Tagged with lenses - Personal View Talks

Lenses for Canon FD mount

Vitaliy_Kiselev — Wed, 18 May 2011 11:47:09 +0000

This will be topic to talk about any lenses with Canon FD mount.

Why Canon FD? You can find many great lenses for this mount.
And thanks to the fact that this mount is completely abandoned, they can be obtained for cheaper price, normally.

I'll start from the most frequently mentioned lens - Canon FD 40mm F1.4. It had many versions.
I really do not know all the differencies, but they are not very important as far as I am aware.

While it is not very sharp wide open, but it is well build. Focus is smooth and handy.

12mm f/2.0 Olympus M. Zuiko Digital ED Lens

No_SuRReNDeR — Tue, 26 Jul 2011 14:50:42 +0000

I just came across this lens today and was wondering how it stacks up to the Panasonic 14mm f2.5. It seems the build quality is much better but then again the price is a tad up there. I also don't understand why there are no lenses that are "fast" with image stabilization and by fast I mean f2.0 and below.

Available at:

* http://www.amazon.com/Olympus-Zuiko-Digital-Thirds-Cameras/dp/B0058PL9R0/
* http://www.ebay.com/sch/Lenses-/3323/i.html?_from=R40&_nkw=12mm+olympus

16mm F1.4 DC DN Sigma Lens

Vitaliy_Kiselev — Mon, 23 Oct 2017 13:34:05 +0000

Specs

16 elements in 13 groups
9 rounded diaphragm blades 9
Min aperture is F16
Min focusing distance is 25cm
Filter size -67mm
Dimensions 72.2mm × 92.3mm
Weight 405g
Versions for Sony E-mount / Micro Four Thirds.
Available at

25mm F1.4 II Panasonic Leica DG, 2019 version

Vitaliy_Kiselev — Tue, 27 Aug 2019 14:39:53 +0000

Specs

9 elements in 7 groups, 2 aspherical + 1 UHR element,
Dust and Splash Resistant
Circular 7-blade diaphragm
Minimum focusing distance - 30cm
Nano surface coatings
46mm filters diameter
Comes with soft case and hood
63mm x 55mm
205 g
$697
- Preorder at https://www.bhphotovideo.com/c/product/1501347-REG/panasonic_h_xa025_leica_dg_summilux_25mm.html
UK 579.00 GBP
- https://www.parkcameras.com/p/P241181D/mirrorless-camera-lenses/panasonic/leica-dg-summilux-25mm-f14-asph

Peculiar and organic bokeh

Manu4Vendetta — Tue, 01 Jan 2013 23:30:21 +0000

I recently saw this movie, well, before we talk about what interests me, I will tell you that the movie is not sold as a cross by David Lynch Juno or Donnie Darko light version, ends up being a teen movie without depth on the issues concerned, but well done and it shows the intention, but no more. Anyway if you have time can see it. The movie is 'Daydream Nation'

Well, my curiosity comes with the following, the photo has a very delicate and accomplished, at times presents a bokeh that at least do not remember seeing, looks like it has a texture full of holes, in old optics is somewhat distantly by stings like lens, but here seems very natural. The camera used was a CineAlta with Cooke S4 lenses worth a fortune. Remember something similar or some bokeh lens that achieves that?

Thanks!

Video-Friendly Lenses for Lumix DSLRs

LPowell — Mon, 05 Sep 2011 14:46:59 +0000

Although a wide variety of lenses can be adapted for use with Lumix DSLRs, most still photography lenses have subtle drawbacks that make them less suitable for video shooting, regardless of the quality of the images they can capture. In order to shoot consistent, production-quality footage, it's often desirable to mount a DSLR and lens on a rig that provides traditional movie camera features:

* Stabilization and control of camera movement
* Matte box shading of camera lens
* Direct, tactile control of lens aperture
* Follow focus control of lens focus

Lenses that adapt well to these requirements will possess a combination of subtle features that are often omitted from manufacturers' data sheets and overlooked in published reviews. While vintage lenses provide full manual controls, their compact, old-school design often makes them unsuitable for use on a rig. At the other extreme, modern trends in auto-focus lens design have eliminated a number of manual lens features that remain essential to videographers. In many cases, the most usable lenses for video come from early generations of auto-focus lenses that combined vintage manual controls with modern lens design.

Here's my list of features that make a lens video-friendly:

* Manual aperture ring
* Direct-coupled focus ring
* Proper focus ring rotation
* Non-rotating outer barrel (internal focus)
* Non-extending outer barrel (internal zoom/focus)
* Constant field of view
* Constant f-stop aperture
* Rotational zoom ring

While few lenses possess all the above features, a good video lens will make up for any deficiencies with solid performance in other aspects.

* Manual aperture ring

Lenses that lack a manual aperture ring are problematic for video.

Vintage manual-focus lenses all have manual aperture rings, and most can be set to an auto-iris mode for in-camera control of aperture in shutter-priority mode. Many auto-focus lenses have eliminated the manual aperture ring, relying entirely on camera controls to set aperture in manual mode. This includes all Lumix, Zuiko Digital, Canon EOS, and Nikon G-type auto-focus lenses, as well as most currently manufactured lenses by Tokina, Tamron, and Sigma.

* Direct-coupled focus ring

Lenses with an electronic focus ring are problematic for video.

While all auto-focus lenses can be manually focused, not all of them are truly manual. The focus rings on Lumix, Zuiko Digital, and many Sigma HSM lenses are not directly coupled to the lens' internal focusing mechanisms. As a result, their focus rings continue to rotate uselessly beyond max and min focus limits. Lenses like this cannot be used on rigs with follow focus attachments, since focus ring position is completely uncalibrated.

* Proper focus ring rotation

Lenses with contrary focus ring rotation are problematic for video.

When mounted on a rig with a follow focus attachment, the focus ring rotation of the lens will determine the rotation direction of the follow focus wheel. Regardless of which side of the lens the FF wheel is mounted on, it's important that focus-pulling direction be consistent among all lenses used on the rig.

With Lumix, Zuiko, EOS, and Sigma lenses, infinity focus is at the counter-clockwise end of focus ring rotation. With Nikon and Pentax lenses, infinity focus is at the clockwise end of focus ring rotation. Tokina, Tamron, and Samyang/Rokinon lenses are usually built with the appropriate focus ring rotation for each type of lens mount. Sigma lenses, however, always rotate in the Lumix direction, regardless of the lens mount. For follow focus use, I prefer lenses that rotate in the Nikon direction because it pulls focus closer as I rotate the FF wheel toward me.

* Non-extending outer barrel

Lenses with an extending outer barrel are problematic for video.

Most zoom lenses, both manual and auto-focus, are designed with outer lens barrels that extend when the lens is zoomed and/or focused. While the barrels on most vintage prime lenses do not rotate, they usually extend when focused. A lens whose length changes can be awkward to use on a rig with a matte box.

* Non-rotating outer barrel

Lenses with a rotating outer barrel are problematic for video.

Most vintage zoom lenses are built with the focus ring on the outer lens barrel. This causes any attached lens filter to rotate as the lens is focused, making these lenses unsuitable for use with polarizer and anamorphic attachments. Most modern auto-focus lenses use internal focusing mechanisms that avoid these issues.

* Constant field of view

Lenses that breathe noticeably while focusing are problematic for video.

The focal length of almost all lenses will change slightly as the lens is focused. This effect, known as "lens breathing", alters the framing of a shot when pulling focus, making the lens appear to zoom as well as shift focus. This can ruin a shot if it is noticeable enough to be distracting.

* Constant f-stop aperture

Lenses with variable f-stops are problematic for video.

On many zoom lenses, the actual aperture will vary when the lens is set at its widest f-stops. This will cause zooming at wide f-stops to visibly affect exposure settings, which can ruin a video clip.

* Rotational zoom ring

Lenses with push-pull zoom rings are problematic for video.

Virtually all modern zoom lenses use individual focus and zoom rings. Many vintage zoom lenses were designed with a combined zoom/focus ring which zooms by sliding along the length of the lens barrel. Lenses like this are usually impractical to use on rigs with follow focus attachments.

In the next post I've reviewed a list of video-friendly manual-focus lenses that I've found well-suited for use with Lumix DSLRs. In addition, you can find a list of auto-focus zoom lenses for Lumix DSLRs at the following link:

http://www.personal-view.com./talks/discussion/859/video-friendly-lenses-for-lumix-dslrs/p5

M42 lenses

Max — Mon, 23 May 2011 03:01:57 +0000

I think, can be found many good and cheap lenses for this mount.
Now my favorite ASAHI-Pentax SMC Takumar 50mm f1.4.
I also have several lenses made in the USSR, they are not perfect but cheap.

What M42 lenses are you using?

Sigma Cinema lenses topic

peaceonearth — Wed, 07 Sep 2016 02:29:59 +0000

http://www.sigma-global.com/en/cine-lenses/products/

Seems Sigma has done the homework.
The high speed zooms look very interesting. I am curious for the pricing

The SIGMA CORPORATION is pleased to announce that it will enter into the cinema lens market with the release of its SIGMA CINE LENSES, designed specifically for cinematography. In the world of digital film production, there is an increasing demand for higher resolution, and SIGMA’s new lineup of high-performance lenses is compatible with the latest, high-resolution digital cinema cameras. SIGMA has developed its own production system by establishing the required technology for mass production of high-performance lenses for ultra-mega-pixel shooting. The company feels this valuable new lens line could create a fundamental change in digital film production, and provide a new solution for cinematographers.

Unbeatable value – the highest optical performance in its class and outstanding compact design

Wide range of lenses for professional use

Optimized for the latest digital moviemaking technology

For the first phase, SIGMA will release two zoom lenses in Japan and the USA for EF and E mount camera systems. Furthermore, another zoom lens and five prime lenses will be released to the market in sequence from 2017 onward. SIGMA plans to develop additional zoom and prime lenses as well as add support for PL mount camera systems. The latest release information will be sequentially updated on its official website.

High Speed Zoom Line

High Speed Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K - 8K. Furthermore, while offering the highest image quality in its class, the High Speed Zoom Line has a compact construction and offers amazing value.

FF Zoom Line

FF Zoom Line is compatible with a full-frame image circle, and the optical performance is ready for high-resolution shooting such as 6K - 8K. It provides a rare option for cinematographers since very few lenses can cater to the requirements of the latest digital cinema cameras' image sensor, which is larger than Super 35, and expand the range of compatible cameras. This is the cinema zoom lens offering the highest image quality and compact design. This lens is not available in PL mount.

FF High Speed Prime Line

The lineup ranges from 20mm to 85mm, and all five lenses are T1.5. They are compatible with full-frame sensors and, while being more compact, can offer superior resolution than other high-end prime sets do. With the five prime lenses from FF High Speed Prime Line, there is no need to change the lighting to shoot a variety of cuts. These lenses bring a consistent level of light to the production and offer greater consistency with regards to the film’s look and color/contrast before it enters post-production.

Each CINE lens model is weatherproof and has luminous paint markings to aid in changing and operating the lens in the dark. It touts a long focus rotation of 180 degrees and is guided by cams for smooth operation and accuracy. The CINE lens design features standardized essentials such as an 82mm front for ND filters* and a 95mm front diameter for matte box use and standard gear positions for accessories like follow focus. They also include a manual linear iris control and electronic mounts that provide vital camera metadata. Each lens is manufactured and inspected in the Sigma factory located in Aizu, Japan.

Availability/Pricing

Availability: toward the end of 2016 (in Japan and USA in the first phase)
Pricing: TBD

Samyang/Rokinon cine lenses

Vitaliy_Kiselev — Tue, 24 Jul 2012 19:28:27 +0000

Rokinon 35mm T1.5 cine lens will be available in U.S in few weeks and Rokinon 24mm T1.5 & 14mm T3.1 cine lens will be available in U.S in September.

Available at:

Lens for Canon 60D, suggestions anyone?

forhad0077 — Fri, 27 Mar 2020 09:16:05 +0000

Recently I stated Wedding Photography Service and I am using canon 60D for it. Now I am Thinking Of buying A lens For Wedding Photography. Should I Go For Canon EF 24‑70mm???!!!!

Focos for Video

tida — Thu, 06 Feb 2020 06:57:48 +0000

Focos is an App for iPhone which emulates 3D lens focus for images. In the following article they state that Software company does develope currently a version for video. This Should be very interesting if it works that well as it already does for images.

https://www.theverge.com/2019/9/9/20856585/focos-2-0-hands-on-portrait-mode-blur-any-photo

Tokina cine primes

peaceonearth — Fri, 09 Sep 2016 01:03:39 +0000

http://www.newsshooter.com/2016/09/08/ibc-2016-tokina-35mm-50mm-85mm-t1-5-cinema-prime-16-28mm-ii-t3-lenses/

35mm, 50mm, 85mm T1.5 Lenses quite heavy >2.000g, 4000 - 4450$

Hidden gems among lenses

Vitaliy_Kiselev — Thu, 12 May 2011 00:39:39 +0000

This is topic to discuss completely unknown or extremely cheap lenses that perform admirably (so, no Bokina or Series 1 :-) ).

First one - Vivitar 28-200mm F3.5-5.3

1) Buy only original 28-200mm as in picture below. Tokina is absolutely different lens with different optical formula (look at crop from Vivitar box, Tokina have fewer elements).
2) For Pentax, lens could come either in PK/A or PK A/R mounts. In former you must remoive Ricoh pin. On both you must use file to remove excessive lever protection.
3) Closed down, lens is PP friend. Good wide open, but as on many old lenses have some abberations. Contrast is lower due to many glass surfaces and not top-notch coatings. Abberations are almost absent if close down (see below).
4) Corners are controlled quite well.

Available at:

http://www.ebay.com/sch/i.html?_trksid=m570.l3201&_nkw=Vivitar+28-200mm+&_sacat=0

Some links:

http://forums.dpreview.com/forums/read.asp?forum=1036&message=27092473

Lens and box photos:

Tokina Cinema Lenses

Vitaliy_Kiselev — Wed, 10 Apr 2013 23:22:57 +0000

Veydra Out of Business?

jonpais — Fri, 02 Mar 2018 04:55:34 +0000

I’ve been an admirer of Veydra since purchasing four of their lenses, but recently I ordered 3 X-mounts so I could shoot with my X-T2 and Veydra has not shipped them to me. I emailed them a couple times, but no response. https://jonpais.wordpress.com/2018/03/02/veydra-anybody-home/

50-135mm wide aperture lens

Sph1nxster — Sat, 15 Dec 2012 12:47:00 +0000

Anybody have any recommendations for a lens between 50-135mm with wide aperture?

All the panasonic zoom lenses have a lowest f setting of 4.0 (can't afford 35-100 x lens!!)

Looking for something that wont break the bank and a well made converter that wont break!

25mm F2.4 Loxia Zeiss Lens

Vitaliy_Kiselev — Fri, 19 Jan 2018 15:32:30 +0000

Specifications

10 lenses in 8 groups
Min focusing distance - 0.25 m
Maximum magnification - x0,156
Filters diameter - 52 mm
Aperture range - f/2.4 – f/22
φ 62.0 × 74.5 mm
393 g
US 1299 dollars, EU 1299 euros, UK 1189 pounds
Available for preorders at

Vignetting and MTFs

19mm, 30mm, 60mm F2.8 Sigma m43 primes

itimjim — Tue, 29 Jan 2013 06:05:30 +0000

Hardly ground breaking, but interesting nonetheless.

http://www.sigmaphoto.com/news/sigma-announces-new-lenses-cpplus-2013

All three DN lenses incorporate telecentric optical designs and a linear, auto focusing motor that ensures accurate and quiet focusing for video recording. They also boast metal exteriors and a simply shaped focus ring, with varying textures to distinguish each part of the lens. In addition, DN users can choose between a black or silver finish to match their favorite equipment.

60mm F2.8 DN

Featuring the natural perspective of mid-range telephoto lenses, together with a shallow depth of field, this lens allows the photographer to capture a single part of a subject with great bokeh effects. It has an angle of view equivalent to 120mm on the Micro Four Thirds system and 90mm on the E-mount system (35mm equivalent focal length). The minimum focusing distance is 19.7 inches; the maximum magnification is 1:7.2. This lens also contains Special Low Dispersion (SLD) glass, which helps minimize axial and transverse chromatic aberration.

Available for $209 at https://www.amazon.com/Sigma-60mm-F2-8-Black-Micro/dp/B00CMRTVFE/

Sigma 19mm F2.8 DN

This high-performance, wide-angle telephoto lens has an angle of view equivalent to 38mm on the Micro Four Thirds system and 28.5mm on the E-mount system (35mm equivalent focal length). As a wide-angle lens with excellent mobility, it is ideal for studio photography, architecture and starry skies. Its minimum focusing distance is 7.9 inches and its maximum magnification is 1:7.4.

Available for $199 at https://www.amazon.com/Sigma-19mm-F2-8-Black-Micro/dp/B00BPZCYK8/

Sigma 30mm F2.8 DN

This high-performance, standard telephoto lens has an angle of view equivalent to 60mm on the Micro Four Thirds system and 45mm on the E-mount system (35mm equivalent focal length). This lens, which is perfect for casual and formal portraiture, documentary photography, travelogues and everyday shooting, includes a double-sided aspherical lens that enhances its optical performance. Its minimum focusing distance of 11.8 inches and its maximum magnification is 1:8.1.

Available for $169 at https://www.amazon.com/Sigma-30mm-F2-8-Black-Micro/dp/B00BQXL6OY/

Character

jonpais — Mon, 12 Nov 2018 04:08:36 +0000

Preface: This post is in no way, shape or form saying that modern lenses are superior to vintage lenses. I am just asking for a little more clarity when it comes to describing what is meant by terms like character, clinical, and organic, words which are tossed around so much these days.

The online forums are brimming with opinions on what constitutes a good lens. And many of those commenters would have us believe that lens reviews, which consider factors like extraordinary resolution and an absence of aberrations and vignetting to be the hallmarks of good design, as entirely misguided. In sum, they prefer vintage lenses with character to optically flawless modern lenses, particularly mirrorless lenses which rely on in-body optical correction. Which is not to say that lens reviews are infallible: most don’t have the resources to measure sample variance, and the majority fail to mention factors critical to filmmakers, such as focus breathing, focus shift, and actual light transmission (T stops).

Yet, if one prefers lenses with character, exactly which imperfections are considered desirable? Mediocre resolution? Heavy vignetting? Starbursts? Cats-eye bokeh with onion rings? Loads of chromatic aberration? Barrel and pincushion distortion? Coma and astigmatism? Swirly bokeh? Ghosting and purple/green flares? Low contrast?

As far as in-body optical correction is concerned, I defy anyone in a blind test to determine which lens – the Olympus 45mm f/1.2 PRO or the Leica Nocticron – utilizes it on the GH5.

I don’t believe in magic: the characteristics of a lens are measurable and are able to be described. If that were not the case, lens reviews would be utterly meaningless. Even something as seemingly intangible as music can be evaluated: how closely does the performance adhere to the dynamics and phrasing dictated by the composer; is it legato or staccato; is there note-to-note tension; or is the music pushed and pulled beyond all recognition? A music critic working for the New York Times could write that a Mahler symphony conducted by Michael Tilson Thomas was dope, but unfortunately, that wouldn’t be very useful to readers.

For me, a great lens would be fast (f/2 or faster), have high resolution and contrast, good resistance to flare, warm color rendition, little vignetting or chromatic aberration and soft round bokeh with no onion rings. Not that I can’t appreciate some of the qualities of lenses like the Helios, but I’m not sure I’d want to sit through an entire feature film with swirly bokeh.

When looking at footage from vintage lenses, what are the characteristics that stand out and make them more desirable than modern lenses?

Over at cinematography.com, a forum member posted a link to a comparison by Shane Hurlbut of Cooke vs. Leica (the link is dead now I guess), and another forum member commented:

"I’ve watched it a few times and found it extremely interesting. When I first heard about the new Leicas, they seemed like a real lens for the future. Spec-wise as good as it gets. But then as I started to track down and watch productions shot on them I found myself noticing (repeatedly) this strange flatness to the images that somehow felt ‘off’ to me.

I couldn’t begin to pin down what it was about the look of the shows that felt off to me, but after seeing Shane’s comparison it became clear to me. The Leicas are just too perfect. In a still image you’d never notice it, but in motion it’s there – this almost imperceptible flatness to the image, that seems to rob them of some sense of depth.

I still can’t put it clearly into words, but something about the way the Leicas render moving pictures really puts me off. I don’t understand why I love the look from Master Primes (which are also kinda ‘perfect’) and yet the Leicas throw me, but there it is".

I realize Cooke lenses are supposed to be otherworldly, but what’s needed is a vocabulary that describes precisely what it is about certain lenses that rock one’s world, not ambiguous statements to the effect that ‘that lens is too clinical looking’ or ‘this lens is more organic looking’. Some readers will disagree (‘I just tell my client that idea sucks!’), but I believe it is incumbent upon visual artists to be able to explain, articulate and express the aspects of their craft: especially so in a collaborative medium like filmmaking.

Can anyone imagine the chief optical engineer at Leica or Cooke telling one of their underlings to add a touch more mojo to one of their designs?

FWIW, if, as one forum member noted, Hurlbut was indeed comparing a 75mm lens to a 100mm, and if indeed he dismissed it as inconsequential, and viewers were none the wiser, then that is fucked up big time as well.

Few would dispute the artistry of Christopher Doyle, who swears by Zeiss, Cooke and Angénieux lenses, but were I to shoot something with any of those lenses, no doubt my YouTube channel would be inundated with comments saying my images look soulless, sterile and clinical. Because most of the magic is in set design, camera movement, focus pulling, focal length, costume design, lighting, haze machines and grading as much as anything else that makes an image look cinematic.

It’s also about time that certain forum members shut the fuck up and admitted that brand loyalty is all they care about. A Canon fanboy over at EOSHD refused to acknowledge that the EOS R has more in-body sharpening than any other FF mirrorless camera even though PDN’s rigorous lab tests prove it. Blackmagic Design ambassador John Brawley refused to recognize that the thinner filter stack of the BMPCC4K is ruinous the performance of native fast wide angle lenses even though Brian Caldwell said it was so. And I believe Tony Northrup demonstrated beyond a shadow of a doubt that Canon’s supposed superior color science is nothing but rubbish.

35mm F1.2 and 75mm F1.4 SLR Magic Cine lenses

Vitaliy_Kiselev — Sat, 04 Jun 2016 00:56:13 +0000

Compatible Cameras: FE-mount and E-mount cameras

Optical Design: 9 elements in 8 groups

Distance range: 0.3m to ∞, combined scale meter/feet

Aperture: Manually controlled diaphragm, 13 aperture blades , Lowest value 16

Filter Mount: Internal thread for 52mm filter; filter mount does not rotate.

Surface Finish: Black anodized

Length to bayonet mount: approx. 77.40mm (approx. 3.05in)

Largest diameter: approx. 64.73mm (approx. 2.55in)

Weight: approx. 535g (approx. 18.87oz)

SLR Magic extends it’s FE-mount lineup with the SLR Magic CINE 35mm F1.2 wide angle lens and SLR Magic CINE 75mm F1.4 telephoto lens. The products will be officially introduced during upcoming CINE GEAR 2016 show in Los Angeles.

The field of view of the SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 opens up many new creative composition opportunities, particularly in the fields of portrait, interior, architectural and landscape cinematography and photography.

We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the the SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 is solid and reliable.

Compatible Cameras: FE-mount and E-mount cameras

Optical Design: 6 elements in 6 groups

Distance range: 0.70m to ∞, combined scale meter/feet

Aperture: Manually controlled diaphragm, 13 aperture blades , Lowest value 16

Filter Mount: Internal thread for 52mm filter; filter mount does not rotate.

Surface Finish: Black anodized

Length to bayonet mount: approx. 78.68mm (approx. 3.09in)

Largest diameter: approx. 64.67mm (approx. 2.55in)

Weight: approx. 455g (approx. 16.05oz)

The SLR Magic CINE 35mm F1.2 and SLR Magic CINE 75mm F1.4 will be first presented at CINE GEAR 2016 show. There would be a demo at the ATOMOS booth in (Stage 16) during the show held in Paramount Studios in Los Angeles from 3rd to 4th of June 2016.

THE SLR Magic CINE 35mm F1.2 (MSRP: $499 US/ $3,299 RMB) and SLR Magic CINE 75mm F1.4 (MSRP: $499 US/ $3,299 RMB) will be available from authorised SLR Magic dealers by August, 2016.

16 different lenses - same target. Which look do you prefer?

oscillian — Sat, 28 Jan 2012 09:56:25 +0000

I didn't find a topic that suited my little test, so here we go: 16 lenses shooting the same backlit subject, moving the camera to different spot to match field of view, thereby creating different spacial compression. Camera set to aperture priority. All lenses were wide open, except for the Hexanon 40 at 1.8 and 2.8 (beautiful pancake lens). Check for bokeh, colour, flaring and sharpness (yes, the 12mm 1.6 is in focus). I was surprised the Canon nFD 35 2.0 flared so much compared to the 50s. Anyone has had the same behaviour?

B4 lenses and mounting solutions

qwerty123 — Sun, 17 Jul 2011 20:36:45 +0000

Canon lenses

Fujinon lenses

----------------

The only adapter I've seen is this one: http://bit.ly/obeiGG

Looks nice, but it costs $320!!!!! (seems very over-priced)

Anyone know of alternatives?

"Cheap" Leica R lenses

andres — Fri, 20 May 2011 18:04:10 +0000

Here is a Leica Lens post, first of all I am no expert here just had to do my research when I joined the Leica rout.
I'll make this mainly about Leica R lenses that are discontinued because Leica doesn't make Reflex cameras any more. One good thing about this lenses is their focal flange distance of 47 mm, therefore it can be adapted to Nikon, pentax, canon, or any other mount. So if lenses are the real investment because they last longer than cameras then it makes some sense to buy lenses that can fit any camera system. (Maybe Nikon makes a dslr that shoots raw). This is no 30 euro lens thread but if you know what and where to look then you could find a lot of sub 200 euro lenses.
What I find good about this lenses: excellent color reproduction long focus barrel rotation and they practically don't breath when focusing.

So lets start with the Leica nomenclature for f stops
(There are plenty more but this are the most common)
f/stop Name
f/0.95, f/1 and f/1.2 NOCTILUX
f/1.4 SUMMILUX
f/2 SUMMICRON
f/2.5 SUMMARIT
f/2.8 ELMARIT
f/3.5, f/3.8 and f/4 ELMAR, SUPER-ELMAR

So when you see a Leica lens you must see the name and the serial number.
Serial numbers are very important because they tell you the production year and the model of the lens.

This French site tells you in which year a lens was made
http://summilux.net/numeros/

Then here you can see which model the lens is
http://www.overgaard.dk/leica_lens_compendium.html
(scroll down to: “R-lenses for R3, R4, R6, R6.2, R7, R8, R9”)

Here you can see which lenses work with canon 5D without hitting the mirror
http://www.pebbleplace.com/Personal/Leica_db.html

This is good to know because then you can see when a lens is over priced or not.
For example a 3900000 Summicron 90 costs 2900 euros while a 2800000 costs 500 and a 90 Elmarit 2100000 is 250 euros. Of course prices vary depending on the condition of the lens. I bought a 90 Elmarit with dust inside for 170 euros.

So the idea is to find a good leicas really cheap, there are old leica lenses that don't work on new leica R cameras. Those sometimes are labeled as SL/SL2 or Leicaflex (those are the first slr cameras leica made.) With patience you can find a 1st model Summicron 50 for 125-200 euros; the Elmarit 135 for 170-250 euros.

Now an intresting story is the leica 24mm. Leica didn't have good wide angle lenses in the 70 and no zooms. They really liked minolta's stuff so the 24mm is actually a minolta lens, the same happens with the 16mm fisheye and the 35-70 f3,5 zoom. 70-210mmf4, 75-200 f4.5 and 80-200 f4.5 all minolta made.
With the m43 those minolta lenses are a huge deal I think way better than the fd's. The 58mm f1.2 is one of the best f1,2 ever made, and the zooms can be found dirt cheap and has the same optics as the leica.(the good versions)

24-105mm F4 L IS II Canon lens

Vitaliy_Kiselev — Wed, 17 Aug 2016 21:41:45 +0000

Specs

17 lenses in 12 groups, 4 aspherical lenses
ASC, fluorine coating
10 blades circular aperture
4 stops IS
Ring type USM motor
Full-time manual focus
Minimum focusing distance is 0.45m
Maximum magnification is 0.24x
Filter diameter used is 77mm
The maximum diameter × length - 83.5 x 118 mm
Weather sealing
$1099, preorder at https://www.amazon.com/Canon-EF-24-105mm-II-USM/dp/B01KURGS9O/
795g

What the best minolta 50mm lens ever?

Turba — Fri, 09 Feb 2018 13:17:51 +0000

Here the answer :D.

Firstly, the latest and the better generation of fifties - Minolta MD. Not a Rokkor - it should be plain MD, aka Minolta New MD, Minolta MD III etc.

Secondary, 5 lenses detailed reviewed in this line:

Minolta MD 50mm F3.5 MACRO - still hasn't special review

Finally: All Minolta MD 50mm lenses comparison

And one more: Minolta MC 58mm F1.2 bokeh legend vs. underrated fresh blood Minolta MD 50mm F1.2

16-35mm F2.8 L III Canon lens

Vitaliy_Kiselev — Wed, 17 Aug 2016 21:47:50 +0000

Specs

11 group 16 sheets, 2 UD lenses, 3 aspherical lens
SWC, ASC, fluorine coating
9 blades aperture
Ring type USM focus drive
Improved AF speed
Full-time manual focus
Weather sealing
Minimum focusing distance is 0.28m
Maximum photographic magnification is 0.25x
Filter diameter is 82mm
The maximum diameter × length - 88.5 x 127.5 mm
Lens Hood: EW-88D
790g
$2,199 US price, preorder at https://www.amazon.com/Canon-EF-16-35mm-III-USM/dp/B01KURGS8U/

12-35mm F2.8 Panasonic lens topic

Vitaliy_Kiselev — Sun, 20 May 2012 20:41:13 +0000

Price: $1299, 1100 Euro, 999 pounds

Avilable at:

Press release:

http://www.photographyblog.com/news/panasonic_lumix_g_x_vario_12-35mm/

Previews and reviews:

Samples:

Manual Lenses and radioactivite?

simurg — Sun, 13 May 2012 18:50:14 +0000

We are using manual lenses. So, which lenses are dangerous in terms of radioactivity? Can we prepare a blacklist of joint work with. Health is more important than technology!

FEEDBACK ASKED: Working as a camerawoman and editor on music videos

dlzn — Sat, 06 Dec 2014 17:40:12 +0000

I'm currently working as a videographer for like 10 months right now. Mostly 'specialized' in doing guerrilla style music videos. My goal is to achieve the high budget look, with the low budget costs (don't we all).

Gear used on both videos:

Panasonic GH2 cam with flowmotion hack
Two Minolta MD lenses, 28mm F1.8 and 50mm F.17
Sigma 19mm F2.8
Mostly shot with: a rig, tripod, table slider and handheld

My goal is to eventually work more with commercial artists and especially to learn as much as possible about cinematography and cinematic aspects used in music videos.

Would love to receive some feedback on both videos!

Cheers,

Lenses for GH4 on Zhiyun Crane?

IS2 — Fri, 10 Mar 2017 15:48:26 +0000

Hi all,

I've been super on the fence between getting a Ronin M or a Zhiyun Crane. I think I'm leaning towards the crane because it's much more portable realistically enabling more shooting freedom.

I know I unfortunately won't be able to use my lovely Sigma 18-35mm due to the size, so was wondering - which lenses do you all use on your GH4/crane set up and for what scenarios?