Posts Tagged ‘Lens’

A forgotten solution: Why this strange 1975 zoom lens is so sharp

15 Aug

For a few years now, I’ve had in my collection one very strange lens. I bought it primarily for it’s value as a collectible so, up until now, I haven’t really spent much time playing with it.

Made in 1975, this manual focus Minolta MC Rokkor-X 40-80mm F2.8 lens is one strange puppy. When it was first introduced, no other zoom lens could top its image quality and it really didn’t have much competition until more recent years. This is largely due to its very unique Gearbox design that sought to overcome the problem with zoom lenses that we still face today.

Way back in 1959, the first commercially-available 35mm still camera zoom lens, the Bessematic-mount Zoomar 36-82mm F2.8, was released by Voightlander. It’s mechanical design would not be unfamiliar to you since the focus and focal length were adjusted via a few round-turns of the lens barrel.

This simple helicoid design remains the only common method manufacturers use to make our lenses zoom in and out and focus. When you twist the zoom/focus ring(s) of a lens, the optics are carried forward or backward through a threaded barrel. This design results in a fixed movement ratio of the optical groups mounted inside that helicoid. The problem with this is every focal length requires a slightly different adjustment of the lens element/group spacing to properly correct aberrations and the fixed ratio of a helicoid cannot provide that kind of variance.

The helicoid is relatively simple, easy to make, and its shape tailors to a fitting physical design of a lens. If a lens were designed to have as few compromises as possible, it might look vastly different from what we see sitting on store shelves. For simplicity though, manufacturers have stuck with the helicoid and instead invested in overcoming its mechanical shortfalls with optical solutions.

Over the years, lens designers, aided by computers, have learned how to improve the optical designs of the zoom lens to work around most of the limitations of the locked-ratio helicoid. Modern zooms still aren’t quite as good as a prime lens but, with aspherical lens elements and fancy coatings to help out, they’re getting pretty darn close.

Back in the early 1970’s, Minolta’s engineers, armed with their slide rules and cigarettes, had a go at thinking outside the box to come up with a lens design that would allow for precise positioning of the optical groups in a zoom lens. What they came up with was so clever that it required they put it inside a box—a gearbox, to be precise.

Rather than work with the limitations of a helicoid design, this clever bunch decided to abandon that whole concept and create a new one where lens groups would be blessed with the freedom to move independent of each other. They came up with this unorthodox gearbox design that drives 12 optical elements in 12 separate groups along linear, gear-operated rails. With the chains of fixed-ratio movement cast from them, the entire lens design could be “geared” for precise positioning of the optics to best correct for aberrations throughout the range of focal lengths.

What they did was figure out how to make a hand held zoom lens that is as well corrected across its range of focal lengths as a fixed focal length lens would be at its one—that’s the theory anyway. In spite of the weird and wart-like appearance of their solution, Minolta’s engineers achieved with this lens something that is truly unique and special. There is no mistaking this lens for any other, that’s for sure.

Weighing in at 19.75 ounces (560 g), it isn’t particularly big or heavy. In fact, even with all the metal machinery inside this lens, it’s almost exactly half the weight of Nikon’s current 24-70mm f/2.8 VR.

Focus is adjusted by turning the big wheel while focal length is controlled by moving the lever arm. Both controls are very smooth and easy to move across their fairly short range of motion. The focus wheel features a precise distance scale with Infrared Index.

The lens has a 55mm diameter coated front element. Here you can see the profile of the gearbox which is fixed to the left-hand side of the lens body.

Did I mention it has a macro mode? The lens has a metal stem poking out of the gearbox which, when twisted anti-clockwise and pushed in, shifts everything inside the lens out toward the front, essentially putting more space between the film/sensor plane and the rear element (same thing an extension tube does). The result of this forward-shift is a reduction in the Minimum Focal Distance from 3.3 ft (1.01 m) to 1.2 ft (.37 m) @40mm.

Here, the stem is shown in the Macro position. When pushing in this stem, the focal length lever shifts forward with the internal glass. What a cool, whacky design!

Let’s see how well all of the engineering effort translates into actually making images with this lens.

My sister told me about this row of old silos that sit alongside a two-lane road not too far from where I live. Yesterday, I had to go by it while I was on errands. On the return trip I pulled over for this shot.

I had the lens set to 40mm and the aperture was wide-open at F2.8. This was the first shot I took and I kind of hurriedly grabbed it because of the unique lighting. That isn’t vignetting in the grass. Passing over head was a thick, dark cloud that cast the strangest light over this scene. No sooner I had shot this and the sun was back out in the open.

On the same errand run, I came across this old Chevrolet police car. Focal length was 80mm @ F8.

I was very interested to see how well the lens would control chromatic aberrations when shooting this brightly lit chrome.

I’ve not used a pre-1980’s zoom lens that didn’t produce some purple-fringing in a shot like this. Kudos to Minoltas engineers because there was none. Zoomed 400% in the 42 megapixel RAW file I could see nothing but bright chrome and colorful rust. 80mm @ F4

The Jelly Palm in our front yard is full of fruit this time of year. I shot this with the lens’ Macro mode enabled. 40mm @ F2.8

Just a bowl of bananas on the dinner table. Shot somewhere around 50mm @ F5.6

The Magnolia tree in the yard is sprouting new buds. Macro mode, 40mm @ F2.8. In the shade and backlit, color and contrast is good and the out-of-focus background is pleasantly smooth and non-distracting.

My second oldest daughter was kind enough to pause a moment for this final shot. 80mm @ F2.8

What can I say? The lens is awesome. All the effort put into designing this strange Gearbox-driven lens seems to have resulted in an excellent mid-range zoom lens. When I first started shooting with it, I did find it a little fiddly using a lever and wheel to make adjusts but after awhile I grew fond of it; it’s actually really fun to handle.

You don’t hold this lens like you would a traditional zoom, with your hands wrapped around the barrel. I keep it propped with the gearbox resting on the up-turned palm of my left hand and use my thumb to move the focal length lever and index finger to turn the focus wheel. The travel distance of both is just right so that you aren’t moving your fingers outside their natural range or having to make repetitious movements.

I can highly recommend this lens to anyone wanting to own a piece of history and/or turn some heads on their next photo walk. Comparing this to my favorite zoom lens, the incredible Minolta MD 35-70mm f/3.5, I would say it at least equals it. They’re both around the same size and weight and have a similar range of focal lengths. In fact, this Minolta 40-80mm f/2.8 lens is the antecedent to the 35-70mm f/3.5 (thus, for giggles, I used it to shoot the lens photos).

Minolta likely found that the unusual design and complexity of making this Gearbox lens was cost prohibitive and went back to the drawing board to come up with a balanced compromise. They only made two versions of it before canning the whole idea. The lens I have is the 1st Gen ‘MC’ version. An ‘MD’ version was made in 1977 and after that they called it quits.

Both versions can still be found for sale online, but I’ll warn you, this lens is priced for the committed collector.

Tom Leonard is an engineer, amateur photographer, and gear collector who travels around the world for work 30 days at a time. You can read more about Leonard’s travels and see his photography on his website.

This article was originally published on Tom’s blog, and is being republished on DPReview with express permission.

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LG V30 to feature glass lens and F1.6 aperture, fastest ever on a smartphone

11 Aug

LG’s upcoming flagship phone, the V30, will be launched at IFA in Berlin on the 31st of August and we’ll be present to report from the event. However, LG has a fun habit of trickling out some device details before launch, and today it has done just that with some news about the V30’s camera specifications.

LG tells us that the new device, “will include the world’s largest aperture and clearest lens ever to be featured in a smartphone.” In real terms, this means that the V30 will, presumably only on the main camera of its dual-cam setup, come with an F1.6 aperture which would be the fastest we have seen on a smartphone camera so far.

In addition, the lens is made form glass instead of the usual plastic materials which, according to LG, delivers improved light transmission over its predecessor and competitors. Together, those two technical details should make the V30 a great candidate for low-light photography with a smartphone.

In its press release, LG also says the wide angle camera in the dual-cam setup will have 30% lower edge distortion compared to the V20. However, it was also announced that the rear camera module will be 30% smaller than before, which could mean a reduction in sensor size and therefore reduce at least some of the fast aperture’s low-light advantage.

We’ll have to wait until the end of the month for the full specifications, but it seems the V30 could be a very interesting option for mobile photographers.

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Vintage lens shootout: three lenses, one model

09 Aug

Vintage lens enthusiast Mathieu Stern took a break from coughing up fake blood in the name of dispelling lens myths this week to compare some of his favorite vintage lenses in a shootout. Stern went out for a single photo shoot with one model and three vintage lenses: the Canon FD 50mm f/1.4 S.S.C., the Soligor 21mm f/3.8, and the Helios 103 53mm f/1.8 (modified for tilt focusing).

The video is the first in a new video series that will help highlight the unique qualities of vintage glass by comparing three lenses at a time.

Definitely don’t expect ultra-sharp photos that’ll compare with the best (technically speaking) glass of today. But you should expect unique and interesting looking photos that might just inspire you to pick up some of these cheap old lenses on eBay and have some fun. Here’s a sample photo captured with each lens:

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If you’re into the vintage look, the nice thing about these lenses is that they usually don’t cost you much to try out for yourself. Just do a quick eBay search and you’ll see that you can grab a Helios 103 53mm f/1.8 for less than $ 40, a Canon FD 50mm f/1.4 S.S.C. for about $ 80, and the most expensive of the bunch, the Soligor 21mm f/3.8, for $ 275.

For more vintage lens reviews and other oddball videos, check out Mathieu’s YouTube Channel.

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Nikon 8-15mm F3.5-4.5E ED fisheye lens impresses in underwater review

04 Aug
Photo © Robin Dodd

Our friends at Backscatter Underwater Video & Photo—the world’s leading supplier for underwater imaging equipment, the same folks behind this impressive underwater review of the Canon 1DX Mark II—recently took the new Nikon 8-15mm F3.5-4.5E ED fisheye zoom lens for a spin beneath the waves. As usual, they came back with some stunning photographs, along with a few thoughts about Nikon’s new fisheye zoom lens.

Backscatter CEO Jim Decker and Producer Robin Dodd were able to ‘MacGyver’ a makeshift zoom gear from some stuff they had lying around the shop, slapped the lens onto a Nikon D810, and went diving. Immediately they were impressed.

“The lens is a fisheye zoom lens that is a full frame diagonal fisheye lens at the 15mm side of the zoom, and a circular fisheye at the 8mm side,” explains Decker in their review. “It’s great to have the versatility of being able to shoot a circular fisheye, without having to dedicate your whole dive to it.” The photo up top was shot at 8mm, the one below at 15mm.

Photo © Robin Dodd

But it’s not just the versatility of having both a diagonal fisheye and a circular fisheye in one lens—a first for Nikon—that impressed Backscatter. The photos turned out great, too.

“We were super impressed with the image quality of this lens along with the versatility,” writes Decker, “and will now recommend this lens as the primary lens for wide angle use with full frame Nikon cameras.”

That’s some high praise. To read Backscatter’s full review and see several more underwater sample shots captured with the Nikon 8-15mm F3.5-4.5E ED fisheye, head over to their website by clicking here. And if you want to see some above-ground sample photos, you can see our sample gallery here.

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Nine new lens adapters announced for the Fujifilm GFX

04 Aug

A host of new adapters have just been launched that allow owners of the Fujifilm GFX 50S to attach new and historic lenses from other brands to their mirrorless medium format camera.

K&F Concept has introduced eight of the adapters, and is offering completely manual mounts for some surprising brands, including Olympus OM. The K&F adapters are brass on both sides and have matte black interiors to prevent flare.

K&F Concept adapters:

  • KF-EFG: Canon EF – Fujifilm G
  • KF-CYG: Yashica/Contax – – Fujifilm G
  • KF-LRG: Leica R – Fujifilm G
  • KF-OMG: Olympus OM – Fujifilm G
  • KF-NFG: Nikon F – Fujifilm G
  • KF-SRG: Minolta MD-MC/SR – Fujifilm G
  • KF-PKG: Pentax K – Fujifilm G
  • KF-42G: M42 – Fujifilm G

None of the K&F Concept adapters have any electronic communication with the body, and all cost around ¥10,000 (approx. $ 90)

Contax 645 users will be more interested in this adapter from Fringer, which allows full electronic contact between the Fujifilm GFX and Contax 645 lenses.

The extent of the communications provides autofocusing for 35mm f/3.5, 45mm f/2.8, 80mm f/2 and 140mm f/2.8 lenses, aperture control on all lenses through the camera body, and full EXIF information in the image file. Fringer admits ‘AF performance is not as good as native GF lenses!’ but some AF is usually better than no AF. The Fringer Contax 645 – GFX smart adapter costs $ 750.

For more information see the K&F Concepts website (where there is no mention of the adapters) or the Shoten Kobo website (where there is).

More information on the Fringer adapter can be found on the Fringer website.

Sample shot taken with the Fringer adapter that allows AF with Contax 645 lenses on the Fujifilm GFX body

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Lomography unveils chrome-plated Daguerreotype Achromat 2.9/64 Art Lens

27 Jul

Early last year, Lomography launched its then-new Daguerreotype Achromat 2.9/64 Art Lens on the crowdfunding website Kickstarter. The funding campaign was successful, and Lomography has decided to release a new version of the lens because of that success: the Chrome Plated Edition. The chrome plating lends the Art Lens a ‘classic, timeless look’ that is ‘stunning on both analogue and digital cameras,’ according to Lomography.

The Daguerreotype Achromat Art Lens offers an F2.9 to F16 aperture range alongside a 64mm focal length, minimum 0.5m focusing distance, and construction that features 2 elements in 1 group. This particular lens model was designed by Lomography based on the lens used with the Daguerreotype camera in 1839; it includes a Waterhouse Aperture Plate and can be used for effects ranging from ‘silky soft focus’ to ‘crisp sharp shots.’

The Chrome Plated version of the lens is being offered in Nikon F and Canon EF mounts, though Lomography notes that support expands beyond those with the use of adapters. The lens is available now through Lomography’s online store as well as Gallery Stores across the world for $ 499/€499.

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Nikon patents 35mm F2.0 lens for camera with curved full frame sensor

23 Jul
Nikon’s never-released DL18-50. Did Nikon abandon this series of 1-inch sensor compacts in order to focus on creating a full-frame mirrorless camera?

A new Nikon lens patent is causing quite a stir in the photo world today, but it’s not because of the lens itself. Instead, the patent has people excited because it describes a lens that is made for a curved full-frame sensor, possibly inside a mirrorless camera.

The latter bit is pure speculation—as Nikon Rumors points out, “the patent does not provide sufficient technical information to determine if this is a mirrorless or a DSLR lens,” especially since Nikon has patented curved sensors in the past—but the 35mm F2.0 lens described is definitely made to work with a full-frame curved sensor.

It’s possible this camera could be a fixed-lens system, bypassing the need to design multiple lenses or figure out how to make zoom lenses work on a curved sensor. For that matter, it’s also possible this design never makes it to market. But the fact that Nikon is dabbling in patents here, spending R&D time and money on some real innovation, is at least mildly heartening.

With multiple curved sensor patents and prototypes out in the wild, the correct question now seems to be “when” rather than “if” this technology will make it to the general public. Well, “when” and “who will get there first?”

You can see more diagrams from this patent here: P2017-125904A. And, of course, feel free to speculate your heart out in the comments.

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Sony patents 400mm F2.8 lens for a curved medium format sensor

21 Jul

It’s a great day for innovative patent news. Earlier today, we told you about a Nikon patent for a lens that was designed to work with a full-frame curved sensor camera. But that might not be the most innovative curved sensor patent you’ll hear about today. That title goes to Sony, and their 400mm F2.8 lens designed for a curved medium format sensor.

Sony Alpha Rumors first spotted the Japanese patent, which describes a lens designed for a curved 645 size sensor—that’s bigger than the sensors found in the Fuji GFX-50s and Hasselblad X1D-50c. The lens is “single focus” and “can be used as an interchangeable lens” reads the translated patent. It goes on to say that, thanks to the curved sensor design “High MTF can be obtained.”

Here’s are a couple of diagrams, in case you’re curious and know a thing or two about optical design. The lens seems exceptionally simple in design, possibly thanks to the benefits of a curved sensor:

As with all patents, there’s plenty of reason to doubt this exact diagram will materialize into a real product; however, it does mean Sony is thinking about medium format and curved sensors, and that should have anybody interested in digital camera innovations very excited.

Like we said earlier today, it’s not so much “will” someone bring this tech to photographers, but “when” and “who will get there first?” May the most innovative company win.

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Photographer duo reinvents Emil Busch’s 1910 Glaukar portrait lens on Kickstarter

20 Jul
A pair of photographers from Germany are trying to bring the Emil Busch Glaukar 3.1 portrait lens from 1910 back to life.

A portrait lens from 1910 might be coming back to life if two photographers from Germany succeed in a new Kickstarter project—the latest development in the craze to remake vintage optics.

The Glaukar 3.1 was originally made in Rathenow, Germany by Emil Busch AG for plate camera users, and was considered in its day well corrected for astigmatism, as well as fast with its f/3.1 aperture. The reinvented lens will share the original’s maximum aperture and three-element symmetrical construction, but will use different glass and lens designs to bring it into line with modern technology, while attempting to retain the characteristics of its ancestor.

Photographers Benedikt Ernst and Firat Bagdu say they have tried to maintain the same angle of view that the Glauker would have delivered on a 13x18cm plate camera so the new version—which is aimed at full frame, APS-C and MFTs users—will have a focal length of 97mm. It will feature a 12-bladed iris, will use glass from the Schott and O’Hara factories, and will be made mostly in Wetzlar, according to the pair.

Here is a set of sample photos captured with a prototype of the lens:

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The start-up has connections with Meyer Optik Gorlitz, a company that similarly redesigns vintage optics for modern cameras. Meyer says it has helped Emil Busch source manufacturing and parts, so we should expect the glass, iris and barrel to be similar to that of the existing German brand. The engineer for the project is Dr. Wolf-Dieter Prenzel, who is also responsible for many of the Meyer Optik Gorlitz lenses.

The Glaukar’s barrel will be aluminum finished with a brass-effect, and the lens will come in mounts for Nikon, Canon, Sony E, Fuji X, Micro Four Thirds, Leica M and Leica T. Shipping is expected to begin in Summer 2018 and the price is estimated to be around $ 2,000—though early backers can pre-order by pledging $ 700 via the Kickstarter page. For more information see the Emil Busch website.

Press Release

Reinventing the Legendary Emil Busch Glaukar 3.1 Lens

More than 100 years after the Emil Busch Glaukar 3.1 was introduced as one of the most important lenses of its time, two top German photographers have reinvented this classic as a modern portrait lens that promises to be as innovative as the original. The pair has partnered with well-known optical engineer Wolfdieter Prenzel on this project in which production will mostly take place in Wetzlar, Germany, to ensure the highest quality.

Fashion photographer Benedikt Ernst and portrait photographer Firat Bagdu launched a Kickstarter campaign today to bring the Glaukar 97mm f/3.1 into the modern age.

The new Glaukar 3.1 will have the same brass appearance and silhouette as the original but will be constructed from high-end aluminum with a brass-like oxidation, which ensures the durability and mechanical precision of a modern lens. But while the new lens will look very much like the classic, the inside has been redesigned by Prenzel, completely from scratch to meet today’s high-tech demands.

But due to its specially coated lenses the new Glaukar produces a fascinating mixture of sharpness, strong colors and, along with 12 aperture blades, wonderful bokeh effects.

Ernst and Bagdu, whose clients have included Rolls Royce, Redken, Chopard, to name a few, knew what qualities they wanted in a lens. They defined the principles and joined with lens designers and manufacturers in Germany to design the first prototype.

In fact, it was the success of one of their clients, German lens maker Meyer Optik, that inspired them to start their own project. Meyer Optik has even put the pair together with key German camera contacts in Wetzlar to help support the founders.

So, while the pair are a startup, they are backed by years of industry experience.

“We have seen some campaigns in the past where old lenses were brought back for the users of today’s cameras and appreciated them, but we wanted to go further and recreate a lens that would otherwise be lost,” Bagdu said. “But at the same time, the quality of the lens must be to the highest standards as well,” Ernst added. “Therefore, we are glad that we could ensure cooperation with some leading German firms.

Manufacturing will be done to a large extent by Uwe Weller Feinwerktechnik in Wetzlar, which was formed from the merger of several firms, including the mechanical divisions of Leica Camera and Zeiss-Hensoldt. The partnership with Uwe Weller GmbH will ensure that the high- precision elements of the lens will be produced precisely to Prenzel’s design, which will include the use of top-of-the-line Schott and O’Hara glass.

The exclusive use of Schott and O’Hara glass ensures that the goal of creating the perfect portrait lens is put into practice exactly as intended.

Part of their inspiration came from the legendary Glaukar 3.1 that pioneer German lens maker Emil Busch introduced in 1910. The original Glaukar was a groundbreaking lens because it corrected for spherical aberration, coma and astigmatism – something that no other lens in daily use could do at the time. Not even Zeiss and its famed lens maker Paul Rudolph had been able to match the Glaukar since their designs required coatings not available at the time.

The modern Glaukar will come in the following mounts:

  • Nikon
  • Canon
  • Sony E
  • Fuji
  • Micro Four Thirds
  • Leica M
  • Leica T

Lens Specs

  • Focal length: 97mm
  • Maximum aperture: 1:3.1
  • Aperture range: 1:22
  • Image circle: 43mm
  • Field of view: 25°
  • Electronic contacts none
  • Closest focusing distance: 1.5 m
  • Filter thread: 37mm
  • Max diameter: length 73mm/80mm (DSLR), approx. 85mm mirrorless
  • Weight: 410 g

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Lightroom CC 2015.12 arrives with bug fixes, new camera and lens support

20 Jul

Adobe has just launched Lightroom 2015.12, adding support for new lenses and cameras, including the Canon EOS 6D Mark II, Nikon D7500, and Leica TL2. The update also fixes several bugs, including a problem with missing iPhone video GPS data, with the wrong photo being shown in the navigator preview pane, ‘erratic deletion of files,’ trouble exporting to Flickr, and more.

As far as new support goes, users now have access to ‘new color matching camera profiles,’ too.

Adobe advises that some Lightroom customers could still experience crashing problems if they’re using older AMD GPU drivers, and that they should update to Radeon Software Crimson ReLive Edition 17.7.1 to fix the problem.

The previous version of Lightroom CC (2015.10) was released in April. The company explains that it decided to skip releasing Camera Raw 9.11 ‘due to the unfortunate events that occurred on that day,’ instead jumping straight to version 9.12. As a result, Adobe went straight from Lightroom 2015.10 to 2015.12 in order to keep the two products’ names in sync.

Lightroom CC 2015.12 adds support for the following cameras:

  • Canon EOS 6D Mark II
  • Canon EOS 200D(EOS Kiss X9, EOS Rebel SL2)
  • Leica TL2
  • Nikon D7500
  • Olympus Tough TG-5

The full list of new camera lens profile support can be found on Adobe’s blog.

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