is all this relevant to the Bok

How is all this relevant to the Bokina? Everything said about the 2.8/85 Sonnar goes for the 3.5/100 Sonnar, and then some. They are giving these away on ebay for ~$400-500. True, you probably won't get the latest autofocus capabilities but you'll get a classic look at an amazing price. In 1973, Leica partnered with Minolta to develop a new rangefinder, which became the Leitz Minolta CL or Leica CL. So, if you want full 1:1 capability, all you need here is a Nikon PK-3 or Nikon PK-13 extension tube or any equivalent 27.5mm Nikon mount extension tube from third-party manufacturers. These days there are countless options to choose from at various price points. For someone like me, who uses telephoto lenses a lot for landscape work, this is hardly an issue. If it seems like I have a personal affinity for the Contax Zeiss line, its because I do and for good reason. This creates the so-called 3D look.. I think there are better price/performance choices for manual zooms (with some awkwardness about how you set IBIS for a manual zoom). YMMV. So good is the lens, its MTF (modular transfer function) chart shows there is little improvement to stopping down. I guess that means the classic lenses got something right the first time. Well, it renders some of the most pleasing bokeh I have seen from any lens. Once you've got your lens and adapter, you're almost ready to start shooting. Learn more. Earlier Summicron V4 lenses were made in Canada, while later versions shifted back to Germany, and its lighter weight compared to the earlier brass versions is thanks to its mostly aluminum build. Some will only work with their full focus range on mirrorless cameras this is noted when it is the case. This is why one might prefer a Zeiss Milvus 85mm over the Zeiss Otus 85mm for portraiture. However, this is easily overcome shorter focal length lenses require less extension to increase magnification. Any of these lenses are fine and they have character but they can't compete with modern lenses particularly for sharpness and lack of optical nasties across the frame at wide apertures. The Contax Zeiss 2.8/45 is virtually the same size. Dont let its diminutive size fool you this lens packs a hell of a punch. The only exception is some geometric presentation in the bokeh balls when stopped down (sawtooth is how the shape is often described). The Nikon Z30 is the company's latest 'creator' focused mirrorless camera, a 21MP APS-C model made to be more vlogging friendly than ever. There are many great vintage lenses that can work with modern mirrorless cameras, and below Ill cover my top ten choices that you should consider. Theres also a decent amount of purple fringing at f/2.5, but it disappears entirely around f/5.6. - Pentax A 28/2.8, again - sharp prime My samples. Many of them, the older ones especially, are poor performers by todays standards, but the M-Rokkor 90/4 is an exception. Who knows? Some of these lenses will work on both DSLRs (though this may exclude or have caveats for certain DSLRs, like Nikon F, due to flange distance differences) and mirrorless cameras. The first thing you'll need is an E-mount to 'mount' adapter, depending on the mount of your vintage lens. We never got that, but we do have the Contax Zeiss 2.8/85 one of the finest lenses of its time that remains an amazing optic. Sometimes you don't. Anyway, there are tons of lens reviews out there and multiple "favorites" per person (also beware a review bias that people tend to like what they spent money on, often in proportion to how much money they spent), but the key is to buy lenses that will help you do things you wanted to do, but your current equipment prevents. Once you get used to that and know better what you need to make the photos you want to make, then seek out those lenses. - Minolta MD ZOOM 35-70 mm f / 3.5 (click) , basicly same than very expensive Leica Vario-Elmar-R 35-70 mm f / 3.5 - 35mm f/2.8 MD W.Rokkor Click) , I really like this little prime, very sharp edge to edge. The former was a new lens, due to the CLEs incorporation of a 28mm frame line, while the latter two were optically identical to the Summicron-C and Elmar-C, respectively. Resolution and contrast peak between 135mm and 200mm, with a dip in resoling power and acutance at the long end in particular a common phenomenon with even the best of todays zoom lenses. Absolutely tiny you could probably fit five in your pocket they are by no means perfect lenses. For the majority of my work, this is what I need. Stock up on lens caps and rear caps. Minolta SI 28 2.5 (yellow because of radioactivity, easy to correct in PP, otherwise very sharp). Released in 1979, the Micro-Nikkor 55/2.8 AI-S took the place of the older Micro-Nikkor 55/3.5 AI as the companys mid-range macro optic. One thing I've learned over the years is that you don't always need the biggest, the best, the sharpest or the most expensive tool to be able to create your vision or tell a story. (Especially if you find yourself attracted tocertain quirky nuances of film-era lenses. If possible, check the lens for any dust, fungus or scratches before you buy. Your mileage may vary. I'm shocked no one has said it yet, but these Canon FD lenses are pretty much as good as it gets. When I tested it, the FDn 50mm f/1.4 in particular sufferedfrom significant color shift on stopping down: it starts out missing blue. No, the Contax 45 is not as technically great as those lenses wide open it is only a good performer, with some significant residual field curvature and astigmatism. The Tokina AT-X 90/2.5 may be the most versatile lens on this list. Sharp as can be. Best Use Cases: Mirrorless, Canon EF (Simmod or plain adapter), Nikon F, and Pentax K (Leitax). I don't have any AF lenses, so if I want a picture, I have to do more than squeeze a button.I just bough my first camera, Best camera EVER!! Not at all. Sony's FE55 immediately put an end to my quest for the ultimate vintage nifty fifty. So branch out. Just be sure to focus on your subject at the point in the frame focus and recompose doesnt work well unless the field curvature of the lens matches the distance change precisely. Yes, its even slower than the 85 Sonnar a bit over half a stop slower, to be exact. Best Use Case: Mirrorless with an adapter. The result is a reverse-gender bayonet that tends to collect dirt, often gets stuck, and relies on a thin, easily deformed (I've had to replace it in several lenses, although that's mostly a problem for the longer or heavier lenses, not a 50mm nor 35mm), stamping as the primary flange surface. These capable cameras should be solid and well-built, have both speed and focus for capturing fast action and offer professional-level image quality. For the best experience on our site, be sure to turn on Javascript in your browser. Its that good. Well, except the price the W-Nikkor-C f/2.5 is about twice the price of the f/3.5. Ive listed it alongside its faster sibling, the f/2.5 version, simply because there is very little difference other than that speed. Nothing is perfect and if we nitpick, the coatings arent nearly in the same class as, say, Zeiss T* strong light sources near the edges of the frame can wash the image out considerably, but this is easily avoided by either paying attention or using a hood. If you dont ever intend to use a Leica M digital camera, then it wont make any difference to you. The original FL/FD mount is a solid, wear-free, breach lock: one of the best, but slow to use. For the record, what I value in lenses is transparency and clarity lenses that simply do their job and get out the way without imparting their own optical maladies onto the image. As more photographers learn the secret of vintage glass, prices tend to go up but they are very rarely as expensive as new glass. The 2.8/85 is not one of those, unfortunately slow lenses faded from fashion, likely due to whims of bokeh fanatics who photograph fence posts and flowers. We dive deep to find out where it excels and what it's like to fly. But once you hit f/4 and especially f/5.6, theres very little in it between them. When in doubt, contact us and ask about a certain lens. But it is a lesser-known optic that was produced in very limited quantities reportedly about 1,000 to 1,300 units across various mounts alongside the even rarer Voigtlander 125/2.5 Macro APO-Lanthar and the far more common Voigtlander 90/3.5 APO-Lanthar. That's my last real legacy holdout. Make sure you're purchasing the right lens mount and that you have the correct mount adapter for your camera. To me, that's less reason to get these vs. a modern lens. It's just easier to use a tried-and-true lens from years past than to try and find the perfect modern lens on a shoestring budget. Wide-open it does not have the consistent across-the-frame resolving power or micro-contrast of the Otus 85, nor is it apochromatic. https://www.flickr.com/photos/everythingis1/page2 Everything from here is nearly all shot on Canon FD. Start slow. As you might guess from the clever portmanteau, the lens is highly regarded for its incredibly beautiful, smooth, buttery bokeh. In this Guide, I have tried to avoid wider (wider than 35mm) focal length rangefinder lenses, as these typically do not work well with many non-Leica mirrorless cameras due to the sensor stack on digital sensors which film, of course, did not have and the lack of off-set microlenses. High resolution, weather-sealed bodies and wide dynamic range are all important. Very sharp and compact zoom. As usual, our recommendations for sourcing vintage lenses (and cameras) in the United States are Roberts Camera (UsedPhotoPro) and KEH Camera. Zeiss, of course, makes many of its own lenses for numerous mounts today Otus, Batis, Milvus, Touit, along with a few others like their M-mount line. For the best experience on our site, be sure to turn on Javascript in your browser. Lateral CA is an issue, but correctable in post. Even if you are not a fan of the design, its a small price to pay for the versatility and results. Its also cheaper than its Leitz branded counterpart, despite its superior multi-coating. Throw in the next lens on this list for an excellent, full Contax Zeiss kit from 28/35mm to 300mm that wont break the bank. Nicknamed the Bokina this lens has several lovely surprises in store for unassuming users. As for performance, the Micro-Nikkor 55/2.8 is bitingly sharp at every aperture, until you hit diffraction anyway, and there is only minor lateral and axial CA to speak of (the latter of which is virtually gone by f/5.6). It is a chipped AI-S lens, meaning it works with legacy film cameras as well as any modern digital Nikons, with the ability to transmit EXIF data and aperture control electronically. Selling your old photo equipment online can be a hassle. This one is a great example of the Canon colors, even if the green is noisy from underexposure. The latter is an older optic, though as you can see with the other three Contax Zeiss lenses on this list, that hardly means anything. Four Cropped-Sensor DSLRs That Deliver Big Performance, Video Field Test: Legacy Lens | Voigtlander 12mm f/5.6 Aspherical (I). Some versions of lenses may have been redesigned over the years as well, so a 50mm f/1.4 might not be the same 50mm f/1.4. Also Takumar Super Multi Coated lenses are worth a look. Lenses like the Minolta M-Rokkor 90/4 or my favorite, the Zeiss ZM 4/85 Tele-Tessar are perfect for such work, where youll probably be stopping down to f/5.6 or f/8 anyway. You neednt look any further than the insane prices that Canon FD/FDn lenses (particularly the SSC variants) are demanding right now compared to just one or two years ago, partially because they share a lot in common with Canon K35 cinema primes. Personally, I've had good luck with adapters from Fotodiox, but I've also heard good things about Fotasy, Novoflex, Metabones & more. The FDn is a very clever hack to makea compatible, faster to use, bayonet -- but there wasn't really space. Longer gear lifecycles serve more and cost less-for you and the environment. These lenses are regularly cine modded for video use due to their unique character and less clinical rendering, (sometimes) affordable prices compared to cine lenses, helicoid-driven focus with hard stops, and physical aperture rings (which are often de-clicked). (I was having fun and learning things, at least for a while). Would not call them "forgotten" though. Mine has been 6-bit modified and such upgraded lenses tend to command a bit more of a resale premium. All content, design, and layout are Copyright 19982022 Digital Photography Review All Rights Reserved. Seven years later, the Minolta CLE hit the market: a rangefinder that very closely resembled the Leica CL, though it was developed completely independently from Leica, with many new and groundbreaking features. As for performance, the Nikkor is simply stellar. I would enjoy any suggestions that are less than 85mm, and prefer primes over zooms. The Minolta MD 2/50mm . It has the traditionally beautiful micro-contrast of most Zeiss lenses, giving even the lowest frequency structures plenty of bite. Contax 35-70 f3.4. What are my best options? Like a lot of older zooms, the 100-300 Vario-Sonnar is a push/pull design, meaning the focus and zoom ring are integrated focus is done as usual and zooming is accomplished via pushing to extend the lens (zoom in) or pulling back to retract (zoom out). Zeiss 25mm Distagon 2.8 (the newish one that was discontinued). Maybe you'll be the first to shoot a specific rare vintage lens on a modern-day mirrorless. A vintage lens with manual focus will allow you to spend more time with your composition and exposure. It is a truly apochromatic design, meaning axial CA is nonexistent, with a superb ability to describe and resolve high-frequency detail (microcontrast). I would recommend the new FD as opposed to the older ones because there is no extra locking mechanism to get in the way, and they are all lighter weight. This is simply a consequence of the Tessar design, and my opinion lends such lenses a very gentle but lovely aesthetic. Did I mention it is one of the best lenses ever made? Weve chosen cameras that can take great photos and make it easy to get great looking video, rather than being the ones youd choose as a committed videographer. They still have their lovers. In fact, you can build up a small vintage lens kit for the cost of a modern-day lens. This came with the caveat that most topped out around f/2.8 the faster pancake lenses, like the Olympus OM 40/2 or Konica AR 40/1.8, are modified double Gauss (Planar) formulas and not quite as thin. The Helios 40-2 is a Russian 85mm f/1.5 lens with a unique, swirly bokeh that's become instantly recognizable to those familiar with the look. While the bokeh is extremely smooth, it still maintains the necessary abrupt transitions in front of and behind the plane of focus (note that abrupt is not the same as harsh). These vintage lenses don't usually come with the original protective covers. There really doesnt exist a line of affordable vintage lenses that I love more than the Contax Zeiss lenses. These two W-Nikkor-C 3.5cm lenses are a product of that time. Holding it in your hand, youd be forgiven for thinking its more like a 100mm lens. The 100-300mm Vario-Sonnar is a real exception. The M-Rokkor 90 is one of those petite, super-portable, and ultra-affordable options that any fan of vintage lenses should seriously consider. He enjoys nature, Hemingway, animals, asian-fusion restaurants, movie theatre popcorn and very rarely orders the same meal twice. Resolution and contrast, on the other hand, are exceptional. Flare performance is rather impeccable for a vintage lens, though naturally, modern lenses have upped their game in this regard. None of that is to say this lens isnt a stunner comparing just about any lens to a Zeiss Otus is rather unfair, for many reasons. Then, in 1979, we got Version 4 (colloquially V4): a similar design as version 3, but with 8 aperture blades instead of 10, and it now featured the lovely focusing tab for the first time. Contrast is excellent both wide open and stopped down, with resolution improving and flattening out slightly by f/5.6. The 100-300mm Vario-Sonnar is one of those, as well the only zoom lens on this list many vintage zooms werent even very good on film, let alone high-resolution digital. Im even about to pull the trigger on a Chinese 50/1.1 M mount lens that you likely havent even heard of is it special in any way? Image quality is outstanding across the board, from wide-open until you hit diffraction. It doesnt stop there, because I someone who thinks shallow depth of field and bokeh obsession is just silly would never recommend a lens solely on that basis alone. In this guide we've chosen a selection of cameras that make it easy to shoot compelling lifestyle images, ideal for sharing on social media.

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