petronius
Veteran
Some old lenses that I mounted in body caps for my Sony Alpha 7:
1)
Rollei Triotar 40mm/3,5
2)
Minox Minotar 35mm/2,8 and Kiev Korsar 35 mm/2,8
Anyone else?
1)
Rollei Triotar 40mm/3,5
2)
Minox Minotar 35mm/2,8 and Kiev Korsar 35 mm/2,8
Anyone else?
xayraa33
rangefinder user and fancier
Very nice !
Can you show us some photo samples taken by these lenses on your Sony A7 camera?
Can you show us some photo samples taken by these lenses on your Sony A7 camera?
petronius
Veteran
You can find them in my blog and in the Sony A7 picture thread here on RFF.
xayraa33
rangefinder user and fancier
I liked the Rokkor and Chinon lenses the best on that A7 but the Hexanon lenses are very sharp.
petronius
Veteran
Yes, it´s interesting that the Chinon gives such pleasing, "emotional" photos (imo); the Hexanons are much more "rational" lenses.
When I bought the Alpha 7 it was my hope, that by eliminating the differences of the film brands I could get a better look at the characteristics of the lenses I own. Not in the form of "better or worse"; in fact I like to get flaws and flares and I love, that I can control the effects in the finder.
When I bought the Alpha 7 it was my hope, that by eliminating the differences of the film brands I could get a better look at the characteristics of the lenses I own. Not in the form of "better or worse"; in fact I like to get flaws and flares and I love, that I can control the effects in the finder.
peterm1
Veteran
This may be a bit off topic but I thought people might be interested in the topic generally.
When I saw the name of this thread I was put in mind of some articles I have seen recently (PetaPixel?) about how some old pro cinema lenses used by Hollywood have been remounted in modern bodies for use on modern cameras and used in much the same way you and I might use old lenses for a special look and feel to a movie, or in our case, a photo.
I also saw this video recently which deals with a collector of vintage pro film (cine) lenses - none other than Todd Fisher, son of Eddie Fisher and Debbie Reynolds and brother of Carrie Fisher. Quite an interesting video overall and remounting (rehoused as he calls it) gets a mention early on.
https://www.youtube.com/watch?v=S_nY2kv_oO0
There seems to be a lot of this going around with firms specializing in new housings for old cinema glass.
https://nofilmschool.com/2018/09/-rehousing-lens-shops
https://www.youtube.com/watch?v=Coq_yqJxbpc
https://www.youtube.com/watch?v=vFyW83hNTKU
When I saw the name of this thread I was put in mind of some articles I have seen recently (PetaPixel?) about how some old pro cinema lenses used by Hollywood have been remounted in modern bodies for use on modern cameras and used in much the same way you and I might use old lenses for a special look and feel to a movie, or in our case, a photo.
I also saw this video recently which deals with a collector of vintage pro film (cine) lenses - none other than Todd Fisher, son of Eddie Fisher and Debbie Reynolds and brother of Carrie Fisher. Quite an interesting video overall and remounting (rehoused as he calls it) gets a mention early on.
https://www.youtube.com/watch?v=S_nY2kv_oO0
There seems to be a lot of this going around with firms specializing in new housings for old cinema glass.
https://nofilmschool.com/2018/09/-rehousing-lens-shops
https://www.youtube.com/watch?v=Coq_yqJxbpc
https://www.youtube.com/watch?v=vFyW83hNTKU
xayraa33
rangefinder user and fancier
Interesting YT video, Peter ... of those old cine lenses had a bigger impact on the look of the classic movie then common people realise.
Nokton48
Veteran
Makiflex Retro 320 - 2 by Nokton48, on Flickr9x12cm Foma Retro 320 cut film, exposed at EI 125. Plaubel Makiflex Standard camera body, Kern-Arau 360mm F11 Repro Process lens, exposure 1/15 sec at F22, Developed in straight Microdol-X developer, 30 minutes development at 18C, in a JOBO Multitank 5. Scanned on Epson 4490 scanner.
The negative is cropped somewhat (about 6.5cmx9cm) for easy scanning. Observations: Even at 30 minutes development, the negatives are quite low contrast. Also, there is a dark blue antihalation dye on the back of the film, which turned my Microdol-X BLUE! And it even turned my Kodak Rapid Fixer BLUE! After thirty minutes washing, all traces of the dye was completely rinsed away.
I like this film! I am glad I have it. Of course, I am not following the FOMA instructions, just going by my own intuition.
Since this film (at the time) was not available in 120 size, this is a good alternative
petronius
Veteran
Thank you Peter, I will check this out!
