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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Epic & old glass

Stephen Williams said:
Yes they do.
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Great :laugh:

I only ask as I picked up a set recently, but they're still in BNCR & I'm deciding what to do with them (re-house to PL, go Allstar mount or sell on). basically, 25mm/35mm/50mm/75mm out of an animation studio, so minimal use and nice (clean/unmarked) glass.

But, if they cover 5K, I just might keep them...
 
Or just use a BNCR mount from VP as I do!
 

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Couple things:

1) Gunleik, thanks for the thread
2) Kobe: I loved your flick and said so back when you first posted. I think there are sensor coverage issues with the Schneiders, but they look great. Congrats.
3) The thorium glass, as well as other radioactive and rare earth elements are also found in some Canon FD lenses. From what I have read, the "yellwoing" is prized by still photographers who shoot on B&W. Something about the yellow apparently changes the contrast in B&W. Not sure if that necessarily carries over to a CMOS sensor. It would be interesting to see some footage/stills using the same Canon FD focal length in both a standard and a radioactive version to compare.
4) Angie 25-250 3.9 zoom. There is an old REDuser post with some footage using this lens on the Red One. http://www.reduser.net/forum/showthr...eux-Night-Test I like the footage of the chick in the red hoodie. Smooth warm look. Weird triangular bokeh. Its a nice change from the ultra modern super clean look.

I think it was a killer combo. Can't wait to see some Epic/Scarlet footage with this Angie.

BTW, Duclos overhauled my Angie 25-250 3.9. Overhailing it made a big difference. But as a last step, he put it up on a projector, and then threw on a Optimo 24-290. He cautioned me to not be disappointed beforehand. The difference was dramatic. Contrast, straightness, resolution were all noticeably different. But that's exactly Gunleik's point. Sometimes you just don't want a clinically-clean image. Sometimes, the "best" is not a Zeiss MP, but an imperfect lens.

and that brings me to 5

5) A while back I proposed doing a SALT III and SALT IV. Basically recreating SALT I and II but using old cinema and old still glass. I have a good collection, as well as a lens projector and an autocollimator, but alas, no EPIC/Scarlet, or ALLSTAR mount system as of yet. Still want to set this up. Anybody want to help set this up in Washington DC?
 
I have a very extensive 20+ Contax Zeiss set that I'd be happy to bring to a DC test. It includes a sizeable number of legacy designs that never made it to the ZE/ZF/CP2 line...but I think would be compelling to have tested. In particular, I'm thinking of two relatively humble lenses that are considered still to be remarkably sharp: the Contax 50 1.7 (MM), and the 100 3.5 Sonnar. And also several of the zooms.
 
Here's some shots from my Schneider-Kreuznach Arriflex-Cine-Xenon, 100mm T2, Standard Arri Mount with PL adaptor:
 

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Just a quick shot of my 3 day old baby girl... Jemma Jean Lealos with her mama. Scarlet with 35mm Zeiss B-speed.

Also, I am currently working on a new show for Discovery with Mike Rowe. Its a crazy show with a wacky format. Anyway, keep your eye out for it in September... we shot the whole series with my Canon K35s and Zeiss B-Speeds :)
 

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Gunleik.

Are you still in-country...? Our managing director just returned from a 3-week trip. Said it rained crazy every single day.

Still loving the newly posted photos...That part of the world is so beautiful.
 
Clint Lealos said:
Just a quick shot of my 3 day old baby girl... Jemma Jean Lealos with her mama. Scarlet with 35mm Zeiss B-speed.

Also, I am currently working on a new show for Discovery with Mike Rowe. Its a crazy show with a wacky format. Anyway, keep your eye out for it in September... we shot the whole series with my Canon K35s and Zeiss B-Speeds :)
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MAGNIFICENT!!!!
 
Michael Panfeld said:
NicK what mounts are on those?
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They are native CY mounts, with EOS adapters slapped on them (for now).

I'll be moving over to the All Star mount eventually. Vin my biz partner already owns the A-Mount, so I'll be ordering more extra Contax (and m42) adapters down the road over the next couple of months.
 
Wow!

So glad more people join in!!!



Clint: LOVELY!!!!

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So... I have a hard time seeing how i could have grabbed these with masters/RPPs without very extensive filtering and postwork

With the old glass, it's just a matter of levelsadjustment, and they're done.... 'ish


That's of course if these are the kind of images you want...
 
I think I mean pre mid 90's... Good question.

I don't mean "imperfect" as such. We have a really bad RED 18-50 which is just irritatingly soft. But still looks "new" in color and charracteristica.

Vintage, would probably be a better term...
 
I have some 70's and 80's leica R lenses, they don't look that vintage to me.
Not sure I should post.
Anyway nice thread Gun.
B.
 
Post!

Your stuff is allways great!

Cool thing is to see alternative images than those that come from the "standard" glass.
 
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A self portrait of an old favourite bit of glass. I use this cheap little Super Takumar for my personal shooting - I make no bones about stealing our Epic home for family and baby stuff, if its good for my clients, its good for me ;)

Its not rare or particularly weird, but its got a great combination of clarity and softness when wide open, and despite its tiny size the focus action is immaculate.

On a less vintage note, I really enjoy the look of the Nikon AI-S set I assembled recently. Again, not crazy off-the-wall weird, but not characterless and over-perfect. Lots of dreamy veiling wide open, and interesting focus fall off too.
 
Love that photo John.
 
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