Introducing photography with a Cooke cinema lens, by Georgi Nedelchev
Can a cinema lens be used to shoot a photographic composition, and can a photo lens be used to shoot cinema? Advanced technologies have long blurred the sharp lines between "capturing" static and moving images. However, with the masterful photographer of glass still life, Georgi Nedelchev, we decided to show you the differences visually.
Georgi's usual set β a glass and a bottle β in this case with a gently ruby concentrate, appear twice in front of his camera. First, it is armed with a Canon TS-E 135 mm f4.1 Tilt-Shift Macro lens. Second β with the new 100 mm Cooke cinema lens from the SP3 series.
The lighting conditions are the same, as are the photographer's and the subjects' positions. How many and what are the differences?
"I find two differences. The first is that this Cooke lens has a colder rendering; the image looks slightly bluer. The second surprised both me and Yulian (Dynaphos note - our video and audio equipment manager). In terms of resolution, this lens is much more susceptible to backlight and internal reflections."
For those familiar with photographic principles, it is clear that when there is backlighting, contrast drops significantly. How can this be compensated? Georgi Nedelchev's and Dynaphos's answer is categorical: with a matte box.
You can follow the test and see our conclusions for yourself through the video we made especially for you. Subscribe to our YouTube channel for more useful, practical, and inspiring videos.
And the various types of compendium or matte box, as well as the cinema lens used in the video test, are available in our showroom at 90 "Prof. Tsvetan Lazarov" Blvd. in Sofia. Dynaphos also offers you the opportunity to see many other photo and video products live, and now to test even more legendary cinema lenses.
