I'm selling my Angenieux 25-250mm T3.9

[laguun]

Hi Jan,
I am talking about this style of 25-250. If somebody is offering you 3500 euro I would advise you to sell.

Hi Steven,

thanks for the advice, however each of the 25x10 sees lots of demand, many customers, especially exprerienced and elder DoPs, like them quite a bit, and each of the 3 makes us more money in rental than 3500,-...

More important: They certainly make more fine images in the hand of a good Dop as destroyed in the hands of the props dept. It doesnt take a Kubrick or Alcott to shoot excellent images with it btw.

Modern lenses leave the factory today with far better quality control than they did approximately 50 years ago when that lens was made, however with tuning can be improved.

Stephen, Angenieux manufactured the 25x10 in the 80ties, the 90, until 2007 - ranging from F3.2/T.3.9, T3.7, T3.5 and sold them at ~30.000€. The lens you destroyed looked like a rather poorly maintained and serviced model from the 70ties - its seems Digital Domain used it heavily and didnt service it to often.

I dont know when you have tested the 25x10 on your red one - but if you look at the shots on full S35 red:
http://www.bilder-hochladen.net/files/3raj-6-jpg.html
http://www.bilder-hochladen.net/files/3raj-7-jpg.html
i wonder where you see "portholing, ca and flare"...

i like the combination of cooke SP2/3 and angenieux 25x10 and greenlighted that combination for some productions this summer on some of the reds here.

I think you made your point clear (that the lens the threadstarter sold is "a piece of ****" and such lenses should be destroyed etc) while others rather prefer to use them for its best as kubrick did - and we should stop "beating the dead horse" now i suppose.

 

[Stephen Williams]

I dont know when you have tested the 25x10 on your red one - but if you look at the shots on full S35 red:
http://www.bilder-hochladen.net/files/3raj-6-jpg.html
http://www.bilder-hochladen.net/files/3raj-7-jpg.html
i wonder where you see "portholing, ca and flare"...
.

Hi,

Thats not a picture of my lens, it's one currently on sale.

Portholing occurs wide open and is most obvious on a flat white background, I don't see a bright light in shot so flaring is not an issue.

Stephen

Edit Sharpmess & definition is somewhat lacking IMHO, YMMV

 

[Brian D. Goff]

$1500?! What's wrong with it?

Nothing. The shoots on the "Blofeld" add I posted were all open aperture and inter-cut pretty good with the Zeiss HS I also used.

 

[chuck colburn]

Geezy peezy guys it's just a lens. And no it's not an Optimo but for it's day it was the only game in town with that focale length range. One can tune them up a bit by fooling around with the internal spacing of the compensator group (that's the one that makes the lens hold focus as good as it can thruout the zooming range) and futzing with the centering of the focusing and collimation groups to achieve decent tracking down the range. Adjusting the relative rotational position of the different groups to each other can clean up some of the primary and longitidunal (sp) chromatic aberations. Can't do shit about breathing though, that's inherent in the design. lol

As an after thought and off topic, the 6x20 Angenieux while not as long in focale length range is a superior lens.

 

[Costelloe Michael]

Hey Guys,

I rather like this thread as it says as much about the people posting it as it does about the lense it discusses :turned: !

I think it does depend on what you expect from a lense, what your benchmarks are and how you expect it to perform. I'm sure each lense shows it's own characteristics also, but the more you guys discuss it the more I feel I'm learning!

Mike C

 

[chuck colburn]

The early (I don't know about the later series) of 10x25's were built exactly like the 12-120 zooms for 16mm cameras. That is to say that the variator and compensator groups were controlled by a soft steel pin riding in a brass cam slot. This was perhaps not the best idea due to the weight of the componets themselves. They tended, (the pins) to wear somewhat quickly. But you could put a piece of thin metal shim stock under the pin which would make the part stop at a new position and give you a new working surface. Cheaper then buying a new part which you probally can't do anymore anyways.

By the way Laguun your shots look good to me. Espically the one of the tower. If you were going to see bad color fringing it would be in that shot.

 

[Jonas Bendsen]

This thread is hilarious. I know it's old, but I was looking up the Angienux mentioned here, and thought I'd chime in. We used a vintage 25-200 T3.9 PL mount for the end credits of on of our feature films because we wanted a sort of "Italian Vintage" feel (live zooms, flares, etc.). We were shooting 4k RED, and it looks fantastic. Not sure why someone would think this lens is a POS. It's awesome (and sells for $3k+ on the used market).