Lensbaby is a organization that’s been continuously seeking its own unique course for the past seven decades or so, making what it calls ‘selective focus’ contacts for SLRs that display a particular low-fi visual. The process is to use optically simple contacts which are purposely uncorrected for many aberrations, and therefore produce a clear area of concentrate (or ‘sweet spot’) during the picture field with ever-increasing cloud outside it. This is along with a versatile gun barrel, such that the lens can be angled and the lovely identify shifted around the structure, to concentrate on off-center topics. The size of the brush identify can be improved by using a smaller aperture.
The unique Lensbaby was little more than a versatile nasty pipe, with a install at one end and an uncoated single-element 50mm F2.8 cup lens at the other; the aperture was set using drop-in nasty disks kept in place by a rubberized band. The lovely identify was controlled and the lens targeted simply by compressing on a receiver around the lens (in its modern version, this style is known as the ‘Muse’). It was an endearingly low-tech idea, but in practice could be was rather annoying to use – the non-locking style resulted in there was basically no way of taking the same picture at different apertures, for example. And the single-element cup lens was a little too low-fi for many preferences.
Lensbaby Composer Pro / Sweet 35 Body And Design
When centred (i.e., set directing directly ahead) the Musician Pro is a reasonably lightweight design about the size of an auto-focus 50mm F1.4 primary. On the slanting part of gun barrel there’s a wide concentrating band, and on the set area there’s a securing band for the football and outlet combined. This allows you to point the lens easily up to about 20 levels in any route, and secure it down when you’ve achieved the place you want. Compared with the other optics, the Lovely 35’s aperture band sneaks out of the front side of the gun barrel, and expands sends on concentrating nearer making it more available.
Overall the Musician Pro’s construction and functional feel is amazing – all motions are extremely sleek and accurate, and clearly enhanced over the unique. The concentrate band in particular is much better damped than before, but the point combined is also clearly better. Both of these make it much easier to set accurate improvements, and really write your pictures exactly as you’d like.
Whole body elements
- The Musician Pro is available for all major SLR lens installs. The install is completely ‘dumb’ with no connections to you body, so you’ll get no lens-related EXIF data. Customers of Small Four Thirds and Sony models NEX cameras can buy the closely-related ‘Composer with Point Transformer’ that also functions as Point adaptor for Nikon F contacts.
- The concentrating band has an 11 mm-wide ribbed rubberized hold, with a travel of 100 levels across the wide variety. It’s sleek and accurate operating, and a great enhancement over the unique Musician. The concentrating action goes the entire visual unit forward by about 1cm, which makes the Lovely 35 stick out considerably at nearest concentrate.
- The plastic material band around the bottom of the football combined allows you to modify its stress, and secure it well in place when required. This can be especially useful when working from a tripod.
- The Lovely 35’s aperture band punches out from the front of the gun barrel. It has click prevents at full-stop durations, but can be set at advanced roles too. The strong round dot functions as the catalog indicate for making your configurations – here the lens is at F5.6.
- The aperture band prevents the diaphragm down straight, so you view at the taking aperture; this means the digital camera’s visual viewfinder will get black remarkably black at more compact apertures. The diaphragm itself is an impressively-circular 12-bladed style. Note though that the lens’s cloud features in out-of-focus areas are affected mainly by its uncommon visual style.
Lensbaby Composer Pro / Sweet 35 Images Quality
Lovely Identify vs Aperture
The best sign of Lensbaby’s optics, in conditions of getting the picture you want, is the dependancy of the dimension and sharpness of the Lovely Identify with aperture. You can use a huge aperture to keep interest firmly targeted on a small region of the picture, or quit down for making a bigger place distinct. This is confirmed in the roll-over below; simply simply select the F-number brands to obtain the full-sized picture.
Compared to 50mm Double Cup optic
Here we’re looking at how the aperture-dependence of the Lovely 35’s ‘sweet spot’ of distinct concentrate even analyzes to Lensbaby’s current Double Cup (ca. 50mm F2) optic, using both APS-C and complete structure cameras, using a lot tedious but efficient stone walls as the topic.
The Lovely 35 suits you will of the double glass fairly carefully, so if you already own and use this optic you should be able to adjust to the broader lens quite easily. Normally, at any given aperture the sweet spot looks significantly more compact on complete structure cameras in comparison to APS-C. Indeed at highest possible aperture the sweet right complete structure is very filter indeed – you’ll probably want to end down quite a lot for most topics to get an acceptably huge area of distinct concentrate.
To get the same dimension sweet right complete structure as on APS-C, you need to use an aperture about 2 prevents more compact. This delivers with it some real efficient complications, most especially a deeper viewfinder (which creates concentrating and structure less straightforward), and on some cameras less precise metering. Both of these can be reduced by changing to live view method.
Blur and bokeh characteristics
One of the destinations of Lensbaby’s optics so far has been the of the cloud outside the sweet spot, which tends to be nicely sleek and not disturb from the main topic. The Lovely 35, by requirement, uses a more complicated visual system – four components in a retrofocal style – and perhaps because of this, its cloud features seem to be a little bit more restless than its stablemate’s. The illustrations below demonstrate this: out-of-focus features are a attribute pointed square form radiating away from the middle of the structure. On the Lovely 35 these are somewhat more bright-edged than with the twin glass optic, and this is particularly noticeable on fullframe cameras.
Stopping the lens down reduces these features in sze, and on APS-C they seem to smoothen out quickly too, so even at average apertures (F5.6 or so) the cloud becomes generally quite sleek and eye-catching. But on complete structure it’s not quite so simple, and you often have to end down significantly if you want for making softer factor features. (Overall we just think the lens works a bit better on APS-C.)
Close-up / Macro
The Lovely 35 is a amazingly useful lens for average close-ups. It concentrates down to about 12″ / 30cm, providing an picture region of about 13 x 9 cm on APS-C (or 21 x 14cm on complete frame). The side-line cloud can be used successfully to help concentrate interest on a particular topic, and slow up the diversion of in-focus components towards the advantage of the structure that you can’t get with traditional contacts.
Coverage / Vignetting
One factor you need to be aware of if you’re planning on using the Lovely 35 optic on a complete structure digicam is that it can vignette quite significantly when used towards the extreme conditions of factor, which are needed if you want to place the sweet spot right at the advantage of the structure. This vignetting reduces on concentrating nearer, indicating that it’s a restriction of the lens’s picture group rather than physical vignetting by the gun barrel style.
The Lensbaby is to all intents and reasons a spot lens, and like other factor contacts it can cause all types of problems with the traditional TTL metering receptors used on SLRs (which evaluate light spread off the concentrating display, and are adjusted for open-aperture metering with conventionally-centered lenses). Metering mistakes differ from field to field, but the more factor you use, the more likely the visibility is to go wrong. This means it’s a good idea to keep an eye on your evaluation histogram while you’re working (and perhaps create generous use of visibility bracketing). When capturing the field below (with a Canon EOS 1100D/Rebel T3), the preliminary metered visibility was far too shiny, but after some analysis a good visibility was obtained when the shutter rate was improved by two prevents.