not quite right. I explain myself:
- YES; both the 24 and 28 HR can be mounted and are mounted "inside" the bellows and behind the shutter, LIKE ALL Sinar Digital lenses with Cam 2 and p2.
- NO; they can ALSO be fired with a cable release available for the CAM 2, as well with the cable release of the Copal Automatic Aperture shutter. BUT, in case you want to shoot in multishot mode and with the Copal Automatic Shutter, THEN you have to release from the computer/software and put the shutter on "B". The CAM 2 will control automatically in Multishot mode.
- The focus is very difficult with any short focal lens and on any camera: that is what I meant. Therefore, and since one has the live video feature, this is much more precise and much more convenient to use. Has nothing to do with the sliding adapter, purely a short focal issue (same difficulty to judge focus with a 20mm or even shorter on a 35mm camera).
- the p3 has the same mechanical movement possibilities as the p2, however with a bit finer tolerances for the micrometrical movements (although this is not the main point for me). The p2 can be converted to a p3 by just changing the 2 4x5" frames and replacing it by 2 100mm frames and a 100mm bellow. The digital lenses used on a p3 are the same as the digital ones for the p3, but on different lens mounts:
1. in CMV mount: semi-automatic, central magnetic shutter (aperture set manually and exposure time control through software).
2. in CAB mount: full automatic controlled lenses (exposure time and aperture), these lense have to be used with the Sinar m mounted on the p3 as control unit and shutter. (if you wish more details let me know, I can send you a PM with a image of this configuration).
3. in CPL mount: Copal shutter mounted in-between the lens, like any lens with Copal shutter
The focusing with short lenses on the groundglass of the sliding adapter has the same difficulty as with the p2: it is not a camera issue however see above). Therefore, also here, it is much more easy and precise to make use of the live video.
I think once somebody as tried the composition, the framing and the tilt/swing adjustments and the focusing with the live video function would never go back to a groundglass: this is my experience with all photographers using it. And some have written about this in their posts above.
Is that clear enough? Do not hesitate if you still need clarifications.
So, if I understand all this, both a 24 and 28 Rodenstock hr lens will work on a P2. But, both mount inside the bag and can only be fired by tether using your Sinar programs. Finally, you mentioned that focus is so inaccurate and difficult, using just the ground glass, that video focusing is the only practical option for speed and accuracy. Does this focusing problem arise with sliding backs, as the other gentleman mentioned, but has yet to be answered so far?
Ok, if all the above is true, does this apply to the p3 as well? Or, does it not suffer from the same problems as the p2 when using wide angle lenses?
Finally, do all the special cameras that have been referred to, in this forum's heading about architectural photography, suffer from the same problems or do they operate differently?