Not much changes.

Long term readers may recall that I swapped my 20mm f/3.5 MF AiS Nikkor of 1982 vintage for the much earlier 1973 20mm f/3.5 UD non-Ai Nikkor which I both Ai’d and chipped.

The optical trade-offs were clear. The older lens is superior in the center down to f/8 while the AiS optic delivers better edges fully open and remains better at small apertures. This works for me as the ergonomics and sheer delight in the handling of the 20mm UD remain unparalleled. This is how lenses should be made. After 5 years with the UD Nikkor I am as happy as can be.

Nikon D3x, 20mm UD Nikkor, ISO200.

A much later 20mm f/2.8 AFD Nikkor recently joined my stable and a quick check of performance discloses that Nikon had made little progress in center definition by 1989 when this lens was made. Against the f/3.5 UD, the UD is sharper in the center down to f/8, after which the two are comparable. The AF optic is better at the edges through f/8 (though not as good as the Ai-S predecessor!) and remains slightly better through the smallest aperture. Be sure to keep your fingers away from the focus collar in AF mode as it spins around merrily in finding focus.

AFD lens on the left – competent but ugly.

I’m not publishing test snaps here as they would look much like the earlier ones comparing the UD with the AiS, the only difference being that in Scottsdale my backyard features a lovely desert garden rather than the ugly utility pole from the Bay Area.

The UD weighs in at a solid 14oz, courtesy of its all metal construction, with the plastic-fantastic AF/AFD at a mere 10oz, barely more than the AiS with AF thrown in. Impressive, if not beautiful.

AF is really not necessary in a lens this wide where depth of field covers for focusing errors, but at $230 delivered with Nikon filter, hood and caps, who is complaining?

If you want the last word in central definition and handling, go for the UD. If compactness and solid overall performance is your thing, the AiS is indicated. And for those wanting AF with little weight penalty, the AF/AFD is the right choice, if you can live with all that plastic. The early AF was improved with a revised CPU in 1994 which provides distance metering for Nikon flashes, being renamed ‘AFD’. If you want to save some cash and do not use flash, the AF predecessor has identical optics and mechanics. All of these in mint condition can be found for around $200 but UD variants are hard to find in pristine shape as the scalloped metal focus collar does not take well to hard use and looks ugly once the black anodizing starts coming off. The UD, the oldest optic here, is also the best at controlling flare spots. Not all change is progress ….

There’s also the 20mm f/2.8 AiS MF Nikkor, first sold in 1994 and still available new for almost $700 which I profiled here. For the money asked I really cannot recommend it new or used ($400-$500) as its corner performance is really not much to boast about.

All of these lenses are easily chipped – a simple glue-on operation. The f/3.5 AiS and f/2.8 AiS come Ai’d from the factory. Adding an Ai fork to the UD is not nuclear physics, and I illustrate that in the first link above.

All these 20mm Nikons exhibit the complex ‘mustache’ or wave distortion and for the UD, f/3.5 AiS and f/2.8 AiS you can download my lens correction profile here which fixes that and removes vignetting and most chromatic aberration. The profile for the AF/AFD comes bundled from Adobe with Lightroom and works well.

Old and recent.

Nikon has been making 80-200 zooms for the F mount camera bodies since 1969. Indeed, my mint example of the 80-200 f/4.5 Ai manual focus, single ring (meaning trombone zooming) lens is oft credited with putting this focal length on the map, for its performance is outstanding.

I like separate aperture rings on my lenses, because I grew up supporting the lens with my left hand and holding the camera body in the right. Once the latest G Zooms with silent internal focus motors came along, this opportunity was lost for such optics have no aperture ring. Apertures are changed with a thumbwheel on the camera’s body. Not for me.

With long zooms autofocus is nice to have and the penultimate version of the 80-200 Nikon Zoom, which has an f/2.8 maximum aperture, has its own aperture ring and uses the ‘screwdriver’ type focus mechanism found on the non-amateur grade bodies. A small drive in the bayonet mount (a Bowden cable, for techies) engages a like receptacle in the lens to confer AF. As with the f/4.5 MF version, focusing is internal and the length of the lens remains unchanged as it is zoomed. In the AF lens two rings are used – one for focus, the other for zooming. I’m happy with either engineering approach, though it has to be said that the trombone zooms tend to get sloppy with age, although optical quality remains unaffected.

Having recently acquired the AF version I though it would be interesting to compare the two.

The AF lens is larger and heavier – 46 vs. 27 ounces. It is also twice as fast.

Here you can see the mechanical AF coupling in the newer lens:

Male end on camera bayonet, female on the lens.

The AF speed is decent, not blistering. Fine for my purposes but if live action is your thing you may want to spend (a lot) more on a current G series 70-200mm Zoom which also adds Vibration Reduction and will run you $2-3,000 new, depending on the VR version. Alternatively, if you like aperture rings, seek out the AF-S version of the 80-200mm for more than the AF-D, which uses an internal silent motor and is hard to find on the used market. This was the last version of the 80-200 Nikon made, which is why I referred to the screwdriver versions as ‘penultimate’ above. However, the only version of the AF 80-200 which remains available new is the f/2.8 ED IF screwdriver version illustrated here, and it retails for a hefty $1,100. Mine, made in November 2015 cost me $476 in absolutely mint condition with original hood, UV filter and caps. A tremendous bargain for an optic built to incredibly high standards with an all metal, tough, crinkle finish barrel and wonderfully smooth controls. The two switches on the lens control AF or MF, as well as the focus limit when you want to reduce AF ‘hunting’ and know that you will be focusing within a narrow range of distances.

Why does Nikon continue marketing this lens? It has the slower screwdriver focus than the AF-S which replaced it, yet that replacement is discontinued. I would like to tell myself that too many photographers insisted Nikon keep this one in the line but suspect that the reality is that they simply made too many and are selling off new old stock.

Whatever the reasons, poor performance is not amongst them for the lens is an optical stunner.

My MF f/4.5 lens invokes my related lens correction profile as I have fitted the lens with a CPU, so LR knows which profile to use. You can download it from that link and I recently re-generated it, making for even better results. The profile for the much newer AF lens comes bundled with LR and is also automatically invoked in you turn lens corrections ‘on’ in the Develop module. Both profiles correct for mild vignetting at the two largest apertures and for modest barrel distortion.

I illustrate 40x enlargements (Nikon D700) at the common apertures of the f/2.8 AF. The f/4.5 MF (labeled ’80mm’, on the right), and the new lens is better – meaning better resolution and contrast – in each case, though the differences are small by f/8, which is another way of saying that the MF lens, which can be had for very little, is very good indeed.

Adobe lens correction profile in LR for the f/2.8 ED IF lens.

How much better is the AF lens in the center? 1-2 stops better and ultimately it resolves finer detail than the MF lens at any aperture. The older MF lens is also a tad warmer when it comes to color rendering, and of lower contrast, clearly visible above.

The story with corner and edge performance is similar and I have not included test images here for the sake of brevity. The issue with the older lens is that it has far greater curvature of field, so objects behind the point of focus in the corner are rendered very sharp, but that’s of little use in practice.

The AF lens goes 1.5 stops faster fully open, so here are images at f/2.8 at 80 and 200mm:

AF lens at f/2.8 at 80mm and 200mm.

Bearing in mind that these are 40x enlargements, the results are perfectly usable at full aperture, though it’s clear the lens is resolving less detail than at f/4 and smaller.

And if you think 46 ounces is heavy, check out these data:

• 80-200 f/2.8 AF ED IF with screwdriver focus motor and aperture ring – 46 ounces – the lens profiled here, and still available. Rotating, non-removable tripod foot.
• 80-200 f/2.8 AF-S ED IF with internal focus motor and aperture ring – 56 ounces – discontinued. Rotating, removable tripod foot.
• 70-200 F/2.8 G ED IF VR with internal focus motor, no aperture ring and Vibration Reduction – 52 ounces – discontinued.
• 70-200 F/2.8 G ED IF VR II with internal focus motor, no aperture ring and improved Vibration Reduction – 54 ounces – current, $2,300.
• 70-200 F/2.8 E FL ED VR with internal focus motor, no aperture ring, VR, improved optics sandlots of buttons – 50 ounces – current, $2,800.
• 70-200 f/4 G ED IF VR with internal focus motor, no aperture ring and Vibration Reduction – 30 ounces, one stop slower – current, $1,400.

Looking at the results above and at the prices it’s clear that a good, used 80-200 f/2.8 AF ED IF Zoom Nikkor with screwdriver focus motor and aperture ring is an outstanding lens optically and a bargain financially. It lacks VR but its weight will conquer all but the worst cases of the DTs.

And if that’s outside your budget and MF works for you, the older f/4.5 MF lens is highly recommended for both your pocket book and less back pain! Just be sure to get the last version, distinguished by the rectangular rear baffle.

CPU installation, lens correction profile and tests.

In Part I I looked at the early history of zoom lenses on 35mm film cameras and at the Nikon Zoom 43-86mm f/3.5 optic, noting how the poor reputation for performance of the Mark I design had affected resale values of the improved Mark II version, which we are looking at here.

In this posting I address the installation of a CPU, examine the need for a lens correction profile to fix this optic’s barrel distortion and chromatic aberration, and provide some test images.

CPU installation permits the recording of EXIF data and automatic invocation of the appropriate lens correction profile when images are imported to Lightroom.

First the lens mount has to be removed, 5 screws. This will disclose shims both above and below the aperture ring. Be careful not to lose these and note how many are above and below the aperture ring.

Alloy will have to be removed in the area denoted.

Bayonet mount removed for grinding. Note the relatively fragile claw which mates with the aperture
follower deep in the lens’s barrel. Replace this mount incorrectly and you will lose aperture control.

For this lens, installing a CPU is difficult as a fair amount of alloy has to be removed from the rear of the lens mount to ensure the CPU does not protrude too far and damage the camera’s contacts in the lens throat. There is no easy way to access the area to be machined and while, once removed, the mount can be further dismantled I did not have the tools to do this. If you are not comfortable using hand machine tools you should delegate the work, as it’s not that difficult to mess things up here.

Shims disclosed when the bayonet mount is removed.

Dremel to the rescue. I found a Dremel tool, #7144 in 1/8″ shank at Home Depot for $8. This grinding tool has a very fine pointed diamond encrusted cutting surface and is just what the doctor ordered for grinding away the alloy on the rear of the lens mount to accommodate the CPU.

With the lens mount removed – 5 screws – and securely clamped in a vise, the Dremel 7144 tool goes to work.
Note the ear protectors to avoid loss of hearing. Blue masking tape denotes machining limits.

The correct positioning of the CPU is addressed here and is marked beforehand on the mount. The blue masking tape denotes the machining limits. A super smooth surface is not essential as the J&B Weld two part epoxy used to glue the CPU in place will fill in any irregularities. What you do want on a test fitting is a CPU whose electrical contacts are concentric with the lens mount and do not protrude above the extremity of the bayonet mount.

After the requisite 24 hour period to allow the epoxy to cure, excess glue was carefully removed with a sharp knife and miniature Nicholson file and abraded areas touched up with black matte modeler’s paint.

Be sure to align the fragile shims with the screw holes.
Unusually for a Nikkor, the five screws are equally spaced.
There are six holes in the shims, only five accept screws.

The CPU is installed. About 2 hours of work. If you get any glue on the sprung gold contact pins, the CPU is toast.

The CPU is programmed in the usual way as explained here, conferring maximum and minimum apertures, minimum focal length (I used 42mm as 43mm is not available in the CPU) and transferring aperture control from the camera body to the lens to avoid non-linearity issues as explained in that link.

EXIF data correctly reported in Lightroom
after CPU installation.

Lens profile:

Well, this is a surprise. I found that chromatic aberrations and barrel distortion in this lens to be so low that even without a lens profile results are fine.

However, I developed a lens correction profile in the usual way and this is automatically invoked in Lightroom if you install a CPU. The CPU’s program data tell LR which lens correction profile to use, something which will be done automatically if your image import dialog checked the lens correction profile when you created it. You can download the profile here. The profile file contains corrections at f/3.5, f/8 and f/16. The closest to the aperture used will be invoked automatically.

Here’s the Develop dialog from LR:

The profile invoked in LR.

While developed using a Nikon D3x, this profile will work fine with any Nikon digital camera, FF or APS-C.

Performance:

I was very pleasantly surprised by the performance of this optic, finding excellent center and extreme edge definition at 43mm and 86mm fully open and even better at f/8 where the lens peaks. Thereafter, it’s just fine all the way down to f/22. It mystifies me what all those years of opprobrium and trash talk directed at this inexpensive lens are all about.

The images below were reproduced without invoking my lens correction profile (see above) and mild chromatic aberration (color fringing) is visible. This completely disappears when the lens correction profile is used.

Test scene, Nikon D3x, 43mm full aperture.

Center definition at f/3.5. 40x enlargement.

Extreme edge definition at f/3.5. 40x enlargement.

Extreme edge definition at f/8. 40x enlargement.

Compare these test images with those from the 50mm f/2 HC Nikkor, one of the best lenses ever made. Impressive, huh? Also note the gentle rendering of out-of-focus areas.

Conclusion:. If you want a mid-range, constant aperture Nikkor push-pull zoom for very little money, snap up the Type II version of the 43-86mm f/3.5. The results are excellent and the ergonomics, fit and finish are unequalled in any zoom lens I have used.

Gear used for the above, including a $6 Amazon Basics UV
filter and a Nikon HR-1 folding rubber lens hood.

On an APS-C format Nikon, where the extreme edges are not used, this makes for a fine all purpose 65-130mm, high definition optic. In fact I did the CPU programming on my D2x, which is APS-C, sporting a 1.5x magnification compared to the full frame D3x.

The story here is similar to the one for the 500mm Reflex Mirror which, were all those purported ‘experts’ to be believed, is not worthy of serving as an ashtray.

Not totally awful.

The early history of zoom lenses on 35mm film cameras is long and not distinguished.

It starts in 1959 with the 36-82mm f/2.8 Zoomar which mounted on the contemporary Voigtländer Bessamatic SLR. The Bessamatic used a leaf shutter inside the lens mount, a fact which made it difficult to make really wide lenses for it, but kudos to the company for retaining American Zoomar to design a zoom lens, and one with a fixed, large aperture at that.

Bessamatic with 36-82mm f/2.8 Zoomar mounted. No strap lugs on the body ….

This monster lens was an ugly duckling with styling nothing like the nicely finished factory lens range (35mm all the way through 350mm) and performance was so-so, but you could claim to be the only one on the block with this ugly duckling. Plus, the optic came with this comical depth-of-field calculator so that you could be sure of getting it right despite the multiple aberrations:

Included with every Zoomar, this DOF calculator. Reminiscent of Dr. Strangelove’s circular slide rule.

Nikon was a far better lens designer than American Zoomar, so when they first marketed their 43-86mm f/3.5 Nikkor Zoom in February, 1963 it was elegantly executed and matched, as a whole, the rest of the burgeoning Nikkor lens range:

Mark I of the 43-86mm Nikkor.

Nikon’s elegant solution to the depth-of-field riddle.

And the elegant solution to depth-of-field determination with those lovely curving, colored lines, was a first. A tad different from the Zoomar’s calculator!

Arguably one of the most beautifully executed of all Nikkors its performance was, by general agreement, the worst of any lens Nikon ever sold! Despite that, over 150,000 made it out the door at Kogaku, Tokyo. The lens was compactly sized and beautifully made, not to mention revolutionary, building on Voigtländer’s pioneering lead with something far more useable. This design comprised 9 elements in 7 groups and as Nikon’s site attests, the manufacturer was rightly proud of its achievement. The irony of the lens’s poor optical performance is that 99+% of images are now displayed on small computer or cellphone screens, for which purpose it’s perfectly adequate.

Nikon had another go at the design, releasing Mark II in November 1975, now with 11 elements in 8 groups, the description of the lens was moved from inside the filter ring to around the outside barrel, making identification easy. This was a much better optical formula and the beauty of the marketplace is that the curse of the earlier design similarly affected the market price of used Mark II lenses, meaning all are dirt cheap. Mine ran me $69 shipped, in ‘as new’ condition. Many of these have been really beaten up and I simply cannot see saving $30 on a beater when your pride and joy in a mint example can be had for little more. It probably makes sense to use a lens hood for protection as well as flare control, given how prominent the front element is, and the standard Nikon 50mm collapsible rubber hood HR-2 can be found new for under $20. Amazon lists an ‘Amazon Basics’ 52mm UV filter for further protection for under $6. I bought both.

An even greater number of the Mark II variant was manufactured with the last versions – mine – coming Ai equipped from the factory. The cut-outs in the aperture ring’s coupling claw for old Nikon Photomic metered prisms and cameras like the Nikkormats are there to throw as much light as possible on the smaller duplicate rear aperture scale which is read through the finder via a reflecting mirror in later bodies like the FM and FE. Nikon called this ADR or Aperture Direct Readout, a clunky solution to seeing the aperture in the viewfinder. It works …. in good light. As usual I will be discarding the claw after installing a CPU, which will allow the recording of EXIF data on digital bodies.

My ‘as new’ condition 43-86mm Zoom Nikkor on the Nikon FE film body.

Mounted on the small FE body the fine ergonomics of the body are nicely complemented by this compact and beautifully made zoom lens. The construction quality of the lens is exceptional as regards fit and finish, no wobbles, no rattles and the optic feels like one solid piece of glass and metal. Those are real, paint filled engravings you see, not screen printed garbage. Gorgeous.

I discuss lens correction profiles and CPU installation in Part II, along with test images.