Here is an second version example
post 16
http://www.largeformatphotography.in...-Lens-Examples
Here is an second version example
post 16
http://www.largeformatphotography.in...-Lens-Examples
Superb portraits on that other thread, Bill. Thank you for sharing. I'm glad to see what these lenses can achieve.
Wow, Emil- thank you for sharing these. Both of these have that gradual shift from focus to background that I am craving. That first image is especially striking.
I have one more question about this lens that maybe someone can help me with. Obviously the glass is uncoated, which in my understanding increases flare and reduces the amount of light that reaches the film to a certain extent, yielding an image with less contrast.
A lens hood and possibly a yellow filter are the fixes that occur to me. What type of lens hood what I use with this old thing? The lens has no threads. I'm not sure of the precise diameter. I was looking into a compendium hood, but I've never seen one in person and just looking at the B & H website, I can't figure out how they attach to the lens. My kit I bought from a collector who bought it from a portrait studio in Victoria, BC that closed down in the 70s. The only hood I've ever used came with the 10 inch Commercial Ektar that came with this camera.
Steven, have you had any trouble with excessive flare? Your lens and mine are like brothers.
Thank you guys for your input.
The Heliar design as well as a tessar has only three groups, so there is not too much flare.
With BW you can compensate it in positive process or scanning/Photoshop.
Sure a lens hood helps.
Color would be different, there the color saturation suffers without coating.
Important with such an old lens it that you clean the inside lens surfaces if they have haze.
Xipho, I have a number of uncoated tessar types including real CZJ Tessars. And I'm an ignorant barbarian insensitive to the fine points. I shoot reversal film whose color saturation is very sensitive to overexposure. I've had occasional color saturation problems with these lenses, also with coated lenses, some also tessar types, others with more air-glass interfaces. I blame the shutters, not the lenses, and my shutter tester agrees with me.
Still waters run deep, old shutters run slow.
How does a compendium hood attach to a lens?
I have not been able to find this information online. I am wondering if it would be a good system for this Heliar lens.
If not, does anyone have suggestions for another lens hood that would work with an unthreaded lens that has an almost four inch diameter?
My 8x10 Ansco is the studio model with double bellows. Would attaching my lens to the center standard and using the front bellows as a hood be the best approach for this lens, assuming I don't need all 40 inches of bellows draw?
Thank you.
Cameron Cornell
www.analogportraiture.com
Doesn't seem to me like a very good idea!
I think I have a drawing of what the old Studio Cameras had mounted to the sides of the front standard to control light around the lens opening. I'll have a look tomorrow. There may be Screw holes which show where the fixture was mounted, but most did not bother.
I believe a lot of compendium lens shades attached to the camera and not to the lens. How they attach is a different question - the compendium shade that came with my Linhof Kardan Bi attaches to a sort of flash shoe on the front standard. The compendium for my Technika has pins that fit in small holes in the top of the front standard.
On the other hand the Mamiya RB67 adjustable hood does attach to the lens. These are the only ones I have personal experience with. And I have on occasion used a 4 x 5 bellows supported by an auxiliary frame as a compendium bellows on older cameras
Voigtlander's post WW2 studio camera supplied a smart Compendium that fitted on the front standard. The bellows matched the camera bellows.Originally Posted by Jim Andrada
I enclose some solutions from the UK catalogue (1934) from Kodak.
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