Trioplan toadstools

I said I would re-photograph the toadstools with a Trioplan. A few days later they were still present although I couldn't get quite same point of view. These were taken with a 1932 Meyer Optik Trioplan 105mm lens remounted to an M42 fit on a K1.

It's a much softer rendering than the drama of the original DA* 300mm version.



This one is an experiment of stacking three images with EV -1.3, -1 and -0,7. The result was a lot more than any of the three images alone.



And finally, the general scene, to provide a lot more context than in the other pictures.



It depends on whether one likes 'bubble bokeh' but personally, I go out of my way to acquire it and, as can be seen, you can get it in various forms from both vintage and modern lenses. Some consider it a fault in the design of the lens.
Long live faulty optics!

Superb work, Davidwozhere , truly magnificent studies and informative as to how they were achieved 👍

I like the images and don't mind the 'bubble bokeh' at all...it creates a sort of 'classy wallpaper' effect.

Very impressed that you are obtaining these images from a lens that is about ninety years old.

Regards

Karlo

The bubble bokeh is gorgeous and adds to the depths of the dense, dark woodland toadstools. Well worth the effort, beautiful images

Excellent set, although on these sizes, I prefer the non stacked version

Fantastic selection!! Well spotted

These are superb.

In this context, I'm not sure that 'bubble bokeh' is an appropriate term. The bubbles are a creative element in the total picture which you've used to great effect, rather than just an artefact of an out of focus area.

Steve

I'm with Steve here (and everyone else!) The first one seems just a tad lighter, which gives it the edge for me.

These are lovely David, both of the subject and the bokeh. I particularly enjoyed the 'On a journey' in your gallery.

It transpires that a couple of of lenses that I have are able to produce bubble bokeh as demonstrated by Simon's Utak on YouTube. You've reminded me that I should give this a go.

You surely should. In this present case, get the subject four or five feet away with some bright highlights glinting off (say) holly leaves or the gaps between leaves about a hundred or so feet distant where a wide open lens can't resolve them. You can do it at night too with a relatively close subject and a traffic light controlled junction in the distance - anything to achieve closeness of subject against a distant dark background with bright spots in it.