TTArtisan 75mm F1.5 Swirly Bokeh Review | A Biotar for 1/10th the Price?

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hi I'm Dustin Abbott and I'm here today
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to give you my review of a very unique
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lens the new TT Artis 75mm
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f1.5 swirly bokeh lens now I've long had
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a love for vintage glass and have
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pursued some of lenses like old Helios
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and Jupiter lenses because they are able
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of producing that kind of unique swirly
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effect that can be very desirable or at
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least unique if you're into that the TTR
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75mm f1.5 is essentially a new version
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of the Carl ice Jenna Batar
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75mm f1.5 which is a very old lens
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design in its original form over 80
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years old and copies of which can cost
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into the thousands of dollars if you can
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find them on the used Market of course
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anytime you're going after these old and
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vintage lenses I can see looking inside
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for example my Helios 442 is that I look
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inside there I can see that there is a
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bit of fungus that's growing inside you
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know there's some mechanical issues it
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kind of separates and comes apart a
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little bit here that's the nature of
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these be the Beast with these so be to
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be able to get a new lens that has that
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same Optical charm but has a little bit
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better manufacturing and a whole lot
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less Gunk going on in the inside it's
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certainly very interesting particularly
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when you can get get this lens for only
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about 270 bucks and it is a lot of fun
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however note that this is going to be a
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different kind of review of a different
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kind of lens because pretty much nothing
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about this lens is conventional still
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sound interesting well let's dive in and
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let's find out today's episode is
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dustin1 for more
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information so in terms of the basic
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overall design here this is essentially
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shaped like what they called the fat
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version of the biotar that was sold from
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1952 to
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1967 it has looking at it a very
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handsome kind of vintage design to it
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that frankly really reminds me of a lens
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like the recent Voit Lander 75mm f1.5
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that I reviewed earlier this year
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everything is all metal and glass here
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so it does have some heft to it weighs
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about 570 G or 20 o here and by my
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measurements it is roughly 73 mm in
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diameter by about 72 mm long with a 58
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mm front filter thread now when you
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focus towards the closest Focus you're
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actually going to find that the lens
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will extend a bit it will extend out
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about an additional 10 millim so it is
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not internally focusing it's at its
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longest point when you are focused down
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to minimum Focus now one big thing
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you're going to have to deal with here
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is that they have decided to go with the
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classic um m42 Mount and that's not
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Micro 4 seconds that is the old m42
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screw Mount that goes back till I think
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somewhere like the 20s it's a
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long-standing mount but it is quite easy
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to adapt but it means you're going to
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have to have an adapter so you can adapt
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it to a lot of different platforms uh
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old dslrs you can have a thinner kind of
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adapter but because here with mirrorless
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the optical path needs to be further
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forward you'll find that the adapter
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you're going to need is going to have to
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be fairly
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chunky I've done it on Sony here and the
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good news is that the adapters are quite
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an expensive the one I'm using here cost
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about 20 bucks and so nothing expensive
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there but it is going to add some bulk
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and some length there and a little bit
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of price now one thing that I like about
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the design here is that it actually
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includes an allen key with the
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recognition that as you adapt these
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sometimes everything doesn't line up
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perfectly you can actually use an allen
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key you can loosen up three little
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screws on here you can then rotate the
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lens in its housing to where it's lined
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up perfectly then tighten things back
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down it's a good thoughtful touch there
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which I appreciate now what's
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interesting here is that you can
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actually adapt this to a variety of
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platforms as mentioned but that includes
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in fujifilm's medium format you're
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actually going to get the most
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pronounced swirl effect there because
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more of the image circle is being
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exposed it'll also maybe look the
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softest in some ways there for the same
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reason likewise if you go to apsc You're
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actually crop off a lot of the swirl
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effect and you're going to retain the
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more conventional sharper portion of the
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image Circle just so just be aware of
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that now the manual focus ring here is
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very nicely implemented it has that kind
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of knurled or scalloped feel to it all
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metal everything moves very very
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smoothly pretty much perfect damping I
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really really like that ring about 200°
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of rotation it's pretty sweet and so
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they've done a great job with that up
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front we have a nicely implemented
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aperture ring it has has soft clicks
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throughout and those clicks will mostly
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be at the half stops at the earlier part
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of the range and then after f5.6 they're
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only at the full stops and of course you
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have markings just at the full stops
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along the way but you can feel those
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clicks as you go inside we have an
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aperture uh aperture Iris it's really
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beautiful 13 rounded aperture blades and
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as you can see here it looks pretty
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sweet when you have it stopped down
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minimum Focus distance here is 75 mm and
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it has a fairly low magnification of
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about 0.10 times so not incredibly
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useful I will point out however that
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there are plenty of adapters like Vell
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adapter that I have that actually allows
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you to uh rotate the adapter itself and
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so you can extend that Optical path a
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little bit further forward which will
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allow you to get closer focused results
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so you know just something to bear in
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mind that for Fairly inexpensive if you
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want more up close work you are able to
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get that the lens I will note is pretty
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soft when it's uh at minimum Focus
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distance just so you know that now
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obviously here there are no electronics
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there's no weather ceiling there's
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nothing like that now of course not
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everyone is comfortable or with manual
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focus or familiar with it so let me just
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take a moment to talk about how this
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lens works on a Sony camera which would
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be very similar to how it would work on
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a modern mirrorless Canon camera or or
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Nikon camera it is actually quite easy
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to manually focus on these platforms so
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no there are no electronics so that
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means that you're not going to get as
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you start to rotate the ring you're not
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going to get an automatic magnification
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of the focus area but you can of course
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manually mag magnify that area and so
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you can visually confirm Focus quite
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easy you can use Focus overlays and so
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things like focus peaking um with or a
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color overlay you're going to be able to
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see those things because those are
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actually handled from within the camera
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and they will still work here you also
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will be able to use mbody image
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stabilization if your camera is so
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equipped however you're going to need to
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manually set the focal length so in this
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case 75 mm and so that you can the body
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camera body knows how to set the
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adjustment there and if you don't you're
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going to get some erratic results so be
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sure to manually set that uh that focal
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link for inbody image stabilization but
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of course once you've done those things
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I found that focusing was I had pretty
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much perfect accuracy you just you know
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take your time nail focus and it's
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really no issue there so how about the
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Optics here as mentioned this is a
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completely different kind of lens and I
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will give you a deep dive Optical
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breakdown at the end of the video if
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you're so interested we have an optical
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design here A Very Old Optical design of
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six elements in four groups very simple
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two of those are high index elements the
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MTF chart if you're just looking at MDF
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charts looks pretty scary and of course
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part of that is by design it uh it
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actually is designed around having some
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Optical flaws and that's part of the
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overall charm and look that swirly
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effect that people are going to buy this
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lens for is actually the result of
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optical defects which is why the MTF
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chart doesn't look all that
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fantastic now in some Matrix the lens
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does quite well I found that it has very
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low Distortion a tiny bit of barrel
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Distortion that is negligible to fix I
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used a plus three it has a quite a
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minimal amount of vignette I used only a
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plus 45 which is well under two stops so
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no major issue there I also found that
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there was basically no lateral comatic
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aberration however you will definitely
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see some longitudinal style fringing
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particularly in high contrast situations
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so you will see some fringing but above
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all what you're going to get is very low
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contrast this at f1.5 it very much has
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that dreamy rendering as we
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euphemistically call it a low amount of
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contrast so there is enough pop in the
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center of the frame that you can get a a
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credible result that we'll talk more
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about in just a moment so wide open at
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f1.5 low contrast in the center but a
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decent amount of detail very quickly
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however as you go towards the mid-frame
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you can see resolution drops and by the
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time you get to the corners forget about
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it it is very very soft there the center
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will start to really sharpen off up and
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then contrast will improve by F2 the
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corner is going to still be very soft
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and they don't get reasonably sharp they
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never get exceptionally sharp but they
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don't get reasonably sharp until about
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f5.6 so f5.6 f8 are decent apertures if
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you want to shoot more conventional
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landscape tile style uh images where
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just about everything is in focus and of
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course as per usual defraction is going
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to hit I'm using a high resolution uh 61
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megapixel a7r Mark 5 for this and so by
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f11 most lenses are looking softer and
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then at minimum apture in this case F16
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you can really see the effects of
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defraction and it's very much softer
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still now actually the nature of that
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swirl effect it's not always going to be
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present one of the cool things about
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this lens is you really can create a
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variet of different looks and so if you
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get close to your subject you can
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actually just have quite a soft and
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creamy background as you can see from
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this shot um when you have strong
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blurred background it's just really
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really soft when you start to get that
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swirl effect is actually a little bit
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further out it's typically in the 2 to 3
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meter range that it is the most
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pronounced and you can see as I pull
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back and forth here through manual focus
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that it kind of comes and goes and there
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is a a Zone there where it is very
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strongly pronounced for that reason your
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probably going to want to compose with
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your subject in the center of the frame
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for one thing that allows you to get a
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little bit more 3D separation so your
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subject will be sharper and then also it
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works best when you can put things on
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either side of them to create the swirl
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effect and so obviously it's also going
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to work best if you have something that
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is close to that that area that plane of
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focus that you can defocus to create the
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most desirable look so for the most part
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this is a fairly conventional lens after
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F2 just not a super sharp one but from
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f1.5 to F2 it's it's quite interesting
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in the looks that you can create now
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when the sun's in the frame it will do a
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few different things if you're stopped
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down you'll mostly get lower contrast
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some veiling effect as you can see from
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this landscape shot but then also if
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you're shooting at larger aperture
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you're going to get some other kind of
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ghosting type artifacts uh none of them
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are actually terribly destructive and
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some of them can be used artistically
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and actually I would say that this is an
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area where this lens works better than
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what some of the older lenses is do I I
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wouldn't say it's got full-blown modern
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Coatings but it does seem to be a little
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bit better in that regard maybe it helps
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that it's not full of fungus and other
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things that I tend to have to deal with
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with some of the vintage
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glass the color from the lens is mostly
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good I do find that sometimes it's less
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desirable in high contrast situations at
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large apertures it tends to wash out a
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bit and you can see that there's quite a
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difference in the color from a large
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aperture shot to a smaller aperture shot
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in this comparison here here so overall
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I mean lots of optical flaws but a lot
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of very interesting character to the
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lens which is obviously going to be the
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whole reason why it is desirable so my
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conclusion is this this is obviously a
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quirky lens that is not conventional in
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any way using an old Mount and an old
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Optical design but it can be a blast if
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you're tired of sterile overcorrected
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modern lenses and you want something
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with some vintage charm it's got that in
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abundance and of course when you compare
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it to the biotar biotar lens that it
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emulates it is an incredible value that
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biotar lens is going to cost you
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probably 10 times as much as this
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there's a good chance it won't be nearly
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as in good a shape either of course it
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will be a much better collector's item
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and might be worth even more in the
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future that's the luck of the draw but
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if you don't want to spend huge money on
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an old-fashioned lens well then you can
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spend a fairly minimal amount of money
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for a brand new lens if you want more
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information you can check out my full
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text review that's Linked In the
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description down below and of course
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right after this we're going to dive
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into a closer look at the optical
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performance stay tuned so starting with
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a look at vignette and Distortion you
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can see a very mild bulge due to some
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Barrel Distortion uh not very hard to
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correct at all it's nice and linear a
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plus three take took care of all of that
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you'll also see a bit of vignette in the
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corners you can see again that cleared
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up very nicely that's a plus 45 dialed
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in there so in general the challenge for
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this lens is going to be overall just
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the contrast and detail so you can see
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here that part of that is some chromatic
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aberration you can see that there's just
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a general glow kind of that dreamy look
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everything but then also there is some
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green fringing you can see out of the
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plan of focus and out here you can see a
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little bit of magenta fringing that will
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really kind of vary now obviously this
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is a less high contrast scene and so I
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mean the corners are still soft as we're
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going to see but as we take a look at
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the chromy surfaces here you can see
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there is a little bit of fringing a
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little bit around the windows but it's
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also not like huge and very strongly
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pronounced and I would say that in
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general the contrast looks a little bit
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better as well of course looking out the
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window is what it's all about getting
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that swirly look out there here's
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another shot where this is stopped down
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a little bit this is about
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f1.8 and you can see that again as we
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get towards the edge of the frame that
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there's a loss of contrast but again in
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this lower contrast scene the detail
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there is actually quite good you can see
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and neither am I seeing a lot of
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fringing on any of these shiny surfaces
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inside here mostly just as you get
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towards the edge of the the frame you
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can see that the image starts to soften
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now what we don't see is a lot of
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lateral chromatic aberration and here
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near the edge of the frame it's actually
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a really clean transitions from black to
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white so no issues there now I wanted to
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show this image just for a moment to let
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you know that I ran into this while I
15:24
was metering for my chart test and that
15:27
is that at smaller apertures you may or
15:29
may not always get consistent metering
15:31
and so you might just want to make sure
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if you need to kind of bias Exposure One
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Direction or another it's most likely
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going to be adding some exposure because
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as you can see here as I got towards the
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smaller apertures the the camera tended
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to meter wrong with this lens and it was
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underexposing by uh pretty much a full
15:48
stop maybe even a hair more as you can
15:50
see here now we'll take a look at
15:52
resolution and sharpness this is on a 61
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megapix Sony a7r Mark 5 and so you can
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see even looking at it as a hole you're
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going to see a real loss of contrast
16:01
there's quite a difference between here
16:03
and here as far as even just the general
16:05
contrast if we punch into this 200%
16:08
magnification there's actually a pretty
16:10
good detail that's there if you were to
16:12
REM able to remove the low contrast kind
16:14
of that Vaseline smear over the top of
16:17
things there's actually quite a good
16:18
amount of detail here in the center of
16:20
the frame as we move towards the
16:21
mid-frame however already that's
16:23
starting to fade and as we go down we
16:26
can see that again here it's there's a
16:29
diff quite a difference between the
16:30
contrast here and then here by the time
16:33
you get to the corners again it's not
16:35
that there's no resolution it's that
16:37
there is very very little contrast if we
16:40
take that in out into a real world shot
16:42
you can see the effect here and and so
16:45
in the center of the frame at
16:47
f1.5 really not too bad you can see
16:50
right here in a little Zone there's good
16:52
detail and contrast but very quickly you
16:55
can see how that all of that contrast
16:57
Fades away and as we get to towards the
16:59
edge you very much have that dreamy
17:01
effect which is part of the general look
17:03
that this lens exhibits so if you can
17:05
use that well and that's with composing
17:08
with your subject in the center of the
17:09
frame really pretty good there in terms
17:11
of detail and contrast on my wife's face
17:14
you can see already by the time you get
17:15
to her hands that it's starting to fade
17:18
and then there's kind of a general glow
17:19
everywhere else but it allows the the
17:22
look here to where there is a
17:23
three-dimensional pop because everything
17:25
else looks quite soft by comparison so
17:28
interestingly by the time you stop down
17:30
even to F2 you can see by looking at the
17:32
image as a whole it's already starting
17:33
to change just everything is starting to
17:35
look brighter and so in the center of
17:36
the frame it's like that smear has been
17:39
taken off and now you're able to see the
17:41
detail on the contrast so at f2 really
17:43
sharp center of the frame but you can
17:45
see that even though it's better you
17:47
know you're extending that zone of
17:49
sharpness out it's still going to drop
17:51
off and so as we see down here it's
17:55
better but you can see it's still quite
17:56
kind of dreamy and glowy in that corner
17:59
and as you get down towards the edge
18:00
it's basically like everything is still
18:01
in a fog it's just like the sun is
18:03
starting to come out and the fog is
18:05
brighter looking at f2.8 and then at F4
18:09
we can see that the corners really
18:11
haven't gotten sharper the contrast is
18:13
starting to improve but it's not quite
18:15
there yet going back to the center of
18:16
the frame and it's super sharp in the
18:18
center of the frame take a look over
18:19
here at the mid-frame by F4 you can see
18:22
that the mid-frame is looking really
18:23
crisp if we throw f5.6 in the mix now
18:26
you can see that that looks even sharper
18:28
still and if we pop down into the
18:30
corners you can see that the corner is
18:32
now starting to look acceptably sharp
18:34
though certainly not exceptionally sharp
18:36
things are just a little bit better by
18:38
f8 but you can see it's still not really
18:42
completely crisp although this Zone here
18:43
is starting to look quite good popping
18:45
over here we can see that this this
18:48
section out to here it is really really
18:50
sharp and as we look towards the edge
18:52
yeah really looks quite good here it's
18:54
only when you get right towards the the
18:56
outer edge where things start to soften
18:58
up
18:59
so after f8 by f11 image will be just
19:02
very slightly softer due to defraction
19:03
and then you can see by F-16 which is
19:06
there on the right the image is
19:07
softening up
19:09
significantly now if we take a look at
19:11
the up close performance here is our
19:13
minimum Focus distance shot and you can
19:15
see as you we' kind of expect there's
19:17
not a lot of contrast there you're
19:19
really going to need to stop down a bit
19:21
if you want better contrast in detail
19:23
and of course as you get further out you
19:25
start to get that blooming effect
19:27
elsewhere so the nature of the bouqu
19:29
really is going to vary upon where you
19:32
compose your image so for example in
19:33
this shot which I quite like you can see
19:36
that detail is not you know out of this
19:38
world but you can see there's a
19:39
reasonable amount of detail that's there
19:42
but the background is really really
19:44
creamy it's just blurred Away really
19:46
beautifully in this shot here we've got
19:48
the swirl effect and so this is about in
19:50
the right zone so I focused out about 2
19:52
to 3 m and in that zone you can see you
19:55
get that really pronounced kind of
19:57
circular swirl shape that is kind of the
20:00
desirable quality here's another shot
20:02
here and again composing where you can
20:04
get your subject as much towards the
20:06
center as possible because remember
20:08
there's a pretty tiny sweet spot of
20:10
sharpness so if you can get your subject
20:12
there and then you have things around
20:14
for you to kind of swirl with you can
20:17
really create some really beautiful
20:18
images so here you can see from this
20:21
particular shot where I just stood here
20:22
and I I just focused along so with a
20:25
complete defocus you can see just how
20:27
soft and creamy you can get the po now
20:29
as we start to move towards that zone
20:32
you can see the swirling effect starting
20:34
to take place if I focus past that zone
20:37
however you can see that in the
20:38
foreground you really don't get the
20:40
swirl effect you mostly just get a low
20:42
contrast type look so I wouldn't say
20:45
that foreground bokeh is nearly as
20:46
desirable it's going to be more that
20:48
background swirl that is going to kind
20:51
of Be The Sweet Spot for this so here
20:53
you can see a little bit more of a
20:54
conventional shot at this distance a
20:57
little bit closer there is a a little
20:58
bit of swirl effect but mostly it's just
21:00
a blurred out background although the
21:02
quality of the blur is really nice if I
21:04
step back just a little bit further you
21:07
can see how much more of that swirl
21:09
effect begins to take place now again
21:11
taking a look at flare resistance here
21:14
you can see with the sun right out of
21:15
the frame and shooting at a large
21:16
aperture we get this overall kind of
21:19
ghosting pattern here I mean again I
21:21
think that most people would find that
21:23
generally tasteful and useful in certain
21:26
situations I didn't love it as much stop
21:28
down in this shot where basically you
21:30
just end up losing contrast on the image
21:32
and so it looks like there's a a dust
21:35
storm that's blowing through or
21:36
something not nearly as desirable in my
21:38
opinion this shot I really like and so
21:40
here we do have some of that Prismatic
21:42
Haze and a little of that effect we saw
21:44
on a former image but even though
21:46
contrast and detail isn't great there's
21:48
kind of just a general glow to the image
21:50
that's really quite nice now if you're
21:52
not shooting into the Sun and you stop
21:54
The Lens down you can get nice color and
21:57
detail and you can see in this shot that
21:59
I was able to get detail pretty much all
22:01
throughout the frame and so this is I
22:04
believe around f6.3 or f8 and you can
22:08
see that that looks just like a
22:10
conventionally beautiful shot great
22:12
detail great contrast great color this
22:14
is a lens that has a lot of different
22:16
types of personality and so I think that
22:19
if you learn to use it to its strengths
22:21
you can really achieve a lot of
22:23
different looks so thanks for sticking
22:25
around to the end and hopefully a deep
22:27
dive into the optical performance has
22:29
let you know whether or not this TT
22:31
Artisan 75mm f1.5 swirly bouqu lens is
22:35
the lens for you as always thanks for
22:37
watching have a great day and let the
22:39
light in

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TTArtisan 75mm F1.5 Swirly Bokeh Review | A Biotar for 1/10th the Price?

Dustin Abbott