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Lomography has announced the Joseph Petzval Métamorphose 35mm F1.8 Art lens, a full-frame manual-focus prime for Canon RF, Nikon Z and Sony E cameras. The lens lets photographers and cinematographers adjust the intensity of its swirling bokeh and embraces flaws that modern lens designs aim to avoid.

Lomography

The Métamorphose 35mm F1.8 Art lens offers seven levels of bokeh, allowing photographers to customize the look of their images via a dial on the lens. Lomography says that with the effects turned down, the bokeh is similar to its previous Petzval Art lenses, with softer edges and soap-bubble bokeh.

With the bokeh level increased, Lomography says a much more dramatic change takes place. According to the company, the center stays sharp while the edges stretch and appear blurred. Lomography describes it as a “powerful hallucinatory effect around your subject.” It says the effect is best used to convey a disoriented state or when you want to create a sense of motion.

Lomography

The effect becomes even more pronounced at the lens’s 0.35m (1.1′) close focusing distance, where swirling bokeh and outward-stretched edges surround a sharp center. In the company’s sample images, only the very center of the frame remains sharp in these cases.

In addition to changing the look of the bokeh via the seven adjustments, the lens supports drop-in rear aperture plates to change the bokeh’s shape. It comes with five plates: a star, a sun, an oval, a heart and a snowflake.

Lomography

Lomography designed the Métamorphose for both photo and video work. It offers a 180-degree focus throw, Mod 0.8 gearing for standard follow-focus systems and a de-clicked aperture ring for smooth exposure adjustments. Its bokeh control can be adjusted without shifting focus, allowing users to alter the image’s rendering during a take. A built-in 1/4-inch mounting point can support the lens directly on a compatible camera rig, while a 67mm front thread accepts filters. The optical design comprises six elements in five groups.

The Métamorphose joins Lomography’s Petzval Art range of manual-focus, full-frame mirrorless lenses. The line is named for Joseph Petzval, who designed an influential portrait lens in 1840 that became known for its fast aperture, sharp central rendering and softer edges caused by field curvature. Lomography introduced its first modern Petzval lens in 2013 and has since expanded the series with 27mm, 35mm, 55mm, 80.5mm and 135mm models.

Unlike those more direct Petzval-derived designs, Lomography says the Métamorphose also draws on an early Gaussian optical formula developed by Carl Friedrich Gauss in 1817.

The Joseph Petzval Métamorphose 35mm F1.8 Art lens is available for pre-order now for $649 and will ship beginning in December.

Lomography

Lomography Joseph Petzval Métamorphose 35mm F1.8 Art

• $649 at Lomography

Richard Butler

This wasn’t the camera I was using when the Frame No. Full warning popped up, but it did happen on a Fujifilm camera.

On a recent outing while testing Fujifilm’s new 400mm F4.5 lens on a loaner camera, I ran into something unexpected: 15 minutes into my hike, an error message appeared on the camera, and nothing happened when I pressed the shutter button.

The message on the screen read “Frame No. Full.” Admittedly, I was left scratching my head. I had formatted the card before I left and knew there was plenty of room on it. A quick Google search while I was in the woods informed me that the camera had reached the end of its file numbering system. The only fix that I could find while I was in the woods was to reset the camera’s file-number sequence with a formatted card, effectively ending my hike shortly after I started (I was there to take photos, after all).

Why file numbering can become a problem

Mitchell Clark

While I experienced this issue on a Fujifilm camera, it isn’t something specific to Fujifilm. Digital cameras commonly assign images a three-digit folder or directory number and a four-digit file number. For most, those numbers top out at 999-9999, though the exact number of images per folder may differ depending on the particular model.

The exact label differs, but there is usually a continuous, series, or auto option that carries the sequence forward across cards, plus a reset-style option that starts over when a new card or folder is used. Continuous numbering helps reduce duplicate filenames, but it also means a borrowed, rental, used, shared or demo body can inherit a numbering history that began long before you received it. Canon, Nikon, Sony, OM System, Panasonic and Leica all document variations of that basic approach.

Mitchell Clark

It’s also important to note that the file number does not represent a simple shutter count. It may look as though reaching 999-9999 would require nearly 9 million shutter actuations, but continuous-numbering systems can advance to the highest number already present on a card. Many camera manuals across brands say that in continuous mode, the camera will use the last file number recorded or the first available number, whichever is higher.

In other words, a high frame number may reflect a camera’s or memory card’s file-management history rather than a straightforward count of images taken. That is likely why the Fujifilm loaner reached its final available identifier, 999-9999. I had formatted my own card in-camera, but that did not reset the stored sequence because the body was set to Continuous. Fujifilm’s manuals say the shutter is disabled once that number is reached.

What to check before an important shoot

Fujifilm was simply the camera in my hands when I experienced the issue. Exact limits and reset behavior vary by brand and model, but every continuous numbering system has some ceiling. It is probably rare, but it could be a costly surprise in the middle of a wedding, event, wildlife outing, or other once-only shoot.

File-number history can follow both cameras and cards, so the risk is not limited to loaner gear. It can also affect photographers who rotate cards among multiple bodies, work on shared kits or pass cards between shooters. Before an important assignment, check the camera’s current folder/file number and its file-numbering setting. It may also be smart to reset the sequence with a safely backed-up card if it looks unusually high before heading out to an important shoot (and keep a backup card on hand, too).