Apr 272016
 

Flower shots on 800 ASA film with a canon FD 85mm f/1.2 and a Petzval lens.

By Dirk Dom

Disclaimer.

I have somewhat mixed feelings sending this write up about shots, taken with 40 and 100-year-old gear, and which aren’t even remotely sharp. This is not at all for pixel peepers and gearheads. I hope you enjoy the shots as much as I do, and, who knows! Maybe you’ll get a roll of film out of the fridge and try it too!

The Story.

About ten years ago, I tried to do macro shots of flowers with the 85mm f/1.2 and a 50mm extension tube, to see if ultra-shallow DOF shots of flowers looked like anything. I used 400 ASA Fuji Superia film which I overexposed some four stops. (Had no choice). I discovered that compositions had to be extremely simple which made for very intense searching and the least bit of wind made the flower wiggle and made focusing very difficult. Over the course of two weeks I managed three nice shots.

About a year and a half ago I looked at the scans of these shots and I discovered something I had ignored before: grain! While digital grain (“noise”) is random in color and ugly, film grain comes in the same color as the subject and is, to me at least, gorgeous. I bought a three stop grey filter and Easter of 2015 I made macro shots on Fuji Superia 800, with the 85mm wide open, overexposing 4 stops.

For some reason I had no more trouble finding compositions and the shots came out extremely nice. I’ve put them on this website, you can find them back.

This Easter I went to the Costa Blanca, Spain, where I did more of the same. I introduced a 100 or 150 year old Petzval lens.

The Gear.

Canon F1 new, FD New 85mm f/2 L, Speedfinder, 50mm and 25mm extension tube, 3 stop ND filter.

image001

The Speedfinder allows shooting up to ground level because it revolves from horizontal to vertical. It allows to see your entire viewfinder image up to 2 ½ inch distant. I used manual metering all the time. The three stop ND filter allowed me to shoot, four stops overexposed, at 1/2000 to 1/250 second.

Canon F1 with Petzval.

image005

I got this lens for free with a large format camera, it covers about four inches image circle. It’s focal length is about 150mm, f/4 to f/5.6, uncoated of course and it’s very soft focus. I made an bronze adapter for it which connects to Canon FD, with a further adapter I can use it on any mirrorless camera. I’ll tell you later about this unique and very difficult to master lens.

The shots:

Pixel peepers should stop reading now.

Over the course of two weeks, during five walks, I shot eight films, 360 images. 59 of those were good. This is a selection, from sort of normal to sort of crazy. First the Canon lens, everything at f/1.2, the Petzval I keep for a bit later.

image006

image009

image011

The images, scanned and post processed, were a complete surprise. In Spain I saw my images through the viewfinder, with shallow DOF etc etc, and I knew it was technically possible, but that was only ten percent of the bargain. Only now I see what the images really are. They have to be thoroughly post processed because they exit the scan with the colors out of whack and rather flat. Fuji Superia 800 clearly isn’t made to be overexposed four stops and still be perfectly balanced. It’s also possible the scanner software (Silverfast) plays tricks. Every shot I need to search how to make it work. But when it opens up, it’s a revelation. I have to be very subtle with color saturation and contrast and levels, because otherwise the delicate grain and image structure gets destroyed. The grain only can take so much tweaking. So, the results you see here aren’t far off from what got on film originally.

image012

My Eizo screen is absolutely essential; it’s the best buy I ever made. The photo’s light up on it. If I had done the processing on my laptop, it wouldn’t have worked: Colors are flat compared to the Eizo and I’d either have given up or way oversaturated and the prints would have been money down the drain. Because, just as with black and white: The print is the only thing that counts. On a screen you can get anything. Everyone sees something different and most of the time, unless you have a really good one, it’s a serious disappointment. Imagine seeing this on a smartphone!

image013

I don’t know if you can see the grain structure on your screen, but it’s I think the most beautiful thing in these shots. Not only are they to be appreciated from a distance, but you can also look at the structure from very close by. They are in fact identical to film black and white, with color as an extra dimension. This is a shot, totally underexposed for a change. Contrast is just about nil, I couldn’t up it more without destroying the grain structure.

image015

Not knowing what will emerge feels very weird to me. Black and white, with its grain and color filters, is partially like that, but there I ‘m confident the outcome will be beautiful.

image017

image037

The Petzval: something different.

This lens is so difficult I almost sold it twice already. It’s a hate/love affair.

It’s a very soft focus lens which has a mind of its own. Sometimes it’s sharp and sometimes it isn’t, and I still don’t know why. A second thing is, that because it’s not sharp, I keep on hunting for focus and don’t know when to press the shutter. This is extremely tiring especially at close focus.

The images it gets are often wildly unlike what I remember was in the viewfinder.

image038

image039

image040

Because of the difficulties, I got fed up with the lens, once again decided to sell it and only shot one film, which yielded these three images.

They exhibit sort of an impressionist look, I think. Will I sell it? Certainly not! I have to learn to control it.

A good ten years ago I went to the nature photo club with a disgustingly high self-esteem. I thought my flower shots were very, very good, while they were lousy, I can show them to prove it. God, I’m still embarrassed about that. The shots I make now make me feel very humble and grateful. I’ve hit photography which needs more searching and control than ever, and yet every shot here is a surprise. I only take images in nature, it’s amazing there is so much beauty there.

image042

What am I going to do with these shots when I’ve reached 200 images or such? Evolve further? Stop it? I can’t just stop this. I have to find a positive way out. Making money on flower shots is almost impossible. Maybe I should offer prints to hospitals. It took me 40 years to get this far. I’m 58 and I got my first camera, a canon Ftb, from my parents when I was 18. I bought a few diopter lenses, two years later I had a macro lens and it started: Shooting flowers has always been my passion.

Bye,

Dirk.

Feb 172014
 

OLYMPUS DIGITAL CAMERA

My favorite ND filter for fast Leica lenses!

Finally! I found THE ND filter to own for my fast Leica glass (Thanks Ken Hansen)! Yes my friends, in the past I have owned many ND filters and I always had to figure out which one I would get. When shooting a Summilux lens or Noctilux lens an ND filter is MANDATORY if you want to shoot your ones wide open where they were designed and optimized to be shot. Over the last few years I have had MANY e-mails come in asking me “which ND filter should I get”..and I am happy to say that the one I own now is hands down my #1 favorite that I have ever owned/used.

It is a made in Germany Heliopan Variable ND filter that gives you a range to work with..from 0.3 all the way up to 1.8 or from 1 to 6 stops. This means you can use this single one ND filter for all of your ND filter needs. From slight brightness to brutal harsh light (like I shot the images in below), this ND filter will give you what you need with a smooth twist of the front ring. When Ken Hansen told me about it I had to give it a shot.

OLYMPUS DIGITAL CAMERA

If you are not familiar with the purpose of an ND filter I will break it down for you very quickly.

Let’s say you love shooting your Leica and Noctilux but you love shooting that lens wide open at f/0.95. If it is sunny outside or the light is bright you will not be able to shoot wide open because the shutter speed in your 9 or M 240 only goes to 1/4000s. This means that without an ND filter you will have to stop down the lens to f/4 or f/5.6 or in some situations even f/8.

With an ND filter in place you can shoot that lens wide open as the filter blocks some of the light. With this particular filter you can adjust how much light gets let in and it is marked from 1-10. I tested this filter in the super harsh mid day sun of Phoenix AZ and my filter was usually between #3 and #6 with the Zeiss 50 Sonnar at f/1.5.

OLYMPUS DIGITAL CAMERA

Using this filter it allowed me to shoot wide open to retain that classic Zeiss Sonnar look that disappears once the lens is stopped down. I shot the SLR Magic Hyperprime 0.95 M lens a couple of years ago with an ND filter as well, and all of the images shot in that report were with a Leica M9, the images below were shot with an M 240 and the Zeiss.

You can also use an ND filter if you want to shoot at longer shutter speeds, for example, a running waterfall. The ND will block the light to your sensor and allow you to drag out that shutter for as long as you need.

Anyway, this is an amazing ND filter and is the only one you will need for ANY situation. No need for 2-4 ND’s, just one. The build is superb and of very high quality, the ring to adjust the strength of the filter is smooth as silk and this filter is available from Ken Hansen in the two sizes any Leica shooter would need. 46mm (35 Summilux, 50 Summilux) or 60mm (Noctilux 0.95). These filters are NOT cheap but no good ND filter is. I believe this one goes for $260 but I found it to be a very worthwhile investment because it is the last ND I will ever need and will fit any 46mm lens I attach to my camera.

OLYMPUS DIGITAL CAMERA

I tested it with the Zeiss 50 ZM Sonnar which also has a 46mm filter thread and the filter presented no issues or problems at all. The Zeiss ZM Sonnar is a very unique lens and when shot wide open at f/1.5 it almost resembles a Noctilux in its rendering. Not quite, but close. The best part is that the Sonnar comes in at around $1100. B&H is back-ordered but Tony at PopFlash has one or two in stock right now (in silver) for anyone looking for this now legendary classic lens.

You can e-mail Ken Hansen here if you want one or have a question. ([email protected]) Not sure how many he has but he did tell me he had a “few” available in 46mm and 60mm filter thread sizes and I recommend this filter 100% for ANY users of these filter size fast lenses (Leica). 

Below are the images I shot with the ND attached, all with the Zeiss Sonnar 50mm ZM and all wide open at f/1.5 at the local Ren Fair here in AZ. BTW, it was almost 90 degrees in mid Feb and the sun was HARSH. AZ mid day sun sucks for taking photos, but I purposely took these at the worst time to test this filter, which did fantastic. 

L1000575

mikesgf

L10006142

L1000639

L1000593

L1000546

L1000559

L1000521

L1000634

L1000564

L1000556

L1000543

L1000545

L1000532

L1000623

L1000626

L1000664

L1000661

L1000650

Mar 122012
 

Shooting wide open in the sunlight with fast glass

So you went out and bought that Leica Noctilux ASPH or SLR Magic Hyperprime T0.95 for your Leica M8 or M9 and you are one of those who want to shoot the lens how it is meant to be shot…WIDE OPEN! Yes, lenses like the Noctilux ASPH are meant to be shot WIDE OPEN and do not let anyone else tell you otherwise! Why else would we spend many thousands of dollars for a 0.95 lens? Well, we wouldn’t! This is also why these types of lenses are generally not meant for every day use. There are better lenses to use stopped down due to the weight and size of these super lenses so when we use one of these masterpieces of lens designs we WANT that 0.95 aperture!

The problem is that many of us who own these expensive but unique lenses realized that we can’t shoot in daylight when the lenses are wide open! I live in AZ and Here in Phoenix it is crazy tough when the sun is blazing down. Even at the base ISO of 160 with the M9 I would normally have to stop down to F/4 or f/5.6 just to shoot the lens, which means if I want that 3D look, that creamy shallowness, and signature look then I am out of luck…UNLESS I buy an ND filter.

I am sure that the majority of you know what an ND filter is but just in case you do not, an ND filter is simply a glass filter you attach to the front of your lens that will block most of the light from coming into your camera and hitting your sensor, allowing you to shoot wide open at slower shutter speeds even in full harsh sunlight.

For lenses like the Noctilux and SLR Magic I would recommend (and I own) a high quality filter such as the B&W 1.8 64X multi coated ND filter. The Noctilux takes a 60mm filter and the SLR magic takes a 62mm filter.  With this filter attached you can set the lens to 0.95 and shoot away, even at high noon in the harshest of sun. When the light goes down you simply take off the filter. I tested out my ND filter at the renaissance fair this past weekend and it worked out great. Usually I would shoot something like a 50 1.4 or 90 f/2.5 at these types of events but I decided to see how the ND filter would handle shooting at 0.95 all day long.

I found minimal vignetting and that crazy cool 3D effect you can get when shooting in the sun at 0.95. I found out the same thing as Ashwin Rao when he shot the Noctilux wide open using an ND filter but I used the SLR Magic T0.95 Hyperprime, and I was wowed by the performance yet again from this lens. If you have ultra fast glass for your 1/4000th second Leica M9, think about picking up an ND filter for daytime use. Not only can you get some unique and beautiful images, you can also have some fun with it.

All images below were shot with the M9 and SLR Magic Hyperprime T0.95 LM lens. Some out of cam JPEGS and a few from RAW. Without the filter, I would not have gotten this “look” which many love and many hate.

Speaking of the SLR Magic…after shooting more with the lens I have to say that it is indeed just as good (if not better) in IQ than the Leica Noctilux ASPH. This lens has a sharpness and 3D pop that is absolutely incredible. Never a focus problem, never un-sharp, and NO CA in any of the shots I took this weekend. Amazing. It certainly is not inferior to the Leica and I think many of you saw that as well since SLR Magic sold out of their 1st run of this lens in a matter of hours last week. The only issue with this lens AND the Leica is that the depth of field is EXTREMELY shallow when wide open. You can see the effects of this in some of the images below. Even with that, it is great to have a lens like this in your arsenal, even if they are insanely expensive. Enjoy!

Click the images for larger, sharper and better 1800 pixel wide versions

Follow

Get every new post delivered to your Inbox

Join other followers:

Skip to toolbar