Standard Madness…


I have had mail suggesting that I don’t actually posses this beautiful trio of three amigos – Canon 5D2, Sony Nex 6, and Pentax Q.  Well, for the doubters, here is a portrait of these amazing picture making machines.  They are all pictured with my favourite lens – the so-called “standard” lens. On the Pentax this is an 8.5mm f1.8; on the Sony, a Sigma 30mm f2.8; and on the Canon, my favourite piece of glass in the universe, the Canon EF 50mm f1.2 L. They all have a similar field of view, if very different apertures and bokeh. With this trio, I feel that I can just about do anything…

I lime the standard lens view so much that I have a bag full of normal lenses that I use (collected over the years), and each is extraordinary in its own way, They range through many eras, from a late 1940s 50mm f1.9 Serenar (Canon), to a Leitz Summicron collapsible (1950s) , to a modern Summicron M (1990s); through Canon’s brilliant f1.2 LTM (1960s) ; to all of the Canon 50mm EF series (f1.2 / f1.4 / f1.8) and a Canon 40mm f2.8 just to mix it up; plus a wad of M42 Takumars of all sorts (1950s-60s, including some zebras). Oh, and many others too too numerous to mention. I just love them all. Most of these lenses can be used on all of these cameras with cheap adapters.

The Nex 6 signage is blacked out with tape as this is primarily a street camera. The Canon is too big to hide so there’s no point for this one, and the Pentax is so small there’s probably no point.

For the doubters, this image was shot with a Canon 5D classic, with the Canon EF 100mm f2.8 USM Macro, another classic

Enjoy them. Just don’t doubt my word.


f1.2 by f1.4

Tomioka 55mm f1.2 , digital Pen

A cheap M42 screw adapter to M4/3 more than quintuples my retro lens choices for the Digital Pen.

I am torn between my venerable Canon 50mm f1.2 and this monster, the fastest lens ever released in an M42 (Pentax screw) mount.

Let me introduce you to the Chinon-branded, Tomioka-made bokeh king. On the Digital Pen it is a 110mm equivalent, allowing one to shoot things in the dark at 6400 ISO that one can’t even see. Focusing is an issue, but so what? I love it. Stopped down, it becomes pretty sharp.

This brings to mind Kubrick’s brilliant “Barry Lyndon”, where a Zeiss 50mm f0.7 lens was used for candlelit scenes, with light levels of literally only 3 candlepower. Depth of field was non-existent, but it just added to the intensity and luminosity of the movie.

Here is a 5 shot available darkness panorama shot at 3200 ISO @ f1.2 and 1/4 second, with a guess at focus, as it was bloody dark!

Darkness Pano

I like the possibilities.

Oh, the leader image of the f1.2 Tomioka was shot on a Canon f1.4 mm