You know when you are at the checkout counter and some item catches your eye? A bit of candy, a pocket knife, a doodad for something or other. Well it happened to me on ebay in those ads across the bottom of the page. The ones that claim people looking at stuff like me found these interesting as well. After George and Raphael post 20mm projection circles achieved with the Nikkor 8mm f2.8 and other fish-eye Nikkors - I got curious about how many elements and groupings of elements it took? How big was the lens? What does a good used copy cost? Does anyone else make 8mm lenses? What is their lens formula? How much do these wannabe Nikkors cost? Is there any similarity among all the 8mm lenses? (See what owning a boatload of cats does to the human mind) However, the last question is what made me do this - What are the differences of all my widest lenses on FX; what would that look like? When I got my Nikkor 10.5mm f2.8 afs dx fish-eye - almost immediately people began cutting off the built in hood to get even more coverage. I noticed that Rokinon, Samyang, and a bunch of other 8mm dx lens brands were essentially the exact same lens branded with different trade names. I'm sure there are some differences, but for $65 I was willing to take a chance on a 10 element in 7 groups lens. There are 3 Nikkors in this 6 lens comparison, and the new lens has the ability to remove the hood - exposing an impressive front element. I shot with and without the hood to show the difference. There is 5 seconds between each animated gif frame - 7 frames total covering 8mm - 17mm (fish-eye and rectilinear) I'm linking it, because only one is a MF Nikkor.
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Wow Samy! Wonderful rich colors, contrast, sharp, and yet a very "smooth gel like" look. Don't know how else to describe it. Very nice!!!
Scott
AdaptedLenses wrote:
Off topic, does anyone have experience between the 5.8cm f/1.5 and 50mm f/1.2 non-Ai lenses? KEH has 20% off right now and they have a couple 5.8cm lenses.
May be too late with my input, the differences are very marked:
5.8cm soft at 1.4 with sharp center and excellent bokeh, good performer from 2.0 up but not excellent, old design as the fist 1.4 lens for the F camera, excellent lens for a unique look. Like this:
The 50mm 1.2 is very sharp from 2.0 on up, excellent lens with standard sharp contrasty rendition, at 1.2 it is sharp but blooms and veils the image, unless contrast is very low. Even so the veiling can be put to good use
AdaptedLenses wrote:
My time with Nippi is nearing an end, so had to take her back to the burial ground to see what she how she’d draw. Difference in contrast was noticeable, different but good.
Very impressed with this series Matt, you are an excellent composer.
So, Back from Pascagoula, did not take a tele lens as my photos would be in the yard and the ships are big. The photos from inside I cannot show you.
from the Singing river bridges and other islands I used the super sharp 50mm 1.2, plus Adobe ultra resolution to create 160 MEGA pixels from the 46 MP of the Z7, then cropped, the 160MP JPGS arein Flickr but if you are interested you must download to get the full size.
Love this yard and its people, but not the weather.
Actually, last one is not a crop but full size, also on Flickr, but clicking on Flickr twice to get the largest view is not the largest size, for that you have to download. the image is 16K*10K more or less.
A more complete Aegis destroyer, and a nearly done LH.
Raphael, The 50mm f1.2 is a super sharp lens, and your photos demonstrate it so well. Looks like Adobe is make their own versions of Topaz deNoise AI, and Gigapixel AI maybe Sharpen AI too? How long does it take to make a destroyer?
rafaelcasd wrote:
So, Back from Pascagoula, did not take a tele lens as my photos would be in the yard and the ships are big. The photos from inside I cannot show you.
from the Singing river bridges and other islands I used the super sharp 50mm 1.2, plus Adobe ultra resolution to create 160 MEGA pixels from the 46 MP of the Z7, then cropped, the 160MP JPGS arein Flickr but if you are interested you must download to get the full size.
Love this yard and its people, but not the weather.
Actually, last one is not a crop but full size, also on Flickr, but clicking on Flickr twice to get the largest view is not the largest size, for that you have to download. the image is 16K*10K more or less.
A more complete Aegis destroyer, and a nearly done LH.
Or you could go with 8mm circular fisheye to full frame coverage 15mm in one lens. Have had this in my cart a number of times but never had the right project to justify it. I could sell the 8mm/2.8 and 15mm and 16mm fisheye and more than cover it, but would never be the same shooting experience and build.
James Markus wrote:
You know when you are at the checkout counter and some item catches your eye? A bit of candy, a pocket knife, a doodad for something or other. Well it happened to me on ebay in those ads across the bottom of the page. The ones that claim people looking at stuff like me found these interesting as well. After George and Raphael post 20mm projection circles achieved with the Nikkor 8mm f2.8 and other fish-eye Nikkors - I got curious about how many elements and groupings of elements it took? How big was the lens? What does a good used copy cost? Does anyone else make 8mm lenses? What is their lens formula? How much do these wannabe Nikkors cost? Is there any similarity among all the 8mm lenses? (See what owning a boatload of cats does to the human mind) However, the last question is what made me do this - What are the differences of all my widest lenses on FX; what would that look like? When I got my Nikkor 10.5mm f2.8 afs dx fish-eye - almost immediately people began cutting off the built in hood to get even more coverage. I noticed that Rokinon, Samyang, and a bunch of other 8mm dx lens brands were essentially the exact same lens branded with different trade names. I'm sure there are some differences, but for $65 I was willing to take a chance on a 10 element in 7 groups lens. There are 3 Nikkors in this 6 lens comparison, and the new lens has the ability to remove the hood - exposing an impressive front element. I shot with and without the hood to show the difference. There is 5 seconds between each animated gif frame - 7 frames total covering 8mm - 17mm (fish-eye and rectilinear) I'm linking it, because only one is a MF Nikkor.
James Markus wrote:
Raphael, The 50mm f1.2 is a super sharp lens, and your photos demonstrate it so well. Looks like Adobe is make their own versions of Topaz deNoise AI, and Gigapixel AI maybe Sharpen AI too? How long does it take to make a destroyer?
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Plaubel Makina W67, Kodak Vision3 250D film. This is ECN-2 film, which means its been cut directly from 70mm movie film so it has the remjet layer intact. The only lab that made sense to send it to was NYC Film Lab. A couple of other options seemed shaky, one of them just put ECN-2 film through the C-41 process after removing the remjet. Anyway first try at this film. George, sorry, no center filter
Samy, I really enjoy this picture. Colors are amazing.
