It’s been a while the Lomography company announced something new; and after hearing about the Petzval lens it only makes sense that they’re going to continue to go that route. Today, the company announced something super cool and totally out of the blue. It’s their new RUSSAR+ Art lens for L39 and M mount cameras. For those of you not in the know, L39 is the original screwmount.
The new RUSSAR+ is a 20mm focal length that is an ode to the old Russar MR-2 lens. It starts at f5.6 and goes down to f22. It also has a real focusing ring. The problem with the lens though for rangefinder users is that it isn’t rangefinder coupled; so you’ll need to use the depth of field scale (which is a bit lacking) to make the best decisions according to the company’s tech page. Additionally, the lens can be mounted on a mirrorless camera where you can see the focusing with no issues.
They’re also stating that a red shift will occur around the edges of the frame when shooting digital. They further state that is can be corrected in post or in camera with Sony or Leica.
You can order yours for $649. More photos and a video is after the jump.
[click to continue…]
Bellamy Hunt over at Japan Camera Hunter usually finds some extremely sweet treasures. But this recent find of his will blow your mind. Today, JCH posted a photo set of the De Ould Delft 50mm f0.75 lens, which is perhaps one of the fastest aperture optics ever made and so is also not for sale. The lens is mounted on a Leica M3 and was engineered to do so–meaning that this version is an M mount lens.
It was made for x-ray machines originally which explains why the aperture is a fixed f0.75 and its fixed focusing out to two meters. But it still takes some very beautiful images. As you can see in Bellamy’s photos, there is no aperture ring on the lens or focusing ring. Because of the lens’s older design, we’re not quite sure that it might be best for digital users and instead may be best paired with some sort of low contrast film like Portra 400. Coupled with the fact that you have a super duper wide aperture, you’re bound to have lots of fun in super low lighting.
To use it, you’ll probably need to whip out the measuring tape. Since this is an M mount lens and it doesn’t focus, the focusing doesn’t correspond with a rangefinder’s focusing mechanism. So you’ll only be able to use the viewfinder for composing if anything.
Still though, it’s a pretty cool find.
Leica and its special editions … if during the production cycle of a Leica product there aren’t at least a dozen special editions made, it’s not deserving of the branding ‘Leica’. Or so seems to be the consesus among Leica’s product managers. And since there hasn’t been a special edition of the M Monochrom yet, they probably felt it was about damn time to create one! Hence the Leica M Monochrom ‘Ralph Gibson’ was conceived, featuring the signature of the US photographer of the same name, whose work mainly consists of monochrom images.
The camera, which comes in silver chrome instead of black chrome, is clad in a unique vulcanite leatherette and comes with both a custom strap and a silver Summilux-M 35mm f1.4 lens. The first M Monochrom ‘Ralph Gibson’ will be handed over to Ralph Gibson himself on December 11th at the Leica Store in Lisse, the Netherlands. Overall, no more than 35 pieces of this special camera will be made. Whether or not they’ll be sold exclusively via the Leica Store Lisse is currently unkown, but probable.
Despite Leica sometimes seemingly overdoing it with their special editions, we have to say this particular one looks mighty fancy.
Via Leica Rumors
Picture “Leica M3″ by Rama via Wikimedia Commons
Leica M-mount rangefinder film cameras have always held a special place in photo history. For one, because it was Leica who started the 35mm film revolution. Then, because the M3, the first M-mount rangefinder camera that Leica made, started a series of incredibly popular photographic tools used by countless professionals and amateurs alike for decades. And finally, because Leica-made M-mount lenses can be considered to be some of, if not the best lenses there are for 35mm film cameras. In this article, we take a look at what we deem the five greatest M-mount film cameras that were ever made. Not necessarily all by Leica, though.
[click to continue…]
MS-Optical, the one-man company run by Sadoyasu Miyazaki, creator of the tinies M-mount lens(es) ever made, is reportedly working on new projects right now. Besides a new batch of Sonnetar 50/1.1 lenses, he is also preparing variants of that same lens in black paint and in Leica thread mount (M39). The tiny Perar 35/3.5 and Perar 28/4 triplet lenses will also be produced again. In addition, Japan Exposures reports that two new Perar triplets are in the making: a 21/4.5 and a 25/4.5. All of this is very good news. For one thing, because it means that Miyazaki-san is apparently doing well. But also, for users of M-mount cameras this means that the pool of lenses to choose from will soon see some very interesting additions.
And by the way, M-mount lenses can also be used on most mirrorless cameras, such as the Fuji X-series and the Sony NEX-series, with great results. And they’re often a great choice when there are no comparable lenses available for the system, or when you want to go small–M-mount lenses are manual focus, so they don’t need complicated AF motors, which reduces size significantly.
Before we decided to post this, we did a little bit of research and confirmed it to be true. Sigma’s DP line of point and shoots such as the DP1, DP2 and DP3 Merrill have been hacked by the Chinese to use an M Mount. We first heard about this via Mirrorless Rumors, and it is indeed real. There are some more images of the hack in this Google translated forum and a company is charging to do it for users.
So what does this mean? Well first off, this is one of the most exciting pieces of news that we’ve heard in a while. Sigma’s Foveon sensor is actually quite good if you can think of it as a Hasselblad Medium format camera–which means that you need to use proprietary software to get the best results and that the ISO range isn’t up to par with others. In this way, you could probably call it the closest thing to a Mamiya 7 II in terms of digital formats–but many of us who have used that camera know that nothing could ever touch it.
But the bigger question is why isn’t Sigma doing this themselves? Back at CES, I spoke with the President of the company–and his desk (he doesn’t have an office) is in the same area as the engineers. But I really wonder what he’s thinking, and am confident he’s reading this and looking at it with great curiosity