![]() A no-brainer!Īll lenses in the Helios 44M series are known to be spectacular value for the money, giving images a great deal of character due in large part from the highly sought-after swirly bokeh. Read full reviewĮxcellent value, widely available. In summary, you get two lenses in one - a super sharp f/5.6+ and an artistic low-dof f/2.0. If sharpness is what matters to you, you'd be better off buying a good 50mm f/1.4 and using it at f/2.0 or f/2.8. If you are looking for absolute sharpness wide open, I don't recommend this. Then you won't need to worry about flare, unless your light source is in the frame.īuild quality is good - solid metal, and compact. Still, it's better to also attach a real lens hood if flare is a concern. On the plus side, the front e lement is recessed, providing an ad-hoc lens hood. The background looks as if it was painted with brush strokes.įlare for this lens is greater than most other lenses of similar focal length. It can produce swirling out of focus highlights in some situations. Like many former USSR lenses, it is excellent. The quality of the out of focus areas is one of the main reasons to get this lens. At f/5.6 and higher, the entire image will be extremely sharp, on par with the best 35mm lenses. This is not necessarily a bad thing, depending on your subject and how you want to portray it. ![]() ![]() At f/2, assuming you are using it full-frame, expect blurry corners, and a sharp center. This lens is excellent for portraits or other low depth of field work wide open. After a few minutes you will get used to it though and the lens will be pure fun! Read full reviewĮxcellent lens for the artistic photographer One thing that I don’t like about the Helios is it’s ergonomics: the aperture and focus rings seem to be in the wrong places: aperture near the front of the lens and focus on the rear, opposite of most lenses you can encounter today. If you shoot mirrorless or canon or A-mount, you have no excus e. Now the Helios can somehow do the same trick, but at f/2 instead of f/1.2, and at 10% of the price. I love the Tomioka not just for being a 1.2 but for its magic bokeh producing an impression, or rather a suggestion of gentle concentric rings capturing the viewer’s focus onto the eyes of the subject. My all-time favorite is the 50mm f/1.2 Tomioka, the fastest 50 for m42 mount ever. I have a drawer full of 50mm lenses, from modern Sony’s and Canons through Sigmas and all manual SLRMagic f/1.1 to older Maxxums and Rokkors all the way to classic Yashicas and Takumars. Helios 44 was standard on the Zenit and - if I remember correctly - optional on a Zorki. Note that in this shot there was a rise movement (image inverted.) that placed the swirl around the head.This lens reminds me of the 1980’s - the years of Lomo and Zenit cameras. Some mentions the lens, or you can ask the photographer. This is a search in flickr for 4x5 petzval : you can make many searches. So you should take a lens that covers the format with not much excess if you don't want the swirl outside of the sheet. If you focus near then the image circle grows, so the sheet takes less swirl, anyway you can always make a shift/rise to take a share of a not centered swirl. Is this correct? If so How do I figure out what will cover 5x7 or 4x5?īecause of geometry the swirl is in the outer part of the image circle, as you stop the lens the inner circle having no swirl grows. I just looked up magic lantern lenses and they seem to be projection lenses. Which brings up another question, how do I know if a lens will be circular(thanks for the proper term) at infinity? So according to you two I should be looking to cover 4x5 or 5x7 and will give swirly bokeh at infinity. It also happens when we stop the lens, any swirl disappears. One that will swirl in a close-up portrait won't cover at infinity. Also, keep in mind that, for a given format, a focal length that will cover and swirl at infinity won't swirl in a close-up portrait. It also hapens when we stop the lens, any swirl disapears. With an small aperture it's difficult that the entrance pupil can limit the aperture. Bokeh has many flavours and you can add to each flavour the swirl and/or the curved focus field. ![]() In fact the swirl is an added effect to what's a bokeh nature. so it may happen when a manufacturer uses front/rear glass not big enough for the max aperture.Ī petzval also has a curved "plane" of focus (field of focus should be said) that enhances the tunnel aesthetic effect. In that situation defocus discs have "cat's eye shape" because one side (of the cat's eye) is trimmed by the aperture hole and the other side by the entrance pupil. It happens when the entrance (or exit) pupil of the lens is small enough to trim the aperture. Let me speak about how swirly (circular) bokeh can be provocated with any lens. I am looking for a list of lenses that have the swirly bokeh
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