Originally Posted by diversey
You're convincing me to put my Ser. VI knuckler up for sale. This is not at all what I want to do with my soft focus lenses. Same for my Eidoscope. Obviously I'm going to try it first, you don't happen on one of them every day.
Eidoscope No 2 375mm f4.5 Som Berthoit, going to as high contrast a place as I could find that day to check what the Eidy would do with the blown out areas. Glow potential with this lens in the field. Astia 100F.
And a crop to check the diffusion
Capitola Wharf, before being torn in two by the 2023 storms.
John,
The highlight is very interesting!
Ilex Paragon Series A 12 inch variable Soft Focus Lens , f4.5 (stopping screw was removed). The main focus is at the base center of those five grape cluster.
F4.5, No Turn of front lens.
F4.5, 2 full turns of front lens, refocused after 2 full turns.
Today I wanted to compare two lenses.
1. the Wollensak Verito 8 3/4" f/4.0 but the rear cell with 14" only
2. the Voigtlander W.Z. 360mm f/9.0
Both lenses have an identic focus length, the rear cell of the Verito is a cemented two element lens and the Voigtlander W.Z. is a two element dialyt system with two different foci.
Sorry, but I made a mistake, I forgot to calculate the correct aperture value of the Verito cell. I used the aperture scale of the complete lens and set it to f/8 but with the rear cell alone it is ~f/10.
The W.Z. were used with open aperture f/9
The film is the Fuji UM-MA in 18x24cm size, developed in Kodak HC110, 1+39
A slight yellowgreen filter -1 were in use to keep the leafs a little bit brighter. The blossom were dark red and so I got my black rose I imagine before I make the setup.
The Voigtländer lens is softer than the Wollensak but it is not so extrem soft like I knew it from the 180mm W.Z. lens. I really like the kind of softness, all details are clear visible.
I focus to the blossom but you can see that the dry roses in front of the setup are sharp as well.
The reason is the high grade of spherical distorsion of the lens.
The sample with the Verito cell does not show it in this kind, the front objects are out of focus, the achromat is better plain corrected.
I love it to see the differencies of the lenses, especially the soft focus lenses.
Maybe I try my 360mm Imagon tomorrow and the Nicola Perscheid as well.
Verito
Voigtlander W.Z.
Me too! Quite remarkable.
And yes, please.
Here it is, first the sample made with the Emil Busch Nicola Perscheid lens, 360mm f/4.5 @f/8
Again with the Fujifilm UM-MA in 18x24cm size, Kodak HC110, 1+39
BTW, were are the other pictures taken with this famous lenses? Are all of it in collectors hand only, locked in safes?
Busch Perscheid Lens
And here´s the second.
Taken with the Rodenstock Imagon 360mm H-5.8 @H-7.7
Fuji UM-MA, 18x24cm, Kodak HC110, 1+39
The Imagon has a very long period of production, from 1928 - 1999. Developed by Heinrich Kuehn and Dr. Staeble.
No other soft focus lens has an image effect like this lens.
I love the mix of sharp and soft area, the smooth halos. For me the perfect soft focus lens but some photographers don´t like the image style of this lens and prefer a more pictoralistic all over soft image with no sharp areas.
An endless discuss but it is much more important to show your results.
Imagon
Very interesting.
Single Verito element on my plans for longer focal lenght.
Never heard and never seen Voigtlander W.Z., thanks for sharing.
Imagon shines on its own as expected but it is hard to grasp character of Perscheid at least to me.
And there are much more collectors than practicioners, kind of natural course of things.
This forum has a very long thread about Cooke series II serial numbers:
https://www.largeformatphotography.i...t=Cooke+serial
but not much examples as taking lenses.
Many thanks, Arri.
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