If you were to consider one lens for street photography and urban geometry, then there isn’t a fantastic reason why the Zeiss 28mm f2.8 ZM lens shouldn’t be on your list. The lens is designed for the Leica M mount, which means that it has a whole lot of versatility when it comes to mounting it to something else. So for the Sony a7 series shooter, it’s a nice addition. But it’s also nice to be in the bag of a Leica M shooter or in my case, with the Leica CL. Zeiss has always made some really stellar lenses, but when you also make them this compact, it’s easy to fall in love with their glass all over again.
The Leica Summaron-M 28mm F5.6 is a lens that in many ways is bound to garner the love of many street photographers out there. One could easily think to themselves: why would someone go crazy over a small, slow prime lens? There are a lot of reasons beyond its more affordable price point. There’s the image quality–which is unlike anything I’ve seen from most modern lenses. Then there are things like the low profile and the fact that the fairly slow speed means that’s all you’re going to be using for street photography anyway. It’s a gorgeous lens if you’re into something smaller and a lot more classic–not only in the quality but also the operation.
And seriously, I have to hand it to Leica. The Leica Summaron-M 28mm f5.6 is designed more for the look: not to appease some DXO overlord.
Today, Lomography is announcing a brand new series of unconventional lenses designed for Canon and Nikon DSLR cameras; they’re called the Lomography Neptune Convertible Art Lenses. They’re a curious and extremely different system based on an older camera and lens system–which is right in line with what Lomography tends to do. The Lomography Neptune Convertible Art lenses are a three element system which all start with a mounting system. The aperture and focusing are built into the lens base unit that attaches to your camera. Then from there, you attach another optic. The optics are switched out when you want a different field of view and can also work with special shaped apertures.
I had a moment to head over to the Lomography Gallery Store here in NYC and took a look.
Upon purchasing a Leica CL, I figured it was time to dive into reviewing more M Mount glass; and what better place to start than with the Zeiss 35mm f1.4 ZM. For years now, I’ve been smitten with Zeiss lenses and most manual focus glass in general. Their lenses are fantastic, and are often highly regarded even amongst the M mount community of users. Offering a 35mm field of view in addition to being rangefinder coupled, the Zeiss 35mm f1.4 ZM ( $2,249.95 ) works well with both mirrorless digital cameras and M mount camera bodies.
Oddly enough, though I’ve always loved Zeiss lenses, they’ve never made a 35mm lens I’ve seriously been smitten by. Upon handling and using this lens though, that has changed.
Fujifilm’s 23mm F2 is one of their newer lenses, the only newer option being the 50mm F2. It is a lens that offers Fujifilm shooters that classic 35mm field of view in a small package with a fast aperture. So what should a new owner of the Fujifilm 23mm F2 ( $449.00 )know about this lens in order to get the most out of it? We’ve got a bunch of tips for you here.
PS: We know this is very Fujifilm specific, but we’ve got a lot of Fujifilm readers as our audience. So we’re doing this tutorial just for you folks.
Years ago, I owned a Leica CL when I was getting into photography. Trying to balance an understanding of both film and digital, I toted this around with my old school Olympus E-510 DSLR. They were perfect together for a college student. But then I needed money, and unfortunately had to sell my Leica. Very recently though, I took the plunge before my 30th birthday and bought myself another one. You see, the Leica CL is the same camera as the Minolta CLE and the Leitz Minolta CL.
Some consider it not a true Leica because it wasn’t made in Germany. Instead, the Leica CL was a collaboration between Minolta and Leica. It was a camera that sold very well and perhaps too well. In fact, it’s rumored that sales were so good that they discontinued the camera because it ate into the sales of the Leica M5.
There’s something incredibly nostalgic about a lens like the Zeiss 85mm f2.4 Loxia. From it’s small size almost mimicking the ZM lineup of glass, to the aperture ring, it just feels like a modern classic. Part of this has been the Zeiss experience, which is something that can’t really be expressed in words and instead only experienced. Previously only reserved for the rich, Zeiss lenses have become more popular with enthusiasts and it’s meant that people also have begun to truly appreciate how much better the image quality can be from a lens like the Loxia. Designed for Sony full frame E Mount cameras, the Zeiss Loxia 85mm f2.4 is capable of delivering truly stunning images and almost never really needs to be stopped down in most situations.
When Fujifilm announced their medium format digital camera, a whole lot of people really wanted it to be something along the lines of the Fujifilm GW690 III camera–also known as the Texas Leica. This rangefinder camera shoots in the 6×9 format–which is one of the largest formats to use 120 film. For many years it was used by hobbyists, travel photographers, landscape photographers, and even a few portrait shooters. Due to its 90mm lens equivalent, you’re getting around a 38mm f1.2 equivalent when it comes to field of view converted to full frame.
When I purchasef this camera, I genuinely thought it would be the perfect medium format rangefinder for me, doing pretty much everything the Mamiya 7 II is capable of sans interchangeable lenses. But with more experience, I learned that I was wrong.