One of the best lenses I own is the Olympus G-Zuiko non-coated 50mm f1.4 with a serial well below 1,000,000.
This lens is extremely sharp but not an unnatural, digital sharpness. And boy, wide open, the bokeh is simply gorgeous.
I don’t remember how much I paid for it, it was less than 150 bucks, but it is worth every penny.
I use it on my MFT Lumix GX-80/85 for photography and filming. Wide open it had a shallow depth of field and the transition is so smooth. Hell, it is on my camera a 100mm, isn’t it?
Sharpness is critical wide open, even more when using a macro extension tube.
It is so versatile but for now I am using it mainly for close-up and macro photography. Yes, I should use it more for video and make this lens shine.
It was a comment I made on UK Large Format Photography that resulted in this image. It was about focussing on a large format camera. The ground glass can be quite dim, certainly if you stop down. I own a Spanninga Thor 1100 lumen I use when I ride my MTB-bike in the dark. So I suggested a small and very strong flashlight.
After that, I wondered if I could use the Thor as a main studio light for small subjects. Believe me, 1100 lumen is a lot and if you look in the lamp you’ll be blinded for a while.
So I set up this dried rose and mounted the small light in a small softbox I use on my SB-800 when I shoot with my Nikon.
The Sinar Norma lets me extend the bellows to about 40 cm meaning I can come very close to my subject. I own only one lens, a Sironar-N 210mm f5.6 and with the bellows extended far beyond that 210mm I had to add two stops.
I spot metered and got 2″ at f32. Adding 2 stops and taking in account reciprocity failure I went for 22 seconds. While the image turned out alright I should have added at least 2 extra stops. I measured the whitest spot but that accounts for Zone V. To obtain a better tonal range I should have put that in Zone VII.
The film I used is Fomapan 200 and I’m thinking I’ll be sticking with this film instead of the Fomapan 100. Fomapan 200 is much sharper, it has a type of grain-structure you’ll find in Kodak T-Max films. Besides, I gain one stop.