Vintage Wins!

[Jose Mojica]

I love the vintage look that these lenses give...So if the 24 is fisheye, what do you guys use for wide angle shots? (The 35mm wouldn't be wide enough for me in most cases.)

 

[Ketch Rossi]

You should really keep-em Ketch! You're gonna miss them hehe

BTW, thanks for the compliments!

I know I should have Chris,

But I have just too much Glass, and need to start cleaning up, and this have been on the shelve without use for too long, I have changed my shooting gear and shooting protocols this is only why.

But yeah the images out of it look great, especially when shot by some one that knows what they are doing as in the case here, no compliments, just stating what I see...


And yes, I know will come a day where I'll regret having sold all my Mamiya glass...

 

[Chris McKechnie]

I love the vintage look that these lenses give...So if the 24 is fisheye, what do you guys use for wide angle shots? (The 35mm wouldn't be wide enough for me in most cases.)

I use the 24 and there'a no distortion in 5K and I believe 6k as well.

 

[Jose Mojica]

I know I should have Chris,

But I have just too much Glass, and need to start cleaning up, and this have been on the shelve without use for too long, I have changed my shooting gear and shooting protocols this is only why.

But yeah the images out of it look great, especially when shot by some one that knows what they are doing as in the case here, no compliments, just stating what I see...


And yes, I know will come a day where I'll regret having sold all my Mamiya glass...

Hi Ketch,

So, is your set really for sale? How much are you asking for it?

 

[Chris McKechnie]

More Mamiya Love

More Mamiya Love

Straight from camera grabs. Shot wide open on the Mamiya 35, 45, 55, and 80 lenses. Camera was always on the dolly since the director wanted movement...so tact sharp frames are sometimes hard to come by. Hehe But gosh I love how these render on a RED sensor. Organic goodness.

 

[Elsie N]

Chris, your images have something akin to a silky look, for lack of a better description.

I have some Mamiyas and some Pentax Takumars as well. I currently have one of the multi-coated Takumars, a 3.5/55mm mounted on a RAVEN via a Pentax 6x7 to EOS adapter.

I turned it on one night as I was brainstorming a shot in my kitchen. I have an overhead light fixture with two long LED bulbs that replaced fluorescent. I have 50 year old walnut cabinets and when viewing them through this lens, I saw them as I had never seen them before.

I also have three LED screw in bulbs over my sink. I turned them on as well expecting the whole scene to become harsh as LEDs seem to me to create a very bright but also very harsh look when without diffusion, as these were.

To my amazement, the scene maintained its silky-smooth look when not including the bare bulbs in the shot, and even when including them in the shot, they did not have that harsh, blown-out look I expected. Again, a silkiness even to the bare bulb output.

This is how I want my work to look for the kind of things I'll be shooting. But if I do want a tack-sharp output, I have a nikon to EOS adapter for the RAVEN or a Nikon mount for the Weapon.

I should also mention that I have a Takumar 2.5/135 6x45 lens on the WEAPON that I've been testing on outdoor shots and I don't quite get that same emotion from those shots. Could be the different format lens or could be the lighting, but somehow, not even close to the same feeling.

Someday will try to set the two cameras up side by side with more closely matched lenses and both outputted to their respective Atomos Flame monitors to judge the images by.

But back to what you are showing, I agree that vintage has a prominent place in moving picture making.

 

[Karim D. Ghantous]

Some of these shots are terrific. Who says you need lots of money for excellent prime lenses? Zooms are a different story, though.

 

[Chris McKechnie]

Chris, your images have something akin to a silky look, for lack of a better description.

I have some Mamiyas and some Pentax Takumars as well. I currently have one of the multi-coated Takumars, a 3.5/55mm mounted on a RAVEN via a Pentax 6x7 to EOS adapter.

I turned it on one night as I was brainstorming a shot in my kitchen. I have an overhead light fixture with two long LED bulbs that replaced fluorescent. I have 50 year old walnut cabinets and when viewing them through this lens, I saw them as I had never seen them before.

I also have three LED screw in bulbs over my sink. I turned them on as well expecting the whole scene to become harsh as LEDs seem to me to create a very bright but also very harsh look when without diffusion, as these were.

To my amazement, the scene maintained its silky-smooth look when not including the bare bulbs in the shot, and even when including them in the shot, they did not have that harsh, blown-out look I expected. Again, a silkiness even to the bare bulb output.

This is how I want my work to look for the kind of things I'll be shooting. But if I do want a tack-sharp output, I have a nikon to EOS adapter for the RAVEN or a Nikon mount for the Weapon.

I should also mention that I have a Takumar 2.5/135 6x45 lens on the WEAPON that I've been testing on outdoor shots and I don't quite get that same emotion from those shots. Could be the different format lens or could be the lighting, but somehow, not even close to the same feeling.

Someday will try to set the two cameras up side by side with more closely matched lenses and both outputted to their respective Atomos Flame monitors to judge the images by.

But back to what you are showing, I agree that vintage has a prominent place in moving picture making.

Thanks sir! Yea...vintage paired with high resolution sensors is an amazing combo.

Some of these shots are terrific. Who says you need lots of money for excellent prime lenses? Zooms are a different story, though.

Less is more! Hehe Thanks for the compliments! Yea...I'm a primes kind of guy!