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What's the latest lens you added to your collection?
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PostPosted: Thu Jan 18, 2024 1:30 pm    Post subject: Reply with quote
kiddo wrote:
All your pictures are so nice to admire , the way you play with light, the doughnuts , sharpness, colours ,would be nice to show us the lighting settings as well
This tomioka ,on wide open has the blades visible (blades don't open all the way) I wonder how visible would they be on the bokeh balls?


Thank you so much! I can absolutely share some of my lighting setups - if you have any particular shots you're interested to know more about, please let me know. I don't have anything fancy in terms of lighting though, so I just hope you won't be disappointed. 😅

I don't remember the blades being distracting wide open with the Macro-Yashinon... but there might be some instances where it can be more pronounced, depending on the direction of the light.


Phalbert wrote:
@ simple.joy: Where and when will we be able to see your article about Tomioka? Thanks.


Thanks for your interest. There are actually two articles now (just posted in a separate thread):

The Tomioka Story (https://deltalenses.com/the-tomioka-story/) - a bit of a historical overview

Tomioka Industrial Lenses (https://deltalenses.com/tomioka-industrial-lenses/) - a deeper dive on the lenses


PostPosted: Thu Jan 18, 2024 3:40 pm    Post subject: Minolta MD 75-200 4,5 Reply with quote
I was disappointed by the first (mint) copy I bought which did not focus to infinity on all the range.

Bought another copy at a decent price (50 €) which seems conform to specs.

Resolution looks good with a tad less contrast than the 75 150 f4. But I need to learn more about the lens.


PostPosted: Thu Jan 18, 2024 4:28 pm    Post subject: Reply with quote
simple.joy wrote:
kiddo wrote:
All your pictures are so nice to admire , the way you play with light, the doughnuts , sharpness, colours ,would be nice to show us the lighting settings as well
This tomioka ,on wide open has the blades visible (blades don't open all the way) I wonder how visible would they be on the bokeh balls?


Thank you so much! I can absolutely share some of my lighting setups - if you have any particular shots you're interested to know more about, please let me know. I don't have anything fancy in terms of lighting though, so I just hope you won't be disappointed. 😅

I don't remember the blades being distracting wide open with the Macro-Yashinon... but there might be some instances where it can be more pronounced, depending on the direction of the light.


Phalbert wrote:
@ simple.joy: Where and when will we be able to see your article about Tomioka? Thanks.


Thanks for your interest. There are actually two articles now (just posted in a separate thread):


The Tomioka Story (https://deltalenses.com/the-tomioka-story/) - a bit of a historical overview

Tomioka Industrial Lenses (https://deltalenses.com/tomioka-industrial-lenses/) - a deeper dive on the lenses


For example, I'm curious how do you control/provoke the bubbles in the 6th picture?
I know the drops of water would work out, but that's not the case in that picture .... I guess


PostPosted: Thu Jan 18, 2024 4:41 pm    Post subject: Reply with quote
The 80mm is even more expensive, as it is in high demand from Star Wars fans for replica prop building. It was used for the lenses in Luke Skywalker's binoculars in the first movie.

starbucklover69 wrote:
Alun Thomas wrote:
starbucklover69 wrote:
And we continue with shopping Wink



Looks in good condition. You'll need to see if you can find the 52/3.5 lens, the first MF retrofocus lens made with a 35mm (equivalent) 28mm F/1.9 field of view.


I've already read about it. They are still too expensive on Ebay.


PostPosted: Thu Jan 18, 2024 4:46 pm    Post subject: Reply with quote
If the blades open wider than the front element of the rear group, they won't be visible in wide open shots, regardless of whether they are visible from the front, as is the case in some lens designs . I don't have one of these lenses in the moment, so I can't double if that's the case in this lens, but if you look through the back and can't see them, you are in the clear.


simple.joy wrote:
kiddo wrote:
All your pictures are so nice to admire , the way you play with light, the doughnuts , sharpness, colours ,would be nice to show us the lighting settings as well
This tomioka ,on wide open has the blades visible (blades don't open all the way) I wonder how visible would they be on the bokeh balls?


Thank you so much! I can absolutely share some of my lighting setups - if you have any particular shots you're interested to know more about, please let me know. I don't have anything fancy in terms of lighting though, so I just hope you won't be disappointed. 😅

I don't remember the blades being distracting wide open with the Macro-Yashinon... but there might be some instances where it can be more pronounced, depending on the direction of the light.


Phalbert wrote:
@ simple.joy: Where and when will we be able to see your article about Tomioka? Thanks.


Thanks for your interest. There are actually two articles now (just posted in a separate thread):

The Tomioka Story (https://deltalenses.com/the-tomioka-story/) - a bit of a historical overview

Tomioka Industrial Lenses (https://deltalenses.com/tomioka-industrial-lenses/) - a deeper dive on the lenses


PostPosted: Thu Jan 18, 2024 6:00 pm    Post subject: Reply with quote
Next Day next Delivery.




The Olympus M1 is in good condition.
History for the M1 :http://web.archive.org/web/20080915062509/http://olympus.dementia.org/M-1/

The Nikon is a 105 f2.5 Ai-S.


PostPosted: Thu Jan 18, 2024 6:39 pm    Post subject: Reply with quote
BrianSVP wrote:
The 80mm is even more expensive, as it is in high demand from Star Wars fans for replica prop building. It was used for the lenses in Luke Skywalker's binoculars in the first movie.



That's an interesting piece of information. It looks like the lens they use is the later 80mm F/2.8 rather than the more common F/3.5 lens. It's a good thing the lenses are at the front of the prop binoculars, as the F/2.8 lens is mildly radioactive, the earlier F/3.5 lens is not.


PostPosted: Thu Jan 18, 2024 7:04 pm    Post subject: Reply with quote


PostPosted: Thu Jan 18, 2024 7:28 pm    Post subject: Reply with quote
KEO wrote:
Mamiya Sekor C 4/210mm


The Sekor C 4/210mm is a very good vintage MF lens; it outperforms all well known 4/200mm such as theCanon FD 4/200, the Konica AR 4/200, the different Minolta MC/MD 4/200mm, the Nikkor Ai 4/200 and the Yashica ML 4/200 as well as the Zeiss CY 3.5/200 (I don't know the CY 4/200mm though).

It seems that the front lens is made of ULD glass since the Sekor C 4/210mm has very litle CAs, and since the front lens is easily damaged / etched, something I've never seen with the other 4/200mm lenses.

S


PostPosted: Thu Jan 18, 2024 7:33 pm    Post subject: Reply with quote
There's similar demand for the old 3 cell Graflex press cam flash handles, since that's what was used to create Luke's lightsaber handle. Most press cam handles are worth a couple of bucks. The Graflex one sells for up to $1K! There's even a small industry of folks who manufacture nearly-exact (they even work as flashes!) replicas for hobbyists. There's also a rare Heiland handle that was used for Darth Vader's saber that's worth even more.

I'm only a casual Star Wars fan myself, but I dated a girl whose cousin was big time into this kind of thing, and when he found out about my hobby in old cameras, the first thing he asked me about was whether I had any Graflex gear, leading to a very interesting conversation about this subject.


Alun Thomas wrote:
BrianSVP wrote:
The 80mm is even more expensive, as it is in high demand from Star Wars fans for replica prop building. It was used for the lenses in Luke Skywalker's binoculars in the first movie.



That's an interesting piece of information. It looks like the lens they use is the later 80mm F/2.8 rather than the more common F/3.5 lens. It's a good thing the lenses are at the front of the prop binoculars, as the F/2.8 lens is mildly radioactive, the earlier F/3.5 lens is not.


PostPosted: Thu Jan 18, 2024 7:35 pm    Post subject: Reply with quote
I've seen that about ED/ULD elements as well. The Pentax-F 300mm f/2.8 has an ED front element is so fragile that is known to spontaneously shatter when exposed to temperature swings!

stevemark wrote:
KEO wrote:
Mamiya Sekor C 4/210mm


The Sekor C 4/210mm is a very good vintage MF lens; it outperforms all well known 4/200mm such as theCanon FD 4/200, the Konica AR 4/200, the different Minolta MC/MD 4/200mm, the Nikkor Ai 4/200 and the Yashica ML 4/200 as well as the Zeiss CY 3.5/200 (I don't know the CY 4/200mm though).

It seems that the front lens is made of ULD glass since the Sekor C 4/210mm has very litle CAs, and since the front lens is easily damaged / etched, something I've never seen with the other 4/200mm lenses.

S


PostPosted: Thu Jan 18, 2024 8:21 pm    Post subject: Reply with quote
stevemark wrote:
The Sekor C 4/210mm is a very good vintage MF lens; it outperforms all well known 4/200mm such as theCanon FD 4/200, the Konica AR 4/200, the different Minolta MC/MD 4/200mm, the Nikkor Ai 4/200 and the Yashica ML 4/200 as well as the Zeiss CY 3.5/200 (I don't know the CY 4/200mm though).

It seems that the front lens is made of ULD glass since the Sekor C 4/210mm has very litle CAs, and since the front lens is easily damaged / etched, something I've never seen with the other 4/200mm lenses.


Yes, I've been impressed by it's performance, which is better than I expected. I like the images I've gotten using it on my GFX.

I also got the 300 f5.6 based on your recommendation, and it is everything you said it would be, so thanks. I don't see myself using it nearly as much as the 210 f4, but it definitely fills a niche for certain situations.

I'm currently keeping an eye out for a 120 macro, but I'm in no hurry with that one.


PostPosted: Thu Jan 18, 2024 8:37 pm    Post subject: Reply with quote
KEO wrote:

I'm currently keeping an eye out for a 120 macro, but I'm in no hurry with that one.


I have that one as well, and have been using it on the 50 MP GFX for museum exhibits. Extremely sharp and no CAs from f5.6 on; at f4 slightly lower contrast but still perfectly useable. The good old 4/80mm Macro is very good as well, and much cheaper than the 4/120 of course!

BTW both lenses work also very well on 50 MP class FF sensors in the f5.6 - f8 range ...

S


PostPosted: Thu Jan 18, 2024 10:33 pm    Post subject: Reply with quote
BrianSVP wrote:
If the blades open wider than the front element of the rear group, they won't be visible in wide open shots, regardless of whether they are visible from the front, as is the case in some lens designs . I don't have one of these lenses in the moment, so I can't double if that's the case in this lens, but if you look through the back and can't see them, you are in the clear.


Thanks a lot for that info - I wasn't aware of that!

Yes, I can confirm that the straight aperture blades of the Macro-Yashinon do show up. Certainly not ideal if you're going for beautiful bokeh... I just never really thought about attempting that with this particular lens.


kiddo wrote:


For example, I'm curious how do you control/provoke the bubbles in the 6th picture?
I know the drops of water would work out, but that's not the case in that picture .... I guess


The 6th picture in the thread about the Tomioka article, with the red pearls rolling? That's just some glitter paper, with pretty direct light on it. You can see the direction of the light source when you look at the shadows. Of course the ability to bubble depends on the lens. A Trioplan and similar lenses work well, but I've also found a couple of 6 element lenses which produce a comparable amount of bubbles.


PostPosted: Fri Jan 19, 2024 11:44 am    Post subject: Reply with quote
Tamron 135 f2.8 Adapt-A-Matic with M42 adapter
Cosinon-S 50 f2 PK

wasnt planning to buy anything until i get rid of some from collection, but they were 8eur/piece


PostPosted: Sat Jan 20, 2024 5:50 am    Post subject: Reply with quote
I received a trio today! Super excited to play with these three! Meyer-Optik Gorlitz Oreston 50mm f1.8 Zebra, SMC Takumar 55mm f1.8, and Super-Macro-Takumar 50mm f4.









PostPosted: Sat Jan 20, 2024 11:18 am    Post subject: Petri 80-200mm f4.5 Reply with quote
Another Petri!!

Came across this on ebay yesterday and couldn't resist for the price.

According to the Petri Wiki page, this is the only zoom designed and prduced by Petri themselves. According to their records, all other Petri zoom lenses were rebranded.

https://w-atwiki-jp.translate.goog/petri/pages/162.html?_x_tr_sl=auto&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=wapp

Note the interesting translation of 'breech lock' in the link Wink

It's a bit of a behemoth at 1.3kg. Never seen one before and it was cheap. Don't know what it's like - can't find any samples. Does need some cleaning of what looks like minor fungus so that should be fun!!





PostPosted: Sat Jan 20, 2024 2:05 pm    Post subject: Reply with quote
Looks like it's made by Tokina


PostPosted: Sat Jan 20, 2024 2:15 pm    Post subject: Reply with quote
D1N0 wrote:
Looks like it's made by Tokina


That's always possible. Tokina seemed very prolific at the time.
I haven't seem a Tokina lens that looks like this and is so large and heavy but, as ever with Petri lenses, there's not much info to go on.


PostPosted: Sat Jan 20, 2024 9:25 pm    Post subject: Reply with quote
Not really a recent addition, but I've finally got a lens board made for my Delta 77 projector lens(es) to mount on my 5x4 monorail. So I've only just actually been able to see a proper image through one.
Even with a wide angle bellows fitted I've had to mount the lens inside the bellows to get infinity focus and it still doesn't leave enough room to put the tripod mount between the standards.
Just hand holding the lens before a bit of paper had told me the focal length is short, but I now have the chance to do some measurements. It appears that infinity focus is with the nearest part of the lens a mere 35mm from the surface of the ground glass, which makes it ~70mm to the centre of the lens. The front of the lens (mounted this way round) is about 60mm diameter suggesting f/1.17.
At infinity it doesn't quite cover the full 5x4 glass, but the vignetting is not too severe, far more than would be needed for my 6x9 film back.


PostPosted: Sat Jan 20, 2024 10:13 pm    Post subject: Reply with quote
DConvert wrote:
Not really a recent addition, but I've finally got a lens board made for my Delta 77 projector lens(es) to mount on my 5x4 monorail. So I've only just actually been able to see a proper image through one.
Even with a wide angle bellows fitted I've had to mount the lens inside the bellows to get infinity focus and it still doesn't leave enough room to put the tripod mount between the standards.
Just hand holding the lens before a bit of paper had told me the focal length is short, but I now have the chance to do some measurements. It appears that infinity focus is with the nearest part of the lens a mere 35mm from the surface of the ground glass, which makes it ~70mm to the centre of the lens. The front of the lens (mounted this way round) is about 60mm diameter suggesting f/1.17.
At infinity it doesn't quite cover the full 5x4 glass, but the vignetting is not too severe, far more than would be needed for my 6x9 film back.


I was faced with the same problem on my Toyo monorail.
I had to move the tripod mount.
The lens in question is the Schneider Super-Angulon 47mm
Also my latest lens

#1


#2


PostPosted: Sat Jan 20, 2024 10:23 pm    Post subject: Reply with quote
Panagor PMC 3.8/80-200mm - a nice addition to the recently bought Panagor PMC 3.5/35-100mm. Both lenses have Minolta MD bayonet, and they share the same styling. Lens hasn't yet arrived, though.

S


PostPosted: Sun Jan 21, 2024 10:14 am    Post subject: Reply with quote
Oldhand wrote:
DConvert wrote:
Not really a recent addition, but I've finally got a lens board made for my Delta 77 projector lens(es) to mount on my 5x4 monorail. So I've only just actually been able to see a proper image through one.
Even with a wide angle bellows fitted I've had to mount the lens inside the bellows to get infinity focus and it still doesn't leave enough room to put the tripod mount between the standards.
Just hand holding the lens before a bit of paper had told me the focal length is short, but I now have the chance to do some measurements. It appears that infinity focus is with the nearest part of the lens a mere 35mm from the surface of the ground glass, which makes it ~70mm to the centre of the lens. The front of the lens (mounted this way round) is about 60mm diameter suggesting f/1.17.
At infinity it doesn't quite cover the full 5x4 glass, but the vignetting is not too severe, far more than would be needed for my 6x9 film back.


I was faced with the same problem on my Toyo monorail.
I had to move the tripod mount.
The lens in question is the Schneider Super-Angulon 47mm
Also my latest lens


Nice lens! certainly more usable than my Delta 77 (which has no aperture or shutter) and gives a unusually wide VOF. I don't think I've ever seen anything wider than 47mm for 5x4.
Have you found any difference in results for which end you fit the tripod mount (by the lens or by the ground glass)?
Which Toyo do you have? I have two fairly ancient models the D45M & the Deluxe Smile


PostPosted: Sun Jan 21, 2024 11:54 am    Post subject: Reply with quote
DConvert wrote:
Oldhand wrote:
DConvert wrote:
Not really a recent addition, but I've finally got a lens board made for my Delta 77 projector lens(es) to mount on my 5x4 monorail. So I've only just actually been able to see a proper image through one.
Even with a wide angle bellows fitted I've had to mount the lens inside the bellows to get infinity focus and it still doesn't leave enough room to put the tripod mount between the standards.
Just hand holding the lens before a bit of paper had told me the focal length is short, but I now have the chance to do some measurements. It appears that infinity focus is with the nearest part of the lens a mere 35mm from the surface of the ground glass, which makes it ~70mm to the centre of the lens. The front of the lens (mounted this way round) is about 60mm diameter suggesting f/1.17.
At infinity it doesn't quite cover the full 5x4 glass, but the vignetting is not too severe, far more than would be needed for my 6x9 film back.


I was faced with the same problem on my Toyo monorail.
I had to move the tripod mount.
The lens in question is the Schneider Super-Angulon 47mm
Also my latest lens


Nice lens! certainly more usable than my Delta 77 (which has no aperture or shutter) and gives a unusually wide VOF. I don't think I've ever seen anything wider than 47mm for 5x4.
Have you found any difference in results for which end you fit the tripod mount (by the lens or by the ground glass)?
Which Toyo do you have? I have two fairly ancient models the D45M & the Deluxe Smile


It is the widest 5X4 lens that I know of and the field of view is very wide.
I have to mount the lens (front standard) close to the front of the rail or it becomes visible in the shot.
So the tripod mount goes behind the rear standard.
The lens is small and not too heavy, so this helps.
The Toyo is a 45G
Cheers
Tom


PostPosted: Sun Jan 21, 2024 12:17 pm    Post subject: Reply with quote
Oldhand wrote:
DConvert wrote:
Oldhand wrote:
DConvert wrote:
Not really a recent addition, but I've finally got a lens board made for my Delta 77 projector lens(es) to mount on my 5x4 monorail. So I've only just actually been able to see a proper image through one.
Even with a wide angle bellows fitted I've had to mount the lens inside the bellows to get infinity focus and it still doesn't leave enough room to put the tripod mount between the standards.
Just hand holding the lens before a bit of paper had told me the focal length is short, but I now have the chance to do some measurements. It appears that infinity focus is with the nearest part of the lens a mere 35mm from the surface of the ground glass, which makes it ~70mm to the centre of the lens. The front of the lens (mounted this way round) is about 60mm diameter suggesting f/1.17.
At infinity it doesn't quite cover the full 5x4 glass, but the vignetting is not too severe, far more than would be needed for my 6x9 film back.


I was faced with the same problem on my Toyo monorail.
I had to move the tripod mount.
The lens in question is the Schneider Super-Angulon 47mm
Also my latest lens



Nice lens! certainly more usable than my Delta 77 (which has no aperture or shutter) and gives a unusually wide VOF. I don't think I've ever seen anything wider than 47mm for 5x4.
Have you found any difference in results for which end you fit the tripod mount (by the lens or by the ground glass)?
Which Toyo do you have? I have two fairly ancient models the D45M & the Deluxe Smile


It is the widest 5X4 lens that I know of and the field of view is very wide.
I have to mount the lens (front standard) close to the front of the rail or it becomes visible in the shot.
So the tripod mount goes behind the rear standard.
The lens is small and not too heavy, so this helps.
The Toyo is a 45G
Cheers
Tom



Yes of course I didn't think of the visible rail. I don't think my delta is wide enough for that to be an issue, but it will be on a few of the other (lower coverage) lenses I want to try on the monorail.

I think the 45G was the next model on from the 45M does it still have the narrower (about 30mm diameter) rail? I know the latest models have a 39mm rail - which is no good for me. Getting a longer rail will be helpful if I want to use my Rodenstock 480mm, or even just try macro with a standard lens.
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