Let's talk about lenses.

[fahim mohammed]

See how big I am!! I am sure you all must have seen those lenses. Proclaiming their importance, by their appearance. Their size. Their markings. Maybe to scare people away. Or to impress them.

This is a small lens. Diminutive even. Looks like a dinky toy lens. No screaming labels or hoods. Pick it up. Compact and surprisingly dense. You begin to take notice. Look it over. Superbly crafted. Maybe it is not a toy after all.

Move the focus ring. Slicing through butter, with just enough tension so as not to harm the parts of the butter or bang against the butter tray underneath.

Change the aperture. A reassuring click. Notice how precisely the markings line up against each other.
No mistake.

One pays a little more respect. Holds it in the palm, weighing it up. Just to be sure. Immaculate construction. Design. Like a piece of handcrafted delicate jewelry.

No fuss. No pretense. Here to do a job. Elegantly. Engineered to be almost perfect.

cron 35 asph.

 

[Ben Rubinstein]

I might hope one day to be able to produce consistent imagery which would hold my work up as an example. Still think that day is far off though. What hope have we when we are both competing with the greats of the past (studying Avedon and Newman at the moment for inspiration) and also with the entire world of talent connected over the web? There is no way so we might as well shoot for ourselves, if anyone else wants to join the party then we'd love to show them around our minds.

 

[Asher Kelman]

I might hope one day to be able to produce consistent imagery which would hold my work up as an example. Still think that day is far off though. What hope have we when we are both competing with the greats of the past (studying Avedon and Newman at the moment for inspiration) and also with the entire world of talent connected over the web? There is no way so we might as well shoot for ourselves, if anyone else wants to join the party then we'd love to show them around our minds.

Ben,

It's an illusion and mythology that the greats did perfect work, except perhaps for one man and that's not ansel Adams but rather Edward Weston with his obsessional creation of his "Shells" series. In almost all other great photography one can find a fault which still allows the work to live. (My later father would add a "moom" or blemish to a sculpture by bashing it on concrete, so it would not be a "graven image", but imperfect!) Artists who stop before they have done the very last perfection, also allow the art to live. Imperfection is the proof of all living things. The drive to perfection, kills one's offspring. Some of your,pictures, (my good friends Fahim and Ben), work can stand besides some of the greats, with no shame! There just needs to be opportunity, financing, audience, packaging and promotion. There may not be a waiting crowd for all or even any of our work. So first of all, one's own experience in seeing the print or the image on screen must be in itself thrilling or else we'd give up! That's the basic first step in having art collected by others. That and a lot of chance and opportunity for your art to get the air it needs to breathe.

Asher

 

[Ben Rubinstein]

It's not the work Asher, it's the vision, the pioneering vision which I look to for inspiration. I've seen enviromental protraiture which is better than much of the work of Arnold Newman but the vision an drive which created this new genre, that is what makes the work so incredible.

I showed my students a slideshow of Cartier-Bresson's work a couple of weeks ago when we were discussing the use of geometry in composition. Yes there have been many whose street photography can even surpass the work of the master but there was only one whose combination of vision, timing and sheer incredible mastery of geometry as a form of composition came together to bring us such pleasure in viewing his masterpieces.

Of course he didn't get it right with every shot, a study of his contact sheets is an education, however the consistency of vision and intent is what inspires me.

 

[Ben Rubinstein]

Well canon are still calibrating my 50L, it's now there for the 2nd time :-(

This was from a walk around during my last class when I borrowed my camera back from one of my students who was using it to take this with the Takumar. I don't particularly like it but my friend and mentor does. I am of course right.

 

[Ben Rubinstein]

And an extremely rare colour picture from that lens (for me) from today. For such a cheap, old, tiny lens, the rendition is really remarkable. Shot wide open of course. Nachlaot area of Jerusalem, not far from the shuk.

 

[Bob Rogers]

It's interesting that in this world of ubiquitous zoom lenses that so many of the favorite lenses of the people who post here are not zooms. I don't have a lot of lenses and most of them don't qualify as spectacular. I think my favorite overall might be my 50/1.4 AIs (manual nikon). I can't think of an image to share from that right now, but here is one from a lens that's a lot of fun is the Rokinon 8mm fisheye.

Memphis, near Courthouse Square:

 

[fahim mohammed]

It's interesting that in this world of ubiquitous zoom lenses that so many of the favorite lenses of the people who post here are not zooms. I don't have a lot of lenses and most of them don't qualify as spectacular. I think my favorite overall might be my 50/1.4 AIs (manual nikon). I can't think of an image to share from that right now, but here is one from a lens that's a lot of fun is the Rokinon 8mm fisheye.

Memphis, near Courthouse Square:
...

Interesting perspective, for sure!!

Best.

 

[fahim mohammed]

Well canon are still calibrating my 50L, it's now there for the 2nd time :-(

This was from a walk around during my last class when I borrowed my camera back from one of my students who was using it to take this with the Takumar. I don't particularly like it but my friend and mentor does. I am of course right.

Lovely. Draws me in, Ben.

Kindest regards.

 

[fahim mohammed]

lux 50 asph.

 

[fahim mohammed]

Basically, I love the 50mm fl on a 35mm full frame.

Long time ago, there used to be radio show on BBC 4 called the ' Desert Island Discs ' and then the ' Desert Island Books ' ( I think ).

If there was something called a ' Desert Island Lens '; my choice without hesitation would be a 50mm fl
on a 35mm full frame. Can do most everything I want, with that one focal length.

Other focal lengths are just ' wants ', not a ' need ' for me and my kind of fun photography. And my wife
is really mad whenever she sees the number of 50mm lenses I have!!

She can never understand. And, sometimes, neither can I.

 

[Bob Latham]

Some lovely images appearing on this thread. I was shooting a little amateur football (soccer) today with Canon's 200/2 and 300/2.8 offerings but popped my Carl Zeiss Jena 200/2.8 Sonnar in the bag for a little R&R at halftime. It's one of those lenses that diffuses the background but leaves just enough structure to remind you what it was. It's not overly clinical but can certainly hold its own against its younger siblings.
Bob

All CZJ Sonnar 200/2.8 at f/2.8 on an Eos 1Dx

 

[fahim mohammed]

Looking at web images really does not do justice to any lens or the picture/s taken using it.

How does the print look ? At the size one requires. Printed professionally or with the best printing technique one can employ.

IMHO, that is the real test of a lens..it's rendering and all other attributes that one might like or dislike about a lens. I do not mention anything about the camera on which the lens is mounted here; but that it too plays a significant role is acknowledged.

Here is one with the Nikkor 85mm f/1.4 D. I have posted this image previously in another context.

 

[jake klein]

The 85mm f1.4D is one of my favorites as well.

 

[Ben Rubinstein]

Basically, I love the 50mm fl on a 35mm full frame.

Long time ago, there used to be radio show on BBC 4 called the ' Desert Island Discs ' and then the ' Desert Island Books ' ( I think ).

If there was something called a ' Desert Island Lens '; my choice without hesitation would be a 50mm fl
on a 35mm full frame. Can do most everything I want, with that one focal length.

Other focal lengths are just ' wants ', not a ' need ' for me and my kind of fun photography. And my wife
is really mad whenever she sees the number of 50mm lenses I have!!

She can never understand. And, sometimes, neither can I.

When we are stuck on a desert island together Fahim we will be both carrying a FF with 50mm! My friend and myself both bought a 5D3 and 50L at the same time, our stuff looks very different but our love for a fast and good 50mm is the same.

 

[Chris Calohan II]

I have three lenses I absolutely adore. One, my 50mm 1.8 I got from an old FM2 in my collection,

two, my Nikkor kit lens - 18 to 105 because it is such a great workshorse, especially at f:8 (the glass block window shots came from this lens)

and my 70-200 2.8 from whence my Hibiscus originated.

I tend toward primes and other than my Tokina 100mm macro,

I have nothing but Nikkor lenses in my tiny stable

 

[fahim mohammed]

When we are stuck on a desert island together Fahim we will be both carrying a FF with 50mm! My friend and myself both bought a 5D3 and 50L at the same time, our stuff looks very different but our love for a fast and good 50mm is the same.

Could not agree more with you Ben.
Lovely focal length for both of us.

Warmest regards.

 

[fahim mohammed]

Zeiss zf 50/1.4 Planar.

 

[fahim mohammed]

Zeiss zf 35/2

 

[Ben Rubinstein]

Love the shapes in that last one Fahim, and the processing!

 

[Ben Rubinstein]

A different lens this time, 16-35LII at about f5.6. It really is a very nice lens for all that so many dislike it. I've now discovered that on my new 5D3 it's even better than it was on the 5Dc (this was shot with the older camera).

I always say 'look behind, the best photos are often behind you'. Literally the case coming down the steps in the Old City of Jerusalem with a couple of my students a few weeks back.

 

[Ben Rubinstein]

Finally one from the 5D3 and 50L.

Haturim area of Jerusalem right near the shuk.

 

[fahim mohammed]

Wonderful comps and sterling tonality in these ones Ben!!

Lovely work.

Best regards.

 

[Michael Nagel]

As a contrast to all the FF and APS-C lenses and all the bigger names, here is a relatively new lens for mFT, the Olympus M.ZUIKO DIGITAL 60mm f/2.8 ED Macro, that I appreciate a lot.

The main purpose of this lens is macro work as seen in the examples below and here and here.
The lens is also good as a longer portrait lens, this series (except the first two) was shot with this lens.

Blüte - Kreuz



Edelweiss - aus Holz



Birne - aus Ton



17 Jewels - Unruhe​

Best regards,
Michael

 

[Ben Rubinstein]

Took my class to the Bet Zayit reservoir in the Jerusalem Forest to teach them landscape photography. I taught them the concept of getting into position, choosing a composition and then waiting for the light to be right. No great sunsets or anything today but I had to show them something landscapey so I took this. OK job done.

The usual f16, tripod, mirror lock up, yada yada boring usual.

But the picture I really wanted was this one, f1.2 on the Canon 50L.

 

[Asher Kelman]

Took my class to the Bet Zayit reservoir in the Jerusalem Forest to teach them landscape photography. I taught them the concept of getting into position, choosing a composition and then waiting for the light to be right. No great sunsets or anything today but I had to show them something landscapey so I took this. OK job done.

The usual f16, tripod, mirror lock up, yada yada boring usual.

But the picture I really wanted was this one, f1.2 on the Canon 50L.

Ben,

Bravo for an exceptionally informative pair of shots!

This pair illustrates a number of great points on why we should learn the characteristics of lenses we own to paint with them, as opposed to merely "record", like a traffic light camera. A major error in enthusiasts, beyond "pixel peeping" is the drunken lust for uniformity over the image field: no light fall off, not drop in peripheral resolution and no aberrations. In your the first, the f 16, color version of this pair, we see, "politically correct", equal attention given to every part of the image. But that's not our experience in life, is it?

The B&W image however, doesn't even need the allure of color to work. It even turns that down to just work on distribution of attention, from what's clearly written to what is merely understood, from the understood present to the uncertain future. I'd use this to get students taling about almost anything in photography, as it's such an importantly different way of making pictures with more human value.


Asher

BTW, wide open, the 1.2L has considerable chromatic aberrations, but so what?

 

[Ben Rubinstein]

The new versions of LR or ACR get rid of the CA. This image did have a lot but it was gone once rendered by the software, I've had worse which needed me to tweak sliders but again it was completely removed.

I'm loving the concept of shooting landscapes wide open with a 50mm lens, almost nothing in focus, it's so counter intuitive but gives results that speak directly to the subconscious, I've had an order for that picture already, I only took it and posted it on my fb page on Tuesday!

I think that it is important though, in a world so full of imagery, in a world where modern cameras mean that anyone with a vision can achieve it in a fraction of the time and effort that it used to take, that we ignore everyone and everything else and just do our own thing. Yes there may be someone else doing it and in the age of internet it's not hard to find or be found and copied, however that is immaterial, it is your self expression and screw the fact that it isn't original, it's you and that is all that counts.

 

[jake klein]

I just picked up a Nikkor 135mm f2 AIS and can't be happier. I'll post some images up later tonight if I get a chance.

 

[fahim mohammed]

Yes, let's talk about lenses. Just pieces of glass.

Better to talk about what one does with these pieces of glass.

 

[jake klein]

I'm loving this 135mm f2 AIS.

Ladies First!