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Andrew Reid

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10 minutes ago, JordanWright said:

Ive heard that the 28mm ZE is a great lens but I've never used it. It might be worth looking into 

The f/2? Yeah, I am pretty sure it is the same design as the Contax Hollywood but it sells for even less. It’s definitely a possibility... I’ve been dreaming of that Hollywood lens for years.

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
11 minutes ago, mercer said:

I also have a couple of the generic Taks (55mm f/2 and 35mm f/3.5) and I may dig them out to see how they fare with 5D3 Raw B&W... I assume the 35mm will be weirdly special in B&W...

I have 3 or 4, brand new, Fotodiox Pro M42 adapters, so I wouldn’t mind putting together a cheap M42 set. I know the Helios and Jupiter lenses should be no brainers but I’ve never owned any and think they’re the obvious choice, so I am looking for something weirder... maybe Schneider, Meyer or Isco... ever used any of them? I’d also like to get the Chinon 55mm 1.7... I think that lens has a little of a cult following.

The Taks are great & yes the 35mm is just stunning, especially in B&W - I got the 55mm f1.8, which is probably the sharpest vintage lens I've got. All the Taks are great lenses, not a bad one in the set - just choose Super Tak or SMC Tak.

Try the Mir 24m 35mm f2 - it's my favourite 35mm lens & close focus to boot (the M is for M42, whilst the N version is Nikon). Helios 44-2 58mm (might need to buy a few copies to get a good one - if you can get a Zebra version, that seemed to be the best of the bunch for me). The Tair 11a 135mm f2.8 (with too many blades to count) is absolutely stunning. Jupiter 9 or the Helios 40-2 (i'm greedy, so got both) - both dreamy soft wide open, but the Helios has the craziest swirly bokeh of any lens on the planet.

Meyer are great lenses - lots of contrast, lots of colour. The Lydith 35mm f3.5 is a bargin of a lens (normally £30), preset aperture too. The 2 others are the Orestor 100mm f2.8 (aperture at the filter end of lens), which is one of those lenses I will never part with & the 135mm f2.8 Bokeh Monster. Unfortunately I could never find a good copy of one of their 50mm lenses, so I gave up & kept the 35mm & 100mm lenses.

Tomioka made lenses of the 55mm f1.4 are worth a pop - i've got the Chinon version (don't bother with the f1.7, nowhere near the same league).

Here's a good list of M42 lenses (it's focus is not hitting the 5Ds mirror, but is a very comprehensive list for M42 lenses):

https://www.panoramaplanet.de/comp/

Funny you mention the Contax Hollywood lens, as its the only lens I've ever kicked myself for selling - you could buy that & never really need another lens....ever!

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@Bioskop.Inc thanks for the suggestions. My Canon lenses will do the bread and butter of my work, but I do want a few manual lenses so these suggestions are priceless... especially the 5D mirror list. I think I have Super Tak versions of those lenses in fair condition... so I may try and find mint SMC copies. I also had the 20 and 24mm Taks and both were pretty decent. I particularly liked the 20... even with the slow aperture.

Do you have any videos online from the Hollywood? That Zeiss pop/micro contrast is specifically what I’m looking for with the ZFs.

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1 hour ago, mercer said:

@Bioskop.Inc

Do you have any videos online from the Hollywood? That Zeiss pop/micro contrast is specifically what I’m looking for with the ZFs.

I prefer the Super Tak versions, as the SMC aren't really that SMC - I like my coatings to be minimal & Golden.

Unfortunately, I had the Contax Zeiss set before a DSLR that had video capabilities - I was using proper cameras to film back then & the only digital camera that was of any interest was the RED (& it took them ages to release it). I remember the first Nikon DSLR that had video, but it was deemed a bit of a joke add on. No one really seriously thought about using a DSLR to film with back then & Canon released the 5DMk2, which was a real step up & everything changed.

Just not sure if the modern version will be the same as the original Hollywood - it's not just the lens recipe, but the glass used etc. There is that Pentax version, which is meant to be damn close, but that is rare & expensive now - worth keeping a look out (Andrew did a piece about it a few years ago).

I've also been thinking about maybe trying out that Nikon Bourne lens or just going for the Angenieux 35-70mm zoom as it's parfocal. Vintage lens addiction......!

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Im undecided whether to get the sigma 18-35 or the tamron 28-75 2.8 for my new a7iii. Will be using this lens for short films mostly. The 28-75 kit lens is actually pretty good, but would not mind a constant aperature and more light.

Pros for the sigma are lower f stop and i could use it on my gx85 and sl2 cams. Pro for the tamron i guess is full frame video if thats much of an advantage.

Also, anyone try the sigma 17-50 2.8 with an A series camera? 

Any input appreciated, thanks!

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3 hours ago, Exporter said:

Im undecided whether to get the sigma 18-35 or the tamron 28-75 2.8 for my new a7iii. Will be using this lens for short films mostly. The 28-75 kit lens is actually pretty good, but would not mind a constant aperature and more light.

Pros for the sigma are lower f stop and i could use it on my gx85 and sl2 cams. Pro for the tamron i guess is full frame video if thats much of an advantage.

Also, anyone try the sigma 17-50 2.8 with an A series camera? 

Any input appreciated, thanks!

i have both lenses the sigma is bigger and heavier than the tamron its hard to handle on the gx85. The tamron feels good on the a7iii not to heavy both are really sharp autofocus is really fast 

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On ‎9‎/‎1‎/‎2018 at 3:35 PM, Exporter said:

Im undecided whether to get the sigma 18-35 or the tamron 28-75 2.8 for my new a7iii. Will be using this lens for short films mostly. The 28-75 kit lens is actually pretty good, but would not mind a constant aperature and more light.

Pros for the sigma are lower f stop and i could use it on my gx85 and sl2 cams. Pro for the tamron i guess is full frame video if thats much of an advantage.

Also, anyone try the sigma 17-50 2.8 with an A series camera? 

Any input appreciated, thanks!

On the A7 III the Tamron is incredible for video work, especially for AF. I had minor issues with background rendering, but I thought color was fantastic on it.

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So I posted this in a new thread not realizing this was probably the better place for it.

The new updated Tamron 15-30mm lens has some cool features for filmmakers. Though a very large lens. About a half pound heavier and inch long than Sigma 18-35 for reference.

  • "Integrated rear filter holder permits working with cut gel-type filters." To me this sounds like one could drop in ND's in the back of the lens. Nifty. The front has the integrated hood so filters in general will need a Lee type filter system of some sort or a diy one like this. So this is a handy feature. Canon mount only though.
  • "VC image stabilization helps to minimize the appearance of camera shake by up to 4.5 stops for more effective handheld shooting in difficult lighting conditions." I have been noticing that Tamron's in-lens IS is pretty much class leading. I'm not expecting GH5 IBIS level stabilization, but this could make handheld on the P4K way mo betta.
  • The coatings on this thing seem to be pretty sweet.
  • Coupled with the Metabones .64 speedbooster on the P4K this becomes a FF equiv T2 18-35mm, with the .71 its a 20-40mm, and with no boost its a T3 28-60mm.... with a close focus of 11" which is like 5" from the front of the lens.
  • I've been looking at images from the first version and it seems like all that glass make for some very creamy imagery. 
  • Covers FF.

Build quality seems to be great. I'm hoping the focus ring is smoove and the throw isn't too short (which might kill it for me).

It's pricey. 

 

BTW, who here has experience with these IS lenses? How well do they actually work for video? I'm getting mixed impressions from online reviews. For instance, the Sigma 17-50 has videos showing it working well, but others showing it being jerky. Tamron's IS seems to be the best. But is it actually usable? Right now I'm on trying to work in one of these lenses for the sake of IS, but if it's not really going to get used much or at all then I can check that off the list.

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201847960_nikonlenses.thumb.jpg.1fc275a20e494fe7cc04d4c58b268300.jpg

Finally collected the full set of Nikon primes zooms. All have fantastic contrast, color and sharpness. They vignette, but I think that just makes the images pop even more. I've been moving away from low contrast looks.

24-70

Filmwindchime_1.9.1.thumb.jpg.d3e02414b4dcaaf59481af0d99905289.jpg

17-35

136641298_fishinginbrigantine_1.5.1.thumb.jpg.9d86c214e3cea9b2ba874da76183e55b.jpg

70-200

cecesmile_1_11.1.thumb.jpg.c0bdf7fb908f3bd26ee1d3355cee8b35.jpg

On ‎9‎/‎7‎/‎2018 at 10:36 AM, Jonesy Jones said:

So I posted this in a new thread not realizing this was probably the better place for it.

The new updated Tamron 15-30mm lens has some cool features for filmmakers. Though a very large lens. About a half pound heavier and inch long than Sigma 18-35 for reference.

  • "Integrated rear filter holder permits working with cut gel-type filters." To me this sounds like one could drop in ND's in the back of the lens. Nifty. The front has the integrated hood so filters in general will need a Lee type filter system of some sort or a diy one like this. So this is a handy feature. Canon mount only though.
  • "VC image stabilization helps to minimize the appearance of camera shake by up to 4.5 stops for more effective handheld shooting in difficult lighting conditions." I have been noticing that Tamron's in-lens IS is pretty much class leading. I'm not expecting GH5 IBIS level stabilization, but this could make handheld on the P4K way mo betta.
  • The coatings on this thing seem to be pretty sweet.
  • Coupled with the Metabones .64 speedbooster on the P4K this becomes a FF equiv T2 18-35mm, with the .71 its a 20-40mm, and with no boost its a T3 28-60mm.... with a close focus of 11" which is like 5" from the front of the lens.
  • I've been looking at images from the first version and it seems like all that glass make for some very creamy imagery. 
  • Covers FF.

Build quality seems to be great. I'm hoping the focus ring is smoove and the throw isn't too short (which might kill it for me).

It's pricey. 

 

BTW, who here has experience with these IS lenses? How well do they actually work for video? I'm getting mixed impressions from online reviews. For instance, the Sigma 17-50 has videos showing it working well, but others showing it being jerky. Tamron's IS seems to be the best. But is it actually usable? Right now I'm on trying to work in one of these lenses for the sake of IS, but if it's not really going to get used much or at all then I can check that off the list.

I used the IS on the 35mm 1.8 and 85mm 1.8. Both had very smooth VR performance for me in video and a nice warm look. I do not know how well they perform on adapters.

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4 minutes ago, Geoff CB said:

201847960_nikonlenses.thumb.jpg.1fc275a20e494fe7cc04d4c58b268300.jpg

Finally collected the set of Nikon primes. All have fantastic contrast, color and sharpness. They vignette, but I think that just makes the images pop even more. I've been moving away from low contrast looks.

24-70

Filmwindchime_1.9.1.thumb.jpg.d3e02414b4dcaaf59481af0d99905289.jpg

17-35

136641298_fishinginbrigantine_1.5.1.thumb.jpg.9d86c214e3cea9b2ba874da76183e55b.jpg

70-200

cecesmile_1_11.1.thumb.jpg.c0bdf7fb908f3bd26ee1d3355cee8b35.jpg

Wow! Are those frame grabs from the D750? If so, go write a feature film, shoot it on the D750 and don’t look back!!!

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23 minutes ago, mercer said:

Wow! Are those frame grabs from the D750? If so, go write a feature film, shoot it on the D750 and don’t look back!!!

Thanks, yes all are frames from the D750 in Standard with very little adjustment. Haven't regretted going back at all from Sony.  If I ever need 4K I'll rent, otherwise this is plenty good for personal projects.  Going to put my money into lighting at this point.

Also, having the focal range covered from 17mm to 200mm is a relief in a way, I know I wont be missing any range I could want to shoot with for a narrative.

70200portrait_1_12.1.thumb.jpg.7e5d55defd02a0ab59f1107f490fc50f.jpgLeaves2470_1.2.2.thumb.jpg.4494b377f90145fb02d00255969c37b9.jpg

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6 minutes ago, Geoff CB said:

Yeah all are frames from the D750 in Standard with very little adjustment. Haven't regretted going back at all from Sony.  If I ever need 4K I'll rent, otherwise this is plenty good for personal projects.

That 17-35mm sings. Is that an f/2.8? Between the Standard and Flat Profile you should be set.

I keep hearing people say that the 1080p from the D750 is soft, but I just don’t see it. How much sharper do you need than the frames you posted.

I miss my D5500 all the time. I almost bought a D3400 last year for fun because I miss the Nikon Flat Profile so much. 

Btw, do you live in NJ? That 17-35mm shot looks like Malibu Beach outside of Atlantic City.

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1 hour ago, mercer said:

That 17-35mm sings. Is that an f/2.8? Between the Standard and Flat Profile you should be set.

I keep hearing people say that the 1080p from the D750 is soft, but I just don’t see it. How much sharper do you need than the frames you posted.

I miss my D5500 all the time. I almost bought a D3400 last year for fun because I miss the Nikon Flat Profile so much. 

Btw, do you live in NJ? That 17-35mm shot looks like Malibu Beach outside of Atlantic City.

Taken near Brigantine  :) I live nearby,  just outside Philadelphia.

Yes all three are F2.8's. The D750 is a little soft, but has great color and motion cadence. 

brig2_1.14.1.jpg

brigantine_1.13.1.jpg

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3 minutes ago, Geoff CB said:

Taken near Brigantine  :) I live nearby,  just outside Philadelphia.

brig2_1.14.1.jpg

brigantine_1.13.1.jpg

Didn’t know that. I don’t live too far from you. I’m about halfway between Philly and AC. I’ve been shooting my film up and down the coast between AC and Cape May. 

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1 hour ago, mercer said:

Didn’t know that. I don’t live too far from you. I’m about halfway between Philly and AC. I’ve been shooting my film up and down the coast between AC and Cape May. 

And I lived in Gloucester, New Jersey for a time. Small world.

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