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Orio
Joined: 24 Feb 2007
Posts: 18165
Location: West Emilia
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Attila
Joined: 24 Feb 2007
Posts: 27486
Location: Budapest,Hungary
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 Posted: Thu Oct 02, 2008 12:55 am Post subject: |
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Yeah, CARL ZEISS!
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Folder cameras: Konishiroku Pearl, Bessa RF Heliar,Bessa I Color-Skopar,Ercona II Tessar,Franka III Schneider-Kreuznach Radionar
[color=black][b]35mm rangefinderKonica III,Bessa L,Yashica Electro GN,Canonette QL 17
35mm SLRKonica FM,Konica FP,Konica FT-1,Konica FC-1,Konica TC4,Nikon FA,Exakta VarexIIa,Fujica ST801
Carl Zeiss Jena:Flektogon 2.8/20mm,4/25mm,2.4/35,2.8/65mm,4.5/4cm Tessar, 8/500mm Fernobjektiv
Pancolar 1.4/55mm,1.8/50mm,1.8/80mm,Tessar 2.8/50mm,Biotar 2/58mm,1.5/75mm,1.5/7,5cm
Carl Zeiss: Sonnar 2.8/135,2.8/180mm,Tessar 4/135mm
Nikon:2.8/20mm, 2.8/28mm,1.4/35mm,1.4/50mm,2/50mm,1.8/85mm,2/85mm,2.8/135mm
Pentax: Pentax 1.2/50mm,1.8/85mm,4/200mm
Helios: Helios-40 1.5/8,5cm,Helios-44-1 2/58mm,Helios-44-2 2/58mm
Olympus OM: 3.5/18mm,3.5/21mm,3.5/55mm macro,2/90mm macro,35-70mm
Meyer: 4.5/35mm Primagon,Primoplan 1.9/58mm,1.9/75mm,2.8/100mm,Orestegor 2.8/135mm,4.5/40 Helioplan
Leica: 4/100 Macro
Konica:21mm f4, 28mm f3.5,35mm f2.8,50mm f1.4,57mm f1.2,85mm f1.8,100mm f2.8,135mm f3.5,135mm f3.2,200mm f3.5,4/300mm,40cm f4.5
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Katastrofo
Joined: 26 Feb 2007
Posts: 6257
Location: USA
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| Posted: Thu Oct 02, 2008 12:55 am Post subject: |
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I love that lens! I hate you, Orio!  |
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Orio
Joined: 24 Feb 2007
Posts: 18165
Location: West Emilia
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F16SUNSHINE
Joined: 20 Aug 2007
Posts: 4443
Location: Anacortes Washington
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| Posted: Thu Oct 02, 2008 12:58 am Post subject: |
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That is quite a lens.
One of the true "bargains" as well.
The big 3 can not compete with this FL for 3 times the price.
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Dog is my copilot
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Orio
Joined: 24 Feb 2007
Posts: 18165
Location: West Emilia
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LucisPictor
Joined: 26 Feb 2007
Posts: 10436
Location: Oberhessen, Germany / Maidstone ('95-'96)
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| Posted: Thu Oct 02, 2008 8:57 am Post subject: |
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This is simply amazing!!! 
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"KAPCTEH" | "Karusutenu" | "Carsten" | T-shirt?
Cams in use: EOS 5D, EOS 40D, EF/M, EOS 300, Spotmatic SPII, EXA 1c, Rollei 35XF, Minox 35 GL, Yashica Electro 35 GS, FED-3b, Kodak Retina Ia and some others...
Lenses in use: Asahi Pentax: 3.5/35;1.4/50;1.7/50;2.8/105;3.5/135 | Former GDR: CZJ Flek 4/20; Meyer 1.9/58; CZJ 4/135 | Leica: Summicron 2.0/35; Summicron 2.0/50; Elmar 4/180 | Mamiya: 1.8/55 | Nikkor: 2.8/24;1.4/50;1.2/55;1.8/85; | West German: Ludwig 2.9/50; Steinheil 2.8/85; Will 4.5/105; Zeiss 4.5/105; Schneider 3.5/135; Zeiss 4/135; Enna 4.5/240 | Olympus: 1.4/50; | Rikenon: 35-70 | Rollei: 1.8/50, 80-200 | Russian: Peleng 3.5/8; Zenitar 2.8/16; Volna 2.8/50; Industar 3.5/50; Industar 3.5/5cm; Helios 2/58; Jupiter 2/85; Jupiter 3.5/135; RF: Jupiter 2.8/35; Jupiter 2/50 | Soligor: 28-105;35-200;60-300;70-220 | Tamron: 2.5/135; 8/500 | Tokina: 28-85; 28-105 | Vivitar: 3.5/17;2/28;2.5/28 | Yashica: 2/5cm |
Green is the gear I use the most. More? http://forum.mflenses.com/viewtopic.php?t=65
AF-lenses: Canon: 1.8/50 | Sigma: 1.8/24; 28-105; 18-125 OS | Tokina: 12-24; 24-200; 28-70 | Tamron 80-210 | http://lucispictor.weebly.com/ |
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BobDodds
Joined: 13 Nov 2007
Posts: 87
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| Posted: Thu Oct 09, 2008 7:19 am Post subject: |
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CZ Distagon 28/2.8 must be top three in value for mf lenses.
If it is soft at corners or edges, that would be cut off on crop sensors.
I have seen the sharpness, and subtle gradations of tone, adding up to Zeiss super 3D realism with this lens.
You can see it here, though a Zuiko might be dull on contrast and keep your highlights on the light tone masonry.
Or, stay with the CZ 28/2.8, and I would use Sigma ISO 50, under-expose slightly or until I bring in the highlights,
then ISO 50 should keep the shadow noise-free, and then we can keep the Zeiss on there.
I may just get rid of everything but Zeiss. I would not feel egalitarian or open-minded if I started at that point, but maybe it is going there.
Zeiss Zeiss Zeiss. If you were closer to that bus, maybe Hollywood 28/2 instead? |
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Orio
Joined: 24 Feb 2007
Posts: 18165
Location: West Emilia
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| Posted: Thu Oct 09, 2008 8:49 am Post subject: |
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Although I love the excellent sharpness of the 2.8/28, I must say that the Hollywood is a step above,
because it is one of those lenses that not only do the job, but also put their fingerprint on it, if you know what I mean.
Of course, one must like the Zeiss look, which is not of everyone's taste. There is people that prefer lenses that render
with less contrast and smoother tones. It is really a matter of personal taste ultimately.
Then as you rightly point out, it is also a matter of camera/lens interaction (or film/lens interaction, for those who use film).
For instance, I think that the EOS-Zeiss match is excellent, because the CMOS in EOS cameras deliver very smooth tones and subtle gradations,
that can become (in my opinion) dull and boring when used with bland lenses like some of the EF lenses are.
The Contax lenses with their acutance counter-balance the characteristics of the EOS cameras and deliver -for my own taste- a perfect balance.
It would be nice to see the interaction of these Contax lenses with other digital cameras, but so far, I could not see many samples on the net.
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Read list of equipment HERE
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poilu
Joined: 26 Aug 2007
Posts: 5667
Location: Greece
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| Posted: Thu Oct 09, 2008 10:27 am Post subject: |
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| BobDodds wrote: | | If it is soft at corners or edges, that would be cut off on crop sensors |
the 28:2.8 have perfect border on film, even better than on cropped dslr
almost all wide lens get bad on FF digital and users have to close to F11 & F16 to get decent border
if a lens was good for 30 years and suddenly get bad with digital, maybe you should open your eyes and blame digital sensor, not the lens
apart for the problem of angle of incidence of light that sensor cannot deal with, digital bokeh is so bad that everything out of focus get awful
closing to f16 help bring everything in focus and naturally lens with less curvature have advantage here
we forget all characteristics of a lens, keeping lens that perhaps give better corner but have weak all the others parameters
isn't strange that lens that have harsh bokeh on digital get smooth on film
isn't strange that lens that get sensor bloom have no problem on film
sensor are new technologies and have a lot to improve
digital image don't have grain and can be sharpened and enlarged more
but with all the IR filter and electronic limitations, they still cannot match natural sharpness of film
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patrickh
Joined: 23 Aug 2007
Posts: 6240
Location: Oregon
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| Posted: Thu Oct 09, 2008 5:18 pm Post subject: |
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Orio
Has to be one of the best lenses available
patrickh
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DSLR: Nikon D70 Nikon D200 Canon 40D
MF Zooms: Kiron 28-85/3.5, 28-105/3.2, 75-150/3.5, Nikkor 50-135/3.5 AIS // MF Primes: Nikkor 20/4 AI, 24/2 AI, 28/2 AI, 28/2.8 AIS, 28/3.5 AI, 35/1.4 AIS, 35/2 AIS, 35/2.8 PC, 45/2.8 P, 50/1.4 AIS, 50/1.8 AIS, 50/2 AI, 55/2.8 AIS micro, 55/3.5 AI micro, 85/2 AI, 100/2,8 E, 105/1,8 AIS, 105/2,5 AIS, 135/2 AIS, 135/2.8 AIS, 200/4 AI, 200/4 AIS micro, 300/4.5 AI, 300/4.5 AI ED, Arsat 50/1.4, Kiron 28/2, Vivitar 28/2.5, Panagor 135/2.8, Tamron 28/2.5, Tamron 90/2.5 macro, Vivitar 90/2.5 macro (Tokina) Voigtlander 90/3.5 Vivitar 105/2.5 macro (Kiron) Kaleinar 100/2.8 AI Tamron 135/2.5, Vivitar 135/2.8CF, 200/3.5, Tokina 400/5,6
M42: Vivitar 28/2.5, Tamron 28/2.5, Formula5 28/2.8, Mamiya 28/2.8, Pentacon 29/2.8, Flektogon 35/2.4, Flektogon 35/2.8, Takumar 35/3.5, Curtagon 35/4, Takumar 50/1.4, Volna-6 50/2.8 macro, Mamiya 50/1.4, CZJ Pancolar 50/1,8, Oreston 50/1.8, Industar 50/3.5, Sears 55/1.4, Helios 58/2, Jupiter 85/2, Helios 85/1.5, Takumar 105/2.8, Steinheil macro 105/4.5, Tamron 135/2.5, Jupiter 135/4, CZ 135/4, Steinheil Culminar 135/4,5, Jupiter 135/3.5, Takumar 135/3.5, Tair 135/2.8, Pentacon 135/2.8, CZ 135/2.8, Takumar 150/4, Jupiter 200/4, Takumar 200/4
Exakta: Topcon 100/2.8(M42), 35/2.8, 135/2.8
C/Y: Yashica 28/2.8, 50/1.7, 135/2.8, Zeiss Planar 50/1.4, Distagon 25/2.8
P6 : Mir 38 65/3.5, Biometar 80/2.8, Kaleinar 150/2.8, Sonnar 180/2.8
Enlarg: Rodagon 50/5,6, 80/5,6, 105/5.6, Vario 44-52/4, 150/5.6 El Nikkor 50/2,8,63/2.8,75/4, 80/5,6, 105/5.6, 135/5.6 Schneider 80/5.6, 80/4S, 100/5.6S,105/5.6,135/5.6 |
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BobDodds
Joined: 13 Nov 2007
Posts: 87
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| Posted: Tue Apr 14, 2009 2:09 am Post subject: |
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I have just found a site with adapters for Contax to K and to M42.
http://www.leitax.com/zeiss-contax-lens-for-pentax-cameras.html
I adapted this lens to Sigma SA, but it might be possible to use those K adapters and just put a 1.5mm spacer under them. In other cases, the M42 adapter would work, such as with Planar T* 85/1.4. 35/1.4?
Leica R, too.
reduser.net shows hd video RED cam can take EOS and Nikon F lenses, which they do to get some oof and bokeh like film cams. They could then use Contax to EOS adapters and M42 to PL or M42 to EOS adapters with "our" manual focus lenses. Otherwise, video cam lenses focus on everything from near to infinity--pity them! In the opposite direction, we could sometimes wish for their dof for macro on dslr. |
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rawhead
Joined: 09 Feb 2009
Posts: 819
Location: Boston, MA
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| Posted: Tue Apr 14, 2009 2:52 am Post subject: |
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Ah, I'd heard about these mount mods for Zeiss/Contax->Pentax. This would be great, since, I guess I could mod the lens, make it K mount, then use a K->EF adapter to share the lens with my 5D?
Ooooooh, Planar and Distagon, here I come! :-DDD
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Pentax K-7, EOS 5D Mk II, Panasonic Lumix DMC-GF1, Kiev-60/-6C, Hasselblad 501CM, Hasselblad Super Wide C, Graflex Norita 66, Mamiya M645 1000s, Graflex Pacemaker Speed Graphic, Rolleiflex SL66, Rolleiflex 2.8C Planar, lots of K & M42, six P6, five Hasselblad, four OM, three F, two Mamiya 645, one Noritar, and a sprinkle of EF (but not a single Canon :-p). Oh, and an Aero Ektar. |
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DSG
Joined: 04 Mar 2007
Posts: 224
Location: London, UK.
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| Posted: Mon Apr 20, 2009 11:13 am Post subject: |
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| poilu wrote: |
The 28:2.8 have perfect border on film, even better than on cropped dslr
almost all wide lens get bad on FF digital and users have to close to F11 & F16 to get decent border
if a lens was good for 30 years and suddenly get bad with digital, maybe you should open your eyes and blame digital sensor, not the lens
apart for the problem of angle of incidence of light that sensor cannot deal with, digital bokeh is so bad that everything out of focus get awful
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The 28/2.8 has never been reknowned for its bokeh...Its reknowned for its sharpness which is something film has never been reknowned for BTW.
So it actually works better in front of a decent digital sensor than it does with film.
| poilu wrote: |
closing to f16 help bring everything in focus and naturally lens with less curvature have advantage here
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Sounds like your not familiar with the diffraction characteristics of digital sensors...No crop format digital camera users in their right mind would ever consider using f16, unless it was when using close up corrected lenses specifically for macro use, and nor would they ever have to.
Firstly this is because crop format sensors have an inherrantly deeper DOF per f-stop than FF sensors or 35mm film.
This can be both a negative and a positive...The negative aspect is that the crop format user has to use wider apertures to get the same shallowness of DOF as those using FF or 35mm film, but its a positive because most lenses are a lot sharper at wider apertures than they are stopped down past f11.
Then there is diffraction to take into account, with most digital cameras suffering very noticably from diffraction at at apertures of f11+.
But again, the greater DOF per f-stop charactersistic of crop format digital cameras becomes another advantage as you dont need to stop so much to get everything in focus as you would with FF or 35 film.
In practice, this means crop format digital users can take adavantage of never needing to stop the lens down to more than f8 say, where all lenses are far sharper than at f16, to get everything in focus.
| poilu wrote: |
we forget all characteristics of a lens, keeping lens that perhaps give better corner but have weak all the others parameters
isn't strange that lens that have harsh bokeh on digital get smooth on film
isn't strange that lens that get sensor bloom have no problem on film
sensor are new technologies and have a lot to improve
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They have already been improved...Never heard of Foveon X3 sensors?
| poilu wrote: |
digital image don't have grain and can be sharpened and enlarged more
but with all the IR filter and electronic limitations, they still cannot match natural sharpness of film
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That may be true with Bayer/CFA digital sensors but not with Foveon X3 sensors. |
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BobDodds
Joined: 13 Nov 2007
Posts: 87
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| Posted: Sun Jun 28, 2009 9:18 am Post subject: |
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DSG, I think 28/2.8 is, according to reviewers, alleged to have edge to edge sharpness and 35/1.4 is supposed to be a bit soft at edges in comparison, but of course we know that f16 is to be avoided. SD14 format would crop off any soft corners of 35 and several other lenses notorious for soft corners.
I have been using my CZ Distagon 28/2.8 on Sigma SD14 lately.
http://www.pbase.com/recbo/cz28_28&page=all
I think it has smooth bokeh. One thing I wonder about is whether it has as nice color on people's faces as 35/1.4 which is undeniably great for color. I'll have to shoot them in the same lighting some time. |
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