Velostigmat Series II; Info and Images

[Mark Booth]

The Wollensak Velostigmat Series II 12" Defocus has been one of the best purchases I have ever made and a pure enjoyment. I only wish I had a professional scanner at home, so I am limited at what I can show of my photographic results with the "Velo" lens at this time. What I love about the lens is its versatility to handle about any job from traditional landscape (with sharpness at zero (0) setting) to a portrait or table-top image utilizing selective focus with the defocus control. The modification step is worth ones time for sure. I am using this lens with my Deardorff 8x10 camera and printing silver gelatin with some alternative process work.

A new "toy"... or best stated, "TOOL" of the trade is a newly acquired Wollensak Vesta Portrait 11 1/2" f5 (Petzval type) in a nicely working Studio shutter. It will be a couple of weeks before I can report on this lens, but I am very excited to put it to use on several projects.

Thanks to everyone's previous comments and recommendations at the beginning of this discussion, Since this discussion, I have totally reexamined my large format photography approach and have become "HOOKED" much thanks to all!

Here is a (snapshot) pic of the Wollensak Vesta Portrait lens. (see attachment)

—Mark

[goamules]

Ah yes, the Vesta. Wollensak made some great lenses, didn't they?

[SAShruby]

Mark,

Can you apply same adjustment process for non-variable focus velos?

[Mark Booth]

Peter,

The answer is NO if I understand your question correctly. While active in photography for about 35 years, I am new to the vintage defocus or soft focus lens and the options or workarounds that others may be aware. Perhaps someone else can speak to your question more effectively than myself?

HELP MARK SAWYER or one of THE OLD SCHOOL GUYS... JIM GALLI we need your help!!!

What I would say, is that some Velostigmat Series II lenses did not have the defocus control, (as you're aware) so the ability to achieve or modify the (defocus) control would be difficult otherwise and dedicated to the adjustable front ring feature.

I am aware that the defocus control was offered in (9 1/2", 12", 15 1/2") focal lengths, but not sure of the exceptions.

The one thing I can say, is that I've worked with probably a hundred different lenses over the years and numerous (high-end optics/camera combinations) but I have never had such fun as with this lens. Now, don't get me wrong, fun does not mean frivolous activities whatsoever. I am working on several significant projects and don't have time to mess around—I must have 8 months of conventional printing as a backlog awaiting my attention. One of these projects has been a historical documentary in the State of Washington, which I am well into shooting for the last year, and have perhaps a full year or more to go before being done with this project—having hopes for this photographic labor to become a permanent collection someday within an institutional setting regionally.

What I noticed as a fine art photographer and avid reader (of serious discussions worth my time) is that certain things were being achieved by other photographers which captured my vision, and I desired to incorporate such things into a portion of my work as well. Jim Galli's work first caught my attention, but then I began the earnest study of others and their collective experiences.

Everything photographic is based on light, form, and composition. Based on this premise, I ask myself, what can I do better or differently, that will challenge me to see or respond to my subject or scene differently? I began my serious work in photography by saving up extra money doing an adult paper route to purchase my first Leica-M camera, then in time, realized that imaging on ground glass help me to develop my eye even better in terms of composition and attention to detail, so I transitioned into large format photography.

All of us have similar experiences to share, but what I like about vintage glass and the use of soft-focus lenses are the nuances of achievement that display character and distinctiveness within an image, that complement the tactile qualities of conventional photography so very well.

While most other photographers have migrated (by desire or necessity) into such things as digital capture and advanced post-capture editing, I have ventured back into time, having a quest to discover the essence of what photography as it was originally experienced or historically shared. This journey has been so rewarding to me, and I am sure that my experiences are not unique whatsoever.

Thanks for allowing me to reflect about why I love this medium of photography.

[David Aimone]

Since I am now the proud owner of a shorter length VSII without the diffusion control, I am also interested in the answer to this question:

Can the lens be utilized beyond adjust f-stops by some modification or removal/rearranging of lens elements? I am also new to old, vintage lenses and their modification.

Thanks!

Mark,

Can you apply same adjustment process for non-variable focus velos?

[Jim Galli]

Since I am now the proud owner of a shorter length VSII without the diffusion control, I am also interested in the answer to this question:

Can the lens be utilized beyond adjust f-stops by some modification or removal/rearranging of lens elements? I am also new to old, vintage lenses and their modification.

Thanks!

David, yes. It's just a mechanical thing. If you can figure out how to introduce space between element #1 and #2 mechanically somehow you've achieved the same thing, albeit with much less convenience since you can't 'undo' the mod every time you wish for standard sharpness. A black rubber O-ring of perhaps .015" the perfect size to hold the glass pieces apart from each other is a possibility. Remember that if you space the element next to the aperture blades 'out' you also need an identical spacer in the barrel threads so the glass next to the aperture lands in it's original place and the front is effectively further forward.

[David Aimone]

Remember that if you space the element next to the aperture blades 'out' you also need an identical spacer in the barrel threads so the glass next to the aperture lands in it's original place and the front is effectively further forward.

This last part isn't clear to me, but I'll take a closer look at the lens when I get home and perhaps it will be obvious. I'll let you know, Jim. Thanks!

Nice lens though...

[David Aimone]

Jim,

After inspecting the lens, there are two elements in front of the shutter. Does the rear one nearest the shutter screw out (making it closer to the shutter)? If that's what you're referring to, then it makes sense--since I'm moving that one closer to the shutter, I have to move the entire front barrel away from the shutter?

If I'm on the right track, how DO you unscrew that lens in the back? I haven't tried hard, but there's nothing to grab on to.

Thanks!

David

[Jim Galli]

Jim,

After inspecting the lens, there are two elements in front of the shutter. Does the rear one nearest the shutter screw out (making it closer to the shutter)? If that's what you're referring to, then it makes sense--since I'm moving that one closer to the shutter, I have to move the entire front barrel away from the shutter?

If I'm on the right track, how DO you unscrew that lens in the back? I haven't tried hard, but there's nothing to grab on to.

Thanks!

David

You're on track. Get a rubber jar lid grip and give that end piece a twist.

[David Aimone]

Interesting soft wide angle effect if I just remove the entire front piece too. I suppose there's some adjustment to exposure doing that.

I see why you like playing with lenses.