this man knows how to make a youtube video. a video about vintage lenses, shot with a vintage lens in a classic documentary style and look. I love this channel so much please keep this up!
If you're on a budget, remember older m43 cameras generally had in body image stabilisation when other cameras did not. So your "telephoto" 50mm lens will be stabilised, which offers less blur at low shutter speeds. Micro four thirds in body stabilisation arrived in 2008, and the first 5-axis IBIS in m43 was the Olympus E-M5, 2012.
Having just bought a Fuji x-t1 and owning a number of Nikkor lenses, this video has been invaluable. Thank you very much, as ever I enjoyed watching your work.
Exactly, these are the freaks from japan calling a lens EXC+++++ and then it does have flaws. Same with camera bodies. Usually, the japanese are the *best* in terms of gear - but some are bad sheeps, and selling crap under that label on the 'bay.
Very nice discussion. I would also recommend getting a lens hood for any vintage lens. It will help to keep fingerprints off the front glass. A lens hood will, of course, help keep stray light off the glass for less flare and better contrast.
Using cameras with APSC or M 4/3 sensors allows you to use the central part of the lenses, the one with the highest resolving quality. It also reduces vignetting.
@@barrycohen311 Sure, I'm going in that direction. I bought a digital camera and have never used a modern lens. It's a Fujifilm and I love the results I get with the X-Trans sensor and these lenses; for example I no longer touch the luminance slider in Lightroom.
@@PaisOnAir I'm a Fuji addict myself! It is my main system. I prefer Fuji over my Nikon D810 for most things. I have an X-T2, X-T20, and XT100. The D810 does not get much use since I went with Fuji.
Hey, I just wanted to give you some kudos! This video was clear, organized, concise, direct, and calm. All with a gorgeous use of (I think) natural light, incredible production quality, presentation, and most importantly; real, hard-earned, and useful substance! I was engaged from the first second to the last. And I have enough experience on the subject to not even be your target audience. You have more than earned however many subs you have.
Once again nice video and good tipps. One thing I'd like to add / note: If you shoot with a dumb adapter on a smaller sensor, realize that you may miss some "effects" of certain lenses so beware before you buy. My Zenitar 16mm fisheye w/o a focal reducer is not that much of a fish-eye anymore (but makes for a good 24mm astro-lens) and my Helios 44-3 only has a little bit of swirly bokeh but most of it is lost due to the edges of the lens not making it into the final image. So if you plan on getting a lens for some special characteristics, keep that in mind. For all those other, regular lenses: No need for expensive adapters, any 10-15€/$ one will do (personally like the K&F Concept ones). But on the flipside: lenses tend to be not that sharp in the edges, so on a smaller sensor you hardly ever notice that and when shooting a 35mm as a 70mm on MFT you will have no problems with images being unsharp in the edges.
Had sony A7 for years now and i love my vintage minolta and pentax lenses. I am not really afraid of "bad qualities" that other people say that they have. To me it is more of a character of the lens that you grow to like or not. Fun to shoot!
Same here, I enjoy my A7i and my small collection of minolta lenses. Nevertheless, I would prefer a newer sony camera with ibis to shoot with vintage lenses.
Not sure if you’re going to read this but I want you to know how happy I am that I found your wonderful channel. I subscribed to a lot of photo channels a but yours I is the only one that truly my jam. Specially because you’re all about old vintage lenses and my preferred camera combination is my a7ii coupled with my old trusty Nikon 50mm series e lens. Keep up the excellent work and I hope you keep growing!
Some good advice there. I have a couple of Fuji mirrorless cameras, I bought a Metabones Speedbooster Olympus to Fuji adapter. It wasn't cheap but neither are fuji lenses! It's a joy to be able to use the lenses at the correct focal length plus you also gain a stop of light. Been using a zuiko 50 f 1.4 a super sharp lens with great colours but at f1. 4 the depth of field is wafer thin!. Keep the videos coming enjoyable to watch. Regards, Tim
timothy norris I recently got a gfx100 Fuji, and also bought the Metabones Speedbooster but to adapt older Hasselblad V System lenses to the Fuji GF mount. These Hassy lenses are great and natively cover a much larger image circle for medium format film than what the digital “medium format” requires. This concentrate the lens light and I also get a stop of light increase. I’ve only started with this, but so far I’m blown away with the images I’m getting!! Those native Fuji lenses are $$$, so, after I blew my bankroll on the camera and got in on the Fuji gf50 lens that was on sale for $499, I’m limited for awhile as to new lenses. This is great that I have these vintage lenses to use too. I have the Hassy 80mm, 50mm and 150mm....so I’ve got plenty to keep me busy for a time to come while I start saving money again...
Once again, well done. Following your advise I use several Russian lens on my Olympus EM1 Marl II with very nice results. The Jupiter 11 mounted on the Olympus is a conversation starter for sure.
Great tips. I’m thoroughly enjoying my vintage glass on a Nikon Z50. The Helios 44 2 has been a real surprise. Thank you for the hard work you put into your channel.
I bought the Helios 44 2 for GBP 5 in my city and even though it's ugly and somewhat clumsy (also 58mm is not a useful distance on a crop sensor), I had the best image results coming out from my Fuji X camera, far far better than any modern lens I've ever used on it
Ah, woke up to a new Zenography video, splendid! Lots of very useful information on mirrorless cameras. I've been using a Sony a6000 (full spectrum converted) for over a year now, it's been a lot of fun. That flexibility in lens use is especially nice.
I have always used vintage Olympus lens on my Olympus OMD cameras along with modern lens and I truly believe that shooting with a old nanual lens has taught me far more that any autofocus lens because they make me slow down and compose better. The idea that you can only shoot in A or M is a bit confusing as all modes will work SMAP and Auto with a bit of practise at exposure setting. I shoot in shutter speed mode a lot with my vintage lens to create some interesting shots.
Last week by happenstance I came into an M42 mount Mamiya/Sekor SX 55mm 1.8. It was attached to a body in a box of cameras I made an offer on. It took a few days to get around to trying it on the Z6, but I immediately heard your voice the moment I realized it could render some swirly background blur 😊
I'm going about it all backward; I kept my father's Super Takumar 50 f 1.4, and his father's Mamiya/ Sekor 55mm f1.4, Mamiya/Sekor 135mm f2.8, and a Vivitar 35mm f2.8 lenses, all in great shape due to a solid case & little use, including accessories. I bought an m42 to E mount adaptor. Now all I need is a mirrorless camera.
Be careful that the back of the lens doesn't intrude into the mirror less camera body and damage it. Lenses like the 35mm Jupiter 12 have rear elements that protrude into the camera body. Fine on a Zorki, but may hit the sensor when mounted with an adapter on the camera. Also be careful about collapsible lenses like a 50mm ELMAR or Industar 22. When collapsed, may intrude into the camera body.
Thank you so much, exactly what I was looking for! Inherited a bunch of legacy Nikon F and Minolta gear, including glass. Planned on going with the Sony A7iv but almost switched to Nikon for the F mount.
Oil on the aperture blades can be a sign that the lens was left in a hot environment. The internal lubricants melted and mitigate oil to aperture mechanism and other unwanted places causing further problems.
Another informative constructive video. I use an Olympus OMD em10 mkii with my vintage lenses. My favourites are from Pentax Canon FD and of course Olympus. This camera has a great viewfinder and focus peaking and magnification to aid focussing. Also remember if you have in camera stabilisation to correct the focal length of the lens (can be found in the menu although my lumix GX80 prompts as soon as the lens is mounted).
I started photography in the film days and went on to digital with a Canon 5D full frame. I more recently got a Sony A7, which is fabulous for vintage lenses, as you mention. The focus peaking ensures correct focus and the clean (low noise) sensor allows you to use the ISO as an extra bonus for low light situations. I have a few old Pentax SMC and Olympus Zuiko lenses. I don't like a camera to get in the way of taking photographs and this combination of an A7 body with great old lenses is just lovely for simple, old-school picture taking.
my thoughts about that: 1) select *one* focal length 2) learn to shoot the lens 3) learn zone focusing 4) for your benefit - try to learn from the pike, shoot film, not digital 5) learn the exposure triangle - ISO, aperture & shutterspeed, and the correlation between them I've found digital kinda boring, always better af, more video features, more MP...it's a neverending story, and it does suck for real. Shooting film since a kid into 84, never given it up all my life. Beginners advice - get *any* cheap 35mm SLR you do find (in great optical & mechanical, electronic condition - depends on the shutter, lightmeter or not) with a cheap, matching 50mm nifty-fifty prime. Try to get an eye for composition. Shoot without film - just by looking through the viewfinder, and capture your shot. Get a sense for that. Doing so, you don't waste precious film. /typo fix
Thank you once again! Watching your channel is always a real pleasure, well made and packed with facts and really good advise. It is a real gem on the tube so keep up the excellent work. You always get my thumb up and I have rang the bell:) Zenography is one of my only three subscribed channels. So Sir keep up the really outstanding work!
Fantastic video. I have (for Sony A7 full frame, mirrorless) an anamorphic Helios 44-2 58mm f2, an Olympus 100mm 2.8 and my favourite one: Olympus 50mm 1.4. Can you guys recommend a wide angle? I have seen many videos but I'm an amateur who can't decide. I was looking for something nice for black and white urban landscapes/documentary style (less contrast).
Great video. Thanks. Just one point I would make. It's not necessary to set your camera to "aperture priority". I have a Sony a6000 and several vintage lenses. I prefer to use aperture priority with them because it just makes sense, but many times I have forgotten to make the change, and have left the camera in "intelligent auto". The camera sorts things out and takes perfectly exposed photos in that mode as well.
Great advice, but regarding sensor sizes, I would recommend going with a crop factor on vintage lenses instead of FF. In a lot of those older lenses, the image deteriorates towards the edges, something that can show on FF but not really on cropped sensors.
Excellent video (I did not know tip #6). Over the years I've used a number of film rangefinders with 40mm lenses, so I like using 28mm vintage lenses on my Sony a6400.
And if your camera has a crop sensor, factor that in when you're calculating your minimum shutter speed. A 50mm lens would require at least 1/50s on a full frame, 1/75s on an APS-C (crop 1.5), 1/100s on a M4/3 (crop 2.0), etc.
@airscrew1 The primary factor affecting sharpness of an image due to camera shake is field of view. Thus, you need to factor the crop factor, since sensor size affects the field of view on given focal length. Think about it. The narrower the field of view is, the more a tiny movement of your hand blurs the image (because the more the image changes). Since crop sensor cameras crop the image and thus reduce the field of view compared to full frame, then on a crop sensor camera you have to set an even faster shutter speed to compensate.
@airscrew1 Field of view tells you how large portion of a scene in front of you gets into your frame. Crop factor tells you that a 50mm lens on an APS-C sensor camera yields the same field of view as a 75mm lens on a full frame. You with 50mm/APS-C camera and your friend with 75mm/FF camera see the same thing in your viewfinders if you're shooting from the same spot. Same field of view means same sensitivity to camera shake. Your full frame friend sets 1/75s shutter speed. And since your fields of view are the same, why would you set a different shutter speed, given that the sensitivity to camera shake is the same for both of your cameras? So, even you set 1/75s as a minimum shutter speed on APS-C camera with a 50mm lens.
@airscrew1 I think you're a bit confused about what crop factor actually is. You are correctly stating that crop factor equivalent lenses are not equivalent in everything. That is true. However, you're missing the point that they are equivalent in one thing that matters to our discussion. The field of view. In fact, the whole point of the crop factor is to define the equivalent field of view between lenses on different sensors. The rendering is different, depth of field is different, sure, but the field of view is equivalent.
I can absolutely recommend to buy a DSLM camera that has IBIS. Sure, it would also work without, but it is really incredible, if the lens can release its complete performance power, since it benefits from modern camera features like IBIS or focus peaking.
Hi Nigel, thank you for this video. On Sunday I took some pictures of the Canon FD 5.6/100-200mm with the breech lock (manufactured 1973) on my Nikon Z6. This lens is a great performer, very good image quality and bitingly sharp. You would be pleased. If you wish I can send you some sample images from a wonderful landscape. You can have such a lens for a bargain. Highly recommended! Best wishes and have a nice day, Ralf
Love em or hate em, but I'm a huge fan of focal reducers (on APS-C), my Zhongyi Lens Turbo II was without doubt the best investment I made into my old glass. I bought just one, a Canon EF to Fuji FX - I don't own a single Canon EF lens but with very cheap adapter rings I can mount Pentax K, M42 and pretty much everything to it that's adaptable to Canon DSLRs. Subjectively the picture quality got much better and the lenses are much less hassle to use, you get that stop of extra light that even makes mediocre lenses usable in the evening and indoors, and the image also appears sharper than on a dumb adapter. And, of course, you get the full character of the lens again, like the Helios swirl. It's not for everyone though, pixelpeepers, landscape photographers etc. will complain about edge sharpness, vignetting and some additional reflections, but for portraits and "vintage style" I'm super happy and never used normal adapters again after buying it.
I am wondering if the adapters provide any linkage to the lens, in order to have the iris fully open before the shutter is tripped. Otherwise, when using smallish apertures, it will be almost pitch black in the viewfinder.
Great video, I have learned many things. Your RUclips channel is impressive. Also I will like to add that with manual focus lenses without electronic contacts, that are attached with adapters without electronic contacts too, the IBIS settings should be adjusted according to the focal length. For example IBIS works much differently with ultra wide lenses than with super telephoto lenses. Also IBIS is always more efficient with wide lenses than with super telephoto lenses. That's why telephoto lenses nearly always have internal stabilization system while the recent years, the new wide or normal lenses rarely have internal stabilization system. From my experience the choice of a vintage lens from eBay isn't an easy straightforward task. The price and the feedback of the seller is a good indication of course. The professional eBay sellers of vintage sellers with thousands of positive feedback are very rare. If somebody knows any reputable professional European eBay seller of vintage lenses please inform because I have very little experience.
You should try one of the tilt-shift adapters out there with a medium format lens. (The fotodiox pro TLT would be my recommendation for either M645, P645, or P6x7 as the lenses are fairly cheap)
I would like to suggest you to show the opposite way around, meaning what digital cameras are more suitable than others for using old lenses. I have been asking this question myself but I am very ignorant of digital cameras beyond my panasonics 4/3, and on this issue it seems no one is dealing with. I assume different full frame cameras, for example, will be more easy to handle than others, will have less adapters on the market for old mounts, etc, etc. Cheers.
@@zenography7923 I have seen several of your videos dealing with different digital cameras that can mount old lenses. I ask which ones are the most convenient for this end, which ones are more 'straightforwardly' prepared for old lenses, easier to focus manual lenses, etc .
If I were to give anyone advice who were thinking about trying out vintage glass on Mirrorless is to buy a M42 adapter. Plenty out there and some as cheap as a pint or two of beer ( I base everything on the cost of a pint of beer ). Also don't restrict oneself to only one mount. Adapters are inexpensive. For my Panasonic GX7 I have Adapters for Nikon, Canon FD, Olympus OM, Pentax K, M42, Minolta MC/MD. Any time I'm in a thrift store guess what I'm looking for.
I only have 1 vintage lens, the carl zeiss jena biotar 58mm f2 with 17 aperture blades! Love that lens on a m43 body. What are your thoughts on the biotar 75mm f1.5? Worth it's premium price?
Well that's a legendary lens for sure, though I haven't shot one so can't comment too closely about performance, though as it's an old lens it most likely won't be too sharp wide open. As for whether it's worth its price well, as with all things it's worth it if a) you can comfortably afford it and b) you want one badly enough. The good thing about vintage lenses is that they don't lose their value - you could buy one of these, use it for a while, then if it's not for you just sell it on. More of a loan really, as long as you don't pay too high a price to begin with. If you can do it, give it a go!
@@zenography7923 I actually just got that lens in the mail with an Minolta Srt in perfect conditions. It really is a great lens, but it's a bit too soft wide open. Did you use any settings or filters to add more contrast?
I am planning on buying the Lumix S5 in a couple of months and am looking at using both my Nikon lenses from the Eighties and my Canon Lenses from my 7D. Mostly when shooting stills. The Nikon lens I am most excited about is my 50mm 1.4. What are your thoughts on this lens?
I wonder if it would be possible for you to throw some light on how to make a z6 go into the shutter without lens mode . I have looked around the entire menu, but, haven't been able to find that or probably haven't understood the technical jargon . Will be extremely grateful for your guidance 🙏 regards
Hi there, I'm not familiar with the z6, but I would imagine it's a case of scrolling through the menus until you find it! There are quite a few guides on youtube that would probably be useful too - sorry I can't be of more help!
I guess my price point for "budget" vintage lenses is lower than many. I have yet to find any of the 35mm and 50mm primes that cost less than $80 or so on eBay. I think this adaptation trend is becoming popular!
I have a tip. Older lenses tend to be more prone to flaring and problems with internal reflections. I found that adapters with proper non reflective matt finishes inside work much better. There is a very noticeable difference. What you could do is paint the inside of the adapters that don’t have a proper coating. I have some very matt paint which I’m going to test because some of my adapters have shiny insides.
I remembered testing two EF Lens adapters and the one with internal matte flocking didn't exhibit any reflections while the one with glossy internals was pretty bad.
@@slr7075 Yes. I discovered this through experience. I have two M42 to Sony adapters by K&F that are the same except one has proper non reflective paint inside. I was using the better one most of the time then by chance I used the other one and noticed quite a difference in performance.
Love your channel so much great stuff especially for a newbie like myself. 1 question if I may, you talk about different lenses having different looks, colors, tones etc. Do you mean in RAW files or standard JPG? I know it's probably a stupid question.
Yeah, the color tones of lenses will affect both raw and jpg. I'd say that it's mostly the differences in coatings across the years, though I've got a yellowed radioactive lens that certainly give a distinctive look. At a minimum it will affect the white balance applied in camera (jpg) or in LR (raw). I find though that the effects are much more pervasive than simple white balance, changing the color balance in individual colors across the spectrum. For example, my radioactive Auto Chinon 55mm 1.4 produces very cool tones, especially greens in the shadows which take on a teal cast, while leaving bright yellows and oranges alone. My Tamron 70-210mm f3.8 (46a) has a warm tone, pushing the glow of golden hour and tungsten colored lights and desaturating blues and purples. In both cases, the effect is subtle and isn't likely to be noticed much unless you're comparing photos side by side.
You probably need to spend big for an adapter with a focal reducer because that extra bit of glass has to be good. I know in astronomy the reducers are hundreds of dollars, or pounds. Just picked up a very clean Pentacon auto 50f1.8 and it's really nice. I love using it on my apsc EOS70D Cost with a Praktica MTL3 was $60AU (about 30 pounds). The Bokeh is sooo creamy. Love it Q: Regards lowest shutterspeed for a lens. Using a crop factor (micro 4/3 for example) and a 50mm lens, do I use 1/50th or 1/100th? Thanks for another interesting video - Trevor
did you use a diffusion filter in this video? im loving the image! its quite pleasing. (also i would love it if you could maybe mention the gear you used for each episode in the videodescription?)
@@zenography7923 its wonderful! sadly that would be too long for me, i find myself limited by space with everything over 25mm (because im not using full frame).any recommendations for a wide vintage lens? i tried a canon fd 28mm 2.8, but it does not not excite me particularly (although the reds look beautiful with it)
@@zenography7923 That Minolta lens I've been looking for - was my very first lens on my SRT-101 and I used to love seeing my pics for the first time after collection from the chemist! I've seen the 50mm 1.7 much more frequently...
I guess the obvious question is, if you use a focal reducer on a small sensor to return your vintage lens closer to it's focal length on a full frame sensor, does it also bring back it's close up range?
Assuming the reducer is able to squeeze in all of the full frame image (which they never quite can) then the lens would behave as marked on the barrel, including close focus distance.
Using a lens designed for a bigger format does not change any attributes of the lens on a smaller format. Focal length, minimum focus distance, max aperture, depth of field everything stays the same the only thing that changes is that you are seeing a cropped part of the image because the sensor does not cover the entire circle of light the lens spits out on the back. A 50mm f1.8 lens is a 50mm f1.8 on medium format, 24x36, apsc and m4/3.
You're right, which is why I use the word 'effectively', when describing apparent changes in the focal length of a given lens on different sized sensors.
Well, yes and no. It all depends on the distance between. the lens mount and the sensor of your camera (usually called flange distance). The flange distance of a DSLR is much longer than that of a DSLM, so to mount old lenses on a DSLM you have to add distance, which is easy to do with an adaptor. On a DSLR you will find that many older lenses have a shorter flange distance, so won't focus on your camera. However the good news is that many will adapt - I shot Olympus Zuiko lenss on a Canon 5d Mk1 with great success, and I believe (though I'm not certain) that M42 lenses will mount on that camera as well. So, depending on which DSLR you have, it may shoot some vintage lenses, whereas a DSLM will shoot (almost) all.
Hello sir,, I have SMC Takumar 135mm f2.5 lens, and my camera is Canon Kissx5. I tried taking photos with an aperture of f2.5, the photos turned out dreamy, but at F4 the photos looked sharp. Is that normal? or is there something wrong with my lens or camera? Thanks
A 50mm lens on a smaller than full frame camera still behaves as 50mm. The laws of physics. A 50mm on "full frame" (36mm X 24mm sensor) is called a standard lens, but on medium format would be wide angle and on APS-C a portrait lens. Lenses are designed with several properties: focal length and image circle are but two. An old Zeiss 50mm for Hasselblad was designed with an image circle easily covering the 56mm X 56mm frame. Put that lens on an adapter to your full frame and it gives you 50mm normal. You now use only the center part of the larger image circle. If the Hasselblad-Sony adapter allowed shift or tilt-shift you would benefit from the large image circle. (This was extremely relevant knowledge in the age of large format.) The crop factor basically tells you the comparable focal length when using the larger format lens on a smaller format camera. It is calculated from a format that is normal for you. A 50 full frame is a 50 on APS-C but gives an angle of view that an 80 would give ON FULL FRAME. And the aperture stays the same. If you want to get a feeling for depth of field, as experienced full frame shooter who thinks in full frame focal lengths, then when you apply the crop factor to the focal length you also apply it to the aperture. Not because exposure changes but because a 50 has more depth of field than an 80.
You're right - that's why I use the word 'effectively' when discussing apparent changes in a given lens on different sized sensors. It's physics, not magic - but it does feel a bit like magic sometimes!
Most vintage lenses aren't as sharp as moderns but for me that's part of their charm. If you want a really sharp vintage lens, try the Carl Zeiss Jena Pancolar 50mm - you could cut yourself with that one!
@@zenography7923 Buy vintage lenses that you can use on other cameras that you own or plan to buy. For example, I use LTM and Nikon F mount cameras. When I got my M4/3 Olympus, I bought LTM and Nikon F adapters so that I could use the lenses that I have and are likely to buy. Thanks for asking about my post. It was poorly written.
1) If there's oil on the aperture, it will DEFINITELY seep onto glass, sooner than later. If there's oil on the aperture, that particular lens was almost certainly stored at the attic, where high temperatures dissolve the oil. That's almost as bad as if the lens was stored in the cellar, where it will develop mold inside over time. It's not the end of the world, but that lens has to be serviced, course oil on the glass deteriorates image quality dramatically. DON'T buy that lens unless it's 50% off and really nice peace of kit. That reduction in price will pay for repair and you'll have even at least enough cash to spare for a Q pack of beer 😉 If we are talking about cheap lens, demand still 50% off and clean that lens yourself. If you can't, than simply move on. 2) If you have shaky hands, buy an mirrorless camera with IBIS. Or an tripod. Or stop drinking 🤣 3) I'm using vintage lenses on Fuji APSC cameras, with dumb adapter and focal reducer (speedbooster) with great success. And while you can't have any artefacts with dumb adapters other than different viewing angle, certain lenses get some with focal reducer under certain conditions like flaring, softness (mostly if the lens is wide open) and even swirl.
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this man knows how to make a youtube video. a video about vintage lenses, shot with a vintage lens in a classic documentary style and look. I love this channel so much please keep this up!
You should also tag this #asmr camera chat 😃. The most relaxing photography channel out there
Thanks, glad you're enjoying it!
Agreed, such a relaxing voice to listen to
it's on the verge of sinister at times. he could be drugged
other times like listening to your old grandad
If you're on a budget, remember older m43 cameras generally had in body image stabilisation when other cameras did not. So your "telephoto" 50mm lens will be stabilised, which offers less blur at low shutter speeds. Micro four thirds in body stabilisation arrived in 2008, and the first 5-axis IBIS in m43 was the Olympus E-M5, 2012.
Having just bought a Fuji x-t1 and owning a number of Nikkor lenses, this video has been invaluable. Thank you very much, as ever I enjoyed watching your work.
eBay sellers:
Exc+++++
No Haze
No Separation
No scratch
Beautiful glass
*Has fungus*
Me: *_What, heck no_*
Exc+++
Missing front element
Like bruh cmon
They always try to hide the fungus, at the bottom of descriptions. 😂
Exactly, these are the freaks from japan calling a lens EXC+++++ and then it does have flaws. Same with camera bodies. Usually, the japanese are the *best* in terms of gear - but some are bad sheeps, and selling crap under that label on the 'bay.
Your knowledge and humility is very admirable. Much love from USA.
Very nice discussion. I would also recommend getting a lens hood for any vintage lens. It will help to keep fingerprints off the front glass. A lens hood will, of course, help keep stray light off the glass for less flare and better contrast.
Agreed - most vintage lenses benefit from a hood!
Using cameras with APSC or M 4/3 sensors allows you to use the central part of the lenses, the one with the highest resolving quality. It also reduces vignetting.
Great point, But there are many crazies like me who want :the weird stuff and defects." :-)
I agree, although this can have loss of micro-contrast in some cases.
@@Willymaze Really? Why? Where can I read about this?
@@barrycohen311 Sure, I'm going in that direction. I bought a digital camera and have never used a modern lens. It's a Fujifilm and I love the results I get with the X-Trans sensor and these lenses; for example I no longer touch the luminance slider in Lightroom.
@@PaisOnAir I'm a Fuji addict myself! It is my main system. I prefer Fuji over my Nikon D810 for most things. I have an X-T2, X-T20, and XT100. The D810 does not get much use since I went with Fuji.
Hey, I just wanted to give you some kudos!
This video was clear, organized, concise, direct, and calm. All with a gorgeous use of (I think) natural light, incredible production quality, presentation, and most importantly; real, hard-earned, and useful substance!
I was engaged from the first second to the last. And I have enough experience on the subject to not even be your target audience. You have more than earned however many subs you have.
Once again nice video and good tipps.
One thing I'd like to add / note: If you shoot with a dumb adapter on a smaller sensor, realize that you may miss some "effects" of certain lenses so beware before you buy.
My Zenitar 16mm fisheye w/o a focal reducer is not that much of a fish-eye anymore (but makes for a good 24mm astro-lens) and my Helios 44-3 only has a little bit of swirly bokeh but most of it is lost due to the edges of the lens not making it into the final image. So if you plan on getting a lens for some special characteristics, keep that in mind. For all those other, regular lenses: No need for expensive adapters, any 10-15€/$ one will do (personally like the K&F Concept ones).
But on the flipside: lenses tend to be not that sharp in the edges, so on a smaller sensor you hardly ever notice that and when shooting a 35mm as a 70mm on MFT you will have no problems with images being unsharp in the edges.
You're right of course, thanks for the info.
Had sony A7 for years now and i love my vintage minolta and pentax lenses.
I am not really afraid of "bad qualities" that other people say that they have. To me it is more of a character of the lens that you grow to like or not.
Fun to shoot!
Absolutely, I couldn't agree more! So called faults and flaws can be very nice aesthetically!
Same here, I enjoy my A7i and my small collection of minolta lenses. Nevertheless, I would prefer a newer sony camera with ibis to shoot with vintage lenses.
Very helpful. I am just starting this. Finding the right lenses in good condition a treasure hunt.
Glad it was helpful!
Not sure if you’re going to read this but I want you to know how happy I am that I found your wonderful channel. I subscribed to a lot of photo channels a but yours I is the only one that truly my jam. Specially because you’re all about old vintage lenses and my preferred camera combination is my a7ii coupled with my old trusty Nikon 50mm series e lens. Keep up the excellent work and I hope you keep growing!
Many thanks Miguel for your kind remarks, and I'm very glad you're enjoying the channel!
Some good advice there. I have a couple of Fuji mirrorless cameras, I bought a Metabones Speedbooster Olympus to Fuji adapter. It wasn't cheap but neither are fuji lenses! It's a joy to be able to use the lenses at the correct focal length plus you also gain a stop of light. Been using a zuiko 50 f 1.4 a super sharp lens with great colours but at f1. 4 the depth of field is wafer thin!. Keep the videos coming enjoyable to watch. Regards, Tim
timothy norris I recently got a gfx100 Fuji, and also bought the Metabones Speedbooster but to adapt older Hasselblad V System lenses to the Fuji GF mount.
These Hassy lenses are great and natively cover a much larger image circle for medium format film than what the digital “medium format” requires.
This concentrate the lens light and I also get a stop of light increase.
I’ve only started with this, but so far I’m blown away with the images I’m getting!!
Those native Fuji lenses are $$$, so, after I blew my bankroll on the camera and got in on the Fuji gf50 lens that was on sale for $499, I’m limited for awhile as to new lenses. This is great that I have these vintage lenses to use too. I have the Hassy 80mm, 50mm and 150mm....so I’ve got plenty to keep me busy for a time to come while I start saving money again...
Enjoy those Zuikos!
Thank you Nigel! I totally forgot about Aperture priority for manual lenses! Cheers, Dave.
Very glad you enjoyed it Dave, thanks for looking in!
Once again, well done. Following your advise I use several Russian lens on my Olympus EM1 Marl II with very nice results. The Jupiter 11 mounted on the Olympus is a conversation starter for sure.
Great lens, my Jupiter-11 is very sharp for a vintage lens. Plus you get the classic Sonnar design rendering.
I think the J11 is a rather under-rated gem!
Great tips. I’m thoroughly enjoying my vintage glass on a Nikon Z50. The Helios 44 2 has been a real surprise. Thank you for the hard work you put into your channel.
Many thanks, very glad you're enjoying the channel, and the Helios! It's a simple little lens but very capable!
Loved! I’ve been using “vintage” lenses since 2017 on my LUMIX G7. Thank you so much for the content....
Many thanks, glad you enjoyed it!
I bought the Helios 44 2 for GBP 5 in my city and even though it's ugly and somewhat clumsy (also 58mm is not a useful distance on a crop sensor), I had the best image results coming out from my Fuji X camera, far far better than any modern lens I've ever used on it
The Helios does work nicely on the X Trans sensors - enjoy!
You have helped me tremendously just at the right time. Thank you.
Very glad I've been able to help!
Ah, woke up to a new Zenography video, splendid! Lots of very useful information on mirrorless cameras. I've been using a Sony a6000 (full spectrum converted) for over a year now, it's been a lot of fun. That flexibility in lens use is especially nice.
The a6000 is a great little camera - small, unobtrusive and great images too!
I have always used vintage Olympus lens on my Olympus OMD cameras along with modern lens and I truly believe that shooting with a old nanual lens has taught me far more that any autofocus lens because they make me slow down and compose better. The idea that you can only shoot in A or M is a bit confusing as all modes will work SMAP and Auto with a bit of practise at exposure setting. I shoot in shutter speed mode a lot with my vintage lens to create some interesting shots.
Last week by happenstance I came into an M42 mount Mamiya/Sekor SX 55mm 1.8. It was attached to a body in a box of cameras I made an offer on. It took a few days to get around to trying it on the Z6, but I immediately heard your voice the moment I realized it could render some swirly background blur 😊
You can't beat a bit of the swirly stuff!
I'm going about it all backward; I kept my father's Super Takumar 50 f 1.4, and his father's Mamiya/ Sekor 55mm f1.4, Mamiya/Sekor 135mm f2.8, and a Vivitar 35mm f2.8 lenses, all in great shape due to a solid case & little use, including accessories. I bought an m42 to E mount adaptor. Now all I need is a mirrorless camera.
I've subscribed. This is a good way to learn how cameras work and its also on a budget.
Be careful that the back of the lens doesn't intrude into the mirror less camera body and damage it.
Lenses like the 35mm Jupiter 12 have rear elements that protrude into the camera body. Fine on a Zorki, but may hit the sensor when mounted with an adapter on the camera.
Also be careful about collapsible lenses like a 50mm ELMAR or Industar 22. When collapsed, may intrude into the camera body.
Thank you so much, exactly what I was looking for! Inherited a bunch of legacy Nikon F and Minolta gear, including glass. Planned on going with the Sony A7iv but almost switched to Nikon for the F mount.
Glad it was helpful!
Oil on the aperture blades can be a sign that the lens was left in a hot environment. The internal lubricants melted and mitigate oil to aperture mechanism and other unwanted places causing further problems.
Another informative constructive video.
I use an Olympus OMD em10 mkii with my vintage lenses. My favourites are from Pentax Canon FD and of course Olympus. This camera has a great viewfinder and focus peaking and magnification to aid focussing. Also remember if you have in camera stabilisation to correct the focal length of the lens (can be found in the menu although my lumix GX80 prompts as soon as the lens is mounted).
Thanks for the info!
I started photography in the film days and went on to digital with a Canon 5D full frame. I more recently got a Sony A7, which is fabulous for vintage lenses, as you mention. The focus peaking ensures correct focus and the clean (low noise) sensor allows you to use the ISO as an extra bonus for low light situations. I have a few old Pentax SMC and Olympus Zuiko lenses. I don't like a camera to get in the way of taking photographs and this combination of an A7 body with great old lenses is just lovely for simple, old-school picture taking.
It's a really nice combination - check out this week's video for my take on it, and the A7R!
my thoughts about that:
1) select *one* focal length
2) learn to shoot the lens
3) learn zone focusing
4) for your benefit - try to learn from the pike, shoot film, not digital
5) learn the exposure triangle - ISO, aperture & shutterspeed, and the correlation between them
I've found digital kinda boring, always better af, more video features, more MP...it's a neverending story,
and it does suck for real. Shooting film since a kid into 84, never given it up all my life.
Beginners advice - get *any* cheap 35mm SLR you do find (in great optical & mechanical, electronic condition - depends on the shutter, lightmeter or not) with a cheap, matching 50mm nifty-fifty prime. Try to get an eye for composition. Shoot without film - just by looking through the viewfinder, and capture your shot. Get a sense for that. Doing so, you don't waste precious film.
/typo fix
Thank you once again! Watching your channel is always a real pleasure, well made and packed with facts and really good advise. It is a real gem on the tube so keep up the excellent work. You always get my thumb up and I have rang the bell:) Zenography is one of my only three subscribed channels. So Sir keep up the really outstanding work!
Many thanks, I'm very glad you're enjoying the channel!
Love my old Minolta 50 1.7.
Epically underrated cameras and lenses. Love Minolta.
Fantastic video.
I have (for Sony A7 full frame, mirrorless) an anamorphic Helios 44-2 58mm f2, an Olympus 100mm 2.8 and my favourite one: Olympus 50mm 1.4.
Can you guys recommend a wide angle? I have seen many videos but I'm an amateur who can't decide. I was looking for something nice for black and white urban landscapes/documentary style (less contrast).
Great video. Thanks. Just one point I would make. It's not necessary to set your camera to "aperture priority". I have a Sony a6000 and several vintage lenses. I prefer to use aperture priority with them because it just makes sense, but many times I have forgotten to make the change, and have left the camera in "intelligent auto". The camera sorts things out and takes perfectly exposed photos in that mode as well.
Thanks for the tip - that makes eight!
A wonderful primer!
Great advice, but regarding sensor sizes, I would recommend going with a crop factor on vintage lenses instead of FF. In a lot of those older lenses, the image deteriorates towards the edges, something that can show on FF but not really on cropped sensors.
Absolutely - the sharpest part of the lens is in the centre - thanks for the tip!
Excellent video (I did not know tip #6). Over the years I've used a number of film rangefinders with 40mm lenses, so I like using 28mm vintage lenses on my Sony a6400.
I really like a 40mm lens - it just seems right for the street!
Very helpful video thanks for sharing 🙏
Many thanks, glad you enjoyed it!
Just bought a Canon F1.8 50mm , Adapter and UV filter for $50. Pics are solid at F2.8
And if your camera has a crop sensor, factor that in when you're calculating your minimum shutter speed. A 50mm lens would require at least 1/50s on a full frame, 1/75s on an APS-C (crop 1.5), 1/100s on a M4/3 (crop 2.0), etc.
@airscrew1 The primary factor affecting sharpness of an image due to camera shake is field of view. Thus, you need to factor the crop factor, since sensor size affects the field of view on given focal length. Think about it. The narrower the field of view is, the more a tiny movement of your hand blurs the image (because the more the image changes). Since crop sensor cameras crop the image and thus reduce the field of view compared to full frame, then on a crop sensor camera you have to set an even faster shutter speed to compensate.
@airscrew1 Field of view tells you how large portion of a scene in front of you gets into your frame. Crop factor tells you that a 50mm lens on an APS-C sensor camera yields the same field of view as a 75mm lens on a full frame. You with 50mm/APS-C camera and your friend with 75mm/FF camera see the same thing in your viewfinders if you're shooting from the same spot. Same field of view means same sensitivity to camera shake. Your full frame friend sets 1/75s shutter speed. And since your fields of view are the same, why would you set a different shutter speed, given that the sensitivity to camera shake is the same for both of your cameras? So, even you set 1/75s as a minimum shutter speed on APS-C camera with a 50mm lens.
@airscrew1 I think you're a bit confused about what crop factor actually is. You are correctly stating that crop factor equivalent lenses are not equivalent in everything. That is true. However, you're missing the point that they are equivalent in one thing that matters to our discussion. The field of view. In fact, the whole point of the crop factor is to define the equivalent field of view between lenses on different sensors. The rendering is different, depth of field is different, sure, but the field of view is equivalent.
I can absolutely recommend to buy a DSLM camera that has IBIS. Sure, it would also work without, but it is really incredible, if the lens can release its complete performance power, since it benefits from modern camera features like IBIS or focus peaking.
I've never used a camera with ibis - must try one soon!
FWIW, tip #8: use the editable copyright feature of your camera's EXIF data system to tag the images with the vintage lens model.
Hi Nigel, thank you for this video. On Sunday I took some pictures of the Canon FD 5.6/100-200mm with the breech lock (manufactured 1973) on my Nikon Z6. This lens is a great performer, very good image quality and bitingly sharp. You would be pleased. If you wish I can send you some sample images from a wonderful landscape. You can have such a lens for a bargain. Highly recommended! Best wishes and have a nice day, Ralf
That sounds like a very nice lens - I'd love to see the images - you can send them to zenography11@gmail.com Thanks!
@@zenography7923 Hi Nigel, have a look in your mailbox. I've sent you some samples what this wonderful lens can do.
Sees title.. I'm in!
Welcome!
Excellent helpful video !...
Glad you liked it
Love em or hate em, but I'm a huge fan of focal reducers (on APS-C), my Zhongyi Lens Turbo II was without doubt the best investment I made into my old glass. I bought just one, a Canon EF to Fuji FX - I don't own a single Canon EF lens but with very cheap adapter rings I can mount Pentax K, M42 and pretty much everything to it that's adaptable to Canon DSLRs.
Subjectively the picture quality got much better and the lenses are much less hassle to use, you get that stop of extra light that even makes mediocre lenses usable in the evening and indoors, and the image also appears sharper than on a dumb adapter. And, of course, you get the full character of the lens again, like the Helios swirl.
It's not for everyone though, pixelpeepers, landscape photographers etc. will complain about edge sharpness, vignetting and some additional reflections, but for portraits and "vintage style" I'm super happy and never used normal adapters again after buying it.
I hope to explore focal reducers soon!
I am wondering if the adapters provide any linkage to the lens, in order to have the iris fully open before the shutter is tripped.
Otherwise, when using smallish apertures, it will be almost pitch black in the viewfinder.
Great vidéo ! Thank you
Great video, I have learned many things. Your RUclips channel is impressive.
Also I will like to add that with manual focus lenses without electronic contacts, that are attached with adapters without electronic contacts too, the IBIS settings should be adjusted according to the focal length.
For example IBIS works much differently with ultra wide lenses than with super telephoto lenses. Also IBIS is always more efficient with wide lenses than with super telephoto lenses. That's why telephoto lenses nearly always have internal stabilization system while the recent years, the new wide or normal lenses rarely have internal stabilization system.
From my experience the choice of a vintage lens from eBay isn't an easy straightforward task. The price and the feedback of the seller is a good indication of course. The professional eBay sellers of vintage sellers with thousands of positive feedback are very rare.
If somebody knows any reputable professional European eBay seller of vintage lenses please inform because I have very little experience.
You shouldn't go too far wrong if you stick to clearly described lenses - and if it's not as described you have the right to return!
chi cazzo ha messo dislike sul video del Maestro ????????.......shame on you !
Thank you for a very informative ( as usual) video
Many thanks, glad you enjoyed it!
Thanks for ALL your videos. If you and Ted Viera don't have the most seductive voices on You Tube then I don't know who does.
Glad you're enjoying the videos, many thanks!
You should try one of the tilt-shift adapters out there with a medium format lens. (The fotodiox pro TLT would be my recommendation for either M645, P645, or P6x7 as the lenses are fairly cheap)
That's a really interesting idea, thanks Ava!
I would like to suggest you to show the opposite way around, meaning what digital cameras are more suitable than others for using old lenses. I have been asking this question myself but I am very ignorant of digital cameras beyond my panasonics 4/3, and on this issue it seems no one is dealing with.
I assume different full frame cameras, for example, will be more easy to handle than others, will have less adapters on the market for old mounts, etc, etc.
Cheers.
Thanks for the suggestion - I'll bear it in mind!
@@zenography7923 I have seen several of your videos dealing with different digital cameras that can mount old lenses. I ask which ones are the most convenient for this end, which ones are more 'straightforwardly' prepared for old lenses, easier to focus manual lenses, etc .
If I were to give anyone advice who were thinking about trying out vintage glass on Mirrorless is to buy a M42 adapter. Plenty out there and some as cheap as a pint or two of beer ( I base everything on the cost of a pint of beer ). Also don't restrict oneself to only one mount. Adapters are inexpensive. For my Panasonic GX7 I have Adapters for Nikon, Canon FD, Olympus OM, Pentax K, M42, Minolta MC/MD. Any time I'm in a thrift store guess what I'm looking for.
An m42 adaptor + mirrorless camera + lens = joy!
I only have 1 vintage lens, the carl zeiss jena biotar 58mm f2 with 17 aperture blades! Love that lens on a m43 body. What are your thoughts on the biotar 75mm f1.5? Worth it's premium price?
Well that's a legendary lens for sure, though I haven't shot one so can't comment too closely about performance, though as it's an old lens it most likely won't be too sharp wide open. As for whether it's worth its price well, as with all things it's worth it if a) you can comfortably afford it and b) you want one badly enough. The good thing about vintage lenses is that they don't lose their value - you could buy one of these, use it for a while, then if it's not for you just sell it on. More of a loan really, as long as you don't pay too high a price to begin with. If you can do it, give it a go!
Nice peaceful chat, really liking this format. What lens did you use to film? The bokeh is so smooth, but with a character. Thanks!
Thanks, glad you liked it! I shot this with an Minolta PF 50mm 1.4, wide open on a Sony A7.
@@zenography7923 I actually just got that lens in the mail with an Minolta Srt in perfect conditions. It really is a great lens, but it's a bit too soft wide open. Did you use any settings or filters to add more contrast?
I am planning on buying the Lumix S5 in a couple of months and am looking at using both my Nikon lenses from the Eighties and my Canon Lenses from my 7D. Mostly when shooting stills. The Nikon lens I am most excited about is my 50mm 1.4. What are your thoughts on this lens?
I wonder if it would be possible for you to throw some light on how to make a z6 go into the shutter without lens mode . I have looked around the entire menu, but, haven't been able to find that or probably haven't understood the technical jargon . Will be extremely grateful for your guidance 🙏 regards
Hi there, I'm not familiar with the z6, but I would imagine it's a case of scrolling through the menus until you find it! There are quite a few guides on youtube that would probably be useful too - sorry I can't be of more help!
I guess my price point for "budget" vintage lenses is lower than many. I have yet to find any of the 35mm and 50mm primes that cost less than $80 or so on eBay. I think this adaptation trend is becoming popular!
It's true, but there are still bargains out there, as my lens collection proves! Patience is the key my friend!
@@zenography7923 Agreed. Your videos have reinforced my interest in this genre of photography. Thanks!
Thanks for a fantastic channel. Just wondering if a focal reducer will degrade the image quality with there being that extra element of glass...
Extra glass will always degrade the image to some extent, and some more so than others. A good quality one will likely give good results.
I have a tip. Older lenses tend to be more prone to flaring and problems with internal reflections. I found that adapters with proper non reflective matt finishes inside work much better. There is a very noticeable difference. What you could do is paint the inside of the adapters that don’t have a proper coating. I have some very matt paint which I’m going to test because some of my adapters have shiny insides.
Thanks for the tip!
I remembered testing two EF Lens adapters and the one with internal matte flocking didn't exhibit any reflections while the one with glossy internals was pretty bad.
@@slr7075 Yes. I discovered this through experience. I have two M42 to Sony adapters by K&F that are the same except one has proper non reflective paint inside. I was using the better one most of the time then by chance I used the other one and noticed quite a difference in performance.
Love your channel so much great stuff especially for a newbie like myself. 1 question if I may, you talk about different lenses having different looks, colors, tones etc. Do you mean in RAW files or standard JPG? I know it's probably a stupid question.
Both raw and jpeg.
Yeah, the color tones of lenses will affect both raw and jpg. I'd say that it's mostly the differences in coatings across the years, though I've got a yellowed radioactive lens that certainly give a distinctive look. At a minimum it will affect the white balance applied in camera (jpg) or in LR (raw). I find though that the effects are much more pervasive than simple white balance, changing the color balance in individual colors across the spectrum.
For example, my radioactive Auto Chinon 55mm 1.4 produces very cool tones, especially greens in the shadows which take on a teal cast, while leaving bright yellows and oranges alone. My Tamron 70-210mm f3.8 (46a) has a warm tone, pushing the glow of golden hour and tungsten colored lights and desaturating blues and purples.
In both cases, the effect is subtle and isn't likely to be noticed much unless you're comparing photos side by side.
You probably need to spend big for an adapter with a focal reducer because that extra bit of glass has to be good. I know in astronomy the reducers are hundreds of dollars, or pounds.
Just picked up a very clean Pentacon auto 50f1.8 and it's really nice. I love using it on my apsc EOS70D Cost with a Praktica MTL3 was $60AU (about 30 pounds). The Bokeh is sooo creamy. Love it
Q: Regards lowest shutterspeed for a lens. Using a crop factor (micro 4/3 for example) and a 50mm lens, do I use 1/50th or 1/100th?
Thanks for another interesting video - Trevor
You should use 100th - I ought to have mentioned that!
@@zenography7923 thank you.
You can’t beat the Olympus OM lenses if your going vintage.... plus get a speed booster adapter and your on to a winner
A nice OM Zuiko is hard to beat, no doubt about it!
did you use a diffusion filter in this video? im loving the image! its quite pleasing. (also i would love it if you could maybe mention the gear you used for each episode in the videodescription?)
No diffusion filter, just an old Minolta pf 58mm 1.4 (at f2) and a sony a7!
@@zenography7923 its wonderful! sadly that would be too long for me, i find myself limited by space with everything over 25mm (because im not using full frame).any recommendations for a wide vintage lens? i tried a canon fd 28mm 2.8, but it does not not excite me particularly (although the reds look beautiful with it)
@@zenography7923 That Minolta lens I've been looking for - was my very first lens on my SRT-101 and I used to love seeing my pics for the first time after collection from the chemist! I've seen the 50mm 1.7 much more frequently...
I disagree with not using full frame. You can get different utility on smaller sensors. It has its place.
I guess the obvious question is, if you use a focal reducer on a small sensor to return your vintage lens closer to it's focal length on a full frame sensor, does it also bring back it's close up range?
Assuming the reducer is able to squeeze in all of the full frame image (which they never quite can) then the lens would behave as marked on the barrel, including close focus distance.
Using a lens designed for a bigger format does not change any attributes of the lens on a smaller format. Focal length, minimum focus distance, max aperture, depth of field everything stays the same the only thing that changes is that you are seeing a cropped part of the image because the sensor does not cover the entire circle of light the lens spits out on the back. A 50mm f1.8 lens is a 50mm f1.8 on medium format, 24x36, apsc and m4/3.
You're right, which is why I use the word 'effectively', when describing apparent changes in the focal length of a given lens on different sized sensors.
Zenography thanks for your reply. Vintage glass on digital cameras makes shooting fun.
Is there any reason why you wouldn't be able to mount vintage lenses on DSLR cameras in the same way as you do with DSLMs?
Well, yes and no. It all depends on the distance between. the lens mount and the sensor of your camera (usually called flange distance). The flange distance of a DSLR is much longer than that of a DSLM, so to mount old lenses on a DSLM you have to add distance, which is easy to do with an adaptor. On a DSLR you will find that many older lenses have a shorter flange distance, so won't focus on your camera. However the good news is that many will adapt - I shot Olympus Zuiko lenss on a Canon 5d Mk1 with great success, and I believe (though I'm not certain) that M42 lenses will mount on that camera as well. So, depending on which DSLR you have, it may shoot some vintage lenses, whereas a DSLM will shoot (almost) all.
Hello sir,, I have SMC Takumar 135mm f2.5 lens, and my camera is Canon Kissx5. I tried taking photos with an aperture of f2.5, the photos turned out dreamy, but at F4 the photos looked sharp. Is that normal? or is there something wrong with my lens or camera? Thanks
It ought to be a bit sharper at f4, but should be pretty sharp at f2.5 too. It sounds like the lens may be faulty.
Thanks for the video, I have an Industar 61 mounted on my Canon Eosr but cannot seem to get the focus peaking to work..
This might be a silly question, but have you switched peaking on? It's usually off by default.
@@zenography7923 all sorted many thanks..
A 50mm lens on a smaller than full frame camera still behaves as 50mm. The laws of physics.
A 50mm on "full frame" (36mm X 24mm sensor) is called a standard lens, but on medium format would be wide angle and on APS-C a portrait lens.
Lenses are designed with several properties: focal length and image circle are but two.
An old Zeiss 50mm for Hasselblad was designed with an image circle easily covering the 56mm X 56mm frame. Put that lens on an adapter to your full frame and it gives you 50mm normal. You now use only the center part of the larger image circle. If the Hasselblad-Sony adapter allowed shift or tilt-shift you would benefit from the large image circle. (This was extremely relevant knowledge in the age of large format.)
The crop factor basically tells you the comparable focal length when using the larger format lens on a smaller format camera. It is calculated from a format that is normal for you.
A 50 full frame is a 50 on APS-C but gives an angle of view that an 80 would give ON FULL FRAME. And the aperture stays the same. If you want to get a feeling for depth of field, as experienced full frame shooter who thinks in full frame focal lengths, then when you apply the crop factor to the focal length you also apply it to the aperture. Not because exposure changes but because a 50 has more depth of field than an 80.
You're right - that's why I use the word 'effectively' when discussing apparent changes in a given lens on different sized sensors. It's physics, not magic - but it does feel a bit like magic sometimes!
Why do you use a micro 4/3 adapter on a Sony A7?
I don't!
Iv tried a lot of old lens,s with my Sony a73, but more often than not I delete most of my pictures,I find them quite soft,not very sharp.
Most vintage lenses aren't as sharp as moderns but for me that's part of their charm. If you want a really sharp vintage lens, try the Carl Zeiss Jena Pancolar 50mm - you could cut yourself with that one!
thanks :)
No problem!
Odd that you begin the video recommending full-frame cameras but then spend the rest of it demonstrating everything using a micro four thirds?
I thought the same but for handling this is meaningless!!!
Almost all their functions are the same, and I was shooting on the full frame camera so couldn't use it in the video.
Get vintage lenses that will work with other cameras that you use.
Not sure what you mean Steve?
@@zenography7923 Buy vintage lenses that you can use on other cameras that you own or plan to buy.
For example, I use LTM and Nikon F mount cameras. When I got my M4/3 Olympus, I bought LTM and Nikon F adapters so that I could use the lenses that I have and are likely to buy. Thanks for asking about my post. It was poorly written.
1) If there's oil on the aperture, it will DEFINITELY seep onto glass, sooner than later. If there's oil on the aperture, that particular lens was almost certainly stored at the attic, where high temperatures dissolve the oil. That's almost as bad as if the lens was stored in the cellar, where it will develop mold inside over time. It's not the end of the world, but that lens has to be serviced, course oil on the glass deteriorates image quality dramatically. DON'T buy that lens unless it's 50% off and really nice peace of kit. That reduction in price will pay for repair and you'll have even at least enough cash to spare for a Q pack of beer 😉
If we are talking about cheap lens, demand still 50% off and clean that lens yourself. If you can't, than simply move on.
2) If you have shaky hands, buy an mirrorless camera with IBIS. Or an tripod. Or stop drinking 🤣
3) I'm using vintage lenses on Fuji APSC cameras, with dumb adapter and focal reducer (speedbooster) with great success. And while you can't have any artefacts with dumb adapters other than different viewing angle, certain lenses get some with focal reducer under certain conditions like flaring, softness (mostly if the lens is wide open) and even swirl.
Agreed - if you're buying lenses with known faults, a significant price reduction should be applied!
Oi
Eh up! (As we say in the north...)
I didn't think the human brain could function on this much Xanax. Please, I need more boredom.
Jesus Christ, I'm pretty sure you're a vampire
Hmmm. He does often recommend old, Eastern European lenses.
:)
:)