Monthly Archives:

December 2016

Anamorphic Day-to-Day

2016 In Numbers.

December 31, 2016

This was a big year for Anamorphic on a Budget. The project kicked off in mid 2015, but it was only in 2016 that it really picked up steam.

On youtube, we went from 300 subscribers at the end of 2015 to 2700 by the end of 2016. The playcount grew even more than that, jumping from 22 thousand in 2015 to 220 thousand in 2016!

The blog also saw a steep curve in visitor numbers, even though the articles weren’t as numerous. In 2015 I had roughly 35 thousand visits for 140 published articles, 2016 more than doubled that, at 80 thousand views for 62 articles.

The most popular episodes – no surprise here – were the Helios 44-2 Extreme Mod (Mk I, Mk II), featured on PetaPixel, DIYPhotography and a few other places – a first time for me -, and the hFOV Calculator.

Explosive Post of the Year goes to How I Fell For a LOMO Anamorphic Scam, reeling 800 hits the day it went up, performing three times better than a regular post. This boost in performance is also dangerous as it motivates me to take bolder moves and act carelessly just so I have a good story to tell (don’t worry, I keep choosing the safe approach).

It was an year of collaborations. I had posts based on knowledge and gear shared by Matt Leaf, Cosimo Murgolo, James Price, Chris Bold, Amir Safari, Alan Besedin, Brian Caldwell, Richard Gale, Rob Bannister, Fernão Morato, Bruno Nicko, João Gabriel Rodrigues, John Barlow, Andrew Chan at SLR Magic and Bohus Blahut at Fotodiox. I didn’t realize this list was so long until now. This all goes to say that if you have any cool ideas that you think would make a good video, get in touch!

I already have lots of things in store for 2017, so stick around, subscribe and let’s go for more anamorphic!

Thank you for being a part of it,
Tito Ferradans

Anamorphic Day-to-Day

Anamorphic Chop Shop – Mir 1B Extreme Mod

December 25, 2016

This Christmas episode ties the loose ends of this year’s tutorials, going over the amber mod for the Mir 1B (37mm). This one was hard to film, as there are so many steps!

USEFUL LINKS:

All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Merry Christmas, everyone! I’m Tito Ferradans and today we’ll go over the last of the three Russian lens mods I promised way back then. It’s the Mir 1B’s turn. The Mir always goes along with the Helios 44-2 and Jupiter 9 as the wider-angle of the trio. It’s a 37mm f/2.8 lens based off on the Zeiss Flektogon 35mm design. It has fairly low distortion and great capacity for flaring (here that’s a good thing). In this mod we’ll be taking it apart, painting elements, adding an oval aperture disc and a streak flare filter inside the lens. Then we’ll add focus gears and a rotating adapter for easy alignment.

Shall we start? Here’s what you’re gonna need. If you did the previous mods, you should have it all already.

Again, there’s the optional step of polishing the glass, and for that you’ll need some cloth and metal polish (I tried Autosol and had good results).

First things first, to start modding, we need to break it in sections. The Mir is much more fidgety than the Helios or the Jupiter 9, so be patient in all steps. Things can go wrong. Hold the aperture and focus rings and get a firm grip of the front ring. Twist until it comes out. Now, using the lens wrench remove the id ring to take out the first glass element. Set that away for now.


On the inside of the Mir, reach and remove this small ring to unlock the two glass elements inside. These can be tricky to take out. Wearing gloves, gently (or not-so-gently) tap the lens on the palm of your hand and hope the two elements pop out. This will give you a clear view of the aperture blades. If they don’t come out, we’ll come back to that in a second.



Switch to the back of the lens and unscrew out the thin locking ring. While you’re at it, screw out the small glass element too. Now only one small piece of glass stand between you and the aperture. Repeat the process of tapping it on your hand and wish it comes off.


Here’s a trick: You need to take all these pieces out, but if one side is stuck, you can open the iris and push the glass out by sticking something through the blades. The only problem is you need to open at least ONE of the sides to do that. If you’re lucky, both sides will come out without getting stuck.

Since you’re already into taking it apart, we might as well use this moment to do the minimum focus tweak. This is a technique explained by Max Westendorp in this other video. On the back of the lens you have two tiny screws. Remove them, then unscrew the locking ring to release the mechanical block (focus helicoid) from the optical block. On the mechanical part, or the focus ring, you’ll see these two screws inside. One of them is for infinity focus – and you don’t wanna mess with that – and the other one is for minimum focus. It won’t hurt if you take this one out. Now your focus ring goes past the minimum 0.7m mark and you can focus a bit closer. Put it back together the same way you took it apart. Thanks, Max!




Back to our optics. If you want to polish the glass, now’s the perfect time to do it, since you have them all laid out in front of you. I’m gonna skip this step, but if you want more details, just repeat what I did for the Helios 44-2. What we’re gonna do here is add some acetone to the cotton pad and scrub out the black enamel on the front – big – element. Get it all out carefully and wear gloves for this, since acetone is mean to your skin.

Now with your orange – or whatever color – sharpie, paint the clean sides with many layers until color is strong and saturated. Let it dry.

With the sandpaper at hand, sand away the inside of the front ring. You might need pliers to reach the tight corners. For the next part, use tape to protect the aperture blades. Since I don’t want to take the Mir COMPLETELY apart, we’re gonna sand some of its insides and we don’t want dust collecting on the aperture. This works better if you do it upside down. Sand the space between the front ring and the second optic group.


Moving on with the sandpaper, thin the aperture disc (you can get your own cut using the PDF file, or buy some from me). Use your sharpie of choice for tinting the aperture. I’m going with orange. Add layers to both sides to ensure a good tone.


Get the fishing line and cut a small segment of it. With double-sided tape, stick it vertically across the oval. Paint it orange as well if you want tinted streak flares. If you want them to be the color of the light source, keep the string transparent. Cut the spare string at the edges and set the aperture aside as we still got some modding to do on the body.



Mask everything you don’t want painted in the front ring. The process is a bit trickier for the inside of the lens. I added several layers of tape everywhere and made some fillers with tape and cardboard to secure the area where the optics are sliding back in. Then I used more bits of tape to make sure no paint could drip in there. Take both parts outside and spray away. Let it dry, check if you have a good color. If not, spray some more.


Gather all parts together, it’s time to rebuild this thing. Starting with the front, put in both glass pieces and then the locking ring. You should now have a stretch of orange in there. Fit the front element to the painted front piece and lock it with the id ring. Screw them back to the body until it’s tight.




Get the aperture ring. Take out the non-sticky cover – I like to use tweezers for that – and put it against the aperture. We do it on the back because the front part rotates when you stop the lens down, and that would be annoying to deal with. With the aperture disc in place, fit back the optical elements and lock them with the small ring. Be careful during this step as it’s easy to skip the threads here.




We’re done with the insides, but there are still a couple of steps left. Grab your 3d-printed focus ring (download the STL file right here for printing), and add a layer of double sided tape inside. The Mir has a thin focus ring, so that makes it harder to work. The double sided tape is meant to strengthen the grip on it. If you want a more permanent solution, you can use super glue. I like the possibility of reversing all my mods if need be. Lock it in place.



Last step, add the rotating M42 to EF adapter so you can realign oval and flares quickly. Now, if you followed all the tutorials so far, you have your three-lens set ready to go! What I like about these ambers is that they make an endless golden hour, no matter the shooting conditions. Here’s some of what you can do:

After surviving this one you can almost get your Russian-Lens Hacking Diploma. If you’re still in need of more experience or test subjects, try out the Jupiter 9 and Helios 44-2 tutorials. Or even subvert the Pentacon 29mm with lots of sanding and painting! Anyway, I’m gonna take off to enjoy Christmas in the States and open some gifts I wrapped for myself. If you want to give me a present, just click the subscribe button and like this video! That’ll make my day. I’m Tito Ferradans, thank you for joining me this year and I’ll see you in 2017!

Anamorphic

Anamorphic Chop Shop – Jupiter 9 Extreme Mod

December 18, 2016

The second lens out of the three in the Russian amber set, the Jupiter 9 is a wonderful mid-telephoto, 85mm. It’s a long tutorial, and it was quite challenging to shoot.

USEFUL LINKS:

All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Tito Ferradans here to tackle another lens mod project. Today’s choice is the Jupiter 9. I’m following the same style I used in my Helios 44-2 tutorial, so the color is orange. The goal here is to make a set of matching lenses, the last of them being the wide angle Mir 1B.

The Jupiter 9 is a quite famous fast little 85mm from the Soviet Union. It goes really well with the Helios 44-2, delivering astonishing images. From all my Russian primes, I believe the Jupiter 9 is the one I like the most. It features a preset ring for aperture and focuses down to 0.8m. In this mod we’ll be opening it up to install an oval aperture with a flare filter to simulate the anamorphic look, as well as tint various bits inside the lens. Here’s what it will like when we’re done. Oh, yeah, you can follow this tutorial for both versions of the Jupiter 9, the one with the smooth ring and the one with the finger indents!

Here’s our list of ingredients!

Optional items are a piece of cloth and metal polish (I use Autosol), but we’ll get to that.

Start by opening the lens. The Jupiter is pretty much a beefed up version of the Helios. I highly recommend taking photos or filming the process of disassembling, just to make sure you know how to put it back together. Here we go. Get a firm grip of the focus ring and rotate the front block – the one with the aperture rings. That will set the optical block free. Put the focusing helicoid aside.


Now grab the frontmost part and twist it off to release the front optical block. Like the Helios 44, unscrew the rear optical block. Get the glass out using a lens wrench.


On the front, remove the locking ring and the front element comes off. Then get the second element out by removing the smaller locking ring in the back.

If you want a slower version of the process, you can check out this other video by Retro Photo House.

ALSO, if you have trouble unscrewing the front block, there’s probably a screw on your way. To take it out loosen the tiny screws on both aperture rings, take them out and find this screw here. Mine has already been taken out. That will allow you to move forward. Put your aperture rings back just the way you found them.



The rear block has less pieces than the Helios, just one instead of two. Get it out anyway.

We’ll first tackle the spray painting so it can dry off while we work on the glass. With the metal parts at hand, sand the black paint that covers the space between the front-most and middle elements. This part will be painted to bounce some color onto the light that comes in. Repeat the process for the rear tube.



Mask each piece carefully, making sure paint won’t stick to anything else. I usually rip small pieces of tape into even smaller pieces so they cover all the tiny edges and then overlay thicker pieces over this fine patchwork.

Wearing gloves, go outside and spray orange over these two pieces. I messed up and forgot the gloves. Enjoy my orange fingers. Give it a few minutes and add another layer of paint just to make sure you have a bright and saturated color. While this dries off, head back. Don’t even bother taking the gloves off.

With the optics at hand, pour a little acetone on the cotton pad and melt away the black paint that covers the sides of the optics. Keep your window open while you do that, since the smell is very strong and the fumes are not the best thing to be breathing in.


Once you’re done, you have an optional step. Using the piece of cloth and metal polish you can remove the coatings from the glass and add a ton of microscratches, making the lens a tad softer, diffusing the light, lowering contrast and creating bloom around strong highlights in the frame. I’m gonna skip this part as I’m fonder of the unpolished glass. If you want more details on how to that, watch my first Helios 44-2 mod tutorial.

Moving on, with the orange sharpie, paint the sides of all glass elements. This adds a level of radioactive shine to the lens and influences the tint a little more. If you have any mishaps and add some orange to the front or back of the glass, just wipe it off with a tiny bit of acetone. After this step I always do a lens-cleaning round, wiping away all the smudges, oil, grease and fingerprints away before putting the lens back together.


Fetch your spray painted parts and remove the masking tape. We’re moving to the last steps.

Time to wreck the gloves. With your trusty sandpaper, grab your acrylic aperture disc – if you want to buy some, here’s my listing! If you want to get them cut, here’s the file (PDF/DXF)! – and sand it paper-thin.

Blow away the dust and paint it orange with the sharpie. Paint both sides a few times to build up a nice color. While it dries, cut a small section of fishing line and two tiny pieces of double-sided tape.

Holding the fishing line across the oval shape, tape the top and bottom areas over the acrylic disc. Paint the fishing line orange as well to tint your streak flares. If you want them neutral, skip this step. Cut both ends of the line.



I like to use tweezers to remove the white layer of the double-sided tape. Stick the aperture disc to the inner side of the rear group, it should fit perfectly.


Now put everything back together. The rear group goes into the small tube and that screws over the aperture mechanism. Then the front, locking both retaining rings. Get the focusing helicoid back and screw it in.



Add a layer of double-sided tape to the inside of your 3d-printed focus gear.

You can download the STL file for printing below. Just click on your version of the Jupiter 9.

Slide the gear over the focus ring, it should fit tightly. Remove any scraps of double sided tape that squeeze off, for cosmetic purposes.

The last step is to add the rotating M42 adapter so you can quickly align the direction of the oval and flare as you go.

Now contemplate your handiwork and have fun shooting the most gorgeous pictures, like these tests!

It wasn’t that hard, was it? You must be getting the hang of taking lenses apart by now! If you wanna get even better at it, subscribe and check these other videos, where I mod the Helios 44-2 and the Pentacon 29mm! If you happen to love anamorphics and you’re looking for LOTS of information, check my blog! I don’t know about you, but I’m quite exhausted by doing the mod AND filming all of it at the same time, so I’m taking off. See you next week. Ferradans, out.


Day-to-Day

From childhood to adulthood: A coming-of-age reading of It Follows.

December 15, 2016

It Follows, directed by David Robert Mitchell, premiered in 2014 at the Cannes Film Festival. The movie achieved great critical acclaim as one of the best horror movies of late and has grown a large following among the cult audience. In what is considered his first feature film, Mitchell pays tribute to many classic horrors – Halloween, Night of the Living Dead, The Ring, Nightmare on Elm Street among others -, using the genre’s conventions on his favor to subvert the audience’s expectations. His ability to do so is what makes It Follows so memorable. The movie tells the story of Jay (Maika Monroe), a 19-year-old girl who ends up infected with a dreadful curse after having sex with her date Hugh (Jake Weary). Jay is then haunted by an entity that only cursed people are able to see. The creature is represented through the most terrifying and cliché behavior of horror movie villains: it never stops and it always walks straight towards its victim. What sets It Follows apart from other horror movies is its underlying symbolism. While today’s horrors are usually built around a predictable plot interwoven with jump-scares and gore visuals, Mitchell’s film has its own pace and themes. It Follows is a coming-of-age tale that happens to be told through the scope of the horror genre. Some of the most noticeable themes introduced by the movie as part of adult life are the constant presence of sex, the danger of STDs, the absence of parental figures as protectors and guides, and the bond of friendship that acquires a new meaning in adulthood. Mitchell uses the subtext to talk about loss of innocence, insecurity about one’s own body, and realization that all life inevitably ends.

On the most superficial level, having a curse that is passed through sex is a clear link to the dangers of STDs. STDs are a risk of an active sexual life – a strong indicator of transition into adulthood. As Mitchell explains in an interview to Rich Juzwiak, at the Hollywood news website Defamer, Jay is not a virgin when she has sex with Jeff, in addition, the way the characters discuss the subject of sex in the movie is loaded with meanings other than casual. Sex is a very big deal and at times it is their only way to survive. On the other hand, it exposes them, making them feel vulnerable and uncomfortable. One of the scenes that portrays these elements is when Jay is in her bathroom. She spends the longest time looking at herself in the mirror – this is the second time she shows concern about her looks. After staring at the mirror she peeks into her underwear, inspecting as if something is wrong down there after Jeff tells her about the demon. In this scene we have one of the few jump-scares in the movie as a red ball hits the window. Jay is startled, but then resumes her inspection. The camera is then moved to the outside of the house showing a young boy peeping through the window. This is the same boy that spies on her while she is in the pool, at the beginning of the movie. His gaze is much different than the longer looks given by Paul and Greg, putting the camera in their point of view. The difference in perspective of how a child sees an opposite-sex body and how an adult sees it is reinforced twice when erotic magazines are brought into the subject. One of them is while Paul and Jay reminisce about the time they found a pile of such magazines in an alley and spread them out in the front yard, not understanding the meaning of the photographs. The second time is while they visit Jeff’s makeshift home, where all he left behind are the magazines and used tissues. Paul is skipping through one of the magazines, paying close attention to the photographs.

An important element of adulthood is the replacement of parental figures and their guidance with friendships where they help each other. This is presented through the utter absence of the characters’ parents in their life-or-death drama. Jay and Kelly’s mother appears a couple of times, but never has any meaningful conversation with any of them. Jay actively refuses to call her mother for help in one of her encounters with the creature. Building on top of that, the shape that the creature takes when it kills Greg is his own mother – and it rapes him to death -, and the one that comes closest to killing Jay is her father. It Follows illustrates the transition from childhood to adulthood as a rupture with parental figures. They can even become dangerous, given the circumstances. To overcome that, Jay, Kelly, Yara, Paul and Greg bond together, putting their lives at risk to protect one another in any way they can. This protection is still maturing as depicted in their final fight with the demon. Mitchell says the plan they came up with to kill the creature “[is] a kid-movie plan, it’s something that Scooby-Doo and the gang might think of, and that was sort of the point . . . Ultimately, [they] have to resort to some way of fighting it that’s accessible to [them] in the physical world, and that’s not really going to cut it.” (Buchanan). That is another thing about being an adult: sometimes there is no solution for the problem at hand. As Yara reads from The Idiot: “if one is faced with inevitable destruction, . . . one must feel a great longing to sit down, close one’s eyes and wait, come what may” (Dostyevsky 128), which is exactly what they face. Opposed to Dostoyevsky’s words, Jay never gives up. She always fights, runs and claws for her life.

The certainty of death is the core theme of It Follows’ coming-of-age story. At the end of the movie, Yara reads another passage from The Idiot that synthesizes this idea: “physical agony and all this distracts the mind from mental suffering so that one is tormented by the wounds until the moment of death. And the most terrible agony may not be in the wounds themselves but in knowing for certain that . . . your soul will leave your body and you will no longer be a person. And that this is certain, the worst thing is that this is certain” (Dostoyevsky 43). A demon that will always walk towards its victim and never gives up is not even subtle enough to be called a metaphor. Being an adult means accepting death and pushing forward. In various moments of the movie the characters talk about childhood memories and places that acquired different meanings as they grew up. Jay, Kelly, Paul, Yara and Greg are not old, but they are all well aware their childhood days are gone. “I mean, how cool would that be, to have your whole life ahead of you?”, Jeff says picking a young boy as someone he would like to trade places with. He goes on to number a series of advantages of being a kid. Jay remarks that he is not old, only 21. Later that same night, Jay rambles about what she expected from growing up, when she was a child, and all the amazing experiences she would have, she would finally feel free. In the end, after Jay has sex with Paul – the only guy in the movie that is emotionally invested in being with her – they work out a plan so they can live their lives. In the last shots, they go out together and face the possibility death without panicking as they have for the previous days. Death is still walking towards them in the very last shot.

The numerous bodies of water set a starting point for Jay. They depict safety, or in a more abstract fashion, the mother’s womb, representing protection for her offspring. In the first sequence at the pool, Jay is completely peaceful and safe. The group of friends seeks refuge at Greg’s beach house, Jay swims towards a boat in order to pass the demon along. After that, the pool in her backyard is broken, dry. She has been expelled from safety, from her childhood sanctuary and there is no going back. The confirmation of that is the final battle against the demon at the community pool, where the waters fail to keep her safe, almost drowning her as the demon – assuming the shape of her father – grabs her foot. The creature is then gunned down and the strongest shot in the movie shows up: the entire pool becomes red with blood, which could represent the loss of virginity or a girl’s first period, both meaningful rituals of becoming an adult. After their escape, Paul and Jay have sex, in the only rainy scene of the movie, as if the water that first acted as protection now symbolizes a blessing to their relationship. Their dialogue after the act is loaded with multiple meanings, as the first line is a big cliché for loss-of-virginity sex. “Do you feel any different?”, Paul asks. Jay shakes her head negatively. “Do you?”, she asks back. “No.”. Yet they are all very different now.

WORKS CITED

Buchanan, Kyle. “It Follows Spoiler Bomb: The Director Explains All Those Twists and Shocks“. Vulture. 27 Mar 2015. Web. 19 Nov 2016

Dostoyevsky, Fyodor. The Idiot. Auckland, NZ: The Floating Press, 1915. ProQuest ebrary. Web. 20 Nov 2016.

It Follows. Dir. David Robert Mitchell. Northern Lights, Animal Kingdom, and Two Flints. 2014. Film.

Juzwiak, Rich. “A Conversation About It Follows, 2015’s First Must-See Horror Movie“. Defamer. 13 Mar 2015. Web. 20 Nov 2016

Anamorphic

Anamorphic Cookbook – Double Focus On The Fly

December 11, 2016

Double Focus is painful, but there are ways to deal with it more easily. Here’s one of them. Take turns adjusting your lenses until you get rid of all streaking!

USEFUL LINKS:

All the RED links on this post are part of eBay’s Partner Network, so if you purchase anything through them, you’re helping me to keep this project going.

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Tito Ferradans here to show you the best way of handling double focus adapters. Double focus is the unfriendliest starting point for anamorphics. Starting something that’s already hard – shooting anamorphic – through the hardest possible way – double focus – just makes the experience hateful.

As much as I dislike double focus, I can’t just tell you to buy an Iscorama or a Rectilux. So here’s the ultimate trick to double focus on the fly.

“Double focus” means that both the scope and taking lens must be focused at the same distance to produce sharp images inside the camera. Getting that right to the centimeters is a real challenge as any mismatch will degrade image quality considerably.

My aim here is the target in the middle. Each lens is set to a different distance. As a first step, I’ll take a guess at the distance to the target and quickly set both lenses to that. Next, I’ll adjust the taking lens to make the image as sharp as I can. This will produce a streaked image on the viewfinder, either vertically or horizontally.

Now tweak the anamorphic with the goal of shrinking these streaks and getting the image sharper. At some point, they’ll change direction. When that happens, go back to your taking lens and adjust focus to fix the new stretch. Repeat the process switching back and forth until the streaks are reduced to dots. Boom, focused.

After you get the hang of it, you’ll be able to use both hands and twist both focus rings simultaneously. The key is finding the direction that the image is streaking and counter that. The order of operations – anamorphic first, or taking lens first – doesn’t matter at all.

When you get rid of all the streaking, you’ll have a sharp focused image.

There’s LOTS of practice involved. You get faster as you go, but having a clear objective – normalizing the streaks – spares you from going way past your marks, hunting for focus like a mirrorless camera.

Now it’s up to you to put it to practice. Do you have any hints to help other double focus users? Write them in the comments below! Don’t forget to subscribe and check the previous videos. I’m Tito Ferradans and I’ll see you next time!

Anamorphic Day-to-Day Specials

Anamorphic Cookbook – hFOV Calculator v2.8

December 4, 2016

You can support this project on Patreon. Make your contribution and help the Anamorphic Cookbook!

Tito Ferradans here to tell you that I’ve updated the anamorphic calculator (or the HFOV Calculator if you wanna be precise).

What is this calculator again? This is a webapp that allows you to input various settings from your camera setup in order to figure out if you’ll get vignetting when using an anamorphic adapter.

You can pick your focal length, camera crop, focal reducer, anamorphic adapter, single focus solution and sensor aspect ratio. These are all the values that I need to tell if you’ll experience vignetting.

This time I coded it all from scratch and the new version is much more like what I originally envisioned for it. It works more fluidly and it’s much easier to update. I did some fixes to the overall math and added many features.

I added a checkbox for pancake lenses, which are more tolerant with vignetting, added another checkbox for Baby Anamorphics and custom rules for their behavior. I also added single focus solutions which influence vignetting and – in some cases – can change your field of view according to the focused distance. Lastly, I included a field that allows you to check if you’re limiting your maximum aperture based on your anamorphic’s rear element size.

The calculator only has two functions. HFOV will tell you what’s the Resulting Field of View and Resulting Aspect Ratio based on your setup. I WANT A TAKING LENS will also take into account your setup but do the math in reverse, using the Resulting Field of View and Resulting Aspect Ratio to tell you which taking Lens will give you that result, and what sensor crop is required. Both buttons will always tell you if you’ll get vignetting or not.

In the last minute I added a second calculator for diopters. You can input your maximum focus and that will give you a diopter strength, or you can input a diopter strength, and that will work out the focus math. If you put your lens’ minimum focus value in, it’ll give you the new minimum focus as well. For expert diopter hunters, this will help you figuring out diopters that aren’t so clear from manufacturers (like the ones that give you what’s the new minimum focus of a given lens, instead of the optical power).

In terms of functionality, every time you input something wrong (mostly characters that aren’t numbers), that field will be red and you can’t do the math until all red fields have been fixed. I also included a donate button at the bottom, because getting the data to build this took me months, and coding it wasn’t easy task either. So, if the calculators are useful for you, you can show it by sending me a little something. Now go break it, and I’ll see you next week.

If you want to include this tool on your website, just copy the code below into your HTML!

To report a bug, miscalculation or send suggestions, please use the form below!