The lockdown has given people plenty of opportunity to buy stuff they can’t afford and don’t really need, I know, I’m one of them. I’d been thinking about replacing the 7Artisan 35mm f2. This lens is tremendous value for money, but in the long term I want a lens with better control over edge sharpness and flare.
After posting 5-Frames with a Zeiss Otus 55mm sometime ago, a few people asked whether I’d mind sharing the results on other emulsions – so I thought ‘great idea!’, then got totally side tracked for a few years and forgot all about it. Thing is, good lenses have been able to out-resolve film for decades, so there’s really not that much point to this, except that it’s fun and it gives me an excuse to shoot film.
I got home and flopped onto the couch, regarding my newest folly with apprehension and growing regret. A flipping 21mm lens sat in its box in my lap. A lens some would place into the category as a super-wide, purchased by someone who mainly shoots a 50, and much less often a 28. The deal was a bargain, though, I reassured myself.
My exploration of Sonnar formula lenses has had a bit of a boost lately. After getting in touch with Chris from Skyllaney, he’s ended up sending me no less than 5 of the things to play with. Some of them are from his personal collection, and some were to sell in the shop, but all all 50mm lenses, and all mountable to my Leica cameras. Regular readers can possibly imagine the smile that’s put on my face?!
Interchangeable lens 35mm rangefinder cameras became popular almost 90 years ago when Leitz introduced the Leica II and Zeiss debuted the Contax I. Both companies brought out full lines of lenses, and dominated the market for 35mm format. The design philosophies of the two companies were very different.