Since then, many hundreds of these tiny wonders have been sold and reached the camera bodies of people all over the world. This is not limited to the original 35mm focal length, as later a 28mm, 24mm and most recently a 21mm super-wide Perar followed suit.
At Japan Exposures, we would like to celebrate this and are calling all photographers who have taken pictures using this Super Tpirlet Triplet lens. Our aim is to collect images from everyone and everwhere, then to pick the 100 best images and put them in a printed book to be handed to Mr Miyazaki (alert: this is a surprise and he does not know about this yet!). That way he can see how far his creations have travelled and what people have captured with them.
Japan Exposures was founded in 2004 and was the first site offering photo equipment, lens conversions, films and camera & parts sourcing from Japan. Since the beginning, we have been very happy to be able to work with Mr Miyazaki. This little project is meant to be a token of appreciation to him and his work.
We hope that you share this sentiment and would like to invite you to participate by submitting your photograph(s) to us. We will keep you informed on the developments of this endevour and at a later stage you will have the opportunity to purchase the book yourself.
You will find practical guidance below on how to submit your material.
Thank you and please spread the word to all “Perargraphers”!
Submission— We are still accepting submissions as per the process outlined below until July 31st, 2015.
Submission Guidelines and Procedure
We will use Flickr to manage submissions. If you don’t use or like Flickr, please email us.
Please join the Flickr group The Perar Book and add your image to group pool.
Please include the following info with your image in the description field or tags:
Lens used (and if possible serial number); it’s sufficient if you just state the focal length i.e. 21, 24, 28, 35. Example: Perar 28 #065 (MS Super Triplet Perar 28/4 serial number 065)
Your location country or the location country where the image was taken (supposed to indicate where the lens went)
Should your image get selected, we will later approach you privately to give you the option to provide your real name for credits and a high-resolution file for printing
If we cannot ascertain the above information, we may reject the image on these grounds
This is a complete facsimile reprint of Daido Moriyama’s 1974 self-published photocopied book of the same name which originated out of his famed “printing show” exhibitions (which in the last couple of years he has reprised in New York, London, and elsewhere). At the time they were issued, only around 100 versions — no two exactly alike — were issued. These facsimile reprints are available in two cover versions — “Stars and Stripes” (pictured), and “Airplane” — and while certainly not cheap, they are an order of magnitude cheaper than what some booksellers would like you to pay for one of the 1974 originals. Available here.
Asako Narahashi has released several small print books since her breakthrough 2007 half awake and half asleep in the water (Nazraeli Press), but this can be considered her first major book since that release, and it sees her continuing to explore the relationship between water and land, or put another way, between a floating indeterminateness and the grounded elements which dominate the landscape. The images in Ever After were shot in Japan, Dubai, Amsterdam, the suburbs of Paris, Santa Monica, Taipei, and elsewhere, between 2002 and 2011. Narahashi explains at the beginning of the interview that accompanies the book (included separately as a booklet), “I think I’ve always had an interest in things which lack a stable state, at least unconsciously perhaps. Although I’m not particularly aware of other people’s shore photography, most seem to be images taken of water as something beautiful. […] In my case, I took these because I wanted to capture something that gives a sense of scale, or artificiality, somewhere in the image, not because I wanted to get closer to nature.” This is a nice large-size book complete with slipcase and the aforementioned interview booklet (bilingual). Available here.
Masayo Ito’s Standard Temperature, a collection of family portraits taken between 1979-1981, began its life as a student project for Ito when she was a BFA student at Musashino Art University’s Department of Visual Communication Design in Tokyo. In fact, it was her graduation thesis and garnered her the Department’s “Laboratory Prize”. Her biography characterizes Standard Temperature as “photos from random visits with Tokyo families”, which would imply she just pounded on apartment flats randomly until she found subjects willing to sit for portraits. The results, however, belie such arbitrariness, and without any background knowledge — Ito’s own afterword is itself ambiguous about who these people are — one feels sure that even if not Ito’s own friends and family, Ito must have known these people fairly well to capture them as intimately as she has done. Available here.
Hiromi Tsuchida is best known for his exploration of the effects of Japan’s postwar economic boom in Zokushin and Counting Grains of Sand. However, he has also devoted a considerable body of work exploring the WWII-scarred cities of Hiroshima and Berlin, producing at least three books on the former, and two on the latter. These works often feature photos taken over different periods which are then juxtaposed, or as in the case of his first Berlin book The Berlin Wall, by digitally superimposing the words “East” and “West” to note which part of the wall was which. The 2011 book entitled simply Berlin brings together photographs of Berlin shot at three different points of his career, and critically, three different and distinct periods in Berlin’s post-WWII history — 1983, 1999-2000, and 2009. As Rei Masuda writes in one of the book’s two accompanying essays, “The three periods at which Tsuchida was shooting in Berlin correspond to three phases in the history of the Berlin Wall: existence, disappearance, and memory.” Available here.
In addition to the new titles in the store, we’ve recently added some book spread photos for the following titles:
In recent years Fuji has released some well-received film cameras, both for their functionality as well as for their looks. Their latest — the Instax Mini 90 Neo Classic instant film camera that hit the streets on September 20th — looks to continue this trend.
One nice and very contemporary thing about this camera is that it features a rechargeable Lithium battery as opposed to the throw-away alkaline batteries that Fuji’s other instant film cameras take. What’s more, Japan Exposures is pleased to confirm that unlike a lot of Lithium batteries, this particular battery can be shipped with the camera (provided that certain transport conditions are met, which Japan Exposures will comply with). We can also confirm that the instruction sheets included with the camera have English sections (in addition to several other languages, and Japanese of course). Funnily enough, early commenters on Japanese user sites have complained that there are too many instructions for the camera — go figure!
Some other features worth noting over previous Instax models are various shooting modes, such as macro mode, double exposure mode, a bulb mode (for up to 10 second long exposures), kids mode (freezing fast action), party mode (slow synch flash to balance fore- and background), landscape mode (high depth of field) and flash fine tune facility.
As of right now, no release date has been mentioned for the camera outside of Japan, so the time is now if you want to get one — perhaps to make sure you are covered early with a Xmas present to yourself, or a Instax person near you.
Fuji has understandably been laying on the “retro” vibe thick in its promotional material for the camera, as can be seen in this jazzy promotional video:
Japan Exposures including our Web and Book Stores will take a holiday starting July 11th until the end of July. The cut-off for Hirano hand-made camera cases will be late June. Orders placed on or after these dates will be processed and shipped upon our return in August.
Orders for products that are currently backordered might also be shipped in August. We will make every effort to inform customers with pending order accordingly to manage expectations.
Please note that replies to email inquiries might also be delayed accordingly. We apologise for any inconvenience.
The holiday will affect the web and book stores and the following products and services, which will resume from early August:
MS Optical Sonnetar 50/1.1 @ f1.4, Leica M9 JPG, photo by Ming
We are pleased to announce the release of the MS Optical Sonnetar 50/1.1 lens in Leica M mount.
The lens is available for order now in our web shop. Orders will be served in the order received. Please note that as usual there might be a waiting period between receiving your order and fulfilment, due to the nature of the lens and its production. Shipping is scheduled to commence on or around 10 Oct 2012.
Japan Exposures has over seven years of experience of selling MS Optical products, including several hundred of Super Triplets 35mm and 28mm. This includes efficient and cost-effective shipping, handling of after-sale warranty and repairs and even intra-EU shipping to save on import duty. Thank you for your continued support.
The Sonnar type is a photographic lens originally designed by Dr. Ludwig Bertele in 1924 and patented by Zeiss Ikon. It was notable for its relatively light weight, simple design and fast aperture.
The name “Sonnar” is derived from the German word “Sonne”, meaning sun. It was given this name because its large aperture was much greater than many other lenses available at the time.
Compared to Planar designs the Sonnars had more aberrations, but with fewer glass-to-air surfaces it had better contrast and less flare. Though compared to the earlier Tessar design, its faster aperture and lower chromatic aberration was a significant improvement.
Mr Miyazaki of MS Optical, a small independent manufacturer of lenses and camera accessories, has also added a world first: positioned with the rear element of the lens is a “coma adjustment ring”. Coma (aka comatic aberration) in an optical system refers to aberration inherent to certain optical designs or due to imperfection in the lens or other components which results in off-axis point sources such as stars appearing distorted, appearing to have a tail (coma) like a comet (Wikipedia). The coma control has the distance settings infinity, 4m, 2m and 1m (up to 1m setting should only be used with mirror less cameras or cameras with live view). As it is well known, early Sonnar lenses encountered issues with aberration when used wide open. The coma adjustment control allows to select the subject distance and slightly repositions the rear element to compensate for the selected focus distance by reducing spherical aberration. This also changes the focal length very slightly (only by fractions of a millimetre). Alternatively one can set it into the opposite of optimum direction for a soft focus look that makes Sonnar portraits so attractive.
Spherical aberration is also often dubbed as a “friend of bokeh” as the very soft rendering will pronounce out of focus areas even more. The famous Voigtländer Universal-Heliar, introduced in 1926, incorporated the ability of the central lens element to be adjusted by the photographer, thereby introducing varying amount of spherical aberrations. Its images are legendary.
This lens design helps to achieve pictures with a special artistic touch. This lens ‘draws’ your subject in a fine, flattering manner and is therefore ideally suited for portraiture. It renders a sharpness that is slightly rounded, being less aggressive than in contemporary lens designs, but at the same time not soft in its rendition.
Many famous portraits of glamorous and prominent people during the 1930s used this technique to great effect. These images are characterized by portraying the person in a shining, nearly celestial way. This effect is very well balanced and not exaggerated; therefore many viewers see it in a subconscious way. The trained observer, however, understands the underlining technique and enjoys the results.
This lens design exhibits some additional effects, which should be understood to achieve the maximum benefit from the C-Sonnar T* 1.5/50 ZM:
Because of the above mentioned classical characteristic of the lens the best focus position in the object space can not be kept exactly constant for all f-stop settings. The passionate photographer might notice a slightly closer best focus in his pictures than expected. When stopping down the lens to f/2.8 or smaller this effect is minimized, so the focus position will be as expected. In order to balance the performance at full speed and other f-stop settings the lens is adjusted with above described characteristic.
Just like MS Optical’s lens conversions, please be aware that this lens is slightly different in operation from “normal” mass-manufactured lenses. For example, the aperture scale rotates with the whole lens barrel when the lens is focussed and there are no aperture click stops. This is not a lens for photographers who want all their lenses to function in the same way and cannot adjust to a different way of working. This is a design for the connoisseur with an appreciation for optics and their history.
There is no other independent maker of Leica M mount lenses that offers the same level of quality and creativity as MS Optical in the world today. This is not just a lens, it is a celebration of the spirit of photography.
The MS Optical lens Super Triplet Perar 4/28 continues to be popular, in fact so popular that the complete batch of 28mm Perar is close to being sold out and there are currently no plans for another production run.
We have a limited supply of both lenses, to be considered “final stocks” for the above reasons.
For a limited period we are in the privileged position to be able to offer either lens with EU shipping at a small additional cost, therefore bypassing any customs obligations. Please select the EU shipping option when ordering.
At the risk of overusing the word limited in this post, the above photo shows the silver version of the 35mm Super Triplet, originally only available in Hong Kong. Only two lenses are available. SOLD OUT
Lastly, a new lens by Mr Miyazaki is on the horizon, the MS Optical 50/1.13 Sonnetar. The lens offers a very wide aperture and is a Sonnar design. Ten copies will be assembled in early September and details published at that time. These are not prototypes, and to use Mr Miyazaki’s own words “I do not make enough mistakes to justify building that many prototypes” — these are full production spec lenses. After that more lenses are made to produce 300 in total. The lens will be available via various outlets and is priced at Y109.000. We are aiming to offer a EU shipping option for this lens as we are doing for the Perars. More info on this item will follow shortly.
UPDATE2: buyers in Hong Kong can buy this lens at Leitzian Limited in Tsim Sha Tsui. Ming Wong will have priority stock and in the beautiful store you can try before buy, and of course meet other Leica people.
MING YUEN WONG
Room 1302, Lee Wai Comm Blvd
Yin Chong street
1-3A Hart Ave, Tsim Sha Tsui
We hope you find these MS Optical lens news of interest and welcome questions or comments.