sunset on the moat

Sunset on the moat

Time for some glowing, grainy golden hour.

I bought a lens turbo focal reducer for my Panasonic G6. It’s an adaptor that follows the same principles as the much more expensive, Brian Caldwell-designed Speed Booster. In other words it reduces the focal circle of the lens, making it faster and wider by a factor of 1.5. In other words, you’ll get the same field of view as if you put the lens on an APS-C.

Given that I had a load of soft, glowing shots, I thought I’d roll with that look and put some film grain on.

This was all shot with a Nikon Ai-S 50mm f1.8, the small, E-series version, and some ND filters for the daytime shots.

I have to admit I’m a little disappointed with the results, a lot of the shots are decidedly soft and grainy. I would expect a bit of glow when a lens like the 50/1.8 is wide open, but some of these shots, such as the ones into the sun, are stopped down a bit, and I was expecting them to be a lot sharper.

As both the lens and the adaptor are new to me, the jury is still out as to which is the culprit (not a well designed experiment, I know). The lens should be sharp, Ken Rockwell calls it “one of the sharpest lenses you can get for your Nikon”, but it’s possible I got a not so great version.

I’ll have to do some more tests with my Ai-S 24mm f2.8, which is sharp. But the culprit could well be the Lens Turbo. Oh well, I guess there’s a reason people pay so much more for the Speed Boosters. More tests next week.

Given that I had a load of soft, glowing shots, I thought I’d roll with that look and put some film grain on. It’s the fine grain that ships with ImpulZ, at 25% opacity. I wanted it to be just perceptible, but not too heavy. You can’t really see it with the Vimeo streaming unfortunately; you’ll have to download the original file. I applied it before the LUT, in this case the ImpulZ Kodak Elite Chrome 200. This is the most subtle of the LUTs in the ImpulZ collection; it’s really just a very subtle tweak of the colour tonality. I don’t generally go for film grain, as I think it’s overused, and risks becoming a visual cliché. But I thought that it was justified here, as it complements the softness of the lens/ adaptor (and I get to pretend my soft footage is deliberate). For some of the shots (the limbs of the tree at 1:53), it’s a nice look.

Music: Like Brigade my Podington Bear

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