Nour Triplet 2.0 64mm Bokeh Control Art Lens Review

This week, I got to test Lomography’s new Nour Triplet V 2.0 64mm Bokeh Control Art Lens prototype, which still has a few days left on Kickstarter. As of this writing, it’s almost 200% funded.

The lens’ design is based on an 1894 triplet patent, and the elements are encapsulated in hefty brass that looks very steampunk (also available in black-painted aluminum to match modern digital camera bodies).

I wanted to test this lens on a film camera; unfortunately, it needs extremely short flange mounts of the mirrorless’: either Sony E, Nikon Z, or Canon RF. The copy I tested is for Sony E, which won’t focus on infinity even with a rangefinder. So the native digital body tests were done on a borrowed Sony a7III (thanks, Daren!)

Still, I managed to make film exposures with this lens on my Olympus PEN FV half-frame camera via the magic of freelensing. I loved the results I got with this method, though I can’t call them practical — more on that later.

In this review: Lens size, weight, and ergonomics. Build quality. Image quality. Creative controls. Freelensing Lomography Nour Triplet V 2.0 with Olympus PEN FV on film. Where to buy your Lomography Nour Triplet V 2.0 lens.

Lens size, weight, and ergonomics.

The brass Nuir Triplet copies are nearly double the weight of the aluminum ones. Mine weighs 616g/1.36lb or 675g/1.49lb with the massive brass lens cap. Kickstarter specs list those lenses as 620g/1.3lb vs. 395g/0.87lb. The dimensions also vary across the mounts, with the brass being about 2mm thicker (74mm/2.91”) and the lengths falling between 78-81mm/~3”.

On a sleek modern digital camera, the brass lens can look a little strange in photos. However, in person, it’s reasonable (though I’m seeing it from the perspective of a film photographer used to all kinds of unusual designs).

The enormous weight of the brass lens may take away from the portability, but I found that the heft adds to the experience; handling it feels like working with a museum piece.

Build quality.

Lomography’s design motto is “lo-fi.” They sell cheap plastic cameras that are unique and fun but aren’t known for build quality. The beauty of film, of course, is that you can use a top-tier emulsion with a cheap camera to get results that look pleasant and unique.

In recent years, Lomography has been pushing its boundaries when it comes to product offerings. That means a new range of mid-price lenses and even their own brand of colour film. Nour Triplet falls into the category of ambitious builds with a uniquely-Lomographyesque value for the photographer.

Nour Triplet V 2.0 Art Lens houses multi-coated glass elements in a sturdy all-metal body. My copy is incredibly solid; it feels well made, on level with what I’d expect from vintage Olympus lenses. The lens is built like a tank but with reasonably tight tolerances and an overall good construction.

Other than the design issues with the controls (see below), there’s little more that I could ask from this lens. It’s simple, and it can undoubtedly make a statement — both visually and when it comes to results.

Alas, I’ve noticed that my copy has already had some brassing. It looks pretty, and I know this sample has changed a lot of hands during the tests, but I would’ve hoped that the paint would’ve kept its shape for longer. I wonder if the final product will have a more robust coating. It would be a shame to see minor dings show the wear easily.

Image quality.

You should not expect tack-sharp photos at all settings and apertures (though the lens can show plenty of detail in specific scenarios). Nour Triplet is all about controlling the aberrations.