The Hanimex 28mm f2.8 lens is a really interesting little lens...

Leica M11 Digital Rangefinder Camera

Have you shot with the Hanimex 28mm or other obscure vintage glass? Drop a comment below — I'd love to hear what hidden gems you've found digging through used lens bins.

David Saylors 11/26/23 David Saylors 11/26/23

Chattanooga Photowalk: Leica SL2 + Yashica 28mm Street Photography

Chattanooga's Rossville Avenue is one of those streets most people drive past without a second thought. But stop and look closer—you'll find pre-WWII architecture, a century-old cafe that's about to close forever, and urban decay that looks like a movie set. That's exactly what I did with my Leica SL2 and a vintage Yashica 28mm f/2.8 lens: parked for one hour of street photography and came away with something worth sharing.

Hamilton Parts Distributors: Pre-War Architecture in Chattanooga

Today we find me in Chattanooga yet again and this time I am setup on a side street off of Main street called Rossville Avenue and this road has some really neat old buildings on it, some of which I have photographed in the past but I like to get photos of them as I go along to show how they change with time. I get parked and pay for one hour of parking so I have to make it count. Putting a little pressure on myself to come away with SOMETHING of value in this time allotment.,,

Rossville Avenue Chattanooga street photography with Leica SL2 and Yashica 28mm vintage lens — Rossville Avenue in Chattanooga—one of those streets you drive past but never really see. Time to change that.

My first stop is the Hamilton Parts Distributors building that has been NOT a parts distributor for quite some time as of this point…2023. The building is really starting to show its age too with numerous windows bricked up on the sides as well as the front giving it a sort of dystopian imbalanced look. This could be a set right out of a movie or something. I took several photos from different angles today and some look better than others. I really like the front door and the corner that I get today for some reason… Here they are, what do you think?

I love how the building still has remnants of the signage that was painted on it some time in the past. Also look at the foundation material—today it's all either poured concrete or cement blocks and has been for many decades. So I'm going to speculate this is pre-war construction, meaning before World War II, based on these limestone foundation stones.

These stones look like they were repurposed from another construction site that existed before this building did. I've seen evidence of these cut stones going back to the mid-19th century in Chattanooga, so I know these are probably something left over either from a fire or were just cast off when another building was demolished. The people who built this building saw a chance to save a few dollars on this part of the construction.

Also notice that they didn't think these stones were very appealing—they hid them behind a mortar stucco finish as you can see in the front door photo. Practical, but not pretty.

What I really love about locations like this is that they tell stories about how Chattanooga was built. This isn't some sterile modern construction—this is history you can see and photograph. The bricked-up windows, the deteriorating facade, the repurposed foundation stones—it all adds up to a building that looks like it could be a set piece in a dystopian film. And it's just sitting here on Rossville Avenue where most people never even glance at it.

Hamilton Parts Distributors building entrance with limestone foundation and bricked windows in Chattanooga — The corner angle showing all those bricked-up windows. Dystopian and unbalanced—looks like a movie set.

Hamilton Parts Distributors corner view showing bricked up windows and deteriorating facade Chattanooga Tennessee — The front entrance of the old Hamilton Parts Distributors building. Notice the limestone foundation stones—likely pre-WWII construction repurposed from an earlier building.

Zarzours Cafe: 100 Years of Chattanooga History (Closing Soon)

My next stop was right next door at Zarzours Cafe.

Zarzours Cafe historic Chattanooga restaurant closing after 100 years in business — Zarzours Cafe—over 100 years in business and closing in less than a month. I'll be eating there before they close. How could I not?

This cafe has been in business for over 100 years. Yeah, you read that right—a century, as you can see on their sign. And it's closing in less than a month from when I took these photos.

I'd never eaten there before this photowalk, which honestly is a little embarrassing considering how long they've been around. But I made a promise to myself right then: I'm going to sit at their cafe and enjoy the fine cuisine they've been serving for a century before they close their doors for good. How could I let that slide? A business that survives 100 years in Chattanooga—through the Great Depression, World War II, economic changes, everything—deserves to be experienced and remembered.

This is what urban photography is really about for me. Sure, you can go shoot pretty buildings and interesting light, and that's fine. But when you're documenting places like Zarzours that are about to disappear, you're preserving Chattanooga history. These photos matter in a way that just "pretty pictures" don't. In ten years, twenty years, someone's going to search for Zarzours Cafe and these images will be part of the record of what it looked like before it closed.

Back to the walk at hand. I took a couple of photos of the restaurant and parking area and headed on down the street.

Zarzours Cafe parking area and exterior Chattanooga historic restaurant photography — Another angle of Zarzours. A century of Chattanooga history about to become just a memory.

Koch Foods and Lookout Mountain: Iconic Chattanooga Skyline

The next stop was at the Koch Foods Processing plant. This is one of two processing plants inside the city that I am aware of. These have been here for decades too so they are pretty much fixtures of the city at this point. One is on Broad street and the other is here on Rossville Ave. It being such an iconic location coupled with the skyline containing Lookout Mtn as well makes for a cool photo to me.

Koch Foods processing plant with Lookout Mountain skyline Chattanooga Tennessee urban photography — Koch Foods processing plant with Lookout Mountain in the background—an iconic Chattanooga skyline view that's been here for decades.

Main Street Chattanooga: Urban Photography in Action

After the chicken plant, I made my way over to Main street and did a little photography on Main as well. Main usually has something really colorful as well as interesting too, this is why I usually always make my way over and look around for a little while at a minimum…

Main Street Chattanooga construction scene urban street photography with Yashica 28mm adapted lens — Same spot, faster shutter speed to freeze the construction scene. Main Street always has something interesting going on.

Leica SL2 + Yashica 28mm: Why This Combo Works for Street Photography

These two photos just go to show what all can be found on Main street even when it is not having some sort of special event. All it takes is a little creativity and time of your part to come away with some interesting photos. Now you might be thinking these are not interesting photos, and you will be right as the photo interest rate will vary from person to person, but I found that these to be quite interesting so I am sharing them with you…lol. The difference between the two photo primarily is the shutter speed as one is really slow to blur the truck and the other is faster so it will capture the whole construction scene with out any motion blur on my part.

Main Street Chattanooga slow shutter speed motion blur street photography with Leica SL2 IBIS — Main Street with a slow shutter to blur the truck. The Leica SL2's IBIS makes this kind of handheld shot possible.

Leica SL2 + Yashica 28mm: Why This Combo Works for Street Photography

The Yashica 28mm f/2.8 is one of those vintage lenses that just works. It's not fancy, it's not expensive, and it doesn't have modern coatings or any electronic connections. But for street and urban photography like this Chattanooga photowalk, it's exactly what I need.

The 28mm focal length gives you enough width to capture environmental context—like the whole Hamilton Parts building facade or the Koch Foods plant with Lookout Mountain in the background—without getting into ultra-wide territory where everything starts looking distorted. It's the kind of focal length where you can work close to your subject or step back and get the whole scene, and either way, the composition feels natural.

Paired with the Leica SL2, this combination is almost perfect for what I'm doing. The SL2's IBIS (in-body image stabilization) means I can hand-hold at slower shutter speeds than I could with any other camera. That Main Street shot where I blurred the truck? That's 1/15 second or slower, handheld, with a manual focus lens. Without IBIS, that would be a blurry mess. With the SL2 compensating for camera shake, it's clean and usable.

The focus peaking on the SL2 makes manual focusing with the Yashica fast and accurate. I set focus peaking to show me exactly where sharp focus is, and between that and the bright EVF, I can nail focus even in challenging light. It's honestly more enjoyable to shoot with than autofocus sometimes—you're more engaged with the process, more intentional about what you're focusing on.

And here's the best part: the Yashica 28mm cost me a fraction of what a native L-mount lens would cost. I get great image quality, I enjoy the process, and I'm not worried about damaging an expensive modern lens while walking around industrial areas of Chattanooga photographing old buildings. It's the perfect urban photography setup.

IBIS and Adapted Lenses: Technical Advantages of the Leica SL2

One thing I want to emphasize about shooting adapted vintage lenses on the Leica SL2 is how much the IBIS changes what's possible. In-body image stabilization isn't just a convenience feature—it fundamentally changes how you can use manual focus lenses in real-world shooting.

With older cameras, the rule of thumb was that your minimum handheld shutter speed should be roughly 1/focal length. For a 28mm lens, that means 1/30 second or faster. Slower than that and you'd get camera shake blur unless you had very steady hands or were bracing against something.

The SL2's IBIS throws that old rule out the window. I regularly shoot at 1/15 second, 1/8 second, sometimes even slower if I'm careful. The sensor is compensating for my hand movement in real-time, which means I can use lower ISOs for better image quality, or shoot in lower light conditions without needing a tripod.

For street and urban photography where you're often in shaded areas or shooting late in the day, this is huge. The Yashica 28mm has a maximum aperture of f/2.8, which is good but not super fast. In dimmer light, without IBIS, I'd be pushing ISO up to 1600 or 3200 to maintain usable shutter speeds. With IBIS, I can stay at ISO 400 or 800 and let the shutter speed drop, knowing the stabilization will keep things sharp.

It's one of those features that doesn't seem like a big deal until you actually use it in the field, and then you wonder how you ever shot without it. Vintage glass on a modern mirrorless body with IBIS is genuinely the best of both worlds.

Some are asking…

Best Time to Shoot Rossville Avenue: Morning light is good for the Hamilton Parts building facade. Late afternoon gives you nice side light on Zarzours and the other buildings along the street. Main Street is active all day, but I prefer shooting there in the afternoon or early evening when the light gets more interesting.

Parking and Logistics: Like I mentioned, metered parking is available right on Rossville Avenue. One hour was enough time for me to hit Hamilton Parts, Zarzours, Koch Foods, and make my way to Main Street. If you want to spend more time, pay for two hours to give yourself breathing room.

Safety: This isn't the touristy part of Chattanooga (it is more for the local crowd in this area) so just be aware of your surroundings. It borders an industrial area, not dangerous, but use common sense. Don't leave gear visible in your car, keep your camera bag close, and stay alert. I've never had any issues, but it's always smart to be aware when you're photographing in less-traveled parts of town.

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Frequently Asked Questions About Chattanooga Photography

Where is the best street photography in Chattanooga?

Main Street and Rossville Avenue are excellent for urban and street photography. Main Street is more polished with events, murals, and restaurants—it's the tourist-friendly side of downtown. Rossville Avenue offers grittier architecture and history. The area around the old Hamilton Parts Distributors building has pre-WWII structures that make for compelling photography if you're into urban decay and architectural history.

For skyline shots, look for locations where you can frame Lookout Mountain in the background—it's iconic Chattanooga and makes for instantly recognizable compositions. The Koch Foods plant area on Rossville gives you that view. Also worth checking: the riverfront, the Walnut Street Bridge, and the side streets off Main where you'll find older buildings and interesting character that don't make it into the tourist brochures.

Is Zarzours Cafe still open in Chattanooga?

As of when I took these photos in late 2023, Zarzours Cafe was preparing to close after over 100 years in business. This century-old Chattanooga institution on Rossville Avenue was a landmark, and I made it a point to photograph it—and eat there—before it closed forever. If you're reading this after 2023, it's likely already closed, which makes these photos even more valuable as historical documentation of Chattanooga's changing landscape.

It's one of those things that makes urban photography meaningful to me. You're not just capturing pretty pictures—you're documenting history before it disappears. Businesses that survive 100 years deserve to be remembered, and photography is how we do that.

Can you use vintage lenses for street photography?

Absolutely. I shot this entire Chattanooga photowalk with a Yashica 28mm f/2.8—a vintage adapted lens on my Leica SL2. The 28mm focal length is great for street photography because it captures environmental context without being too wide or distorted. You get the subject plus the surrounding architecture and scene, which tells a more complete story.

The Leica SL2's IBIS and focus peaking make manual focusing with vintage glass practical and enjoyable even in fast-moving street situations. Plus, vintage lenses have character and cost a fraction of modern glass. For street photography where you're often shooting at f/5.6 to f/8 anyway, vintage lenses perform beautifully. The Yashica 28mm is sharp, handles well, and cost me way less than any modern L-mount 28mm would.

What camera settings work best for urban photography?

For urban photography like this Chattanooga photowalk, I typically shoot in aperture priority mode at f/5.6 to f/8. This gives you good depth of field to keep both foreground and background reasonably sharp while keeping shutter speeds manageable in changing light conditions.

The Leica SL2's IBIS lets me hand-hold at slower speeds than I could with other cameras—like that Main Street shot with the motion-blurred truck. I set a minimum ISO (usually 100-400 depending on available light) and let the camera adjust shutter speed based on the scene. For adapted manual lenses like the Yashica 28mm, I use focus peaking to nail focus quickly and confidently.

If you're shooting architecture specifically, sometimes I'll stop down to f/11 or f/16 for maximum sharpness corner-to-corner, but for general street photography, f/5.6 to f/8 is the sweet spot.

Where can I park for photography on Rossville Avenue in Chattanooga?

There's metered street parking along Rossville Avenue. I paid for one hour of parking which gave me enough time to walk and photograph the Hamilton Parts building, Zarzours Cafe, Koch Foods, and make my way over to Main Street. The parking is affordable and convenient, and the walk between all these locations is pretty short—maybe a quarter mile total if you're hitting everything.

Just be aware of your surroundings. This area is more industrial and local than touristy, so stay alert when you're setting up shots and wandering around. It's not dangerous, but it's also not the Walnut Street Bridge where there are tourists everywhere. Just use common sense like you would in any urban environment.

How do you photograph closing businesses before they're gone?

When I heard Zarzours Cafe was closing after 100 years, I made it a priority to photograph it while I still could. These historical documentation shots become more valuable over time as the city changes. My advice: shoot multiple angles, capture signage clearly, and include contextual details like the parking lot, neighboring buildings, and street views that show where it sits in the neighborhood.

Take both "beauty shots" and straightforward documentary photos. You're not just making art—you're preserving Chattanooga history. The signage, the facade, the surrounding context—all of it matters for the historical record.

And if you can, patronize the business before it closes. I planned to eat at Zarzours before they shut down for good. If something is worth photographing because it's historically significant, it's worth supporting while you still can.

That's one hour of parking on Rossville Avenue in Chattanooga—from pre-WWII architecture at Hamilton Parts Distributors to a century-old cafe about to close forever, to the iconic skyline view at Koch Foods with Lookout Mountain in the background. Not bad for a quick urban photowalk with a Leica SL2 and a vintage 28mm lens.

Chattanooga has so much history hiding in plain sight. You just have to park, get out, and look. Next time you're driving through, skip Main Street for a minute and explore Rossville Avenue. You'll find stories in every building.

Have you photographed Chattanooga or documented historic locations before they're gone? Drop a comment—I'd love to hear about your urban photography spots.

Want more Chattanooga photography and Leica SL2 content? Check out my other photowalks and vintage lens reviews on the blog.

David Saylors 11/4/23 David Saylors 11/4/23

Tennessee Fall Color Photography: Finding Colors During Drought

Looking up at the yellow canopy at North Chickamauga Creek WMA, Tennessee. The overcast sky created beautiful soft light filtering through the leaves without harsh shadows. This perspective shows how dense the fall color was in areas where the trees had access to groundwater from the creek.

Well, it sure took long enough, but I finally found a place local to me that had some beautiful fall color photo opportunities.

Yellow canopy fall colors Tennessee trees autumn landscape photography Leica SL2 — Looking up at the yellow canopy at North Chickamauga Creek WMA, Tennessee. The overcast sky created beautiful soft light filtering through the leaves without harsh shadows. This perspective shows how dense the fall color was in areas where the trees had access to groundwater from the creek. Just a few hundred yards away from the water, everything was brown and crispy from the drought. The lesson? In dry years, forget the open fields and exposed ridges. Find the water and you'll find the colors! Leica SL2 + Nikkor 28mm f/2.8 AiS handheld.

Tennessee Weather - Fall Color Photography

This is not something I normally have when it is as dry as it has been recently. Let me explain…

I am no scientist but I have stayed in a Holiday Inn before, so here goes. From what I have seen, there are three different scenarios that usually unfold around here in the fall.

The first event is like this, we get plenty of rain in the spring, it dries out a little in the mid summer months and then it starts to rain in late September or early October. This is actually the best possible scenario from what I can tell…

The second scenario is the same as the first one except the rain turns into a thunderstorm storm with heavy rain and usually high winds during peak color season, knocking all the leaves off of the trees.

Then there is option three, this one is where there is rain in the spring but then it is dry for the entirety of summer and fall. This is the type of season we are in now. There has not been enough rain to matter in two months…maybe more. It is so little water that the creek next to my house has no surface water in it as of this writing.

Of the three events, the first one is the preferred for fall color photos as there is sufficient water for the trees to transition normally to their dormant winter state and you get this incredible color display in the fall. This year though, we have event three where everything is a huge tinderbox and the leaves are simply drying out and turning brown then falling off of the trees without passing through their color phase at all…except…in the few places where there is still ground water to water the trees.

Understanding Tennessee's Three Fall Color Scenarios

I mentioned the three fall scenarios briefly, but let me break them down in more detail since understanding these patterns will help you plan your fall photography:

Scenario 1: The Perfect Year (RARE)

What happens:

Spring rains (March-May) give trees plenty of water to grow
Summer (June-August) dries out a little but not too much
Rain returns in late September or early October
Trees get signal to prepare for winter dormancy
Beautiful color transition over 2-3 weeks
Leaves stay on trees long enough to photograph

Photography result:

Incredible color displays everywhere
Colors last for weeks, not days
Can shoot anywhere, not just near water
This is what you see in all the fall color guides!
We get this maybe 1 out of every 4-5 years

Scenario 2: The Stormy Year (FRUSTRATING)

What happens:

Same as Scenario 1 through summer
Rain returns in late September (good!)
But it comes as thunderstorms with heavy rain and high winds
Leaves start to change color (exciting!)
Then a big storm blows through (devastating!)
All the leaves get knocked off before peak color

Photography result:

You get maybe 3-5 days of good color before the storm
Have to act fast when colors appear
After the storm, just bare trees and leaves on the ground
Extremely frustrating if you had plans for the weekend!
This happens maybe 1 out of every 3-4 years

Scenario 3: The Drought Year (CHALLENGING)

What happens:

Rain in spring (so far so good)
Then dry for entire summer and fall (uh oh)
No rain in September or October
Trees are stressed and trying to survive
Leaves dry out and turn brown without color phase
Everything becomes a tinderbox
Exception: Places with groundwater still have colors!

Photography result:

Most locations are brown and crispy, no color
Have to find water sources (creeks, rivers, springs)
Limited locations but concentrated color where water exists
Requires more scouting and research
This is what we had this year (2023)

How to adapt:

Scenario 1: Shoot anywhere, you can't go wrong!
Scenario 2: Have a plan ready, shoot as soon as colors appear
Scenario 3: Follow the water (like I did at North Chickamauga Creek)

The key is recognizing which scenario you're in and adjusting your strategy accordingly. Don't wait for "perfect conditions" that might not come!

Red maple tree yellow fall colors Tennessee North Chickamauga Creek Leica SL2 landscape photography — A red maple tree standing out in a sea of yellow at North Chickamauga Creek WMA near Soddy Daisy, Tennessee. This was the first scene that greeted me when I started looking for fall colors! After weeks of drought with everything turning brown, finding this color contrast felt like discovering gold. The key during dry years? Follow the water. This gorge has a creek running through it (barely flowing, but still there!), which gave the trees enough water to transition to their fall colors normally. Shot handheld with Leica SL2 + Nikkor 28mm f/2.8 AiS. The overcast light saturated the colors without creating harsh shadows!

Fall Color Photography Secret… Follow the Water

Enter North Chickamauga Creek WMA near Soddy Daisy Tennessee. This is a small WMA (Wildlife Management Area) situated in a gorge next to Mowbray mountain and is a popular spot for the locals to cool off in the summertime in the river. Well, the river is just a brook at this point and is barely moving at all, BUT it is there! If you watch my YouTube video on it you will see what I mean. Even so, there is still enough water to feed the trees so they had a fall color change.

Since I found some colors this year, I now had to figure out what I wanted to use to capture all this color with. I finally settled on my camera being the Leica SL2 as it has a high resolution sensor and several other features that lend itself to being a wonderful landscape photography camera. You see the Leica SL2 is a mirrorless camera so it can be adapted to various vintage lenses really easily and we all know how I love using vintage lenses! So today’s lens of choice for the Leica is the Nikkor 28mm f2.8 AiS. This is one of Nikon’s crowning achievements in lens design as it was as close to optical perfection as they had ever gotten to that point. So naturally I used this lens.

The magic of the Leica SL2 as well is that it has IBIS on the sensor. This basically turns all my vintage lenses into stabilized lenses. I know there are a ton of other cameras that also have these same features but I just like the Leica SL2 for some reason.

Now that the camera setup is settled, next is finding the photo I want. I started out looking for macro level images, vistas and scenes, then I moved in closer to get more detailed image ideas. The first one is shown above of the red maple tree in a sea of yellow. Then I moved to the river bed and found some wonderful colors out in the open.

Creek bed fall colors boulders North Chickamauga Tennessee drought Leica SL2 landscape photography overcast — Looking upstream at North Chickamauga Creek near Soddy Daisy, Tennessee. This is literally what greeted me when I entered the river bottom. Not much water (you can see how low the creek was during this drought!), but the color splash from the trees was incredible! The boulders in the creek bed created great foreground interest, and the overcast sky provided soft, even light that made the colors pop without blown highlights. Shot handheld with Leica SL2 + Nikkor 28mm f/2.8 AiS at f/8. I love the texture and color in this image! So much detail from the rocks to the leaves to the trees. The 28mm wide angle let me include the entire scene from the creek bed up to the canopy. This is why I walked down into the creek rather than shooting from the trail!

This was literally what I was greeted with when I looked upstream from where I entered the river bottom. Not much water, but I got such a color splash from the trees that I didn’t even care. I would have liked for it to not be overcast, but you take what you can get and work with it. I really love this image too, so much texture and color in one image that is is almost overwhelming. I was really starting to embrace the look that the 28mm lens was giving me and then I decided to move upstream to that large boulder you see in the above photo and get a different perspective from that spot.

Valley gorge fall colors sky clouds North Chickamauga Creek Tennessee Leica SL2 wide angle landscape — The valley perspective looking upstream at North Chickamauga Creek WMA, Tennessee. That little smidgen of sky showing the overcast clouds almost makes it otherworldly or something like that! I was blown away with this image when I got it into Lightroom and could see it better. It almost doesn't look real back up in the valley next to the sky. The clouds were epic! Shot handheld from a large boulder I scrambled up to for this perspective. Leica SL2 + Nikkor 28mm f/2.8 AiS, no tripod. The IBIS (in-body image stabilization) let me shoot this at 1/15s handheld and get sharp results. There's something to be said for simplicity - one camera, one lens, no backpack or tripod. Just me and the landscape!

Fall Color Photography and Moody Skies

The little smidgen of sky showing the over cast clouds almost makes it otherworldly or something like that. I was blown away with this image when I got it into Lightroom and was able to see it better. It almost doesn’t look real back up in the valley next to the sky. The clouds were epic! This is also shot hand held with the 28mm lens. What is nice is that it allowed me to be very agile and not have the burden of the back pack and a tripod with me at all. There is something to be said for simplicity…

Frequently Asked Questions About Fall Color Photography in Tennessee

When is peak fall color season in Tennessee?

It depends on where you are in the state! In East Tennessee (mountains), peak fall colors usually hit mid-to-late October. In Middle Tennessee (Chattanooga area and surrounding), you're looking at late October into early November. But here's the thing that most people don't realize: the actual timing depends more on rainfall and temperature than it does on the calendar! If we get a drought like we had this year, the trees just skip the color phase entirely and go straight to brown. If we get too much rain with high winds during peak season, all the leaves get knocked off before you can shoot them. The "perfect" fall color year requires rain in spring, a slightly dry summer, then rain returning in late September or early October. That's when you get the incredible color display that lasts for a couple weeks!

Why do some years have better fall colors than others?

Water! It all comes down to water and how the trees are stressed. I'm no scientist, but I have stayed in a Holiday Inn before, so here goes, lol. Trees need sufficient water to transition normally to their dormant winter state. When they have the right amount of water, they go through that beautiful color change we all love photographing. But when it's too dry (like this year with two months or more of no rain), the leaves just dry out and turn brown without passing through the color phase at all. It's basically a huge tinderbox and the trees are just trying to survive, not put on a show for photographers! That's why you need to find the water sources during dry years. Wherever there's still groundwater feeding the trees (creeks, rivers, springs), those trees will still change color even when everything else is brown.

Where can you find fall colors in Tennessee during a drought?

Follow the water! During dry years like this one, you need to find places where there's still water feeding the trees. Creek beds, river gorges, wildlife management areas near water sources, anywhere with groundwater. For me, North Chickamauga Creek WMA near Soddy Daisy Tennessee saved the day! The creek was barely flowing (just a brook at that point), but there was enough water to keep the trees happy. They had a beautiful fall color change while everything else around the area was brown and crispy. Other good bets: Ocoee River area, any of the gorges in the Cumberland Plateau, state parks with creeks or waterfalls, and anywhere in the Smoky Mountains (they usually have better water retention). Just look for blue on the map and you'll probably find color!

What camera settings work best for fall color photography?

I shot this whole session handheld with the Leica SL2 and Nikkor 28mm f/2.8 AiS lens, so here's what worked for me: aperture priority mode (let the camera pick the shutter speed), probably f/5.6 to f/11 for landscape depth of field, ISO auto (camera adjusted based on light), and I relied heavily on IBIS (in-body image stabilization) since I wasn't using a tripod. For fall colors specifically, you don't want to overexpose or you'll blow out the bright yellows and reds. I tend to expose for the highlights and let the shadows fall where they may, then I can lift them a bit in Lightroom if needed. Shoot RAW so you have flexibility with white balance (overcast days can look weird if you don't adjust). And honestly? Just set it and forget it so you can focus on composition rather than fiddling with settings!

Do you need a tripod for fall color photography?

Not if you have IBIS! I deliberately left the tripod and backpack at the truck because I wanted to be agile and explore without the burden of extra gear. The Leica SL2 has in-body image stabilization which basically turns all my vintage lenses into stabilized lenses. This means I can shoot handheld at slower shutter speeds without camera shake. There's something to be said for simplicity, especially when you're walking a creek bed or scrambling around on boulders like I was doing. That said, if you don't have IBIS or you're shooting in really low light, a tripod will give you sharper images. But for bright overcast days like this? Handheld is totally fine and way more enjoyable!

What's the best lens for fall color photography?

Wide angle! I used the Nikkor 28mm f/2.8 AiS for this session and it was perfect. Wide angle lenses (24mm, 28mm, 35mm) let you include the environment and context around the colors. You can get the creek bed, the trees, the sky, the boulders, everything in one frame. Plus, when you're in a gorge or tight space, a wide lens is the only way to get the whole scene. That said, bring a longer lens too if you want to isolate individual trees or compress distant ridgelines. But if I had to pick just one lens for fall color photography? 28mm is my sweet spot. It's wide enough for landscapes but not so wide that you get too much distortion on the edges.

Is vintage lens photography good for landscape work?

Absolutely! The Nikkor 28mm f/2.8 AiS I used is one of Nikon's crowning achievements in lens design. It was as close to optical perfection as they had ever gotten to that point. Vintage lenses often have character that modern lenses lack (slightly warmer rendering, interesting flare characteristics, smooth bokeh), and they're sharp enough for landscape work when you stop them down to f/5.6 or f/8. The best part? They're cheap! You can get incredible vintage glass for $100-300 that would cost you $1,000+ in a modern equivalent. Just make sure your camera can adapt them (the Leica SL2 is perfect for this with its short flange distance), and you're good to go. Oh, and IBIS makes vintage lenses even better since they don't have built-in stabilization!

What time of day is best for shooting fall colors?

Honestly? Overcast days like I had are actually ideal for fall color photography! Direct sunlight creates harsh shadows and blown highlights on the bright leaves. Overcast light is soft, even, and it lets the colors really saturate without fighting crazy contrast. That said, early morning and late afternoon (golden hour) can be magical if you want warm light on the trees. Avoid midday harsh sun if you can. For this shoot, the overcast clouds were epic and made the colors pop without any harsh shadows. It almost looked otherworldly! So don't skip shooting just because it's cloudy. Embrace it!

How do you compose fall color photos without them looking like every other fall photo?

Great question! I try to find specific elements to anchor the composition rather than just pointing at a bunch of colorful trees. For this session, I looked for: (1) the red maple tree in a sea of yellow (color contrast!), (2) the creek bed with boulders as a leading line through the frame, (3) the valley perspective looking upstream with that little smidgen of sky, and (4) textures and layers (water, rocks, leaves, trees, sky). The key is to have a subject or a story, not just "look, it's colorful!" Find a foreground element, use the colors as supporting cast, and compose with intention. Also, get low! I was walking in the creek bed and scrambling on boulders to get different perspectives. Don't just stand on the trail and shoot at eye level like everyone else!

What are the three fall color scenarios in Tennessee?

From what I've seen, there are three different scenarios that usually unfold around here:

Scenario 1 (BEST): Plenty of rain in spring, dries out a little mid-summer, then rain returns in late September or early October. This gives you incredible color displays that last for weeks! The trees have enough water to transition normally to dormancy and you get the full spectrum of reds, oranges, and yellows.

Scenario 2 (WORST): Same as Scenario 1 except the rain turns into thunderstorms with heavy rain and high winds during peak color season. This knocks all the leaves off the trees before you can photograph them. Super frustrating!

Scenario 3 (CHALLENGING): Rain in spring but then dry for the entirety of summer and fall. This is what we had this year. Everything becomes a huge tinderbox and the leaves simply dry out and turn brown without passing through their color phase at all... except in the few places where there's still groundwater to feed the trees. That's when you have to get creative and find the water!

BONUS QUESTION: What's North Chickamauga Creek WMA like for photography?

North Chickamauga Creek WMA near Soddy Daisy Tennessee is a hidden gem! It's a small Wildlife Management Area situated in a gorge next to Mowbray Mountain. Locals use it to cool off in the river during summertime, but in fall it's perfect for photography! The gorge creates interesting light and the creek provides water for the trees even during drought years. When I shot this, the river was barely moving (just a brook, really), but there was still enough water to feed the trees so they had beautiful fall color change. Easy to access, not too crowded, and if you walk the creek bed you'll find tons of compositions. Just be careful on the rocks, they can be slippery! If you watch my YouTube video about it you'll see what I mean.

So in summary, if you want to find fall colors even when it has been really dry, find the water. Where ever there is water, there will be fall colors. At least that is what I have seen, your mileage may vary.

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Carl Zeiss Jena Biotar 58mm f/2 Review: 60-Year-Old Vintage Magic

When Aaron offered to loan me his 58mm, I had no idea it was a Zeiss and over 60 years old. But once I held it in my hands, the history became obvious. This isn't just any vintage lens. It's a Carl Zeiss Jena Biotar from East Germany!

Carl Zeiss Jena Biotar 58mm f2 vintage lens M42 mount adapted to Leica SL2 East German optics — The Carl Zeiss Jena Biotar 58mm f/2 from East Germany. This lens is over 60 years old and still producing beautiful images! Notice the all-metal construction and vintage styling. This is German engineering that lasts!

Carl Zeiss Jena Biotar 58mm f/2: A 60-Year-Old Lens

The Carl Zeiss Jena Story: After World War II, the original Carl Zeiss optical company in Germany was split between East and West. The Jena facility ended up in East Germany (DDR), while the West German operation continued in Oberkochen. For decades during the Cold War, there were TWO Carl Zeiss companies making lenses! The East German Carl Zeiss Jena produced exceptional optics throughout the 1950s, 60s, 70s, and into the 1990s.

The Biotar design dates back to the 1920s-1930s and is a double Gauss optical formula. This particular 58mm f/2 version was produced primarily in the 1960s and early 1970s. That means this lens I'm holding is literally 60+ years old and still producing sharp images! That's German engineering right there.

What makes Carl Zeiss Jena lenses special today is that they were made to the same high standards as West German Zeiss, but now they're available on the used market for a fraction of what modern Zeiss lenses cost. You can find these Biotar lenses for $100 to $300 depending on condition, versus thousands for a modern Zeiss prime!

Well, it didn’t take long to figure that out and to round up a simple M42 to Leica L mount adapter so I could get this lens on my Leica SL2.

The next thing I did was look the lens over really closely. The usual controls are there of aperture and focus but it has a third ring as well. This ring is spring loaded and is some sort of adjustable stop for the minimum aperture. This is how it works, you pull the ring towards the camera, compressing the spring. While the spring is compressed, you rotate the ring and align a mark on it with the aperture you want it to stop at. Once here, release the spring and it will seat in this position stopping the aperture ring from stopping down past this point. This was for cameras back in the day as you had to meter the scene manually then set the aperture for the meter value. To compose though, you needed all the light you could get so you set the ring for the aperture you plan to shoot the photo at then you would open the aperture all the way to see good and get good focus. Once this was done, you could simply spin the aperture ring to the stop and it was set to the metered value and you didnt even have to come off the camera to do it. Pretty slick if you ask me.

Another item of note is that the aperture ring is ”clickless” or in other words, it simply turns smoothly through the range without any detents to locate it at specific settings.

The next thing I noticed is that the machine work is impeccable…which I have grown to expect no less from the German people. The focus ring is smooth as silk even with its advanced years. Quite the opposite of some of my other lenses to be quite honest.

330 Degrees of Focus Throw: Close Focus Priority

Something else I noticed is that the lens has incredible close focus with about 330 degrees of focus throw. Of that 330 degrees it devotes probably 250 degrees to close focus. Crazy precise focus for a lens this old. The first 1/4 turn though is the normal use range so it will go from infinity to 2.5 meters in that 1/4 turn and then the rest of the throw is for close range work. Pretty neat how the normal range stuff is in such a short throw so you can get focus fast with it. Just a little practice and you a can get street photos of moving subjects and fairly large apertures in focus. You just learn how to use it with some time.

Sample Photos: What This Vintage Lens Can Do

Let me show you what this 60-year-old lens can actually produce on a modern 47-megapixel Leica SL2:

Portrait sample photo taken with Carl Zeiss Jena Biotar 58mm f2 showing sharpness bokeh rendering vintage lens — Portrait of Teresa shot with the Biotar at a local state park. Look at that sharpness and the smooth bokeh! This is what makes vintage lenses so cool—they still got it after 60+ years. Razor sharp where it matters with beautiful rendering.

Teresa's Portrait: Look at that sharpness! The Biotar is razor sharp at f/2 where it matters (Teresa's face and eyes), with smooth falloff to the background. The 15-blade aperture creates beautifully smooth bokeh without harsh edges. This is exactly what you want in a portrait lens. The rendering has that vintage "look" that's hard to describe but you know it when you see it. Colors are slightly warm, micro-contrast is excellent, and the overall feel is organic rather than clinical.

Walk Around Shots: The other samples show the Biotar's versatility as a general-purpose lens. At 58mm, it's slightly longer than the standard 50mm, which gives you a bit more reach for street photography while still being wide enough for environmental shots. I took these during photowalks around Chattanooga, just grabbing scenes that caught my eye. The lens renders these scenes with great detail and pleasant tonality.

What Makes Vintage Rendering Special: Modern lenses are designed to be clinically perfect. Flat field correction, perfect color neutrality, zero distortion. That's great for product photography or technical work! But vintage lenses like the Biotar have character. Slight warm color cast, gentle vignetting, bokeh that's smooth rather than razor-sharp. It's the difference between digital perfection and analog soul. Not better or worse, just different. And for portraits or artistic work? I'll take the vintage rendering every time!

Technical Specifications and Pricing

Here are the specs for this vintage glass:

Optical Specs:

Focal length: 58mm (slightly longer than standard 50mm)
Maximum aperture: f/2
Minimum aperture: f/16
Aperture blades: 15 (yes, fifteen! Creates smooth bokeh)
Optical design: Double Gauss (Biotar formula)

Physical Specs:

Mount: M42 screw mount (universal vintage mount!)
Filter size: 49mm
Weight: Approximately 290g (10.2 oz)
Length: About 45mm
Focus throw: 330 degrees (!) with close focus priority
Minimum focus distance: Approximately 0.5 meters (very close!)

Age and Origin:

Manufactured: 1960s-1970s (60+ years old!)
Origin: Carl Zeiss Jena, East Germany (DDR)
Production numbers: Relatively common, still available used

Used Market Pricing:

Typical price: $100-300 depending on condition
Excellent condition: $200-300
Good condition with some wear: $100-180
Compared to modern Zeiss Batis 55mm f/1.8: $900+

The value proposition here is incredible! You're getting genuine Carl Zeiss optics with 60+ years of proven performance for less than the cost of a cheap modern lens. That's what makes vintage glass so appealing!

It is not a bad lens in any way either, just look at the photo of Teresa I got at the local state park one day with it. Razor sharp and great rendition too. This is what makes vintage lenses so cool, they still got it…

Street photography sample Carl Zeiss Jena Biotar 58mm general purpose walk around lens vintage glass rendering — The Biotar works great as a general purpose walk around lens too. I grabbed this during a photowalk in Cloudland Canyon State Park. The lens renders scenes with excellent detail and pleasant tonality. This is real-world performance, not controlled test shots!

Adapting M42 Lenses to Modern Mirrorless

One of the best things about the Biotar 58mm is that it uses the M42 screw mount. If you're not familiar with M42, let me explain why this is actually a huge advantage!

What is M42 Mount? M42 (also called "Universal Screw Mount") was THE standard lens mount for decades, used by dozens of camera manufacturers from the 1940s through 1980s. Companies like Pentax, Praktica, Zenit, Fujica, Mamiya, and many others all used M42. This means there are millions of M42 lenses out there on the used market!

Why M42 is Great for Modern Mirrorless: The M42 flange distance (the distance from the lens mount to the sensor) is 45.46mm, which is longer than any modern mirrorless mount. This means you can adapt M42 lenses to pretty much ANY mirrorless camera with a simple, inexpensive adapter. No optics needed, just a metal ring!

Adapters are Cheap and Easy:

M42 to Leica L-mount adapter: $15-40
M42 to Sony E-mount: $10-30
M42 to Canon RF: $20-40
M42 to Nikon Z: $15-35

I'm using a simple M42 to L-mount adapter that cost me about $25 on Amazon. No electronics, no optics, just a precisely machined metal ring. Screw the Biotar into the adapter, mount it on my Leica SL2, and boom! I've got a working 58mm f/2 lens.

Manual Focus on Modern Mirrorless: The beauty of using vintage manual lenses on modern mirrorless cameras is focus peaking! My Leica SL2 shows colored highlights on in-focus areas in the electronic viewfinder, making manual focus actually easier than it was back in the 1960s with optical viewfinders. Combined with the Biotar's smooth 330-degree focus throw, you get precise control that's honestly pretty enjoyable!

What You Give Up:

No autofocus (obviously!)
No electronic aperture control
No EXIF data recorded
No lens corrections applied

What You Gain:

Incredible value ($100-300 vs $900+ for modern Zeiss)
Built-in character and vintage rendering
All-metal construction that'll last another 60 years
The satisfaction of using historic glass!

Biotar 58mm f2 sample image showing vintage lens character color rendering East German Carl Zeiss optics — Another example of the Biotar's versatility. At 58mm, it's slightly longer than the standard 50mm, giving you a bit more reach while still being wide enough for environmental shots. The vintage rendering has character that modern lenses don't replicate!

Carl Zeiss Jena Biotar sample photo demonstrating sharpness detail vintage lens on modern mirrorless camera — The Biotar's close focus capability is impressive! That 330-degree focus throw with close focus priority means you can get really close to subjects. This 60-year-old lens works beautifully on my modern 47-megapixel Leica SL2.

Vintage Carl Zeiss Jena Biotar 58mm sample photograph adapted M42 lens real world photography results — Final sample showing what this vintage lens can do in real-world use. If you're into the vintage glass look, the Biotar is definitely worth grabbing if you can find one. Genuine Carl Zeiss optics for $100-300? That's incredible value!

Pros, Cons, and Who Should Buy the Biotar 58mm

Let me break down the good and the not-so-good about this vintage lens:

What I Love (Pros):

Build quality is exceptional: German engineering from 60+ years ago that still works perfectly
f/2 is fast enough: Good low light capability, nice bokeh
Incredible close focus: That 330-degree throw with close focus priority is amazing
Unique mechanical features: Adjustable aperture stop, clickless aperture ring
M42 mount universality: Adapts to any modern mirrorless camera easily
Price: $100-300 for genuine Carl Zeiss optics!
Vintage rendering: Character and soul that modern lenses don't have
15-blade aperture: Smooth, round bokeh

What I Don't Love (Cons):

No autofocus: Manual focus only (but focus peaking helps!)
No EXIF data: Camera doesn't know what lens you're using
Some copies are soft: Vintage lenses vary in condition, test before buying
Not weather sealed: It's 60 years old, be gentle!
Clickless aperture: Great for video, but some photographers prefer detents
Requires adapter: Extra $15-40 expense and adds a bit of length

Who Should Buy This Lens:

Vintage lens enthusiasts who appreciate the history
Portrait photographers wanting unique rendering
Budget shooters who can't justify $900+ for modern Zeiss
Film aesthetic lovers who want that organic look
People who enjoy the slower, more deliberate manual focus process
Collectors interested in Carl Zeiss Jena heritage

Who Should Skip This Lens:

Anyone who needs autofocus for their work
Sports or action photographers
People who want perfectly clinical modern rendering
Photographers who hate manual focus
Anyone expecting modern lens perfection

Frequently Asked Questions About the Carl Zeiss Jena Biotar 58mm f/2

What is Carl Zeiss Jena and how is it different from regular Zeiss?

Carl Zeiss Jena was the East German optical manufacturer that operated from 1946 to 1991 after the original Carl Zeiss company was split following World War II. The Jena facility ended up in East Germany (DDR), while West German Zeiss continued in Oberkochen. For decades during the Cold War, there were TWO Carl Zeiss companies both making excellent lenses! Carl Zeiss Jena lenses were made to the same high standards as West German Zeiss but are now available on the used market for much less money. The quality is genuinely excellent, it's just Cold War history that created the split!

How much does a Carl Zeiss Jena Biotar 58mm f/2 cost?

On the used market today, you can find the Biotar 58mm f/2 for $100 to $300 depending on condition. Excellent condition copies with clean glass go for $200-300, while good working copies with some cosmetic wear run $100-180. Compare that to a modern Zeiss Batis 55mm f/1.8 which costs $900+, or a Leica Summilux 50mm which is $4,000+. You're getting genuine Carl Zeiss optics with 60+ years of proven performance for less than the price of a cheap modern lens. That's incredible value!

What is M42 mount and can I use it on modern cameras?

M42 (Universal Screw Mount) was the standard lens mount used by dozens of camera manufacturers from the 1940s through 1980s. The beauty of M42 is that it adapts to pretty much ANY modern mirrorless camera with a simple $15-40 adapter. No optics needed, just a metal ring! M42 to Sony E-mount, M42 to Leica L-mount, M42 to Canon RF, M42 to Nikon Z—adapters exist for everything. I'm using a $25 M42 to L-mount adapter on my Leica SL2 and it works perfectly. This makes M42 vintage lenses incredibly versatile!

Does the Biotar 58mm work on Leica cameras?

Yes! The Biotar 58mm f/2 uses M42 screw mount, which adapts to Leica L-mount cameras (SL, SL2, SL2-S, CL) with a simple M42 to L-mount adapter. I'm using this lens on my Leica SL2 with a $25 adapter and it works great. You get manual focus only (obviously), and the camera's focus peaking feature makes manual focusing actually easier than it was in the 1960s with optical viewfinders. No autofocus or electronic aperture, but you get genuine Carl Zeiss optics on your Leica for $100-300 instead of thousands!

Is the Biotar 58mm sharp enough for modern high-resolution sensors?

Absolutely! I'm using it on a 47-megapixel Leica SL2 and it's sharp where it matters. At f/2 it's razor sharp in the center with smooth falloff toward the edges (exactly what you want for portraits). Stopped down to f/4 or f/5.6, it's sharp across the entire frame. Sure, a modern $900 Zeiss Batis might be slightly sharper in the absolute corners at 500% zoom, but for real-world photography? The Biotar is more than sharp enough. Look at the sample photos in this review—that's what you get on a modern high-resolution sensor!

What is the adjustable aperture stop on the Biotar?

The Biotar has a unique spring-loaded ring that lets you set a minimum aperture stop. Here's how it works: pull the ring toward the camera (compressing the spring), rotate it to align with your desired aperture, then release. The ring locks in place and prevents the aperture from closing past that point. This was brilliant for manual metering cameras in the 1960s! You'd meter the scene, set the stop to that aperture, then open up to f/2 for composing and focusing with maximum light. When ready to shoot, just spin the aperture ring until it hits the stop—instant correct exposure without looking. Pretty clever mechanical solution!

Is 58mm better than 50mm?

58mm is slightly longer than the standard 50mm focal length. That extra 8mm gives you a bit more compression and working distance, which is nice for portraits. It's still wide enough for general purpose photography and street work, but with slightly more reach than 50mm. Some people find 58mm to be the "perfect" focal length—not quite as wide as 50mm but not as tight as 85mm. It's a Goldilocks focal length! The Biotar was designed as 58mm rather than 50mm for optical reasons related to the double Gauss formula.

Can you use vintage lenses professionally?

Absolutely, if your work allows for manual focus! Many portrait photographers, wedding photographers, and commercial shooters use vintage lenses specifically for the unique rendering they provide. The vintage "look" with its smooth bokeh, slight warm cast, and organic rendering is something clients actually request. Obviously you wouldn't use a manual focus vintage lens for sports or fast-moving subjects, but for portraits, product photography, or artistic work? Vintage lenses are totally viable. Just make sure you test your specific copy thoroughly—condition varies with vintage glass!

How do I know if a vintage Biotar is in good condition?

When buying a used Biotar (or any vintage lens), check for: (1) Clean glass with no fungus, haze, or separation, (2) Smooth focus ring with no grinding or sticking, (3) Aperture blades that open and close properly, (4) No oil on the aperture blades, (5) Clean exterior with no major dents. Hold it up to a light and look through the glass for any issues. Some dust is normal for 60-year-old lenses and won't affect image quality. Fungus, haze, and separated elements are deal-breakers. Always ask for sample photos if buying online!

Should I buy vintage lenses or save for modern lenses?

Both! I use modern lenses for work that requires autofocus and vintage lenses for creative projects where I want character. The Biotar 58mm f/2 costs $100-300, which is pocket change compared to modern Zeiss or Leica lenses. You can build a whole collection of vintage glass (35mm, 50mm, 85mm, 135mm) for less than the cost of one modern premium lens. Start with vintage lenses to learn what focal lengths you love, then invest in modern versions if needed. Or just use vintage glass forever—it genuinely produces beautiful images!

Pros, Cons, and Who Should Buy the Biotar 58mm

So if you are into the vintage glass "look" then I might suggest grabbing one of these old girls if you can find one and adapting it to your mirrorless camera to see what you can get with it. I think you'll be pleasantly surprised!

Here's my bottom line: The Carl Zeiss Jena Biotar 58mm f/2 is a phenomenal example of why vintage lenses are still worth using in 2024. This lens was made 60+ years ago in East Germany, and it still produces sharp, beautiful images with character that modern lenses can't replicate. The fact that you can buy one for $100 to $300 makes it even better!

The mechanical features are genuinely clever. That adjustable aperture stop? Brilliant design from an era before electronic everything. The 330-degree focus throw with close focus priority? Purposeful engineering that still makes sense today. The clickless aperture ring and 15-blade aperture? Features that modern lenses charge hundreds extra for!

Yes, you give up autofocus. Yes, you have to use an adapter. Yes, you won't get EXIF data. But what you gain is access to genuine Carl Zeiss optics with history, character, and exceptional build quality for the price of a cheap modern lens. That's a trade I'll make every time for creative work.

I need to give this lens back to Aaron eventually, but honestly? I might just need to find my own copy. The Biotar has earned a permanent spot in my bag for portrait work and photowalks where I want that vintage rendering. If you see one at a camera show or online for $200 in good condition, grab it! You won't regret it.

Now get your camera out and go take a picture with it!

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