Videomaker (2019-05)

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28 VIDEOMAKER >>> MAY 2019

I

have a lens obsession. My relation-

ship with glass goes beyond a mere

appreciation for focal length. I have

a deep fascination with vintage lenses.

Each shiny little bauble has the ability

to take an average image and infuse

it with something unique. The right

lens can change more than the field of

view — it can change the overall tone

of the image. Vintage lenses can give

a memorable patina to your moving

image or photograph — something

that takes the edge off an over-sharp,

antiseptic digital image and lends it

some character.

The magic of the image

I was 12 years old when I got my first

35mm camera. An Olympus OM-10.

My dad took me down to a local cam-

era store one Saturday afternoon and

we explored that musty old camera

shop. I took in the smells and the

imagery of overstuffed shelves and

cabinets filled with peculiar equip-

ment. The lure was intoxicating. I

found the environment enchanting.

There was an air of alchemy about

the place. I knew that the excitement

I was feeling signaled the beginning

of something that would shape me for

the rest of my life.

Now in my 50s, I have been trying

hard to return to that place, so many

years ago, to reconnect with those

feelings of mystery and magic that

drew me to photography at such an

early age. Decades later, after years

of making images, the process has

become mechanical.

Prestidigitation has been replaced

by digitalization. We have entered a

new computerized world of photogra-

phy that is technology based — cal-

culable and raw. Images are no longer

the result of trial and error, or faith

mixed with chemistry. Instead, im-

ages are the product of plug-ins from

a pull-down menu in some piece of

video editing software.

The vintage appeal

It is for this reason that, in recent

years, cinematographers in Holly-

wood have been driven into back-

rooms and basements at their local

rental houses, looking for a way back

in time, for some forgotten pathway

— perhaps a set of old lenses that

might restore their innocent vision.

They are driven by a belief that, by

looking at the world through ancient

glass, we will see things clearer —

with a touch of nostalgia.

10 vintage lenses to add to your kit:

an in-depth investigation

BY MICHAEL WALSH

384 F02 Vintage Lenses.indd 28 3/19/19 2:16 PM

VIDEOMAKER >>> MAY 2019 29

BY MICHAEL WALSH

I collect vintage lenses for the same

reason. With the plethora of new

gear that floods the market every

year, there is an ever-growing sup-

ply of cast-off equipment. Treasures

sit in closets, collect dust on shelves

in some camera store or sit unno-

ticed in an unmarked bin at any of a

number of anonymous estate sales.

These items are ubiquitous on eBay

or Amazon, for sale to the curious

or the cost-conscious. Yes, many of

the classic lenses of yesteryear can

be had for a trifle — a fraction of the

price demanded by the fast and furi-

ous marketplace for newer photo and

video gear. Like the proverbial island

of misfit toys, they wait for a new life.

So for those of you who want to

infuse your images with a little pa-

nache, I have gathered a list of some

of the legendary lenses from the past

60 years. It is impossible to include

everyone’s favorites — this article

would never end. However, I have se-

lected a nice cross-section of legends

from my own experience, along with

a critique of the individual lenses for

those who share my passion or wish

to experiment with new tools for

making great images.

A few things to consider

Focus control

Photographic lenses have shorter focus

throws than video lenses, typically a

quarter to one-third turn. This will make

focal points resolve quickly in and out

focus when shooting video. To extend

the duration of a focus throw, one may

employ a follow focus attachment. A

0.8 pitch gear, or focus gear, must be at-

tached to the lens to allow for follow fo-

cus control. Once applied, a finer degree

of control is possible with a vintage lens.

It is common for vintage photo-

graphic lenses to have witness marks

and distance scales on the top portion

of the lens barrel. These same mark-

ings typically appear on the left side

of a cinema lens barrel, where the

camera assistant can see them while

pulling focus. In addition, the distance

markings for a photo lens will indicate

fewer focus stops between minimum

focus and infinity. Again, use of a

follow focus may extend the rate of

transition through each of these focus

stops and will provide a dry-erase ring

to transcribe your distance markings.

The majority of vintage lenses are

manual focus. This new skill set will

10 vintage lenses to add to your kit:

an in-depth investigation

Using vintage lenses lends a unique character to

modern images while breathing new life into old glass.

384 F02 Vintage Lenses.indd 29 3/19/19 2:17 PM