It’s nice to see that Nikon is focusing on prime lenses with this new release. What’s amazing is that this is taking place in the wake of Japan’s recent crisis.
This is an important addition to the Nikon lineup, as it adds a low-cost option for DX portraiture, or full-frame shooters taking a walk on the lean side. It may however be somewhat redundant to those who already own the AF-S 50mm f/1.4. If experience reveals that the 1.8 has superior bokeh, it might give it some competition. It will be interesting to see how it fairs in reviews.
News, Muse and Reviews for Aspiring Lensmen.
Wednesday, April 27, 2011
Tuesday, April 26, 2011
Review: Nikon 28mm f/2.8 Series E
Nikon’s smallest, lightest 28mm AI-S lens offers impressive image quality at a modest price. Fine color rendition and contrast, no distortion and surprising sharpness make this manual-focus lens a true find on the second market. It even comes in two styles; the first generation with a ribbed plastic body ring, plastic focus ring and aggressive block grip pattern, and the a second generation with a silver metallic body ring, metal focus ring, and traditional NIKKOR grip pattern.
The E-Series lenses have a rather ambiguous reputation. On one hand, they were criticized for their use of plastic. On the other, photogs willing to give them a chance discovered that they were really quite good. And because of their compact size and light weight, they filled an important niche. Despite their extensive use of plastic, these lenses offer comparable build quality to their NIKKOR bretheren. The 28mm f/2.8’s simplified five-element design keeps down its size and weight yet still offers sharp imagery at f/5.6 with edge sharpness tapering off at wider apertures. Many were concerned about the durability of the E-Series, but today, 32 years later, this lens is still going strong.
In order to use this lens with the D90, I have to shoot in manual mode, without metering, using the aperture ring instead of the sub-command dial. So using this or any other manual focus AI-S lens forces me into a whole different shooting style. It forces me to think about the exposure as I’m taking the picture. If I change the aperture, I have to consciously think about how I adjust the shutter speed. Should I click down six thirds of a stop, or only five to give the image a nice richness and saturation? It’s one of the things I really like about using manual focus AI-S lenses on the D90.
There are a lot of things to like about this lens. It has great color and contrast, practically no distortion, and it’s quite sharp. The focus is buttery smooth and quick, and the click of the aperture ring satisfying. For all its economical design, features like the usual color-coded hyperfocal scale, infrared index and hard infinity stop have not been overlooked. Vignetting is quite low, and the bokeh is quite pleasing for a wide angle.
I’ve been very pleased with the photos taken with this lens, and would recommend any of the E-Series, first or second generation.
The E-Series lenses have a rather ambiguous reputation. On one hand, they were criticized for their use of plastic. On the other, photogs willing to give them a chance discovered that they were really quite good. And because of their compact size and light weight, they filled an important niche. Despite their extensive use of plastic, these lenses offer comparable build quality to their NIKKOR bretheren. The 28mm f/2.8’s simplified five-element design keeps down its size and weight yet still offers sharp imagery at f/5.6 with edge sharpness tapering off at wider apertures. Many were concerned about the durability of the E-Series, but today, 32 years later, this lens is still going strong.
Sadly, the 28mm seems to be the least celebrated of the E-Series. If this is true, then the others in the series must be very good indeed because I have nothing but positive things to say about this lens. I think we’ve all been a bit spoiled by the excellence of most Nikkors.
I say sadly, because this lens perfectly fills a major gap. There’s no 24mm in the E-Series, probably because Nikon chose designs that could be manufactured cheaply and still maintain a practical level of quality, so this is the widest in the series. Nikon couldn’t have known this back in 1979, but they were creating the perfect “normal” focal length for the DX digital format. The diagonal measurment of a 35mm frame is 43mm, and this lens translates to 42mm when you apply the APS-C 1.5X crop factor, making it “true” normal. 28mm has alway been in sort of a “no-man’s land” for me, but after working in this length for a while, I’ve come to realize just how versatile it is. I simple don’t feel the need to reach for a zoom as much.
In order to use this lens with the D90, I have to shoot in manual mode, without metering, using the aperture ring instead of the sub-command dial. So using this or any other manual focus AI-S lens forces me into a whole different shooting style. It forces me to think about the exposure as I’m taking the picture. If I change the aperture, I have to consciously think about how I adjust the shutter speed. Should I click down six thirds of a stop, or only five to give the image a nice richness and saturation? It’s one of the things I really like about using manual focus AI-S lenses on the D90.
There are a lot of things to like about this lens. It has great color and contrast, practically no distortion, and it’s quite sharp. The focus is buttery smooth and quick, and the click of the aperture ring satisfying. For all its economical design, features like the usual color-coded hyperfocal scale, infrared index and hard infinity stop have not been overlooked. Vignetting is quite low, and the bokeh is quite pleasing for a wide angle.
I’ve been very pleased with the photos taken with this lens, and would recommend any of the E-Series, first or second generation.
Build Quality ★★★★
Despite its plastic components and simplified construction, this lens has a solid build, comparable to but slightly better than today’s AF D series. Molded-in, paint-filled markings give it a quality appearance. At only 5.3 oz (152g) and 1.4" long (3.6cm) it’s one of Nikon’s smallest, lightest lenses.
Compatibility ★★★★
Like all AI-S lenses, this lens will fit all Nikon manual and auto focus 35mm and digital SLRs. With consumer models, you may not be able to meter or use any of the autoexposure modes due to the lack of a CPU chip. In this case, for digital use the histogram and for film use an external meter such as the Gossen DigiSix.
Focusing ★★★★★
Buttery-smooth and perfectly damped. Short-travel (less that a quarter turn) gives it a quick response, and the included color-coded hyperfocal scale and infrared focus index are subtle details that belie it’s no-frills attitude.
Optical Quality ★★★
Surprisingly sharp, with excellent color rendition and contrast. Pleasing bokeh for a wide-angle lens. Edges soften at f/2.8, but that’s to be expected in a lens of this wide angle.
Value ★★★★★
As it was when these lenses were first conceived, they offer a lot of performance for your dollar. If you’re looking to explore manual shooting, they’re a perfect entry point.
Diaphragm
7 straight blades
Filters
Accepts 52mm filters in its metal, non-rotating filter threads. The Hoya Pro1 Digital MC UV(0) is highly recommended.
Hood
Nikon’s HR-6, screw-in rubber hood is original equipment for this lens, but if you can’t find one, the Hoya 52mm Screw-in Rubber Zoom Lens Hood is an excellent replacement.
History
The E-Series lenses were first introduced in 1979 along with the Nikon EM, FG and FG20 as an economical alternative to NIKKOR lenses in order to compete with third-party manufacturers. The E Series were a little ahead of their time, and initially not well received. So in 1981, Nikon upgraded their cosmetic appearance to look more like their NIKKOR counterparts, and included more metal components with the same optical formulas. Production of E Series lenses ended around 1983.
Although this lens has been referred to as a pancake lens, I’m not sure I would place it in that category. Certainly the 50mm f/1.8 E is. Another standout in the series is the 100mm f/2.8 E. This lens has received consistently good reviews, and would be an extremely compact and fast 150mm telephoto on a D90.
Although this lens has been referred to as a pancake lens, I’m not sure I would place it in that category. Certainly the 50mm f/1.8 E is. Another standout in the series is the 100mm f/2.8 E. This lens has received consistently good reviews, and would be an extremely compact and fast 150mm telephoto on a D90.
Sample Images
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| 1/125 sec. @ f/5.6 |
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| 1/15 sec. @ f/8 |
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| 1/60 sec. @ f/5.6 |
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| 1/125 sec. @ f/5.6 |
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| 1/320 sec. @ f/5.6 |
Alternative Lenses for Nikon
If, like me, you enjoy working with manual focus prime lenses, at some point you may find that Nikon’s current list of F-Mount lenses is a quite limited. While the lenses that have survived are excellent examples, they are neither economical nor compact. However, there are alternatives for those willing to make some compromises in the name of classic photography.
The current lineup of Nikkor manual focus lenses that can be purchased new include the 20mm f/2.8, 24mm f/2.8, 28mm f/2.8, 35mm f/1.4, 50mm f/1.2, 50mm f/1.4, and Micro-NIKKOR 105mm f/2.8. These lenses will mount to film or digital bodies, and with the exception of entry-level and prosumer bodies, meter and work in aperture priority mode.
Unfortunately, the 35mm which is considered normal for the APS-C DX digital format, is only available in the ultra-fast f/1.4 version which is very expensive. However, the 28mm f/2.8 is available for less than half the price of the 35mm f/1.4, and is actually “true” normal at 42.5mm. It’s historically one of Nikon’s best prime lenses, and makes an excellent, moderately fast normal lens for the DX format. The 24mm f/2.8, also an excellent offering, becomes the classic 35mm focal length for street photography and reportage.
While the above options represent the pinnacle of Nikon’s optical performance, there are other Nikon options that are more economical and compact. Not to be overlooked are the excellent Series E lenses. These lenses were introduced in 1979 along with the compact EM body, and use somewhat simpler formulas to arrive at a more compact, economical design. The little-known secret is that their optical and build quality is quite good, despite the fact that they employ a considerable amount of plastic in their construction.
Moving away from Nikon and Nikkor branded lenses, there are some more options.
Voigtländer SL II series lenses are manual-focus, chipped prime lenses which will meter and work with all camera modes even on entry-level and prosumer bodies. These include the 20mm f/3.5 Color Skopar, the 40mm f/2.0 Ultron, the 58mm f/1.4 Nokton, and the 90mm f/3.5 APO-Lanthar. These are extremely compact, solidly built-all metal lenses with good optical performance. The 40mm Ultron is noted for it’s superb optical performance and versatility with a length that caters to both the DX and FX formats.
Zeiss ZF.2 series lenses are manual-focus, chipped prime lenses which will meter and work with all camera modes even on entry-level and prosumer bodies. Their extensive line includes the Distagon T* 3.5/18, Distagon T* 2.8/21, Distagon T* 2/28, Distagon T* 2/35, Distagon T* 2.8/25, Distagon T* 1.4/35, Planar T* 1.4/50, Planar T* 1.4/85, Makro-Planar T* 2/50, Makro-Planar T* 2/100. These are impeccably built lenses, with stellar optical performance at a robust size.
All of the above lenses are specifically designed with Nikon mounts. If you’re willing to be a little more adventurous, there are even more options, but here is where things get a little tricky. The “flange focal distance” of the Nikon F-Mount (the distance between the mount and the film plane) is 46.5mm. Being one of the longest in the industry means that the Nikon does not serve well as a “universal body”. However, Nikon lenses can be easily adapted to other bodies with a simple mechanical adapter, making them, in a sense, “universal lenses”. The thickness of this adapter is critical as it makes up the difference between the two different flange focal distances.
However (with two exceptions), it is physically impossible to manufacture a purely mechanical adapter to mount other brands of lenses to a Nikon body that will preserve the capability of infinity focus. Instead, a number of adapters exist which use a 1.4x optical element to restore infinity focus at the cost of optical performance, and further enlargement of the image on the film plane. However if the lens is being used purely for macro work, this element can often be removed, restoring the lens’ full optical quality. Lenses which can be adapted in this way include Canon FD, Minolta MD and Pentax.
The exceptions to this are are Contax MM, Leica R and Olympus OM lenses. The Leica R flange focal distance is 47mm, while the Olympus is 46mm, putting Nikon right between the two. This makes it possible to manufacture a redesigned mount for each of these lenses to adapt them semi-permanently to Nikon bodies. In either instance, the mount can be installed in such as way as to make the conversion reversible. This is important, because both lenses command high values on the collector’s market.
The Contax and Olympus conversions use a single mount, although there’s s second Olympus version for special lenses with two-piece mounts. Leica conversions use six different mounts. You remove and set aside the original mount plus any shrouds, cams or other parts, and in some cases install a spring or retaining clip. You then install the new mount, and you’re good to go. The conversions can also be chipped.
For more information on Leica/Olympus conversions, visit Leitax
The current lineup of Nikkor manual focus lenses that can be purchased new include the 20mm f/2.8, 24mm f/2.8, 28mm f/2.8, 35mm f/1.4, 50mm f/1.2, 50mm f/1.4, and Micro-NIKKOR 105mm f/2.8. These lenses will mount to film or digital bodies, and with the exception of entry-level and prosumer bodies, meter and work in aperture priority mode.
Unfortunately, the 35mm which is considered normal for the APS-C DX digital format, is only available in the ultra-fast f/1.4 version which is very expensive. However, the 28mm f/2.8 is available for less than half the price of the 35mm f/1.4, and is actually “true” normal at 42.5mm. It’s historically one of Nikon’s best prime lenses, and makes an excellent, moderately fast normal lens for the DX format. The 24mm f/2.8, also an excellent offering, becomes the classic 35mm focal length for street photography and reportage.
While the above options represent the pinnacle of Nikon’s optical performance, there are other Nikon options that are more economical and compact. Not to be overlooked are the excellent Series E lenses. These lenses were introduced in 1979 along with the compact EM body, and use somewhat simpler formulas to arrive at a more compact, economical design. The little-known secret is that their optical and build quality is quite good, despite the fact that they employ a considerable amount of plastic in their construction.
Moving away from Nikon and Nikkor branded lenses, there are some more options.
Voigtländer SL II series lenses are manual-focus, chipped prime lenses which will meter and work with all camera modes even on entry-level and prosumer bodies. These include the 20mm f/3.5 Color Skopar, the 40mm f/2.0 Ultron, the 58mm f/1.4 Nokton, and the 90mm f/3.5 APO-Lanthar. These are extremely compact, solidly built-all metal lenses with good optical performance. The 40mm Ultron is noted for it’s superb optical performance and versatility with a length that caters to both the DX and FX formats.
Zeiss ZF.2 series lenses are manual-focus, chipped prime lenses which will meter and work with all camera modes even on entry-level and prosumer bodies. Their extensive line includes the Distagon T* 3.5/18, Distagon T* 2.8/21, Distagon T* 2/28, Distagon T* 2/35, Distagon T* 2.8/25, Distagon T* 1.4/35, Planar T* 1.4/50, Planar T* 1.4/85, Makro-Planar T* 2/50, Makro-Planar T* 2/100. These are impeccably built lenses, with stellar optical performance at a robust size.
All of the above lenses are specifically designed with Nikon mounts. If you’re willing to be a little more adventurous, there are even more options, but here is where things get a little tricky. The “flange focal distance” of the Nikon F-Mount (the distance between the mount and the film plane) is 46.5mm. Being one of the longest in the industry means that the Nikon does not serve well as a “universal body”. However, Nikon lenses can be easily adapted to other bodies with a simple mechanical adapter, making them, in a sense, “universal lenses”. The thickness of this adapter is critical as it makes up the difference between the two different flange focal distances.
However (with two exceptions), it is physically impossible to manufacture a purely mechanical adapter to mount other brands of lenses to a Nikon body that will preserve the capability of infinity focus. Instead, a number of adapters exist which use a 1.4x optical element to restore infinity focus at the cost of optical performance, and further enlargement of the image on the film plane. However if the lens is being used purely for macro work, this element can often be removed, restoring the lens’ full optical quality. Lenses which can be adapted in this way include Canon FD, Minolta MD and Pentax.
The exceptions to this are are Contax MM, Leica R and Olympus OM lenses. The Leica R flange focal distance is 47mm, while the Olympus is 46mm, putting Nikon right between the two. This makes it possible to manufacture a redesigned mount for each of these lenses to adapt them semi-permanently to Nikon bodies. In either instance, the mount can be installed in such as way as to make the conversion reversible. This is important, because both lenses command high values on the collector’s market.
The Contax and Olympus conversions use a single mount, although there’s s second Olympus version for special lenses with two-piece mounts. Leica conversions use six different mounts. You remove and set aside the original mount plus any shrouds, cams or other parts, and in some cases install a spring or retaining clip. You then install the new mount, and you’re good to go. The conversions can also be chipped.
For more information on Leica/Olympus conversions, visit Leitax
Monday, April 25, 2011
A Little Trip Back in Time
Along with my purchase of the Nikon 28mm Series-E, I also ordered a Minolta MD 50mm f/1.7 so I can display my Minolta SR-T 201 with my other “collectible” SLRs.
A while back I decided the best way to continue to enjoy these cameras is to keep them in plain sight. I found some plastic display cases at the Container Store that work perfectly. Each one fits between the partitions of an IKEA shelf, and allows me to display the camera with the lens cap off in a dust-free environment. The last holdout was the SR-T201, as the only genuine Minolta lens I have is the 100mm f3.5 macro, way too big to fit.
The Minolta SR-T holds a special place for me. It was one of the two cameras I learned on in my High School photography class, the other being a Miranda. I always loved that camera; to me it was the SLR, so looking back, I can’t quite understand why I settled on the Canon AE-1 for my first purchase. Maybe it was because I was sold on shutter priority, the Minolta XG7 having aperture priority.
To be honest, I’m not really sure whether it was an SR-T 101, 201 or even a 202. I do know that the MD 50mm f1.7 lens I bought was definitely not the one I learned on, as it was from the nineties. But that doesn’t matter; it’s a great lens for $35.00 and works perfectly with the SR-T 201 body. It has the minimum aperture lock to go with an aperture priority automatic body.
While in working condition, the SR-T201 is not in the best condition, compared to my AE-1, which is practically mint, and my F-1 which is certainly “good”. As a collector though, if I come across a nice SR-T201 or 202 body, I might replace it. And an XG7 might correct the whole Canon mishap. I much prefer aperture priority.
A close inspection of this lens reveals some interesting facts compared with the Nikon 28mm f/2.8 Series-E. This Minolta has a considerable amount of plastic just as the Nikon did; the aperture ring, focus ring, and front lens bezel. Only the body ring that contains the hyperfocal scale (one of the most complete I’ve every seen) is actually anodized (not painted) metal. But then, this is not a Rokkor-X branded lens, it’s a Minolta. It’s not easy to tell that this lens is mostly plastic on the outside. Apparently Nikon was open about the fact, as they were much criticized for it.
Since in High School I was learning manual photography, the classic match-needle system was ideal, it put me in the ballpark, but let me ultimately decide on the actual exposure, easily and quickly. Then there was the AE-1. Even though it was shutter priority, I used it like an aperture priority camera; I simply took a reading and adjusted the shutter speed dial until I found the aperture I wanted in the viewfinder, which had an aperture scale. What I found so appealing about the Canon F-1, was that like the SR-T201, it too used a match needle system. However, neither camera had an aperture scale in the viewfinder.
A while back I decided the best way to continue to enjoy these cameras is to keep them in plain sight. I found some plastic display cases at the Container Store that work perfectly. Each one fits between the partitions of an IKEA shelf, and allows me to display the camera with the lens cap off in a dust-free environment. The last holdout was the SR-T201, as the only genuine Minolta lens I have is the 100mm f3.5 macro, way too big to fit.
The Minolta SR-T holds a special place for me. It was one of the two cameras I learned on in my High School photography class, the other being a Miranda. I always loved that camera; to me it was the SLR, so looking back, I can’t quite understand why I settled on the Canon AE-1 for my first purchase. Maybe it was because I was sold on shutter priority, the Minolta XG7 having aperture priority.
To be honest, I’m not really sure whether it was an SR-T 101, 201 or even a 202. I do know that the MD 50mm f1.7 lens I bought was definitely not the one I learned on, as it was from the nineties. But that doesn’t matter; it’s a great lens for $35.00 and works perfectly with the SR-T 201 body. It has the minimum aperture lock to go with an aperture priority automatic body.
While in working condition, the SR-T201 is not in the best condition, compared to my AE-1, which is practically mint, and my F-1 which is certainly “good”. As a collector though, if I come across a nice SR-T201 or 202 body, I might replace it. And an XG7 might correct the whole Canon mishap. I much prefer aperture priority.
A close inspection of this lens reveals some interesting facts compared with the Nikon 28mm f/2.8 Series-E. This Minolta has a considerable amount of plastic just as the Nikon did; the aperture ring, focus ring, and front lens bezel. Only the body ring that contains the hyperfocal scale (one of the most complete I’ve every seen) is actually anodized (not painted) metal. But then, this is not a Rokkor-X branded lens, it’s a Minolta. It’s not easy to tell that this lens is mostly plastic on the outside. Apparently Nikon was open about the fact, as they were much criticized for it.
Since in High School I was learning manual photography, the classic match-needle system was ideal, it put me in the ballpark, but let me ultimately decide on the actual exposure, easily and quickly. Then there was the AE-1. Even though it was shutter priority, I used it like an aperture priority camera; I simply took a reading and adjusted the shutter speed dial until I found the aperture I wanted in the viewfinder, which had an aperture scale. What I found so appealing about the Canon F-1, was that like the SR-T201, it too used a match needle system. However, neither camera had an aperture scale in the viewfinder.
Sunday, April 24, 2011
First Impressions: Nikon 28mm f/2.8 Series E
Adapting Other Lenses to Nikon Bodies
While Nikon bodies do not serve as an ideal platform for use in experimenting with alternative optics, there are some interesting possibilities.
Thursday, April 21, 2011
First Impressions: Gossen DigiSix Exposure Meter
For me, this little gem is not so much an exposure meter as it is a Photographer’s Swiss Army Knife. In addition to being a compact exposure meter, it also includes a clock, alarm, countdown timer and thermometer.
Monday, April 18, 2011
Cherry Blossom Festival
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| Add caption |
Sunday, April 17, 2011
It Feels Like a New Camera
I must say, I’ve really been enjoying the AF-S NIKKOR 35mm f/1.8. It’s given new life to my D90, and is helping me work through my “Rangefinder” phase. I’m still not out of the woods yet, though.
It seemed as though the solution to my rangefinder dilemma might have been the Fujifilm Finepix X100, the launch of which I’ve been following closely. However, the recent disaster in Japan eclipses the release of this ground-breaking product.
Damage to the Fujifilm plant in the Sendai region has indeed delayed the launch of the X100, the significance of which pales in comparison with the degree of human loss. I was anticipating getting my hands on one of these gems to see how it compares with the rangefinder feeling I’ve never experienced. But I can’t bear to dwell on such triviality given the chain of events unfolding in Japan.
Still, I was able to read some postings from those lucky enough to purchase the X100, even if it was at twice the retail price. It seems from these postings that the X100 gives the Leica X1 a run for it’s money. It’s three stops faster; one optically, two by ISO capability. It has a built-in optical or electronic viewfinder. And it’s well over $1,000.00 less (at its suggested retail price). At about the same price as a Voigtländer Bessa R with lens, it’s competing in mindspace with that camera, a true rangefinder and a good one at that.
The one thing I can’t seem to wrap my mind around however is the manual focus. I’ve learned that it’s a drive-by-wire affair, being electronically controlled by the focus ring on the lens rather than mechanically. The one thing I was really looking forward to in this fixed-lens camera was a silky-smooth, nicely damped, direct focus. Or, at least a similar experience to the silky-smooth undamped direct focus of my AF NIKKOR 20mm f2.8D. But again, if I had the camera in my hands, I might find the overall experience to overshadow this minor flaw. Certainly even with the DBW approach, it represents the best manual-focus experience for a fixed-lens digital.
But will it satisfy my want for a rangefinder?
I think at this point I can safely say no. Neither would a Leica X1, Canon G12, Nikon P7000 or Olympus Pen E-PL2 with the 17mm pancake lens and VF-1 finder for that matter. No, I think this needs to be a true rangefinder. And my Nikon D90/prime lens combo is nothing to sneeze at.
Speaking of which, I seem to be becoming a collector of normal lenses. I have a both a Canon FD and an Olympus OM 50mm f/1.8 normal lens, and I’m thinking of ordering a Minolta MD Rokkor 50mm f/1.7 to fit my SRT201. (The only genuine Rokkor lens I have is the 100mm f/3.5 macro, which is a little on the large size.) This is purely for collectible reasons, although the SRT201 is still quite serviceable.
But my gratifying experience with the AF-S NIKKOR 35mm and penchant for a rangefinder has me exploring prime lens options for my working cameras.
The Nikon 28mm f/2.8 and 35mm f/2.5 E-series lenses look very promising indeed. The Nikon (not NIKKOR) E-series lenses are compact, economically-priced versions of NIKKOR lenses. The 28mm would be 42mm on APS-C (the “ideal” normal focal length) and the 35mm would be a “traditional” normal at 52.5mm. These are essentially pancake lenses, much more compact than the NIKKOR versions, albeit with what seems to be a minor sacrifice in quality. Good manual-focus street lenses at reasonable prices compared with newer offerings.
Yes, I think the rangefinder is definitely on the back burner. Perhaps I’ll go with a used film version in the near future. Certainly though, Japan needs to get back on its feet before before I can entertain such triviality.
It seemed as though the solution to my rangefinder dilemma might have been the Fujifilm Finepix X100, the launch of which I’ve been following closely. However, the recent disaster in Japan eclipses the release of this ground-breaking product.
Damage to the Fujifilm plant in the Sendai region has indeed delayed the launch of the X100, the significance of which pales in comparison with the degree of human loss. I was anticipating getting my hands on one of these gems to see how it compares with the rangefinder feeling I’ve never experienced. But I can’t bear to dwell on such triviality given the chain of events unfolding in Japan.
Still, I was able to read some postings from those lucky enough to purchase the X100, even if it was at twice the retail price. It seems from these postings that the X100 gives the Leica X1 a run for it’s money. It’s three stops faster; one optically, two by ISO capability. It has a built-in optical or electronic viewfinder. And it’s well over $1,000.00 less (at its suggested retail price). At about the same price as a Voigtländer Bessa R with lens, it’s competing in mindspace with that camera, a true rangefinder and a good one at that.
The one thing I can’t seem to wrap my mind around however is the manual focus. I’ve learned that it’s a drive-by-wire affair, being electronically controlled by the focus ring on the lens rather than mechanically. The one thing I was really looking forward to in this fixed-lens camera was a silky-smooth, nicely damped, direct focus. Or, at least a similar experience to the silky-smooth undamped direct focus of my AF NIKKOR 20mm f2.8D. But again, if I had the camera in my hands, I might find the overall experience to overshadow this minor flaw. Certainly even with the DBW approach, it represents the best manual-focus experience for a fixed-lens digital.
But will it satisfy my want for a rangefinder?
I think at this point I can safely say no. Neither would a Leica X1, Canon G12, Nikon P7000 or Olympus Pen E-PL2 with the 17mm pancake lens and VF-1 finder for that matter. No, I think this needs to be a true rangefinder. And my Nikon D90/prime lens combo is nothing to sneeze at.
Speaking of which, I seem to be becoming a collector of normal lenses. I have a both a Canon FD and an Olympus OM 50mm f/1.8 normal lens, and I’m thinking of ordering a Minolta MD Rokkor 50mm f/1.7 to fit my SRT201. (The only genuine Rokkor lens I have is the 100mm f/3.5 macro, which is a little on the large size.) This is purely for collectible reasons, although the SRT201 is still quite serviceable.
But my gratifying experience with the AF-S NIKKOR 35mm and penchant for a rangefinder has me exploring prime lens options for my working cameras.
The Nikon 28mm f/2.8 and 35mm f/2.5 E-series lenses look very promising indeed. The Nikon (not NIKKOR) E-series lenses are compact, economically-priced versions of NIKKOR lenses. The 28mm would be 42mm on APS-C (the “ideal” normal focal length) and the 35mm would be a “traditional” normal at 52.5mm. These are essentially pancake lenses, much more compact than the NIKKOR versions, albeit with what seems to be a minor sacrifice in quality. Good manual-focus street lenses at reasonable prices compared with newer offerings.
Yes, I think the rangefinder is definitely on the back burner. Perhaps I’ll go with a used film version in the near future. Certainly though, Japan needs to get back on its feet before before I can entertain such triviality.
Voigtländer Bessa: The Evolution of Film
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| Voigtländer Bessa R3A 135 Aperture Priority Rangefinder Voigtländer Nokton 40mm f/1.4 lens |
Sunday, April 10, 2011
How to Test a UV Filter for Effectiveness
Not all UV filters are created equal. In fact many offer very little UV suppression. Here’s a simple test you can perform to gauge the effectiveness of any filter in suppressing UV radiation.
- Locate or purchase a fluorescent “Black Light” in the form of a tube or compact fluorescent bulb.
- Turn the light on in a darkened room and allow it to warm up several minutes.
- Locate a piece of white fabric or other item that glows or ”fluoresces” under the light.
- Place the filter in question between the light and the fluorescent object.
- If the item no longer glows, the filter is an effective UV suppressor.
How it Works
It’s not the purple light you can see that causes the object to glow, it’s the UV radiation you can’t see. That’s why simply looking through the filter does not reveal any differences.
However, if the filter does block UV radiation, it won’t reach the object to cause it to fluoresce.
You’ll discover that many filters, such as polarizers, neutral density and skylight filters are effective in suppressing UV. However, these all modify the light in other ways as well. The purpose of a UV filter is to achieve this suppression without modifying the light further. The suppression of any blue cast and increase in contrast and clarity is not the result of modifying the color temperature of the visible light, but of suppressing invisible radiation that interacts with visible light, just as the invisible radiation produces visible light in objects that fluoresce.
Tuesday, April 5, 2011
“A Holga Camera is a study in plastic imperfection, and to use it is an exercise in breaking free from dependence on technology, precision, and uber-sharpness. The slight softness of the images, uncontrollable vignetting and peculiar light leaks create a partnership between you and your Holga. These “flaws”, accompanied by your creative choices, result in a quasi-serendipitous form of art. A Holga stretches our visual perception. Using a Holga adds another facet to the way we see the world. We notice more things, and thus we examine and evaluate their status. A Holga is an educator teaching us a new visual vocabulary with which to describe out world. A Holga is a rule breaker. To use a Holga is to utterly change the terms of reference most people use to interpret Photography.”
— The Holga Credo, from the box of the Holga 120WPC Wide Pinhole Camera
First Impressions: Holga 120WPC
Pinhole photography works best with a larger frame size, and 4x5 is ideal. But processing 4x5 yourself can be a bear, and having it done commercially is expensive, especially for pinhole. So when I learned of this Holga 120WPC, it seemed a perfect solution. And when I was gifted with a $50.00 Amazon gift card, it seemed the perfect choice.
Monday, April 4, 2011
Museum Day
Yesterday I visited the Stieglitz, Steichen, Strand exhibit at the Met, and took along the D90 so I could get a feel for the AF-S DX 35mm.
The camera and lens fit perfectly inside a Lowepro TLZ Mini even with the hood attached. I swapped out the lens cap for a Seculine Vivicap so I could take custom white balance readings if necessary. The flash diffuser and lens pen easily fit inside the outer pocket. If I needed to, I could have shoehorned some filters in there as well. Everything was nice and compact.
Our first stop at the Greek and Roman statuary provided some interesting opportunities. Museum photography means no flash, so a fast lens like the AF-S DX 35 is just the ticket. With this lens mounted, the camera was the perfect weight with a nice center of gravity. Shooting initially at ISO 200, I found myself switching to 400 only under very dim lighting conditions, or when I really wanted to shoot at f/5.6, which I did most of the time. The lowest I needed to go was f/2.8.
Shooting with a prime lens is like riding a bicycle; you never forget. If all you’ve ever experienced is a zoom lens, you might find it a bit restrictive. But if you have experience with prime lenses, it comes right back, and in moments, this apparent restriction becomes transparent. They say that if you lose one of your senses, the others take over. It’s like that with primes. Without the ability to stand in one place and frame your subject perfectly with a quick flick of the wrist, you find yourself approaching the subject from different angles and distances, since you have to move around anyway. This leads to better photos. With a zoom lens, I would probably have stood far away and zoomed in, creating flat images. With a normal lens close up, the images have a more three-dimensional perspective. With a wide angle close up, they would have taken on an exaggerated, distorted quality.
Even though this is a 35mm lens, you’re only using part of its projection, so the perspective, the whole experience, is essentially the same as a 35mm/FX camera with a 50mm lens. But, this is a 35mm lens, so it also has many of the qualities of a wide angle lens, such as close focus capability.
Recalling my previous experience with 35mm SLRs, it was immediately apparent that I could focus much more closely with this normal lens than I ever could using an SLR. When it came time to snap a photo of an ancient coin, I was amazed at how closely I could focus. Whatever else I photographed, I could always get in as tightly as I needed do. One of the strategies when photographing in a museum is to get tight shots in order to “crop out” unwanted backgrounds and people. This was a perfect lens to do that with.
In one instance, I had difficulty focusing on the subject because it was behind glass. I wasted no time in switching to manual to get exactly the focus I wanted. It was easy and transparent. I didn’t even need to take my eye off the finder, because the AF/M switch on the D90 is tactile and easy to find. The switch on the lens does exactly the same thing on this lens, but finding it is a little more challenging.
I also didn’t need to switch from the finder to adjust exposure compensation. The “Easy Exposure Compensation” feature of the D90 allows you to set EC with the other command dial and see the results directly in the finder. It’s so intuitive. No fiddling with buttons and looking at the top LCD. Once the picture is taken, I can actually glance down at the histogram on the color LCD without taking my eye from the finder. Just try that with a rangefinder! Honestly, the finder experience is what truly sells the SLR.
So, today’s experience was comfortably familiar, and yet immediately gratifying, words that describe photography at its best.
The camera and lens fit perfectly inside a Lowepro TLZ Mini even with the hood attached. I swapped out the lens cap for a Seculine Vivicap so I could take custom white balance readings if necessary. The flash diffuser and lens pen easily fit inside the outer pocket. If I needed to, I could have shoehorned some filters in there as well. Everything was nice and compact.
Our first stop at the Greek and Roman statuary provided some interesting opportunities. Museum photography means no flash, so a fast lens like the AF-S DX 35 is just the ticket. With this lens mounted, the camera was the perfect weight with a nice center of gravity. Shooting initially at ISO 200, I found myself switching to 400 only under very dim lighting conditions, or when I really wanted to shoot at f/5.6, which I did most of the time. The lowest I needed to go was f/2.8.
Shooting with a prime lens is like riding a bicycle; you never forget. If all you’ve ever experienced is a zoom lens, you might find it a bit restrictive. But if you have experience with prime lenses, it comes right back, and in moments, this apparent restriction becomes transparent. They say that if you lose one of your senses, the others take over. It’s like that with primes. Without the ability to stand in one place and frame your subject perfectly with a quick flick of the wrist, you find yourself approaching the subject from different angles and distances, since you have to move around anyway. This leads to better photos. With a zoom lens, I would probably have stood far away and zoomed in, creating flat images. With a normal lens close up, the images have a more three-dimensional perspective. With a wide angle close up, they would have taken on an exaggerated, distorted quality.
Even though this is a 35mm lens, you’re only using part of its projection, so the perspective, the whole experience, is essentially the same as a 35mm/FX camera with a 50mm lens. But, this is a 35mm lens, so it also has many of the qualities of a wide angle lens, such as close focus capability.
Recalling my previous experience with 35mm SLRs, it was immediately apparent that I could focus much more closely with this normal lens than I ever could using an SLR. When it came time to snap a photo of an ancient coin, I was amazed at how closely I could focus. Whatever else I photographed, I could always get in as tightly as I needed do. One of the strategies when photographing in a museum is to get tight shots in order to “crop out” unwanted backgrounds and people. This was a perfect lens to do that with.
In one instance, I had difficulty focusing on the subject because it was behind glass. I wasted no time in switching to manual to get exactly the focus I wanted. It was easy and transparent. I didn’t even need to take my eye off the finder, because the AF/M switch on the D90 is tactile and easy to find. The switch on the lens does exactly the same thing on this lens, but finding it is a little more challenging.
I also didn’t need to switch from the finder to adjust exposure compensation. The “Easy Exposure Compensation” feature of the D90 allows you to set EC with the other command dial and see the results directly in the finder. It’s so intuitive. No fiddling with buttons and looking at the top LCD. Once the picture is taken, I can actually glance down at the histogram on the color LCD without taking my eye from the finder. Just try that with a rangefinder! Honestly, the finder experience is what truly sells the SLR.
So, today’s experience was comfortably familiar, and yet immediately gratifying, words that describe photography at its best.
Sunday, April 3, 2011
How to Make Redscale Film
Materials needed:
scissors
masking tape
2 Rolls of ISO 400 color negative film.
changing bag
lightproof container
The technique above works for making rolls in pairs. If you have reusable 35mm cartridges, you can make them faster one at a time.
You now have an empty cartridge to start the next roll!
Because the light is traveling backwards through the film, it loses about one to one and a half stops of sensitivity, so rate it accordingly. For example, for ISO 400 film set your camera for 100 to 200, but process it the way you normally would.
scissors
masking tape
2 Rolls of ISO 400 color negative film.
changing bag
lightproof container
- Place the scissors, 1 roll of film, and lightproof container in the changing bag and zip it closed.
- Reach through the armholes, and carefully pull the film all the way out of the film catridge, allowing it to coil naturally.
- Using the cartridge opening as guide, cut the film as straight as possible about a half inch from the opening.
- Place the film in the lightproof container and pull your arms out.
- Open the changing bag, and remove the scissors and empty film cartridge.
- Take the second film cartridge, and trim the leader off with a straight cut across the entire width of the fim.
- Join the end of the film from the full cartridge with the remaining half inch of film from the empty one so that the emulsion faces in the opposite direction.
- Wind the film into empty container just enough so that the joint is inside.
- Place the joined cartridges into the changing bag along along with the scissors and masking tape, and seal it.
- Wind the film from the full cartridge to te empty one.
- When all the fim has been transferred, cut it as straight as possible about a half inch from the cartridge opening.
- Put the newly filled cartridge aside.
- Remove the coiled film from the lightproof container, and join the cut end to the now empty cartridge using a strip of masking tape. Be sure the emulsions face in the opposite direction.
- Wind the film back into the cartrdge, leaving only the leader exposed.
- Remove everything from the changing bag.
- Trim the leader off the second roll with a straight cut across the entire width of the film.
The technique above works for making rolls in pairs. If you have reusable 35mm cartridges, you can make them faster one at a time.
- Cut the leader off the film
- Attach it directly to the inverted spool of the reusable cartridge
- Reassemble the reusable cartridge and place both in the changing bag
- Transfer the film from the full cartridge to the empty reusable one, cutting the film within a half inch of the donor cartridge.
You now have an empty cartridge to start the next roll!
Because the light is traveling backwards through the film, it loses about one to one and a half stops of sensitivity, so rate it accordingly. For example, for ISO 400 film set your camera for 100 to 200, but process it the way you normally would.
Friday, April 1, 2011
Standardizing Filter Sizes
Buying filters to fit all the different size lenses In your collection can get very expensive. Wouldn’t it be great if you could buy just one filter that would fit all your lenses? Well, you can.
Gather all your lenses together and determine which ones will be used most often. Of those lenses, find the one with the largest filter thread diameter. Buy all the filters you need in that size, and buy inexpensive step-up rings to adapt all the other lenses to that size.
If your most used lens is 77mm, you’ll pay a premium for that size, so only make that the standard if you plan on using a lot of different filters on that lens. If it’s a long telephoto for example, you may only need a UV or skylight filter for that lens.
The exception is that you should always keep a clear, UV, or Skylight filter on each of your lenses at all times for protection, so by all means get one of those in each size.
Some bayonet hoods can still be used with slightly larger filters and rings. But you can use a single screw-on lens hood in your standardized size if you need to.
This was the thinking behind the Cokin creative filter system; Rectangular filters and holders in only four sizes with adapter rings to fit every size of lens imaginable.
Gather all your lenses together and determine which ones will be used most often. Of those lenses, find the one with the largest filter thread diameter. Buy all the filters you need in that size, and buy inexpensive step-up rings to adapt all the other lenses to that size.
If your most used lens is 77mm, you’ll pay a premium for that size, so only make that the standard if you plan on using a lot of different filters on that lens. If it’s a long telephoto for example, you may only need a UV or skylight filter for that lens.
The exception is that you should always keep a clear, UV, or Skylight filter on each of your lenses at all times for protection, so by all means get one of those in each size.
Some bayonet hoods can still be used with slightly larger filters and rings. But you can use a single screw-on lens hood in your standardized size if you need to.
This was the thinking behind the Cokin creative filter system; Rectangular filters and holders in only four sizes with adapter rings to fit every size of lens imaginable.
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