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Found 98 results

  1. I made my first anamorphic purchase with a Kowa 16-H.  I am waiting for Redstan adapters and I wanted to get  some feedback on which taking lens would be ideal with my setup.   I've heard that anything below 80mm will vignetter due to the Kowa's 2x and the mk III sensor size.   For any mk ii / mk iii owners out there... what taking lenses are you using/recommend for your Kowa 2x?
  2. Hi I am planning on buying Rokinon/Samyang Cine lenses for my dslr, but as I was searching for a place to buy them, I saw a difference between the names of the same lense for example this two : 1) Rokinon 85mm T1.5 AS IF UMC Cine lens 2) Rokinon 85mm T1.5 Cine lens So I searched and I saw that UMC referees to the coating and its seems to be different from the other one. And I don't know what IF stands for tough. So is different? Is the first one better than the other one? I also found a difference in the name between the Samyang ones and the Rokinon ones, which surprises me because they are supposed to be the same lenses, right? 3) Samyang 35mm T1.5 ED AS UMC 4) Rokinon 35mm T1.5 AS UMC So now I am even more confused because I don't know what ED stands for... Please help me out understanding this. Are they actually different? Or are they exactly the same lenses? Thanks :) PS: Sorry if I made a mistake in spelling, english is not my first language.
  3. I'm looking to learn how to fully clean/repair lenses more than simply puffing with a blower and wiping with a cloth... I have a bunch of old P entax SMC lenses that I don't mind pulling apart (two of them have a little fungus) and want to use them to practice repairing old manual primes. Unfortunately I can't find much online, nor any books on the topic. I have even tried to find information on specific lenses (Pentax, Nikkor etc.) but still nothing detailed. So essentially I am asking if anyone knows of books/websites etc. here I might be able to learn anything related to pulling lenses apart, cleaning/repairing them, and putting them back together again (all stages being vital!). I understand that this is as much a science as a skill, with precision and math being vital... but surely the talented folks repairing lenses haven't all learnt through apprenticeship? I've been pulling apart and re-assembling things since I was a kid (to various degrees of success), and sooner or later I'm just going to dive in... so please educate me before I make a mess!
  4. Hey guys,   Made up my mind to sell some of my gear. PM me if interested in any of the following.   Kowa 16H 2X anamorphic adapter - good condition Canon FD 20mm f2.8, 35mm f2, 50mm f1.4, 85mm f1.2 lenses - all in good condition Canon FD to MFT adapter - new Slr Magic 12mm f1.6 - new Slr Magic 25mm f0.95 - new Voigtlander 17.5mm f0.95 - new   Thanks!
  5. enny

    Cine lens

    Hi guys what is your thought on cine lenses which i don't know much about only that they are expensive like canon cine lenses but i am thinking of getting a set of Rokinon Thanks
  6. Hi everyone! This is a pretty old Canon FD lens that has been living in a loft for a while. Could you please have a look at the linked image and videos to see if you think these 'marks' are scratches or if it's actual lens fungus. The marks don't look particularly web-like. Video: https://drive.google.com/file/d/0B91VnX2oD4NdZFd4WlNlUGF1S1U/edit?usp=sharing Video: https://drive.google.com/file/d/0B91VnX2oD4NdeEdOOG5pQ0pOTHM/edit?usp=sharing Image: https://drive.google.com/file/d/0B91VnX2oD4NdUnVBSGVtRTNKY1U/edit?usp=sharing Thanks Daniel
  7. Hello, New to the anamorphic game, have some questions. Few pics of the Hypergonar HiFi2 on a 7D (BMPCC next up). So far the results have been very nice and love the flares, but we noticed this lens is a bit soft. We've tried adding 1", 2", 3" of space between the camera lens and anamorphic lens hoping to find the "focal point"... didn't notice any difference. Moving on, Stopping down at F5.6 - F11 has increased the sharpness, but not by much. I'm curious if anyone else has a quick fix or has played with the inner glass orientation ? Any info. is good info. :)
  8. Hey! Does anyone have a suggestion for a good film-look lens with Nikon mount which doesn't cost a thousand dollars? I'm not quite happy with my lenses so far concerning the sharpness and look, as most of them are photographic lenses. Zoom wouldn't be bad, but doesn't have to be. Also of course it should be somewhat fast. Perhaps anyone has a advice or a secret tip? Shall be used on BMPCC with BMPCC-Nikon Speedbooster.
  9. I am hoping to use the GH3 for a run-and-gun doc camera. I would like to use a lens with a long zoom range that also has built in image stabilization. Does anyone have experience or concerns with DX lenses/Metabones Speed Booster for GH3? Can I expect stabilization (VR) to function correctly? Will I run into vignetting problems? I don't use AF for video, but will it function for stills? Will the camera control the aperture, or will the dial on the adapter do that? I'm looking at the Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II http://www.bhphotovideo.com/c/product/644744-USA/Nikon_2192_AF_S_DX_NIKKOR_18_200mm.html with Metabones Nikon G to Micro Four Thirds Speed Booster on the GH3. My calculations suggest that this should give a GH3 equivalent of 13-143mm with a 1-stop gain. Thanks! I have been reading EOSHD for a few months now and find it such a good resource. PS: Why not use a Panasonic lens? I have not been happy with panasonic lenses as they seem to have poor behavior when it comes to zooms, which I sometimes want to keep. The 14-140mm has a focus flutter on zooms, and the 12-35mm, which claims a constant aperture of 2.8, actually opens up and closes down in steps while zooming, basically creating an exposure flutter. I have samples on vimeo, but it's down right now. I can post them later if someone wants.
  10. The taking lens was the SLR Magic 35mm T1.4 Cine Mark II for both of these, used at F2.8, the camera was a GH3. A live acoustic video, on this one I've intentionally gone for a look with flares: Some night street footage, at F2.8 it's a bit tricky when there's not much street lighting, I may well re-edit this video, maybe to include more footage.
  11. Ive been experimenting for a while with the Panasonic LA7200. I just cant seem to cut down on the edge blurring with it. I shot this with a Canon 5d Mark III with 85mm L1.2 and the edge blurring is still very evident. I had hoped the telephoto of the 85mm would help but it did not seem to. http://adobe.ly/1fKUVlU ISO320 85mm F8 1/400 sec However I've seen videos of people using the La7200 with Canon EOS 5d Mark II full frame with none of the edge blurring. Really been trying to figure this out, does anyone have any suggestions? '?do=embed' frameborder='0' data-embedContent>> Maybe its just not noticeable here.
  12. Good evening guys, I'm searching for a very fast or the fastest lens for the BMPCC. Then fastest I can think of is the Nikon AI 50mm / 55mm f/1.2 in combination with the BMPCC-Speedboster. Do you have another (better) advice? BTW: It's mostly for concert and nighttime shooting and perhaps to get a nice DOP. Thanks a lot! Moe
  13. Today just arrived Tushinsky variable ration anamorphic projection lens. Some tests I made today didn't prove much useful (shot with GF3 with ETC), will post some more in next days. I haven't found any videos made through this adapter on the net. Anybody's got some experience with this beast? [url=http://imageshack.us/photo/my-images/11/9djw.jpg/][/URL] [url=http://imageshack.us/photo/my-images/823/f8aw.jpg/][/URL]
  14. I've been stewing about what lenses to invest in with my upcoming BMPCC order and thought maybe you guys could weigh in with your collective wisdom.     I was leaning toward Nikkor AI-S glass because it was the pinnacle of manual lens tech in the manual lens photo heyday, has long focus throws, is relatively portable, and is flexible if I want to jump up to larger sensors in the future (does anyone think this 16mm sensor will stay around indefinitely?). Also, I could then hack an APS-C and a FF Canon for RAW and have three focal lengths for each lens, effectively. Or I could get the Metabones Speedbooster essentially making it a Super 35mm equivalent, more or less.    Then I read one perspective that since using FF glass on the Micro Four Thirds BMCC and BMPCC sensor is cutting into the center of the glass means it will magnify all the imperfections of the lens. A friend I trust on technical matters agreed with this, saying Nikon glass would look bad no matter how good the original optics and the Speedbooster just adds more glass distorting the image. He seems to think the better approach is to get super 16 C-Mount glass designed for the sensor size, and then sell it if I change to a larger sensor camera .. kind of a "get what you need now for optimal results, and don't think about five years from now" mindset.    I'm now leaning this way, thinking that the super wide focal lengths I'll need for the BMPCC and BMCC will be useless to me anyway if I decide to go with a larger sensor in future (I'm not into superwide lenses).   Anyway, any thoughts would be much appreciated!     TL;DR: I want future proof and flexible glass that will still shine on the BMPCC. Is this possible or should I go with optimized C-mount or M43 glass?   
  15. Hello, everyone. I'm new to the forum. Anamorphic lens are getting really tough to find on ebay so I figured I should try other means. :) I'm interested in acquiring one of the cheaper anamorphic lens like Sun, Sankor, Singer or similar. Please, if there's anyone interested in selling, contact me.   Thanks!
  16. Just put up some examples of what a 1950s Zeiss Ultrascope lens looks like when shooting wide open at an F2. Has a really great dream-like quality to it.   Shooting an Anamorphic Music Video in 1950s Ultrascope  
  17. Reading through the shoother guide book I notice Andrew refers to the ML 50D as a Super 35mm raw shooting cinema camera, and this confuse me a bit, I know that within the ML you can set the camera to do a 4:3 crop mimicking the crop of a 35mm film yeah but the relationship with the optics is still like a crop sensor camera right? I mean the sensor is not getting any bigger so you still suffer from not being able to use all the glass and so having to do the Focal Length multiplication. I also noticed Andrew recommends using 64gb cards but frankly I can't afford them right now so are 32gb cards still fine? I will be working with a PC close so I will be able to upload the data while working. Thanks in advance. PD: I decided to make a forum trend after mailing this to Andrew after noticing that he doesn't like to be asked this questions by mail so sorry for that!!
  18. This question is ultimately for a lens to pair with my anamorphic lenses, but it applies to non-anamorphic shooters as well so I have posted it outside of the anamorphic forum.   Looking at adapters, it appears the shortest flange distances (and thus, adapters) are C-mount, Contax, M39, and Pen F in roughly that order.   My only criteria is that the lens would need to be at the very least 45mm (maximum 85mm), and with a non-rotating front -- you'll see that this eliminates most "pancake" lenses.   The M39 Industar 50 (50mm f/3.5) and Contax Zeiss Tessar 45mm f/2.8 look like good options, but I'd like to start a discussion and see if anyone knows of any other good options.
  19. Hello. I am fairly new to shooting dslr video. For the past several months, I've been shooting with a Canon t3i // Canon 50mm f/1.8. I'm now looking into wider (budget-ish) lenses. Obviously there are some really really nice ones I could get for $1000+, but for right now I'm looking for something a little cheaper.  The main two I've been looking at are the Sigma 17-50mm f2.8 and the Sigma 30mm f1.4. My main concern with the 17-50mm is that I'm not going to be satisfied with the f2.8 and might want something even faster. I want my shots to look very cinematic and professional, which this may be a good lens for that, I don't know. My concern with the 30mm is that it won't be wide enough. I don't like how close up my 50mm is on a glidecam, when I shoot outside and want to get a wide shot of the landscape or something. I'm just not sure that the 30mm will be THAT different from the 50mm. Working on a tight budget, I need my lenses to be usable for many different things until I can build up my inventory. The kinds of videos I would shoot are promo videos and weddings, mostly, but I also want to shoot videos of outdoor adventures I go on.   I plan on renting lenses before I make a final decision, but I wanted to get some input before I even did that.   Thanks for your help in advance,   Josh
  20. I know its like beating a dead horse. Long shot, but looking to see if i can find a proper +0.4 diopter for the Panasonic LA7200. Not finding much of anything so figured id post see if anyone either has one to sell or knows some good spots to look. Thanks!
  21. Hi all, I've been hesitating forever of even thinking about starting the long process of collecting lenses, due to the inertia that the neverending onslaught of new technology brings. There are so many promising directions this whole world could go, from the super-16 BMPC to the full-frame Canon 5D Mark III RAW, so my current thinking is that it's most sensible to go with the largest coverage format (full frame) and collect lenses from there, and then if the market settles anywhere (super 35, full frame, APS-C), you won't have obsolete glass lying around. I'm looking for as many people as possible to poke holes in the intuition or offer different plans as my current one:   I've been thinking lately about collecting Nikon AI-S lenses, since they are the final (and presumably, best?) generation of Nikon manual focus glass.   Some advantages as I see it are: adaptibility to the largest range of lens mounts long-focus throw age-related image character je ne sais quoi good build quality relatively cheap relatively compact Nikon quality (perceived? Is Canon just as good/better? Does Canon have an equivalent AI-S-era option that would work on current Canons?) Nikon-optimization, as I prefer Nikon for stills work Cheap adapters can control aperture, as opposed to Canon mount Fast   Some disadvantages that I would imagine: Breathing and every other problem inherent in stills-optimized/non-cine lenses Difficulty finding cheap super wide options that would translate to normal lenses on much smaller sensors (Super 16, M43, BMCC, 1") Futility of collecting for BMPC when you end up settling on a 5DIII and have all these useless super-wides   I'm sure a lot of people on here have thought a lot harder than I have about this quandry, or have skin in the game already, so if anyone has some personal experience or insight on how the filmmaking community is currently addressing this issue, please contribute any and all wisdom! What are general lens collection strategies to maximize utility and minimize cost? Is it presumed that lenses will hold value, so you can just sell them off with minimal long-term losses? Are there lenses that better meet ones needs? Would Canon make more sense, since a follow focus will allow for long focus throws anyway? Are there cheaper options (Contax (Zeiss), for example?)   One caveat:   I shoot stills as well. Is it ridiculous to think that shooting manual focus on all my various stills cameras (NEX-7, GH2, frequent Nikon rentals) is possible, and that I'd need to invest in a second set of AF stills camera (obviously this is a nuanced question, as different photography genres have different needs, but my work does include street photography).
  22. Now I realize this probabl isn't the best idea just wondering what everyone's opinion on it was. I was thinking for a better lens flare removing the multicoating on my cheaper canon lens. I found this tutorial although I'm a bit dubious as to how well it would work. http://www.ehow.com/how_7830132_replace-multicoating-camera-lens.html Just using clean wipes? Can it really be that easy?
  23. As a result of a slight cash shortage I have decided to sell 2 of my most prized lenses. Yes it hurts ;)   - Voigtländer Nokton 25mm f/0.95 (SOLD) - Olympus M.Zuiko 12mm f/2.0   [attachment=562:voigt+olympus.jpg]   Both are extremely sought-after prime lenses for the Micro Four Thirds system. The Olympus is arguably the best wide-angle lens available for the GH2 and GH3, and the Voigtländer's reputation as a beautiful video and photography lens is well-deserved.   Both lenses are in perfect working order, with only a few minor cosmetic bumps. The glass is completely free of scratches, internal dust or fungus.   Lenses are on offer seperately or together with a generous discount ;) PM me for pricing & more photographs if you are interested! Or contact me at [email protected]
  24. Hey guys,   Made up my mind to sell some of my gear. PM me if interested in any of the following.   Kowa 16H 2X anamorphic adapter - good condition Canon FD 20mm f2.8, 35mm f2, 50mm f1.4, 85mm f1.2 lenses - all in good condition Canon FD to MFT adapter - new Slr Magic 12mm f1.6 - new Slr Magic 25mm f0.95 - new Voigtlander 17.5mm f0.95 - new   Thanks!
  25. Hey guys I'm new here.   I recently came upon a Helios 44-2 58mm prime lens and have been very impressed with it's unique character, image quality and sharpness even wide open, especially for the very reasonable price of £4 uk sterling, and it's de-clicked preset type aperture is ideal.   I'd like to complement it with a couple more vintage primes, one around 85mm and the other around 28mm.  I shoot a lot of HD DSLR professionally and often find myself in poorly lit, indoor "rock up and shoot" situations, so the priority for me is to have glass that is fast and stays relatively sharp when wide or close to wide open. The flatter the better in terms of contrast and saturation and flare is a positive in my book.   I currently have a cheap cosina 28mm f2.8 which is average in every respect, and have nothing longer than the Helios other than slower zooms. I know fast and sharp generally means £££££££ and I cannot currently afford quality brand new primes.  I prefer older lenses anyway as I hate not having a manual aperture ring, so I was hoping you guys might have come across a few little vintage gems that might float my boat, preferably under the £150 mark.   I've seen some very nice images from the Jupiter-9 85mm, quite similar in character to the Helios, and they're right on the money, but most reviews suggest that they get very soft when opened up and I'm concerned that I wouldn't get good use out of it for this reason.    Can anybody help me out in my quest for the holy grail in bargain vintage glass?   Cheers dudes.
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