, also very familiar with ALPA cameras, recorded the work of the two.
Months before the start of the project in the summer of 2017, the photographers spent a lot of time adjusting to the local conditions, the procedure and the setup for the ALPA 12 MAX. In this preparatory phase of the project, Hans Rupp mostly used a Rodenstock / ALPA HR Alpagon 4.0 / 32mm FPS SB17 with electronic shutter and ALPA Silex as the control module. This set-up proved to be the photographer's first choice during the project.
Layout: ALPA equipment for the project in the Palacio Nacional. © Hans Rupp
"The biggest challenge was the limited space," Rupp says about the specifics of the project. The majority of the halls are relatively narrow. This makes it difficult to create depth. "The smaller rooms measure about 10 by 10 meters and are thus rather small for our recordings, so the distance between the camera and the subject is short, which means that the sharpness setting becomes more important The depth and the photographic craft shown are better as a whole. "
Perfect conditions for Rodenstock eShutter 250
Hans Rupp was supported in his project in Lisbon by the technical partners Rodenstock and ALPA. The lenses by Rodenstock are known for their excellent resolution and offer the possibility of shifts. For the actual photos in the palace, Rodenstock provided not only the previously mentioned 32mm but also the 90mm optics. Both are perfectly suited for the special interior shots and were also equipped with the electronic shutter eShutter 250 by Rodenstock.
The eShutter 250 can be installed in all lenses from Rodenstock / ALPA. It serves to remotely control the aperture and shutter of the camera. The maximum exposure time of the eShutter 250 is 126 seconds. In use, the eShutter 250 gives photographers three clear advantages over a conventional copal lens:
• Comfortable working with long exposure times
• Easily performed exposure series and bracketing
• Convenient (remote) triggering in difficult camera locations
"Due to the light conditions in the palace making long exposures and exposure series necessary, it is, in our point of view, an excellent field of application for the eShutter 250," concludes Ralph Rosenbauer, head of development at ALPA. "Due to the extremely rich and valuable interior of the palace with all the (wall) rugs, vases, candlesticks, the solution advantages of a medium-format system with Rodenstock optics are wonderful," he continues.
Hans Rupp at work with the ALPA 12 MAX. © Hans Rupp
"Court photographer" Maria Pedro Fonseca made access to the palace possible. © Hans Rupp
Compared to the predecessor Rodenstock eShutter 125, the new solution differs not only from the speed (1/250 s instead of 1/125 s) but also in the handling. In the future, the eShutter 250 can be operated using the ALPA eShutter Control handle, whereas previously a computer or the Sinar eControl control unit was required. Especially in use outside the studio, ALPA eShutter Control will further simplify the work of photographers, as the handle not only saves space and weight but above all allows direct control of the camera.
The Rodenstock eShutter 250 is available on request in the form of a modification option with a surcharge for all ALPA / Rodenstock lenses from ALPA. The ALPA eShutter Control handle will soon be available from ALPA.
Mounting the ALPA eShutter Control on the ALPA 12 MAX. © Hans Rupp
The story of the palace: a mirror of history
Until the result of the photo project by Hans Rupp can be seen, one must still be patient. The project has now been completed and will be presented in the form of an exhibition to the public. "When people look at details in photos, they perceive them differently than in reality," says Rupp. His fascination for the project is based on the historical context and the charm of the building. "The Palacio, among other things, captivates me with its public museum character, and some of the rooms are not just exhibits, they are also used, for example, the large dining room is used for official government receptions."
Picture from the "Sala dos Grandes Jatares", the large dining room in the Palacio Nacional de Ajuda. © Hans Rupp
WAITING FOR THE QUEEN WB from rupp.pictures on Vimeo.
The history of the building goes back to the Lisbon earthquake. In 1755, it virtually destroyed the entire city, including the then royal residence, the Palácio da Ribeira, on the banks of the Tagus River. The urgency to build a new palace and the fact that the Royal Family survived the disaster because they had stayed in the Belém / Ajuda district, which was hardly affected by the earthquake, were probably reasons for choosing to build the palace on the township Ajuda. Fearing further earthquakes, the first wooden palace was built in 1761 and received the not very flattering nickname "Real Barraca" or royal barracks. In 1794 a fire destroyed the building and a large part of its valuable belongings.
The rulers created it again in its present form of today. However, the building of the new palace halted several times. Financial problems, political upheavals and, as a low point, the flight of the royal family to Brazil in 1807 out of fear of the Napoleonic troops, thwarted the plans of the builders. As Dom João the VI returned to his court from Brazil in 1821, the palace was still unfinished and could only be used for protocol ceremonies.
In this room, the mural tells to the right of the return Dom Joaos of the VI. © Hans Rupp
Two masterpieces: The ALPA 12 FPS with the Silex control unit next to a statue in the "Sala dos grandes Jantares". © Hans Rupp
Two years later, King Miguel selected the palace of Ajuda as a residence and forced the completion. In order not to hinder the construction work, he moved to the palace Necessidades in the district of Estrela, but never returned. With King Luís, the palace of Ajuda finally gained life. In 1862 Luís married the Princess of Savoy, the daughter of the Italian King Vittore Emanuele II. In the same year, changes to the interior decorations began. Parquet floors, murals, stucco ceilings and new furniture for the halls were selected. The wedding gifts from Italy also served the new decoration.
The last inhabitant of the palace of Ajuda was King Manuel II. He was the son of Dom Carlos, who fell victim to an assassination in Lisbon in 1908. Manuel II did not stay on the throne for long. He abdicated in 1910, left the palace and went into exile. This marked the end of the Portuguese monarchy. For the population of Portugal Manuel hardly played a role, the last king was Dom Carlos. Even during the dictatorship in 1968, the palace was opened to the public to give the people insight into the royal family of the late 19th century.
The magnificent library in the palace area. © Hans Rupp
Setup with the ALPA 12 MAX and the ALPA Silex controller for the library. © Hans Rupp
Since 1996, halls and facilities have been restored to strict specifications of historical research. In 2013, Dr. José Alberto Julinha Ribeiro was elected as the new director of the Palazzo Nacional da Ajuda. His goal is to restore to the palace the due importance that it has in Portuguese history. Thanks to his approval, the work of the photographers in the palace has become possible.
Only less than half of the palace has been built to this day. This year, those responsible started work on the unfinished west side. The visualization below shows what the 15 million dollar final building should look like. Visitors will be given access to the building from the west and will soon be able to admire the Portuguese crown jewels.
Visualization of the planned final building from the west.
Website Palacio de Ajuda
Website Hans Rupp / Linpix
With the latest camera package, ALPA is once again addressing the friends of analogue photography. In an effort to give ambitious users of roll-film a high-quality platform, ALPA launches a limited-edition kit with the ALPA 12 SWA camera and the ALPA Apo-Helvetar 5.6 / 43 mm lens.
The ALPA Apo-Helvetar 5.6 / 43 mm origins from the production of the legendary manufacturer Schneider Kreuznach. These optics for medium/large format photography from Schneider are coveted among connoisseurs, as the company has withdrawn from the field of medium/large format optics.
With a comparable focal length of 20/21 mm (35mm equivalent), the ALPA Apo-Helvetar 5.6 / 43 mm is still a highlight in the development of symmetrical optics. Due to the large image circle of 110 mm at f 11, the shift capability of the ALPA 12 SWA can be optimally utilized. Thanks to the design, the lens has a fantastically low distortion of only about 0.5% and is thus suitable for the most demanding architectural photography without further correction of the distortion.
The ALPA Limited Kit comes with everything you need to get the camera up and running right away: the lens, the camera, an HPF ring, the ALPA 6x7 / 6x9 combined shift mask, and an ALPA roll-film back, available as an option in format 6x7 or 6x9. Also included are an ALPA Swisstool, black and white films with film protection container, a practical carrying case and certificate.
Of course, the ALPA 12 SWA can also be used as a digital camera with a corresponding ALPA back adapter and a digital back (both available separately).
The offer is limited to five pieces and is valid while stocks last and is available immediately.
ALPA 12 SWA / Helvetar 43 - Limited Kit
Camera: ALPA 12 SWA
Lens: Schneider ALPA Apo-Helvetar 5.6/43 mm
Back: ALPA Roll-film back 6x9
Film: Ilford XP2 400
High Resolution Scans: ALPA Cloud
Sample images "Bern" by Ralph Rosenbauer
The battlefields of World War I are the scene for Stephan Schenk's photographic art project "Way of the Cross" (or "Kreuzweg" in German). For the 14-part cycle, the photographer travelled to many places of war and captured a section of the earth or water surface. In 2014, 100 years after the outbreak of the war, Schenk had completed the cycle. The echo of the black and white pictures was great from the beginning. The multi-faceted work, which consists of a photo edition, an artist's book and large-format tapestries, was exhibited in 2014 at the Fotostiftung Schweiz in Winterthur, then in the Galerie m Bochum, in the Dommuseum Hildesheim and in 2016 in the Mauer Memorial in the German Bundestag in Berlin.
Since the beginning of November, the image "Flanders" of the series has been permanently hanging in the Pukeahu Memorial in Wellington, the national war memorial of New Zealand. The Foreign Office of Germany had bought the work of art in order to present it to the New Zealand state in memory of the "catastrophe of the 20th century". On November 6, a delegation led by Federal President Frank-Walter Steinmeier solemnly presented the picture.
Captured on film with the ALPA 12 XY and ALPA 12 TC
The hand over is the last chapter of a project that has been developed with great effort over the years. In 2009, Schenk first travelled to the battlefields of the First World War in France and Belgium to think about the implementation. "It quickly became clear that I can only portray the topic through a strong reduction." He opted for analogue black and white photography. "By deliberately manipulating the exposure and working on a contrast reduction a greater image severity could be achieved," Schenk continues. As his setup, he decided to use the cameras ALPA 12 XY and ALPA 12 TC with a Schneider Super Angulon 5.6 / 72 mm and a Mamiya 6x8 cm roll film cassette. "On each battlefield, only one recording was captured, in two places I had to travel through it a second time to achieve a better consistency with the other motives."
The challenge was to find a constellation that works in all other places, without having seen them before, and to limit the equipment to such an extent that the trips, especially to Africa and China, are possible and longer excursions on site on foot are easier. "And it worked, very well even, but just the queasy feeling of standing in some places with the black cloth over my head and not knowing what's going on around you, is still very present to me today."
How do you visualize the unimaginable?
At the beginning of November, Schenk was present when one of his pictures was delivered by German Federal President Frank-Walter Steinmeier to New Zealand's representatives as part of the Asia and Pacific journey. At the Pukeahu Memorial, after its definitive hanging, it will remind of the more than 18,000 fallen New Zealand soldiers who died in the war zones during the First World War.
In public perception, the extent of the war is barely present anymore. The artist, therefore, was posed with fundamental questions during his work: how can one visually and conceptually deal with the madness of a war dating back a hundred years, and how can one visualize its sheer unimaginability?
"The strict restriction to fourteen places includes not only well known military sites in Northern France that are part of our remembrance culture, but also those in East Prussia, Galicia, Turkey, Slovenia, but also the often forgotten battlefields in Tsingtau (China) or Tanga (Tanzania)”, according to the guide of the Swiss author and curator Beat Stutzer about Schenk's work. The close-up view of the earth's surface, focused on the size of a burial site, where nothing else is to be seen than the turf, plants, a few stones or even a slightly moving surface of the water, narrowed the view to an isolated, individual fate - according to Schenk, knowing that "these few square meters were literally soaked with the blood of thousands of soldiers".
Reminiscence of the Passion of Jesus
The title "Way of the Cross" with the fourteen panels refers to the Passion of Jesus, the Via Dolorosa. In contrast to the Christian iconography, in which the passion is told linearly, Schenk deliberately fades out every narrative moment - which is mainly due to the analogue recording technique. For this reason, Schenk's pictures once again reflect the fact that film is essential, even in the digital age.
Exhibition in Berlin
The picture was handed over to New Zealand by the Federal President of Germany, Frank-Walter Steinmeier (on the right). Artist Stephan Schenk is the one talking in the middle of the picture. © Denzel/BPA
Frank-Walter Steinmeier (second from the right) talking to Stephan Schenk (on the left) and representatives of the two countries. © Denzel/BPA
Exhibition at the Mauer-Mahnmal (Wall Memorial) in Berlin. © Stephan Schenk
Set-up with the ALPA 12 XY for the picture"Tannenberg". © Stephan Schenk
On 17 May, tx-lab, the ALPA representative for Spain and Portugal, is organizing an exclusive event for the departments of Spain's main museums dealing with the photographic reproduction of art work, cultural heritage and archives.
The participants get to know the workflow with professional cameras from ALPA. Using two live sets, reproduction photography with stitching, various spectra and macro photography is shown. In addtion broncolor flash systems and Phase One digital backs are also available. ALPA of Switzerland is on site with specialists.
ALPA has been working with the finest museums for many years to produce high quality images in seconds. ALPA cameras have photographed some of the most valuable objects in libraries, museums, archives, private collections and institutions around the world. For example, the Dead Sea scrolls were digitized with ALPA cameras.
There are only limited places available for the event.
LINK TO THE REGISTRATION FORM FOR MUSEUMS:
LINK TO THE REGISTRATION FORM FOR PHOTOGRAPHERS, SPECIALISTS AND FREELANCERS:
DATE AND VENUE:
17 May 2017. The Art Valley (Madrid) from 10:00 to 14:00 (museums) and 16:00 to 19:00 (photographers)
Calle de Cervantes, 30, 28014 Madrid (zona céntrica)
Free entrance/participation after previous registration.
Further information about the session can be found on the tx-lab website.
tx-lab is a specialist in reproduction photography with more than 15 years of experience. They offer tailor-made solutions and professional equipment for the reproduction of art work and cultural assets at the highest level.
Reprography with the ALPA 12 FPS
French newspaper „Le Figaro“ features extraordinary cameras in their „High End“ section. In prominent position: the ALPA / Phase One A-Series new with 100 MP. Read the full article (French only) in the attached PDF.
PDF for download (French only): Le Figaro - High-Tech - 15th February 2016
Product Page: ALPA Phase One A-Series
From 26th to 28th October 2017, the PDN PhotoPlus Expo 2017 will take place at the Javits Convention Center in New York Center. The ALPA platform can be found on several partner booths at the show as well as represented in New York.
Make an appointment and experience the modular ALPA platform together with a high-end digital back. Take the opportunity to feel the exceptional products yourself.
Whether for classic landscape and reportage photography, automotive and industry, to extreme macro solution, the flexible and highly modular ALPA system offers individual, customized solutions. Even if the majority of people are digital (up to 100 MP RAW) with ALPA today, ALPA does not neglect the classic film and still offers high-quality roll film backs for 6x7 and 6x9.
ALPA is also prepared for the convergence of still photography and video, allowing the use of cine optics via Arri PL connector and a variety of proven current and vintage lenses from Hasselblad H and V, Contax 645 or latest models from Canon and Nikon together with video-capable lenses Backs from Sinar and Hasselblad. In particular, Hasselblad offers the new H6D-100c model, which is also available separately, a digital back that allows 4K video in digital medium format.
Due to the exclusive collaboration between ALPA and Hasselblad, a fully compatible use of H lenses from Hasselblad on ALPA cameras became possible. This includes the use of the leaf shutter up to 1/1000s and hybrid operation together with the ALPA 12 FPS and its focal plane
Special Products Featured
ALPA GON Tripod Kit
ALPA Silex Control Unit
ALPA Arri Rosette, Set
ALPA Lens Module Hasselblad H
ALPA Lens Module Arri PL
Website of the PDN PhotoPlus Expo 2017
Floor Plan PhotoPlus 2017
Partners showing ALPA at the Show or in New York...
• Capture Integration - Booth 149
The specialists from CI show you the ALPA with digital backs from Phase One together with cameras and accessories from ALPA. Phase One offers a wide range of backs and resolution, as well as achromatic variants and the latest Trichromatic 100 MP. Capture Integration is a full service partner/dealer of ALPA.
Website Capture Integration
Website Phase One
• Hasselblad / Hasselblad Bron - Booth 237
On the Hasselblad / Hasselblad Bron booth, the most recent Hasselblad digital backs can be seen together with the electronic ALPA 12 FPS (with focal plane shutter) as with ALPA Silex on a ALPA 12 MAX operating Hasselblad H lenses. With ALPA Silex, electronically controlled lenses of Hasselblad or e.g. Canon can also be connected to any classic ALPA 12 body. Especially the now as standalone available H6D-100c will stun you.
Thanks to Hasselblad / H|B for showcasing ALPA x Hasselblad with the ALPA 12 FPS, the ALPA Silex and ALPA 12 MAX for H lenses and other combinations as well as the ALPA GON tripod head system.
• Fotocare - New York
In addition, you can easily arrange an appointment with our New York ALPA dealer and partner Fotocare. You will find Fotocare at 41 W. 22nd Street (between 5th and 6th Ave). Fotocare offers a vast variety of combinations with ALPA and backs from Hasselblad, Phase One and Sinar.
Website Phase One
Website Sinar Photography
With the use of conventional camera systems and macro objectives, only a limited resolution could be achieved. That’s why ALPA developed a special setup for Focus Stacking. It’s a good example for our philosophy to provide solutions for special projects. Ask our specialists if you have a dedicated project.
Photographer Bernhard Schurian extensively tested the ALPA solution (ALPA Focus Stacking solution with ALPA 12 FPS and ALPA Macro Switar 5.6/105 mm) at the Museum für Naturkunde in Berlin. In addition to the mass digitisation of the collection, he has portrayed particularly interesting and spectacular animals. To document their complexity, Bernhard Schurian needed equipment for macro photography and an optimal workflow.
Here some results of his work over the last year and in different stages. Two samples are available as zoomable version (Zoom 1) (Zoom 2) for exploring. The images have been combined from in general some 500 to 700+ single exposures on 100 MP digital backs.
For further details see also the detailed news article on When Even Insects Become Huge: Macro Photography With ALPA.
It is our philosophy to provide new solutions for special applications. If you are working on an according photographic project, please contact us.
Photograph: ©Bernhard Schurian
Eumorpha Achemon (Zoom Version)
Photograph: ©Bernhard Schurian
Dipt Asilidae Microstylum (Zoom Version)
Photograph: ©Bernhard Schurian
Photograph: ©Bernhard Schurian
In macro photography, ALPA offers ways to surpass the results so far. The exclusive Rodenstock / ALPA lens Macro Switar 105 mm (with floating elements) allows you to display even the smallest parts of insect hair. The lens has just been produced in series and is now available from ALPA.
Photographer Bernhard Schurian extensively tested the Rodenstock / ALPA Macro Switar at the Museum für Naturkunde in Berlin in combination with the ALPA 12 FPS. In addition to the mass digitisation of the collection, he has portrayed particularly interesting and spectacular animals. To document their complexity, Bernhard Schurian needed equipment for macro photography and an optimal workflow.
Accurate to 0.1 micrometers
However, with the use of conventional camera systems and macro objectives, only a limited resolution could be achieved. Important details were not recognisable in the desired quality. In the knowledge, Ralph Rosenbauer, ALPA's scientific consultant, developed a special setup that goes beyond these possibilities and delivered unusually good results.
The requirements for this set-up quickly exceeded the previously known standards:
• On the one hand, the camera had to be movable, which required the highest precision. Every little bump would have affected the result. ALPA solved this problem with a motorised carriage which is normally used for optical experiments and lasers and allows steps of 0.1 micrometer each. This corresponds to 0.0001 millimeters. For comparison: A human hair measures between 0.02 and 0.08 millimeters. ALPA developed software specifically to control the carriage.
• In addition, the lens had to be able to resolve the fine structures of insects. A requirement that even the most powerful macro lenses meet only conditionally. The Rodenstock / ALPA Macro Switar 105 mm , on the other hand, offers an optimal resolution even at the aperture, and can be perfectly adapted to the respective imaging scales thanks to its "floating element". Its comparatively long focal length allows for a comfortable working distance and thus facilitates the light setup.
• The triggering of the shutter was another major challenge since vibrations had led to misalignment between individual images.
• The shells of many species of insects have extreme contrasts in the macro image, especially when black surfaces alternate with bright hair, bristles or iridescent spots.
• For a photograph to document the insects, more than 1000 individual shots are necessary. This enormous amount of data could hardly have been solved by a computer, so several of them were used simultaneously. For control, a Windows tablet served, to capture the images a laptop with CaptureOne
Setup for documentation at the Museum für Naturkunde in Berlin. © Ralph Rosenbauer
In addition to the above-mentioned design and the Rodenstock / ALPA Macro Switar 105 mm lens, various digital backs were used, with the IQ3 100 MP resulting in the best results due to the dynamics. As a camera, the ALPA 12 FPS was predestined for this task because its electronically controlled slit shutter and the absence of a back-flip mirror allow a vibration-free release.
In the end, the finished motifs had to be optimised. The dust, lint and the preparation needles of the insects were removed and the data were prepared for further processing. The end result makes it possible to look at insects as you have never seen them before with your own eyes: with clear sharpness, clear details and colours.
The results of the project - for the presentation on the Internet in strongly reduced resolution. © Bernhard Schurian
Impressed experts at Smithsonian
The setup of ALPA, the workflow and the photographs by Bernhard Schurian proved so convincing that he has already presented it to a specialist audience. In the USA, at the end of June, Bernhard Schurian gave a lecture at the Smithsonian Natural History Museum in Washington. It houses the world's largest insect collection with around 35 million specimens. "The audience at the Smithsonian consisted mainly of photographers and IT professionals," Schurian says. "The number of questions asked during the lecture shows that this solution is of great interest."
Another opportunity to study the project from a somewhat different perspective is from 21 July to On 9 September in Berlin, Bernhard Schurian will be present during these days as an artist at the exhibition "The Beauty of the Formula" at the Alte Schule Gallery in the Cultural Center Adlershof For the Museum of Natural History, some of which are displayed in the large format of 1.5 x 2 meters, to make the viewer even closer to a world that is otherwise hidden from the eye.
Follow the links and visit our website to learn more about this Project and the modular ALPA system. If you have any questions, ALPA of Switzerland ([email protected]) and your ALPA dealer will be pleased to help you.
Rodenstock / ALPA Macro Switar 5.6/105 mm
ALPA 12 FPS
Museum für Naturkunde Berlin
Galerie Alte Schule, Adlershof Berlin
In 360 Degree Panoramic Photography, cameras need full freedom in movement. To us, it was only consequent to test our new ALPA GON Tripod Case in this environment. Our testing person was Thomas Bredenfeld, one of the most respected experts in Panoramic Photography. Bredenfeld has been working in this field for more than 20 years. His name is known especially in Germany, Switzerland and Austria.
For more than ten years, Thomas Bredenfeld has been a member of the Pano-Tools list. He is a lecturer for a wide range of events referring to panoramic photography, image editing and multimedia aspects of photography. In 2011, he helped to organize the annual PanoTools meeting in Vienna. Bredenfelds book „Panoramafotografie – Digitale Fotopraxis“ is a standard reference for German speaking panoramic photographers.
We hope, our ALPA GON Tripod System will also be a standard reference for all photographers, whether they focus on panorama or other subjects. ALPA GON is based on a modular design and can be used for any purpose in photography.
One solution for all
This summer, Thomas Bredenfeld took our new ALPA GON Tripod Kit on the road. The set is now available. It contains the ALPA GON Tripod Head, Triobal Mini Leveling Head, Pano Plate, Nodal Point Rail, Carbon Tripod Legs and Drumstick Legs as well as other accessories.
Product Page: ALPA GON Tripod Kit 1
Amongst other places, the ALPA GON Tripod Kit has been tested at IVRPA in Vienna and at Thomas Bredenfeld's workshop at Photo-Adventure in Duisburg. It was mainly used as an exemplary construction for an „Astro-Panorama“-setup – completed with VR-products from Novoflex.
Astro-Panorama-Setup with ALPA GON. © Thomas Bredenfeld
According to Thomas Bredenfeld, the ALPA GON proved its versatility once again. „The setup with ALPA GON has high load carrying capacity“, he says. „The modules are very stable and precise, even if you add a lot of parts to your setup. The participants at the workshop were pretty impressed.“
Panoramic photography with ALPA GON, showing the Landscape Park Duisburg-Süd. © Thomas Bredenfeld
Also check out the interactive panorama view
ALPA GON Tripod Kit is another example of our modular philosophy. All our prodcuts correspond to the UniQ/C-Standard. Photographers, therefore, are able to combine different products from different brands as needed. We look forward to inform you about the full potential of our gear. For any further questions, please contact ALPA of Switzerland or your local dealer.
Product page ALPA GON Head
Website Thomas Bredenfeld
3D Printing or Additive Design really makes a difference when it comes to producing small batches on demand. It can also help professional photographers solve quality issues. ALPA has been researching for years and is using the technology to produce Lens Shades as well as other camera parts.
ALPA Lens Shades are laser sintered and come in various shapes. They match precisely with the features of different lenses and digital back sensors. Furthermore, ALPA Lens Shades are highly effective when it comes to light reflection.
They are durable, flexible and at the same time dimensionally stable. This means, you can stuff your ALPA Lens Shade into your bag, leave it there for hours and it still will be able to return to its original shape.
Avoiding light spots
Just like any of our products, ALPA Lens Shades had to withstand the high expectations in the field tests. On of the recent testers was Swiss architectural photographer René Dürr. In spring 2017, he took several Lens Shades on a photographic trip to the region of Veneto, Italy.
The intention that led him to this field test was a quality issue. "I am used to working very precisely and I've had some problems with light spots different than usual on my pictures", he explains. "I discussed the matter with a lot of experts, but we couldn't find the reason. I was not even able to correct the spots within the post production, so I couldn't use any of the pictures affected." ALPA technical advisor Hans-Peter Ochsner knows the problem. „light spots are quite common, especially when the weather is clouded.“
After a short briefing with ALPA, René Dürr decided to try our printed Lens Shades. The result was exciting, he says. "They have proven successful. The spots are just gone and I can confirm all the other advantages, too. For example, I keep the ALPA Lens Shades in my backpack and they never distort. Another pro is the simple handling. I just put them over the lense and they stay right there."
Two of the pictures René Dürr sent us. The light spots in the middle may be small, but they ruined the whole photograph. So he tested different types of ALPA Lens Shades.
"In the end, they save me a lot of time and money as a professional photographer", Dürr says.
You'll find more information about Additive Manufacturing of serial components in Frederick Waldern's blog on zuehlke.com (only in German). He also names ALPA as an example.