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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 :)

PL Cine Glass for Stills Photography?

On the 5D2, for this type of shooting, manual focus is no longer an issue. The LiveView x10 joystick function means that you can get razor-sharp focus, even in like 1/2 moonlight. It's flat out amazing. It's a game changer. I have not tried it in totally dark skies yet, but I would not be surprised if I was able to focus on stars... live.

I just got a new 24 f/1.4 Mark I, and it's way better than my last copy. It's really crisp and fast. I will probably get the Mark II when it comes out, if reviews are good. But I also really need a 14 to 17mm ultra wide. Right now it's between the 14-24 G Nikon (with that crazy 16-9 adapter), the 17-35 Nikon (with manual iris ring), the EF 16-35 II, and the Contax N 17-35.
 
Tom said:
Right now it's between the 14-24 G Nikon (with that crazy 16-9 adapter)...
Click to expand...

I didn't know there was an adapter. The Nikon could be good for daylight time lapse if it doesn't flare too much. Do you have some details on the adapter?
 
Tom said:
On the 5D2, for this type of shooting, manual focus is no longer an issue. The LiveView x10 joystick function means that you can get razor-sharp focus, even in like 1/2 moonlight. It's flat out amazing. It's a game changer. I have not tried it in totally dark skies yet, but I would not be surprised if I was able to focus on stars... live.
Click to expand...

That's great, but what I referred to is more the focus scale short throw. At f/1.2 there is not much DOF and even on the massive focus scales that MPs have, the difference between sharp and out of focus is tiny at this level of detail. How do you turn the focusing ring by fraction of a millimeter, say 0.2mm? You see what I'm getting at? The limitation when using still glass is on the other side of the camera.

I think this difference alone makes PL glass very desirable for this kind of shooting. If I could only bolt that MP onto the 5D MKII....Jim, you need to hurry up with that Monstro chip, I think :biggrin:
 
Vive la difference

Vive la difference

This forum is turning into a school yard bully competition:
My MP is sharper than yours!

Everybody seems to thrive for the picture perfect: uber sharp, no noise, no artifacts, no vignetting...

... and who secretly is asking the colorist to throw in a vignette here and there, to soften THAT corner, to desaturate this, to crush that, who is complaining that digital cameras make actors look plasticky, like ninja cartoons.

Like microphones, lenses are different, have personality, quirks, swings and moods. Learn, embrace and enjoy the difference.

Vive la difference
 
Indeed we all have different tastes, but this is not the subject of this thread. I enjoy my pictures sharp, with good contrast, no flare, no noise and no vignetting and my "actors" look just fine through sharp and non-distorting lens :bleh:
 
Tom said:
http://www.16-9.net/nikon_g/

The problem is, the adapter is kind of a crazy invention, and it has suffered "Birger"-like delays, etc.
Click to expand...

16 : 9 Nikon G to Canon EOS mount adapter is shipping now.

I have got one but still did not test it because do not have any good Nikon G glass at the moment.

NikonGtoEOSadapter1.jpg

Nikon G to Canon EOS mount adapter on my desk.

Tom said:
Pawel, do you have any thoughts on the Contax N Zeiss 17-35? It's corners seem to be sharper than a razor, but maybe at the expense of the center of the image. One of the members here whose opinion I respect has one converted to EOS mount and swears by it. One thing I am interested in is finding a wide lens that can shoot straight into the moon (moon in frame) without much flaring.

Here is a shot from last week with a naked EF-S 10-22 on my 350D body shooting directly into the moon. Usually this lens is awesome at avoiding too much flare. But look in the lower left corner, as well as near the moon itself...
Click to expand...


To avoid any bad lens flare effects try Leica R lenses, for example Leica Vario-Elmarit-R 1:2.8-4.5/28-90mm ASPH

"Flare properties
I made a special study of the flare properties of the lens, as this is the one area where lenses have to go ‘a bout de souffle’. Veiling glare is hardly visible at all focal lengths, implying there is no loss of contrast when the background is much brighter than the subject itself. When the sun is obliquely shining into the lens, and is behind the subject, one can see some secondary reflections of small extent in the picture, but the well-known diaphragm blade reflections are not visible. With the sun flooding the image, there is of course a bleaching out of the picture details, but in such a situation one would change the position slightly to evade this direct confrontation with the sun.

In general I would say that for veiling glare the lens is better than the average Leica lens, and for secondary reflections it is slightly better."

From Erwin Puts, a professional lens expert.

page88_3.jpeg


Pawel Achtel said:
That's great, but what I referred to is more the focus scale short throw. At f/1.2 there is not much DOF and even on the massive focus scales that MPs have, the difference between sharp and out of focus is tiny at this level of detail. How do you turn the focusing ring by fraction of a millimeter, say 0.2mm? You see what I'm getting at? The limitation when using still glass is on the other side of the camera.

I think this difference alone makes PL glass very desirable for this kind of shooting. If I could only bolt that MP onto the 5D MKII....Jim, you need to hurry up with that Monstro chip, I think.
Click to expand...

Pawel,

somehow you could "nail" focus even with wide open using fast still glass in photography and

for a movie with moving objects is a bit difficult but it can be done in a certain way.

Have a look at this short documentary test shot on RED1 using Canon 50mm FD l f//1.2 @ wide open f/1.2

from one of the parties in my shop:

Black Cherry Flash Footage 50 MB>>>

chick02.jpg

Black Cherry: shot on RED1 using Canon 50mm FD L f//1.2 @ wide open f/1.2 all time.

chick03.jpg

Black Cherry: shot on RED1 using Canon 50mm FD L f//1.2 @ wide open f/1.2 all time.
 
Sanjin Jukic said:
somehow you could "nail" focus even with wide open using fast still glass in photography and

for a movie with moving objects is a bit difficult but it can be done in a certain way.

Have a look at this short documentary test shot on RED1 using Canon 50mm FD l f//1.2 @ wide open f/1.2 from one of the parties in my shop:
Click to expand...

But this footage is almost entirely out of focus. :) LOL
 
Pawel Achtel said:
But this footage is almost entirely out of focus. :) LOL
Click to expand...

Pawel,

just show me your (documentary) footage with "in focus" moving objects @ wide open T 1.3 using MPs or any other PL glass :) :) LOL GOL.

It was a party and DP+AC all in one (that was me) was a bit drunk (we all were drunk, girls, boy, etc...) and was turning a focus ring always in wrong direction :) .
 
Pawel Achtel said:
That's great, but what I referred to is more the focus scale short throw. At f/1.2 there is not much DOF and even on the massive focus scales that MPs have, the difference between sharp and out of focus is tiny at this level of detail. How do you turn the focusing ring by fraction of a millimeter, say 0.2mm? You see what I'm getting at? The limitation when using still glass is on the other side of the camera.
Click to expand...

I understand. And having that joystick/x10 zoom feature available with MPs would help, especially with these tiny focus adjustments. The new Red cameras will have enough resolution to really punch in by x10. I hope this is a feature Jim will consider adding.
 
The First DSMC?

The First DSMC?

Sorry for poor picture quality - just using my "state of the art Telstra mobile phone with breath-taking 2 mega pixel built-in camera". More to come on weekend when I may have more time to play with this baby.
 
umeric said:
"MPs, you just don't think about flare - there isn't any. "

We have been using MP's for the last 4 gigs - they do flare mate....
Click to expand...

What do you do to achieve this? :clown2:
 
Ahh I just came to this thread late. I have a PL to Leica M adapter that I've used over the last couple years. It works well on the M8 since the chip is smaller and a little closer to a movie frame size. I had it made by a guy in Australia. I'm getting ready to list it on ebay if anyone is interested.

DSC_1292_s.jpg

DSC_1293_s.jpg
 
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