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Thambar-Crazy


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Mind the razor wire

London

M240+Thambar ~f/4, no filter

 

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The boys have arrived

Shoreditch High Street station, London

M240+Thambar, ~f/2.4, no filter

I admit to having processed this a bit to balance the exposures, but I have not affected the essential Thambarness.

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So I was at Red Dot Cameras yesterday to pick up my new black paint MP and left with... well guess...

 

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My better half was with me, I took a few test shots with both a 1935 version and the new one... and to be honest although the markings on the new one were obviously much more visible making slightly easier to use, I preferred the rendering of the old one. So I got it... after Natalie saw the photos and said "just buy it!"... and who am I to disobey a direct order!  :)

 

Edit: M9, 1935 Thambar

Edited by ianman
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So I was at Red Dot Cameras yesterday to pick up my new black paint MP and left with... well guess...

 

attachicon.gifL1001060_ird_lcf_001.jpg

 

My better half was with me, I took a few test shots with both a 1935 version and the new one... and to be honest although the markings on the new one were obviously much more visible making slightly easier to use, I preferred the rendering of the old one. So I got it... after Natalie saw the photos and said "just buy it!"... and who am I to disobey a direct order!  :)

 

Edit: M9, 1935 Thambar

Beautiful portrait! Very nice for an impromptu shot. I hate to say grab shot. There is something about the Thambar that just works better in B&W.

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Here are a couple more... I haven't a lot of time to "play" with it at the moment.

 

M9, Thambar (1935 version)

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Ianman, these images reinforce my belief that the Thambar does better in B&W. Especially your most recent third example. As you shot with the M9, perhaps you could post the originals in color? My little experiments earlier in this thread with my grandson and the Menorah candles are another example where the B&W images are better than the same in color. I would also recommend Milan's B&W images. I would not want to make this an iron rule by any means, but the color images are more distracting to me.

Edited by derleicaman
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Here is the last one in colour, converted in Iridient with no pp at all. The light was very harsh.

 

At Red Dot, they kindly installed the latest firmware but the Thambar doesn't appear in the lens list, is anyone else here using an old one on digital? Maybe I can code my adapter as there is little chance it would ever be used with another lens... then again, it may make no difference whatsoever.

 

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Edited by ianman
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Thambar at f/2.4

 

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Here is the last one in colour, converted in Iridient with no pp at all. The light was very harsh.

 

At Red Dot, they kindly installed the latest firmware but the Thambar doesn't appear in the lens list, is anyone else here using an old one on digital? Maybe I can code my adapter as there is little chance it would ever be used with another lens... then again, it may make no difference whatsoever.

 

Ian,

 

You don't need to worry about coding your adapter (or choosing your Thambar from a list if was there) unless you particularly wish the EXIF name the Thambar.  Coding is designed to correct vignetting in wide angle lenses caused by the off-set micro-lenses on the Kodak KAF 18500 digital sensor so there would be no correction applied to the Thambar's pictures.

 

Pete.

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Ianman, these images reinforce my belief that the Thambar does better in B&W. Especially your most recent third example. As you shot with the M9, perhaps you could post the originals in color? My little experiments earlier in this thread with my grandson and the Menorah candles are another example where the B&W images are better than the same in color. I would also recommend Milan's B&W images. I would not want to make this an iron rule by any means, but the color images are more distracting to me.

It will be interesting to see how this develops as more Thambars get into the wild. 

 

My own view (as expressed before) is that colour is just one other element in composition, whether it's a Thambar or another lens, and not many of us are that good at handling an extra element. And since some of the best pictorial images have simple compositions, removing colour has a beneficial effect. The only aspect about the Thambar that might make B&W more beneficial is that it is extremely easy for distracting colourful highlights and detail to be made more prominent (too prominent); then, removing colour is one way of removing that distraction. If colour is used as a conscious element in composition, though, I don't believe there is anything about the Thambar that would stop the image working.

 

I suppose what I'm saying is: it is our limitations as photographers that make it easier to get good images with the Thambar in B&W - it's not a limitation of the lens itself.

Edited by LocalHero1953
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At Red Dot, they kindly installed the latest firmware but the Thambar doesn't appear in the lens list, is anyone else here using an old one on digital? Maybe I can code my adapter as there is little chance it would ever be used with another lens... then again, it may make no difference whatsoever.

 

 

 

I don't think it will ever appear in the manual list because the Thambar-M, like other post-2008 lenses, has only ever been sold with a 6-bit code. Coding the adaptor sounds like the best course of action if you want the lens identified in EXIF.

 

It sounds like you don't use Adobe Camera RAW but, if you do, it is worth noting that a lens profile for the Thambar is now available.

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Here is the last one in colour, converted in Iridient with no pp at all. The light was very harsh.

 

 

Contrary to the opinion expressed elsewhere I think I prefer the colour version to the previously posted black and white version.

 

Of your recent set, I think I like this one the most. I prefer the lower contrast and the lack of light/shadow drama.

 

post-16130-0-01701100-1522971108.jpg

Edited by wattsy
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Mr. Lucky Martini 1f378.png

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This was Monet with a Thambar. Would it work better in B&W?

Painters, of course, can pick and choose their colours and compositions. Photographers just have to deal with what's in front of them. B&W photography is just a historical accident that demonstrates the limitations of primitive technology and our limitations as artists.

Now, where's my steel helmet?

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This was Monet with a Thambar. Would it work better in B&W?

 

 

The Monet makes the point well (as does the fine Renoir "Gust of Wind" landscape that hangs a few feet away).

 

Can't say I agree with your more general point that B&W "demonstrates the limitations of primitive technology and our limitations as artists".

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