Lenses that inspire you to take photos

[pgk]

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3 hours ago, petermullett said:

A good focus puller on such a shoot is worth their weight in gold.

The more movies I watch, the more I appreciate this.

FWIW my wife and I watch films with fanatical movie viewing friends (they have a laser projector and 4~5m screen). We recently watched Napoleon (silent) with its use of a real variety of earlier, fixed focals including what was clearly a Petzval for a least one scene. Most recently we saw "My Fair Lady' which is beautifully crafted using a fast lens which often appears near wide open judging from the narrow dof and circular oof highlights. Fabulously crafted but even so the focus puller was clearly struggling with one or two shots which were obviously very difficult. 'The King and I' was fascinating. Shot on a 70mm format I think (I forget all the technicalities), and clearly using a very limited array of existing lenses for this format by the look of it. The latter two were filmed with great consistency, compositionally and lighting wise and obviously everything was meticulously carried out. Lens consistency too makes such good sense in these films.

All that said, for 'opportunistic' photography (ie in 'uncontrolled' conditions), lens choice can obviously be important, but there are few occasions IMO when a specific lens really adds to the image because of its 'look'. There are exceptions obviously but I'm now firmly of the mindset that considers that carrying equipment that you like, are used to and can use by second nature, enables images. Carrying a specific lens to utilise its characteristics is fraught with difficulties and whilst I have and do do so, I only do when I hae a particular image in mind and know when the conditions are likely to be appropriate.

FWIW, my 'go to' lens is, and has been for quite a few years, a 35mm Summilux aspheric (the pre-FLE version) which seems to suit me very well indeed. I've tried other 35mms (most of the M range actually) and still have a pre-aspheric, but this one is the 'keeper' although many believe that it has its flaws. I find that it takes time, years even, to appreciate a lens.

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[Narsuitus]

Two of my M-mount lenses (35mm f/1.4 and 21mm f/1.4) for my M6 film rangefinder inspired me to buy an M10 digital rangefinder.

[Capuccino-Muffin]

On 6/1/2021 at 5:57 PM, Steven said:

Dennis, 

The truth is, I did not even think that story, light, compositions needed to be mentionned. Of course they are the most important. This should be taken for granted. But once you know how to control story, light and composition (in my case, I feel I do), I think it's ok to talk about lens, and add this as another element of the equation. Lens choice can go a LONG way in accomplishing you vision, as @pippyhas shown in his kind example. 

When Muffin cappuccino calls me immature for choosing lens over composition and light, I think that he actually completely misses the point. I've stopped asking myself question about light and compositions a LONG time ago. He is the one who's the "immature photographer" to assume I'm still there. I have been talking, eating, drinking, sleeping with cameras in my mind since 15 years. On December 31st 2017, my new year resolution was to never miss a good shot again in my life and to carry a camera with me everywhere. I took it to the extreme. I carry around me in the house all day long, not just when I go out. I now have a brain that is formatted like a camera. When I sit at the table for diner, I adjust my chair to make sure my vision has the right composition. For the anecdote, here is an excerpt from Cartier Bresson's biography by Assouline. Use google translate if you don't speak French. 

"-Tout à l'heure, vous m'avez bien demandé si je continuais à prendre des photos? 

- En effet... 

- Eh bien, je viens juste d'en prendre une de vous, mais sans boitier, c'est aussi bien... La barre de vos lunettes exactement parrallele à la partie supérieure du cadre derriere vous, c'était saisissant.... je ne pouvais pas laisser passer cette admirable symétrie... voila, c'est fait! De quoi parlait-on déjà?"

Whitout comparing me to him directly, I consider myself a photographer. I see light and composition all day long, even without a camera, and even if it doesnt translate into my work. But for the love of god, Cappuccino muffin, don't come with you teacher's tone to give me photography lessons. I still have a very long apprentissage, a very long journey to learn, but not from anyone, EVER, that will start by telling me that there is a RIGHT way and a WRONG WAY. There is one a way, and for each it will be different and beautiful. I am sorry if my way is not yours. 

Dennis, back to you... I just received from Amazon my copy of Suffering of the light... Still slowly getting through it. What a piece of art. Thank you.  

Maybe I am mistaken, but HCB was talking about composition, which is what makes A good picture. He wasn’t talking about blurryingna background but rather incorporating it with the subject! Making the background as important as the subject.

This is why he would have shot it at f4-f5.6, maybe even f8. Never in his mind would he have chosen f1.4 “because I exclusively shoot wide open”.

And this proves that. The background has to be synchronized with the subject. Shooting wide open all the time (in your case for 15 years), to me, is an immaturity, as in not having matured, progressed.

hcb has said it. All the master say it all the time: depth if field is very important, not the lack of it. 

[ianman]

On 6/1/2021 at 11:57 PM, Steven said:

When I sit at the table for diner, I adjust my chair to make sure my vision has the right composition.

This is exactly what I mean when I say I don't understand how you can control "shooting from the hip". When you sit at the table you cannot imagine the right composition without adjusting your chair and yet you mention having complete control when shooting from the hip? Unless you have an incredibly long optic nerve?

[ianman]

14 minutes ago, Steven said:

When did I say I had complete control from the hip?

Here:

On 6/1/2021 at 1:43 PM, Steven said:

But I know exactly how the photo will come out.

I'm not "freezing on a story" as you put it, I was just wondering why you need to adjust your chair to be able to imagine a frame in a fairly motionless scenario but know exactly how the photo will come out when walking along shooting from the hip. To me these two scenarios seem in total contradiction. No prob though, I guess I misunderstood.

[Dennis]

Hip or not hip, wide open only or not, the important part is that Steven is finding fun also in shooting at other apertures rather than 1.4 only. Which is awesome. Congrats

 

[Dennis]

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Nikon to announce soon a pancake 40/2 for Z- mount.

This could be an inspiring lens to shoot with. 

When a 40/2 Leica?

[Lelmer]

1 hour ago, Dennis said:

Nikon to announce soon a pancake 40/2 for Z- mount.

This could be an inspiring lens to shoot with. 

When a 40/2 Leica?

Might be the right solution when I have hard time deciding between 35 and 50 😄...but adapted framelines would be required

[SiggiGun]

Inspiration? For me It works in the opposite way? If I am not sure what I will do, what contexte I will find etc. It take my 35LUX ASHP. and sometimes as a secund lens the 75Lux. 

Otherwise, if travelling I have mainly two options TRI-ELMAR 28-35-50 or 28CRON and APO50. When the APO35M will be available? I will probaly switch to this lens, only.

[jaapv]

4 hours ago, Dennis said:

When a 40/2 Leica?

1973?

[pippy]

13 minutes ago, jaapv said:

1973?

Yes. I've never used one 'properly' and the only time I played with one I didn't shoot anything with it.

It gets good notices from those who do use them but, from what I've seen, those photographers are normally using their lenses with film cameras. I don't doubt it would still be a very capable performer on a digi-body.

If Leica could somehow bring themselves to release a 40mm Summilux but without going down the ASPH FLE APO route - just something more simple like the 1960 - '95 35mm Summilux - I'd be very tempted indeed. Until that day arrives () I'll just have to (continue to) be content with my 40mm f1.4 Voiglander Nokton...

Philip.

[jaapv]

It is one of my most used lenses. 

[pippy]

13 minutes ago, jaapv said:

It is one of my most used lenses. 

The 40mm Summicron?

Have you managed to source filters for it? From what I've read (Dear Mr. Rockwell!) the filter thread pitch is different from the usual Leica specification.

I'd be very interested in trying one out nowadays as the Voigt. Nokton is my most frequently-used lens. As I don't often need f1.4 the slower f2 max. aperture of the Summicron would not adversely affect its attraction and if I did need a faster lens then, well, I already have it.

Philip.

Edited June 4, 2021 by pippy

[Thury]

You can - more or less - fit a standard 39mm filter directly on the Summicron-C and Elmar-C. Meaning that the filter will only accept turning half a turn before the thread mismatch prevents it from going further. It works though it's not really clean. I'd be cautious with polarizing filters as it is easy to loose them when adjusting the polarization angle. For simple filters it works properly. 

[Pyrogallol]

The series 5.5 filters turn up on e bay from time to time, I recently bought an orange one. You need the lenshood or a retaining ring to hold it in. A 5.5 retaining ring turned up in a group of filters I bought recently.

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[pippy]

Thanks for the replies!

I might keep half an eye open. Peter Loy had a CL / 40 Summicron pairing for sale recently for around £550 (if memory serves) but, truth be told, the lens wasn't in all that great cosmetic condition - if that matters.

Sellers on eBay however - especially those in Japan - seem to be asking crazy prices. I've just had a quick look and an example of the Summicron on its own in very good nick commands somewhere around the £600 - £700 / $850 - $990 range(!). By the time I would have to add import duties and VAT it would end up costing somewhere in the region of £950 / $1,350!!! As I say; crazy money.

Philip.

 

[Pyrogallol]

2 hours ago, pippy said:

Thanks for the replies!

I might keep half an eye open. Peter Loy had a CL / 40 Summicron pairing for sale recently for around £550 (if memory serves) but, truth be told, the lens wasn't in all that great cosmetic condition - if that matters.

Sellers on eBay however - especially those in Japan - seem to be asking crazy prices. I've just had a quick look and an example of the Summicron on its own in very good nick commands somewhere around the £600 - £700 / $850 - $990 range(!). By the time I would have to add import duties and VAT it would end up costing somewhere in the region of £950 / $1,350!!! As I say; crazy money.

Philip.

 

Keep looking. I bought a decent 40mm Summicron for £300 a couple of months ago.

Edited June 4, 2021 by Pyrogallol

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I believe the minolta version is cheaper and either equally good or better.

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[Dennis]

I hope this lens will inspire me a lot to take photos 😎

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Edited June 4, 2021 by Dennis

[hdmesa]

On 6/1/2021 at 3:57 PM, Steven said:

Dennis, 

The truth is, I did not even think that story, light, compositions needed to be mentionned. Of course they are the most important. This should be taken for granted. But once you know how to control story, light and composition (in my case, I feel I do), I think it's ok to talk about lens, and add this as another element of the equation. Lens choice can go a LONG way in accomplishing you vision, as @pippyhas shown in his kind example. 

When Muffin cappuccino calls me immature for choosing lens over composition and light, I think that he actually completely misses the point. I've stopped asking myself question about light and compositions a LONG time ago. He is the one who's the "immature photographer" to assume I'm still there. I have been talking, eating, drinking, sleeping with cameras in my mind since 15 years. On December 31st 2017, my new year resolution was to never miss a good shot again in my life and to carry a camera with me everywhere. I took it to the extreme. I carry around me in the house all day long, not just when I go out. I now have a brain that is formatted like a camera. When I sit at the table for diner, I adjust my chair to make sure my vision has the right composition. For the anecdote, here is an excerpt from Cartier Bresson's biography by Assouline. Use google translate if you don't speak French. 

"-Tout à l'heure, vous m'avez bien demandé si je continuais à prendre des photos? 

- En effet... 

- Eh bien, je viens juste d'en prendre une de vous, mais sans boitier, c'est aussi bien... La barre de vos lunettes exactement parrallele à la partie supérieure du cadre derriere vous, c'était saisissant.... je ne pouvais pas laisser passer cette admirable symétrie... voila, c'est fait! De quoi parlait-on déjà?"

Whitout comparing me to him directly, I consider myself a photographer. I see light and composition all day long, even without a camera, and even if it doesnt translate into my work. But for the love of god, Cappuccino muffin, don't come with you teacher's tone to give me photography lessons. I still have a very long apprentissage, a very long journey to learn, but not from anyone, EVER, that will start by telling me that there is a RIGHT way and a WRONG WAY. There is one a way, and for each it will be different and beautiful. I am sorry if my way is not yours. 

Dennis, back to you... I just received from Amazon my copy of Suffering of the light... Still slowly getting through it. What a piece of art. Thank you.  

I don't remember the source, but I remember reading about an artist who went to say goodbye to a loved one on their deathbed, but all the artist could see was the way the light played on the dying person's face. They couldn't see the person any more, just light and shadow.

Meditating on the tools of photography keeps me from being consumed by the light.