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02-29-2012, 10:36 PM   #16
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QuoteOriginally posted by RioRico Quote
One solution: before changing lenses, shoot the new lens head-on, so you'll know exactly which lens was used. Some days I'll go on a Fifties spree, swapping between K50/1.2, planar Yashica ML 50/1.4, Meyer Oreston 50/1.8, CZJ Tessar 50/2.8 (12 iris blades), MacTak 50/4 (1x), Tomioka 55/1.4, Petri CC 55/1.8, Porst Color Reflex 55/2.8, etc. Just noting the FL isn't quite enough. The picture is the proof of the lens.
That's a good idea, if you're using many lenses with the same FL - but (with all due respect for your lens lens habit) I can't see myself ever carting two primes with the same FL around at the same time - unless one of them was a fast AF lens and the other an old manual macro, I suppose. Crucially, it still wouldn't prevent me from forgetting to tell the camera the FL.

03-01-2012, 12:09 AM   #17
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QuoteOriginally posted by timh Quote
but (with all due respect for your lens lens habit) I can't see myself ever carting two primes with the same FL around at the same time - unless one of them was a fast AF lens and the other an old manual macro, I suppose.
I was in Santa Fe NM for a month last year, renting a semi-underground casita a couple long blocks from the Plaza. I started strolling after the sun came up, with the K50/1.2 for moody shots of wood+stone+adobe structures, and to shoot in some shaded courtyards. I swapped for the MacroTak 50/4 for intimate shots of flowers and details. As the sun got higher, I switched to the CZJ Tessar 50/2.8 (12 iris blades) for its unique bokeh. At the Plaza, people were dancing and jumping about, so on went the FA50/1.4 to catch the action.

Later I went to the Trader's Market, a warehouse space filled with worldwide ethnic artifacts, and the planar Yashica ML 50/1.4 with its unique bokeh and rendering were just right. I could have used the K50/1.2 instead of the Yashica, but I had both and I used each as I saw fit. But all the other Fifties have their unique strengths. And
another day in Santa Fe I used just the Tomioka 55/1.4, Petri CC 55/1.8, and Porst Color Reflex 55/2.8, sometimes adding tubes to the Petri for close work.

I'm hauling fewer Fifties on my current journey: the K50/1.2, FA50/1.4, CZJ Tessar 50/2.8, Industar 50/3.5, MacTak 50/4, and Mamiya 55/1.8, as well as the huge Schneider Betavaron 50-125 which is deadly sharp at 50mm. And also the EL-Nikkor 50/2.8 for close shooting. Hmm, that's a fair number -- should keep me busy for the next few weeks, eh?
03-01-2012, 12:42 AM   #18
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QuoteOriginally posted by jerm1386 Quote
if you're using M42's or some other mount you should be able to adjust the aperture ring manually (you will see the the viewfinder go dark as you turn the ring) and the camera will start metering when you give the shutter a half-press.
I have a converted (Leitax) Contax 28/2,8 and I have not experienced that half -press shutter start the metering, only pressing GB will meter. Half-press shutter gives me focus confirmation.

QuoteOriginally posted by RioRico Quote
One solution: before changing lenses, shoot the new lens head-on, so you'll know exactly which lens was used. Some days I'll go on a Fifties spree, swapping between K50/1.2, planar Yashica ML 50/1.4, Meyer Oreston 50/1.8, CZJ Tessar 50/2.8 (12 iris blades), MacTak 50/4 (1x), Tomioka 55/1.4, Petri CC 55/1.8, Porst Color Reflex 55/2.8, etc. Just noting the FL isn't quite enough. The picture is the proof of the lens.
How is that? Please explain.
03-01-2012, 01:04 AM   #19
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QuoteOriginally posted by RioRico Quote
Hmm, that's a fair number -- should keep me busy for the next few weeks, eh?
I have no moral objection to that kind of "poly" relationship with 50mm lenses and it does sound quite tempting in theory - however I think in practice it's just too complicated to work, with me. I'll stick to my trusty M 50mm f1.4.

I wouldn't say I'm entirely faithful though, I left my A 50mm f1.7 for this one (she may be older, but she's more fun after dark) and if a K 50mm f1.2 came along, hmm...

03-01-2012, 08:53 AM   #20
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QuoteOriginally posted by Pontax Quote
QuoteOriginally posted by RioRico:
One solution: before changing lenses, shoot the new lens head-on, so you'll know exactly which lens was used.
...
Just noting the FL isn't quite enough. The picture is the proof of the lens.
How is that? Please explain.
Maybe I should have said, "so you'll know which is the next lens used." Sometimes I shoot an image of the next lens; sometimes I mount a lens, then shoot it in a mirror. Either way, I know that the following series of photos came from that spedific lens.

QuoteOriginally posted by timh Quote
I have no moral objection to that kind of "poly" relationship with 50mm lenses and it does sound quite tempting in theory - however I think in practice it's just too complicated to work, with me.
Partly it's a matter of planning. That morning in Santa Fe wasn't just a random stroll. I'd already walked the route a few times, had a good idea of what to expect, and so knew which Fifties would be best along the way. The lens selection was no accident.

Now I'm back in Old Bisbee AZ for some weeks. I've walked these vertical streets many times before but not with my current lens kit. So I stroll around (mostly with the Tamron 10-24 and/or Schneider Betavaron 50/125) looking for routes that will benefit from a series of Fifties. But shooting the huge Lavender Pit (open-pit copper mine, a large hole where Sacramento Mountain used to be) will require other optics.
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