But strangely, I have spoken to quite a few that have reported the same issues. Now, this may have been from a defective insert. I have owned both all three version of the Pentax 645, and have had bad experiences with the two earlier ones. My experience with Pentax 645 bodies has been mixed. Pentax 645 with Bokeh Factory Zeiss 80mm f/2 Other problems such as film flatness issues and/or the mirror not resting all the way down can also result in focusing issues. It's not bad at all it just doesn't have "the look" for me like some of the alternate options. I think this combo can tend to look a little "sterile". (I personally don't mind this "shortcoming") No interchangeable film backs/inserts must be changed after roll is finished. Not quite the level of plasticity/microcontrast we see in the Zeiss 80mm f2 *Note: After having a lot of practice with a 67, I would argue that someone who uses one all the time can change film almost as quickly if not more quickly than someone reloading their Contax. Not quite as low light capable at f/2.4 compared to 80mm f/2Įrgonomics not quite as advanced as other options
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It’s close, but I tend to find the images taken with the 105mm to generally appear a bit more “crispy” when compared I personally don’t think that the 105mm 2.4 possess the level of "creaminess” that is seen in photos taken with the Zeiss 80mm or the Cinelux lenses. High resolution, sharp, very pleasant bokehĮxcellent "pop" that rivals the Zeiss 80mm f/2 I have yet to see any images that convince of this.Ĭomparable or perhaps slightly shallower depth of field compared to 80mm f/2 on Contax 645Ħx7 negatives provide for a very interesting perspective I have heard others say that it’s bokeh is “busy” and/or “more distracting”.
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Good lens, but doesn’t have as much “pop” or character as the Zeiss 80mm Good lens, but seems a litte more sterile to me Good lens, but doesn’t have the same “pop” as the Zeiss 80mm" Great lens, but perhaps not quite as “smooth” of a renderingĮqual to if not better image quality than the Zeiss 80mm f/2Īnother great lens comparable to the Zeiss 80mmīeautiful lens with a “smooth” rendering similar to the Zeiss 80mm. After this little list, I’ll discuss my thoughts about body/lens combos compared, but just to give you a good idea of the other lenses we’ll be looking at and their image quality: Since we’re on the topic of lens importance, it’s a good time to skim through some of “the best” lenses that compare to the Zeiss 80mm f/2. If you'd like to some of my further thoughts on the Zeiss 80mm, be sure to check out my Contax Carl Zeiss 80mm f/2 Review. It is also interesting bokeh, but not too choppy or distracting. It's extremely pleasant in terms of buttery smoothness but isn't boring or flat as some lenses. This effect is a combination of the medium format perspective, quality of bokeh, transition of in focus to out of focus areas, sharpness of focal point, and over-all micro-contrast. In fact, a lens can have shallower depth of field, and yet have less pop than one with a wider depth of field. The subject "pops", and it's not merely just because of the bokeh, or shallow depth of field. When we look at Zeiss glass, we see the pinnacle of this effect as far as popular modern film photography is concerned. Lomography 64mm f2.Still, others say all the terms ultimately refer to the same thing. Regardless of the semantics, the pop-effect and what all actually creates it is hard to describe, though undeniable.
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Zeiss Hasselblad 120mm f4 Makro-Planar T* + Zeiss Contax-Yashica 28mm f2 “Hollywood” Distagon T* Zeiss Contax Rangefinder 85mm f2 Sonnar (Jupiter-8) T* Zeiss Contax Rangefinder 50mm f1.5 Biogon T* Zeiss Contax Rangefinder 21mm f4.5 Biogon T*
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Zeiss Otus 55mm f1.4 Apo-Distagon T* ZF + Zeiss Otus 28mm f1.4 Apo-Distagon T* ZF + OLYMPUS (cine-converted, now with EF-mount) MAMIYA 645 (cine-converted and PL-mounted, all cover 8k/70mm sensors)
Rent contax 645 pro#
Some our most popular solutions for the demanding pro filmmaker include:Ĭanon TS-E 24mm f/3.5L II Tilt-Shift LensĬanon EF 24-70mm f/2.8L II USM Lens70-200mm f2.8 L IS USM IIĬOOKE (cine-converted and PL-mounted by Les Bosher) We have both pro video kits as well as individual lenses and cameras available for rent. See list below this video of one our most successful rentals - we designed the visual look for the Danish Broadcasting Corporation's show "P3 Guld" which was shot and broadcasted LIVE on some of our Leica M lenses (35mm + 75mm Summilux'es) + Fujinon PL zooms, mounted on Sony F55 Cine-Alta cameras with digital 4k backs.