Some lenses became famous because they are rare and/or expensive. Neither is the case for the Nikon Nikkor 105mm 2.5 Ai. In fact – from the early 70s to the mid 80s – Nikon made a lot of them, it was by far their best selling short tele prime. Why was that? And are there still good reasons to use this lens today? Let’s find out in this review.
Continue reading Review: Nikon Nikkor 105mm 2.5 Ai – The Portrait Tele Bestseller
The optical design of this Nikkor 55mm 1.2 dates back to 1965, which makes it Nikon’s first f/1.2 lens for the F-mount. Among Nikon’s three manual focus f/1.2 ~50mm lenses this is not exactly a fan favorite though and usually considered the worst of the bunch. Let’s try to find out in this review if that bad reputation is actually justified.
Continue reading Review: Nikon Nikkor 55mm 1.2 Ai – The first f/1.2 F-mount lens
Introduction
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This time we take a look at another famed vintage lens, namely the legendary Helios 40. It’s an 85mm f/1.5 lens, known for, let´s see if we get it from its many titles: The King of Bokeh, The Bokeh King, the Russian Bokeh King, The Funky Bokeh King, The King of Russian Weird Bokeh, The Vintage Lenses’ King of Bokeh, etc. etc. etc. Dear child has many names. You get it, it has a reputation for its bokeh. It is also very popular among videographers seeking a dreamy vintage look with beautiful bokeh in their footage. While this lens was quite popular even back in the day, it has grown in popularity during the digital era to new heights and created kind of a cult around itself.
It was made by KMZ in the former Soviet Union for the Zenit range of SLR cameras. Like the previously reviewed “Helios 44”, there is a belief that when Russians got their hands on Zeiss Jena factory by the end of WWII, they took back the technology and drawings of many lenses to the Soviet Union, copied, and manufactured them. This one is believed to be a “copy” of Carl Zeiss Biotar 75mm f/1.5 from 1938. While the optical formula is very similar, it is a widespread Double Gauss Planar design. Besides, it is an 85mm lens. Therefore, some claim it was designed by Russian engineers themselves “based on” the Biotar 75/1.5 in 1950. Anyway, let’s have a closer look at it!
Continue reading Review: KMZ Helios 40, 85mm f/1.5 – Can the Legend Live up to Its Reputation?
Originally designed as Leica Summicron-C 40mm 2.0 to ship with the Leica/Minolta CL, this Minolta 40mm 2.0 M-Rokkor version with same optical design (but allegedly improved coatings) was one of the three M-mount lenses destined to be used with the improved Minolta CLE. This is still one of the most compact M-mount lenses and one of few options if you are looking for a 40mm, so let’s have a closer look.
This lens will be reviewed on the 42mp Sony A7rII and the 24mp Leica M10.
In 1971 – two years before the Leitz/Minolta CL with its 40mm 2.0 lens – Minolta released the Hi-Matic E, a compact fixed lens 35mm rangefinder camera with a 40mm 1.7 Rokkor-QF lens.
While this lens is manual focus its aperture is being controlled electronically, which is why it is very difficult to turn it into an interchangeable lens that can be used on other cameras.
There might be only one person crazy enough to salvage the lens elements from such a Hi-Matic E camera, design a new housing for them and adding a manually controlled aperture diaphragm and that is Miyazaki Sadayasu from MS-Optics.
I came across one of these rare lenses in a small camera shop in Hong Kong and as this was a bit of a “once in a lifetime opportunity” I bought it without really knowing what I am getting myself into, so here we are.
This lens will be reviewed on the 42mp Sony A7rII and the 24mp Leica M10.
Continue reading Review: Minolta/MS-Optics 40mm 1.7 Rokkor-QF