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I am guessing (not having tested this lens) that the circular "donut" bokeh only occurs when the CSF is used. Is this correct?

Yes, that’s correct - if there are lights in background.

I’m still learning - trying to avoid that. So if there are lights in the background I tend towards use without CSF...

 

 

 

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.... I think the Thambar works best when the important part of the shot is the subject (i.e. it really is the subject) and not the bokeh; this requires a quiet background....

Yes - the more I use it the more I agree....

 

 

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Still crazy - still experimenting... 

:)

 

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Just my first steps - but I think the sea could become interesting...

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Portraits - sorry for the background... 

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some detail...

 

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DK Moore's question is a good one. Because while Lik's pictures are beautiful when the glow in them is soft and milky, a few of the images seem to me too mushy. I wonder if the coming Noctilux 75 will achieve that sweet spot of blur and realism and deliver what we hope to get from the Thambar which the Thambar may not be capable of actually delivering?

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If it was good in 1930...is it still relevant today..?

 

There is currently a HUGE trend in motion picture cinematography to bring back old (soft, poorly-coated and under-corrected) lenses to "offset the excessive sharpness" that is supposed to be present in digital cinema sensors.

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I think the Thambar photos benefit of being stopped down. Lik I advice you to stop down a bit to f4 or f5.6 and the photos will have the perfect combination of a little glow and sharpness. 

 

I add an example of the old LTM Thambar on the Monochrom 

 

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@Lik

Sorry, but what an uggly bokeh. It reminds me to the ‘70 ties, when the mirror telelenses where popular for a while.

It’s fine. As I already wrote - I’m very aware of the challenge managing the bokeh

 

 

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I think the Thambar photos benefit of being stopped down. Lik I advice you to stop down a bit to f4 or f5.6 and the photos will have the perfect combination of a little glow and sharpness.

 

I add an example of the old LTM Thambar on the Monochrom

 

attachicon.gif25440346_10156208199205827_3680660241327700337_o.jpg

Thank you very much!

As far as I see at this moment

1. it’s all to weigh the sharpness against the bokeh - even though I don’t manage yet -

2. I always want to avoid these donut rings which I don’t like. I think the only way is to use the CSF only with very neutral homogeneous background.

3. I’m glad at to find out that it’s obviously not a “typical-B&W-only-lens”.

 

 

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Does the filter or lens allow you to adjust the amount of blurriness? I think it could be interesting with a little less blur affect. Curious if it is all or nothing or adjustable.

I’ll try - it depends on the background I have.

This lens is really time consuming ...[emoji849][emoji28]

 

 

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It’s fine. As I already wrote - I’m very aware of the challenge managing the bokeh

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How can you manage this? Only in case you use the EVF you might notice it a bit. But even then, getting rid of will be another story.

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DK Moore's question is a good one. Because while Lik's pictures are beautiful when the glow in them is soft and milky, a few of the images seem to me too mushy. I wonder if the coming Noctilux 75 will achieve that sweet spot of blur and realism and deliver what we hope to get from the Thambar which the Thambar may not be capable of actually delivering?

 

Well, different lenses, different characters, different hope, and different abilities.  

 

The Thambar was/is designed to be a soft focus lens but the 75 Noctilux produces quite similar performance to the 75 Summilux (a month or so ago I mistook unnamed 75 Noctilux pictures to be from the Summilux) but quite different from the Thambar's.  The Thambar's 'glowiness', blur, and sharpness can be controlled to an extent through the centre spot filter, aperture, and ambient lighting conditions - as with any other lens - but it always has a 'Thambar signature' (glow and soft focus perhaps?) that the 75 Noctilux can't produce.  

 

The Thambar's design is based on a Cook Triplet, which prevents much control because there are few lens elements and and there is little correction and which produces the special look in Thambar pictures.

 

Pete.

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