At the press we had a completely beaten to pieces 105mm lens like this that was the "pool" portrait lens. Photographers treat common equipment abysmally, and this lens had fallen off the steel stool so many times the front element had chips on the perimeter, and the idea of screwing anything onto the front filter threads was laughable. It also prevented it from being "checked out" for outside the studio appointments, or stolen. It still was embarrassing to use, but Leon (the man in charge of all our common equipment) refused to replace anything until it no longer functioned. It lasted my whole career, and was still in use when I left.
graytrekker wrote:
Yes, its the 105 - I thought it was pretty readable from the photos.ck
Another photographer (Ethan Russell) comes in early in episode 2 shooting an all black Nikkormat (yay!) and, although I do not have a clear shot of the inscription on that lens, like with Linda's, I think it's also the two-toned 105. Judging from what Jackson shows in the film, he was shooting the photos of each member that end up on the cover of the "Let it Be" album. It was "the" portrait lens of the time, right?
There are so many iconic photos shot with that lens. Such a classic lens. I think I'll re-read the 1000 Nights piece on the lens again.
I see Mark you are on a Bronica Nikkor spree. George, too bad you didn't have good luck with the 135 and 200. I have not had a Nikkor in that mount that isn't outstanding.
Here's samples from some that I have (mix of digital on Df and on the Bronica EC-TL):
Riccardo,
Virgo is fascinating! Is detecting gravitational waves what you do? The diagram is amazing...who thinks up building upside down pendulums in a 24 meter vacuum vessel and giant laser interferometer? Five nations scientist working together - wow. Who designed (I know it says French and Italian scientist collaborated) on Virgo - Is there one standout person?
Jim
Mark - that looks bokeh-licious!
Jim AM4L wrote:
Whiskey Day 7, new camera is in, bit different and more complete than the R plus the IS. This is what I plan to tap into now and make my main squeeze.
SiMuMe wrote:
2 because Ben. Darker the better, right? Honestly, I prefer it.
Lol Siphiwe, I think I'm going to disagree. I like the darker foreground but the lighter background,I think there should be a tonal payoff at the end of that dark path. So, a mix of 1 and 2.
Ben
bruni wrote:
Lol Siphiwe, I think I'm going to disagree. I like the darker foreground but the lighter background,I think there should be a tonal payoff at the end of that dark path. So, a mix of 1 and 2.
Ben
saph wrote:
I see Mark you are on a Bronica Nikkor spree. George, too bad you didn't have good luck with the 135 and 200. I have not had a Nikkor in that mount that isn't outstanding.
Here's samples from some that I have (mix of digital on Df and on the Bronica EC-TL):
James Markus wrote:
Riccardo,
Virgo is fascinating! Is detecting gravitational waves what you do? The diagram is amazing...who thinks up building upside down pendulums in a 24 meter vacuum vessel and giant laser interferometer? Five nations scientist working together - wow. Who designed (I know it says French and Italian scientist collaborated) on Virgo - Is there one standout person?
Jim
Thank you Jim.
My elder daughter is doing her Ph.D. in Physics on gravitational waves, in particular on quantum noise reduction in gravitational-wave interferometers.
The Italian "father" of VIRGO/EGO (European Gravitational Observatory) is Adalberto Giazotto. You can read more here.
I have posted more VIRGO images in the 14-30/4 S thread: https://www.fredmiranda.com/forum/topic/1592777/13#15789906
AM4L wrote:
Whiskey Day 7, new camera is in, bit different and more complete than the R plus the IS. This is what I plan to tap into now and make my main squeeze.
Mark - yours has the same 7 sided bokeh as my nikkor O 35mm f2. My new 135mm f2.8 also has that 7 sided bokeh. This is just a bokeh test of the 135mm f2.8 - I was surprised to see this on this lens.
