[pinholecam] A week with ...... (random ramblings of a lens junkie) - 2015



20150330-DSC01223-2400 by jenkwang, on Flickr

The thing about 20mm is that its wide for people/candids/street.
The FOV and coupled with the larger DOF, the low lying fruit of shallow DOF as an isolation too is no more.
In exchange, is environmental context, giving a relation between the subject and its surroundings.
IMO, the composition, usage elements change too.
Isolation now takes the form of subject placement, opportunity (at singling out); framing; eye contact; etc)
Certainly a good exercise for me over only using shallow DOF as an isolation method.



20150330-DSC01261-2400 by jenkwang, on Flickr



20150330-DSC01276-2400 by jenkwang, on Flickr


20mm certainly isn't the easiest to use in this context.
Often, an 'in your face' working distance may be necessary to get near enough.
I don't know about others, but to me, this approach certainly needs a 'warm up period' to get into the groove.
Total change in the strategy of usage over longer focal length.
Perhaps a smile, perhaps just asking or a little chat, or just a sneak shot at hyperfocal distance.
Good to mix things up and keep the brain working.
 

Sometimes, I do feel the paper specs plays into my mind as a photographer.
"You need a fast lens for low light" is often heard.
But as I ventured into Patunam Market with its dark rows of shops (mostly closed), I did not find particularly crippled by it.
Today's cameras with largely good ISO performance, and exposing for what is needed only, certainly helps.



20150330-DSC01283-2400 by jenkwang, on Flickr
We all buy cameras to shoot black cats in black alleys...yeah...right.... :)



Final few thoughts regarding the use of the 20mm as a combi with the 12mm.
Mixed feelings.
20mm still feels wide when switching between it and 12mm.
So in terms of reach and perspective compression, its still rather exaggerated.
Working distance for streets/candids/people needs a more aggressive approach.
As such, I think I prefer the 24mm as an accompaniment to the 12mm lens.

However, the 20mm is able to stand alone, "do it all" in more situations than the 24mm can.
Some occasions (the flyer shot and Patunam Market for example), I just headed out with the lower encumbrance of the 20mm as my widest lens and never felt that I needed more.
That is one of the reasons why I shoot primes.
The ability to mix and match what to take out if necessary.
To be fair, I was not left wanting the 24mm FOV anyway in any of my shots for this Bangkok trip.
The reality of it being that I'd certainly compose round the focal length I have rather than bemoan the loss of any.



A door to enlightenment opens by jenkwang, on Flickr
 

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Bro, u are right... Whatever the spec and however new the camera is, the output is the most important although I also agree that sometimes newer feature will help and for me, I cannot do with AF and I have bad eyesight. Haha. :)

Very nice shots all of them, really like them a lot.
 

iluvs90 said:
Bro, u are right... Whatever the spec and however new the camera is, the output is the most important although I also agree that sometimes newer feature will help and for me, I cannot do with AF and I have bad eyesight. Haha. :)

Very nice shots all of them, really like them a lot.
Click to expand...



Thanks for the encouragement. :)
 

A week with a legendary 75


20150502-DSC02020-2400 by jenkwang, on Flickr


TBH, when I realized the existence of this lens years ago, I was spellbound.
"What in the world was this? " I said to myself.
An almost magical look to me.

First introduced in 1939, the Carl Zeiss Jena Biotar 75/1.5 was the fastest portrait lens at that time .
Elements/Groups : 6/4
Aperture blades : 10
Filter thread : 58mm
Weight : 580g


When I use the word 'Legendary', its not a challenge to anyone's 85/1.4 or 100/2, 135/2.
I'm sure most modern short teles perform as well if not better.
Simply said, this was a very early fast 'portrait' lens and back in the day (when police wear bemudas ) ;)
No mean feat at that time with f4, f3.5 and f2 generally considered as fast.

The rendering of this lens, is certainly unique.



20150503-DSC02163-2400 by jenkwang, on Flickr
They sure don't render like this nowadays.
 

The CZJ Biotar 75/1.5 is certainly not an easy lens to use imo.
Sharp in the center from wide open, but not so off center until stopped down.
Very good for isolation and portraits.
However, its bokeh in some instances can be polarizing.
Often showing up as swirly bokeh, in which imo, needs to be learned how to use it to its strength, or the instances where it does not appear or the settings where it can mostly be avoided.


20150502-DSC02039-2400 by jenkwang, on Flickr


So, to me, one has to be prepared when buying this lens.
To use it for what it is.
Mainly the history, the lens design and the swirly bokeh.
If one wants a do it all, all situation short tele, there is little point imo to look for such lenses.
Its for the characteristics of the lens and its certainly very strong on the Biotar 75/1.5.



DSC01945-2400 by jenkwang, on Flickr

A longish focal length at 75mm and very fast aperture of f1.5 certainly allows the lens to nice shallow DOF shots for isolation purposes.
 

Really like the use of isolation of colour in the photos of the monk in red robe, as well as the yellow flower. Simple but captivating.
 

nice lens Bro Biotar 75/1.5 always wanted to acquire this just that it's out of my reach in term of $$ ^_^
 


20150503-DSC02112-2400 by jenkwang, on Flickr

Bokeh is swirly from wide open to about f2.5-f2.8 where it diminishes significantly, and totally gone by f4.
Less apparent when focus up close too.

Contrast is generally lower as with most lens with old/no coatings.
Very nice (imo), for people shots and 'soft' things like flowers.



20150503-DSC02150-2400 by jenkwang, on Flickr


There are cheaper lenses like the Russian Helios 44 (58/2), also a Biotar design that give a swirly bokeh.
Honest opinion is that if you are on a budget, just get that.
However, the advantage (and cost) of the 75/1.5 is for that bit longer focal length and faster f-stop.
These 2 in combination, allows for the shallow DOF 'look' for larger subjects and longer distances over the 58mm of the Helios44.
The larger max aperture on the CZJ 75/1.5 also creates a larger out of focus (OOF) highlights even when stopped down to the same aperture.
This makes sense since the f number is a proportion of the max diameter of the lens.
 

Very often, we spend for lens 'perfection' (as if there's such a thing).
For the lens junky, very often, I find myself paying for the imperfections.
The history of the lens design, the lineage, the tactile feel or the lens and usage, lens characteristics.

CZJ Biotar is certainly one such lens.


20150524-DSC03171 by jenkwang, on Flickr
Commanding the Lens Magic - CZJ 75/1.5
 

A week with the only Sonne.


20150531-DSC03397-2400-1 by jenkwang, on Flickr


The name "Sonnar" is derived from the German "Sonne", meaning sun.
In its time in the 1930's it reigned supreme especially on rangefinder lenses, with its small build, fast aperture vs counterparts of that time.
Thought the Planar scheme predates its, its more complicated layout of more lens groups meant that it was prone to internal reflections between the air gaps.
No too practical at that time w/o effective lens coatings.
The Sonnar, with its simpler layout of 3 groups (usually 6 elements) meant that it had less internal reflections and performed better.
 

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20150531-DSC03367-2400 by jenkwang, on Flickr

So then, why this claim of the only Sonnar (Sonne) for the week?
Surely there are the many rangefinder lenses of Sonnar design like the the CZJ 50/1.5; 50/2; 85/2 and their Russian Jupiter clones.

Well, there is a problem for the Sonnar design for SLR in the 50mm focal length.
The rear element will protrude out quite a bit, such that it will not clear the swinging mirror of an SLR.

As such, and in those early days when the Japanese started to venture into camera making, they tired everything and of course the German lens schemes were analyzed intensively.
In the end, only one SLR lens in the 50mm focal length range was made using the Sonnar design. (by any company)
 

The lens is the Pentax Takumar 58/2, was made in 1957 and is the only SLR lens of the 50mm focal length range made using the Sonnar design. .

A rather tiny lens that almost looks like the Canon 50/1.4 ltm in size and silver/black design
Perhaps, RF cameras being the main rivals to the fledgling SLR that Asahi Pentax (and later most Jap makers) had chosen as the camera type to challenge their German counterparts, this lens is made to that sort of feel and look.

Its certainly a smaller lens compared to most SLR normal lenses I've seen.
46mm filter thread
6 elements/ 4 groups
160g
Pre-set aperture



20150531-DSC03401-BW-2400 by jenkwang, on Flickr


Only about 1000pcs were made between '57 and '58.
Mostly because imo, it was already at the time point where lens designs were turning towards the Planar.
It was harder to make because of the exact tolerances for the 3 cemented elements forming the 2nd group, and thus more costly.
This was reflected in price at that time.
2 other 50mm were released together with it, a 58/2.4 (Heliar; again the only one for SLR) and a Planar 55/2.2 which did not help in its sales.
The Planar was cheaper, easier to make and had better field curvature performance (a Planar characteristic).
 


20150531-DSC03452 by jenkwang, on Flickr

Lens character is interesting.
I find that its almost like a Helios 44 (58/2 Biotar), only that its more controlled, better off center, less exaggerated swirly bokeh at large apertures.
That same painterly OOF rendering used up close and that swirly bokeh in some situations.
The swirl seems less in a good way, imo, providing that hint of interest (and sometimes centering the subject) while not too much to be funky.

Lens sharpens up well off center, gradually at f2.8 and plenty fine all round by f8.
I just wonder if it can be better once I send my A7 for a thin filter stack mod (happening soon enough.... can't wait... )
 


20150531-DSC03379 by jenkwang, on Flickr


For me, its almost hard to put this lens down.

Here's a lens which to me, is in that nice 50'ish focal length which is very versatile, usable from wide open and sharpens up nicely stopped down (better to have for a do it all lens), that Sonnar character, with that soft/sharp look and has character in its OOF rendering too, while not being too wild like some lenses (Helios 44; CV35/1.4 comes to my mind ).
Not to mention that its a good small size and feels nicely built and looks good on the aesthetics part.

(ok..ok.... my tune changes .... every week or two, or in a month.... :D )
 


Superman in a package by jenkwang, on Flickr


There is a nice thing about Takumars beyond the good build quality, very smooth feeling focusing and generally good optical performance wrt its time.
Its that buying a set or some is very 'do able'.
Not exactly super hard to find for most of them and not asking for the sky in terms of price.
There is also that piece of Japanese SLR history that one holds onto when owning/handling one.
That old lenses can also take photos (not just the latest and 'greatest')


Old lenses mean that to me, holding on to a core and to history (and not forgetting it )

My last sitting along this hallway by jenkwang, on Flickr
 

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