What Does a Petzval Lens Do?

Imagine a lens that bends reality, that swirls the world around your subject, drawing you into a dream. This isn’t science fiction; it’s the Petzval lens, a piece of photographic history dating back to 1840. Forget clinical perfection. This lens is about character, about a unique “swirly bokeh” that has captivated filmmakers and photographers for over a century and a half. It’s a portal to a different way of seeing.

In this article, we’ll journey back to the origins of this remarkable lens, exploring its groundbreaking design and the unique visual qualities that made it revolutionary. We’ll then fast-forward to the present day, examining how contemporary filmmakers are rediscovering the Petzval’s magic, using it to create everything from ethereal portraits to surreal dreamscapes. We’ll even dive into the specifics of its use on the visually stunning film, Poor Things. 

Get ready to unlock the secrets of the swirl…

WHAT ARE PETZVAL LENSES? A LOOK BACK TO 1840

The year is 1840. Photography, in its infancy, is a cumbersome and frustrating art. Daguerreotypes, the earliest commercially available photographic process, require exposures lasting several minutes, even in bright sunlight. Imagine trying to capture a portrait of a squirming child, or even a still adult, under those conditions! Sharp, spontaneous images of people were virtually impossible. The lenses of the time were simply too slow, with small apertures (often f/11 or smaller) that let in very little light. This technological limitation dictated the types of images that could be created: still lifes, landscapes, and painstakingly posed portraits.

Into this challenging landscape stepped Joseph Petzval, a Hungarian mathematician and inventor. He wasn’t a photographer; he was a professor of mathematics at the University of Vienna. But he was approached by Andreas von Ettingshausen, a fellow professor and photography enthusiast, who recognized the limitations of existing lenses and challenged Petzval to design a better one.

Petzval accepted the challenge, and the result was nothing short of revolutionary. His lens design, completed in 1840 and manufactured by Peter Voigtländer, wasn’t just an incremental improvement. It was a paradigm shift. It was a portrait lens. The Petzval lens didn’t just make photography easier. The lens made it possible to capture a whole new range of subjects and expressions.

THE PETZVAL BREAKTHROUGH: SPEED AND CHARACTER

Petzval’s design was groundbreaking for two key, interconnected reasons…

FAST APERTURE: 

The original Petzval lens boasted a maximum aperture of around f/3.6. This might not sound impressive by modern standards (many lenses today have apertures of f/1.4 or even wider), but in 1840, it was astonishing. Compared to the f/11 or smaller apertures of contemporary lenses, the Petzval lens let in more than ten times the amount of light.

This dramatic increase in light-gathering ability had a profound impact. Exposure times could be reduced from minutes to seconds, making portrait photography far more practical. Suddenly, capturing fleeting expressions, lively children, and even relatively spontaneous moments became possible. This opened up entirely new avenues for photographic expression.

SHARP CENTRAL FOCUS, DISTINCTIVE BOKEH: 

The Petzval lens wasn’t just fast; it had a unique visual character. Its optical design, a doublet achromat in the front and another doublet in the rear achieved remarkable sharpness in the center of the image. This was perfect for portraiture, where the subject’s face (particularly the eyes) needed to be crisp and detailed.

However, this central sharpness came at a cost: significant field curvature. This means that the plane of focus is not flat, but curved. As you move away from the center of the image, the sharpness falls off rapidly. This was considered a flaw by the standards of later lens design, which strives for edge-to-edge sharpness.

But this “flaw” is precisely what gives the Petzval lens its distinctive and beloved aesthetic. The field curvature, combined with other optical aberrations (like astigmatism and coma), produces the characteristic “swirly bokeh.” 

Out-of-focus areas, especially highlights, don’t just blur. They swirl around the center of the image, creating a dreamlike, almost vortex-like effect. This bokeh, combined with the sharp central focus and often pronounced vignetting (darkening of the image edges), creates a look that is instantly recognizable and undeniably captivating.

THE PETZVAL “LOOK”: WHY IT’S STILL RELEVANT

In a world obsessed with digital sharpness and technical perfection, the enduring appeal of the Petzval lens might seem paradoxical. Modern lens design strives for edge-to-edge sharpness, minimal distortion, and clinically accurate color rendition. 

The Petzval lens, on the other hand, embraces its optical “imperfections.” It is precisely these “flaws” that give the lens its unique character and its enduring artistic value. It’s a deliberate rejection of the homogenous, hyper-real aesthetic that dominates much of contemporary image-making.

SHARP CENTER

The Petzval look is instantly recognizable, a blend of characteristics that create a visual signature unlike any other lens. At its heart is the striking combination of a razor-sharp central focus and a dramatically soft, swirling periphery. The center of the image, where the subject is typically placed, is rendered with remarkable clarity, drawing the viewer’s eye immediately to the point of interest. This is a legacy of Petzval’s original design, optimized for portraiture.

FIELD CURVATURE

However, as you move away from the center, the image begins to transform. Sharpness falls off rapidly due to pronounced field curvature. This isn’t a gradual blurring. It’s a distinct bending of the plane of focus, creating a natural vignette that isolates the subject and adds a sense of depth and dimensionality. This effect is amplified by the lens’s inherent vignetting, a darkening of the image edges, which further concentrates the viewer’s attention on the central subject.

SWIRLY BOKEH

But the most defining characteristic of the Petzval lens, the feature that has truly cemented its place in photographic history, is its swirly bokeh. Bokeh refers to the aesthetic quality of the out-of-focus areas of an image. In most lenses, out-of-focus highlights are rendered as soft, circular blobs. 

In a Petzval lens, these highlights take on a distinctive swirling, spiraling, almost vortex-like appearance. This effect is most pronounced at wider apertures and with subjects placed against a background with distinct points of light. The swirl is not subtle. Rather, it’s a bold, artistic statement, adding a dreamlike, ethereal, and sometimes even unsettling quality to the image.

LOW CONTRAST

Compared to the crisp, high-contrast images produced by modern lenses, Petzval images often exhibit lower contrast. This contributes to the lens’s overall softer, more romantic aesthetic. It’s a look that evokes a sense of nostalgia, of timelessness as if the image were plucked from a different era.

VIGNETTING

It’s this combination of characteristics — the sharp center, the field curvature, the swirly bokeh, the vignetting, and the lower contrast — that creates the unique “Petzval look.” Such a look defies easy categorization, a blend of sharpness and softness, clarity and distortion, as well as reality and dream. 

It’s a look that continues to inspire filmmakers and photographers seeking to add a distinctive artistic touch to their work, proving that sometimes, imperfection is the key to true beauty. It is a deliberate choice to step away from digital perfection.

USES IN MODERN FILMMAKING (AND PHOTOGRAPHY)

Petzval lenses are decidedly not all-purpose tools. Their distinctive characteristics — the sharp central focus, the dramatic field curvature, the swirling bokeh — are not subtle. They make a statement. This makes them a deliberate stylistic choice, best suited for projects where that specific aesthetic complements the narrative, mood, or overall artistic vision. They are not about capturing reality as it is. They’re about crafting a particular feeling, a specific look.

PORTRAIT PHOTOGRAPHY

The most natural home for the Petzval lens remains, in many ways, where it began: portrait photography. The lens’s ability to isolate a subject with sharp central focus, while simultaneously rendering the background in a soft, swirling dreamscape, is undeniably flattering and visually arresting. 

This makes it a popular choice for portrait photographers seeking a vintage, romantic, or artistic aesthetic. It’s particularly effective for emphasizing the subject’s eyes, drawing the viewer’s gaze directly to the emotional core of the image.

MUSIC VIDEOS

The unique visual qualities of the Petzval lens also lend themselves beautifully to projects that embrace a degree of unreality or heightened emotion. Music videos, with their emphasis on visual style and mood, are a frequent playground for Petzval experimentation. The swirling bokeh and soft edges can create a surreal, dreamlike atmosphere, perfectly complementing the music and enhancing the overall artistic impact.

EXPERIMENTAL FILMS

Experimental films, by their very nature, often seek to break from conventional cinematic language. Filmmakers working in this genre frequently turn to Petzval lenses to create a distinctive, non-traditional aesthetic.

 The lens’s inherent “imperfections” can be used to evoke a sense of unease, to represent altered states of consciousness, or to simply create a visually arresting and memorable experience. It’s a tool for filmmakers who want to challenge the viewer’s perception and push the boundaries of visual storytelling.

SPECIFIC SCENES WITHIN LARGER PROJECTS

Beyond these dedicated uses, Petzval lenses can also find a place within larger, more mainstream projects, but typically in a selective way. A cinematographer might choose to use a Petzval lens for a specific scene or sequence within a feature film to create a particular mood or to represent a character’s subjective point of view. 

Think of dream sequences, flashbacks, moments of intense emotion, or scenes depicting altered states of consciousness. In these contexts, the sudden shift to the Petzval “look” can be a powerful visual cue, signaling a departure from reality or a heightened emotional state.

FASHION PHOTOGRAPHY

The fashion industry is yet another place where the Petzval lens can be seen, showcasing some of the newest looks, and elevating them to an even greater level.

In essence, the Petzval lens is a specialized tool, a paintbrush with a very distinct stroke. It’s not about capturing the world with clinical precision; it’s about interpreting the world through a unique and evocative lens, adding a layer of artistry and emotion that few other lenses can match. When used thoughtfully and deliberately, it can transform an ordinary image into something truly extraordinary.

NOTABLE FILMMAKERS AND PROJECTS (BEYOND POOR THINGS)

While Poor Things (2023) has undoubtedly brought renewed mainstream attention to the unique aesthetic of Petzval lenses, it’s important to recognize that their cinematic use, though often subtle, predates this recent resurgence. 

These lenses haven’t been a staple of mainstream filmmaking. Their distinctive characteristics make them a specific stylistic choice, often reserved for moments requiring a particular mood or visual effect. Identifying their use definitively can be challenging. It’s rarely a prominently advertised feature like, say, the use of IMAX cameras. 

However, by understanding the Petzval “look” and the types of projects where it thrives, we can identify likely areas of influence and appreciate the lens’s subtle but significant contributions to cinematic history.

SHORT FILMS

The most fertile ground for Petzval experimentation often lies outside the mainstream. Independent and experimental filmmakers, less constrained by commercial pressures and conventional aesthetics, are more likely to embrace the lens’s inherent “imperfections.” 

Short films, experimental projects, and art installations provide a space for pushing visual boundaries, and the Petzval lens, with its swirling bokeh and dreamlike quality, is a natural fit for these types of endeavors. Online platforms like Vimeo and YouTube are treasure troves of examples, showcasing the creative ways in which filmmakers are using Petzval lenses (or lenses that emulate their look) to achieve unique visual effects. Searching for terms like “Petzval lens film” or “Petzval short film” will often unearth a wealth of examples.

MUSIC VIDEOS

Music videos, similarly, offer a space for visual experimentation and stylistic flourishes. The shorter format and the emphasis on mood and atmosphere make them ideal for showcasing the Petzval lens’s distinctive characteristics. Directors and cinematographers might use a Petzval lens to create a surreal, dreamlike, or nostalgic feel, enhancing the emotional impact of the music.

INDEPENDENT & EXPERIMENTAL FILMMAKING

Within the realm of feature films, the use of Petzval lenses is often more selective. It’s rare to find a feature film shot entirely with Petzval lenses. The effect would likely be too overwhelming and distracting for a full-length narrative. Instead, filmmakers often employ them for specific scenes or sequences where a particular mood or perspective is desired.

Consider, for example, dream sequences. The inherent softness, field curvature, and swirling bokeh of a Petzval lens can instantly create a sense of unreality, separating the dream world from the “real” world of the film. Similarly, flashbacks or memory sequences can benefit from the Petzval’s vintage aesthetic and its ability to create a sense of distance and emotional detachment. 

Scenes depicting altered states of consciousness — whether due to drugs, alcohol, or psychological trauma — are also prime candidates for Petzval treatment. The lens’s distorted perspective can visually represent the character’s subjective experience, blurring the lines between reality and perception.

LOMOGRAPHY

It’s crucial to distinguish between genuine Petzval lenses (either vintage originals or modern, faithful recreations like those produced by Lomography) and lenses that merely mimic the Petzval look. While some lenses, such as certain Lensbaby models, can create a swirling bokeh effect, they don’t replicate the full range of characteristics of a true Petzval. 

The authentic Petzval effect is a result of its specific optical design, a design that dates back to the 19th century. While imitations can be effective, they lack the historical weight and the unique optical nuances of the real thing.

PETZVAL LENSES ON POOR THINGS

Yorgos Lanthimos’ Poor Things (2023) is a visual triumph, a film that embraces the bizarre and the beautiful in equal measure. Central to this distinctive aesthetic is cinematographer Robbie Ryan’s bold choice to employ vintage Petzval lenses, alongside other specialty optics, to craft a world that feels both familiar and profoundly unsettling. This wasn’t about achieving technical perfection. It was about creating a subjective visual experience, reflecting the unique perspective of Bella Baxter (Emma Stone), a woman brought back to life with the brain of an infant.

The decision to use Petzval lenses was a deliberate stylistic choice, perfectly aligned with the film’s themes of experimentation, transformation, and a world seen through a different, often distorted, lens. These lenses, with their characteristic “swirly bokeh,” sharp central focus, and pronounced field curvature, were not used for the entirety of the film. 

Instead, Ryan strategically deployed them in specific sequences to heighten the sense of unreality, to visually represent Bella’s evolving consciousness, and to underscore the film’s fantastical narrative.

WHY PETZVAL? THE JUSTIFICATION FOR IMPERFECTION

In a contemporary cinematic landscape often dominated by pristine digital clarity, the choice to use vintage Petzval lenses is a statement in itself. It’s a rejection of conventional realism in favor of a more expressive, subjective approach. The Petzval “look,” with its inherent imperfections, becomes a powerful tool for conveying…

BELLA’S UNIQUE PERSPECTIVE

Bella Baxter is not experiencing the world in a “normal” way. Her brain, newly implanted in an adult body, is rapidly developing and processing information in an unconventional manner. The distortions and aberrations of the Petzval lens become a visual metaphor for her unique, and often skewed, perception of reality.

 

THE FILM’S FANTASTICAL NATURE

Poor Things is not a realist film. Rather, the film is a fantastical, often grotesque, and darkly comedic exploration of science, society, and self-discovery. The Petzval lens contributes to this fantastical atmosphere, creating a world that feels both familiar and strangely alien.

 

A SENSE OF UNEASE AND DISORIENTATION

The swirling bokeh, the vignetting, and the rapid falloff in sharpness can create a sense of unease, disorientation, and even claustrophobia, mirroring Bella’s own journey of self-discovery and her struggles to navigate a world that often feels overwhelming and confusing.

A NOD TO EARLY CINEMA

The use of Petzval lenses, with their historical connection to early photography, also adds a layer of meta-textual commentary. It subtly connects the film to the history of image-making, suggesting a parallel between Bella’s journey of discovery and the early experiments of cinema itself.

SPECIFIC APPLICATIONS (HYPOTHETICAL, BASED ON LENS CHARACTERISTICS)

Here are some applications of Petzval lenses within Poor Things, based on their known characteristics and the film’s overall aesthetic…

DREAM SEQUENCES/FANTASY SEQUENCES

Moments where Bella’s imagination takes over, or when she experiences altered states of consciousness, would be prime scenarios for the Petzval’s dreamlike, surreal qualities. The swirling bokeh and soft edges could visually represent the blurring of lines between reality and fantasy.

MOMENTS OF INTENSE EMOTION

Close-ups of Bella during moments of intense joy, confusion, or distress could utilize the Petzval’s sharp central focus to draw the viewer’s eye to her expressions, while the distorted periphery emphasizes her emotional isolation or her unique perspective.

TRANSITIONS

The Petzval lens’s distinctive look could be employed for moments of transition. Such examples include disorienting the viewer or signaling a shift in time, location, or perspective.

ESTABLISHING SHOTS (SELECTIVELY)

While not ideal for all wide shots, a carefully chosen establishing shot, perhaps of a particularly unusual or fantastical location, could utilize the Petzval’s distortions to create a sense of otherworldliness.

BEYOND PETZVAL: A TOOLKIT OF VISUAL DISTORTIONS

It’s important to note that the Petzval lenses were just one element in Robbie Ryan’s arsenal of visual tools. The film also employs wide-angle lenses, fisheye lenses, and other specialty optics to create its distinctive look. 

This combination of techniques reinforces the film’s overall aesthetic. Thus, it creates a world that is consistently surprising, visually inventive, and deeply expressive. The Petzval lenses, however, stand out as a particularly bold and memorable choice. They perfectly capture the film’s unique blend of beauty, grotesquerie, and childlike wonder.

THE BOTTOM LINE: A LENS WITH CHARACTER

The Petzval lens is a lens that embraces imperfection, offering a unique visual signature that can add a distinctive character and emotional resonance to a film. The Petzval lens may not be suitable for every project. Well, that’s okay! In the hands of a skilled cinematographer, it can be a powerful tool for creating both beautiful and unforgettable imagery. 

Its resurgence in popularity, fueled by films like Poor Things, demonstrates that filmmakers are increasingly seeking out unique visual tools to tell their stories in new and compelling ways. The Petzval lens is a reminder that sometimes, the oldest technology can offer the freshest perspectives.