Pushing two stops – Episode 6 by Oliver Grimm

Meine Lieben, nachdem es in dieser Episode um Dinge geht, die einer visuellen Begleitung bedürfen, habe ich hier mal ein paar Dinge für euch versammelt.

Minolta X-700 mit MC W.Rokkor–HG 1:2.8 f=35mm

 Minolta X-700 mit MC W.Rokkor–HG 1:2.8 f=35mm

Minolta X-700 mit MC W.Rokkor–HG 1:2.8 f=35mm

Eine meiner Lieblingskameras überhaupt. Vielleicht sogar DIE Lieblingskamera. Ja, ich weiß, sie ist elektronisch, ja, ich weiß, sie wurde nie als Profikamera gehandelt, ja, ich weiß, sie ist relativ hässlich (90er Jahre eben), ja, ich weiß, sie und ihre Schwestern leiden allzuoft unter dem Kondensatorproblem, ABER sie ist ansonsten absolut verlässlich, die Belichtung ist Spot on und sie liegt einfach gut in der Hand.

Inzwischen habe ich mir ein 35mm-Objektiv gegönnt, was meiner Art der Fotografie entgegen kommt. Was soll ich sagen: ICH LIEBE SIE!!!

Hier ein paar Beispielbilder:

Kodak TMAX P3200

Ich bin sehr überrascht und zufrieden von dem Film. Er verhält sich meines Erachtens besser als der Ilford Delta 3200, sein Grain ist sehr schön und die Ergebnisse sind sehr konsistent. Besonders schön: Er hat ist in allen von mir getesteten ISO-Höhen gut anzusehen (siehe die Bilder).

Eine echte Empfehlung für aller die den TMAX 400 nicht immer pushen möchte oder eben einen wirklich hochsensiblen Film bei Nacht oder Komzerten braucht.

 

 Kodak P3200 bei ISO 1600

Kodak P3200 bei ISO 1600

 Kodak P3200 bei ISO 1600

Kodak P3200 bei ISO 1600

2018-05-26_Bierhund_Pentax_Super_A_TMAXP3200@1600_web-1.jpg

Kodak P3200 bei ISO 800

Films i love: Rollei RPX 25 by Oliver Grimm

Every now and then you are confronted with what I call a ‘grower’. It may be a record, a movie or in this very case a film. Growers don’t show their quality at first sight—some of them do but not many. They grow, with every time we hear the track, watch that movie or use and develop a film.

 The prints of my self developed RPX negatives are fabulous

The prints of my self developed RPX negatives are fabulous

For me the Rollei RPX 25 was such a grower, it grew for and with me and now I don’t want to miss it any more. The Rollei RPX 25 is a slow panchromatic black and white film and it is marketed with fine grain and good exposure latitude.

Most street photographers shake their heads about the guys who shoot the streets analogue. And I myself saw one or two shaking the heads furiously as I told them I do that and I do it only with manual lenses and most of the times wide open. And there falls a film like the Rollei into place: I love the possibility to shoot at bright and sunny days wide open— that means f2.0 or even 1.4. I am not a landscape photographer and although some of my pics show architecture it is not my main motif. So I seldom use a tripod and my long exposures can be counted with my fingers. (I have 10). But as I am told in these cases the Rollei shines even brighter.

So it’s all about the bokeh and the creaminess for me? You bet it is! And about the fact that it develops really great with Rodinal—which is the developer I use. Up to now every development with Rodinal gave me good results. That is for Rodinal 1+50 for 11 min, agitation every minute and a roughly 70 min. stand development in Rodinal 1+100.

As you can see the pictures are sharp and the grain is subtle and fine. The prints from the photo lab are amazing—which I hope to make by myself in the near future.

 Fly fishing. With ISO 25. The red rectangle shows the crop in the next picture.

Fly fishing. With ISO 25. The red rectangle shows the crop in the next picture.

 The crop. As you see the grain is fine the sharpness is outstanding (Shot with Minolta XD7 and Rokkor MD 50mm)

The crop. As you see the grain is fine the sharpness is outstanding (Shot with Minolta XD7 and Rokkor MD 50mm)

As I am thinking more and more about buying a bulk loader for films the Rollei RPX 25 would be one of my candidates for buying on a roll of 30 meters. This I didn’t know right after my first roll and not after the second. As I said, the Rollei RPX 25 was a grower for me and it ist seems to be here to stay!

 Mmmmh: Bokeh. Mmmmmh: Creamy. Shooting wide open in the sunlight. Therefore i love the Rollei RPX 25.

Mmmmh: Bokeh. Mmmmmh: Creamy. Shooting wide open in the sunlight. Therefore i love the Rollei RPX 25.

King of the hill—the great bokeh test (for very good but nevertheless inexpensive 50mm lenses) by Oliver Grimm

Collage_Bokeh-1024x676.jpg

What does the photographer need? Lenses! And why? Because he wants them! And what does the photographer not always have? Money! And what does he do then? He simply gets the best for little money.

It is said 50mm focal length is the normal focal range, because it is closest to our natural field of view (some deny this and again others ...). In analogue times therefore a 50mm was almost always the kit lens when you bought a new camera. That’s also the reason why there is still an incredibly large market for used lenses today. Even the so-called "light monsters" with f1.4 or even f1.2 cost much less than their current counterparts for digital cameras.

 The three bokehlicious ones …

The three bokehlicious ones …

Yes, there’s no autofocus on the mentioned lenses. Yes, some of these lenses are not even sharp over the entire image. But these »old« lenses have personality, they are not calculated to death as Ken Wheeler, the »angry photographer« would probably say. Ken is a self-proclaimed expert in the field of camera lenses. One may argue about his special way to present his knowledge on YouTube but I often benefitted from his tips regarding inexpensive but powerful lenses.

What does the photographer love? BOKEH!!! (Bokeh is not yet in the german dictionary but however it is very, very important.) The rule of thumb states, the lower the f-stop and the higher the focal range the larger the Bokeh. But that does not mean that it is always really nice to look at.

I wanted to know myself  for my own 50mm lenses and did the BOKEH-Balls test.

The candidates

Over the last years I’ve bought some 50mm lenses. Most of the time I could calm my wife with the low prices. We are talking about a small investment: less than 100 Euro—often even under 50 Euro. You will find here neither historical data nor physical facts about the individual lenses–you can find out about this with the help of Mrs. Google.

Pentacon auto 50mm f1.8 MC (Purchasing price 33,– €)

 

2017-01-25_Pentacon_mid-300x200.jpg

A wonderful lens from the GDR – stopped down super sharp and with an interesting, almost old-fashioned bokeh. The way of focus is very long, which is an absolute gain when focusing manually with focus-peaking.

 

 

Minolta MD Rokkor 50mm f1.4 (Purchasing price 70,–€)

 

2017-01-25_Minolta_mid-300x200.jpg

Minolta was known for its good cameras and lenses. Therefore even Leica has worked with Minolta in making the Leica CL. The MD Rokkor 1.4 is a great lens which for my taste sometimes renders too soft fully opened. I still do not know whether it is only my specimen or it is generally so. But I love it for portraits—it flatters the face.

 

Yashinon-DS 50mm 1.7 (Purchasing price 35,– €)

 

2017-01-25_Minolta_mid-300x200.jpg

I call an analogue Yashica Electro 35 GS my own and I am smitten with its super-sharp 40mm lens. The prime with 50mm doesn’t take the backseat to the 40mm. It is incredibly sharp already wide open and stopped down it is even sharper! Its microcontrast is outstanding - what can especially be seen in black and white pictures.

 

The experimental set-up

One may call this headline over-optimistic. Yes, there is an experimental set-up, but I’m feeling that it may not be enough for scientific claim!

There is an object at the foreground: Newton's cradle. And there are some holiday lights in the background, as well as some electrical appliances for the red and orange dots.

The camera itself (Fuji XT-2) stood on a tripod and was remote-controlled. All pictures were shot wide open.

 The pics

Pentacon auto 50mm f1.8 MC

2017-01-25_Pentaco_Bokeh_mid.jpg

The GDR lens shows beautiful bubbles, the color is bright and continuous, the edges show some chromatic aberrations. The blur is perhaps somewhat strongly contrasting and not absolutely creamy.

Minolta MD Rokkor 50mm f1.4

2017-01-25_Minolta_Bokeh_mid.jpg

The stop more for the Minolta is the game changer: the bubbles look softer, but you may see a slightly green border. Very probably a chromatic aberration. The blur flows softly and creamy.

Yashinon-DS 50mm 1.7

2017-01-25_Yashinon_Bokeh_mid.jpg

The Yashinon has wonderful bubble balls - almost completely without edges. The blur is very soft, but still shows contours. I think one further f-stop would probably look very nice.

The evaluation

The pictures speak for themselves. Or not!

It’s hard for me to evaluate, especially because I like all three lenses really very much.

My favorite one is the Yashinon, although it has only a 1.7 aperture. The most difficult one for me is the Minolta, although it is the most powerful lens. I do not know why, but the bokeh of the Rokkor is too pleasant. There are no errors and outbreaks. I want to be honest: I find it boring. The Pentacon shows more character.

Who thinks I am absolutely crazy: The evaluation is made next to the above pictures with the results I get in my everyday life with the three lenses—on the streets or at home. In the end, I would like to mention that i wouldn’t want to give away any of these lenses. And why I should?