Voigtländer

Started by Basajaun, March 12, 2004, 12:26:44

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Basajaun

Bueno(como dice Amando)Como poseedor de una Voigtänder VITORET LR, queda ....

Mi primera cámara, fabricada en 1967 (cuando nací) sus primeras fotos fueron hechas a mí, y desde aquí agradezco a mi padre, esté donde esté, tanto su legado fotografico (aficionado) como esta maravillosa cámara que heredé hace 26 años y me inicio en la fotografia ;)

Sigue funcionando y una vez al año (minimo) salimos de paseo y hacemos juntos unas fotos :)

ancan2

La mía es una Voigtländer  Vito C que ahora está en un servicio técnico para intentar arreglarla.

Os pongo dos fotillos.

   


       

   Saludos  ;)

Basajaun

Guaaaaaaaaaaaaaaaaapa :), es que me encantan :-*
:salud:

Airam Siul

Aquí os dejo la de mi padre.

   


   


jmoreno

Airam .......... con esa tengo hechas munnnnnnnnnchhhhhhhhhhiiiiiiiiiiiiiiisimas afotos  :salud:
Lo que se escucha se olvida.
Lo que se escribe se recuerda.
Lo que se hace se aprende.
:salud:
salud
jmoreno

Beniliam

Por mi objetivo NOKTON 50 mm 1,5


http://www.photo.net/ezshop/product?product_id=1521


If you look at the development and evolution of high speed 50mm lenses, you will note that lenses with an aperture of 1:1.4 leaped forward optically in the mid-sixties and then reached a plateau. Almost every 1.4 design is based on the Double Gauss formula and generally has 7 lens elements. One of the last 'new' 1.4 lenses was the Planar 1.4 for the Zeiss Contax in the seventies and its performance was not breathtaking to put it mildly. It is very difficult to design a 1.4 lens with a performance equal to the best 2/50mm lenses. Oblique rays in the tangential plane play havock with all good intentions of the designer. Do not forget that a 1.4 design admits twice the amount of light energy and aberrations grow disproportionally. Many of the specific 1.4 aberrations errors do not improve when stopping down, making a 1.4 more of a compromise than a 2/50, which is a much more evolved type of lens design. So for decades designers had no serious option to improve on a 1.4 design (not possible or to expensive). Recently Leica introduced a redesigned Summilux-R 1:1.4/50 which is a big step forward to produce f/2 quality a 1,4 design. At 1,4 the Summilux-R offers a high contrast image with outstanding imagery on axis and a very good quality in the outer zones. The design utilizes the classical Double Gauss formula stretched to 8 lens elements.

The Voigtlander Nokton 1.5/50 is the most recent addition to the 1,4 club.

Its design is closely modelled to a 'normal' 2/50 design with 6 elements, but with the last element a double aspherical one, that is both surfaces are aspherical. It is a rule that one aspherical surface replaces a full lens element in a full spherical design, so this lens can be compared to the 8 elements of the Summilux-R.
The use of an aspherical surface is not restricted to the correction of spherical aberration, as it is sometimes stated. Many more optical issues can be addressed with an asphere. In fact the Nokton has more residual spherical aberration than could be expected.

My version had some decentring which became visible in testing of course (one outer side of the image gave reduced contrast and a drop in performance. It could also be seen in real life pictures when large billboards were photographed. One side visibly gave a lower definition and loss of detail rendition. Not that much but still.
On test the full aperture gives a medium contrast overall image with a trace of veiling glare. On axis very fine detail was rendered with very good edge definition. This definition extended to the outer zones with only a slight loss of contrast and edge definition. This lens excells at a very fine even coverage over the bigger part of the picture area (neglecting the decentring for a moment, which might be atypical). Astigmatism is well but not fully controlled and lateral chromatic aberrations are very well reduced. You will see these effects in the outer zones as a reduced rendition of very fine and extremely fine detail and a high noise ratio which makes it difficult to detect separate details in the finer structures. There is visible vignetting in the corners.

At f/2 the image becomes more contrasty and especially the edge definition improves in the field.
But it is not up to the quality you expect from a topclass f/2 design. In itself the image quality is very good. Very fine detail is now detectable with slightly soft edge definition. At f/2.8 the contrast again improves and now extremely fine detail can be recorded. At f/4 we find an excellent quality over the whole picture area. Extremely fine detail is now rendered with good clarity. A very critical look will reveal that the overall contrast and micro contrast are lower than the contemporary Leica designs and some veiling glare also reduces the recording ability of the finest details. There is a focus shift, reducing the contrast on axis. Tangentially the aberrations grow quite a bit in the field.
From an aperture of f/5.6 quality drops, especially in the field where detail gets a bit fuzzy.
Close-up performance is not as good as at infinity, Th whole image is a bit softer now and you need to stop down to 2,8 or 4 to get optimum imagery at this distance.
The Nokton is quite sensitive to flare and here you need some caution.


Conclusion.
This is a difficult lens to evaluate and it shows the classical dilemma of any tester. Figures and MTF graphs are not enough. Starratings wil not show the subtle differences and a cursorary report will fail to draw attention to tye character.
The basic optical design of this lens is outstanding and it will certainly be studied by several optical departments over the world.
Mechanically and from an engineering standpoint it gives mixed feelings.The decentring is an indication of mounting tolerances and the economics of manufacturing. You get what you pay for.
The image quality in most practical situations is impressive. Flare is quite pronounced in backlightning and when recording specular highlights or small lightpoints.
The Summilux-M as comparison has at full aperture higher contrast on axis but its performance in the outer zones is not as good and the recording ability of very fine detail over the picture area is also not as good. But its engineering is superb and its flare reduction is also better. So which lens is best?
My list would be. Number 1 is the Summilux-R new, the number 2 with a fair gap is the Nokton and the number 3 is the Summilux-M, which is better engineered but optically not as good.
Do you really see these optical differences? Thats the 10.000 dollar question,
Whatever the vanishing breed of people dedicated to resolution numbers may declare, most picture taking situations can be covered with 10 to 20 lp/mm for exhibition quality and in this area the Nokton performs admirably well. It does not have the clarity of fine detail of the better Leica lenses, nor the clean edge definition of larger subject outlines. In fact it is a bit dull in the shadows and fine detail has a coarser image and a fuzzier edge. But face to face with the Summilux-M the Nokton wins on points, not by knock out.

¿qué importa lo que pueda ser la realidad que se encuentra fuera de mí, si me ha ayudado a vivir, a sentir que soy y lo que soy?

Franc

Bueno, veo que podemos ya formar "club"

Tiene tantos años que ya dejó de funcionar el fotómetro ( Se agotó el selenio); ahora va a ojo o a mano.
Saludos.

JOSE_COHE

Pues yo tambien tengo un par de esas,

^-^ ^-^ ^-^ ^-^ ^-^ ^-^ ^-^


^-^ ^-^ ^-^ ^-^ ^-^ ^-^ ^-^


Y tambien fueron de mi padre, que fundó en Valencia "AGFOVAL" ( Agrupación Fotográfica Valenciana ) , aunque de eso hace muuuucho tiempo...  (:) (:)
NIKON D3, NIKON D810, NIKON D5100, NIKON FA, NIKON FE, NIKON F100, NIKON 70-200 2.8 VR II , NIKON 24-70 2.8, NIKON 28-300 Vr, NIKON 80-200 F:4, NIKON MACRO 105 2.8 Vr, TC-II 1.4x, TC-III 2x, SIGMA 14 2.8,
CANON 30D, CANON 350D, CANON 17-55 f:2.8 IS, CANON 70-200 f:4 L, CANON G1X

kodiak

Yo tengo una Voigtlander Bessamatic Mod. 1962.Lleva un objetivo Septon 50f2.Tambien dispongo del Dynarex 135f4, asi como el juego de filtros y lentes de ampliación originales, todo ello con sus bolsas y portafiltros originales.
La recogi ayer tras haberla revisado y la verdad es que aun con 42 años encima, la considero una maquina impresionante.Ahora estoy usandola menos, pues he sucumbido ante los encantos de lao digital.Prometo colgaros fotos de ella proximamente y aun con 42 años de vida su funcionamiento es perfecto y aunque lo digital tiene sus ventajas fotografiar con esta cámara es como pintar un cuadro.
Un saludo. :salud:


Digital kills the photograph art
Olympus E-30 Sayuri.
Zuiko 14 - 45 Ronin.
Zuiko 14 - 54 Hayabusa.
Zuiko OM50 f1:4 Ohka.
Zuiko 40 - 150 Shogun.
Flash FL36 Shiden.
Olympus FE-47 Wakizashi

Mi blog: http://elblogdekodiak.blogspot.com/

Nav

Bueno, acabo de registrarme, y curioseando me he encontrado con la muy agradable sorpresa de tener "compis" de Voigtländer.
Yo tengo dos, las dos heredadas de mi padre. Tengo una Vito "C", muertita en la vitrina de casa, y una Bessamatic del 62 sin fotómetro, objetivo 50mm color-skopar x f2.8. También dispongo de un juego de varias lentes de aproximación, filtro naranja y parasol metálico, todo original. La Bessamatic está en la bolsa de fotografía, aun la sigo utilizando, aunque muuuy poco. Con esta cámara comencé en la fotografía. Le tengo un cariño muy especial. La he estado usando junto a mi F3 como segundo cuerpo, y muchas veces como primer cuerpo. No se si será cariño, pero creo que da más calidad que esta última.
Tienen que ver la cara de la gente cuando les saco esta cámara, con su funda original de cuero, conectada a un flash de antorcha de plástico negro, lleno de leds. :D :D :D

Slds Manuel.

kodiak

Quote from: Nav on September 11, 2004, 23:17:10
Bueno, acabo de registrarme, y curioseando me he encontrado con la muy agradable sorpresa de tener "compis" de Voigtländer.
Yo tengo dos, las dos heredadas de mi padre. Tengo una Vito "C", muertita en la vitrina de casa, y una Bessamatic del 62 sin fotómetro, objetivo 50mm color-skopar x f2.8. También dispongo de un juego de varias lentes de aproximación, filtro naranja y parasol metálico, todo original. La Bessamatic está en la bolsa de fotografía, aun la sigo utilizando, aunque muuuy poco. Con esta cámara comencé en la fotografía. Le tengo un cariño muy especial. La he estado usando junto a mi F3 como segundo cuerpo, y muchas veces como primer cuerpo. No se si será cariño, pero creo que da más calidad que esta última.
Tienen que ver la cara de la gente cuando les saco esta cámara, con su funda original de cuero, conectada a un flash de antorcha de plástico negro, lleno de leds. :D :D :D

Slds Manuel.

Nav, yo soy propietario de una Bessamatic con objetivo Septon 50 f2 y Dynarex 135 f4.La maquina esta muy poco usada pese al tiempo que tiene y aunque esta en perfecto uso (revisada en su totalidad hace cosa de 5 meses), la uso con la debida precaución, dada su condición de clasica.En distintos hilos puedes ver de lo que es capaz este aparato, tanto en color, como en B/N, aunque tengo la sensación que estos objetivos fueron pensados para el b/n.Tambien tengo el juego de filtros original Voigtlander, todo ello en perfecto estado de uso.
Me alegro de que otro forero tenga una cámara como la mia.
Recibe un cordial saludo :salud:
Olympus E-30 Sayuri.
Zuiko 14 - 45 Ronin.
Zuiko 14 - 54 Hayabusa.
Zuiko OM50 f1:4 Ohka.
Zuiko 40 - 150 Shogun.
Flash FL36 Shiden.
Olympus FE-47 Wakizashi

Mi blog: http://elblogdekodiak.blogspot.com/