Lomography 35mm Fisheye 1, 35mm Fisheye 2, and Fisheye 110 Review with Sample Photos
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- čas přidán 18. 07. 2021
- Restrictions are exactly what the Lomography Fisheye cameras give photographers: a way to pen in that river of creativity, hold it back for a time and give the photographer the ability to explore their creative vision. The Fisheyes use a single, fixed lens, plastic and impossibly wide, to focus a distorted and nearly-all-encompassing worldview into a circle in the center of your film. But they do far, far more than that. The Lomography Fisheye cameras, the cheapest entry point into fisheye lens use, train the photographer’s mind in how to capture images that stretch so far to the sides that knuckles and shoes often sneak into the frame. These are not easy lenses to master. That said, even if you never do master them, they still teach a lot about a different photographic perspective than most any other lens can, because they are unapologetically wide and unforgiving.
First, the obvious, that the image does not cover the film. The Lomography Fisheyes, in a lens class called the circular fisheye, cover a circular part of the frame. The image circle is slightly larger than the 35mm frame is tall, leading to a circle that looks like a heavy and sharply-edged vignette. That coverage lets you know it’s there like a furious landlord at your door looking for six months’ back rent. That’s the first thing the photographer needs to learn to deal with: the image circle and coverage because composing and framing a circular image requires a much different thought process than composing a square or rectangular image.
Next up, the distortion. This lens distorts reality like a prisoner justifying their actions. These lenses don’t care at all for your straight verticals and horizontals. They don’t care about your flat horizon lines. They care only about how much they can bend and barrel distort the world because that distortion is their reason to exist. Barrel distortion on fisheye lenses is a necessary part of the lens’ performance and it’s baked into the lens’ physics because there is no way to make a true circular fisheye lens rectilinear. Some methods exist to control this distortion, well, two methods: Firstly, you can shoot every image perfectly level and that will control, at least, your horizons; secondly, you can embrace it. And you know which one will lead to better results? Yup - embrace that distortion.
Lastly, image softness. This varies a lot with these. I’ve shot three of the 35mm Fisheyes with film, one of the 110s, and cut the lens off a fourth 35mm fisheye to adapt to Sony E. These lenses had a wild array of performance characteristics. The one that I mounted on my Sony cameras performed very well. The ones I left on the film bodies performed generally okay but inconsistently between each other, and the 110, of course, created images with softness that would be unusable for anything except avant garde art. So if you get one of these, run a roll through it, see how it performs, and don’t try to change it. Embrace the image and pick your subjects based on that.
Or do try and change it. I did. In addition to the lens I adapted to my Sony cameras, I picked up a 0.2mm pinhole and glued it over the aperture opening of one of my Fisheye 2 bodies. Oh yes. This required that all the photos be taken in bulb mode, sure, but everything from the dust on the camera lens to the time and space before the Big Bang was in even focus. So do mess with your Fisheye lens. Make it a fisheye pinhole camera. Insert a gel filter into the camera body because why not? Put a square mask into the shutter box and make your camera a 24X24 shooter. Cut the lens off a dead camera body and use it as a soft, ultra-wide on your APS-C or micro four-thirds mirrorless camera. Take everything I said about working with the camera’s nature, ignore it, and do your own thing. Make the camera and its images yours.
Detailed Camera Manual:
• Lomography Fisheyes 1,...
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"No Thanks" by Murial used under active license from Epidemic Sound at the time of this video's upload.
"Keep Dancing the whole Way (Instrumental Version)" by OTE used under active license from Epidemic Sound at the time of this video's upload.
"Late Night Call" by Staffan Carlen used under active license from Epidemic Sound at the time of this video's upload. - Jak na to + styl
Great video!!! Loved the music and narration with all the images!!!
Thank you, Kary!
I would love to see some process videos of these modifications/ lens detachments. I’ve been toying with the idea of ripping the lens off of my fisheye and adapting it for a while now and would very much appreciate any pointers!
I have one in the works but my video output this year has been really slow.
Ain’t no way he did what he said he does… the man is full of bologna
Wait what.. Fisheye on a pinhole camera? How? That's making my head hurt. Sounds brill though. Great video! 👏 👏
Thank you! :D So the pinhole just fits right at the aperture. I'll be doing a detailed video manual for these shortly and will show that camera in the manual if you want to learn more about it. Basically it would be the same as stopping down the camera to f/100-ish if the camera had an aperture that could do that. It's got the benefit of retaining the pinhole AoV while adding pinhole DoF. And the diffraction softness isn't a big deal because, frankly, these lenses can be softer than the diffraction effects anyway.
@@DavidHancock Brilliant, yes I will look forward to that one then!
I love wide and ultra wide lenses, if you want to get crazy get an Arsat 30mm lens for a Kiev60 and get the HUGE 120 negative and wild curves!!!
Thank you! I have not tried that one. I have used the Pentax 6X7 35mm fisheye and yeah, medium-format fisheyes are something else.
Hey David,I need a help of you please.I have a camera which is that canon eos 1D mark II N.My camera showing Error 99.I can't see any functions in my camera.Can you help me please?
That means there's an issue with the lens communicating with the camera. Clean the lens and camera electronic contacts and try again. If the lens is third-party, especially Sigma, some of the film-era lenses will not work at all with EOS DSLRs.
I’ve taken apart my Lomo Fisheye 1 (with great difficulty…) - there is a pinhole covering the rear element.. _should I keep that intact & just attach it to a body cap_ or..?
You should. That's the aperture. Removing it will wipe out your depth of field and image quality.
@@DavidHancock tried this… _im callin’ BS on those photos_ as you a.)haven’t posted the lens & b.)seem to have lost it?👀
@@stanleythrewbrick ¯\_(ツ)_/¯
Maybe, just maybe I'll buy one more camera...
Just be careful not to use too much force on those plastic bits (mine's rewind crank broke after 2 uses).
:D
Achieve the fisheye effect with 15-28mm+ 72 mm hood.
That will vignette, but these camera cover about 180-ish degrees. A 15mm is around 115-ish (IIRC.)