With fifteen aperture blades and a nearly perfectly round aperture you can be sure the Meyer-Optik Gorlitz Orestegor 200mm f/4 produces some fantastic bokeh, but I’m not going to go there and claim it’s the overused term “king of bokeh”.
At f4 those who may think anything over f1.8 is too slow or that a fifty or sixty plus year old lens isn’t worth taking a look at I’d suggest they’re missing out on a well built optically sharp lens that will surprise them.
It’s heavy in comparison to the current meme that lighter is better but the weight is due to not skimping on materials.
I’m on my second copy after having lost the first a few years ago when it fell out of a back pack over the side of a mountain – I was able to recover it after rappelling a couple of hundred feet down the mountain but it was beyond repair.
The passage of time did little to undermine my appreciation for this lens and I always believed I would run across a really good copy again at some point – life is good and I have.
I use it on a Sony mirrorless with an adapter – just a straight up no frills adapter that a comes with a straight up price tag that doesn’t border on insanity.
Looks pretty cool what with the zebra motif but also accentuates the diminutive size of my camera, not a problem though as the lens is long enough to act as a good handheld stabilizer.
Every vintage lens I acquire the first thing I do is cla them, this one didn’t require that as the previous owner made an obvious effort to maintain the lens.
Fifteen aperture blades is beginning to make something of a comeback in a few modern lenses and the reason for that should be obvious, but of course also reflected in the price tag.
Bokeh isn’t the primary selling point for me when it comes to a lens, though with certain lenses and what I’ll use them for it is a consideration – if it is a primary concern for you check this lens out if you get a chance.
I expect I may ruffle a few feathers in saying so but I believe there is enough opportunity in modern photography software to manipulate that it shouldn’t have to come to faux bokeh, which some software is beginning to offer – if that works for you well and good but it doesn’t for me.
I like and employ what editing software affords, especially in view of the fact that for me RAW is the way to go, but I don’t want to have to depend on it to address the shortcomings of a lens.
Having reacquainted myself with this lens should it too careen down a mountain I won’t wait as long to find a replacement.
Heard a lot of talk, predominantly good, about another vintage lens that is also noted for it’s bokeh , the TAIR 11A 135mm F2.8.
A Russian made lens featuring no less than twenty blades, never seen or used one but a friend told me they can be found mostly in foreign markets featured on eBay – said for what they are capable of the price generally isn’t out of line.
Lot of very fine lenses being produced now and some dogs as well, but of the vintage lenses that have crossed my path no more than a couple didn’t receive good marks from me.
Bokeh is a matter of taste – bubbles, hexagons, or whatever – depending on the subject I like it well pronounced, though subtle has it’s place.
If there are “rules” associated with it I’m either blissfully unaware of or fail to observe them – just doing what I like.