Posts tagged F0.95

Thinning the herd a bit with week. MINT … still in the box Mitakon 35mm F0.95 lens in FUJI X mount. Very sharp great build quality.

Thinning the herd a bit with week. MINT … still in the box Mitakon 35mm F0.95 lens in FUJI X mount. Very sharp great build quality.

40mm f0.33 - The lens was given the name “Super-Q-Gigantar.” The “Q” stands for “Quatsch,” which translates to “nonsense” in German.

Carl Zeiss Super-Q-Gigantar 40mm f/0.33: The Fastest Lens Ever Made?


Had my CANON 50MM F0.95 “DREAM LENS” fitted to my Epic. (THANKS DUCLOS FOR MODDING MY RED LEICA MOUNT) I love this lens on my rangefinder and the same holds true on the EPIC. Such a little wonder of optical engineering. This lens is all character… love it or hate it, its has its own signature look.

CARL MEYER VIDEOSTIGMAT 1 1/2 inch 38mm F1.0 in C MOUNT. I have acquired another copy of this lens. Originally for 16mm or TV camera, it is usable on mirrorless cameras via proper adapter mount.

This is the finest copy of this leans I have come across. Very smooth focus and aperture. Body shows little signs of use. Some brassing on the mount and the filter ring. Glass is clean and scratch free. Some fine dust specs inside doesn’t effect image quality. Comes with canon leather case. Vignettes slightly on APS-C sized sensor covers M4/3 fully.

This week’s ebay find a very rare Angenieux 35mm F0.95

This week’s ebay find a very rare Angenieux 35mm F0.95

some of the fastest of the fast

some of the fastest of the fast

Friday ebay finds…Two ultra fast 50mm lenses.

A  rare Dallmeyer 50mm f0.8 and a SLR Magic Hyperprime Cine 50mm 0.95

I don’t know too much about the Dallmeyer but I am a fan of the SLR Magic Cine Hyperprime. These aren’t my auctions so buyer beware as always. Happy bidding.

It’s Father’s Day children make Dad happy…

Cosina Voigtländer Nokton 25mm f/0.95

Leica Noctilux-M 50 mm f/0.95 ASPH,
Noktor 50mm f/0.95 ‘HyperPrime’
Cosina Voigtländer Nokton 50mm f/1.1 Leica M

Zeiss “Super-Q-Gigantar” 40mm f/0.33

Zeiss 50mm f/0.7 (Kubrick)

Tokyo Kogaku Similar 50 mm f/0.7

Canon XI 50mm f/0.75

Rodenstock TV-Heligon 50mm f/0.75

Rodenstock TV-Heligon 42mm f/0.75

Nikon TV-Nikkor 35mm f/0.9-Fastest Nikon lens ever made

Canon 50mm f/0.95 TV and Canon 7 Rangefinder

Leica ELCAN 90mm f/1

Leica Noctilux 50mm f/1.0 Leica M mount
Canon EF 50mm f/1.0

Canon 8.5-25.5 mm f/1.0 zoom lens
Zunow 50mm f/1.1
Fujinon-TV 50m f/0.7

Kowa 42mm f/0.75

Canon ‘TV-16’ 25mm f/0.78

Apollo ‘High Speed Lens’ 25mm f/0.85

Fujinon 25mm f/0.85

Tarcus 25mm f/0.85

Ampex ‘LE610 Television Lens’ 25mm f/0.95

Angenieux ‘M1’ 25mm f/0.95 (NASA)

Angenieux 50mm f/0.95

AstroScope 25mm f/0.95

Avenir 25mm f/0.95

Century ‘Nighthawk’ 25mm f/0.95

Carl Meyer 25mm f/0.95

Cinetar 25mm f/0.95

Goyo Optical 17mm, 25mm, and 50mm f/0.95

JML 25mm and 50mm f/0.95

Kowa 33.5mm f/0.95

Navitar 25mm and 50mm f/0.95

Navitron 25mm and 50mm f/0.95

Schneider Kreuznach ‘Xenon’ 17mm, 25mm, and 50mm f/0.95

Senko 25mm and 50mm f/0.95

Soligor ‘Super Elitar’ 25mm f/0.95

Som Berthiot ‘Cinor’ 25mm f/0.95

Tarcus ‘I.T.V. Lens’ 50mm f/0.95

Yakumo 25mm and 50mm f/0.95

Zeika ‘Nominar’ 25mm f/0.95

Astro Berlin 25mm f/1.0

Astro Berlin ‘Tachonar’ 35mm f/1.0

Carl Meyer 38mm f/1.0

Kowa 55mm f/1.0

Astro Berlin 35mm f/1.1

Kowa 77mm f/1.1

SLR Magic HyperPrime CINE 50mm T0.95 PART II

I wanted to compare these two lenses in a shoot out in part one but the Canon 50mm f0.95 won’t fit the SpaceCam Leica M mount. (The locking ears are too thick and prevented the lens from fully making contact with the back of the mount.) This is the only lens that I experienced this with, so part II of this review will be done using a GX1. I will probably revisit this when my RED Leica M mount ships out. But until then…


In day light the SLR_M renders smooooth OOF areas. It almost reminds me of bokeh/oof produced by a long telephoto lens. The SLR_M can produce classic looking bokeh but just had to work a little harder to do so in the daylight. Maybe this was due to the subject being photographed in this comparison shot. Curious if this might be due to the different field of view of these two lenses and/or the different close focus distances. The SLR_M has a much close focus range (.7m) then the Canon “Dream” lens.

Split view on a PANASONIC GX1
(Full resolution on Flickr)

Backgrounds completely melt into a soft field of color in the SLR_M shot…while lacking the oof bokeh circles . The SLR_M renders an extremely sharp image and coupled with the smooth oof/bokeh the image evokes that Leica “3D” effect. The Canon gives you the dreamy soft-ish focus, diffuse/glowy hi lights and slight low contrast and saturation images, and classic bokeh.


The same smooth oof/bokeh performance from the SLR_M on the EPIC-X. I almost needed a ND filter shooting 800 ISO at night with the EPIC X and the SLR_M Hyperprime on the streets of Los Angeles. The streets at night are pretty bright and I seriously had to up the shutter rate to compensate for the extra stops this lens produced. I was a bit suprised… I can only imagine the performance on the EPIC when its rocking a RED DRAGON sensor. Night vision???

I did run into something of note with the SLR_M Cine. I noticed this in the RED EPIC footage more so then the images from the GX1. At 5K you could see that there are dark dots or white dots in some of the bokeh circles. This only showed up occasionally in a shot or two. Its visible in the footage around 6:22. I have been told that this is a side effect in all lenses f1.0 and faster due to the inherent design of the optics.

Not a deal breaker but something to keep an eye open for while shooting with these fast lenses. I will have to test this further…as it is apparently present in the Leica Noctilux as well.

Conclusion/Thoughts: For the price the SLR_M CINE you can’t beat what you are getting. A low light monster that can deliver that LEICA 3D effect while staying very sharp wide open. To me the SLR_M delivers a super clean, sharp modern feeling image. As for the Canon, I do like the size and the vintage feel the “Dream” lens brings. The flaws of the Canon are what give it a ton a character. Each has its place in my arsenal of lenses.


SLR MAGIC CINE 50mm T0.95 on EPIC X from Jason Bognacki on Vimeo.

SLR MAGIC CINE 50mm @ T0.95

Camera: EPIC-X w/ Spacecam LM/ARC mount. Shooting 5k FF in RED COLOR 3

(Compression is softening the footage a bit ...check out the flickr stream to judge sharpness)


Thanks to the actor Karl E Landler and Matt Stiller for standing in.

!!! UPDATE !!! SLR Magic HyperPrime CINE 50mm T0.95 PART I FOOTAGE



SLR Magic HyperPrime CINE 50mm T0.95 PART I

Camera: EPIC-X w/ Spacecam LM/ARC mount. Shooting 5k FF in RED COLOR 3

TECHNICAL: Focus Chart
This is about as technical as this review will get. The full 5K versions will go up on flickr for anyone interested to pixel peep. But the SLR_M was pretty sharp @ T0.95 and sharpened up very quickly at T1.4 & T2.0. The CA is very minimal @ T0.95.

SLR_M CINE 50mm @ T0.95

This lens is SOLID. Each one of these are hand crafted and you can tell. Very well built. 62mm filter ring. Built in sliding lens hood. Weight just over 2 pounds.

To be named “CINE” I would think the lens would have focus and aperture gears. This prototype did not. Maybe this will change with the production units. The aperture is declicked and silky smooth to operate … a “CINE” plus.

PERSONAL NOTE: The lack of focus and aperture gears is not a huge disappointment for me. I will primarily be using my LEICA M glass in the most run and gun light configurations w/o any follow focus…matte box etc. This would change of course if SLR Magic were to release an entire line of CINE lenses.

A rare overcast day in Los Angeles …

Excellent image quality wide-open. This lens is very sharp. Close focus is 0.7 meters.

(zoomed in)


(zoomed in)
SLR_M CINE  has a round aperture through out the aperture range keeping the bokeh circular at all stops. Bokeh and out of focus areas are silky smoooooth.

Thanks to the actor Karl E Landler for standing in.


WISH ONE and big one. A complete set of HyperPrime Cine lenses matched for color and contrast uniform T stop across the set. A 35mm, 50mm, 85mm @ T0.95. Hahaha…right. Well a matching set in T1.0-1.2 range would be nice…

WISH TWO It would be nice to have a few screw holes for the addition of a focus lever. I added my own bolt on version for the test. On the EPIC and I imagine on other cine style bodies the thin, “close to the body” style focus ring can be a bit difficult to grip.

WISH THREE Focus and Aperture gears

WISH FOUR Bring back the NOKTOR name … or go with HyperPrime… What’s in a name… ask the Chevy Nova.


PART II : Bokeh  SLR MAGIC CINE 50mm T0.95 vs CANON 50mm F0.95 (DREAM LENS)

!!! UP NEXT !!! 50MM T0.95 (F0.92) PROTOTYPE TESTING

!!! UP NEXT !!! 50MM T0.95 (F0.92) PROTOTYPE TESTING