stgrove wrote:
Based on my current experience with my 75 SPII order, it will be a long time that I again order from LLL. They sent me an email on 4/20 saying that it was shipping. For one week I have been tracking the Fedex number they gave me and Fedex keeps saying they have not received the package yet. Come on this is not rocket science.
So why send out a bogus ship date when they had no intention of shipping the lens on 4/20?
Yeah definitely some wild stuff with the dates. I had same experience with their LTM-M adapter I ordered in March and now again with the 75. Ordered 5/4 with radio silence until 5/22 when I emailed. Received a short reply saying it 'should be fulfilled by end of the month’. I’m sure lots of it could be on the US customs side. No problem being patient, just would like some ideas of where things are at…
Light Lens Lab is teasing a new member of the Z21 family lens lineup. I can't disclose what it is or any of its specifications at this time, but I already have one in hand for review. More details when the embargo lifts.
rico wrote:
Midfield dip: what was old is new again.
To be fair, if the goal is to recreate classic lenses, that means bringing back both the strengths and the quirks. A midfield dip may not be on many modern lens designers' wish lists, but it was certainly part of the vintage lens experience.
For this particular lens, though, based on from my own testing, I don't see much of a midfield dip. If anything, performance appears quite even across the frame. What I see is a some astigmatism and field curvature. Even then, the more harmonious performance across the image field is actually a notable improvement over the LLL 50mm f/1.5 Z21.
Of the four LLL lenses that I own, the most challenging to use (especially on a rangefinder) is the 50mm f/1.2 '1966.' That being said, if I had to choose just one to keep, that would be the one. It creates a completely unique look wide-open - highish contrast, lots of glow, very small area of sharp focus, lots of swirl, lots of mechanical vignette, smooth/less structured blur. Their newer 50's Z21 and ZS6 seemingly do most of those things, but with a very structured/soap bubble draw that is not to my taste.
Fred Miranda wrote:
Light Lens Lab is teasing a new member of the Z21 family lens lineup. I can't disclose what it is or any of its specifications at this time, but I already have one in hand for review. More details when the embargo lifts.
I find this a bit of click bait from LLL (not you Fred) since I do not have a ship date from my 11873 order of April and my order of the 50/1.9 Rigid yet either. As most of us we pay and then hope for the best from LLL which right now makes me wonder where their priorities are.
_jim_ wrote:
Of the four LLL lenses that I own, the most challenging to use (especially on a rangefinder) is the 50mm f/1.2 '1966.' That being said, if I had to choose just one to keep, that would be the one. It creates a completely unique look wide-open - highish contrast, lots of glow, very small area of sharp focus, lots of swirl, lots of mechanical vignette, smooth/less structured blur. Their newer 50's Z21 and ZS6 seemingly do most of those things, but with a very structured/soap bubble draw that is not to my taste.
I agree, the 50/1.2 1966 has a very unique rendering. It offers smooth transitions, yet at the same time doesn't look modern at all. I also like the cooler color cast from the coatings. We all have different tastes when it comes to rendering, but these days I have come to appreciate a wide range of looks, from structured to painterly, and also smooth and undistracting. It makes me pay more attention to the background and the intent behind the image, instead of only shooting a single rendering style.
stgrove wrote:
I find this a bit of click bait from LLL (not you Fred) since I do not have a ship date from my 11873 order of April and my order of the 50/1.9 Rigid yet either. As most of us we pay and then hope for the best from LLL which right now makes me wonder where their priorities are.
That's interesting. I know the 11873 has been a blockbuster for Light Lens Lab, so they may be working through a backlog of orders. Which version did you order, the titanium version?
Fred Miranda wrote:
That's interesting. I know the 11873 has been a blockbuster for Light Lens Lab, so they may be working through a backlog of orders. Which version did you order, the titanium version?
Fred Miranda wrote:
I agree, the 50/1.2 1966 has a very unique rendering. It offers smooth transitions, yet at the same time doesn't look modern at all. I also like the cooler color cast from the coatings. We all have different tastes when it comes to rendering, but these days I have come to appreciate a wide range of looks, from structured to painterly, and also smooth and undistracting. It makes me pay more attention to the background and the intent behind the image, instead of only shooting a single rendering style.
The 1966 is my favorite lens that I own. While it has not a lot of structure in the bokeh that is quite smooth(I usually don’t like that at all), I love it in that lens, it draws still differently than other smooth bokeh lenses.
Regarding the cooler rendering, I would argue that it produces warm images as a Cinestill film can do even though it draws on the blue, the 1966 will always flare its warm cast if there is any light touching the frame and while the tones and colors are colder, there is almost always a warm cast bringing the image to life, it’s really beautiful.
