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Helios-77M-4 50mm f1.8 / Leica M11m

 

 

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Sony NEX 5n Thambar f= 9 cm 1;2.2

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M11 + converted (from Ektra) 1941 Kodak Ektar 35/3.3, wide open

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100% crop (as always on this forum, best viewed by clicking on the image)

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Just a tool - as any worthy photographer would say... 😉

M11+ converted 1967 Olympus (Pen) Zuiko 70/2, wide open @ MFD and handheld (a challenge in itself given the ridiculously thin DoF)

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Same camera and tool as above, but a different lens

M11 + converted (from Exakta) 1954 Schneider-Kreuznach Xenon 80/2, also wide open @ MFD

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Noctilux 1.2 1973 on M240

 

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Sony NEX 5n Thambar f= 9 cm 1;2.2

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M11M + 195X Dallmeyer Dallac 85/2

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Edited by Ecar
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M11 + converted 1941 Kodak Ektar 35/3.3, both wide open

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Cornfield, early morning. No HDR here. All I did was reduce the default M11 magenta WB a bit, lift the shadows and add a moderate S curve. This is how the scene looked like. A minute later, the light had changed.

Same camera, lens and aperture as above, at or near MFD

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Sony NEX 5n Thambar f= 9 cm 1;2.2

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'67 35mm Summaron f2.8, M11.  Woodland ornament, Japanese-style.

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Not sure what they coated that bench with, but it didn't seem very 'natural' to me...

M11 + converted 1941 Kodak Ektar 35/3.3, wide open

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30 minutes ago, Ecar said:

Not sure what they coated that bench with, but it didn't seem very 'natural' to me...

Wood-effect paint? :lol:

Pete.

 

50/1.4 Summilux pre-asph MkIII with M240.

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Edited by farnz
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Helios 77M-4 58mm f2 / Leica M11

 

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Sony NEX 5n Thambar f= 9 cm 1;2.2

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This prototype lens is intriguing (to me, at least...) from an optical/historical perspective. It is housed in a Biotar 58/2 BP barrel with a 17-blade iris – cosmetically, the front beauty ring is the only significant difference. Conversion from Exakta provides RF coupling (and LV/EVF focus down to about 40cm) and is fully reversible. The lens never made it to actual production, the reason perhaps being that you simply couldn’t squeeze an acceptable performance out of a 4e/3g Tessar formula at apertures faster than f/2.8. TBH, even its output at f/2.8 is nothing to write home about and only at f/4 does it become (barely) adequate - possibly because of the design trade-offs involved. Kudos to CZJ for having tried, though. I am not aware of any other regular production standard f/2 Tessar lenses for the 24x36 format, but I’m happy to be corrected.

M11 + converted 1954 CZJ Tessar 50/2 T prototype @ f/2, f/2.8 and f/4 (all handheld, hence the slight differences in framing)

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Nikkor-S.C 5cm f/1.4 S mount + M9 Monochrom

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Sony NEX 5n Thambar f= 9 cm 1;2.2

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