Ripolini wrote:
Thank you Paul.
Correct me if I'm wrong; you say that the angle of view changes due to magnification effect only (the larger the magnification, the smaller the AoV). Is it correct?
I am not saying that the angle of view changes due to the image magnification alone, just that the magnification plays a role.
Then, can we infer or not that those videos do show "focus breathing" anyway?
That depends on the definition of "focus breathing". I doubt we'll find it in a dictionary or an international standard.
If focus breathing means that the angle of view changes with the subject distance, then it is clear that the videos show focus breathing. If focus breathing means that the focal length changes, then no, we cannot infer this from the videos.
P.S.: I have calculated the AoV along the frame diagonal of my Zeiss 35/2 at infinity (magnification = 0) and at the minimum focus distance (magnification = 0.19).
The equation to calculate the AoV is:
AoV = 2arctg{43/[2F(1+M/P)]}
where 43 is the diagonal of the FF (24x36), F is the focal length of the lens, M the magnification and P the pupil factor.
The pupil factor of the 35/2 I measured is 1.4, and doesn't change significantly from infinity to 0.3 m.
The values are (assuming a constant focal length of 35 mm):
AoV(infinity) = 63°
AoV(0.3m) = 57°
Toothwalker wrote:
That depends on the definition of "focus breathing". I doubt we'll find it in a dictionary or an international standard.
If focus breathing means that the angle of view changes with the subject distance, then it is clear that the videos show focus breathing. If focus breathing means that the focal length changes, then no, we cannot infer this from the videos.
High-end cine lenses (e.g., https://www.arri.com/en/camera-systems/cine-lenses/master-prime-lenses/master-prime-lenses) claim "virtually no breathing". This should imply that these lenses must change the focal length and/or P in order to keep the AoV constant.
For example, let us consider 35 mm lens and full-frame (24x36) format. Let's assume P constant and equal to 1.4. To get an AoV = 63° at M = 0.19 (0.3 m) & P = 1.4, F = 30.9 mm; therefore, the focal length should be shortened to see no breathing when focusing from infinity to 0.3 m. It is reasonable to hypothesize that P can not be kept constant, therefore the designer should take its variation into account too.
Toothwalker wrote:
Very good. You have passed the examination
I took some images in April with the Zeiss 135 APO sonnar, all @ f/2
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Really exquisite lens that one! But in all fairness...Somehow this lens is always in question when making the decision to bring it along on my trips yes or no; it's fairly bulky, and for my landscapes/nature photography it is either too long or too "wide". In the zoo it does not have enough tele, and during landscape it is 80% of the time too long, so the type of photos I take the most are semi closeups due to the relatively short MFD. I seem to find the 100 Makro-Planar to be way more versatile.
With my 100MP, 50MP and even 35/2 Distagon, I can frame almost everything how I want it.
Deathchant wrote:
Really exquisite lens that one! But in all fairness...Somehow this lens is always in question when making the decision to bring it along on my trips yes or no; it's fairly bulky, and for my landscapes/nature photography it is either too long or too "wide". In the zoo it does not have enough tele, and during landscape it is 80% of the time too long, so the type of photos I take the most are semi closeups due to the relatively short MFD. I seem to find the 100 Makro-Planar to be way more versatile.
Honestly speaking ... I agree with you
I find the 135 Apo Sonnar a wonderful lens; great sharpness, very good CA correction, nice out-of-focus rendition ... but too bulky and heavy for my taste. For this reason I often put the 100 Makro-Planar in my shoulder bag (things are different when I use my photo backpack).
About 100 MP LoCA, I have to say that Nikon NX Studio is much more effective than Capture One Pro 22 to remove the magenta fringing in front of the focus plane. The green fringing behind that plane is another story though. It remains unaffected with both raw converters
Deathchant wrote:
With my 100MP, 50MP and even 35/2 Distagon, I can frame almost everything how I want it.
My preferred trio is 21/2.8 + 35/2 + 100 MP (or 135 AS). Sometimes I add a 50 mm: 50/2 Apo Lanthar or Nikkor AI 50/1.4, depending upon the body I carry (Z6 or D780).
Ripolini wrote:
Honestly speaking ... I agree with you
I find the 135 Apo Sonnar a wonderful lens; great sharpness, very good CA correction, nice out-of-focus rendition ... but too bulky and heavy for my taste. For this reason I often put the 100 Makro-Planar in my shoulder bag (things are different when I use my photo backpack).
About 100 MP LoCA, I have to say that Nikon NX Studio is much more effective than Capture One Pro 22 to remove the magenta fringing in front of the focus plane. The green fringing behind that plane is another story though. It remains unaffected with both raw converters
My preferred trio is 21/2.8 + 35/2 + 100 MP (or 135 AS). Sometimes I add a 50 mm: 50/2 Apo Lanthar or Nikkor AI 50/1.4, depending upon the body I carry (Z6 or D780). ...Show more →
Over the last 10 years, I care less and less about extreme sharpness or a bit of LoCa anymore. I am used to having bad cases of LoCa, especially with the 100MP. I would call it the LoCa king, I have never experienced worse than that lens. So I was surprised at how "much" fringing I could still see with the 135 apo, but in all fairness, if 100MP sets the bar, then the 135 apo can be almost called perfection regarding LoCa
The 135 apo is indeed the sharpest lens I have. It has good CA correction and it still retains that famous 3D rendering, but I think my other Zeiss lenses render nicer colors, or at least what I prefer as nicer. The 135 apo is very realistic in color rendering, but it tends towards a more neutral look whereas my 35/2 distagon is more vibrant, more saturated. Speaking of the latter lens...it also provides that extra pleasing quality next to the 3D rendering which I cannot put into words. I would describe it as that dreamy smooth and warm look combined with that strong 3D rendering, but without the Orton effect that some lenses produce. The photos coming from that 35 Distagon almost need no post-processing in a lot of cases.
I've tried the nikon-mount Voigtlander 58/1.4 Nokton and has medium-heavy LoCa. Still I was impressed by it. The lens comes with a free Orton effect at wide open aperture values Very dreamy at f/1.4-f/2.0 without being too soft, and very contrasty and punchy from f/4 onwards, never without loosing that micro-contrasty 3D rendering.
That lens also has a quality that gives me the same feeling I have with the 35 Distagon. However, the rendering of those 2 can be set apart easily, but both very pleasing.
Some day, I will buy the 85/1.4 Planar too. I saw some pictures from a pine forest taken with that lens that absolutely blew me away. Yes it has even more LoCa than the 35 Distagon (but less than the 100MP), but the rendering of that lens is also fabulous! I try to accept the LoCa. Would I be very happy to see LoCa gone, heck yes, but do I want to compromise on 3D rendering and overall pleasing quality in exchange for zero LoCa and maximum sharpness, definitely not!
I hope I can get my hands on that 85/1.4 Planar in mint condition...Also: Zeiss and Voigtlander should re-release existing E-mount lenses for the Canon RF mount asap!! Ah well, one can dream
I previously said I was having a hard time placing the 135 apo sonnar in my workflow because it it either too long or too narrow, but I've found it to be extremely good during my Scotland holiday! I left all Canon AF-lenses at home and only took my 35/50/100/135 and I've got some of the most beautiful pictures from the 135 apo! I will post some of those later (still busy editing).
Before that, I went to the zoo and it worked very well there! I was expecting to need 400mm but the apo sonnar did very well:
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Needless to say these pictures are all made with the 135 apo sonnar at f/2
