I get all excited about buying new stuff. Then I take the old stuff out for a walk and wonder when it suddenly got so good...

My apologies. This post was supposed to be about me finding out just how good the Sigma 35mm f1.4 Art lens is and how going out and using it on Sunday retarded my passion to run out and get the 40mm Art lens that everyone says is currently the best lens in the universe.... I also wrote a bunch of stuff about using the lens and the S1R body together. 

But then, when posting, I accidentally posted over the good copy with an older post that had....no copy. 

If I have time this afternoon I'll try to reconstruct. But for now, these were all taken with the 35mm f1.4 and I liked the results very much. Thanks! (the non-infallible) Kirk

 

Just out surfing in the Sunday (non) traffic. Latest count; city of Austin now has over 1 million residents.

We have no surf to speak of in Austin and we are hours from even the most placid beachfront but I admire those people I come across who just radiate optimism. Heading over to South Congress Ave. to surf?

 

OT: Virtual meetings suck. We might need to do business this way right now but the computer app-driven meetings uniformly suck. And the coffee is bad too...

Face of photographer getting ready for video conference,

There we are on a call with our client here in Austin, a couple of his co-workers linking in from NYC and a few more from Seattle. We're talking about an upcoming project that started life as a really simple series of still lifes and proceeds, even now, to grow in scope and complexity by leaps and bounds. 

It all starts innocently enough. You've had a phone meeting with an art buyer and you've gotten a shot list and sent along a successful bid. You've nailed down the shooting days on the calendar. You've done this a thousand times and you're going through your own check list to make sure you can deliver everything you said you would. Then you get the e-mail from your direct client asking/inviting/insisting that you need to be on a call with "a handful of people" just to make sure everyone is "on the same page..." but they never are.

You've mastered FaceTime, and Zoom, and a few other virtual meeting software applications but the client tosses you a new one that requires: 1. You download and install an app that demands, almost at gunpoint, that you agree to a Tolstoy-length T.O.S. You are compelled to give over control of your computer's microphone and camera. And they would very much like to use your GPS info to "locate" you. And the company that makes the app is sinister and almost universally disliked...

All that stuff gets tossed into your machine and then, about ten minutes before the "call?" you try out the link your person sent along. Oh Lordy! It goes to a 403 screen and shoves you into a downward spiral of asking you to....download and install the program-again and again. You do this a couple of times before you pick up an actual phone and verify the link. But you get voicemail so you punt to texting. And two minutes before the meeting goes live your person responds, apologizing for sending a damaged link and now providing one that looks nothing like the old one. 

Person number three in Seattle can't figure out how to get their microphone to work for a while but it's obvious that this disfunction is not obvious --- to them. Someone finally texts them and, after a minute or two of frenzied activity their audio gets fixed. When they finally come onto the call with full service interactivity you find that they are the modern equivalent of that art director you experienced a while back when shooting for an arduous annual report. There was a model in the A.R. who reflected the "lifestyle" of their product. At the planning meeting some time was spent discussing wardrobe and it was decided that the blue, broadcloth, button down shirt was the best option. But when the shoot got closer you got a request to have available, and to shoot, with a pink shirt, a blue shirt, a white shirt, a striped shirt and...."just for fun" a forest green, polo shirt.  When we multiplied the choices by the number of people in the shots we found that there could be 24,969 possible combinations. And I'm betting the art director would have doggedly tried them all; if not for the timely intervention of a wiser client!

I guess when meetings become virtual and all engagement comes from a screen it seems like a video game and encourages people to ask for the moon. 

The call continues and I try to keep track of everyone in tiny windows along the bottom of the screen. 

All the people involved in the call are in the marketing and advertising field and yet their screens represent the worst "production values" I have see yet on a multi-player call. One person is sitting with his back to a window effectively silhouetting him entirely. Another person seems to have achieved sharp focus on the bulletin board in the background of her office but is so out of focus that we're not sure where her eyes end and her nostrils start. Or whether she has hair or is wearing a sickly hued yellow bowl, turned upside down, on her head. And yet another person seems to be making his appearance via a 1992 laptop which is currently delivering about 192 pixels (total) of resolution. 

Even though we've all received the same briefing package, delivered as a .PDF days ago, we engage in the strange ritual of reading along through the entire document together. With that done the person who originally had audio issues begins the part of the call that every freelance image maker should dread. It starts with...."So, we need three different views of the new router and I see that we've included that on the brief but I'd like to show some of the accessories too. Could we do each angle with and without the charger, with and without the accessory antenna, with and without the packaging it comes in? Would that be okay? I mean, as long as we're there.... And then finally a group shot for each product showing the antenna, the power supply and the packaging altogether?"

Since we're going to be dropping the product out to white and compositing in new screens the bulk of the real work isn't necessarily the extra time spent photographing it's the extra time in post production, that the client doesn't see, that frightens me. But it's also the fact that all the permutations will effectively double the time we've estimated and should, at least, double the budget that's been approved so far. 

The art buyer and I talk them off the ledge and explain how much the budget will need to expand and wonder if she will approve it out of her budget. She relents. But she chews her gum more quickly...

By the end of most of these calls I'm confused, bored, frustrated and wracked with new anxiety. Half an hour later I'm ready to call my direct contact and surrender the field entirely. But instead I just demand a complete dictionary of his particular company's incessantly used acronyms and gird myself for the big event. 

And each time I hit the button to hang up, whether it's from a chatty social Zoom call with fellow swimmers or an hour long video slugfest with an ad agency, I end up swearing that I'll never participate in a "virtual meeting" again. Ever. 

And then I get the e-mail with the iCal icon that asks me/invites me to join in. Seems like one of those horrible new added steps in life. Reminds me of the early days of Power Point.... (shudders at the memory....).

face of photographer after eight way video conference.

If you've already retired from the workplace I'm sure you'll respond with how great Zoom calls are because now you can keep up with grand kids and old friends. And if that was the only use I'd praise it too. But like most things/inventions pressing them into the flow of business is just painful.

Another way to do meetings....which were already mostly a waste of time.

Biggest unexpected inconvenience of getting back to work. Comfort.

Ben before becoming a professional writer.

You know me. I never complain. And this last week I was pretty darn happy to be back at work. It wasn't about the paycheck, that was a very secondary consideration. No, I like being busy, I love the problem solving of making more complex photographs for corporations and professional practices, and having jobs gives me more sense of purpose than sitting home working on some hobby or crusade.

I was very happy to do a three day project for a very tech forward company and even happier to be able to include Ben. Working with your post college-aged kid on an assignment is fun and satisfying. He had the flex in his schedule and I needed someone I could count on as an assistant and a second set of eyes and hands.

I could not have been more pleased to be "back in the saddle" with the Panasonic cameras (which I am coming to believe represent the last of the truly professional cameras in the market --- the S1 system....). The cameras were absolutely suited to this sort of higher budget work since reliability, repeatability and overall quality are much more important priorities than how many frames per second one can shoot or how tenaciously the AF can lock on with a handheld camera and a fast moving subject. I might think differently if I was a sports photographer. But I'm not.

The ability to generate highly detailed files of products via the multi-shot, hi-res feature is valuable. To hand over perfect files that can weigh in at over 300 MB is remarkable. The other joy across three days was just how competent and beautiful the results from my collection of Panasonic and Sigma Art lenses really are. I know that many reviewers split hairs and try to quantify how many Zeiss engineers can dance on the head of a pin but I also know now that after you've hit a certain level a lot of the really good lenses on the market are within a percentage point of each other for actual performance. At any rate it's nice to work with comfortable tools that deliver professional/well balanced results.

We also enjoyed the good and happy collaboration of our client who made both Ben and I feel more like friends than vendors. Working in a largely empty space, along with truly professional partners is a joy unto itself. And when we're all of the same mind on a project the work just seems to flow.

So, after all this written Kumbaya what have I found to complain about? In short, it's the discomfort of working for long periods of time with a face mask.

Having been to college, studied hard in many science courses, and having a subscription to Medscape, I very much understand the absolute need for everyone in the USA to be wearing face masks in all public settings and especially indoors. I totally get it. When I go out I have a mask on my face and a back-up mask in my pocket. I won't work next to people who don't take the relatively easy protection protocol seriously. If you want to walk around with your nose sticking out of your mask I guess that's up to you but please don't stand anywhere near me!

My discomfort with masks that are used over the course of eight hours is nothing psychological and certainly nothing ideological. If I can master just one negative thing about wearing a mask I'll be in good shape for future jobs. Here's the deal:

If you wear glasses and wear almost any approved mask your glasses will invariably fog up when you work in air conditioned spaces. When your glasses fog up you can't see to inspect a product or look at the review results of a photographic exposure on your laptop screen! I developed a few workarounds to help make the work flow but none are optimal. I can only imagine that it will be even worse when working in freezing weather as well!!!

So, in an air conditioned studio, working on very precisely focused and highly detailed product shots, the EVF of the camera becomes a big and very important feature. If you can set your diopter to a useful correction and use the EVF well you can work that part of the process (accurately manually focusing your camera and lens) without glasses. I could and that was a big plus for me. All the critical focusing was done with my eye riveted to the EVF of the S1R. In this use case the 5.75 megapixel, super clean EVF was the most superior way of working I could find. I took off my glasses and magically, no fog. 

Could I have worked with a 2.74 or 3.68 megapixel finder instead? Sure, but if I can work with a better finder experience why wouldn't I?

If I looked at the computer screen with my regular glasses (bi-focals) I would invariably get fogged lenses because I was breathing but also I had my head tilted down to see the computer which caused any escaping breath to go straight up to the cooler surface of my glasses. I found I could do better by using a very small profile pair of reading glasses instead of my regular glasses. There was less surface area to capture my moisture laden breath and more ventilation around the lenses. I tossed the regular glasses in the gear case and spent the of the time looking through the EVF with no glasses and at the computer with cheap, small profile reading glasses. This was the best way for me to work.

There is a difference, as far as comfort goes, between various kinds of masks. The two highest rated that are not N95 masks are the standard, three ply surgical masks that come in various shades of blue. These are meant to be disposable, one use masks. You'll want to brush your teeth often unless you really want to come to grips with how grungy your breath can get by the end of the day if your oral hygiene is vague....

The second highest rated face masks are the three ply cloth masks that people are making but which are also available commercially. 

I started the first day with a black, three ply cloth mask because it fits so well and doesn't move around as much as the surgical masks when I speak. But the cloth masks muffle voices more, making it hard to give and receive direction. They also heat up more quickly and tend to get damp from the repeated deposits of condensation from your breathing. 

By the end of the day with the cloth mask I was pretty miserable. It was also a day of trial and error for glasses and visibility. The next day I switched to a surgical, disposable mask and it made a big difference in my ability to work efficiently. That, and the reading glasses reduced the discomfort level down into the readily manageable category. 

By the third day we had all this nailed down and we were humming right along. Masks came off only during socially distanced coffee breaks and the lunch meal. Fortunately those events took place in a large lobby area with very tall ceilings and were attended by only four people.

So, with the right mask, the right glasses and a stellar, state-of-the-art EVF I was able to work with nearly as much fluidity and efficiency as we have in the past. You get used to stuff. When you know it's important it's even easier to get used to.  Interesting to think about but I may have just written the first "review for photographers" about face masks and masking methods during interior, commercial photo shoots. 

At the end of the second and third days I tossed my used mask into the "bio-hazard" waste bin, washed my hands (again and again) and pulled out a second mask to use exiting the building and chatting in the parking lot. I see masks falling into the same category as paper towels. Use and toss. Add a bit to the invoice for replenishing and move on. 

If you don't want to wear a mask at work you probably aren't going to be invited to work at the same companies we're servicing and I certainly won't be hiring or working with you either. No matter what you think your "rights" are. Your rights legally, morally and ethically happen to end at the interface of public domain and private property. 

Don't let (flawed) ideology kill your business. Learn, adapt, profit. 

 

Actively thinking about the camera I would like to buy next from Panasonic: It would be amazing and would restore the camera world to its previous stature.

Well, it seems to be a favorite thing for photo writers to dream about when none of the new cameras match their very, very particular tastes exactly. They start conjecturing about the camera they know X company should make right now. How it would see zillions of sales if only it had...blah, blah, blah. 

I rarely write this kind of stuff but I ran into a used copy of one of my all time favorite travel cameras and that sent me down memory lane and right smack into this writing subterfuge --- of imagining my own "ultimate" camera. The camera I re-visited, but just in passing, was the Mamiya 6. I had several of them. Along with the three dedicated lenses. It was such a fine camera. Google it. Salivate.

So here goes: It came to me clear as a bell. Panasonic announced (in my dreams) that they had just finished putting the finishing touches on a new variant for the S1 system. This camera, like the GX8 in their micro four thirds family, is set up in a rangefinder style. A viewfinder in the top left corner as you hold the camera for work. The eyepiece is big and generous. The screen is one of the latest 8 megapixel resolution OLED variants. 

The camera is a full frame model and features a new tri-color sensor that allows one to use the sensor as a bayer filtered machine with 60 megapixels or a blended filter which triples up on the pixels to create points that have all three colors but at 20 megapixels. I'll want to use it mostly in the 20 megapixel range where the bigger, combined pixel sites give me a different, and to my mind, better overall look. A look that seems to have greater acutance but at the expense of the currently fashionable higher res of its native 60 megapixels. 

The benefit, beyond the rendering, is also color that's halfway between that of a Sigma Foveon sensor and a conventional but miraculous sensor like the one in the Sigma fp camera. 

The camera is not small, nor is it overly angular. There is the now mandatory 3.2 inch 4 megapixel rear screen and it's worth using because Panasonic, in this new camera venture has drastically reduced menu complexity and made using the rear screen easy and fun for just about any control. That being written, the camera maintains all the major controls as physical buttons or knobs on the camera body. These include: Shutter Speed, Aperture, ISO and white balance. 

In order to make the intended use of this particular model clearer to purchasers it is the one camera in the Panasonic line-up  that doesn't include any video capabilities. The idea being that this camera is for decisive moment photography, street photography and travel photography. It's not an all-in-one visual content buffet. 

Taking out the video stuff allows Panasonic to simplify the menu to make the whole camera much more responsive and intuitive for hard core photography buffs. The other side of the marketing coin is that if you love this camera and you love the L-mount lenses, but you absolutely require video, you are more than welcome; in fact, encouraged, to supplement the new rangefinder style body with a shiny, new S1H for all your video needs. 

The camera has the same basic mechanics of the S1 series cameras when it come to things like shutter life, rugged build quality and built-in image stabilization. Since the DFD focusing works well for me, and is at least as fast as the rangefinder in a Mamiya 6, I'm happy that they decided to keep the family focusing mechanisms the same. 

I'm thinking about naming conventions and Panasonic and I think we all agreed at the meeting where I forgot to sign my NDA that we'd call it the S1X. That's: S One X. But it can always be misinterpreted as "six" in order to pay homage to the well regarded and sadly discontinued Mamiya 6 film camera.

The camera will have a two position battery slot which will allow users to use either the S1 series battery or the GH series batteries thereby doing a favor to owners of either previous system or system used in tandem with the new 6. (S1-X, oh, that works). 

Since the finder in the top left is an EVF and not an actual, optical rangefinder there is no compromise when it comes to previewing shots. Nor did Panasonic consider pulling a "Fuji" and adding in a vestigial rangefinder since it represents too much of a compromise when using any lens longer or shorter than a normal lens. 

At the time of launch Panasonic also presented (fully ready to go along with the camera launch, NOT vaporware!) Three new L-series lenses made for the new S variant. Of course the new lenses will also be usable on existing S1 cameras as well as on Leicas but these were made with an eye to reduce lens size and bulk specifically for the very serious photography user the camera was designed and built for. 

The first lens is a 30mm f3.5 which though small is an advanced formula based on a Leica M lens but with optical corrections made to ensure it works most effectively with the sensor stacks in the Lumix S cameras. Sharp and diffraction limited even wide open it will quickly become the defacto standard street shooters paradise lens. No one will ever even think to ask for a 35mm or 28mm or even a faster version since the lens will be that spectacular. If you need a faster lens then look to the Sigma Art Series or browse through the Leica SL catalogs. 

The second lens is the 60mm f2.8 which will also define the state of the art for sharpness and three D quality. "Stunning yet small." I think I saw that tagline at the product meeting last year... It's longer than the regular 50mm or 45mm but it gives a new choice to people who prefer the longer focal lengths over the shorter ones. If you fall into the "shorter is better" camp there is always the current Sigma 45mm, the Sigma 40mm f1.4 Art lens and the Sigma 35mm f1.2 Art lens. All of which are superb. But some of us want a small, sharp, discrete long normal and since this is my fantasy I conjecture that those optical engineers at the Panasonic headquarters took my quirky request seriously. 

The final new lens is, of course, the 90mm f3.5 which, like the other two will bring shivers of fear to the backs of Nikon, Canon and Sony. The lens will be such a stellar performer that all the competitors will abandon their races for fast, fat and plump lenses and reconsider owning lenses that are truly optimized for radically good performance. 

The S1-X camera will be big enough so that none of these three lenses are ever sticking below the bottom of the camera so they will never foul tripods or baseplates. 

The S1-X will be cast and machined from a block of very special aluminum alloy that is structurally rigid and impervious to corrosion of any type. The camera skeleton will act as a one giant heat sink and the camera will be the first of its kind rated to excellent performance at ambient temperatures of up to 115°. 

Of course it will be effectively weather sealed and, when used with one of the three new lenses, can even be immersed in water for up to 60 minutes. (Legal sez: No guarantees). 

The camera will only come in black and will use a highly scratch resistant paint as did the Fuji XH-1. 

Finally, the marketing folks decided that since the whole camera is crafted and assembled by hand from the finest materials that the cost to purchase would be commensurate with the quality. The purchase price is just a hair under $4,000 USD. Or, in a special kit with all three lenses for only $8,000. 

There are no other attachments or accessories to worry about. Just get the camera and a few batteries and get on with it. 

And that's my camera wish for the rest of the year. 

And with that, here are some samples of the kinds of work I'd do with the camera. All these were done with a wild range of cameras from Nikon, Sony, Fuji and Panasonic for Zach Theatre. But that's only because the S1-X did not yet exist. Once it comes out it will be the still camera of the decade....

 

Critical missteps in lens design? Or a plot to weaken the muscle strength of photographers?

Let's be Frank. Real photographers secretly enjoy buying their lenses by the pound. Or Kilo. A lighter lens represents surrender and infamy. Right?

It's so rare to see a lens introduction get so much press but it looks like the very recent introduction of an "improved" version of Sigma's almost perfect 85mm f1.4 Art lens from 2018 is setting the reviewer world on fire and revealing to me very clearly what the priorities of those weak and out of shape writers and V-loggers  really are. I'm not sure they care as much as they say they do about pure performance; it's beginning to look like all they care about is not being revealed as too weak and lazy to carry around a take no prisoners, super star lens. 

The big news about the new "DN" (mirrorless native) is not that it soundly and roundly outperforms our previous, big-boned (but brimming with personality) lens of the same speed and focal length but that it's shorter and weighs a pound less than the original. The trade off seems to be that the "new and improved" lens has much, much more pincushion distortion and also slightly weaker in performance on the edges and the corners than its endlessly lauded ancestor. Yes, the new one has even more elements, and those elements are even more sophisticated and complex, but one can't help but wonder if most of the complexity and preciousness of the new design is aimed at making it almost as good as the original....but in a smaller package. Downsizing engineering as opposed to the reckless pursuit of optical perfection.

I'm mostly kidding here and I've already pre-ordered one of the new ones. But I still wonder. The "science" of optical design can not have changed a tremendous amount in four or five years so you have to understand that the "new versus old" shift is largely a recalibration of compromises. Buy the new one and watch your left biceps atrophy. Buy the old one and suffer the dreaded effects of manual portage. Suffer the ruinous added weight of the original for the extra 1% of quality in the corners or choose the lightweight version and forever wonder how much optical magic they had to remove to get the lens corpulence under control.

I guess it's really a tempest in a teapot (as usual for web reviews!) since both lenses are demonstrably better than anything any of the major camera manufacturers can come up with in their own lens lines. 

I'll confess that I dislike the weight of the original lens. It's f-ing heavy. Especially if you plan to carry it around all day long. But having just used it almost promiscuously over the last three days I have to say that I'm in awe of its sheer capability to make photographs that make me and my clients go: "Wow."

I may or may not follow through on the actual purchase of my pre-ordered lens. I might wait to see if Panasonic's S1 system roadmap plays out according to plan. They have their version of an 85mm f1.8 coming along and that may just be the sweet one to buy for carrying around and hauling on and off airplanes (if we ever get to do that again). From my experiences with their other S-Pro lenses I'm fairly certain it will be good enough, optically, that we won't be able to see any differences from the results when we peek on our computer screens. The only question, given their monstrously huge 50mm f1.4 S Pro lens, will be whether they can build one that's smaller and lighter than the original Sigma 85mm Art...

If I do opt to pick up the new Panasonic lens I'll probably keep the original 85mm Art lens out of nostalgia and some nagging belief that it's still the best lens in that focal length in the world. And if I use it then some of its magical powers will convey into my own images and help to finally make me famous and loved by the multitudes... YKMV.

Reminds me of stories I read in old magazines about the re-design of the seven element Leica 50mm Summicron M series lens back in the 1960's. Leica reconstituted the lens and removed one of the elements. Leica aficionados, even as late as the early 2000's, were still locked in debate about the relative merits of each. The overwhelming majority felt that the original ( also available as a "dual range" Summicron) was magical and obviously superior. Might we feel the same way in this case, just a few years down the road? 

Olympus lens tops non-existent test chart for charm and vivaciousness. Lack of omni dimensional psychic stabilization and no ponderous bulk = "deal killer?"

So, I wrote earlier today about Belinda finding the Pen FT 25mm f4.0 lens this week and giving it to me for safe keeping. I threatened that I would subject you to more building photographs as soon as I had time to get downtown. And, now, here we are. We finished our final project a bit early and I had time in the mid-afternoon to rush out into the blazing southern heat and humidity because I knew that finding out how this lens performed might be critical to someone out there. 

I parked under a shade tree at Zach Theatre and braced myself for the fiery embrace of August. My omniscient car told me it was 100° outside and warned me not to leave the air conditioned cocoon but how can I test inexpensive, fifty year old lenses for my friends and assorted readers if I'm not willing to take the life threatening risk of walking in a heat wave? Right? Right?

Here is the zesty little lens mounted on the front of the finest 

street shooting camera ever produced, the Lumix 

GX8. Never better for a hot walk.

When I exited the car my feet momentarily stuck to the pavement because the Vibram soles were melting. I realized I needed to get off the heat soaked black top and onto the cinder trail as soon as possible or my shoes would surrender to the heat, melt into the asphalt and I'd be stuck there like a bug in a roach motel, trapped and waiting to die of heat exhaustion....

I set the camera to "A" and ISO 200 and, for white balance, the like sun icon. I turned on the focus peaking and metaphorically got to work. 

Both the focusing ring on the lens and the aperture ring are the best implementations of all metal, structural and haptic engineering ever attempted on a consumer camera product. The feel of the focusing ring is so perfect that when I compared it to a $10,000 Leica lens I found myself feeling sorry for anyone who has wasted their money chasing perfection on the wrong continent.

But the real test is in the look and technical perfection of the finished files and that's where the Olympus excels. I have a special piece of software that allows me to look at images at 2000%. In the seventh photo down, the one of the bridge, there is some foliage over to the left hand, bottom part of the frame. On one of the leaves there was something which, at 400% looked like a dark spot. When I zoomed into 2000% (the equivalent of plastering a print the full height of one of the high rise buildings in one of the frames below). and I had that level of magnification engaged I could clearly see that it was a gnat on the leaf. But not just any gnat. He (yes, I checked) had a tattoo on his back that read: "Gnats Rule." And he had a piece of pollen stuck to his third left leg...

Usually modern lenses tend to fall apart when you examine images from them at 200 or 400% but not the ancient Olympus 25. No sir. And if you think my tale of advanced and astounding resolution is riveting I hesitate to tell you about the nano-acuity and sub-micron level ultra-micro-contrast. I can't really show it off here but just take my word for it; it's amazing. 

And it's all the more amazing given that it's a very small lens. But exquisitely built. I checked on the list price at the time it was on the market as a new lens and factored in fifty years of inflation (including the loss of 9% buying power against the Yen in this year alone --- thank you politicians!) and I concluded that to make and sell a lens like this masterpiece now would run somewhere between 12,000 and 43,000 USD dollars.  My math may be a little dicey but it's almost certainly in that wide ball park.

Or about 200 Yen.

I also did a bit of testing on the lens's resistance to the elements. At one point I was in the heat for so long my sweat was dripping down my arm and onto my camera like torrent of water from a garden hose. The sweat cascaded off the lens like vodka off a duck's back. Both the lens and camera were unscathed by the experience, and once I rinsed them off with a bath of warm Coca-Cola (for nurturing effect) followed by a quick immersion in highly distilled water they seemed no worse for the wear (be sure to send me your favorite camera if you want me to test it as well!!!). 

Well, that's all I can say about this particular lens. We're ramping up security and will no longer keep all the cameras and lenses on the front seat of my car with the doors unlocked and the windows rolled down. No. When people find out about this lens and find out how scarce it is we'll need to lock it in the subterranean

vault, sandbag the studio windows and post armed guards on the roof. The lens is that much of a must have for any true collector's hoard. 

Now, as Ming would say, "Please enjoy this curated gallery. Because curation is all about curating. And having things curated. And writing the word, "curate." A lot. But I bet he doesn't have his mitts on the Pen FT 25mm f4.0 yet. So there. I guess I should also mention that I have a pristine copy of the 25mm f2.8 as well. But that lens isn't nearly as exciting. It's 99% perfect while the f4.0 rings the bell. No wonder people stopped designing new optics decades ago and started to concentrate on just making all lenses bigger, fatter, heavier and more expensive. Give the people what they want!

Click through to see the mesmerizing photos writ larger.