Wednesday, April 22, 2015

Voigtlander Lanthar 50mm f2.8 from Vitoret D


Scored 3 broken rangefinder cameras from the antique market on Sunday.  One of them is the Voigtlander Vitoret D with a Lanthar 50mm f2.8 lens, which I have been using for the last few days and I really enjoy it.

It's commonly believed that the original Lanthar lenses were made with glass containing lanthanum, a rare earth element that gives the glass high refractive index.  Later ones made by Cosina, like the Lanthar 90mm f3.5 and the 125mm f2.5, do not contain lanthanum, I believe.  Of course, lenses containing lanthanum does not automatically mean great lens by default.  The Color-Lanthar 42mm f2.8 that I tried was OK, but not great.  This 50mm f2.8 Lanthar, I like it quite a bit more.

The Lanthar 50mm f2.8 contains 4 aperture blades, as oppose to most of the old Voigtlander rangefinder lenses with 5.  This creates interesting bokeh, like the enlarging lenses I tried, here, here, and here.  But when shot wide open, the bokeh looks normal, of course, and it's quite nice in fact.

I also have no complains about the optical performance of the lens, given that it's not top of the line lens.  Wide open the center of the frame is acceptably sharp, but the outer edges are mushy, but improves as the lens is stopped down, but the edges are still not critically sharp until f16.  It's interesting how much difference between f11 and f16.  But of course the overall sharpness starts to suffer a bit at f16 due to diffraction limit, though still excellent.

To me, it's acceptable for a lens to have at least one aperture that provides uniform sharpness when needed.  My shooting style does not require uniform sharpness most of the time and when I do need it, I can stop it down to get it.

Overall, I think it's a very good lens for the money.  The Vitoret D I got was $20, and it was very easy to remove the lens.

All pictures below were taken with the Voigtlander Lanthar 50mm f2.8 and Sony A7.






Sunday, April 19, 2015

P. Angenieux 45mm f2.8 Lens from Tiranty ST280

Got the Tiranty ST280 last week, and the sole reason was for the lens.  I really don't care much if the camera body does not work, but I love French lenses.  All the French lenses I have used produce exquisite and beautiful bokeh, and this 45mm f2.8 is no exception.

I removed the main lens from the ST280, which was quite easy to do, but the aperture and focusing rings are another story.  I decided to just use my Yeenon 18-33mm focus helicoid instead, and it worked out quite well.

Went to Allan Garden yesterday and shot some flowers; wanted to see what the bokeh is like.  When I downloaded the pictures and looked at them on the screen, I was wowed and captivated by how beautiful the bokeh was.  The French sure knows a thing or two how to design lenses that produce mouth watering bokeh.  Wide open, the lens shows some astigmatism on distance objects, but I have not noticed the same effect with close up shots.  The center of the lens is reasonably sharp wide open, but with low contrast.  Stopping down improved sharpness markedly and the astigmatism is gone by about f4, at least at the middle of the frame.  The long edges aren't great even at about f8, but passable.  You will be disappointed if you care about the edge sharpness.  But I think the strength of this lens lies in its gorgeous colour and bokeh rendering.  Seriously, I could lose myself in it.

All lenses below were taken with the Angenieux 45mm f2.8 and Sony A7:








Tuesday, April 14, 2015

A Gift From John

I am extremely fortunate, and very blessed, to have "met" so many wonderful people in my life around the world; some I have never actually met and only interacted through the internet, and others I actually met face to face.  John was one of those that I have met.  He bought my Canon 1D III, and he brought with him an Aires 4.5cm f1.9 rangefinder lens to give me as a gift.  He knew me through my blog.  I am very grateful to John, and all who have been so generous to me.

The Aires Coral 4.5cm f1.9 lens has a proprietory lens mount, and the focus, presumably is on the camera body since the lens does not have it.  The aperture does not completely open at maximum.  Perhaps that may have caused the strange looking, but still interesting bokeh.  The lens is quite sharp, especially when stopped down.  It has decentering problem, no doubt caused by my home made adapter.  In all, an uncommon lens that produces interesting results.  Thanks John!

Aires Coral 4.5cm f1.9.  Click for larger.

All pictures below were taken with the Aires Coral 4.5cm f1.9 and Sony A7



Saturday, April 4, 2015

Goodbye Canon. Hello Nikon!

Last week, I sold my last Canon body (1D Mark III), and for the first time since 2001, I do not have a Canon camera, except the infrared modified 20D.  After a long relationship with Canon, I have found the Canon cameras of late are getting stale; same iterations over and over again without much in ways of innovation. It's time for a change.

The Micro 4/3 and Sony mirrorless have been my primary camera system for the last few years, and the Canon was only used two to three times a year for swimming shoots, and occasionally used by Dillon for his school sports.  It was pure coincidence that I ended up with a Nikon D810, which was never even on my radar screen but after handling the camera, I found myself really drawn to it. This camera oozes quality but the one thing that sold me was the shutter. It's light, quiet, but with authority that instills confidence.  The 6 frames per second in crop mode is fast enough for my occasional swimming shoots.  I decided to buy it, essentially replacing my Canon 1D III.  But this has brought with it a dilemma for me.

I only have a few Nikon mount manual focus lenses, mostly Tamron Adaptall lenses plus the Sima 100mm f2 soft focus, Vivitar 24mm f2, and the Nikkor 105mm f2.5 in original F-mount that I bought from the camera show last year.  This camera really deserves a few nice fast primes, and hence the thought of selling some or all of the Canon lenses to fund the Nikon lenses.

Despite my less than enthusiastic feeling towards recent Canon cameras, I love the L lenses currently still in my possession.  Some of these lenses have no Nikon equivalent, like the 50mm f1.2L, 85mm f1.2L, and the 180mm f3.5L Macro.  So I have decided to sell the Canon zooms and I will just get a smaller set of Nikon mount AF lenses: wide zoom, Sigma Art 50mm f1.4, and a tele zoom(probably a 70-200mm or 80-200mm f2.8) which will allow me to do the occasional swimming shoots if needed.

So far, I have no problems with the D810.  It really is a nicely balanced camera that produces exceptionally good image quality.  I do hope that I will use it more often than now departed Canon 1D III.

Sony A7 compared to Nikon D810 in size.  Click for larger.

Fire Hydrant - Nikon D810 & Tamron SP 90mm f2.5 Adaptall.

Friday, April 3, 2015

Voigtlander Color-Skopar X 50mm f2.8

I am a big fan of the original Voigtlander lenses.  I would buy them whenever the price is reasonable.  There are many, many Voigtlander lenses out there, from large format, folder, to 35mm format.  They made a series of lenses in the DKL mount.  This Color-Skopar X 50mm f2.8 is one of them, which was used in some Voigtlander and Kodak reflex cameras.  The lens itself has a modified Tessar design and is very well corrected for chromatic aberration (colour fringing).  Quite amazing for a lens designed in the late 1940s when you compare it to today's modern lenses and many of them show heavy chromatic aberration.

The lens is very small, but made beautifully, like most lenses in DKL mount.  Sharpness at the centre of the frame is excellent even at f2.8.  Stopping down to f11 and the edges are also very good at the slight loss of sharpness.  The bokeh produced by this lens is exquisite and pleasing.  Colours tend to be more saturated than many other lenses from the same era.

The only negative, is the rather slow maximum aperture for a standard 50mm lens.  However, it should be considered an amazing feat to produce such a small lens with an f2.8 aperture more than 60 years ago.

Overall, a very enjoyable lens that produces nice results.

All pictures below were taken with the Voigtlander Color-Skopar X 50mm f2.8 & Sony A7







Sunday, March 29, 2015

Commlite EOS to E-Mount AF Adapter with Canon EF 135mm f2.8 Soft Focus

This is sort of a sleeper lens that most Canon shooters don't even realize it exists. Even if they do know, the lens is often overlooked, and made worse by the Soft Focus description in the lens which make people think it can only be used as a soft focus lens.  The fact is that this lens is very sharp, and the soft settings can be disabled and be used as a normal lens.  There are only two things going against it; very terrible build (though not as bad as the plastic fantastic 50mm f1.8 II) and it sucks dust like a vacuum.  I have two of these lenses and both have lots of dust inside.  Both of my lenses were dropped and became inoperative.  I have one fixed by Sun camera and they did a good job, but the other one is still dead.  Looks like this lens can not take any abuse :)  I might as well add that this lens focuses very loud, since it uses a Arc-Form Drive (AFD) motor, like the original EF 24mm/28mm/35mm/50mm lenses.

I took this lens to Allan Gardens (along with the 180L macro) to test.  The light in the greenhouse is actually quite bright, but autofocus was very bad with the Commlite and often the adapter is unable to achieve focus, especially when the subject is near the minimum focus distance.  I gave up after the first few shots and used the lens in manual focus mode for the rest of the shoot, and it worked out quite well.  This lens, unlike the 180L macro, did not behave erratically like the macro lenses (100mm and 180mm) and stayed at its intended mode.

At this point, I am pretty disappointed with the Commlite adapter. It's quite obvious that it has not gone through thorough testing with each lens, or perhaps, they know of the issues, but could not do anything about it.  I would not recommend this adapter if you intend to use the Canon lenses as your primary or only lenses.  It will simply drive you up the wall.

All pictures below were taken with the Sony A7 & Canon EF 135mm f2.8 SF + Commlite AF adapter. 






Thursday, March 12, 2015

Dallmeyer De Luxe 2 Inch f3.5 Enlarging Lens

Dallmeyer lenses seems to have a cult following.  Some of its lenses are rediculously expensive in the tens of thousands of dollars territory.  I can't lie.  I love Dallmeyer lenses; some of them are truly unique in image rendering, especially the bokeh with painterly quality.  But, these lenses are not affordable for most of us.

I don't have much experience with Dallmeyer lenses.  I had a Speed 1 inch f1.5 c-mount cine lens that I got in a junk bin for $5 when c-mount lenses were pretty much useless.  It produced very swirly bokeh on my Panasonic G1 M4/3 camera and it was fun for a little while, but I didn't like the effect, so it was gone.

Last year at one of the camera shows, I bought a Dallmeyer Dallon 12" f7.7 large format lens but only shot it a few times, because it was difficult to use due to the focal length and flare, but I like the pictures it produced.  The bokeh was captivating and attractive.  In fact, I am hoping to use it much more often this year.

Few weeks ago, I saw a Dallmeyer De Luxe 2 inch f3.5 enlarging lens in excellent condition, and it was somewhat affordable, so I went for it.  It came few days ago and I couldn't wait to give it a go.  The rear thread of the lens is slightly larger than standard 30mm used on many folder camera lenses; I had to enlarge my 30mm to 52mm step-up ring so that the lens thread could go through.  Once the hole was enlarged enough, I glued the lens to the step-up ring, and mounted it on the Yeenon 18-33mm focus helicoid.  It can focus relatively close but also able to attain infinity focus.  All set for a photo shoot!

I am not disappointed with the lens.  It's very sharp and produces nice colours. Stopping down to f11 to f16, the edges are almost as sharp as the center.  What I like most about it is the overall pleasing rendering, especially the bokeh, which I thoroughly enjoy.  The colour is also very nice, although it's not really an issue for most lenses as it can be adjusted in post.

Will update with more pictures.

All pictures below shot with a Dallmeyer De Luxe 2 Inch f3.5 & Sony A7









Sunday, March 8, 2015

Commlite EOS to E-Mount AF Adapter with Canon 180mm f3.5L Macro

I couldn't get any useful pictures with the Canon EF 85mm f1.2L II, so I will postpone the write up for that lens for a later date, and instead, I will update with the 180mm f3.5L Macro.

The EF 180mm f3.5L macro is the least used lens I have.  I should just as well get rid of it and probably would not miss it, but I know full well I will regret it as soon as I do that.  It's quite a bit better than the Sigma 180mm f3.5 I once had, in terms of build and optics.  Each time I use it, I am not disappointed.  The long working distance is perfect for shooting critters that might  move if they sense you are too close.  The colour and sharpness are outstanding qualities this lens has, not to mention how well it's built.  Unfortunately, this lens does not work well with the Commlite AF adapter.

Unlike the EF 100mm f2.8L Macro, which is a complete disaster on the Commlite adapter, the 180L does work, just not the way you expect it to.  I set the shooting mode to Aperture priority 99% of the time, except when the light is getting low, I would switch to Shutter Speed Priority.  When this lens is mounted on the A7 with the Commlite adapter, the shooting mode does not seem to have an effect, whether set to A or S.  The adapter seems to have a mind of its own and changes the aperture/shutter speed as it saw fit, like the mode dial is on P.  The strange thing is that when the adapter sets the aperture on f4.5, it does not close down when the shutter is pressed, but stayed wide open.  It does, however, support Full Time Manual focus, which is important for macro shooting, and I was able to take some pictures with the lens.

Auto focus wise, let's just say forget about it.  The 180L macro lens already has a very long focus travel distance and the adapter would rack the lens from closes to infinity each time it fails the attempted focus.  It's excruciating to watch the lens struggle.  By the time it finally obtained focus, the cows had already come home.  So, this lens is best used in manual focus mode, and AF is pretty much useless anyway when shooting macro near maximum magnification. Still, it's useful because manual focus is possible.

All pictures below were taken with the Commlite AF adapter on Sony A7 with Canon EF 180mm f3.5.





Thursday, February 26, 2015

O. Sichel 8.25 Inch f5.5 - An Old English Lens

Most people have never heard of O. Sichel Co. lenses, and that's understandable. According to the information on the web, they actually did not make their own lenses, but sold OEM lenses with their own name, like Birns & Sawyer (TEWE), or Sears that sold lenses with Sears brand.  O. Sichel was established in 1887 and existed until 1937, so they were around for quite some time.  Personally, I don't know who made the lenses for them.  It's possible they operated like Vivitar, which designed lenses but never really made their own but had other companies made them.

I have only one O. Sichel lens, the 8.25 inch f4.5 Anastigmat, which has lens separations clearly visible at the edges.  Lots of fine scratches, but is relatively clean without much haze. Despite all that, with proper hood, this lens can produce stunningly beautiful images with creamy bokeh. I am quite taken by this lens, and I am sure others as well when looking at it. With the hood on, this lens is about two feet long and it drew a lot of curious looks and remarks when I shot with it at Allan Gardens (a public greenhouse in Toronto).

The lens is very enjoyable to use; it puts me in a different state of mind when shooting with it. Just imagine the history this lens has and who knows what famous photographer might have used it before me.

All pictures below  were taken with the O. Sichel 8.25 inch f4.5 and the Sony A7.  Click on the picture will produce a larger version.







Thursday, February 19, 2015

Adapting Long Lenses on Sony E-Mount - Part VI

Part V is here

Putting it all together

So far, we have talked about all the parts required to mount longer lenses.  In this last installment, we are going to mount the Ross London 5 inch f4 Wide Angle Xpress lens, as an example how everything fits together. The 5 inch lens (equivalent to about 127mm) is not really that long, but fits in kind of a sweet spot; a Goldilocks focal length if you will, and I really like this lens (and the focal length).  Besides, I have been shooting with this lens in the last few days and it's already setup, therefore less work for me :)

The flange to sensor distance of this lens is roughly equivalent to its focal length.  This provides plenty of space to mount this lens on pretty much any current lens interchangeable digital camera, this includes all Sony E-Mount (or NEX-Mount).

Preparing the lens for the helicoid

The first thing to do, is to assess if the lens can be mounted on the helicoid. Some are easy and some are very difficult to do. Any lens that allows a standard filter size, like 49mm, 52mm, 55mm, 58mm, etc,. to be attached to its rear, would be the easy ones. The Ross London 5 inch f4 lens is one of those.  It allows a 55mm filter ring to be attached with just a little bit of work.  What we want to do is to epoxy a 55mm filter ring to the rear, and then screw the lens to the tube/helicoid for focusing.

The rear of the lens is just slightly too large to allow a 55mm filter ring to pass through.  We need to file the filter rim slightly with a Dremel grinding tool until the filter ring can go through.  Once it does, we can apply epoxy to the filter ring to attach itself to the lens.  Be sure to check that the filter is perfectly aligned, or else we will get pictures with one side sharp and one side soft.  Once the epoxy is set, it's ready to be used.

Mounting the lens on the helicoid

Now that the lens has a 55mm thread and ready to be mounted.  It's time to decide what combination of helicoid/tube/filter rings to use to get the lens to focus as closely as possible, but also able to focus to infinity.  The distance between the lens and the sensor is not long enough to stack two Vivitar 2X macro teleconverter helicoids; it's just slightly shy of infinity focus. This means I will be using just one helicoid, and extension tube/filter rings. As it turns out, all I needed was on extension tube and I didn't need any filter rings.  With the Vivitar 2X Macro Focusing helicoid and the filter rings, the minimum focus distance is about 5 feet, which isn't too bad, considering most old lenses have very long minimum focus distance.  If closer focus is needed, you can add two or three filter rings to extended the space between the lens and the helicoid.

Well, there you have it. Mounting a different lens just means adding or removing extension tubes/helicoid.  Hope you find this mini-series useful and helpful.  It has been a fun exercise for me.  Good luck if you are trying it out.

All the parts together from left to right: 1 mm thick M42 to E-Mount adapter, 42mm-62mm step-up ring, Vivitar 2X macro focusing helicoid, extension tube, lens with 55mm mount.

All screwed together

On camera

With Hood

Sample picture: Sony A7 & Ross London Wide Angle Xpress 5 inch f4