![]() ![]() You can place orders now, shipping looking like end of December. Iron Glass has plans for a whole set of Helios rehoused lenses, consisting of 20,28,37,58,85 and 135mm. ![]() Much of this is likely down to the relatively cheap cost of the lens itself, they are fairly common to get hold of and usually fetch for under $100. The price? $950 – pretty reasonable when considering the cost of usual lens rehousing. It weighs just over half a kilo (550g/1.2 lbs.) and sports a 95mm clap on front with internal 86mm filter thread. Aperture remains on the front in f/stop (no T-stopping) but is de-clicked.ĭespite the slightly confusing name, the Cine Helios 44-2 is a 58mm full frame lens.įocus rotation of the original Helios 44-2 is relatively long, the Cine Helios 44-2 is no exceptional at 270 degrees. The Cine Helios 44-2 is available in permanent PL or EF mount, focus scale can be etched in feet or meters. Iron Glass has taken it a step further a produced a completely rehoused version, for a very affordable price. None of this is ideal for video, and a few companies have looked to tackle this by adding gears, spaced front hoods and improved threaded mounts. Focus wheel is tight to the mount and, being old, models generally have some play here and there. It is M42 mount, meaning any adaption to the likes of Canon EF involves a screw adaptor (easy to unscrew). The problem many filmmakers have found with this lens is adapting it successfully for video. The 44-2 has become a very popular lens in the vintage market, known for it’s swirly-bokeh backgrounds. Helios is a lens brand from the Soviet Union era, affectionately naming all their lenses with a simple model number. The combined effect in portraits is stunning, especially in black and white.The Cine Helios 44-2 VLFV is a new lens from Iron Glass that rehouses the cult classic 58mm Helios swirly-bokeh vintage lens. The same lens also exhibits more spherical aberrations typical of older lenses. While both lenses are sharp, images taken by the Canon lens exhibit less wide open contrast when juxtaposed with images taken by the Zeiss. Mid-ground details swirl less than their background counterparts, but tend towards painterly strokes. Wide open, even on the X-Pro 1’s smaller APS-C sensor, obvious vignetting helps draw the subject into focus. Horizontal, vertical, and diagonal background details take tubular form and fly into the centre. The Canon LTM produces a classic, engaging background bokeh that, when combined with the right background, creates swirly, painterly (as in the OED definition, not the camera forum definition) bokeh. ![]() This can screw an additional 4mm between the sensor and the lens rear element, allowing dramatically closer focus for wide angle and normal lenses. To achieve better-than-SLR close focus, I use the Hawk’s Factory X - M mount adapter. Close focus for the Canon is marked at ~0,9m, while the Zeiss stops at 0,7m. Being rangefinder lenses, however, the minimum focus distance for either lens is long. Mated to the X-Pro 1, each functions roughly as a 50mm equivalent and therefore, is capable of blurring backgrounds to a comfortable level of oblivion. Two lenses I’ve had for years: the Zeiss Biogon 2/35 ZM and the 2/35 Canon LTM for Leica, are favourites of mine. Finally, because I have perfectly good lenses already, I'm not in the market. Fuji’s excellent X lenses don’t freelens, and their manual focus rings don’t feel good. Duplicate the Layer Make a duplicate copy of the background layer by using the keyboard shortcut Cmd/Ctrl+J. After you’ve got your image opened in Photoshop it’s time to begin the effect. I also do a lot of free-lensing and faux-macro with normal lenses. You will use the Spin Blur Filter to give you that dreamy understated swirly bokeh background for which Helios lenses are so favored. I’m one of the boring chaps that favours an 50mm (or equivalent) focal length. NOTE: this blog post has been edited in 2019 for grammar and flow. ![]()
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