Amateur Photographer - UK (2019-09-27)

21 September 2019 I http://www.amateurphotographer.co.uk I subscribe 0330 333 1113

V I N TAG E L E N S E S

P

hotographers have long
partnered camera bodies
with lenses developed for
other systems, although
in the past few years the concept
has crossed much further into the
mainstream than before.
Much of this is down to the influx
of modern mirrorless systems,
which suddenly made it possible
to create many new and intriguing

• if sometimes incongruous –
  camera and lens combinations. New
  systems continue to be introduced,
  and with them, further adapters to
  broaden pairing possibilities.
  While photographers have found
  success in mounting vintage lenses
  on to bodies from a variety of
  camera lines, the Micro Four
  Thirds format deserves special
  credit here. The relatively short

Something old,

something new

The appeal of using vintage lenses on

modern cameras has never been

st ron ger. Matt Golowczynski speaks

to five converts to find out why

flange-to-back distance (i.e. the

distance from the sensor to the

lens mount) of the first mirrorless

system models has meant that

many older lenses with a variety of

fittings could simply be mounted

with what is essentially a simple

extension tube.

The first thing anyone keen on

getting started with using vintage

lenses should check is whether the

lens they wish to use will mount

their body. That typically means

finding a suitable adapter, and a

quick online search should reveal

whether this exists. Specialists such

asNovoflexandSRBPhotographic

covermanyofthemostpopular

combinations,andadaptersthat

don’trequireanyglasswilloften

bepricedataround£20-30.Of

course,themoreexoticthe

combination, the more you should

be prepared to pay.

Many photographers also find

such adapters online at eBay,

Amazon or Facebook Marketplace,

and these are also good places to

locate older lenses. While many

interesting lenses can be found

for as little as £5 or £10, they are

naturally likely to be in a less-than-

ideal condition, so it’s worth asking

questions and examining as many

images as possible if it’s not possible

to physically assess the lens.

The benefits of such camera–lens

partnerships are manifold. Perhaps

you have some existing glass or

you’ve spotted a cheap lens you’d

like to make use of because it differs

in some interesting way from a

more modern optic. But for many,

it’s less about resourcefulness and

more to do with aesthetics. Older

lenses often have a character that’s

absentfrommodernoptics,which

opensyouuptoachievinga style

ofyourown.Andit’sarguablythis

morethananythingelsethatunites

thefivephotographersonthe

followingpages.

‘I FIRSTpickedupa camera three years

ago:a NikonCoolpixL840 point-and-

shoot.I hadnodesiretoget into

photographyat thetime, but I loved

travellingandwantedtotake pictures of

alltheplacesI’dbeento. I then bought

a SonyA6000andshot with the kit

lensforthreeweeksbefore I realised I

couldgetanadapterthat allowed me

touseoldlenses.I gotmy first vintage

lensesandhaven’tlooked back since.

‘Mymentalityis thatto master your

tradeyouhavetomaster your tool –

sohowcanI bethemaster of my tool if

thecamerais doingallthe work for me?

Ethan Bates

[email protected] cali

EthanBatesstarted

hisphotographic

adventuresin2016,

withafocuson

landscapeandtravel

photography.HelivesinWichita,USA

An unusual perspective and expert timing

Sony A7, Vivitar 28mm f/2.8, 1/4000sec, ISO 2000

© ETHAN BATES

© KL AUDIA EYSYMONTT