The Manual focus lens image thread

Lightshow said:

Lightshow wrote:

Lightshow said:

LifeIsAVerb wrote:

Lightshow said:

Puddleglum wrote:

Minolta MC Rokkor-X PG 50mm f/1.4

Taken in San Diego, California

Click to expand...

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Love the retro look to the colors! Works well with the composition. Did you do something special to get to this coloration?

.

Click to expand...

Presets in Lightroom can do something like this with a click, I don't know how Puddleglum crafted the retro feeling in this pic.

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Thanks LifeIsAVerb! I arrived at this look using a couple of filters in Color Efx Pro. However, I love understanding how things work so I have been spending time trying to understand what exactly is going on. With some practice, this look can be achieved in any photo editor using the curves tool. You can give shadows a blueish washed-out look by raising the left anchor of the blue curve. Lowering the right blue anchor will give highlights a yellowish hue. Setting other points in the curve allows you to control where the transition from blue to yellow happens. I was happy with how this combination worked with the blue and yellow in the van's colors. You can also tinker with the red and green curves a little to get the exact hues you want in the shadows and highlights.

I am finding that when you match these shadow and highlight hue shifts to the natural hues of the photo, it can produce very interesting results. Here is another photo I took with the same lens (maybe the same day, not sure), and edited with the same basic technique:


Minolta MC Rokkor-X PG 50mm f/1.4 ... This image techinically keeps my post on-topic

@ f1.4




@ f1.4




@ f1.4

Rokkor 50mm F3.5 macro

This is the lens I use most of the time on my NEX-5N. It is a nice and cheap lens. It is quite prone to flare however.



--
You can view my photos on http://www.flickr.com/photos/koenvandijken/

beautiful pics....about the lens used used in your 3'rd shot; never heard of it before, so I searched this lens, and found the following to be of interest:

"Chiyoko (or Chiyoda Kogaku, later Minolta) made 2 versions of this lens. The first has a 40.5mm filter ring and stops down to f16, and the second has a 43mm ring and stops down to f22. The 2 versions appear optically the same, based on weight, sizes of the elements, and the images they produce. I do not know why they changed filter size, but perhaps it was to match the filter size on the Super Rokkor 50/2 for the Minolta Super A (same glass). There are Minolta-made screw-in and clamp-on hoods that fit these lenses.

This lens' reputation is basically absent, probably because there were not very many made and it is not found very often today. That won't stop me from rendering my opinion, however, that the Super Rokkor 50/2 is an outstanding lens overall -- plenty sharp and contrasty as you have noted -- and as good as any f1.8-2 lens of the era. I have not encountered any flare problems, although I always use a hood and have not purposely "challenged" the lens in flare-prone situations. The later Super Rokkor 50/1.8 (in LTM and Super A mount) is even better, but harder to find."

http://www.rangefinderforum.com/forums/showthread.php?t=60880

Puddleglum said:

Puddleglum wrote:

Puddleglum said:

Lightshow wrote:

Puddleglum said:

LifeIsAVerb wrote:

Puddleglum said:

Puddleglum wrote:

Minolta MC Rokkor-X PG 50mm f/1.4

Taken in San Diego, California

Click to expand...

.

Love the retro look to the colors! Works well with the composition. Did you do something special to get to this coloration?

.

Click to expand...

Presets in Lightroom can do something like this with a click, I don't know how Puddleglum crafted the retro feeling in this pic.

Click to expand...

Thanks LifeIsAVerb! I arrived at this look using a couple of filters in Color Efx Pro. However, I love understanding how things work so I have been spending time trying to understand what exactly is going on. With some practice, this look can be achieved in any photo editor using the curves tool. You can give shadows a blueish washed-out look by raising the left anchor of the blue curve. Lowering the right blue anchor will give highlights a yellowish hue. Setting other points in the curve allows you to control where the transition from blue to yellow happens. I was happy with how this combination worked with the blue and yellow in the van's colors. You can also tinker with the red and green curves a little to get the exact hues you want in the shadows and highlights.

I am finding that when you match these shadow and highlight hue shifts to the natural hues of the photo, it can produce very interesting results. Here is another photo I took with the same lens (maybe the same day, not sure), and edited with the same basic technique:


Minolta MC Rokkor-X PG 50mm f/1.4 ... This image techinically keeps my post on-topic

Click to expand...

.

Cool, thanks for the explanation!

Sometimes, messing with the color to take it away from "reality" contributes to creating a mood, or helps an image convey a particular feeling the photographer is trying to communicate. Lots of times, color is just amped or altered for no discernible reason, and the result just seems gimmicky.

Done carefully and with some measure of thoughtful intent (as you've done) altering the color can be a useful technique.

Other nice things about the image: The sensitivity to the spacial relationships, and the way the implied, curved line of the VW lights and license plate play against the arch (painted line? curb?) in the road.

It's a fairly simple image, but, i'm really taken with it!

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Here's one I took while waiting for Comet Pan-STARRS in March using a Tokina (OM Olympus) 35-135mm zoom f/3.5. Its probably at the longer end of the zoom.




Meadows in the Oregon Coast Range

Here's another shot using a Samyang fisheye 8mm f/2.8 using Fisheye-Hemi to correct distortion.



Here's the original before distortion correction.



That Samyang is a nice sharp lens wide-open. Care must be taken to place most of the straight lines radial the frame center. Otherwise there can be some weird effects.

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Best Regards,
Russ

Sony Nex-5 (original) + Konica Hexanon 50mm 1.7:


Thorns


A Rose in The Garden

Another cosplay day in Taipei.

Shot with Nex-6 + Minolta Rokkor MC PG 50mm f/1.4

River Thames Gravesend Helios 44 2

Riley

NEX 6 with Minolta Rokkor PG 50mm f1.4

About f2

I don't have any shots from my Topcor-S 50/2 LTM, so here's a quick edit from my iPad just to see what it's like,

this shot was taken in fairly dark conditions at f2(wide open), its very sharp wide open, sharper than other lenses when they're stopped down to their best.

This is just an edit from it he embedded jpg that's in the raw file, so pardon the quality.

This was taken with NEX-7 and OM 90mm f/2


This one with Canon FD 80-200mm f4

pede59 said:

pede59 wrote:

This was taken with NEX-7 and OM 90mm f/2

https://flic.kr/p/ekHLKd

https://flic.kr/p/eeUB2V

This one with Canon FD 80-200mm f4

https://flic.kr/p/egQUKD

Click to expand...

and one with Canon FD 100mm f4

pede59 said:

pede59 wrote:

pede59 said:

pede59 wrote:

This was taken with NEX-7 and OM 90mm f/2

https://flic.kr/p/ekHLKd

https://flic.kr/p/eeUB2V

This one with Canon FD 80-200mm f4

https://flic.kr/p/egQUKD

Click to expand...

and one with Canon FD 100mm f4

https://flic.kr/p/fwyFr1

Click to expand...

That last one is great.

Here's why I love my Minolta MD 135mm f3.5:

• With the same lens you can take a pic of a subject that is too far away for the kit lens:

• Or insert an extension tube and get a bit closer without disturbing the subject:

Not too bad for a $30 lens, eh

Both are shot wide open in f/3.5 with NEX 5N and the Pentax Super Takumar 35mm f/3.5










A trick to turn M42 to Konicar AR mount so that I can use the smaler Konica AR to NEX adapter



--
learning: http://www.techtheman.com
personal: http://hintheman.blogspot.com/

Keep posting here people. Keep the thread alive.