NO, it's not got that bad!
We're not talking about German Bombers from WWII, we're talking about olden lenses, y'know, those bits of glass you have hanging around (with some big romantic ideal attached to them) but haven't used yet.
We're not talking about German Bombers from WWII, we're talking about olden lenses, y'know, those bits of glass you have hanging around (with some big romantic ideal attached to them) but haven't used yet.
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| The Portal. Edinburgh, 2016 Leica M2, Canon Serenar 28mm f3.5, Ilford HP5+, Pyrocat-HD |
Sometimes things can creep up and take you by surprise - such is the case with this photograph.
It was taken on a lazy Saturday in Edinburgh, with the M2 and Canon Serenar 28mm f3.5 lens.
I just thought it commonplace when I originally printed it, but now . . well . . . there was something about it that arrested my thinking.
To me it looks like the mannequins are actually walking through some portal into some 'other' place - I am knocked out by it.
Are they leaving the material world behind, escaping through a time portal to a simpler time that somehow exists/doesn't exist.
Do you see what I mean?
It's just so Space Age to my eyes that I instantly want to don my silver lamé suit and join them!
The lowly Canon Serenar has just given things that wonderful glow you get from single or uncoated lenses.
Strangely it also looks a tad 'fossil-digital' (y'know, that plastic look early digital photos had) - it isn't - I've cropped the original negative slightly, but that is about it - it's a scan off a print.
Strangely it also looks a tad 'fossil-digital' (y'know, that plastic look early digital photos had) - it isn't - I've cropped the original negative slightly, but that is about it - it's a scan off a print.
Thinking about the look of this, set me along other paths and I realised that I had another lens that was even older, and totally uncoated. Last time I'd used it I wasn't that impressed, but then I hadn't got a lens hood for it at that point.
So watcha talking about the Sheepy? Garn, spill the beans then . . . .
Well, we're only going on about a lens that is pretty damn old, from the dawn of 35mm photography. Indeed, it is almost the grand-daddy of them all . . the 50mm f3.5 Leitz Elmar.
The serial number of mine is 212290 which dates it to 1934. Concurrent with Hitler and the rise of the Nazi Party . . . what has it seen and more to the point:
Why was I mad enough to make it my film lens of choice for a once in a lifetime holiday?
The serial number of mine is 212290 which dates it to 1934. Concurrent with Hitler and the rise of the Nazi Party . . . what has it seen and more to the point:
Why was I mad enough to make it my film lens of choice for a once in a lifetime holiday?
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| Another Portal The Colosseum, June 2019 Leica M2, 50mm f3.5 Elmar, Kodak 400TX, Pyrocat-HD |
It's a really strange move isn't it?
Risking everything.
As they used to say when I was young
"Would you risk it for a Swisskit?"
Well, I did. I threw caution to the wind, and there was a reason for this.
Here's the long and dull story:
Risking everything.
As they used to say when I was young
"Would you risk it for a Swisskit?"
Well, I did. I threw caution to the wind, and there was a reason for this.
Here's the long and dull story:
For 10-odd years, we've had a 'holiday' camera - a wee Panasonic DMCF which has done a not bad job of detailing all our holidays, old caravan ones, and our expansion out into the world of travel when we could afford to do so.
It has done very well, but was starting to show its age - the screen was going and it had dents but it still took a decent picture.
I'd been wanting to upgrade for a while and I addressed this a few years ago with the purchase of a Sony A6000 - a fine wee camera, which sort of did a couple of holidays, though I was never truly happy with it - this being said:
It has done very well, but was starting to show its age - the screen was going and it had dents but it still took a decent picture.
I'd been wanting to upgrade for a while and I addressed this a few years ago with the purchase of a Sony A6000 - a fine wee camera, which sort of did a couple of holidays, though I was never truly happy with it - this being said:
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| Kotor Inflatable. Kotor, Monetenegro, 2017 Sony A6000, 35mm f2, Nikkor-O |
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| Dream On Kotor, Monetenegro, 2017 Sony A6000, 35mm f2, Nikkor-O |
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| Ghosts Take Selfies Dubrovnik, Croatia, 2017 Sony A6000, 35mm f2, Nikkor-O |
As you can see, it's colour rendition is really rather good.
I was using it in the above with a 35mm Nikkor 'O' pre-Ai lens with a Metabones adapter. Obviously the lens contributes vastly to everything, but all the same, the Sony made a decent fist of these RAW files.
OK - please don't turn off - I know, it's digital, my avowed Nemesis!
But at least I am still trying to sharpen my eye.
I was using it in the above with a 35mm Nikkor 'O' pre-Ai lens with a Metabones adapter. Obviously the lens contributes vastly to everything, but all the same, the Sony made a decent fist of these RAW files.
OK - please don't turn off - I know, it's digital, my avowed Nemesis!
But at least I am still trying to sharpen my eye.
I'm not happy they don't exist as Cibachrome prints though.
Believe me, as someone who did quite a lot of Cibachrome back in the 80's . . they would look stunning on Ilford's long junked, Prints From Transparencies system . . . it had its own look - the colours were rich, vibrant, deep and extremely beautiful. It took a lot of work just to produce a single print, but if you got it right then that effort was rewarded manifold.
Actually, that's given me an idea - maybe I will expand into colour printing in the future, proper colour from negatives and using the filters on the DeVere, but for the meantime, these digital files will have to satisfy an occasional colourful itch.
Anyway, holidays!
Rome!!
Rome!!
Ah yes, hot, busy, beautiful and ancient; the partial country of my forefathers, and we'll be taking pics too!
So, there I was, planning on using the Sony for this holiday, when Chopper (son and also nemesis) said he fancied a 'proper' camera for a 3 week European road trip.
He does leave these thing to the last minute, but un-phased, I initially thought film and so did he.
However seeing as he's never handled a 'normal' camera in his life, with 2 weeks to go till he left, then any thoughts of a nice Nikkormat were oot the windae.
So, digital it was and in a state of I Can Tak It, I said:
"Here y'go son"
handed him the Sony and a Sony E 16-50mm f3.5-5.6 OSS lens (its kit lens, but actually alright) and said:
"Awa y'go!"
He does leave these thing to the last minute, but un-phased, I initially thought film and so did he.
However seeing as he's never handled a 'normal' camera in his life, with 2 weeks to go till he left, then any thoughts of a nice Nikkormat were oot the windae.
So, digital it was and in a state of I Can Tak It, I said:
"Here y'go son"
handed him the Sony and a Sony E 16-50mm f3.5-5.6 OSS lens (its kit lens, but actually alright) and said:
"Awa y'go!"
But that left me in a conundrum in the colour, holiday snap department and in typical Sheephouse fashion,
I went totally over the top.
Now, no doubt you know people that go OTT when purchasing something, but I've been giving them lessons.
For me it involves hours of research and scouring, reading, watching and mulling.
Anyway, to cut a long story short, I ended up with another DSLR.
For me it involves hours of research and scouring, reading, watching and mulling.
Anyway, to cut a long story short, I ended up with another DSLR.
Eagle-eyed readers will remember a few years back I owned a Canon D50S - a sort of OK camera, which I actually traded for the Sony.
Anyway, TCALSS (to cut along story short) after some umming, I ended up with a used Nikon D300S and a 18-55 Zoom Nikkor.
Both things you'll know are (if you've read FB for any length of time at all) anathema to me.
But there y'go, with under a week to go to get myself sorted with something for holiday snaps, I had to make a stand and as it turns out chose wrongly.
Oh there's nothing wrong with the camera and the lens is alright, but if you've ever hauled a ship's anchor around in 30+ Degrees of heat, you'll know that such things as image quality pretty quickly lose their charm.
Allied to this is the bulk of a semi-pro camera.
My goodness, the professionals who hauled Nikon F2's around had it easy.
The F2 (a large and heavy all mechanical SLR) is positively sveldt by comparison . . and actually a darn site easier to use.
To me, picture making is (or should be) a relatively simple process:
Focus, aperture, time, 'click' and wind-on.
It definitely shouldn't be:
Check what mode you're in, check focus, zoom a bit, check focus again, oh wait a minute, I am in manual so I have to use a fucking wheel on the camera to adjust the aperture, and then, and then . . . ooo a picture.
It is crippling from the creative pov.
Fortunately, I had also decided I was going to take a 'normal' camera and shoot black and white too - enter the Leica M2, some lovely Ilford HP5+, FP4+ and my last roll of Tri-X. I've no qualms about travelling with film these days - it is simple.
But I needed a lens. I could have taken the 35mm Summaron or the 28mm Serenar, but instead in some weird alternate universe decided in me heed that what I needed was uncoated and old . . . enter the Elmar.
I had no idea what I had, but slightly over-exposing what I thought would do seemed to work quite well, especially using a staining developer like Pyrocat-HD.
Funny to think of the difference an experience can make, because I'd actually had a lucky escape - not three weeks before we left I was talking and seriously thinking again about selling all my Leica gear and getting something else . . . well not now.
No Way Hosepipe.
I will never be parted from the M2 - it is too intuitive and simple and light and quiet and just so completely the opposite of what a DSLR is, as to be a product from the different planet.
If you're a photographer, try and give one a go (or something similar from one of the many other manufacturers who made small light, FAST, quiet cameras).
Go on - you owe it to yourself.
And onto the lens.
Well what can I say.
It's really old.
It certainly isn't the most ergonomic thing ever made; changing aperture isn't at all easy on the fly, BUT, it collapses (so that the whole camera is about as small as you can get in film terms short of going Minox) and as seen above produces results that are interesting, softly beautiful and quite unlike any other lens.
The Fison hood has definitely made a huge difference - it is a really well made little hood, thoroughly blackened inside and incredibly compact.
The one caveat I would add about it, is that using the knurled screw to clamp it onto the front of your Elmar can mar the lenses finish, so, a small strip of masking tape around the front to adhere to the knurled part of the Elmar provides a very positive gripping surface.
I'd also add that most OLD Elmars have caps that don't stay on!
Ah yes, a round of applause from the back!
True though - this is the result of the compression of the felt inside the ring of the cap over decades of use.
Here's an easy solution if you don't mind your felt being old and brown - the lid of a Bic Biro - the pointy clip bit - just use this to gently rub up the knap of the felt - do it carefully and it won't come loose.
Felt is a wonder material - highly under-rated, but it cleans up well.
I didn't use any liquid in this process as I have no idea what sort of adhesive the felt is held on by - it's probably an animal glue, so is probably fine, but not wanting to take any chances . . . .
Suffice to say it works, and should on any Leitz lens you own that has a push-on felt-lined cap!
Both things you'll know are (if you've read FB for any length of time at all) anathema to me.
But there y'go, with under a week to go to get myself sorted with something for holiday snaps, I had to make a stand and as it turns out chose wrongly.
Oh there's nothing wrong with the camera and the lens is alright, but if you've ever hauled a ship's anchor around in 30+ Degrees of heat, you'll know that such things as image quality pretty quickly lose their charm.
Allied to this is the bulk of a semi-pro camera.
My goodness, the professionals who hauled Nikon F2's around had it easy.
The F2 (a large and heavy all mechanical SLR) is positively sveldt by comparison . . and actually a darn site easier to use.
HOLD YOUR HATS - HE'S ABOUT TO GO OFF ON ONE!
To me, picture making is (or should be) a relatively simple process:
Focus, aperture, time, 'click' and wind-on.
It definitely shouldn't be:
Check what mode you're in, check focus, zoom a bit, check focus again, oh wait a minute, I am in manual so I have to use a fucking wheel on the camera to adjust the aperture, and then, and then . . . ooo a picture.
It is crippling from the creative pov.
Fortunately, I had also decided I was going to take a 'normal' camera and shoot black and white too - enter the Leica M2, some lovely Ilford HP5+, FP4+ and my last roll of Tri-X. I've no qualms about travelling with film these days - it is simple.
But I needed a lens. I could have taken the 35mm Summaron or the 28mm Serenar, but instead in some weird alternate universe decided in me heed that what I needed was uncoated and old . . . enter the Elmar.
From the first frame the camera and lens combo proved to be a revelation - for a start I could carry it without resorting to a team of sherpas.
In use it was lightning fast - I'd do a quick Sunny 16 style calculation in my head, set the aperture, set the shutter speed, focus 'click' and carry on.
Funny to think of the difference an experience can make, because I'd actually had a lucky escape - not three weeks before we left I was talking and seriously thinking again about selling all my Leica gear and getting something else . . . well not now.
No Way Hosepipe.
I will never be parted from the M2 - it is too intuitive and simple and light and quiet and just so completely the opposite of what a DSLR is, as to be a product from the different planet.
If you're a photographer, try and give one a go (or something similar from one of the many other manufacturers who made small light, FAST, quiet cameras).
Go on - you owe it to yourself.
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| Who Are You And Why Are You In My Way? The Colosseum, June 2019 Leica M2, 50mm f3.5 Elmar, Kodak 400TX, Pyrocat-HD |
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| Another Portal The Colosseum, June 2019 Leica M2, 50mm f3.5 Elmar, Kodak 400TX, Pyrocat-HD |
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| Peaceful Remains Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford FP4+, Pyocat-HD |
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| An Island Of Calm. Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford HP5+, Pyocat-HD |
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| Peace In The City Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford FP4+, Pyrocat-HD |
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| Rest Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford FP4+, Pyrocat-HD |
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| Folk Go Bonkers For The Swimming Bear Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford FP4+, Pyrocat-HD |
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| Much Weirdness Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford FP4+, Pyrocat-HD |
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| Temple Of Asclepius At Dusk Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford HP5+, Pyrocat-HD |
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| Formal Fountain Rome, 2019 Leica M2, 50mm f3.5 Elmar, Ilford HP5+, Pyrocat-HD |
And onto the lens.
Well what can I say.
It's really old.
It certainly isn't the most ergonomic thing ever made; changing aperture isn't at all easy on the fly, BUT, it collapses (so that the whole camera is about as small as you can get in film terms short of going Minox) and as seen above produces results that are interesting, softly beautiful and quite unlike any other lens.
The Fison hood has definitely made a huge difference - it is a really well made little hood, thoroughly blackened inside and incredibly compact.
The one caveat I would add about it, is that using the knurled screw to clamp it onto the front of your Elmar can mar the lenses finish, so, a small strip of masking tape around the front to adhere to the knurled part of the Elmar provides a very positive gripping surface.
I'd also add that most OLD Elmars have caps that don't stay on!
Ah yes, a round of applause from the back!
True though - this is the result of the compression of the felt inside the ring of the cap over decades of use.
Here's an easy solution if you don't mind your felt being old and brown - the lid of a Bic Biro - the pointy clip bit - just use this to gently rub up the knap of the felt - do it carefully and it won't come loose.
Felt is a wonder material - highly under-rated, but it cleans up well.
I didn't use any liquid in this process as I have no idea what sort of adhesive the felt is held on by - it's probably an animal glue, so is probably fine, but not wanting to take any chances . . . .
Suffice to say it works, and should on any Leitz lens you own that has a push-on felt-lined cap!
Happy days 😄
BTW - these are scans from straight prints, which are on Tetenal RC paper - they don't make it any more, shame because it was nice stuff to use - they're printed at bog standard Grade 2.
The thing that surprises me for such an old uncoated lens is actually how contrasty they look and yet there's that air of glow that you get when the light is right.
I am super-chuffed.
The oof areas too - quite unlike modern lenses - not sure how they'd look in colour, but I think good ol' monochrome suits it just dandy.
And the Nikon?
Well, there's more to come so I'll keep you guessing.
Jacob Marley's Chain - by Aimee Mann
Well, today a friend told me this sorry tale
As he stood there trembling and turning pale
He said each day's harder to get on the scale
Sort of like Jacob Marley's chain
But it's not like life's such a vale of tears
It's just full of thoughts that act as souvenirs
For those tiny blunders made in yesteryear
That comprise Jacob Marley's chain
Well, I had a little metaphor to state my case
It encompassed the condition of the human race
But to my dismay, it left without a trace
Except for the sound of Jacob Marley's chain
Now there is no story left to tell
So I think I'd rather just go on to hell
Where there's a snowball's chance that the personnel
Might help to carry Jacob Marley's chain
Help to carry Jacob Marley's chain...
No exposure meters were harmed during the making of this FogBlog
