Optical Review Blog No. 29 – Nikon AI Nikkor 24mm 1:2.8

I'm a sucker for wide-angle lenses. And when it comes to it, sometimes the wider, the better, and while the 28mm is an excellent lens to work with, sometimes you want something that little bit extra. The trouble is that the wider and faster the lens is, the more expensive it is on the used market. And some lenses have a cult following around them, which drives up the price. So often have to compromise on focal length, speed, image quality, or cost. Well, I can certainly say that by going with some of the less expensive lenses in the Nikon manual focus catalogue, I certainly haven't had to compromise on image quality. While being an older version and only being an f/2.8, I can say that I have no complaints about the Nikkor 24mm f/2.8. This lens had a bit of catch up to play when it joined my kit last year and became a popular choice in my 52-Roll project and became a second favourite next to the Nikkor 35mm f/2.8.

Lens Specifications
Make: Nikon
Model: AI Nikkor 24mm 1:2.8
Focal Length: 24mm
Focal Range: ∞ - 0.3m
Aperture: f/2.8 - f/22, 7 Blades
Structure: 9 Elements in 9 Groups

While not insane, there is a touch of distortion here at close focus - shot at f/8.
Nikon D750 - AI Nikkor 24mm 1:2.8

Build Quality
It will be no surprise to say that the build quality on this lens is superb. Like any lens of its age and manufacture, it has an all-metal construction from end to end. The construction does make the lens a bit heavier and longer than its modern counterpart, but it doesn't throw off the balance of my smaller Nikon cameras, such as the Nikon FE. And it is a perfect match for my Nikon D750. The aperture ring carries a satisfactory click for each stop, and they are clearly marked, and the ring moves smoothly and is accurate to work. The focusing ring has a slight rubber texture and a good grip making for easy function and smooth focusing. For focusing, you can get in reasonably close to your subject (with some drawbacks), and focusing end to end is fast. The Nikkor 24/2.8 also has a metal filter ring and follows the standard 52mm filter size. The optics have an excellent coating for good colour retention and contrast and doesn't have too much issue with flare, but you can add a Nikon HN-1 hood to help with any potential lens flare. When shooting this review, I did not have such a hood and began searching for an HN-1.

Shot wide open at f/2.8 you can see a bit of fall off at the corners and a touch of vignetting, but nothing too serious.
Nikon D750 - AI Nikkor 24mm 1:2.8As soon as you're stopped down to f/4 the fall-off vanishes and you're left with a nice smooth out-of-focus rendering.
Nikon D750 - AI Nikkor 24mm 1:2.8At f/8 we start to get into a decent balance with depth of field, also it's a bit adjusted because of the close focus.
Nikon D750 - AI Nikkor 24mm 1:2.8Once you stop down to f/16 that depth-of-field fills in nicely.
Nikon D750 - AI Nikkor 24mm 1:2.8By f/22 you have your entire frame from front to back in focus.
Nikon D750 - AI Nikkor 24mm 1:2.8

Image Quality
The image quality produced by the Nikkor 24/2.8 is superb! Images are sharp, clean, and only a couple of concerns that I can see with the optics. The first thing I noted is distortion when you're focused in close. I'm talking less than a meter away from your subject; there is slight barrel distortion, but nothing that cannot be fixed in your post-processing (I left it in to show off the distortion). You have to have a keen eye to spot it, so not a deal-breaker on the lens, and I've seen worse. The second item of note is that there is some fall-off at the corners when you're shooting the lens at f/2.8, again minimal fall-off and nothing serious that could affect the overall image quality and could even play into photos shot at f/2.8. Once you have the lens stopped down to f/4, it has vanished. As for image sharpness, right from f/2.8, there's no softness on the subject in focus, and you have an excellent depth-of-field right off the bat, especially when shooting along a common focal plane; images are sharp! You will get an increased depth-of-field as you stop the lens down further. And by the time you hit f/8, unless you're focused in close, you'll have a good portion of your frame in focus and that only increases once you get into f/11 to f/22. And the images stay as sharp, if not more, as you stop the lens down. The lens' out-of-focus rendering is nothing overly special or unique, but the subjects have a smooth, creamy appearance and are still pleasing. Like any wide-angle lens, there is a tendency to flare due to a strong off-axis light source, but I haven't seen anything too bad. The Nikon HN-1 hood is the perfect match for the lens if you are concerned.

Nikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20C

Applications
There are two primary applications I use the 24mm lens for, the first being landscape and urbanscape work, where I need to get the big picture, show a bit of context. The second is similar architecture. I enjoy showing off the grand sweep of beautiful buildings or wide-open spaces inside. With only a slight distortion when you're focusing in close, the Nikkor 24/2.8 is the perfect match for these subjects. But you don't have to limit yourself to these only, while you can use the lens for portrait work, I experimented with getting in close to a subject with a wide-angle lens. I can see this working better for environmental work or group photos. And because of the wide-angle and fast aperture, it works great for indoor low light settings where you can get those faster shutter speeds without compromising your depth of field too much. I would also choose this lens as part of a three-lens travel kit or as a fast wide-angle prime to complement a kit lens. Being an AI lens, the Nikkor 24mm f/2.8 will work perfectly on almost every Nikon camera out there. I primarily use the lens with a manual focus camera; it works perfectly on my Nikon D750 with full open-aperture matrix metering (manual and aperture priority mode only). And if you have an older camera that requires a direct coupling, the lens still has a claw to get that link.

Nikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20CNikon FE - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-250 - Flic Film Black/White & Green (1+49) 14:30 @ 20C

The Low Down
When buying a fast wide-angle lens for your manual focus Nikon kit, most people will gravitate towards the newer AI-S version of the lens. Aside from minor changes to the lens's exterior, the AI and AI-S versions are almost identical in optical qualities. And for the most part, because it is an f/2.8 lens, there is only a slight difference in the cost between the AI and AI-S versions. The AI and AI-S options run between 120 to 150$ on the used market. Of course, you will pay more if you go for the f/2 version of the lens. And it is reasonably easy to find for sale on auction sites or your favourite used camera dealer. Excellent addition to anyone's Nikon manual focus kit if you're looking for something wide but not too wide.

Further Reading
Don't just take my view on the Nikkor 24/2.8, check out these other reviews.
Happy - Review of the Nikon 24mm 1:2.8 (AI)
Nikon - The Thousand and One Nights No. 14: Nikkor 24mm f/2.8

#opticalreviewblog #ainikkor24mm128 #canada #flicfilmblackwhitegreen #glass #ilforddelta400 #lens #lensreview #nikkor #nikon #nikonfe #ontario #opticalreview #optics #review #toronto

Optical Review Blog No. 28 – Nikon AI-S Nikkor 200mm 1:4

When it comes to fixed telephoto lenses, something is satisfying about these lenses, while they may not always be the ideal lens in a situation. When I first picked up that kit, the lenses that I got were a Soligor 200mm f/4, and it was the first lens I used when shooting my first roll of film. And for many years, I was happy with having only the 135mm f/2.8 in my manual focus Nikon kit. Then a chance at a 200mm f/4 brought me back to my first SLR, the Minolta SR-T 102. , That lens puts the Nikkor 200mm f/4 to shame in weight and size, but the Nikkor unit is small, sleek, surprisingly light, and delivers outstanding optical quality.

Lens Specifications
Make: Nikon
Model: AI-S Nikkor 200mm 1:4
Focal Length: 200mm
Focal Range: ∞ - 2m
Aperture: f/4 - f/32, 9 Blades
Structure: 5 Elements in 5 Groups

As you can see, no distortion, I'd have some serious questions if there were.
Nikon D750 - AI-S Nikkor 200mm 1:4

Build Quality
Nikon has been producing this type of lens since 1961, and it has gone through only a few changes throughout production. The most significant difference is the lens's optical construction, the original Auto Nikkor-Q being a 4 Elements in 4 Groups design; by the 1976 AI version, it's at the 5×5 method. The lens is surprisingly lightweight for the size and focal length; While not the lens I would want to carry around for an extended length of time, it certainly will take a while to wear you down, especially with a good camera strap. It does make the camera a bit front heavy on smaller body SLR like the FM or FE. But add a motor drive, and you're in business. It even works well on a digital SLR like the D750. An all-metal design from front to back, the lens can take a bit of a beating in the field with only minor damage being done, and having a long integrated hood similar to what you get with the 135/2.8 and 105/2.5 the same era certainly helps with any lens flare.

Here at f/4 the image remains sharp, except for camera shake, sorry about that one. There is a touch of fall off at the corners, but nothing serious.
Nikon D750 - AI-S Nikkor 200mm 1:4Next stop is f/8, no surprise there's only a little improvement in depth of field.
Nikon D750 - AI-S Nikkor 200mm 1:4Even at f/11 there is only a slight improvement in the depth of field, but certainly getting some excellent sharpness.
Nikon D750 - AI-S Nikkor 200mm 1:4Starting to get more depth of field at f/22.
Nikon D750 - AI-S Nikkor 200mm 1:4There's a reason long lenses have that f/32 setting, so you can get a near full point-to-point depth of field.
Nikon D750 - AI-S Nikkor 200mm 1:4

Image Quality
There's no faulting the image quality on this lens. When it comes to performance, you get sharp images at any aperture, starting at f/4 right through to f/32. Now there is a bit of fall-off at the corners when you're at f/4, but it's gone by the time you hit f/5.6. Although I will say the sweet spot for the lens starts at f/8, where you get an excellent depth-of-field combined with overall sharpness. The lens tends to flare with contrasty lighting conditions, but the built-in hood does an excellent job of preventing this flare. You do have to watch out for camera shake; even when trying to compose the image, I could see even the smallest amount of instability. Thankfully if you shoot the camera at 1/250″ at the minimum, if you have a steady hand, you can probably get away with a 1/125″ shutter speed, but anything lower, get a tripod. Once you get that, you'll be treated to sharp images across the board; even at f/4, the areas in focus are tack sharp. The out-of-focus elements are smoothly rendered, but I haven't noticed anything overly special about that rendering.

Nikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

Applications
A 200mm f/4 prime is the definition of a niche application lens. However, if you're doing a lot of sporting, nature, or even people photography, the lens will make for an excellent addition to your kit. The long reach will help get you close to the action; the easy focusing will undoubtedly help ensure that your subject is in focus, or you could zone focus and stop down and be patient for the issue to get into the focus zone. In a controlled environment, the lens is excellent for portraiture because you still get a solid depth of field at f/8 and excellent subject separation. Sadly with the length and the f/4 maximum aperture, the lens is not a good fit for indoors unless you want to crank up that ISO, which doesn't always work on a film camera, but the lens works great, seamlessly almost on most Nikon digital bodies. I've shot the lens with my D750, and it does not look out of place on that camera body, and with the proper adapters will work well with a mirrorless camera, either the Nikon Z-Mount and Sony E-Mount.

Nikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

The Low Down
While not a lens for the average photographer, I was hesitant to accept the lens into my kit. I don't do a lot of nature or sports photography, but I decided it was worth the effort to make room, especially with contracting my camera systems and needing to fill in some gaps. While the 200/4 is not a lens I will use often, it does give me that long lens option to bring out when I don't want to lug around the Nikkor 70-200/2.8G because the 200/4, despite losing several stops it certainly works well in outdoor settings when size and weight are an issue. Plus, these lenses are inexpensive on the used market, with even the AI-S version going for under 100$, along with the older AI and Pre-AI versions within the same price range. If you are a manual focus Nikon shooter, go for it, you may find a new use for it sooner rather than later.

Further Reading
Don't just take my view on the Nikkor 200/4, check out these other reviews.
Ken Rockwell - Nikon 200mm f/4 Ai-S Review
Darin McQuoid Photography - Nikkor 200mm f/4 AI-S Review

#opticalreviewblog #adoxfx39ii #aisnikkor200mm14 #camera #canada #eastmandoublex #gear #lens #lensreview #nikon #nikonfe #oakville #ontario #review #sheridancollege

Optical Review Blog No. 28 – Nikon AI-S Nikkor 200mm 1:4

When it comes to fixed telephoto lenses, something is satisfying about these lenses, while they may not always be the ideal lens in a situation. When I first picked up that kit, the lenses that I got were a Soligor 200mm f/4, and it was the first lens I used when shooting my first roll of film. And for many years, I was happy with having only the 135mm f/2.8 in my manual focus Nikon kit. Then a chance at a 200mm f/4 brought me back to my first SLR, the Minolta SR-T 102. , That lens puts the Nikkor 200mm f/4 to shame in weight and size, but the Nikkor unit is small, sleek, surprisingly light, and delivers outstanding optical quality.

Lens Specifications
Make: Nikon
Model: AI-S Nikkor 200mm 1:4
Focal Length: 200mm
Focal Range: ∞ - 2m
Aperture: f/4 - f/32, 9 Blades
Structure: 5 Elements in 5 Groups

As you can see, no distortion, I'd have some serious questions if there were.
Nikon D750 - AI-S Nikkor 200mm 1:4

Build Quality
Nikon has been producing this type of lens since 1961, and it has gone through only a few changes throughout production. The most significant difference is the lens's optical construction, the original Auto Nikkor-Q being a 4 Elements in 4 Groups design; by the 1976 AI version, it's at the 5×5 method. The lens is surprisingly lightweight for the size and focal length; While not the lens I would want to carry around for an extended length of time, it certainly will take a while to wear you down, especially with a good camera strap. It does make the camera a bit front heavy on smaller body SLR like the FM or FE. But add a motor drive, and you're in business. It even works well on a digital SLR like the D750. An all-metal design from front to back, the lens can take a bit of a beating in the field with only minor damage being done, and having a long integrated hood similar to what you get with the 135/2.8 and 105/2.5 the same era certainly helps with any lens flare.

Here at f/4 the image remains sharp, except for camera shake, sorry about that one. There is a touch of fall off at the corners, but nothing serious.
Nikon D750 - AI-S Nikkor 200mm 1:4Next stop is f/8, no surprise there's only a little improvement in depth of field.
Nikon D750 - AI-S Nikkor 200mm 1:4Even at f/11 there is only a slight improvement in the depth of field, but certainly getting some excellent sharpness.
Nikon D750 - AI-S Nikkor 200mm 1:4Starting to get more depth of field at f/22.
Nikon D750 - AI-S Nikkor 200mm 1:4There's a reason long lenses have that f/32 setting, so you can get a near full point-to-point depth of field.
Nikon D750 - AI-S Nikkor 200mm 1:4

Image Quality
There's no faulting the image quality on this lens. When it comes to performance, you get sharp images at any aperture, starting at f/4 right through to f/32. Now there is a bit of fall-off at the corners when you're at f/4, but it's gone by the time you hit f/5.6. Although I will say the sweet spot for the lens starts at f/8, where you get an excellent depth-of-field combined with overall sharpness. The lens tends to flare with contrasty lighting conditions, but the built-in hood does an excellent job of preventing this flare. You do have to watch out for camera shake; even when trying to compose the image, I could see even the smallest amount of instability. Thankfully if you shoot the camera at 1/250″ at the minimum, if you have a steady hand, you can probably get away with a 1/125″ shutter speed, but anything lower, get a tripod. Once you get that, you'll be treated to sharp images across the board; even at f/4, the areas in focus are tack sharp. The out-of-focus elements are smoothly rendered, but I haven't noticed anything overly special about that rendering.

Nikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

Applications
A 200mm f/4 prime is the definition of a niche application lens. However, if you're doing a lot of sporting, nature, or even people photography, the lens will make for an excellent addition to your kit. The long reach will help get you close to the action; the easy focusing will undoubtedly help ensure that your subject is in focus, or you could zone focus and stop down and be patient for the issue to get into the focus zone. In a controlled environment, the lens is excellent for portraiture because you still get a solid depth of field at f/8 and excellent subject separation. Sadly with the length and the f/4 maximum aperture, the lens is not a good fit for indoors unless you want to crank up that ISO, which doesn't always work on a film camera, but the lens works great, seamlessly almost on most Nikon digital bodies. I've shot the lens with my D750, and it does not look out of place on that camera body, and with the proper adapters will work well with a mirrorless camera, either the Nikon Z-Mount and Sony E-Mount.

Nikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNikon FE - AI-S Nikkor 200mm 1:4 - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

The Low Down
While not a lens for the average photographer, I was hesitant to accept the lens into my kit. I don't do a lot of nature or sports photography, but I decided it was worth the effort to make room, especially with contracting my camera systems and needing to fill in some gaps. While the 200/4 is not a lens I will use often, it does give me that long lens option to bring out when I don't want to lug around the Nikkor 70-200/2.8G because the 200/4, despite losing several stops it certainly works well in outdoor settings when size and weight are an issue. Plus, these lenses are inexpensive on the used market, with even the AI-S version going for under 100$, along with the older AI and Pre-AI versions within the same price range. If you are a manual focus Nikon shooter, go for it, you may find a new use for it sooner rather than later.

Further Reading
Don't just take my view on the Nikkor 200/4, check out these other reviews.
Ken Rockwell - Nikon 200mm f/4 Ai-S Review
Darin McQuoid Photography - Nikkor 200mm f/4 AI-S Review

#opticalreviewblog #adoxfx39ii #aisnikkor200mm14 #camera #canada #eastmandoublex #gear #lens #lensreview #nikon #nikonfe #oakville #ontario #review #sheridancollege

Optical Review Blog No. 27 – Osawa MC 1:3.5-4.5 35-105mm MACRO

While I'm not always a fan of third-party lenses, every so often, one comes along that impresses me as an alternative to an OEM lens. And the Osawa is one of those lenses that I probably would have used more if I had known what a sleeper I was sitting on. Unlike Vivitar, Osawa is a lens manufacturer in their own right and produced lenses starting in the 1970s when many SLRs were beginning to gain popularity in the consumer market, and many were clamouring for inexpensive alternatives. While working with this lens in an OM-Mount, they also produced for other major camera makers like the Pentax, Canon, and Nikon.

Lens Specifications
Make: Osawa
Model: Osawa MC 1:3.5-4.5 35-105mm MACRO
Focal Length: 35-105mm
Focal Range: ∞ - 0.28m
Aperture: f/3.5 - f/22, 6 Blades
Structure: 13 Elements in 11 Groups

Don't let this test fool you, while you cannot see distortion here in the controlled environment, there is certainly some pinching in the field.
Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

Build Quality
The sturdiness of the lens's construction should come as no surprise without being overly heavy or throwing off the centre of gravity for the camera. It works well on small form factor SLRs like the Olympus OM-System. The lens is all metal in construction, with good rubber coating on the focusing and zoom control. The zoom is controlled through the typical push/pull mechanism; thankfully, the 35mm point is closest to the body with 105mm at the farthest; it certainly helps keep the lens and camera body balance. The zoom function is smooth, as is the focusing. And it is surprisingly short between infinity and the close-focus point. Smooth, with enough resistance to allow for both gross and fine movements. The one problem I have is with the macro functions; while the lens has a standard close focus of about a meter, you can get down to the 28cm closest point by using a dedicated macro focusing helical. Not the most central system, but it certainly does work well.

Here wide open (f/3.5 and f/4.5) the lens is soft at the 35mm mark, but has some decent sharpness at the 105mm.
Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CDespite being stopped down to f/8 the image is still fairly soft at the 35mm mark, and some excellent depth of field at 105mm.
Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CAlright finally starting to pick up a bit of sharpness at f/11 at the 35mm mark, with good depth at 105mm.
Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20CNot sure why it took all the way to f/22 to actually get good results, but sure.
Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

Image Quality
Interestingly, this lens's image quality is not consistent, which threw me off a great deal. First off, this lens produces wildly different image quality between the 35mm mark and the 105mm mark. However, neither are perfect either, which has me on the fence about this lens' quality. From a technical perspective, in a controlled environment, at 35mm, the lens is pretty soft at close focus and wide open (f/3.5-5.6), although once you zoom into 105mm, you start to get some sharpness when wide open (f/4.5), which continues through the rest of the apertures. When you're in the field, you still get a bit of softness at 35mm and wide open (f/3.5), which goes away once you stop down past f/5.6, with the sweet spot being further stopped down at least past f/8. There is also no fall off at any aperture and any focal length. There is nothing at 35mm; if there were, I'd have some serious questions. Once you hit 105mm, there's some pinching, nothing too severe but present. The out-of-focus rendering is nothing overly special but smooth all the same.

Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

Applications
The Osawa 35-105 is an excellent choice for a one-and-done lens for your Olympus kit, especially if you're on a budget. While it might not have the best optical performance as a travel lens or something, Photowalk gives you a decent range of focal lengths for average shooting. If space is an issue and you only have space for a single lens and body, this is an okay choice. While it would not work well for low-light and inside work, outside, it's a strong performer. In a pinch, it can work as a Macro lens, but you do want to have it zoomed into 105mm, where it will perform the best, in my opinion. You can also use it for portraits, but again outside and zoomed right into 105mm.

Olympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20COlympus OM-1n - Osawa MC 1:3.5-4.5 35-105mm Macro - Eastman Double-X @ ASA-250 - Adox FX-39 II (1+9) 8:00 @ 20C

The Low Down
I have a strong feeling this lens is a copy of the actual Zuiko 35-105mm f/3.5-4.5 although it has a different optical construction. I'm honestly on the fence about this lens, part of me wanted to like it, and there are some likeable qualities about it, but then there are other things that turn me off the lens. On the used market, these lenses are incredibly cheap, with most running at a maximum of 45$ which honestly seems a bit steep; on average, they range from 25-30$, which is a fair price or they come mounted on that camera body you wanted to buy. Try and find the OEM lens, or stick to your prime lenses.

Further Reading
Don't just take my view on the Osawa 35-105mm; check out these other reviews.
No other reviews found

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Optical Review Blog No. 26 – Vivitar Series 1 70-210mm 1:3.5

Throughout these reviews, I have shied away from third-party lens makers. But I have a long history with third-party lenses and often with good results. My favourite lenses are from my first SLR system, the Minolta SR-T 102, a Kiron 70-150mm f/4 lens and a Vivitar 75-210mm f/3.5. Although that Vivitar is different from today, the Series 1 70-210mm f/3.5 in many ways. The biggest is the size and function; the Series 1 is a beast and a lens that surprised me that they even released the lens in an OM-Mount.

Lens Specifications
Make: Kiron
Model: Vivitar Series 1 70-210mm 1:3.5 Macro Focusing Auto Zoom
Focal Length: 70-210mm
Focal Range: ∞ - 1.95m
Aperture: f/3.5 - f/22, 6 Blades
Structure: 15 Elements in 10 Groups

When it comes to the Series 1, there is little in the way of distortion, only a touch at the 210mm mark.
Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C[/caption]

Build Quality
The Series 1 is a beast. It is big, heavy and will throw any camera off balance. And even more so, with an OM-System camera, which shows off their prowess as a fully-featured compact SLR system, the Series 1 is a mean match for the camera. Even if I attached a motor drive, it would not be enough to get that centre of balance back. You will want to keep that shutter speed to 1/250″ when working with the lens at the whole 210mm focal point. And given how the lens functions, I had difficulty hand-holding the lens with the OM-1n attached. First off, the lens features a push/pull zoom function (which can lead to bad jokes). Pulling the zoom towards you zooms in a while; pushing it away will zoom out. I find this counter-intuitive, although I can see why it moves the weight towards the camera when zoomed to 210mm. Although it also makes it difficult to set your focal length accurately. You also have to contend with lens creep when the lens is pointed down. The zoom slider also acts as your focus, and it is enormous! Sadly the focusing itself is slow and hard to nail down as it doesn't do well with fine focusing and prefers gross movements. It also takes several turns to focus from back to front. Despite having a macro capacity having that 1.95-metre minimum focal length, the macro capabilities are limited. Another weak point in the lens is the aperture ring, some half-stops don't do much at all, and often you'll 'misclick and hit a half instead of a full stop. I also feel that this lens would be trouble on all but the largest and heaviest cameras out there; in my tool kit, I would only mount it on my F5 or Maxxum 9.

Here at f/3.5 you can see the fall-off at the corners at the 70mm mark, and it's fairly heavy at 210mm.
Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CEven here at f/8 you still have some corner fall-off at both 70mm and 210mm.
Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CBy f/16 the fall-off is all but gone at the 70mm and only slightly visible at 210mm.
Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COnce stopped down to f/22 you have no sign of fall-off, plus you get a good depth-of-field at 70mm and decent DoF at 210mm.
Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

Image Quality
After having a rough time physically working with the lens, the image quality is decent, at 210mm. There is a definite problem with the lens; at the 70mm end, the fall-off is visibly present from f/3.5 to f/11 and is still there a bit at f/22. It's worse at 210, with it only going away ultimately at f/22. When shooting at 70mm, the images appear soft until you get to the f/11 mark when things clean up but are far sharper across the board at 210mm. The biggest cause of this is having that 70mm mark being so far forward it throws off the centre of mass on the lens, whereas at 210mm, it's against the camera body and does help with stability. The out-of-focus elements are where the lens shines; at f/3.5 with a busy background, you get a beautiful swirl rendering at both 70 and 210mm. I'm unsure if this rendering continued through the different versions of the lens. The Macro functions work best at the 210mm mark and are excellent, with good sharpness and detail on the images.

Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

Applications
Like any telephoto lens, the Series 1 is an excellent choice when you need a bit of reach in your images. At an event, or portrait work, and nature photography. But given the functionality concerns, I think a bit of caution is needed. You will undoubtedly want some stability, a monopod at the least, a tripod at the most. Given how front-heavy the lens is, you will get a camera shake if you're shooting anything under 1/125″ at the slowest. I was even having trouble getting the focus and composition correct. Another tip is pre-focusing, especially with tripod work and wait for your subject to come into the frame before pressing the shutter; you'll find it much easier to operate the lens. The Vivitar Series 1 has also seen a niche in the mirrorless camera market; I think that swirl for the out-of-focus elements has something to do with the popularity. I would not mount the lens on my a6000, but an A7 or Nikon Z-Series could easily support the beast.

Olympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Vivitar Series 1 70-210mm 1:3.5 - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

The Low Down
It should go without saying, but not all Series 1 lenses are created equal, in fact, there have been six versions of this iconic lens with manufacturing starting in 1973 and ending in the late 1990s. Which version you have is determined by the first two digits of the serial number and the aperture. And also Vivitar did not make a single lens, rather contracting it out to third-party vendors. And they were produced in almost every mount available. The first versions produced by Kiron from 1973-81 have serial numbers starting with 22; the lens being reviewed here is such a lens. The second from 1981-3 have serial numbers starting with 37 and are produced by Tokina. These first two versions both maintain a constant f/3.5 aperture and are often held up as excellent copies. Once you get into the Third version, with serial numbers starting with 28 are produced by Komine from 1984-6, you begin to see a faster aperture at 70mm f/2.8 in most cases, but it drops to f/4 at the 210mm end. The final three versions were all produced by Cosina from 1986-97 and have serial numbers starting with 09. These also follow the f/2.8-4 maximum aperture, and the later versions even supported autofocus and were even chipped. Through the Komine and Cosina versions are held in lesser regard, having tested none of them against each other I cannot say the differences. Despite being sought after, on the used market, the original version is not as expensive as I thought, with prices ranging from 60-80$ with the second version commanding a similar price range. Once you get into the later versions, they run from 40-60$. While the Series 1 is a lens I won't continue to use as I have better lenses in my kit, it is one that I won't hesitate to recommend, at least both the f/3.5 versions.

Further Reading
Don't just take my view on the Vivitar 70-210/3.5, check out these other reviews.
Ken Rockwell - Vivitar 70-210mm Series 1
Casual Photophile - Value Proposition – the Vivitar Series 1 70-210mm f/3.5 Zoom Lens
Vintage Lens Reviews - Review: Vivitar Series 1 70-210 mm f/3.5 Macro Focusing Auto Zoom
RobertsTech - Vivitar Series 1 70-210mm Macro Zoom - The Cult Classic Lens
Illuminations from the Attic - Vivitar Series 1 70-210mm f3.5 Lens Review
Rado Juva - Vivitar Series 1 70-210mm 1: 3.5 Macro Focusing Auto Zoom VMC review

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Optical Review Blog No. 25 – Olympus OM F.Zuiko 1:1,8 f=50mm

When it comes to a 50mm lens, they are often overshadowed by faster fifties, the f/1.4 and f/1.2 and even crazier f/0.95. But sometimes, all you need is something at f/1.8, and the Olympus F.Zuiko, 50mm f/1.8, is a spectacular choice for your OM-System. While the lens has gone through several changes since its inception, this chrome nose version fits in nicely next to my 50mm f/1.4 chrome nose and is a tack sharp option for the more budget-minded Olympus user.

Lens Specifications
Make: Olympus
Model: OM-System Auto-S F.Zuiko 1:1,8 f=50mm
Focal Length: 50mm
Focal Range: ∞ - 0.45m
Aperture: f/1.8 - f/16, 6 Blades
Structure: 6 Elements in 4 Groups

The lack of distortion is a lovely touch on the Zuiko 50/1.8 - Chart shot at ~5′ at f/8.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

Build Quality
Like all other lenses in the OM-System, the F.Zuiko 50/1.8 compact lens with small-scale SLR bodies, the lens itself is primarily metal in construction with a sturdy feel without adding extra weight. The focusing ring is smooth, almost buttery that makes focusing easy and fast with enough resistance to allow for precision without reducing gross movements. The aperture ring feels a bit loose, with the stops not locking strong enough to allow for a quicker sign without missing the mark. And the fact that the lens only stops down to f/16 is a bit of a minor issue with me, not a hard no, but I would like to have that f/22 available for any landscape work.

While you cannot see it here, at f/1.8 you will get a bit of swirl with the right background.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CAt f/4 the depth of field is only increased by a bit but gives you that same subject separation in a pleasing manner.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CYou start to get a far sharper image here at f/8.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CNo real difference at f/11, but still a good sharp image.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20CStopped down to f/16 you get a wide depth-of-field and a snappy image.
Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

Image Quality
When it comes to image quality, this lens does not disappoint! One of the best things about the lens is that there's no distortion even when shooting close. With the lens wide open at f/1.8, there is a great deal of corner fall-off, but that was to be expected; once you have it stopped down past f/2.8, the fall-off disappears. The lens' real sweet spot is once you get to f/4 through to f/16. You will have that across the board; even at f/1.8, the items in focus will be sharp, and once you hit that f/4 mark, there is a particular snap to your images. While I could not get the effect in these images, if you have the lens wide open and shooting against a busy background, you will get a lovely swirl in your out-of-focus elements, which is something I did not expect. Other than that, the out-of-focus areas are soft and pleasing to the eye.

Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

Applications
When it comes to any 50mm lens, the best applications are an excellent daily carry option for your camera. And the F.Zuiko 50/1.8 certainly fills this role nicely. While you have a good 45cm close-focus ability, it allows the lens to be a poor man's macro lens. Having tried some closeup work, I'm not too fond of the lens for this with only an f/16 minimum aperture. The only time I'll use it when shooting against a flat focal plane, and being able to shoot wide-open gives you that beautiful out-of-focus swirl if you get the focus at the right spot. This element also helps make for an excellent portrait lens for both individual and small groups. And having that f/1.8 makes it ideal in low-light conditions or with a flash. I would also consider this lens for landscape and architectural work in a pinch.

Olympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20COlympus OM-1n - Olympus OM-System Auto-S F.Zuiko 1:1,8 f=50mm - Ilford Delta 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C

The Low Down
On the used market, the F.Zuiko 50/1.8 is a fair price, and you can get a good copy for, under 100$, most are running between 50-80$ with some outliers above 100$, but I haven't seen any above 120$ making it a budget-friendly option for a standard lens on the used market. And you still get I feel better performance and image quality than the Zuiko 50/1.4 and doesn't cost as much, although it also depends on the 50/1.4 you get. The one thing to watch out for in these early chrome-nose versions is the coating; while not the best out there, I never encountered any significant issues with lens flare or aberrations. It is an excellent choice and makes for a good middle ground in any three-lens prime kit and would even work well on a mirrorless camera when adapted.

Further Reading
Don't just take my view on the F.Zuiko 50.1.8, check out these other reviews.
Phillip Reeve - Review: Olympus F.Zuiko Auto-S 1.8/50
Imaging Resource - Olympus 50mm f/1.8 OM F.Zuiko

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Optical Review Blog No. 24 – Minolta Maxxum AF 28mm 1:2.8

When I first started into the Minolta Maxxum system, my first two lenses were zooms, the iconic duo of f/4 classics, the 35-70mm and 70-210mm. A trip to Burlington Camera yielded a couple of prime lenses that would be perfect additions to my kit; they were the classic 50mm f/1.7 and the lens I'm reviewing today the 28mm f/2.8. The Maxxum 28/2.8 is a great lens and a perfect fit. Doesn't take too much space. It is close to the same size as the 50 and even the 35-70 and is my favourite prime lens for my Maxxum 9 system without a 35mm prime. And while I do enjoy that lovely 35mm focal length that may not always be wide enough for what I wanted to shoot and not fast enough for all situations.

Lens Specifications
Make: Minolta
Model: Maxxum AF 28mm 1:2.8
Focal Length: 28mm
Focal Range: ∞ - 0.31m
Aperture: f/2.8 - f/22, 7 Blades
Structure: 5 Elements in 5 Groups

You can see a touch of distortion on the straight lines.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
Like any Maxxum lens, the focus of the outer shell is plastic, including the filter ring. However, the internals and lens mount are constructed of metal. The filter ring is 49mm making it the same diameter as other prime lenses from this first generation of Maxxum glass and giving it a good balance between durability and lightweight. And the lens fits nicely on any Maxxum body without adding additional weight, working well on the original 7000 up to the 9. Given that the lens is designed specifically for autofocus cameras, the focusing ring is small and easily overlooked, being at the front of the lens. If you're used to lenses with a bit more space, it can be hard to manipulate. It seems a bit inconsistent given that it spins relatively fast in manual mode, making it suitable for gross adjustments while finer work can prove challenging. At least there's a decent and easily read focus scale on the lens. The one nice feature is the built-in sliding lens hood, although I've found that it's not entirely required as I don't see that the lens flares too much.

The one thing that surprises me is that even at f/2.8 there is a bit of fall off at the edges, but it isn't too bad on this lens.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/5.6 any fall off is gone, and you have a good clean depth of field to make good images.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CSolid clean image at f/8.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CGetting into some deep depth of field here at f/13.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CFull front to back in focus subject matter at f/22.
Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
While not perfect by any means, the Maxxum 28/2.8 is undoubtedly a solid performer in the image quality area. The first thing that I noticed is that despite being an f/2.8 lens when you're shooting wide open, there is a little bit of fall off and vignetting at the edges and corners, but nothing overly serious and when you start to stop down, it is all but gone at f/4 and entirely gone at f/5.6. At f/5.6, you have some excellent depth of field and subject separation, and that depth of field only increases as you stop further down. And by the time you hit f/22, you have your entire scene in focus. The main issue with the lens is a tendency for distortion with close subject matters. I noticed that straight lines tend to bow horizontally and vertically when shooting in confined areas or close focusing. Other than that, I find that the lens is excellent, but nothing special, no real character. It renders the out-of-focus elements smoothly but nothing out of the ordinary. It produces beautifully sharp images starting at f/5.6 and extending out to f/22.

Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
I picked up this lens because I needed something more comprehensive and faster than the 35-70mm f/4, and this one certainly fits the bill, and it proved more critical and valuable than the 50mm f/1.7. Great for landscape work and cityscape work, and being able to stop down to f/22 ensures that you can get the whole scene in focus (when appropriately focused). When it comes to architectural work, I will not rate this lens as the best choice, but if you have enough distance and not shooting in a confined space, it's okay, but as soon as you're getting into those narrow areas, that distortion could be a distraction. This lens is also excellent for working indoors when you have to get the whole group into the frame and keep everyone in focus, and as long as you have everyone on a single or narrow focal plane, you can shoot at f/5.6-f/8 have everyone in focus.

Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
Despite the problems, I like this lens. The Maxxum 28/2.8 rarely leaves my camera body when I want to take it out and shoot, mainly when I don't want to lug around the 28-135/4-4.5 and need those extra stops if the lighting is in question. In the used market, this lens is incredibly affordable. You can find them between 60 to 100 dollars, with outliers on the low and high end. But try and stick to the middle range of 70-80 dollars to get a good model. And being that it is an A-Mount lens, it will also work flawlessly on Sony DSLR cameras.

Further Reading
Don't just take my view on the Maxxum 28/2.8; check out these other reviews.
Kurt Munger - Minolta AF 28mm f/2.8 Review
Dynux - Minolta AF 28mm F2.8 A-mount lens reviews
Imaging Resource - Konica Minolta 28mm f/2.8 AF
DPReview - Minolta AF 28mm f/2.8 - Not as bad as you might think.

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Optical Review Blog No. 23 – Minolta MD W.Rokkor-X 28mm 1:2.8

It is always a good idea to future proof your lenses, especially when working with the Minolta manual focus cameras. I say that because, like Nikon, while the original 1958 SR-Mount is basically the same as 1977 SR-Mount, there are subtle differences, like the Nikon F-Mount. I first picked up this lens as part of a drive to get better glass for my Minolta X-7a, my second Minolta SLR. While I could go with MC variant lenses, I went with the MD variant. The reason being that if I had updated my X-7a to an X-700, I needed lenses that would work with all the functions of the X-700, including Shutter Priority and the all-important Program mode. Ultimately as I gave up Minolta for several years and eventually landed on an XE-7, the need for MD was not that needed (at least until I replaced the XE-7 with an XD11/XD5). Either way, the Rokkor-X 28/2.8 is a solid lens that certainly improved my wide-angle capacity for my Minolta kit over a third-party dog I started with; I think it was a MacKinnon? With improved coating, close-focus-correction, and excellent optical qualities, the 28/2.8 is not only affordable but makes an excellent lens in the field.

Lens Specifications
Make: Minolta
Model: MD W.Rokkor-X 28mm 1:2.8 (MD-II)
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/2.8 - f/22, 6 Blades
Structure: 7 Elements in 7 Groups

I enjoy the fact that despite being a wide lens there's little in the way of distortion.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
Like any Rokkor lens, the build quality of the 28/2.8 is superb. While constructed of a blend of plastic and metal, the parts that take the most damage through constant use are constructed of metal, including the lens mount and the filter threads. While the body itself has a plastic outer layer, the internals is also constructed from metal. A rubber coating allows for a comfortable grip when using the focusing ring. The lens is the perfect size on both larger-bodied Minolta's like the XE or older SR-T cameras but also fits well on smaller XD or XG cameras. While not as compact as the Rokkor 45/2, it certainly does not add too much front weight to a camera nor take up a lot of space in your camera bag. The one thing you should get with the lens is the Minolta hood, which sadly is constructed out of plastic, making it easily broken. Functionally the lens is excellent, with the focusing ring moving smoothly with the right amount of resistance, allowing for a clean experience when moving focus in and out. The aperture ring is also well made and gives good clicks when at each stop.

At f/2.8 you have plenty of fall off at the corners.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CWhile slightly better at f/4 there is still some fall off at the edges.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20COnce you get to f/5.6 the fall off is gone.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CYou're starting to get a bit more depth of field when you hit f/8.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/11 you have more depth with the front rifleman starting to clear up.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CStopped down to f/22 you have your front and rear object in focus.
Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
The image quality on this lens is excellent; give that we're talking about seven elements in seven groups of construction here, there are no complaints about the optical quality. There is little to no distortion even when getting up close to that 30cm close focus, thank corrections in the lens. Your straight lines will stay straight. And the optical construction certainly yields excellent image sharpness. The one trouble I see with the lens is that the fall-off is heavy when shooting f/2.8 and f/4; it does go away by f/5.6. Personally, I find the lens' sweet spot is between f/8 and f/22 and having that f/22 certainly helps to ensure that everything is in focus. The out-of-focus elements are okay, smooth, but nothing special, normal. The one thing you do have to watch out for with a lens like this is flare from off-axis light; having that hood is certainly a must when shooting outside in hard light. While I shot this on B&W, the lens renders colours well, giving an almost 1980s look, especially if paired with Kodak ColorPlus 200.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any good wide-angle lens, the best use of the Rokkor-X 28/2.8 is for landscape application or anything where you need to capture a wide-angle of view, plus having that capacity to stop down f/22 certainly will allow for everything to be in focus. Making this also an excellent lens for architecture, cityscapes and streetscapes. And since the lens has no distortion and your straight lines stay mostly straight, especially at a distance, you are well set up for ensuring you don't have to do much in post-processing. While you can get close in with a 30cm close-focus and there is a bit of close-focus-correction on the lens, I personally would not use the Rokkor 28/2.8 for that purpose; there's a bit more distortion the closer you get. It can also work well for capturing large groups in tight quarters, and with an f/2.8 open aperture, it works well in low light when flash is not an option. It makes an excellent choice for a wide-angle lens for a three-lens travel kit. Plus, given that the lens is an MD variant of the SR-Mount, you can use it with almost all Minolta SLRs from the SR-T line through the X-Series; it will work flawlessly with all these excellent cameras.

Minolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CMinolta XE-7 - Minolta MD W.Rokkor-X 28mm 1:2.8 - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I should note that there is a 3rd Generation version of this lens; it lacks the Rokkor branding on the lens itself, but watch those serial numbers; the 7/7 construction will have serial numbers starting with 80, while a 5/5 construction will start with 70. I'm a big fan of this lens and it was among those lenses that I kept stashed away after I dropped out of the Minolta system as I increased my kit for Nikon. And I'm glad I did, as it fit back in perfectly when I picked up a Minolta XE-7. It's the perfect balance for a travel kit without being too wide. While it is not an inexpensive lens, on the secondary market, you're looking at prices averaging 130$, but you can find them in the range of 60-250$, which is huge. But like anything, it's always best to try before buying from a seller with a good return system. While I mainly shoot with the 45mm f/2, the second most used lens in my Minolta SR system is the 28mm f/2.8.

Further Reading
Don't just take my view on the Rokkor-X 28mm 1:2.8, check out these other reviews.
Casual Photophile - Minolta MD 28mm f/2.8 Review (MD-III)
Vintage Lens Review - Minolta MD 28mm f/2.8 Review (MD-III)
The Rokkor Files - 28mm f/2.8 MD W.Rokkor-X Review (MD-II & MD-III)

#opticalreviewblog #canada #fa1027 #kodaktmax400 #lens #lensreview #mdii #minolta #minoltarokkorx28mm128 #minoltaxe7 #oakville #ontario #opticsglass #review #rokkor

Optical Review Blog No. 22 – Nikon AI Nikkor 28mm 1:3.5

When it comes to wide-angle lenses, you don't always need the fastest lens in the bunch. While an f/2.8 28mm or 24mm is a nice addition to any kit, they often come with a steeper price tag. But what if you only needed something that would get you that 28mm and were not as concerned with speed and could get away with something not as fast but the same performance. Enter the lens that opened my eyes to the more bargain focused wide-angle lens, the Nikkor 28mm f/3.5. This lens actually helped me decide to add the Zuiko 28mm f/3.5 lens for my Olympus kit. The Nikkor 28mm f/3.5 comes from when Nikon produced all sorts of lenses to the same exacting quality but at different apertures and price points, and while not the best for dim light, in daylight, this is not the best lens is near perfect.

Lens Specifications
Make: Nikon
Model: AI Nikkor 28mm 1:3.5
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/3.5- f/22, 7 Blades
Structure: 6 Elements in 6 Groups

One of the best parts of this lens is the lack of any distortion even at close focus! Test chart shot at f/8.
Nikon D750 - AI Nikkor 28mm 1:3.5

Build Quality
Like all lenses from the late 1970s to early 1980s, the Nikkor 28/3.5 is of all-metal construction it is a bit larger than faster lenses (surprisingly) but fits well on all my Nikon cameras that support the lens. From my smaller FE and FM to the MD-15 equipped FA. And I even love working with the lens on my D750, which, thanks to the smaller body size, doesn't dwarf the lens. It also doesn't add too much additional weight, and it is well balanced on the front of the camera, no matter how equipped. The aperture ring is a bit tricky, but I'll chalk that up to age; it rattles a bit when adjusting the stops, and there is that hidden f/4 mark between the f/3.5 and f/5.6 stops. The focus ring is large and travels smoothly with rubberized coating. It's easy to focus on all the cameras in bright daylight, although having only an f/3.5 wide-open aperture, it suffers a bit indoors. The lens had the standard Nikon multicoating on the lens elements, and the six by six construction helps offer up similar optical quality as the faster 28mm f/2 lens of the same era. The seven-bladed aperture is nearly even, and at night when stopped down to f/22, produces beautiful fourteen point stars from points of light.

At wide open (f/3.5) you'll notice that there is some fall off on the edges, but the out-of-focus elements are smooth and rather pleasing.
Nikon D750 - AI Nikkor 28mm 1:3.5While I skipped over the hidden stop (f/4) and went right to f/5.6, you'll notice that the edge fall-off is all but gone and you don't get too much increase in your depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5It seems that f/8 is a sweet spot for the lens, you have no fall-off and a decent depth of field behind the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5Heading up to f/11 you do have improved depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5Stopped all the way down to f/22 you get a good depth of field both forward and back from the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5

Image Quality
While I haven't made a head-to-head comparison to the faster 28mm lenses of the same era, I can tell there are no stand-out issues when it comes to the image quality from the Nikkor 28/3.5. The number one thing that I noticed with the lens is the lack of distortion. Even when I have the lens at a close focus point, my straight lines stay straight without any adjustments in post-processing. You will see some fall-off at the corner and edges when you have the lens wide-open f/3.5, but by f/5.6, that is all but gone. Again, you'll only see that against clean, bright backgrounds, so that should not be much of an issue. The best aperture range I found for the lens starts at f/8 and goes right to f/22 for best results. The one thing you do not need to think too hard about is your depth of field; the tests here are a bit exaggerated as I'm focused fairly close to the model soldiers, that 28mm focal length you can achieve decent depth-of-field starting at f/5.6 when out in the field. When it comes to image sharpness, this lens is excellent; that 7 by 7 construction is the same as some of Nikon's faster options. And the 7 blade aperture produces silky out of focus element rendering. And while some might say you need something faster to get excellent out-of-focus elements, the Nikkor 28mm f/3.5 certainly delivers that same experience without having to go to an f/2.8 or f/2 lens.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any wide-angle lens, the best application for these is in the realm of landscape and cityscape photography. With the lack of distortion even at closer focus points, the lens keeps your straight lines straight, and I've never needed to make any adjustments in post-processing my images both on film and digital. It works well for architecture shots to get that full building in the frame when working in close quarters. While you can work with the lens inside for event photography to capture whole groups, it will seem a bit dim, especially in low-light, but it will not be too much of an issue if you have a bright viewfinder. Surprisingly the lens works well for close-focus applications with the ability to focus into 30cm or 1 foot of the subject matter, although it is not a true macro lens and getting that close will cause some distortion. It is, for me, the perfect wide-angle prime lens for travel as it takes up very little space in my camera bag, works well on all my Nikon cameras (especially when I don't want to lug my monster 28-70mm f/2.8D or 14-24mm f/2.8G) and even if it does break or gets lost I'm not going to be too put out because it cost me less than 100$ used.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
The Nikkor 28mm f/3.5, I feel, doesn't get as much love it deserves, but on the other hand, if it did, it would not be a less expensive option for manual focus Nikon lenses. I should also make a head-to-head comparison between the faster options of the same focus length (f/2.8 and f/2) to see any major differences (I've made that note). On the used market, you can get excellent examples between 50 and 95 dollars and these are in superb condition. While I cannot remember how much I paid for mine from a local camera dealer (North Halton Camera Exchange in Georgetown, Ontario), I feel it was certainly in the lower end of that range, maybe 60$. Either way, this lens became a fast favourite, being a popular choice during the ongoing 52-Roll project and having appeared in a majority of the weeks and is always in the bag when doing a multiple lens setup (usually joined by the 50mm 105mm). But what sold me on the lens was how well it pairs with my D750, and in my non-CPU lens options, it is choice number one, and that should say something.

Further Reading
Don't just take my view on the Nikkor 28mm f/3.5, check out these other reviews.
Ken Rockwell - Nikon 28mm f/3.5 AI
Russell Bloodworth Photography - Nikkor 28mm f3.5 AI: A Fantastic Vintage Wide-Angle Lens

#opticalreviewblog #ainikkor28mm135 #canada #fa1027 #glass #ilforddelta400 #lens #lensreview #milton #nikkor #nikon #nikond750 #nikonfe #ontario #optics #rattlesnakepoint #review

Optical Review Blog No. 22 – Nikon AI Nikkor 28mm 1:3.5

When it comes to wide-angle lenses, you don't always need the fastest lens in the bunch. While an f/2.8 28mm or 24mm is a nice addition to any kit, they often come with a steeper price tag. But what if you only needed something that would get you that 28mm and were not as concerned with speed and could get away with something not as fast but the same performance. Enter the lens that opened my eyes to the more bargain focused wide-angle lens, the Nikkor 28mm f/3.5. This lens actually helped me decide to add the Zuiko 28mm f/3.5 lens for my Olympus kit. The Nikkor 28mm f/3.5 comes from when Nikon produced all sorts of lenses to the same exacting quality but at different apertures and price points, and while not the best for dim light, in daylight, this is not the best lens is near perfect.

Lens Specifications
Make: Nikon
Model: AI Nikkor 28mm 1:3.5
Focal Length: 28mm
Focal Range: ∞ - 0.3m
Aperture: f/3.5- f/22, 7 Blades
Structure: 6 Elements in 6 Groups

One of the best parts of this lens is the lack of any distortion even at close focus! Test chart shot at f/8.
Nikon D750 - AI Nikkor 28mm 1:3.5

Build Quality
Like all lenses from the late 1970s to early 1980s, the Nikkor 28/3.5 is of all-metal construction it is a bit larger than faster lenses (surprisingly) but fits well on all my Nikon cameras that support the lens. From my smaller FE and FM to the MD-15 equipped FA. And I even love working with the lens on my D750, which, thanks to the smaller body size, doesn't dwarf the lens. It also doesn't add too much additional weight, and it is well balanced on the front of the camera, no matter how equipped. The aperture ring is a bit tricky, but I'll chalk that up to age; it rattles a bit when adjusting the stops, and there is that hidden f/4 mark between the f/3.5 and f/5.6 stops. The focus ring is large and travels smoothly with rubberized coating. It's easy to focus on all the cameras in bright daylight, although having only an f/3.5 wide-open aperture, it suffers a bit indoors. The lens had the standard Nikon multicoating on the lens elements, and the six by six construction helps offer up similar optical quality as the faster 28mm f/2 lens of the same era. The seven-bladed aperture is nearly even, and at night when stopped down to f/22, produces beautiful fourteen point stars from points of light.

At wide open (f/3.5) you'll notice that there is some fall off on the edges, but the out-of-focus elements are smooth and rather pleasing.
Nikon D750 - AI Nikkor 28mm 1:3.5While I skipped over the hidden stop (f/4) and went right to f/5.6, you'll notice that the edge fall-off is all but gone and you don't get too much increase in your depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5It seems that f/8 is a sweet spot for the lens, you have no fall-off and a decent depth of field behind the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5Heading up to f/11 you do have improved depth of field.
Nikon D750 - AI Nikkor 28mm 1:3.5Stopped all the way down to f/22 you get a good depth of field both forward and back from the subject.
Nikon D750 - AI Nikkor 28mm 1:3.5

Image Quality
While I haven't made a head-to-head comparison to the faster 28mm lenses of the same era, I can tell there are no stand-out issues when it comes to the image quality from the Nikkor 28/3.5. The number one thing that I noticed with the lens is the lack of distortion. Even when I have the lens at a close focus point, my straight lines stay straight without any adjustments in post-processing. You will see some fall-off at the corner and edges when you have the lens wide-open f/3.5, but by f/5.6, that is all but gone. Again, you'll only see that against clean, bright backgrounds, so that should not be much of an issue. The best aperture range I found for the lens starts at f/8 and goes right to f/22 for best results. The one thing you do not need to think too hard about is your depth of field; the tests here are a bit exaggerated as I'm focused fairly close to the model soldiers, that 28mm focal length you can achieve decent depth-of-field starting at f/5.6 when out in the field. When it comes to image sharpness, this lens is excellent; that 7 by 7 construction is the same as some of Nikon's faster options. And the 7 blade aperture produces silky out of focus element rendering. And while some might say you need something faster to get excellent out-of-focus elements, the Nikkor 28mm f/3.5 certainly delivers that same experience without having to go to an f/2.8 or f/2 lens.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
Like any wide-angle lens, the best application for these is in the realm of landscape and cityscape photography. With the lack of distortion even at closer focus points, the lens keeps your straight lines straight, and I've never needed to make any adjustments in post-processing my images both on film and digital. It works well for architecture shots to get that full building in the frame when working in close quarters. While you can work with the lens inside for event photography to capture whole groups, it will seem a bit dim, especially in low-light, but it will not be too much of an issue if you have a bright viewfinder. Surprisingly the lens works well for close-focus applications with the ability to focus into 30cm or 1 foot of the subject matter, although it is not a true macro lens and getting that close will cause some distortion. It is, for me, the perfect wide-angle prime lens for travel as it takes up very little space in my camera bag, works well on all my Nikon cameras (especially when I don't want to lug my monster 28-70mm f/2.8D or 14-24mm f/2.8G) and even if it does break or gets lost I'm not going to be too put out because it cost me less than 100$ used.

Nikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CNikon FE - AI Nikkor 28mm 1:3.5 - Ilford Delta 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
The Nikkor 28mm f/3.5, I feel, doesn't get as much love it deserves, but on the other hand, if it did, it would not be a less expensive option for manual focus Nikon lenses. I should also make a head-to-head comparison between the faster options of the same focus length (f/2.8 and f/2) to see any major differences (I've made that note). On the used market, you can get excellent examples between 50 and 95 dollars and these are in superb condition. While I cannot remember how much I paid for mine from a local camera dealer (North Halton Camera Exchange in Georgetown, Ontario), I feel it was certainly in the lower end of that range, maybe 60$. Either way, this lens became a fast favourite, being a popular choice during the ongoing 52-Roll project and having appeared in a majority of the weeks and is always in the bag when doing a multiple lens setup (usually joined by the 50mm 105mm). But what sold me on the lens was how well it pairs with my D750, and in my non-CPU lens options, it is choice number one, and that should say something.

Further Reading
Don't just take my view on the Nikkor 28mm f/3.5, check out these other reviews.
Ken Rockwell - Nikon 28mm f/3.5 AI
Russell Bloodworth Photography - Nikkor 28mm f3.5 AI: A Fantastic Vintage Wide-Angle Lens

#opticalreviewblog #ainikkor28mm135 #canada #fa1027 #glass #ilforddelta400 #lens #lensreview #milton #nikkor #nikon #nikond750 #nikonfe #ontario #optics #rattlesnakepoint #review

Optical Review Blog No. 21 – Minolta Maxxum AF 70-210mm 1:4

When I first started working with the Maxxum system, there were two lenses recommended; the first is the 35-70mm f/4 (which will get a review next year) and the 70-210mm f/4; these were both parts of the original lineup of lenses in 1985 and have stood the test of time. Affectionately known as the 'beer can', a name was applied to several different lenses of the same type. While it might not be a fast lens (f/4), it still produces fantastic results, and despite the solid metal construction, the lens remains a well balanced long lens for outdoor use and one that works perfectly with the modern Maxxum 9.

Lens Specifications
Make: Minolta
Model: Maxxum AF 70-210mm 1:4
Focal Length: 70mm - 210mm
Focal Range: ∞ - 1.1m
Aperture: f/4 - f/32, 7 Blades
Structure: 12 Elements in 9 Groups

You can see that at 70mm (left) there's no distortion, but at 210mm (right) there's a bit of pinching.
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20C

Build Quality
This lens earns the nickname beer can well, although I have never seen a beer can this big, at least any that contains good beer. Being an early version, this is an all-metal lens, especially in all the areas that matter, the mount, the body and the hood. It is heavy, well made, and handles like a dream. While it was a bit front heavy on a more miniature camera like the 7000, but it works perfectly on my Maxxum 9 with the VC-9 grip. The lens is immense but doesn't change in length based on the focal length; all the movements are internal, including the focusing, which does help with stability. The zoom is controlled from a twist function rather than push/pull, and the zoom ring is big and easily found with your eye to the viewfinder. The manual focus is small for a lens this size, but then again, most of these early Maxxum lenses are designed with only autofocus use in mind. However, there are some annoyances with the lens. First is the filter size, 55mm. Most lenses from this era use either 49mm or 52mm, so having one slightly larger is troublesome (but you can always use the larger filters with step down rings. The second is that the manual focus ring is smaller and hard to use. And finally, the hood doesn't use a bayonet or even screw-on; instead, it uses two clips that are not exactly stable or easy to mount and dismount quickly. At least the hood is made of metal and can take a hit, but hard enough, it might break away from the lens and only damage the mounts rather than the hood and lens itself.

Of course the depth of field is not perfect, but that f/4 does allow a single subject to be in total focus, you do notice at the 210mm mark (right) some fall off.
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CWhile at f/8 you do get some additional depth of field at the 70mm mark (left) and any fall off at the 210mm mark (right) is gone.
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMoving up to f/16 you still have some separation at the 210mm (right) mark and almost all three figures in focus at 70mm (left).
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CAt f/22 you do have all figures again in focus at the 70mm (left) mark while starting to get a deeper depth of field at 210mm (right) mark.
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CAt the full stopped down (f/32) aperture if overkill for 70mm (left) but certain helps at 210mm (right).
Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20C

Image Quality
When it comes to image quality, the beer can, despite its nickname, has an excellent reputation for image quality but is not perfect. The first thing to bring up is that there are some distortion issues with the lens. While not present at the 70mm mark, there is a bit of pinching at the 210mm mark when you're getting in close with your straight lines. But when you're focusing far, that becomes a non-issue. One of the biggest help for the lens is that f/4 maximum aperture, as with some faster lenses at wide-open f/2.8 or wider, you start to get some serious fall-off at those bigger apertures. At 70mm, there's no fall off at that f/4 aperture; it is rather noticeable at 210mm. But by f/8, that is gone, and you start to get into the sweet spot of the lens that stands between f/8 and f/22. You get excellent subject separation for the 210mm mark between those apertures, although, at 70mm getting those smaller apertures by f/22, you have a good end-to-end depth-of-field, which f/32 seems to be overkill certainly helps deepen that depth of field at 210mm. Overall the lens has excellent sharpness at all apertures, even wide-open at f/4, and only get better, but again has that sweet spot between f/8 and f/22. Nothing is exciting about the out-of-focus elements; there are no swirls, but they are clean and smooth around the edges and are pleasing, and with a complex background, will be nicely rendered. The lens can flare, and that hood, despite its troublesome mounting, does help, and when outside the day I was shooting, that hood certainly saved my butt to get some of that flare.

Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20C

Applications
Like any telephoto lenses, the obvious applications include sports and event photography, where you're far from the subject and need to get closer. And while you'll need to seriously push your sensitivity or film speed when you're indoors with only that f/4 wide open. But outside the lens is a champ, one of the first events I took this lens to when I first got it was a War of 1812 reenactment. Despite its age, the autofocus speed on modern alpha cameras is fairly quick, that even in sports or events, it will handle a bit of speed and action well. It also is an excellent portrait lens when working with one or two people. And with a constant f/4 aperture, you have excellent subject separation without having to surrender too much depth of field. Setting the 70-210/4 beercan is the macro capability where I would struggle with my 70-200/2.8G to get those test shots were a breeze with the 70-210/4 beercan. It also makes for a good landscape lens when you want to isolate or get close to subjects and architectural detail work. Another option is street photography if you're comfortable standing further off your subjects to remove yourself from the equation.

Minolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 70-210mm 1:4 - Ilford Delta 400 @ ASA-400 - Rollei Supergrain (1+9) 6:00 @ 20C

The Low Down
While not the fastest lens on the market for the Alpha series, it certainly has the qualities of a more expensive lens without the massive cost. They are an older lens, being among the first generation of Alpha lenses to come from Minolta but still work brilliantly today on everything from the 7000 to the 9 and even Sony's digital SLR options and mirrorless options with an appropriate adapter. Surprisingly that hasn't affected the price of this lens mostly because people I feel are turned off my the f/4 maximum aperture. And it shows you can get one of these for between 40-90 dollars on the used market, which will give you a good telephoto and leave plenty of room in your budget for additional lenses. I'll close by saying that this is one of the lenses that made me like zoom lenses.

Further Reading
Don't just take my view on the Maxxum 70-210/4; check out these other reviews.
Kurt Munger - Minolta AF 70-210mm f/4 Review
Ken Rockwell - Minolta Maxxum 70-210mm f/4 Review
Dyxum - Minolta AF 70-210mm f/4 Review
How Green is Your Garden - Minolta 70-210 f/4 Beercan Review
Fotograf Mania - Minolta AF 70-210mm f4 Beercan Review

#opticalreviewblog #alpha #canada #glass #hamilton #ilforddelta400 #lens #lensreview #maxxum #minolta #minoltamaxxum9 #minoltamaxxumaf70210mm14 #ontario #opticalreview #optics #rolleisupergrain

Optical Review Blog No. 20 – AF-S Nikkor 70-200mm 1:2.8G VR

When it comes to lenses, some out there have become a key part of many photographers' main kit. And for me, this lens marked my first major lens purchase and investment in the Nikon system. This lens marks the fifth iteration of the 70-200mm f/2.8 series of telephotos and the second Silent Wave Motor (AF-S) of this iconic lens. First released in 2003 alongside two other f/2.8 G-Type lenses, the 14-24mm and 24-70mm, which forms the Nikon Trinity. This lens quickly became a go-to lens for wedding, event, and reenactment photography originally paired with my Nikon D300 and later my F5 and D750. It's heavy, unwieldy, and not exactly the most practical lens in my kit. But you don't get a lens like this for practicality; you get it for performance, speed, and optical quality. And while it is now two generations behind, having been replaced by an improved f/2.8G and now a f/2.8E version. Nikon has also released a Z-mount version of this lens.

This lens is an absolute beast and difficult one to photography.

Lens Specifications
Make: Nikon
Model: AF-S Nikkor 70-200mm 1:2.8G VR
Focal Length: 70-200mm
Focal Range: ∞ - 1.1m
Aperture: f/2.8 - f/22, 9 Blades (Rounded)
Structure: 21 Elements in 15 Groups (5 ED Glass Elements)

Looking at the test chart, there are no distortion to be found which is no surprise.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VR

Build Quality
If there is one thing for sure about this lens, it is big, heavy, and well made. Probably the weight is what makes this lens particularly difficult to use with any ease. Given the size and weight, it will throw off the balance of almost any camera it is attached to, and you will want some additional grip to help balance things out. And if you are running it on a tripod, use the auxiliary foot to prevent any accidental tips. The foot does get in the way when working with the camera handheld, but thankfully can be removed. The 70-200 is made primarily out of metal, with some plastic parts included, mainly the lens hood. All the important parts are metal construction. Operations are smooth, with both the focus and zoom rings moving cleanly and allowing for quick adjustments. A series of switches controls the various functions, such as adjustments to the image stabilization (on/off along with active/normal). There's also a focus limiting switch to allow for even faster-focusing speeds. The AF-S motor is fast and silent, although mine does occasionally get stuck that's probably due to age and wear at this point. Another interesting addition is three AF buttons at the front of the lens barrel, which helps you both focus and focuses lock the lens, which is great for tracking a subject when photographing them. The lens does tend to flare, despite the lens coating, so when working outside, use the hood to help out when the light is hard and off-axis.

Wide Open at f/2.8 you only have the centre rifleman in focus with the fore and background well out of focus with some heavier vignetting at the 200mm mark, but present at the 70mm mark.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRAt f/4 you still only have the centre rifleman in focus, the fore and backgrounds are a little more in-focus. But you still have a bit of vignetting, although not as bad.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRGetting to f/5.6 you have the rear rifleman starting to get in focus at the 70mm mark, and the vignetting is gone at the 70mm mark, but still slightly there at the 200mm mark.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRBy f/8 you have the centre and rear riflemen in focus at the 70mm mark and the vignetting is all but gone at the 200mm mark.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRAt f/11 and the 70mm mark, that front rifleman is starting to come into focus at the 200mm mark, you're starting to get the fore and background starting to come into focus.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRAt f/16 you're starting to get a cleaner image with fore and backgrounds almost in focus at the 70mm mark, and cleaning up at 200mm.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VRStopped down to f/22, the fore and background at 70mm is nearly all in the depth of field, and starting to get there at 200mm. In these cases, I probably didn't leave enough wiggle room in the focus scale.
Nikon D750 - AF-S Nikkor 70-200mm 1:2.8G VR

Image Quality
The one thing that surprised me the most, but honestly should not have, is the amount of vignetting and corner fall-off the lens has at the lower apertures. I mean, even the 50mm f/1.4D did not vignette as bad as the 70-200/2.8G! Most of the issues are at the 200mm end of the scale, with the vignetting being clearly visible between f/2.8 and f/4, with it present at f/5.6 and gone by f/8. At the 70mm end, it is gone by f/5.6. I also think that much of this has to do with the close focusing that I was doing during the lens testing, as in the field, there is little evidence of the vignetting that I could tell. Thankfully there's no issue with lens distortion at both ends of the focusing scale. But the lens retains an excellent image quality when it comes to sharpness, no matter what aperture you're shooting at. Despite the lens coating, the lens does tend to flare when outdoors in harsh off-axis light. Thankfully the provided hood does help block that out, and I make sure I use it whenever I'm outside. When it comes to image stabilization, having that extra tool in your kit is excellent, but it isn't for every situation. The general rule is that you need to shoot at the inverse of the focal length, which means you want to have a shutter speed of at least 1/200″ at 200mm and 1/70″ at 70mm. Thankfully the VR system allowed me to easily shoot at 1/125″ even at 200mm without any noted camera shake. But watch out; the VR system will get confused and cause image quality issues if left turned on when the camera is mounted on a tripod. If you are actively tracking a subject, set the VR mode to active.

Nikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

Applications
I can easily remember the exact reason I purchased this lens, saving up a fair amount of money to buy it now; in hindsight, I might have done better to save a chunk of change and go with an older Type-D version of the lens, but I digress. The main reason I purchased this lens was to photograph War of 1812 reenactments; I needed something long and fasted, especially when photographing night or low-light battles where the depth of field isn't too important but being able to get a fast enough shutter speed to capture musket fire, which is in itself a matter of skill, luck, and timing. And that is what the lens is designed for, getting in close to subjects far enough away and working in low light. The 70-200/2.8G is perfect for event photography and with the fast f/2.8 constant aperture it works great under less-than-ideal lighting conditions. That fast aperture also helps with portrait photography and street photography when you need to isolate the subject and compress your foreground and background in the process. And while you certainly will stand out doing street work with this lens, you can also be far enough away that your chances of being spotted by your subject are slim. I wouldn't work in crowded conditions with the lens as there is a greater chance you will hit an innocent bystander. Along the same lines as portrait and event work, this lens also works wonders at weddings; being able to capture excellent shots at the ceremony and reception and stay out of the way and work in strange lighting conditions, you have a clear winner. It can also work in sporting events with the VR system providing an 'active' mode when tracking subjects. In a more secondary role, the lens provides for good architecture work, capturing details lost in wider shots. I could use the lens to easily pick out some more distant details in some of downtown Guelph's historical buildings with the lens like never before. The lens works great with almost all autofocus Nikon SLRs, both film and digital, without trouble; I have used this lens on my D300 and D750, along with my F4 and F5. The only trouble being a Type-G lens, you do lack that aperture, so you will need to set your F4 and similar era SLRs to either shutter priority or program mode for the lens to work. And yes, the image stabilization does work even on the older cameras. However, if aperture control is a must, the older 80-200mm f/2.8D is another excellent choice.

Nikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CNikon F5 - AF-S Nikkor 70-200mm 1:2.8G VR - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

The Low Down
This is one of those lenses that you don't need; you want. And honestly, given the primary market for the lenses, it would be best to purchase these new rather than used ones. Surprisingly on the used market, the original version (VR) will run between 600-1000$. The VRII version slightly more between 1000-1500$. The newest model, the 2.8E, is close to 3,000$. But if you are okay with losing a stop, the 70-200/4G stands at 1,700$ and will deliver the same level of quality and might avoid some of those vignetting issues. But no matter which way you go, these lenses will always deliver quality images and are certainly one that an event photographer who is working indoors certainly will want to add to their kit. I don't regret getting mine at all, as it has delivered quality images at weddings, events, portraits, and reenactments.

Further Reading
Don't just take my view on the Nikkor 70-200/2.8G, check out these other reviews.
Ken Rockwell - Nikon 70-200mm f/2.8 VR Review
Optical Limits - Nikkor AF-S 70-200mm f/2.8G Review
Imaging Resources - Nikon 70-200mm f/2.8G Review
Fred Miranda - Nikon 70-200 f/2.8G Reviews

#opticalreviewblog #afsnikkor70200mm128g #argentixtgraindeveloper #canada #glass #guelph #kodaktmax100 #lens #lensreview #nikond750 #nikonf5 #ontario #optics #review

Optical Review Blog No. 19 – Konica Minolta Zoom AF 17-35mm 1:2.8-4 D

If you know me and my photography, you know that I'm a sucker for a good ultra-wide angle lens. The problem is that these lenses can often cost a fair amount of money and often have several issues that go along with that wide focal length. Probably the best lens of this class (ultra-wide zoom) is the Nikkor 14-24mm f/2.8G which I reviewed last month. Sadly no other company has a similar lens to that beautiful Nikkor glass. However, while I was building up my Maxxum kit, I happened across this lens. While it is the odd duck in my Maxxum kit, all my lenses are pretty close to OG Maxxum without getting crossed x's; it fits the bill perfectly. Sure, it's not a favourite lens among A-Mount shooters, and it's far from perfect. But it does exactly what I need it to do, and it didn't break the bank.

Lens Specifications
Make: Konica Minolta
Model: Zoom AF 17-35mm 1:2.8-4 D
Focal Length: 17-35mm
Focal Range: ∞ - 0.3m
Aperture: f/2.8-4 - f/22-32, 7 Blades
Structure: 14 Elements in 11 Groups

You can clearly see the barrel distortion in the image, mainly because I was nearly right next to the test chart - Image shot at f/8.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CEven with a 17mm lens, at f/2.8 the depth of field is narrow and the image is rather soft.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20COnce you get to f/4 the depth of field tightens up and the image starts to get sharp.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CYou start to get into the sweet spot for the lens at the f/8 mark.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CThere is little difference between f/8 and f/16.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CAt f/22 the depth of field is nice and wide and the image gets a good level of sharpness.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

Build Quality
What surprises me the most about the K-M 17-35/2.8-4 is how light the thing is, given that it's an ultra-wide-angle lens with an f/2.8 maximum aperture on the wide end of things. Thankfully the lens is primarily made from plastic. Not the most well-built lens in my kit, but it does have the needed foundation where it counts. While the outer housing and filter thread and hood mount are plastic, the lens mount is metal, and the optics are clearly glass. It does little to throw off balance on the Maxxum 9; no surprise there. Still, I could see the lens being comfortable on cameras without a grip and even the older models like the si , xi , i and original series of Minolta autofocus cameras. The only thing to caution about is being careful about mounting and dismounting the hood or letting it knock against objects. Given that the hood and the hood mount (bayonet) are plastic, they can damage far easier. The one nice thing is that the optics are well protected, and the front element does not stick out past the front of the lens. It also has a 77mm filter thread, which means that you can easily add colour or other filters to the lens.

Any distortion and fall-off is gone at the 35mm focal length, image is shot at f/8.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CAt 35mm and f/4 the image quality and sharpness is pleasing.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CAt f/5.6 the depth of field or image quality has little change.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CWhile you do get a bit more of the rear in focus at f/8, the front still is a bit out.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CYou start to get a good wide depth of field at f/19.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CIt should come at no surprise that the whole image is in focus at f/32.
Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

Image Quality
The first thing that you notice about the 17-35 is that there is a great deal of distortion at the 17mm end, especially when you have the lens close to the subject; while there is a curvature to the front lens element, the lens is certainly not aspherical like the 14-24mm f/2.8G from Nikon. Thankfully that is not much of a problem once you're further back from your subject. I rarely encounter it when working out in the field because I don't use this lens for close up work at the 17mm end. It also is not apparent when you zoom into the 35mm focal length. However, this lens still has some optical troubles; at the wide end, you will notice vignetting and distortion at your corners at wider apertures, not as apparent at the 35mm end but rather heavy at the 17mm end. This vignetting does go away once you get past f/5.6, the sweet spot between f/8 and f/22(32). While decent at f/4, if you shoot it wide open at f/2.8, the image is soft, but that clears up at f/4. Honestly, Konica Minolta probably would have made a better lens if they made it a constant f/4 aperture. The out-of-focus elements are nothing special but are smooth on the edges. The lens does not have trouble with flare; surprisingly, the deep-set from the element and the hood works in the favour, and unless your light is seriously off-axis or directly in front of the lens, it hardly flares. Despite its faults, the 17-35mm is not a bad lens, considering the cost.

Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

Applications
If you're a fan of landscapes, capturing the wide-open space or are a wide-angle junkie like I am, then this is your lens. While it certainly has some pain points in the optical quality department, these generally go away when you're shooting outside and stopping the lens down. And any distortion is easily fixed in post-processing. However, these distortions make it unsuitable for architecture work (unless you're cool with fixing). Personally, this would have been a favourite lens of mine while exploring if I had originally gone down the A-Mount path instead of the F-Mount path. The lens I can also see is a fun option covering outdoor events and capturing large crowds when you don't always have the space to step back and use a longer focal length. And even though it's not a constant aperture, f/4 isn't too bad. One of my favourite compact lenses for the Maxxum system is the 35-70mm f/4. As for portraits, certainly not; even if you think it will 'look cool', the distortion on this lens is way too strong.

Minolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20CMinolta Maxxum 9 - Konica Minolta Zoom AF 17-35mm 1:2.8-4 (D) - Kodak TMax 100 @ ASA-100 - Argentix T-Grain Developer (1+4) 6:00 @ 20C

The Low Down
Thankfully because of the poor reputation this lens has, you can pick one up at a reasonable price for what the lens is; most run from 175-260$ on the used market. Some are a little more expensive, but these are often new in the box and come with all the original factory accessories. Of all the accessories you do want is the hood, at the very least, as it does help cut down on flare. If a constant aperture is something that you do look for in a lens, there is the 17-35mm f/3.5 model, but look for the later model units with the 'green' coating, but you're also looking at costs around 350-500$ on average. It also depends on the camera you're shooting; the f/3.5 version (the later versions) are far better performers on digital cameras, while the K-M version does better with film. Please don't ask me why; that's what my source has said.

Further Reading
Don't just take my view on the 17-35mm, check out these other reviews.
Kurt Munger - Konica Minolta Zoom 17-35mm 1:2.8-4 (D) Review
Imaging Resource - Konica Minolta 17-35mm 1:2.8-4 D AF Review
Dyxium - Minolta AF 17-35mm F2.8-4 D A-mount lens reviews

#opticalreviewblog #canada #hiltonfalls #kodaktmax100 #konicaminolta #konicaminoltazoomaf1735mm1284d #lens #lensreview #milton #minoltamaxxum9 #ontario #optics #review

Optical Review Blog No. 18 – Nikon AF-S Nikkor 14-24mm 1:2.8G

If there is one lens that completely changed my outlook on photography, this is that lens. I know I usually don't say that gear can make you a better photographer, and I'm not saying that this lens made me a better photographer. But it did help me realise and execute my vision. I use these two photos as an example of that, in the first photo, shot in 2005 on a K-M Z2 digital camera at the widest angle I knew exactly what I wanted to capture. That grand scale of the Hearn generating station, but I couldn't with the gear I had. So when I got back five years later (ironically almost five years to the day of the first photo), I had not only the right lens but also the know-how to use it to execute that original vision. The Nikon 14-24 is probably one of my favourite lenses to work with; as a wide-angle junkie, this lens is pretty near perfect for how I like to photograph architecture, landscapes, and urban scenes. And this is a lens that, despite all logic, is not a fisheye. Your straight lines will stay straight. And Nikon has never released an older D-Type version and has done little to change the lens since its initial release. And one that, despite the weight, I will never hesitate to pull out and use on any Nikon camera.

Lens Specifications
Make: Nikon
Model: AF-S Nikkor 14-24mm 1:2.8G
Focal Length: 14mm to 24mm
Focal Range: ∞ - 0.28m
Aperture: f/2.8 - f/22, 9 Blades
Structure: 14 Elements in 11 Groups

It's clear to see right from the start that the 14-24/2.8G is a lens that produces straight lines, even when close (and I had it CLOSE)!
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8G

Build Quality
This is a strange lens when it comes to construction. It's big, heavy, and will throw off the balance of any camera you mount it on, and that goes for the D750. You will want to have some grip on the camera to help get that centre of gravity back, but on the F5, it is a wonderful lens and well balanced. The construction of the lens is all metal, save the outer shell, which is plastic. The zoom ring is smooth and clearly marked. The internal focus motor gives a smooth manual focus ring that stops at infinity and closes focus marks. The switch on the side helps switch the autofocus on and off in conjunction with the switch on your camera. But the biggest part you'll notice on the lens is the front element, it is a massive piece of glass, and it is curved. That will be important for the image quality itself, but the direct result of that is you cannot mount any filter on the front of the lens. In fact, there is no facility to put any filter on the front. In comparison, that does affect us who still shoot film, as in the digital realm, it is easy to apply any correction or contrast filters. You also cannot mount a lens hood; now, there is a rather small hood integrated into the body itself, which offers some flare protection but not much. You also have to watch out for that front element; it is easily damaged being exposed. I have one small nick on mine, but it doesn't affect the image quality. Being a G-Type lens, there is no aperture control ring, but on most modern Nikon cameras, the lens will work perfectly in all modes.

While depth of field isn't too important on a wide angle lens as you can see at the 14mm mark (left), it's clean and smooth at the 24mm mark (right) when at f/2.8.
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8GYou can start to see that depth of field start to narrow out even at f/4 on both the 14mm (left) and 24mm (right) marks.
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8GWhen we get to f/8 even with such close focusing you're starting to get everything in focus.
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8GHere at f/13 things have closed up nicely.
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8GAt f/22 you can have everything in focus at the 14mm (left) mark and almost everything in focus at 24mm (right).
Nikon D750 - AF-S Nikkor 14-24mm 1:2.8G

Image Quality
I'm not one to use the word perfect to describe a lens, but this one is certainly one of the lens I own that comes the closest to being perfect. As I mentioned in the previous paragraph, that curved element at the front makes this lens what it is; it allows your straight lines to be straight. And yes, there is some distortion when you're getting up close, but the lines do stay straight for the most part, which for a 14mm lens is impressive. Another impressive feat on the lens is that there's no fall-off at the corners at any apertures, and the lens is sharp corner to corner at any aperture. The sweet spot is all across the board. While unimportant, the out-of-focus elements are rendered smoothly but aren't anything special or to write home around. And given that I primarily use the lens for landscape and architecture, I don't often use the lens wide open or do close focus. Although the lens's close-focus ability is impressive, I had the lens right next to the subjects when I was shooting the test shots. Despite having a small integrated lens hood, the lens doesn't flare easily, thanks mainly to the Nano coating on the lens elements.

Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

Applications
The primary reason I got this lens is that I was doing a lot of abandoned building photography, and the 14-24/2.8G is the perfect match for the big empty buildings I was poking around. Perfect for Real Estate photographers looking to capture interior and exterior spaces and exaggerate even the smallest of spaces. Even if you aren't working inside buildings, capturing massive architectural locations is one of my favourite lenses to bring to big cities with narrow sightlines. For those who aren't fond of the urban environment, the 14-24 is a powerful landscape photography lens if you intend to capture everything in and beyond your own field of vision. And the fact that it helps keep your straight lines, straight, means there is little you need to do to adjust for distortion. It can also be used in a pinch for event photography for capturing large group images. Plus, the fast f/2.8 aperture allows for easy use indoors in low light conditions combined with the ultra-wide-angle means that even at f/2.8, you do get a lot more in focus. The one application I cannot recommend it as a portrait lens because you will get distortions of human features as you get in close.

Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

The Low Down
This lens, both new and used, is not cheap. But it is worth every penny. I remember the first time I used the lens, I ended up seriously impressed, and the lens rarely left my Nikon D300. And despite not being able to use it to full effect on a crop sensor body, I also used it on my Nikon F80 and my F4 with great effect. I honestly feel that because I had this lens is what kept me in the Nikon system, including the purchase of the F5 and this winter's purchase of the Nikon D750, my first FX-format digital SLR. On the used market, the lens costs around 1,300$ and a new copy costs 2,200$. Not everyone needs this lens. The average photographer can get away without having this lens in the Nikon trilogy (being the 14-24, 27-70, and 70-200), although if you are looking for speed, wide-angle, and straight lines, there is no better lens to look at and save up towards.

Further Reading
Don't just take my view on the Nikkor 14-24/2.8G, check out these other reviews.
Photography Life - Nikkor 14-24mm f/2.8G Review
Ken Rockwell - Nikon 14-24mm f/2.8G Review
DSLR Bodies - Nikon Nikkor 14-24mm f/2.8G Review
Shotkit - Nikon 14-24mm f/2.8G Wide Angle Lens Review
Imaging Resource - Nikon Nikkor 14-24mm f/2.8 Lens Review
Optical Limits - Nikon 14-24/2.8G Optical Test and Review
Camera Labs - Nikon 14-24mm f/2.8G Review

#opticalreviewblog #afsnikkor1424mm128g #canada #glass #ilforddelta100 #ilfordperceptol #lens #lensreview #lionsvalleypark #nikkor #nikond750 #nikonf5 #oakville #ontario #optics

Optical Review Blog No. 17 – Minolta Maxxum AF 28-135mm 1:4-4.5

![image](https://live.staticflickr.com/65535/50293839156_5882d17f03_b.jpg" width=)

If you're deep into the Minolta/Sony A-Mount system, you probably know this lens better as the Secret Handshake ; in fact, that's how my friend (fellow photographer and brother-in-arms) James introduced the lens to me. The nickname, given erroneously, is one of the first instances I've heard of an Internet rumour going 'viral' when it was shared that Minolta sold these lenses at cost when it was initially introduced with the first Maxxum cameras in the mid-1980s. This rumour is not true; at an initial price of 350$ USD (that's 1,073.55$ CAD in 2021), honestly, that doesn't sound like at cost to me. But ultimately, it doesn't matter what you believe Minolta did because there is only one thing that matters with this beauty: it is an exceptional one-and-done lens for any A-Mount full-frame camera, digital or film. And the only thing you can say about the nickname is that it is a secret handshake to tell diehard Maxxum/Alpha/Dynax users.

Lens Specifications
Make: Minolta
Model: Minolta Maxxum AF 28-135mm 1:4-4.5
Focal Length: 28mm - 135mm
Focal Range: ∞ - 0.25m (0.086m /w macro)
Aperture: f/4 - f/22 (28mm), f/4.5 - f/25 (135mm), 7 Blades
Structure: 16 Elements in 13 Groups

You can see that 1.5m minimum focusing distance works great at the 135mm length (right), while at 28mm (left) I had to get far back from the test chart to get the lens to focus.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Build Quality
When it comes to big and bulky, the Maxxum 28-135 has that in the bag. This is not the lens for something that needs to travel light. Constructed entirely out of metal and is among those early Minolta Autofocus offerings that never changed throughout its history, and Sony has never released a replacement for their Alpha lineup. It might throw off balance on smaller cameras when using it, but on a Maxxum 9 or Maxxum 7 with a battery grip, it will work correctly. All the focusing is done internally, although the front sections do telescope out when zooming out to 135mm. The zoom control ring is massive and constructed out of a rubberised material, thankfully not the type that goes sticky with age. The focus ring is a little small, but you're using a Maxxum for autofocus control again. The focus display window is clear and easy to read. The lens does take massive 72mm filters, but the filter ring is similarly constructed out of the metal. Having only basic multicoating, the lens does tend to flare and ghost when pointing in the direction of a vital light source. And when it comes to focusing, this does not have any real close-focus ability. Even at 28mm, the minimum focal distance is 1.5 meters, which for 28mm is not close at all; it's decent for the 135mm end. To mitigate that, Minolta decided to add a macro function, which again only works at 28mm and doesn't do much good anyway.

What you can see here at wide open (f/4 at 28mm on the left, and f/4.5 at 135mm on the right) is that there is no fall-off at the corners and despite a narrow DOF, the image remains sharp.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here I shot both the 28mm (Left) and 135mm (Right) at f/8, you can see that you have a great DOF at 28mm while it is narrower at 135mm (but that's to be expected).
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Shooting at f/11 for the 28mm (left) shot, you're completely covered on your DOF and f/16 at 135mm (right) the DOF is functional.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here we are completely stopped down f/22 at 28mm (left) and f/25 at 135mm (right). Total coverage from front to back.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Image Quality
One thing that this lens is known for is optical quality. But that should come as no surprise; I have not yet met a Minolta lens that I did not like. The image quality when it comes to sharpness across all apertures on this lens is excellent! And yes, that is even when shot wide open. I think having that f/4-4.5 wide-open aperture works in the lens' favour. While the depth of field is narrow, especially at the 135mm end, you get excellent results. And the best part is that there is no fall-off at either the 28mm or 135mm end of things. But for best results, you'll probably want to be shooting between f/5. And f/22 as the aperture sweet spot. However, only one lens in my collection would count as perfect in all respects. The one thing that the 28-135/4-4.5 suffers from is distortion. You have the heaviest distortion at the 28mm mark, yet even with a 1.5m closest focus, you can see the distortion in the table edge. There is a bit of pinching at the 135mm end but not as bad as the wide-angle; it seems the sweet spot on the lens is between 35mm and 100mm, with 35mm showing zero distortion. And finally, the lens does have a basic coating, so it does tend to flare when direct light is near the front of your frame. Sadly I have yet to find a good hood that will fit on the lens.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

Applications
The one thing that this lens is perfect for is travel; despite being heavy and oversized, if you only need to bring one lens on a trip, the 28-135mm will suit that trip perfectly. YOu get that lovely wide-angle and a good telephoto lens and decent aperture for an outdoor lens. With f/4 at 28mm and f/4.5 at 135mm, you can easily capture things in most lighting conditions. Plus, if you shoot the Sony Alpha line of SLRs, this lens works perfectly on all crop-sensor lenses and full-frame offerings like the A99. And there's even an adapter that allows you to use the lens on the Sony E-mount. For outdoor weddings, events, and portraits, this lens won't have to leave the camera. While that f/4 might cause problems for indoor settings, there should still be plenty of room for a fast fifty in your bag, even with this monster. If I had to revisit some of the previous trips I've done with the Maxxum 9, I would probably dump some of the lenses I had with me in favour of the 28-135, Quebec City, Chicago Saskatchewan are the ones that come to mind.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

The Low Down
I find most interesting about this particular lens because Minolta ever produced a single version of it, with no updates throughout the lens's whole life. Now Sony did release an understanding of the lens but designed for their E-Mount APS line of movie cameras with a fixed f/4 aperture. But it shows exactly how well Minolta built this particular lens, considering it is among some of the oldest Maxxum lenses out there and was released in 1985 with the initial 7000, 5000, and 9000 line of cameras. On the used market, the lens can be had for an excellent and fair price. Prices range from as low as 50$ for an ugly version of the lens to a new-in-box coming in at 180$, which is not bad, considering how compatible the lens is with modern digital cameras and the performance the lens gives. Personally, this lens hardly leaves my Maxxum 9, and only if I have some severe space constraints or I need something super-wide or fast. I highly recommend this lens to anyone building or who has an A-Mount kit and wants that perfect one-and-done lens.

Further Reading
Don't just take my view on the Maxxum 28-135mm, check out these other reviews.
Kurt Munger - Minolta 28-135mm f/4-4.5 Review
Ken Rockwell - Sony Minolta 28-135mm Review
Dyxum.com - Minolta AF 28-135mm F4-4.5 A-mount lens reviews

#opticalreviewblog #canada #gear #glass #ilforddelta100 #ilfordperceptol #lens #lensreview #maxxum #milton #minolta #minoltamaxxum9 #minoltamaxxumaf28135mm1445 #ontario #optics

Optical Review Blog No. 17 – Minolta Maxxum AF 28-135mm 1:4-4.5

![image](https://live.staticflickr.com/65535/50293839156_5882d17f03_b.jpg" width=)

If you're deep into the Minolta/Sony A-Mount system, you probably know this lens better as the Secret Handshake ; in fact, that's how my friend (fellow photographer and brother-in-arms) James introduced the lens to me. The nickname, given erroneously, is one of the first instances I've heard of an Internet rumour going 'viral' when it was shared that Minolta sold these lenses at cost when it was initially introduced with the first Maxxum cameras in the mid-1980s. This rumour is not true; at an initial price of 350$ USD (that's 1,073.55$ CAD in 2021), honestly, that doesn't sound like at cost to me. But ultimately, it doesn't matter what you believe Minolta did because there is only one thing that matters with this beauty: it is an exceptional one-and-done lens for any A-Mount full-frame camera, digital or film. And the only thing you can say about the nickname is that it is a secret handshake to tell diehard Maxxum/Alpha/Dynax users.

Lens Specifications
Make: Minolta
Model: Minolta Maxxum AF 28-135mm 1:4-4.5
Focal Length: 28mm - 135mm
Focal Range: ∞ - 0.25m (0.086m /w macro)
Aperture: f/4 - f/22 (28mm), f/4.5 - f/25 (135mm), 7 Blades
Structure: 16 Elements in 13 Groups

You can see that 1.5m minimum focusing distance works great at the 135mm length (right), while at 28mm (left) I had to get far back from the test chart to get the lens to focus.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Build Quality
When it comes to big and bulky, the Maxxum 28-135 has that in the bag. This is not the lens for something that needs to travel light. Constructed entirely out of metal and is among those early Minolta Autofocus offerings that never changed throughout its history, and Sony has never released a replacement for their Alpha lineup. It might throw off balance on smaller cameras when using it, but on a Maxxum 9 or Maxxum 7 with a battery grip, it will work correctly. All the focusing is done internally, although the front sections do telescope out when zooming out to 135mm. The zoom control ring is massive and constructed out of a rubberised material, thankfully not the type that goes sticky with age. The focus ring is a little small, but you're using a Maxxum for autofocus control again. The focus display window is clear and easy to read. The lens does take massive 72mm filters, but the filter ring is similarly constructed out of the metal. Having only basic multicoating, the lens does tend to flare and ghost when pointing in the direction of a vital light source. And when it comes to focusing, this does not have any real close-focus ability. Even at 28mm, the minimum focal distance is 1.5 meters, which for 28mm is not close at all; it's decent for the 135mm end. To mitigate that, Minolta decided to add a macro function, which again only works at 28mm and doesn't do much good anyway.

What you can see here at wide open (f/4 at 28mm on the left, and f/4.5 at 135mm on the right) is that there is no fall-off at the corners and despite a narrow DOF, the image remains sharp.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here I shot both the 28mm (Left) and 135mm (Right) at f/8, you can see that you have a great DOF at 28mm while it is narrower at 135mm (but that's to be expected).
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Shooting at f/11 for the 28mm (left) shot, you're completely covered on your DOF and f/16 at 135mm (right) the DOF is functional.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here we are completely stopped down f/22 at 28mm (left) and f/25 at 135mm (right). Total coverage from front to back.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Image Quality
One thing that this lens is known for is optical quality. But that should come as no surprise; I have not yet met a Minolta lens that I did not like. The image quality when it comes to sharpness across all apertures on this lens is excellent! And yes, that is even when shot wide open. I think having that f/4-4.5 wide-open aperture works in the lens' favour. While the depth of field is narrow, especially at the 135mm end, you get excellent results. And the best part is that there is no fall-off at either the 28mm or 135mm end of things. But for best results, you'll probably want to be shooting between f/5. And f/22 as the aperture sweet spot. However, only one lens in my collection would count as perfect in all respects. The one thing that the 28-135/4-4.5 suffers from is distortion. You have the heaviest distortion at the 28mm mark, yet even with a 1.5m closest focus, you can see the distortion in the table edge. There is a bit of pinching at the 135mm end but not as bad as the wide-angle; it seems the sweet spot on the lens is between 35mm and 100mm, with 35mm showing zero distortion. And finally, the lens does have a basic coating, so it does tend to flare when direct light is near the front of your frame. Sadly I have yet to find a good hood that will fit on the lens.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

Applications
The one thing that this lens is perfect for is travel; despite being heavy and oversized, if you only need to bring one lens on a trip, the 28-135mm will suit that trip perfectly. YOu get that lovely wide-angle and a good telephoto lens and decent aperture for an outdoor lens. With f/4 at 28mm and f/4.5 at 135mm, you can easily capture things in most lighting conditions. Plus, if you shoot the Sony Alpha line of SLRs, this lens works perfectly on all crop-sensor lenses and full-frame offerings like the A99. And there's even an adapter that allows you to use the lens on the Sony E-mount. For outdoor weddings, events, and portraits, this lens won't have to leave the camera. While that f/4 might cause problems for indoor settings, there should still be plenty of room for a fast fifty in your bag, even with this monster. If I had to revisit some of the previous trips I've done with the Maxxum 9, I would probably dump some of the lenses I had with me in favour of the 28-135, Quebec City, Chicago Saskatchewan are the ones that come to mind.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

The Low Down
I find most interesting about this particular lens because Minolta ever produced a single version of it, with no updates throughout the lens's whole life. Now Sony did release an understanding of the lens but designed for their E-Mount APS line of movie cameras with a fixed f/4 aperture. But it shows exactly how well Minolta built this particular lens, considering it is among some of the oldest Maxxum lenses out there and was released in 1985 with the initial 7000, 5000, and 9000 line of cameras. On the used market, the lens can be had for an excellent and fair price. Prices range from as low as 50$ for an ugly version of the lens to a new-in-box coming in at 180$, which is not bad, considering how compatible the lens is with modern digital cameras and the performance the lens gives. Personally, this lens hardly leaves my Maxxum 9, and only if I have some severe space constraints or I need something super-wide or fast. I highly recommend this lens to anyone building or who has an A-Mount kit and wants that perfect one-and-done lens.

Further Reading
Don't just take my view on the Maxxum 28-135mm, check out these other reviews.
Kurt Munger - Minolta 28-135mm f/4-4.5 Review
Ken Rockwell - Sony Minolta 28-135mm Review
Dyxum.com - Minolta AF 28-135mm F4-4.5 A-mount lens reviews

#opticalreviewblog #canada #gear #glass #ilforddelta100 #ilfordperceptol #lens #lensreview #maxxum #milton #minolta #minoltamaxxum9 #minoltamaxxumaf28135mm1445 #ontario #optics

Optical Review Blog No. 17 – Minolta Maxxum AF 28-135mm 1:4-4.5

If you're deep into the Minolta/Sony A-Mount system, you probably know this lens better as the Secret Handshake ; in fact, that's how my friend (fellow photographer and brother-in-arms) James introduced the lens to me. The nickname, given erroneously, is one of the first instances I've heard of an Internet rumour going 'viral' when it was shared that Minolta sold these lenses at cost when it was initially introduced with the first Maxxum cameras in the mid-1980s. This rumour is not true; at an initial price of 350$ USD (that's 1,073.55$ CAD in 2021), honestly, that doesn't sound like at cost to me. But ultimately, it doesn't matter what you believe Minolta did because there is only one thing that matters with this beauty: it is an exceptional one-and-done lens for any A-Mount full-frame camera, digital or film. And the only thing you can say about the nickname is that it is a secret handshake to tell diehard Maxxum/Alpha/Dynax users.

Lens Specifications
Make: Minolta
Model: Minolta Maxxum AF 28-135mm 1:4-4.5
Focal Length: 28mm - 135mm
Focal Range: ∞ - 0.25m (0.086m /w macro)
Aperture: f/4 - f/22 (28mm), f/4.5 - f/25 (135mm), 7 Blades
Structure: 16 Elements in 13 Groups

You can see that 1.5m minimum focusing distance works great at the 135mm length (right), while at 28mm (left) I had to get far back from the test chart to get the lens to focus.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Build Quality
When it comes to big and bulky, the Maxxum 28-135 has that in the bag. This is not the lens for something that needs to travel light. Constructed entirely out of metal and is among those early Minolta Autofocus offerings that never changed throughout its history, and Sony has never released a replacement for their Alpha lineup. It might throw off balance on smaller cameras when using it, but on a Maxxum 9 or Maxxum 7 with a battery grip, it will work correctly. All the focusing is done internally, although the front sections do telescope out when zooming out to 135mm. The zoom control ring is massive and constructed out of a rubberised material, thankfully not the type that goes sticky with age. The focus ring is a little small, but you're using a Maxxum for autofocus control again. The focus display window is clear and easy to read. The lens does take massive 72mm filters, but the filter ring is similarly constructed out of the metal. Having only basic multicoating, the lens does tend to flare and ghost when pointing in the direction of a vital light source. And when it comes to focusing, this does not have any real close-focus ability. Even at 28mm, the minimum focal distance is 1.5 meters, which for 28mm is not close at all; it's decent for the 135mm end. To mitigate that, Minolta decided to add a macro function, which again only works at 28mm and doesn't do much good anyway.

What you can see here at wide open (f/4 at 28mm on the left, and f/4.5 at 135mm on the right) is that there is no fall-off at the corners and despite a narrow DOF, the image remains sharp.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here I shot both the 28mm (Left) and 135mm (Right) at f/8, you can see that you have a great DOF at 28mm while it is narrower at 135mm (but that's to be expected).
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Shooting at f/11 for the 28mm (left) shot, you're completely covered on your DOF and f/16 at 135mm (right) the DOF is functional.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Here we are completely stopped down f/22 at 28mm (left) and f/25 at 135mm (right). Total coverage from front to back.
Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C[/caption]

Image Quality
One thing that this lens is known for is optical quality. But that should come as no surprise; I have not yet met a Minolta lens that I did not like. The image quality when it comes to sharpness across all apertures on this lens is excellent! And yes, that is even when shot wide open. I think having that f/4-4.5 wide-open aperture works in the lens' favour. While the depth of field is narrow, especially at the 135mm end, you get excellent results. And the best part is that there is no fall-off at either the 28mm or 135mm end of things. But for best results, you'll probably want to be shooting between f/5. And f/22 as the aperture sweet spot. However, only one lens in my collection would count as perfect in all respects. The one thing that the 28-135/4-4.5 suffers from is distortion. You have the heaviest distortion at the 28mm mark, yet even with a 1.5m closest focus, you can see the distortion in the table edge. There is a bit of pinching at the 135mm end but not as bad as the wide-angle; it seems the sweet spot on the lens is between 35mm and 100mm, with 35mm showing zero distortion. And finally, the lens does have a basic coating, so it does tend to flare when direct light is near the front of your frame. Sadly I have yet to find a good hood that will fit on the lens.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

Applications
The one thing that this lens is perfect for is travel; despite being heavy and oversized, if you only need to bring one lens on a trip, the 28-135mm will suit that trip perfectly. YOu get that lovely wide-angle and a good telephoto lens and decent aperture for an outdoor lens. With f/4 at 28mm and f/4.5 at 135mm, you can easily capture things in most lighting conditions. Plus, if you shoot the Sony Alpha line of SLRs, this lens works perfectly on all crop-sensor lenses and full-frame offerings like the A99. And there's even an adapter that allows you to use the lens on the Sony E-mount. For outdoor weddings, events, and portraits, this lens won't have to leave the camera. While that f/4 might cause problems for indoor settings, there should still be plenty of room for a fast fifty in your bag, even with this monster. If I had to revisit some of the previous trips I've done with the Maxxum 9, I would probably dump some of the lenses I had with me in favour of the 28-135, Quebec City, Chicago Saskatchewan are the ones that come to mind.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Ilford Delta 100 @ ASA-100 - Ilford Perceptol (Stock) 15:00 @ 20C

The Low Down
I find most interesting about this particular lens because Minolta ever produced a single version of it, with no updates throughout the lens's whole life. Now Sony did release an understanding of the lens but designed for their E-Mount APS line of movie cameras with a fixed f/4 aperture. But it shows exactly how well Minolta built this particular lens, considering it is among some of the oldest Maxxum lenses out there and was released in 1985 with the initial 7000, 5000, and 9000 line of cameras. On the used market, the lens can be had for an excellent and fair price. Prices range from as low as 50$ for an ugly version of the lens to a new-in-box coming in at 180$, which is not bad, considering how compatible the lens is with modern digital cameras and the performance the lens gives. Personally, this lens hardly leaves my Maxxum 9, and only if I have some severe space constraints or I need something super-wide or fast. I highly recommend this lens to anyone building or who has an A-Mount kit and wants that perfect one-and-done lens.

Further Reading
Don't just take my view on the Maxxum 28-135mm, check out these other reviews.
Kurt Munger - Minolta 28-135mm f/4-4.5 Review
Ken Rockwell - Sony Minolta 28-135mm Review
Dyxum.com - Minolta AF 28-135mm F4-4.5 A-mount lens reviews

#opticalreviewblog #canada #gear #glass #ilforddelta100 #ilfordperceptol #lens #lensreview #maxxum #milton #minolta #minoltamaxxum9 #minoltamaxxumaf28135mm1445 #ontario #optics

Optical Review Blog No. 16 – Olympus Zuiko Auto-Zoom 1:4 f=75~150mm

I've quickly learned over the three previous reviews of Olympus lenses that there is a certain polarization when it comes to Zuiko glass. In most cases, Zuiko glass is well received by those who use the OM system. But only some lenses and those are usually the ones that fetch the highest price on the used market. And then there's this lens. Now I'm only recently starting to make more use of zoom lenses, and I have the Minolta Maxxum system to thank for it, so if this review seems clunky, it's because this is the first zoom lens I've reviewed in this series. The Zuiko 75-150/4 at some point in the recent future received a bad review online or as another site mentioned, not uniformly positive. And I can see where these folks are coming from, mostly they're shooting on digital cameras through an adapter, also the lens is a single-coat so performance is reduced and an increase chance of flare (there is a built-in hood) and there are some discussions around sharpness. Also lack of contrast when shot wide open. But I love an underdog lens, so let's dig into this optical quagmire.

Lens Specifications
Make: Olympus
Model: Zuiko Auto-Zoom 1:4 f=75~150mm
Focal Length: 75-150mm
Focal Range: ∞ - 1.6m
Aperture: f/4 - f/22, 8 Blades
Structure: 15 Elements in 11 Groups

You can see on the left side at 75mm (left side) there is a slight amount of distortion in the straight lines, which is not present at 150mm (right side). Both are shot at f/8.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
When it comes to the lenses for the OM system I'm used to fairly compact glass. Small, almost pancake-style lenses allow you to easily carry several different lenses without taking up too much real estate in your camera bag. The 75-150 is by no means a small lens, but it's also not the largest zoom lens of this nature that I've ever worked with. One of my first zoom lenses was a Kiron 75-150mm f/4 that I got with my Minolta SR-T 102 and it stayed with me into the X-7a. The Kiron was a beat of a lens next to the Zuiko and the massive Vivitar Series 1 I have for the OM-System is even bigger. This puts everything into context, meaning that the 75-150 Zuiko is not that big of a lens. The lens is a solid build, all-metal, a 52mm filter size and a built-in lens hood. There are two control rings a smaller one that controls the focal length that is stepless but has marks at 75, 85, 100, 120, and 150 marks. The focus ring is wide and smooth but has a long travel, not exactly ideal but the smooth operation makes life easy. While the focusing does change the lens length, the zoom features are all internal. And that is one of the key things I like about the lens is that despite being built in an era when push/pull style zoom lenses remained popular, Olympus bucked the trend and went with a twist style zoom control. The other issue remains the coating, use that lens hood to help that and also check the location of the sun relative to where your subject and composition is, it might help reduce the amount of flare and contrast issues.

At f/4 you can see fall off at your corners, which are far more visible at 75mm (left) than 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CAt f/5.6 the fall-off is far less visible, but still present at 75mm (left) and is almost gone at 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/8, the fall-off is gone, and the sharpness has certainly improved.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
By f/11 the sharpness is much more improved and a decent amount of depth of field has been gained.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
There isn't much difference between the images shot at f/11 and f/22, save for an increase in your depth of field.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
There is probably some truth to the downsides of this lens. One of the first things I noticed is that at the 75mm mark, if you focus too close there is a bit of distortion on your straight lines, it's not overly noticeable but it is there. I am unsure at which point that the distortion goes away, but it is gone at the 150mm mark. With the lens wide open at f/4 there is a loss of contrast, and fall off at your corners. This falloff is noticeable at f/4 and remains in place at the f/5.6 mark and by f/8 it is gone. When it comes to the lens' sweet spot I would stick that between f/8 and f/22, which can be annoying with a telephoto zoom lens, but you can't do much about it beyond getting a different lens. When it comes to image sharpness, I wouldn't rate this lens as the best, especially at those first two apertures f/4 and f/5.6, although sharpness has improved by f/5.6 over f/4. By f/8 the images sharpness is close to what I would expect from other Zuiko lenses. The out-of-focus areas are smooth but fairly vanilla, nothing overly exciting. This is not a lens that loves being shot wide-open so if that's your standard way of shooting, this might not be the best lens.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
The one thing I'm missing in my OM-System is a short telephoto lens, a 100, 105, or 135. Sadly while many lenses in the OM-System can be had for an inexpensive price, the short telephotos are in demand and carry a premium in the used market. But I can see myself forgoing adding one such lens to my kit for the time being as I do have this lovely zoom lens. Excellent addition to any travel kit, while I wouldn't use it for street photography on the fly, posed street portraits or portraits, in general, would be an excellent use of this lens, just add that extra couple of stops to f/5.6 or f/8 to improve your image quality and help get that whole subject in focus. I can also see this for nature work and landscape with the f/22 aperture as well as detail work in architecture. Although give the short maximum focal length of 150, it wouldn't be my first choice for sports or wildlife photography. But I can see it working well for outdoor events, the f/4 is a little slow for working indoor but the addition of a flash will certainly help give the needed light or some fast film and push developing.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I would recommend this lens, providing that you're shooting the glass on a film body. I think much of the malalignment of the lens comes from those who choose to adapt the lens and shoot it on digital cameras where you're starting to see that loss of contrast and poor image quality when opened right up. But I cannot fault the lens for being designed for a film camera being shot on a modern digital. And the best part is because of all the bad reviews you can pick up one of these for a low cost on the used market. While there are some outliers with expensive versions, most are running for under 100$, look for one that has a cost between 50-80$ to ensure that your copy is decent. But you can find ones that are cheaper that are probably as good, but best to ask a few questions before dropping cash.

Further Reading
Don't just take my view on the Zuiko 75-150 f/4, check out these other reviews.
Imaging Pixel - Legacy Lenses Review: Olympus Zuiko OM Auto-Zoom 75-150mm F4
Mir.com - MF Zuiko Wideangle Zoom Lense 75-150mm f/4.0

#opticalreviewblog #believeinfilm #camera #canada #fa1027 #filmisalive #filmisnotdead #gear #kodaktmax400 #lens #lensreview #milton #olympusom2n #olympuszuikoautozoom14f75150mm #ontario #review #zukio

Optical Review Blog No. 16 – Olympus Zuiko Auto-Zoom 1:4 f=75~150mm

I've quickly learned over the three previous reviews of Olympus lenses that there is a certain polarization when it comes to Zuiko glass. In most cases, Zuiko glass is well received by those who use the OM system. But only some lenses and those are usually the ones that fetch the highest price on the used market. And then there's this lens. Now I'm only recently starting to make more use of zoom lenses, and I have the Minolta Maxxum system to thank for it, so if this review seems clunky, it's because this is the first zoom lens I've reviewed in this series. The Zuiko 75-150/4 at some point in the recent future received a bad review online or as another site mentioned, not uniformly positive. And I can see where these folks are coming from, mostly they're shooting on digital cameras through an adapter, also the lens is a single-coat so performance is reduced and an increase chance of flare (there is a built-in hood) and there are some discussions around sharpness. Also lack of contrast when shot wide open. But I love an underdog lens, so let's dig into this optical quagmire.

Lens Specifications
Make: Olympus
Model: Zuiko Auto-Zoom 1:4 f=75~150mm
Focal Length: 75-150mm
Focal Range: ∞ - 1.6m
Aperture: f/4 - f/22, 8 Blades
Structure: 15 Elements in 11 Groups

You can see on the left side at 75mm (left side) there is a slight amount of distortion in the straight lines, which is not present at 150mm (right side). Both are shot at f/8.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Build Quality
When it comes to the lenses for the OM system I'm used to fairly compact glass. Small, almost pancake-style lenses allow you to easily carry several different lenses without taking up too much real estate in your camera bag. The 75-150 is by no means a small lens, but it's also not the largest zoom lens of this nature that I've ever worked with. One of my first zoom lenses was a Kiron 75-150mm f/4 that I got with my Minolta SR-T 102 and it stayed with me into the X-7a. The Kiron was a beat of a lens next to the Zuiko and the massive Vivitar Series 1 I have for the OM-System is even bigger. This puts everything into context, meaning that the 75-150 Zuiko is not that big of a lens. The lens is a solid build, all-metal, a 52mm filter size and a built-in lens hood. There are two control rings a smaller one that controls the focal length that is stepless but has marks at 75, 85, 100, 120, and 150 marks. The focus ring is wide and smooth but has a long travel, not exactly ideal but the smooth operation makes life easy. While the focusing does change the lens length, the zoom features are all internal. And that is one of the key things I like about the lens is that despite being built in an era when push/pull style zoom lenses remained popular, Olympus bucked the trend and went with a twist style zoom control. The other issue remains the coating, use that lens hood to help that and also check the location of the sun relative to where your subject and composition is, it might help reduce the amount of flare and contrast issues.

At f/4 you can see fall off at your corners, which are far more visible at 75mm (left) than 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CAt f/5.6 the fall-off is far less visible, but still present at 75mm (left) and is almost gone at 150mm (right) but can still be seen in both.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20CHere at f/8, the fall-off is gone, and the sharpness has certainly improved.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
By f/11 the sharpness is much more improved and a decent amount of depth of field has been gained.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
There isn't much difference between the images shot at f/11 and f/22, save for an increase in your depth of field.
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Image Quality
There is probably some truth to the downsides of this lens. One of the first things I noticed is that at the 75mm mark, if you focus too close there is a bit of distortion on your straight lines, it's not overly noticeable but it is there. I am unsure at which point that the distortion goes away, but it is gone at the 150mm mark. With the lens wide open at f/4 there is a loss of contrast, and fall off at your corners. This falloff is noticeable at f/4 and remains in place at the f/5.6 mark and by f/8 it is gone. When it comes to the lens' sweet spot I would stick that between f/8 and f/22, which can be annoying with a telephoto zoom lens, but you can't do much about it beyond getting a different lens. When it comes to image sharpness, I wouldn't rate this lens as the best, especially at those first two apertures f/4 and f/5.6, although sharpness has improved by f/5.6 over f/4. By f/8 the images sharpness is close to what I would expect from other Zuiko lenses. The out-of-focus areas are smooth but fairly vanilla, nothing overly exciting. This is not a lens that loves being shot wide-open so if that's your standard way of shooting, this might not be the best lens.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

Applications
The one thing I'm missing in my OM-System is a short telephoto lens, a 100, 105, or 135. Sadly while many lenses in the OM-System can be had for an inexpensive price, the short telephotos are in demand and carry a premium in the used market. But I can see myself forgoing adding one such lens to my kit for the time being as I do have this lovely zoom lens. Excellent addition to any travel kit, while I wouldn't use it for street photography on the fly, posed street portraits or portraits, in general, would be an excellent use of this lens, just add that extra couple of stops to f/5.6 or f/8 to improve your image quality and help get that whole subject in focus. I can also see this for nature work and landscape with the f/22 aperture as well as detail work in architecture. Although give the short maximum focal length of 150, it wouldn't be my first choice for sports or wildlife photography. But I can see it working well for outdoor events, the f/4 is a little slow for working indoor but the addition of a flash will certainly help give the needed light or some fast film and push developing.

Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C
Olympus OM-2n - Olympus Zuiko Auto-Zoom 1:4 f=75-150mm - Kodak TMax 400 @ ASA-400 - FA-1027 (1+9) 8:00 @ 20C

The Low Down
I would recommend this lens, providing that you're shooting the glass on a film body. I think much of the malalignment of the lens comes from those who choose to adapt the lens and shoot it on digital cameras where you're starting to see that loss of contrast and poor image quality when opened right up. But I cannot fault the lens for being designed for a film camera being shot on a modern digital. And the best part is because of all the bad reviews you can pick up one of these for a low cost on the used market. While there are some outliers with expensive versions, most are running for under 100$, look for one that has a cost between 50-80$ to ensure that your copy is decent. But you can find ones that are cheaper that are probably as good, but best to ask a few questions before dropping cash.

Further Reading
Don't just take my view on the Zuiko 75-150 f/4, check out these other reviews.
Imaging Pixel - Legacy Lenses Review: Olympus Zuiko OM Auto-Zoom 75-150mm F4
Mir.com - MF Zuiko Wideangle Zoom Lense 75-150mm f/4.0

#opticalreviewblog #believeinfilm #camera #canada #fa1027 #filmisalive #filmisnotdead #gear #kodaktmax400 #lens #lensreview #milton #olympusom2n #olympuszuikoautozoom14f75150mm #ontario #review #zukio