Category Archives: Nikon bodies

About Nikon DSLRs

100mm, f/1.4

Nikkor MF lenses on the Panasonic MFT bodies.

This piece will finally join the heretofore parallel lines for the Nikon D700 and Panasonic G3 systems I use. Absent the one in the iPhone 4S and an old Panasonic Lumix LX-1, I have no other cameras.

Adapters and their limitations:

Adapters, most around $25, are available to use Nikon and Canon and a host of other manufacturers’ lenses on MFT bodies made by Panasonic and Olympus. But just because you can do that, does it make sense?

For the most part the answer is a resounding ‘No’.

You have no autofocus, auto-exposure is aperture-priority only, and Canon EF and Nikon ‘G’ lenses require specialized adapters to control the aperture. Otherwise you are restricted to full aperture only as those lenses lack a manual aperture ring. Except for Olympus MFT bodies which have anti-shake built into the body, a Panny user loses that feature also. Any VR/IS in a Canon or Nikon lens is lost. The sheer bulk of most full frame lenses destroys the compact concept of the MFT body’s design and the whole idea has a rather Rube Goldberg aspect to it. Cool to tinker, useless in practice.

Still, I plonked down $23 for one of these the other day and just received it. It adds some value in specialized applications and works with Nikon pre-Ai, Ai’d, Ai, Ai-S and AF-D (manual focus) lenses. If you want to adapt a G series AF-S lens as well as all older Nikkors, buy the costlier adpater with a mechanical aperture control ring. Read on.

Click the picture to go to Amazon US. I get no click-through payment.

Adapter quality:

I opted for the Rainbow Imaging version as user reviews suggested it has a better release catch for Nikon lenses than other cheap ones. Manufacturing quality is very high, the interior is semi-matte but that’s unlikely to have any effect on image quality as the reflectivity is low. Fit of both the Nikon end and the Panasonic end is excellent. Novoflex makes adapters for $300. Save your money. The cheap ones are fine. You can see the full range of Rainbow Imaging adapters by clicking here. There are 30 adapters for MFT alone, including such odd ducks as Alpa (a superb Swiss 35mm film SLR whose quality of engineering puts Leitz to shame), movie C-mount, Contax/Yashica, Retina Reflex (!), Exacta/Topcon, Zeiss Ikon Contax rangefinder (!!), and many others. Fotodiox makes an inexpensive adapter for Hasselblad lenses to MFT.

Checking the flange-to-flange dimensions with a micrometer I found a maximum-to-minimum variation of 0.0001″ (0.0025mm), right at the limit of accuracy of the measuring tool. That would be tough to beat at any price. The grinding of the front flange, which mates with the Nikon lens of choice, is to a very high standard. The body of the adapter is made of very thick alloy and not about to flex, regardless of the lens fitted. The serrations on the barrel provide a decent grip for installation and removal on the camera. A small set screw on the rear flange provides adjustment of tightness of fit on the camera. Springs permit adjustment of the tightness of the front mount. Both front and rear on mine were set just right on receipt, but it’s nice to know that adjustments can be made in the event of wear.

Best lenses:

So which lenses make sense? The MFT sensor is one quarter the size of a full frame one, meaning that you are using only the center of the image projected by a full frame lens. Thus a 50mm lens becomes a 100mm. However, the depth of field remains that of a 50mm lens. Depth of field is solely a function of focal length. A 50mm lens on a 4″ x 5″ plate camera will have the same DOF at any given aperture as a 50mm lens on medium format, full frame, APS-C, MFT, you name it.

That pretty much means wide angle lenses from full frame bodies are a waste of time. Even a super wide 17mm, with all its associated bulk, becomes a semi-wide 34mm on MFT. You are far better off using the kit zoom with all its automation, than using a gargantuan FF wide. It just gets worse the wider you go. A monster 14mm Nikon or Canon is a not so wide 28mm on MFT. Silly. If you want really wide, use something like Panny’s 7-14mm or Oly’s 9-18mm. I use the latter and it’s an outstanding optic.

Likewise, modest aperture standard or medium long lenses make little sense. The Panny kit zoom – 14-42 or 14-45 – meaning 28-90 equivalent on FF, has you covered. And if you want something really long, using a monster FF telephoto on MFT bodies makes little sense unless you need a very fast aperture. But then why bother with an MFT body when FF will deliver superior results with little aggregate change to weight and bulk? The superb Panny 45-200mm (=90-400mm) has decent apertures fully open and built-in anti-shake, making it perfectly useable at the long end hand-held. And it’s tiny compared to anything from a full frame body.

That leaves fast FF lenses and special purpose ones.

50mm f/1.4 Nikkor-S on my Panasonic G3 body.

The fast 50mm makes for a fine portrait lens and permits limited DOF effects, if you can handle manual focus.

Winston. One 60 watt bulb for lighting. Nikkor-S 50mm f/1.4 at full aperture, Panasonic G3, ISO 1600.

As you can see from the snap, DOF is extremely limited fully open and close-up.

In use on the Panny G3:

You switch the body to Custom->Use Without Lens (go figure; I saved this to C2-2 – the G3’s custom settings allow one on C1 but three on C2, the latter selectable using the LCD rather than the top dial) to enable control of the adapted lens and here’s where one of the great advantages of the electronic viewfinder in selected MFT bodies kicks in. With the camera set to aperture priority automation, as you stop the lens down the finder brightness remains unchanged. It’s as if you were using a standard auto-aperture MFT lens! The EVF adapts as the FF lens’s aperture changes, only the perceived depth of field changes. If only the D700 came with an EVF ….

So aperture automation is not an issue, though the finder will report the aperture as 0.0 regardless of how set. You have to check the lens to see which aperture you are using. With aperture-priority automation, the shutter speed is correctly displayed in the EVF.

As for focus, Panny has another trick up its sleeve. By depressing the control wheel into the body, with the G3 you get a 10x magnified center rectangle (the magnification is variable at will), picture-in-picture, which makes manual focus trivially simple and dead accurate. (Panny’s MFT bodies do not have a focus confirmation LED). Far easier than using MF on the FF D700! Press again or touch the shutter release and the EVF returns to normal display. (In the earlier G1 the whole finder image is magnified, but the functionality is near identical). Thus, with a 50mm lens you are getting the focus accuracy of a 500mm, and even at smaller apertures the magnified image snaps in and out of focus sharply, leaving little room for doubt.

Picture-in-picture 10x focus tool in use on the G3.

For my purposes there are just a few lenses in my extensive Nikkor MF collection which make sense to use on the G3. They include the 50mm f/1.4 and 85mm f/1.8 for their fast apertures and shallow DOF when fully open (one of the banes of MFT is too much DOF with just about any lens), the 100mm f/4 Micro-Nikkor for its close focusing ability, and the 300mm and 500mm Nikkors for extreme reach. The 300mm is sort of silly as it’s large, heavy and hard to hold at the best of times, but the 500mm (1000mm equivalent) is a real surprise. This mirror lens, with its slow f/8 fixed aperture. is an absolute pig to focus on the D700. The focus LED indicator is at the very limit of its capability (it starts checking out much below f/5.6) and the finder image is dark. With the G3, the finder image is bright as can be and focusing is a joy. No need for the 10x focus feature. The unmagnified image is easy to focus in any light. And the 500mm Reflex Nikkor, once you get the hang of it, is really a special lens – positively a midget for that focal length and sharp as can be when properly handled. Balance on the small G3 body is excellent.

500mm Reflex Nikkor on the G3.

Neighbor’s backyard test target. 500mm Reflex Nikkor, 1600 ISO, G3, 1/1000.

The above was snapped hand held through a dirty window, the ‘target’ is some 100 yards away.

So the FF->MFT adapter has its uses, even if they are somewhat limited. However, a mirror reflex on the G3 is a joy and a pleasant surprise. It’s almost as if the Reflex had to wait all these years for a body capable of doing it justice.

Using the adapter with the Nikon Micro-Nikkor 105mm f/4 makes for a powerful combination. At closest focus you get 1:1 reproduction, compared with 1:2 on an FF body. Despite the small maximum aperture, critical focsuing is very easy thanks to the EVF, and the outfit balances nicely in the hand.

An even better body for use with really long lenses would be the recently released Olympus OM-D MFT SLR, which has in-body image stabilization, though I do not know whether the IS in that camera works with adapted lenses. However, at $1,000, this overpriced body currently costs twice as much as the G3.

A note on CPUs, processing and EXIF data:

If you have installed CPUs in your Nikon MF lenses, as I have, these do not interfere with the adapter. EXIF data in LR or whatever you use for processing will be missing any lens information, as the camera has no way of knowing the focal length used. Thus if you want to apply a lens correction profile, it will have to be selected manually. As only the central part of the image is being used, the need for lens correction profiles is lower than with FF sensors.

The 16mp G3 sensor figures to the equivalent of 4mP on a four times large FF sensor for same-sized prints. That’s perfectly adequate for 18″ x 24″ prints, as the walls around me testify, provided your technique is up to it.

A few from the 80~200 f/4.5 Nikkor

Not half bad.

I went on about the Zoom-Nikkor 80-~200mm f/4.5 lens the other day and finally had a chance to take it for a spin.

Light and easy to use, you have to be a bit careful with focus at full aperture as f/4.5 is not all that bright, though the viewfinder focus confirmation LED in the D700 works a treat in marginal cases. Fixing any zoom slop with vinyl tape, as I illustrated, is essential. There’s nothing worse than having the zoom ring flop about in use. In the snaps that follow I mostly used f/4.5 and f/5.6. The lens needs no stopping down to sharpen up and renders out of focus areas in a pleasant, smooth manner at larger apertures.

MIB3.

Friends.

Shine.

Go Forth.

On break.

Bay Bridge.

Sky ride.

For about a Benjamin, the lens is a keeper. Many will prefer the 75-150 Series E which, at f/3.5, is a stop faster and much lighter and smaller, but if you need the extra reach, this lens does nicely. And the 80-200mm is a better lens, clearly out-resolving the 75-150mm through f/8, where the smaller lens catches up.

Nikkor 80~200mm f/4.5 Ai lens

Sharp as a tack.

With original box, no less.

Nikon made a lot of these one-touch lenses. They use one ring for focus and trombone-style zoom. Some 180,000 in all, if serial numbers are any guide, starting in 1969 through December, 1981. The smart money – and not much money at that – opts for the last series in which the earlier 15 elements in 10 groups construction was reduced to 12/9, starting in 1977, with an attendant weight reduction of 2.8 ounces to 26.5 ounces. Many claim the optics improved also, but I have no way of confirming that. Mine is a very late 1981 model from the last production run, all of which was in an Ai mount, meaning the lens will fit all modern Nikon DSLRs. It cost me $130, pretty much at the top end of the range for this lens. Excellent examples can be found for less and most have loose zoom rings. Read on for the fix.

The lens has the usual zoom creep, and a couple of strips of black vinyl insulating tape fixed that in a jiffy, also firming up the focus resistance. Neither its length nor the front or rear glasses move longitudinally when the delightfully light collar is operated to either focus or zoom, but the lens does rotate when focused, so it’s less than ideal for fans of polarizing filters.

Strips of tape in place, arrowed, end zoom creep.

CPU installation:

As I install CPUs in all my MF lenses to enhance function, I set about the 80-200mm. The rear baffle is 1.632″ in diameter, so it exceeds the 1.429″ maximum which allows the CPU to be simply glued on. It’s retained by two countersunk and one longer, proud Philips screws. Be sure to mark the location of the long one, then remove all three. The baffle can then be removed, having first marked the location of the ends of the CPU.

An arc is cut out to accommodate the CPU, to the depth of the plane surface in which the rectangular opening appears. Any excess abrasions can be touched up with matte paint. Here you see the CPU installed in the usual way. This is a very easy machining job and if you are nervous about machining your lenses, it’s an excellent lens to start with. In fact, as the baffle metal which must be removed is so thin, the whole job could be done with a hand file, no Dremel cut-off tool needed. The three other lenses I have had to machine in my collection and the related degrees of difficulty are:

  • 28mm f/3.5 pre-Ai. Difficult, as the baffle is sloped and there’s not much for the CPU to adhere to.
  • 50mm f/1.4 pre-Ai. Risky, as the flange and baffle must be removed and absolutely no adhesive must come in contact with the focusing optics.
  • 105mm f/4 Micro-Nikkor. Easy, but the baffle is so thick that a Dremel tool really makes sense, unless you want to spend ages hand filing.
  • 300mm f/4.5 Ai-S ED IF. Easy, but the baffle is so thick that a Dremel tool really makes sense, unless you want to spend ages hand filing.

A comprehensive list of lenses stating whether machining is required appears here. This will aid the purchase decision for those contemplating CPU installation but preferring not to do anything more than simply glueing the CPU in place.

The CPU glued into the baffle.

Here’s the installed CPU – there is no issue with a broad, sound base for the CPU to adhere to. After checking final alignment, I glued the CPU in place with the baffle removed from the lens, to preclude any possibility of getting glue on the lens. As usual I used two-part epoxy, letting the glue cure 24 hours before using the lens. I touched up the abrasion marks on the baffle with some matte black paint from the local hobby shop.

The CPU in place on the lens. Is that a perfect job or what?

Performance:

This is a professional specification lens in every regard. What minor vignetting there is disappears by f/6.3 and even though the lens stops down to a small f/32, there is negligible diffraction when fully stopped down. The seven-sided diaphragm makes for pleasing, soft rendition of out-of-focus areas and the lens balances well on the heavy D700 body. There are absolutely no qualms about using it fully open at any focal length. While multicoated, the exposed front element suggests both a 52mm protective filter and the HN-7 lens hood make sense. The rear element is fairly exposed, so I use a rear cap when the lens is in my bag. There is no tripod collar and none is needed with this relative lightweight.

How does this zoom at 200mm and f/4.5 compare with the 200mm f/4 Nikkor-Q first made in …. 1961? At full aperture these two lenses deliver identical results. At all other apertures there’s nothing to choose, which is a roundabout way of saying that, given the complexity of making a good zoom, this one is just fabulous. After all, the Nikkor-Q is 200mm, and only 200mm. The zoom gives you a choice of 80-200mm at a similar maximum aperture for a 6 ounce (160 gram) increase in weight and identical bulk.

If you can handle manual focus, have no issues with trombone zooms and like the focal length range, this lens is an outstanding bargain. The faster MF 80-200 f/2.8 Ai-S ED is a real monster by comparison, weighing in at 67 ounces (1.9 kilos). Good luck carrying that around. Trust me, I owned one and was happy to see it move on. The smaller and much lighter zoom profiled here poses no such issues, at the expense of a 1.5 stop loss in maximum aperture.

I’ll publish some pictures snapped with this optic on the D700 soon. On APS-C bodies (D300, D7000, etc.) the effective focal length becomes 120-300mm.

Pre-Ai-S Nikkor exposure issues

The non-linearity problem.

This is of interest to those who are contemplating the addition of a CPU to a pre-Ai-S Nikkor lens, meaning an Ai or a pre-Ai lens which has been modified to Ai specifications.

Because I have found that pre-Ai lenses are the ones I enjoy using most – the quality, fit and finish are in a different league from what followed – I have accumulated no fewer than nine. A related advantage is that these lenses are often seen as orphans in a digital world and sold as “use on film cameras only” owing to the absence of the Ai conversion. That keeps their prices low and makes them outstanding bargains in the process. The least I paid was $39 for the 200/4, the most was $252 for the 28/2. Most were around $125 and are all close to mint condition.

Of my collection, two came already converted to Ai specifications, five were converted by the estimable John White, and two I converted myself. As you can see from the picture, I have installed CPUs in each at $30 per lens, with the 28/3.5 and 50/1.4 being a challenge, all the others being a simple glue-on job.

Top: 24/2.8. Middle: 28/3.5, 28/2, 35/2, 50/2. Bottom: 50/1.4, 105/2.5, 135/3.5, 200/4.
A CPU has been installed on each. All are pre-Ai, with scalloped, metal focus collars.

When using auto exposure, I always use ‘A’ mode, meaning aperture priority. I set the aperture and the camera chooses the shutter speed. Because these pre-Ai-S lenses have non-linear aperture stop down geometry, I pass control from the camera to the lens for aperture setting by appropriately programming the CPU and setting the camera controls. Not only is this my preferred way of setting aperture, as I find the large ring on the lens far easier to use than the fiddly control wheel on the camera, it also avoids exposure issues. Plus it’s very much the way I have been using cameras for 40+ years and that’s how I like it.

When Nikon introduced the Ai-S lens design, the optics generally remained unchanged. What did change is that the mechanics were redesigned so that the aperture lever in the lens moved a constant amount from stop to stop. This allowed the use of Ai-S lenses with modern digital bodies which did not have the ability to pass control to the lens – like the D40 for example. The aperture could be accurately controlled with the body figuring out the extent to which the stop down lever had to be moved rather than by the user definitively dialing it in on the lens. Clever.

On the costlier DSLRs (D200, D300, D300s, D700, D7000, D800, D800E, D1-D4) Nikon made it possible to pass control to the aperture ring on the lens together with a ‘non-CPU lens’ option in the body for better EXIF data recording. That’s not as good as using a CPU, and I spell out the advantages of a CPU here, but it does result in proper exposure in ‘A’ and ‘M’ (but not in ‘P’ or ‘S’) modes when the aperture ring on the lens is used to set aperture. A fine way of extending the life of lenses many of which are approaching 50 years in age.

The upshot of all this is that if you let the camera set the aperture on pre-Ai-S lenses then you will likely run into exposure errors. To determine the extent of these errors, I set the camera to take control of aperture, setting each lens to its minimum aperture (just as you would with an AF or AF D lens) and setting the aperture using the control dial on the body. Then I used the simple expedient of running through the aperture range, using auto exposure in ‘A’ mode, determining which (if any) was correctly exposed, then adjusted the others in LR4 to match.

The result is not pretty, and the variations are all over the map. A ‘0.00’ reading means exposure was correct. Negative numbers show the number of stops of underexposure, positive ones the number of stops of overexposure.

Exposure errors with pre-Ai-S lenses when aperture control is passed to the camera.

Some of these variations have no discernible pattern whatsoever. Take a look at the 28/2 or 35/2 columns above, as an example.

With recent sensors, 1 or even 2 stops of underexposure is not a deal killer. With the outstanding processing controls in Lightroom 4, a significant improvement over Lightroom 3, you would be hard pressed to tell the difference between a RAW file which has been correctly exposed compared with one fixed after two stops under exposure. You might see a little more noise in the shadows, but that too can be fixed. But overexposure is a different kettle of fish. One stop over is close to being a deal killer, even with RAW, when it comes to bright highlight details. Two stops is a no-no on any but the lowest contrast, low key subjects. So that absolutely rules out the 200/4 which overexposes through most of its aperture range. The 28/2 is pushing the underexposure limit at f/16 and the 105/2.5 likewise at f/22. The 135mm is not a happy camper at full or minimum aperture and the 50/1.4 is not good at its two smallest apertures. You can decide whether these are debilitating issues for your method of use. The other lenses you can pretty much get away with, but you will constantly be tweaking exposure adjustments in post processing.

So why not just make Adobe lens correction profiles to compensate for these exposure errors? I suspect that is possible from my extensive work with Adobe’s excellent application, and you can download any number of profiles I have created here, each of which can be automatically recognized by LR or PS on import of files taken with a CPU-equipped lens. But profiles are applied upon import of a file into LR or PS, by which time the bird has flown, meaning that highlights which were burned out at the taking stage will remain burned out no matter how accurately the profile corrects the exposure error.

A range of exposures with the 28mm, f/3.5 Ai’d. Lens aperture control in top row,
camera control in bottom row. Camera in ‘A’ auto exposure mode.

The Bottom Line:

First, you must be comfortable using Manual Focus lenses, because every Ai’d, Ai or Ai-S lens is MF.

Then if, like me, you appreciate great engineering and execution, and further conclude that it makes you a better photographer (it works for me), and if you like a bargain and are not averse to a bit of tinkering, the Ai and Ai’d lenses are the optics of choice. Most will accept a CPU with the application of epoxy only and they are pure joy to use – touch, feel, optics are one, and as good as it ever was. I have demonstrated optical quality here time and again, and my standard for judgment is not an 800 pixel LCD display or test chart, but is rather a 24″ x 18″ glossy print. These lenses have fabulous optics.

Destroying classics:

As for ‘destroying’ classics, well that’s easy. Unless it’s something really costly and rare, these are so cheap that you can always find another. Millions were made and remain in circulation. If the installation of a CPU makes you a better snapper, forget the ‘classic’ issue and have at it. No one except you will ever see the CPU! Type “Nikon Nikkor lens Ai” into US eBay and you will routinely get over 1,000 listings, two-thirds pre-Ai-S, the remainder Ai-S. KEH lists hundreds more, generally costing a little more, but with no risk about returning a dud. Assuming that eBay items transact no more than once a year, there are some 50,000 new listings coming to the eBay market alone annually.

If, however, you like to snap in ‘S’ or ‘P’ modes and/or your camera body does not permit transfer of aperture control to the aperture ring on the lens, then you should avoid Ai and Ai’d lenses and search out Ai-S versions instead, if you propose to add a CPU. They typically run a little more, far fewer were made, and the lovely scalloped metal focus rings of the pre-Ai versions are replaced by plastic surfaces, but they will deliver correct exposure when the camera controls aperture selection and they remain far better made than any AF, AF-D or AF-S plastic monstrosity.

And for those interested, the optics you will most often find on my D700 are the 50/1.4, because it is so awfully good, and the 24/2.8, because that focal length largely accords with how I see. But then I must confess the 28/2 and 35/2 are real corkers, I love the 105 and 135 for what they can do and the 200 is a sheer delight. Well, you get the point.

Out and about with the 28mm Nikkor

The perfect street snapper.

While the manual focus Nikkors I use lack the immediate response of the later AF optics, they remain a lot of fun to use and the 28mm f/2 Nikkor N.C. doesn’t need that much focusing in any case, owing to an extended depth of field at all but the largest apertures. They are also far better made than the current optics, making the whole experience a pleasure. The 28mm f/2 is a chunky piece and melds nicely with the far from svelte D700 body. The following snaps use my tailored lens correction profile which you can download here. I use it with Lightroom 4; it works equally well in Photoshop.

I set to it the other day and took but this one lens with me, hitting the streets of San Francisco, as usual. The 28mm is arguably the ideal street snapper – not too long, not too short – and the f2 speed will handle just about anything you will encounter.

Lunch break in the Castro District.

Thee World’s Smallest Side Show. On Castro Street.

In addition to a particular lifestyle, you will see a lot of dogs in the Castro District.

More pups. At f/2.

Noticeboard in the vibrant Castro community. French lessons to massages ….

Mission District muralist. A team of six friends was working on this
mural. This was the team leader, and he told me they had been at it all day.
They remove the spray tips from the aerosol cans to get a sharper line.
Here they are filling in the rough sketch.

The Taqueria on Mission at 25th Street makes divine food.
This little boy was enjoying his meal. Snapped at f/2.
A face straight out of Goya‘s
oeuvre – questioning and tragic.

Lovely window light at La Taqueria. At f/2.8.
The lens profile fixes the corner shading. Click the picture.

Late evening light catches a hopeful fisherman at the Bay Bridge

The 28mm f/2 pre-Ai Nikkor N.C. is a crackerjack lens. A thrill to use. My multicoated version (hence the “C” in the designation) renders very contrasty images on the D700, needs no stopping down for even big prints, has a lovely feel and heft and just seems made for the modern full frame Nikon DSLR. Not bad for a 40+ year old optic.