I want to sell my lovely Iscorama 36 Nikon 50mm 2.8. It's really hard to give this beauty away but there are times where you have to do what you have to do.
This lens is in a perfect condition, all glasses are free of fungus, dust, oil or scratches.
The only marks of usage are visible at the white numbers on the focus ring and at the rear barrel due to too cheap mounting bracket. This bracket caused some minor scratches which doesn't effect usability at all.
The optics are perfectly clear and focus ring runs very smoothly.
I've got also the very rare and high quality achromat TOKINA +.4 72mm, which is used to reduce minimum focus distance with the iscorama.
The Package includes:
Iscorama 36 anamorphot
Nikon 50mm 2.8 taking lens
Nikon to Canon adapter
Original Iscorama packaging with instruction manual
TOKINA At-X +.4 Achromat 72mm
little Tokina leather bag
Soligor +1,+2,+4 Achromat 72mm
little Soligor leather bag
several Step rings/distance rings to fit other lenses (which is in my opinion the safest and fastest way to use the anamorphot)
2x distance ring 52mm
some photos of the optics and filters are attached below
Pricing for the hole package with national shipping (incl. insurance): 3200â‚¬ with paypal
Collection also available, current product location: Germany, Nuremberg
international shipping is calculated as soon as I know the destination country.
customs duty may be added within non EU countries!
I bought the lens on ebay US and i was lucky enough that customs haven't charged me, just FYI.
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I've owned an Iscorama 36 for many years -- long, long before its DSLR popularity -- and have enjoyed using this anamorphic on a Nikon F2A, Nikon Pronea S and, with adapter, on my Canon EOS 20D. Now that I've just acquired a Canon EOS 6D, I'd like to shoot some video with the Iscorama.
I hope longtime forum members won't think I'm asking a stupid question, but how do you precisely align the anamorphic element so that the compression factor is absolutely level? Based on my experience shooting stills, I occasionally need to correct the image slightly in Photoshop.
I've been observing a lot of anamorphic movies lately and am wondering whether using a anamorphic handheld vs. on a tripod makes any difference. I'm guessing it doesn't, since the compression/decompression is constant regardless of camera tilt, right?
I've also noticed in a number of anamorphic films that background out-of-focus point light sources occasionally are skewed significantly off vertical, even though the in-focus foreground elements are correctly rendered.
I'm wondering if maybe I should put the lens on the camera, put the camera on a tripod, level the tripod and then view a circle on the wall and use that as a basis for alignment rather than the indicator triangle on the lens barrel? In another topic here, there was a suggestion to shine a flashlight into the anamorphic and check whether horizontal flare aligns with a camera's grid lines. That's a good idea, but isn't the 36's element likely to shift during the course of a day's shooting?
Here's an example of an image that I was sure had been taken with the anamorphic element aligned properly, but clearly looks slightly off.