…these lenses were produced in Nikon F, Canon FD, Minilta MD, Pentax K and Olympus OM mounts, so no matter what camera you’re using, you will probably find a right lens/adapter combination for your camera (Canon EF users should avoid FD and MD mount due to poor compatibility) Like most vintage lenses, this lens seems to have plenty of cons and pros, so let’s round them up: PROS: Parfocal Zoom Good focal range as reasonably fast F-stops Very afford… Continue Reading
…. It would be great to have a few more 20s in this shootout, including the Olympus 21mm and Nikon 20mm, but the lenses that you will see in this shootout are the only ones that I actually had available to me. This test is completely unscientific, but I hope that it will be useful to those of you who are looking to invest into wider glass or starting to build up a set of lenses and possibly this test will point you in the right direction as far as… Continue Reading
…sions for MFT (M4/3) and E-mount cameras, which include Canon EF, Nikon F, Olympus OM, Minolta MD, Contax C/Y, Pentax K and a few other mounts. If you search of one of these adapters on ebay, you’ll notice that some of these adapters also have the SHIFT functionality, turning any lens into a proper tilt/shift lens, but these adapters are expensive, slightly defeating the purpose of this post, as it’s all about adding an additional creative element… Continue Reading
…a problem. Mounts: You can find this lens in most vintage mounts including Olympus OM, Nikon F, Canon FD, Contax C/Y, Minolta MD & Pentax K, so with the right adapter you can use such lens on just about any camera Specs: Optical Construction: 11 Elements in 9 Groups Field of View: 103° (on full frame) Aperture Range: F3.5 to F16 in 5 click-stops Aperture Blades: 6 Filter Thread: 67mm Focus Ring Rotation: approx. 150° Closest Focusing Distance: 0.2… Continue Reading
…s seems to more or less matches such specs at the wide end; e.g. Sony E 16-50mm F3.5-5.6, Canon 18-55mm F3.5-5.6, Nikon 18-55mm F3.5-5.6; all 3 also have optical image stabilization. Even Tamron’s other Adaptall-2 primes are much cheaper; 28mm F2.5 can be bought for under $50, slightly wider 24mm F2.5 is under $100. So why so expensive? There are a few reasons why lenses like Tamron Adaptall-2 17mm F3.5 are more expensive than many other vintage p… Continue Reading
…d you it doesn’t have the crazy shallow depth of filed you’d expect from a 50mm F1.2 lens of a full frame camera. In fact there isn’t that much shallow depth of field to be found especially if you step this lens down a bit. I’ve shot most of the film at T2/T2.8 as I don’t like to shoot wide open (stepping down a little improves the performance of most lenses). As far as sharpness goes, all 4 Superspeed primes have similar performance. They are not… Continue Reading
…ects. Optional lenses coming later include the 17mm f/4 ultra-wide and the 50mm and 100mm macro lenses, giving you a monster set covering all bases. These new compact housings utilise GL Optics’ excellent fifth-generation mechanics but also have an all-new external design with features never before seen in GL Optics primes, including repositioned gears and markings. Sleekly finished in black and silver with a golden band, this limited run of lense… Continue Reading
…ater. Initially on offer from Luma Tech were lenses with 18mm, 25mm, 35mm, 50mm, and 85mm focal lengths. Then came a 135, and recently a 14 as well. They all have a T1.3 aperture minimum, except for the 14 and 135mm lenses, on which the “full aperture” is set to T1.8. The new lenses are marked as MKII. This is how Luma Tech has designated the ones produced after 2011. At that time the LOMO factory purchased new machinery and chose a team of worker… Continue Reading
…Zeiss Distagon 25mm F1.2/T1.3 (48mm on S35 / 72mm on FF) Carl Zeiss Planar 50mm F1.2/T1.3 (MKII & MKII only) (96mm on S35 / 144mm on FF) As you can see they provide quite a nice range on a Super16 sensor, but more importantly they have the look that is very similar to their many times more expensive Super35 equivalents. There is certainly no cheaper way to get that Superspeed look without spending a fortune. If you’d like to learn even more about… Continue Reading
…lly all-rounders. At the widest end their field of view is equivalent to a 50mm lens on a full frame camera and on the long end it’s equivalent to 200mm on FF, so they feel more like telephoto zooms rather lenses you could be used for any shot, which is where Angenieux 9.5-57mm lens comes in with its much more usable focal range (at least in theory). NOT Super16! While it does seem to have a perfect range for a Super16 zoom, this lens was actually… Continue Reading
