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Unicorn Camera, Toronto, ON (2026)

04/24/2026

Modification parts
DIY Yashica Electro 35cc camera lens 35mm F1.8 to Nikon Z mount

A few days ago, I shared sample images taken with the Yashica Electro 35CC 35mm F1.8 under both daylight and nighttime conditions. Many people noticed not only its image quality, but also the distinctive “swallow-shaped” bokeh highlights that appear in out-of-focus areas—one of the most recognizable characteristics of this lens.
Beyond its rendering, the lens itself has a very appealing design. It carries a classic film-era aesthetic, with a compact and refined form factor. When paired with modern retro-styled digital cameras, it creates a strong visual identity—combining vintage design language with practical image performance. For many photographers, this is exactly the balance they’re looking for: classic look and solid image quality in one.
This time, through a newly designed aluminum alloy conversion kit, we’ve brought this classic 35mm F1.8 lens into the Nikon Z system. This is not a simple adapter solution, but a precisely engineered structural integration that ensures a seamless, tight fit between the lens and the camera body—allowing this film-era optic to function naturally in the digital age.
When mounted on the Nikon ZF, you’ll immediately notice a different shooting rhythm compared to modern lenses. The view feels more direct, and the image rendering more pure. That subtle “old-era character” naturally brings to mind the shooting experience of Nikon’s film days—less processed, yet deeply authentic.
The conversion kit is built from full aluminum alloy, balancing strength and tactile quality. Tight manufacturing tolerances ensure a stable, wobble-free mount, while maintaining full compatibility with the Nikon Z fl**ge distance. Most importantly, it preserves the original optical structure, allowing the lens to perform as closely as possible to its original design. The overall setup remains compact and well-balanced, without compromising handling.
What truly makes this lens special, however, is its rendering.
At F1.8 wide open, it doesn’t aim for extreme sharpness. Instead, it delivers a balanced look—soft yet defined. Highlights show a gentle diffusion, creating a natural glow that works beautifully for portraits and night photography. The center remains clean and sharp, while the edges transition smoothly, giving the image depth and a sense of space rather than a flat, uniformly sharp look.
In terms of color, it leans toward a warm, natural palette. There’s none of the overly contrasty, highly saturated look often found in modern lenses. Instead, it feels closer to film-era color rendering—especially suitable for street photography, documentary work, and everyday moments.
The out-of-focus rendering is equally appealing. Rather than pursuing ultra-creamy bokeh, it retains a subtle structure, which adds atmosphere in more complex scenes and feels closer to how we naturally perceive depth. At night, point light sources exhibit a slight glow and diffusion, along with those signature highlight shapes—details that many photographers seek for a vintage aesthetic.
This is not a lens built for specifications.
It’s a tool for expression—a way to bring emotion into your images. Ideal for street photography, documentary work, night scenes, and for creators who are constantly searching for that elusive “film look.”
If you’ve grown used to the perfection and precision of modern lenses, this one might offer something refreshingly different.

03/05/2026

Modified Rollei Tessar 40mm F3.5 Leica M Mount – Black & White Rendering

Taken from the classic Rollei 35 camera, this Rollei Tessar 40mm F3.5 lens has been carefully converted through precise mechanical modification to work with the Leica M mount.
It is also one of my personal favorite lenses.
This lens features the classic Tessar four-element, three-group optical design.
Despite its extremely compact size, it still retains the traditional characteristics of German lenses — clean, restrained, and stable rendering.
Its sharpness and contrast are impressive, and even at wide open aperture, the edges of the image field remain well controlled without noticeable collapse.
When used for black-and-white photography, even straight-out-of-camera JPG images can produce a look reminiscent of vintage black-and-white photographs.
Under bright outdoor sunlight, stopping down to a smaller aperture produces very distinct and clean sunstar effects.
When shooting indoors in places such as cafés, the transition between light and shadow is natural and smooth.
Highlights remain controlled without blowing out, while shadow areas still retain clear details.
When photographing rows of chairs, the texture of different materials becomes very apparent.
Outdoor metal chairs show clean and delicate reflections, with crisp edge highlights.
Plastic materials display soft and natural surface sheen, with clear detail but without excessive sharpness.
In black-and-white portrait photography, skin tones appear soft with delicate gray tonal transitions, giving the image a visual atmosphere reminiscent of classic film photography.
When photographing the sky, the layers of clouds are clearly separated.
Highlights remain bright and clean, while shadow areas retain detail, allowing the clouds to show a natural sense of volume.
In high-contrast, low-key scenes, pedestrians’ shadows are clearly projected onto the ground, forming strong graphical shapes that add visual impact to the image.
Under backlit conditions, the outlines of people are clearly defined by the light, creating clean and powerful rim lighting that emphasizes the subject’s silhouette.

01/28/2026

Good EYES — Lens Modification Begins

“You have good eyes.”�This was a comment given to me by a senior photographer, and it is a sentence I have cherished ever since.

People often say that the most important part of a great photograph is the thinking “mind” behind the camera. But for a camera itself, the lens is its eyes. After thirty years as a photographer, I have deeply realized how important a stable and reliable camera, combined with a lens that is intuitive to use and has its own distinct imaging character, is to photographic creation.

EYES was the very first inspiration for the exterior design of this lens.

�I wanted to design a lens—one that functions like eyes: faithful, perceptive, and capable of helping photographers record every fleeting moment.

Lens modification turned out to be far more difficult than I initially imagined. At the beginning, I believed that simply combining suitable vintage components could result in a usable, even excellent, lens. However, through repeated testing and real-world shooting, I gradually came to understand that truly reliable lens modification must start from zero.�

This means remanufacturing all components specifically for the lens, including the direction, pitch, and angle of the threads; the overall proportions of the lens body; the visual and structural balance between the lens and the camera body; and even the final paint finish. Every single detail directly affects the user experience.

Weight balance was one of the most important factors I considered when choosing materials for the lens. Leica cameras are often described as feeling “heavy” in the hand—what we commonly call a reassuring weight. To achieve this sense of stability and solid balance, I chose to use solid brass for all components of the modified lens, resulting in an ideal overall weight distribution.

Focusing feel and focusing precision are details photographers care deeply about. For this reason, I redesigned the focusing structure and modified the M6 thread parameters.
A few days ago, a customer asked whether I used a Russian lens focusing base. In fact, I had previously tested and photographed extensively with various Russian lens designs, but ultimately rejected this solution for one simple reason: the focusing throw was too short to allow precise focusing. As a result, I chose to redesign the focusing base entirely, solving the problem at the structural level.

Today, M Mount and L39 Mount are both very popular. The M mount is currently Leica’s most widely used and versatile mount, and it can also be adapted to many different camera systems through adapters. At the same time, the resurgence of film photography has brought new vitality to the L39 mount, making it an essential option to consider in my design.

Today, a customer asked me how a lens like this is modified. I told him that it involves many details and steps. When people see the original design sketches and hear about the modification concept, it often sounds smooth and simple—as if designing the exterior and assembling the parts would naturally lead to a perfect lens. In reality, moving from an idea to a finished product requires countless revisions, tests, and rejections before arriving at a result truly worthy of being handed to photographers for use.
�
This is also how Good EYES came into being.

Unicorn Camera

01/02/2026

HOW TO DO IT
MODIFYING A ROLLEI SONNAR 40MM F2.8 LENS

Modifying a Rollei 35s Sonnar 40mm F2.8 Lens

Minimum requirements must be met:

Support Leica L39 and M mounts

Aperture adjustment adapted to the new lens body

Retain original focusing functionality

Achieve macro functionality on mirrorless cameras

The overall design must be proportionally sound and aesthetically pleasing

The finished lens must have a premium feel and a substantial weight

Smooth focusing damping

Smooth focusing process

Elegant lettering, appropriate size

Accurate scales

A simple and practical all-copper lens hood is essential

An all-copper lens cap would be even better

Multiple accessories included

…After meeting these basic requirements, what else needs to be considered?

I look forward to your comments!

12/27/2025

ROLLEI SONNAR 40MM F2.8 HFT
HAND-CONVERTED RANGEFINDER LENS FOR LEICA L39 / M MOUNT

I know many of you have been waiting for this moment.
From my first post to now, two years has passed.
After five rounds of revisions and mechanical upgrades, I can finally present this lens:
The Carl Zeiss Sonnar 40mm F2.8 HFT, originally from the Rollei 35S camera, now fully reborn as a true rangefinder lens.
While preserving its original optical design and imaging character, I carried out a complete rangefinder system conversion, transforming it into a hand-crafted lens genuinely usable on Leica rangefinder cameras.

Key Features & Functions
Entire lens body constructed from solid brass
Supports Leica L39 and Leica M mount
Full rangefinder coupling (Leica RF cam)
Aperture control fully relocated to the lens barrel
Original focusing mechanism retained
Newly added 0.3 m close-focus capability (mirrorless & Live View use)
Minimum focusing distance with rangefinder coupling: 0.9 m
Custom solid brass cylindrical lens hood included
Smooth, precise focusing feel with refined throw and damping

This lens is not for those chasing extreme specifications.
But it is perfectly suited for:
Photographers who enjoy the rhythm of rangefinder shooting
Photographers who love the language of film photography
Creators who use both Leica M and mirrorless systems
Those seeking a lens with history, character, and real creative usability

Conclusion
This hand-converted Rollei Sonnar 40mm F2.8
retains the soul of the original Sonnar design.
It is made for photographers who truly enjoy the act of photographing—
those who appreciate the pace of rangefinder cameras,
understand the visual language of film,
and move freely between Leica M and modern mirrorless systems.

It is a lens that inherits history while carrying forward a future.

12/05/2025

Mandler 35mm F2 Winter Shooting Experience (2025) Review

First, my fingers were very cold;

Second, the Leica camera's metal was also cold;

Third, wearing a hat, a thick coat, and warm pants is very important.

Okay! Jokes over, let's officially talk about the shooting experience with the Mandler 35mm F2 lens.

If you want to buy this lens, please PM. Thanks!

Shooting parameters:
Camera used: Leica M9
Lens aperture: F2
Camera ISO: 200
Shutter speed: Auto.

Because the aperture was fixed at F2, the depth of field was very shallow. Combined with the winter wind and constantly swaying branches, achieving precise focus was indeed difficult and challenging, but fortunately, I managed it.

Color Representation: Reference image – Warning Can

The Mandler 35mm F2's color reproduction has a unique "richness." It can present vibrant colors like green, orange, red, and yellow in a saturated, textured, yet not greasy way. The image possesses the richness and depth of a classic vintage lens painting, while maintaining the clarity and three-dimensionality of modern optics. This balance of "retro + contemporary" makes it particularly captivating in natural light: the greens are more subdued, the warm colors brighter, and the layers feel more breathable.

Background blur effect: Reference image - Snow Rose

The Mandler 35mm F2 creates a subtle sense of rotation when blurring the background, a characteristic of many vintage lenses, particularly evident in the Helios 44-2. This 35mm lens, however, is more restrained: its bokeh is softly lemon-shaped, gently encircling the subject without overshadowing it. The image still steadily guides the viewer's eye to the subject. I prefer to call this effect "soft dramatic bokeh"—it's not the most exaggerated or eye-catching blur, but its smooth transitions and soft layers create a dramatic yet natural effect. This perfectly balanced background atmosphere is one of its most captivating qualities.

Center Sharpness at F2: Reference Image – Pine Tree Branches

The Mandler 35mm F2 is undoubtedly a "new classic"—new optical glass, new coating technology, and new manufacturing process allow it to exhibit extremely high center sharpness and contrast even at its widest aperture of F2. Areas in the image that are not on the same depth-of-field plane are quickly softened, resulting in a clean and clear bokeh effect, but without the abruptness of "extremely sharp in the center, immediately collapsing at the edges." Instead, the entire transition from sharpness to bokeh maintains the smooth, soft, and natural tone characteristic of the Mandler series. Even at its widest aperture, it still presents a smooth sense of three-dimensionality and a harmonious atmosphere, which is its truly captivating quality.

Glare Shooting: Reference Image – Backlit Ice Rose

Usually, when glare occurs in shooting, the image will have a thin layer of mist, presenting a soft atmosphere. However, the Mandler 35mm F2's control is outstanding. Even in backlit or brightly lit environments where a slight haziness occurs, the sharpness and contrast at the center of the image remain at a high level. Compared to many older lenses that often suffer from "white fog" and loss of detail, the Mandler 35mm F2's flare handling is more restrained and stable, achieving a good balance between atmosphere and usability.

Maximum Aperture Edge Sharpness: Reference Image---Poster Column

To verify the Mandler 35mm F2's edge sharpness at its maximum aperture, I specifically took a photo of a poster column. From this image, we can clearly observe the lens's image circle performance and vignetting.

First, vignetting does exist, but it's minimal. The slight vignetting adds a touch of atmosphere without disrupting the overall look; instead, it makes the subject more focused.

The center sharpness and contrast are very high, with clear detail. The resolution gradually softens towards the corners. The outline of the paper and the text are still discernible, but the edges are no longer so sharp, instead possessing a slight blurring effect. This combination of strong clarity in the central area and gentle treatment around the edges enhances the prominence of the subject and the three-dimensionality of the image.

I am not a professional photography equipment reviewer. As a photographer, I have tried to introduce this Mandler 35mm F2 lens in my own way, as comprehensively as possible and without my own subjective opinions. If I have omitted anything, please let me know. Thank you.

Unicorn Camera

12/03/2025

Mandler 35mm F2 Brass and Aluminum Versions Comparison

The silver version is the Brass Mandler 35mm F2 lens;
The black version is the Aluminum Mandler 35mm F2 lens.

Differences between the two lenses:
Accessories:
Silver (Brass version):
1. It comes with a lens box and accessory box.

2. The entire lens is made of Brass.

3. The lens cap, round lens hood, square lens hood, and UV filter are all made of Brass.

Black (Aluminum version):
1. It only comes with a lens box (including accessories).

2. The outer ring of the lens is aluminum alloy, and the inner ring is copper.

3. The square lens hood is made of aluminum alloy.

4. The lens cap, round lens hood, and UV filter are all made of aluminum alloy.

Weight:
The silver version is the copper Mandler lens: 199g
The black version is the aluminum Mandler lens: 147.5g

User Experience:

Both versions of the lens have the same lens element structure and coating, so the image quality and color are identical. The biggest difference lies in their balance point when mounted on the camera. The aluminum Mandler lens has a balance point towards the rear of the camera, lacking the weighty feel often associated with it; the copper Mandler lens has a balance point towards the front of the camera, making it more comfortable to hold.

Regarding the mechanical structure, although the two versions use different materials, their internal structures are identical. The aluminum version has a gap between the front and rear of the aperture ring at the maximum and minimum apertures; the copper version's components are more tightly integrated, especially the aperture adjustment, which is more noticeable without any looseness or gaps.

Value for money:

As a photographer, I use lenses and cameras for shooting and general purposes. From my personal perspective, I would recommend the aluminum version of the Mandler 35mm F2 lens. It's lightweight, sufficient for most needs, and you won't feel bad about bumping into it. Its price is more commensurate with the actual image quality it delivers.

11/01/2025

Cooke Telekinic 75mm f4 supports full-frame.
Modifying this lens was challenging. Normally, this lens can cover the CMOS of an APS-C half-frame camera. To achieve full-frame coverage, I made special parts, and now it can be used on Leica cameras. Although I did not implement the Leica rangefinder modem linkage, the Leica M series can still focus on the screen, and the new Leica cameras can focus and shoot using the electronic viewfinder.
Of course, this shot can be taken entirely with the Leica M EV1 series.

10/28/2025

Konica Hexanon 45mm F1.8 vs. Yashinon DX 45mm F1.7

As you know, I modified the Konica S2 Hexanon 45mm F1.8 lens to compare it with the Yashica Electic 35 DX 45mm F1.7 lens on the Sony E mount. I'm sure you're curious about the details, bokeh, color, and black and white effects of these two lenses in comparison photos.
Okay, I set my camera to black and white mode and saved the photos as color RAW and black and white JPG. I won't make any judgments, so please see the comparison photos for yourself.
I've provided the original size photos for you to download.

Unicorn Camera

10/27/2025

Flying

Konica Hexanon 45mm F1.8 Modify Sony E mount Lens

Unicorn Camera

04/24/2026

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10/27/2025

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