On the other hand, the most convenient 35 mm film format, in my opinion, can not reproduce that almost three dimensional appearance of large format images. I love large format photography and still have a couple of big brass Petzval lenses for my 4x5 Graflex Speed Graphic camera.īut shooting and processing large format film is time consuming and requires a great deal of patience. Here are some recent test shots taken with my Petzvar lens on a Nikon D700 camera. Here is the Petzvar lens mounted with the ARAX adapter on the Nikon N65 and the Nikon D700 35mm cameras. One more sample portrait taken with the Petzvar lens mounted on Kiev 88CM. Taken with Petzvar 3.8/120 mounted on Kiev 88CM. This image was taken with the Petzvar portrait lens and a Kiev 88CM camera, uncropped, with a sepia tone added in PS. Here is my medium format Petzvar f= 1:3.8 120 mm Petzval portrait lens with a Pentacon Six (P6) bayonet mount.īelow are some sample images taken with the Petzvar lens on medium format film. In 1840, Joseph Petzval, a Professor of Mathematics at Vienna University, came up with a lens design that provided for speeds of f/3.6, which was much faster, than all existing lens designs available at that period.īeing a film photography enthusiast for many years, I have gathered a significant amount of information about those lenses and decided to build my own portrait lens, that will work with medium format cameras and 35 mm film cameras with the use of adapters. Briefly, it is the first mathematically calculated lens scheme, that improved the speed of the portrait lens.
I'm pretty sure you have heard about it before. In this article I would like to talk about the Petzval lens design. Lensbabys, tilt/shift adapters - everything, that gives a photographer the potential to make the image look different, becomes popular. In our age of technologies and flawless images taken with digital cameras, anything which delivers a not-so-perfect image draws the attention of creative photographers. The price is 450$ including shipping cost. Note that some specialty lenses, such as the 16/2.8 were only produced in AE designs.This lens is available for purchase, please, use "Buy now" button. The prior generation of these lenses was "AE" type, which only supported Av and M modes.
CONTAX 645 FLANGE DISTANCE TV
The "MM" designation means that the lenses support P and Tv modes on Contax bodies, as well as Av and M modes.
CONTAX 645 FLANGE DISTANCE MANUAL
Finally, all below reviewed lenses are the latest generation of "MM" manual focus lenses. Care should be taken to make sure that the lens is positioned properly on the body before twisting it to lock on. One other point to note is that the mounting flanges are quite fragile, in part due to the strong torque that is generated when these heavy lenses are mounted and dismounted from the heavy-duty Contax bodies. As such, these primes can be quite heavy, especially when there are several lenses and bodies in your camera bag. These lenses all have T* multi-coating and are built with high-precision metal components. But Carl Zeiss mostly continued their focus on traditional prime lenses, with a few zoom lenses in the most useful focal lengths. Of course, in the current digital age, zoom lenses have become more common than prime lenses, and the quality of zooms can now be excellent with modern design and manufacturing techniques. Zoom lenses were introduced by many manufacturers, but quality ranged from very poor to quite good.
Of course, prime lenses were considered the only way for serious photographers to go back in the early days of SLR cameras. Most Carl Zeiss lenses are single focal length prime lenses. All except one of the lenses that I used are prime lenses. Generally speaking, these are amazing lenses of the highest quality. I have used most of the Carl Zeiss T-mount lenses for Carl Zeiss SLRs.
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