{"id":55,"date":"2022-09-05T10:32:23","date_gmt":"2022-09-05T09:32:23","guid":{"rendered":"https:\/\/tommartin.org\/photography\/?page_id=55"},"modified":"2022-12-18T15:56:43","modified_gmt":"2022-12-18T14:56:43","slug":"style","status":"publish","type":"page","link":"https:\/\/tommartin.org\/photography\/style\/","title":{"rendered":"Visual Style"},"content":{"rendered":"\n

TLDR: I keep it simple and real.<\/h2>\n\n\n\n
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Shooting in a candid style with minimal ‘posing’ creates beautiful photos that will evoke your memories.<\/p>\n<\/blockquote>\n\n\n\n

Technical Information:<\/p>\n\n\n\n

I use modern lenses often, particularly for product photography and with good contrast, exposure and sharpness they can create stunning photographs. However<\/strong>, there is something quite different about images taken through a lens that wasn’t made for the digital age. A lens with imperfections from years of use. A lens with inherent flaws built in to it’s design. A lens with less than perfect contrast or colours. <\/p>\n\n\n\n

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The overall warmth and the minor reduction in sharpness that older lenses typically produce cannot be replicated in editing. It makes photos look more ‘real’ and ‘natural’.<\/p>\n<\/blockquote>\n\n\n\n

Here is a small selection of the vintage lenses that I like to use.<\/p>\n\n\n\n

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Helios 44-2 58mm (1973) Tom Martin 2022<\/figcaption><\/figure>\n\n\n\n
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Industar 61 L\/D 55mm (1990) Tom Martin 2022<\/figcaption><\/figure>\n\n\n\n
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Pentacon \/ MeyerOptik Gorlitz Orestogor 135mm (1989) Tom Martin 2022<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The way in which phones in particular record images and immediately manipulate them using AI and software, gives many photographs an un-natural look.<\/p>\n<\/blockquote>\n\n\n\n

Recording a moment in exacting detail is not photography, it does not capture the feel of an occasion. <\/p>\n\n\n\n

I have spent frankly far too much time looking at wedding photographs. The composition of the best images is often flawed but they often have a more natural quality that is, in my opinion, very much lost in most modern photography.<\/p>\n\n\n\n

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Auckland Museum Collection. Collins, Tudor Washington, 1898-1970, photographer. 1950s. Used with permission. NOT MY PHOTOGRAPH<\/figcaption><\/figure>\n\n\n\n

About the lenses pictured<\/h2>\n\n\n\n
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The Helios 44 is one of the world’s most famous lenses. It creates a unique background blur which has swirl and an ethereal quality. It’s been used on from big budget films, and professional photo shoots for decades. I have several examples of this lens but my favourite one, pictured above, is an early 44-2 model made in 1973 by KMZ. This is widely accepted to be one of the best variants of the lens. I also have examples of the 44-M4 variant which has superior contrast but less character.<\/p>\n<\/blockquote>\n\n\n\n

The Industar 61 L\/D is also a fascinating lens. Built in Ukraine in 1990, my copy is one of the last produced while the country was still part of the USSR. It has Lanthanum infused glass, producing a slightly cooler but still very natural colour range and much less chromatic aberration than standard optics of the period.<\/p>\n\n\n\n

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The Pentacon\/MeyerOptik Gorlitz Orestogor 135mm is a particularly sharp optic. My copy was made back in 1987 in GDR (East Germany). It has seen some action in a previous life but thanks to it’s rugged all metal construction, still produces excellent short telephoto portrait images.<\/p>\n<\/blockquote>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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