Shot with a Beroflex 400mm f 6.3 prime on a Pentax K3 with some additional footage from a Mokomura 400mm f6.3. The Beroflex is from around 1980 has 13 blades. The chromatic aberration has been kept, which for the Beroflex equated to a tight crimson line, and for the Mokomura a softer blue green line. The lens are both Japanese. The Mokomura has 18 or so aperture blades and produced interesting bokeh at all apertures. The 'Mo' is added and it is from the Komura name which is well respected. I've a 'new' copy of the Beroflex when contrasted with the Mokomura or, for example a Tiar 3 or a long Takumar, it comes across more like a hoover tube than a solid lens, and has a 'give' to the structure that is as unsettling as a rusty boat before a storm. It's not as well balanced as the Tair on the tripod but is fast to focus and the results are not without charm. The Mokomura needs a heavy tripod to remain in balance with the 1,200 gram lens attached to the mid pont of the lens. Manual focus lenses can be a real pain if you shoot birds, and by the time a Tair 3 or Mokomura 400mm is focused, the bird is probably dead - with the Beroflex you have a real chance of capturing a little blur. Despite all of the 'flex', the Beroflex had few flair issues and came up with some really nice bokeh with a smallest aperture of f32. The Mokomura is a time consuming lens to work with but a poetic gift for bokeh lovers. The Pentax K3 captor had problems keeping up with the light and there are issues of noise - but I did shoot with normal settings rather than easing the load by turning saturation and co' down. The music is a segment from the 1974 recording of 'Music for Mallet Instruments, Voices and Organ'. There are a number of great versions of this work, but I opted for one close to its date of origin. As always Photoshop but no rendering.
AJ
