I get to shoot 2 Holy Grail Pinkham and Smith Semi Achromatics in a comparison

[Tracy Storer]

How cool. Thanks for sharing Jim !

[BarryS]

I'm surprised that the optical signature is so close between both lenses--given the reputed variation of the early Semi-Achromatics. It may be the variation was only present in the earliest hand-made examples.

[Jim Galli]

I'm surprised that the optical signature is so close between both lenses--given the reputed variation of the early Semi-Achromatics. It may be the variation was only present in the earliest hand-made examples.

I think these both are the early hand ground ones. That's why the semi achromats disappeared from the catalog. By series IV the hand ground ones were history.

[Jim Galli]

Just 4 Jonathan, 4 new images ~ 2 with 11 1/2" Verito for comparison. It won't make the P&S's come down, but it might make the V's go up! BTW, the 11 1/2" Verito used for these is 4 Sale. Contact me off line.

11.5" Wolly Verito


not sure why this film is so dirty, but please allow it This is my Series I #3


this is his Series I #3


This is Verito again

[jcoldslabs]

Thanks, Jim. There seems to be a difference in character between the P&S and Verito. If I'm not mistaken most of these lenses play around with varying degrees of chromatic and spherical aberration for their soft focus effects, so it makes sense that they would achieve somewhat similar results, but each lens' "recipe" clearly has its own visual signature even between the two P&S examples.

J.

[ederphoto]

Somehow i like the verito better . I assume you shot these in a different times of the day .Now we just need one of the broken glass with your 12" struss for dessert !

[Jim Galli]

Thanks for commenting. Yes, totally different light, one afternoon, one late morning. The '38 Ford is the latest muse so sooner or later it will get shot with lots of different glass.