Martin M.H. lives outside Stockholm, Sweden. He is a M.Sc. in Computer Technology but he has been a passionate photographer for over 45 years. He started his photographic adventures when he was thirteen with an Agfamatic pocket camera, which he soon replaced with a Canon rangefinder camera that his mom gave him in his teenages. After that he has been using Canon SLR, Nikon SLR manual focus and Autofocus, Sony mirrorless crop sensor, Nikon DSLR and Nikon Mirrorless. He has photographed any genre he could throughout the years and you can see all kind of images in his portfolio. During the later years though it has been mostly landscape, nature, travel and some street/documentary photography.
The NIKKOR 50mm f/1.4 was the lens that almost all the pro photographers had on their cameras most of the time during the 60s, 70s and 80s and most young and aspiring photographers dreamed of having on their cameras. From an era when Nikon was the undisputed number one 35mm camera/lens system among professional photographers worldwide. The NIKKOR lenses had a reputation for being tough with outstanding quality, both optically and mechanically. This lens was, because of its popularity, in production long after the advent of the autofocus and even digital cameras and was sold new alongside AF and digital lenses until mid 2005. Let’s see how it fares today!
Meyer-Optik Görlitz Domiplan (Black Version) on Nikon Z6
The Meyer-Optik Görlitz Domiplan is a very small and compact lens, a classical anastigmatic triplet lens. It was the standard kit lens on EXA II cameras but was also sold as kit with many EXA I & Praktica cameras. Opinions on the Domiplan are very different. Some love it for its sharpness and its bokeh, especially its so-called “Soap Bubble” bokeh, others think it is nothing more than average in performance. In the manufacturer’s brochure of this lens from 1960 you can read:
“With our new Domiplan 2.8/50 mm we have combined the advantages of the modern lens mount and the fully automatic pressure diaphragm with an extremely inexpensive three-lens construction.”
I’ll come back to “the fully automatic pressure diaphragm” later in the review. Also as the first point in a features list in the same brochure you can read:
” – Inexpensive three-lens anastigmat of the proven triplet type”
The underlining is done by me, not in the original text. So it should be clear that we are dealing with a cheap and simple lens. Just to have our expectations at somewhat right levels. Do not despair though! It can produce very nice pictures and is quite cheap too. Continue reading and it might be the next lens you invest in after all. Let’s have a closer look!
The Tessar is a very old design (1902), actually one of the oldest optical designs of all consumer lenses. It was produced before WWII for the first Contax rangefinder cameras and early Exakta cameras and post-war both in East and West Germany for several other camera brands.
Fun Fact 1: In 1932, when Leica II by Leitz of Wetzlar was the king of 35mm cameras, Zeiss Ikon of Dresden decided to produce a competitor that would be superior in every way. Thus the first Contax camera was born; the “Contax I”, which was designed to outperform the Leica in every aspect including the optics; thus the first Tessar 50/2.8 for 35mm format was born (a redesigned Tessar to cover 24x36mm negative), from Zeiss Jena.
Fun Fact 2: This lens was famous during its era and was called “Adlerauge” in German, which means “Eagle’s eye” because it was considered super sharp. Let’s see about that further down!
Sample Images
Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 2.8 Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | 4 Nikon Z6 | Carl Zeiss Jena Tessar 2.8/50 | f/5.6
The Helios 44 is basically a copy of the Carl Zeiss Jena Biotar 58mm f/2, optically that is. At the beginning it was even called “БТК” – “БиоТар Красногорский” (BioTar Krasnogorski). At the end of Wold War II the Russians took the Zeiss’ designs and materials back to Russia and copied them. The Soviet Union manufactured millions of this lens in different variants and it shipped as standard lens on many Soviet (Zenit) cameras. KMZ (the same factory that made the Zenit cameras) started manufacturing this lens from 1945. The Helios 44 lenses have built a cult around themselves in modern days and have been very popular for portrait photography and videography, it is the number one vintage lens used for making videos on modern cameras. It is very popular for its image character, its clickless aperture, balanced center sharpness and not least its swirly bokeh. Let’s have a look!
Tamron made a big impression on the market when they launched their SP 90mm F/2.5 back in 1979. Small, flexible and very sharp. It is originally designed for 35mm cameras (full-frame) but can also be used on APS-C cameras with an equivalent focal length of 135mm. It is a classic dual purpose 90mm macro lens. The lens manages to do a 1:2 magnification, almost macro and many call it for a macro lens although Tamron themselves did not do that and only talked about it as “a medium telephoto portrait lens”. (They called the previous versions, also with 1:2 magnification, “tele-macro” though.) Anyhow, it has long been the general opinion that it has very good close-up capabilities and it can do 1:1 macro with some help as we will see. It is also very suitable for use as a portrait lens at normal distances. The lens has been updated several times since its first release and changed look and optical formula during over 40 years of its existence. Each new version could have an additional feature, improved optical performance, just a cosmetic update, or a combination of them. We are going to look at the first AF version of this lens from 1990.The lens has been made with native mounts for Nikon F, Pentax K and Minolta/Sony A. I test a Nikon mount lens mostly on a FF mirrorless Nikon Z6 and APS-C DSLR Nikon D7200 (F mount) but I also include images taken with FF DSLR Nikon D600 (also F mount).
Sample Images
Nikon D600 | Tamron AP AF 90mm f/2.5 | 2.5 Nikon D600 | Tamron AP AF 90mm f/2.5 | 7.1 | Focus stacked from 11 images Nikon D600 | Tamron AP AF 90mm f/2.5 | 3.3
Sony α | Leica M | Nikon F/Z New article every week
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