LENSES FOR STILLS & VIDEO an alternative view

[Tony Davies-Patrick]

HI Tim, thank you for your comments. Regarding the series of Pentax MF 6X7, 67 & 645 SMC lenses, although super sharp and well built, they do take a bit of getting used to compared to the all-auto Canon 'L' lenses. But I find that the Pentax 67 lenses make me slow down and think more about framing etc. I've also found that that using the MF SMC lens produces outstanding detail video footage with extra-slow glides or pans. Great for those added impact clips to slot in beside the run-n-gun stuff produced from the easier to use EF lenses.

On the subject of the high quality Hasselblad Chimney Finder that I use on the Canon 5D Mark II, here is a link to earlier Dvinfo thread discussing how to make it fit:
http://www.dvinfo.net/forum/canon-eo...g-3-0-a-3.html

And here is a link to the photos of the Hasslblad finder in use. Please scroll down to post No.12:

http://www.dvinfo.net/forum/canon-eo...-took-lcd.html

Below is a quick image of the lens taken with my iPhone. The 'flame's in the lens are simply reflections of the leaves in the UV filter:

[Kris Koster]

Personally, I'm with Jon in that I absolutely love Zeiss glass on the 5D2. I've just finished a music promo where I used the only Zeiss prime I have in my set almost exclusively throughout. (Zeiss Distagon ZF T* 35mm f/2 ). It's truly remarkable for video.

Also, for those that like to half close the very fast lenses, sometimes I like to keep them wide open for arty shots, like the Nikon 50/1.2 used here with a 10x close up lens screwed on for macro on the flower and cricket shots.

Royksopp - And the Forest Began to Sing on Vimeo

[Tony Davies-Patrick]

Very nice short film, Kris. Simple, original, yet engaging, with a nice twist at the end. I liked it! :)

I too like the Nikon Nikkor 50mm f/1.2 and Pentax 50mm SMC f/1.2 lenses, although my favourite is the Pentax SMC-A 50mm f/1.4. I've owned three Nikkors and two Pentax f/1.2 models in the past, but the f/1.4 versions always were sharper at all f-stops.
The only Nikkor 1.2 lens that I've owned that was impressive at all stops was the legendary Nikon Nikkor 58mm f/1.2 Noct-Nikkor. A superb and very sharp optic even wide open! I must admit that I did like it, but eventually sold this particular lens, for I found that as good as it was, it was only marginally better than the 1.4 models in most situations and the extra cash finally went towards more important items.

[Kris Koster]

Thanks, Tony. The client brought out an album last year called 'Junior' and this new album's named 'Senior' so that's the method behind the madness at the end there.

I do love my Nikon Nikkor 50/1.2 but have not had the chance to try the 58. I must look out for a copy on eBay and see how much they go for.

I have to say, I'd never thought to consider Pentax before you discussed it in this thread. But I'm always after a new look, so I may give it a try. As I almost always shoot video, any particular one you suggest for a first time user? If you could choose just one, which one would it be?

[Jon Fairhurst]

Nice video, Kris,

I have access to the ZE 35/2. It was our primary lens on our recent (as yet unfinished) film. I really love the 35mm view on the 5D2, especially with a 2.35:1 crop.

However, if I were to have access to only one lens, I would probably choose the ZE 35/1.4. The faster speed might not be necessary, but you get roughly twice the focus throw. Sometimes a faster lens won't focus as close, but it looks like both the f/2 and f/1.4 lenses focus down to 0.3m, so there's no compromise in that regard.

http://www.zeiss.com/C1256A770030BCE...25779000246827

[Kris Koster]

Agreed, Jon. The 35mm view is one of my faves also on the 5D2. Although I have to say, I cheat quite a bit in that if the required output is 1280x720, I then enjoy the flexibilty of using a portion of the 1920x1080 image in the edit (i.e. re-framing my original shot by cropping the 1920x1080 image inside the 1280x720 frame), if I need to (or else downscale).

I also found a new toy to play with, talking of ultra-ultra wides as you were earlier in this thread, I've just sourced a Canon 14mm EF L f/2.8 which kinda re-writes the rules when shooting with that baby mounted on the FF 5D2!

I'm a little scared of using it for pro work at the moment though!

[Peer Landa]

Originally Posted by Kris Koster

Personally, I'm with Jon in that I absolutely love Zeiss glass on the 5D2.

Also I am a huge Carl Zeiss fan, (which actually stems back to my childhood in Europe, raised by a Zeiss crazed dad ;^) But since they are a bit too "quirky" for the shoots I've been doing lately, I haven't used them much -- but here's a test/practice shoot I did with the 85mm f/1.4:

Cat Sitting "Trouble" -- an Exercise of DOF & Follow Focus on Vimeo

-- peer

[Jon Fairhurst]

That Canon 14/2.8 L seems like way too much fun!

[Tony Davies-Patrick]

Peer, the exposure seems to be way out in that jumpy 'trouble' clip test of the 85mm, with a lot of blown highlights. There also seemed to be some edge colour fringing/CA evident in the footage.

Kris, regarding the 35mm SLR/DSLR range of Pentax lenses, most of them can work on the 5D Mk2 with an adapter, but the rear tab on some lenses can be a problem, so need to be filed down slightly to allow the mirror to fully drop and provide full infinity focus. In that regard, the Nikkors provide a better match with the 5D.

With the medium format Pentax 645 & 6X7 lenses there is no problem and all the lenses fit and work nicely on the 5D Mark II with no need for extra refinements.

My favourites in the Pentax 35mm SLR/DSLR range of lenses are the autofocus FA* 24mm IF and FA* 85mm f/1.4, the manual focus A* 135mm f/1.8, the A* 200mm f/2.8 ED, and the A* 300mm f/4.

Of these, the 85mm and 200mm optics match the perfomance of any similar model from Nikkor, Canon, Leica or Zeiss. The A* 200mm f/4 Macro is also an incredible performer. My favourite in that list is the A* 200mm f/2.8 ED...an awesome lens to use with butter-smooth mf focus ring; although the Canon EF 200mm f/2.8II lens almost matches it in sharpness, but it doesn't quite have that lovely manual focus 'feel' of the older Pentax lens.

Of the MF Pentax 645 lens range, the 35mm f/3.5 is the best of the system, and probably one of the best MF 645 lenses ever made by any company. Not only is it sharp across the frame into the corners, but it has almost zero distortion and no CA/colour fringing.

Of the larger MF Pentax 6X7 67 lenses, the best fixed primes are the latest updated 67 versions, such as the 45mm f/4 wide angle, the 55mm f/4 normal (very sharp!), the 300 f/4 ED, the 400mm f/4 M* ED (knife sharp!) and the 800mm f/6.7 ED.

Within the Pentax 67 range of lenses is probably one of the best and sharpest zoom lenses in the world, the legendary Pentax SMC 55-100mm f/4.5 zoom. An amazing lens that is sharp from wide open even into the corners of the frame and maintains this performance at all zoom settings and apertures. A truly remarkable lens. However, it is a heavy lens at 1.210gm.
It's bigger brother the SMC 90-180mm is also a great performer, although it has a very slow max aperture of f/5.6 and is also heavy.

Of the faster lenses in the 67 lens range, the 90mm f/2.8, 105mm 2.4 and 165mm f/2.8 are all great performers.

The best all-round performer of the above lenses is without a doubt, the Pentax 67 55-100mm lens, but it can be quite a heavy lens on the 5D so is best used on a tripod most of the time.
Of the Pentax 67 primes, either the 45mm or the 165mm f/2.8 would be the best options on the 5D Mark II. It all depends of course, on your shooting requirements in video & stills.

[Peer Landa]

Originally Posted by Tony Davies-Patrick

Peer, the exposure seems to be way out in that jumpy 'trouble' clip test of the 85mm, with a lot of blown highlights. There also seemed to be some edge colour fringing/CA evident in the footage.

Yep -- I'm one of those freaks who like handheld & color crushed footage ;^)

-- peer

[Jon Fairhurst]

How is the focus ring travel on the lenses you mention, Tony? I'd imagine that they have a nice mechanical feel, unlike most modern AF lenses. For instance, Zeiss ZE manual focus lenses are buttery smooth with no roughness or play. The only downside is that they are slightly stiff by hand. Add the leverage of a follow focus, and the resistance is just right.

The focus travel on the 21/2.8 and 35/2 is about 120 degrees. On the 85/1.4 it's about 240 degrees, which really rocks. That's almost as good as the 300 degree travel of the CP.2 lens series.

How far do the focus rings on the Pentax lenses turn?

Thanks!

[Kris Koster]

Originally Posted by Tony Davies-Patrick

[..] The best all-round performer of the above lenses is without a doubt, the Pentax 67 55-100mm lens, but it can be quite a heavy lens on the 5D so is best used on a tripod most of the time.
Of the Pentax 67 primes, either the 45mm or the 165mm f/2.8 would be the best options on the 5D Mark II. It all depends of course, on your shooting requirements in video & stills.

Thanks, Tony for that informative post. You sure do know your Pentax glass! I'll know who to come to for advice if I manage to source one for my 5D2.

Cheers,