Nikkor Ai-S 35mm f/2, Keeping The Options Open

Cameras and Lenses: Images with a Nikkor Ai-S 35mm f/2 is a classic 8-elements in 6 group manual focus lens praised for its compact size, robust all-metal build, and sharp rendering, a 70mm short-tele equivalent on the Pen E-P5.

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I am keeping an option open as to which of the 35mm compact fast wide-angle primes (and a zoom?) I will likely retain it as part of my minimalist collection of lenses. First up is the Nikon Nikkor Ai-S 35mm f/2, which, as my resources mentioned, has been a favorite lens by photojournalists for decades, at least until zoom lenses came into the market, and diminished manual focus primes to the mantelpiece.

For normal shots, peak performance is said to be from F4 to F11, quite usable below F4, with corners that are not always perfect. On the other hand, close focus is outstanding, with great results even from 1:2, even with the soft corners. For this test, I used the lens mounted on the 2x crop sensor Micro 4/3 ILC, which makes the lens the equivalent of a 70mm prime on a full-frame camera. Images, up close and cropped, as seen posted.

Olympus E-P5, Nikkor AI-S 35mm f/2

Minolta MD 28-85mm f/3.5-4.5, Walking The Zoom

Cameras and Lenses: Images with a Minolta MD 26-85mm 1:3.5~4.5, a vintage mid-range zoom praised for its advanced optical design, aspherical element, and useful macro feature, a 52-170mm full-frame equivalent on the Olympus Pen E-P5.

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One lens I have been deferring from doing the normal image test that I do with most of the lenses in my collection. Fitted to the Olympus Pen E-P5, the lens is quite a monster both in size and weight.

The lens itself is 65mm in length and weighs 470 grams, heavier than the 460 grams of the E-P5. Mounted on the E-P5 with the third-party MD-M4/3 adapter, the extension is now a hefty 115mm.

My first test was to take the lens down to the park and settle on the children's play yard as the zoom range test subject. The images were shot at the lens's zoom settings of 28mm, 35mm, 50mm, 70mm, and 80mm. On the E-P5, of course, the focal distance is double that of these settings. Unless you have very steady hands, hand-holding the camera while shooting at the long end of the zoom is an art you have to learn while using your fingers to facilitate both the zoom and focus.

Olympus E-P5, Minolta MD 28-85mm f/3.5-4.5

The test session went well images turned out to be a real surprise. Images were sharp and clear, and color rendition was fantastic, even when shot at almost full aperture.

Zuiko OM 21mm f/3.5, Cropped Skyline

Analog Diary: Film photography favorites, the Zuiko OM 21mm f/3.5, a highly regarded ultra-wide-angle legacy prime lens known for its compact size and exceptional sharpness.

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A look back at one of my past edits, and a chance to find a few images I have not posted before. The session I was looking at was long before the pandemic outbreak. I was with my OM-2S mounted with an Olympus Zuiko OM 21mm f/3.5, and it was one of the LRT stops that I regularly use before starting out for my walkabout sessions.

I am missing the days, though, and the thought of being out on the streets again. I will, soon!

Olympus OM-2S, Olympus OM Zuiko 21mm f/3.5

Konica Hexanon AR 50mm f/1.7, A Second Look

Cameras and Lenses: Images with a fully functional second copy of the Konica Hexanon AR 50mm f/1.7, a legacy celebrated as an exceptional vintage optic, a 100mm full-frame equivalent on the Olympus Pen E-P5.

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After the failure of the first Hexanon AR 50mm f/1.7, which came with a faulty aperture ring, I had a second copy ordered, and it came in through the mail a couple of weeks later. This one is definitely better physically than the earlier one and is a full working copy with clean and clear glass, glide-smooth focus, and a fully functioning aperture ring and blades.

My first chance at testing the lens was, as usual,  out in the mini garden in front of the house, shooting away at the few and only plants available in the garden, and the mango tree just outside the yard. Initial images do show the indication that the lens may be true to its words as one of the sharpest 50mm lenses ever produced during the era.

Olympus E-P5, Konica Hexanon AR 50mm f/1.7

The earlier version of the lens was first introduced in 1973 as a kit lens for the Autoreflex T3, gaining a reputation for its optical performance, particularly its sharpness. The lens was later updated as a smaller and lighter version for the Autoreflex TC, as seen here, mounted on the Olympus Pen E-P5 with a hood on the front end.

Micro Photography, Analog Reverse Ring Macro Setup

Macro Photography: Reverse ring analog macro setup with a Super-Takumar 55mm f/1.8 mounted on an Olympus OM-2S with a reverse ring lens adapter.

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A belated post. My first try at doing reverse ring macro photography on film, after having done the same with the Super-Takumar 55mm f/1.8 reverse-mounted on the Olympus Pen E-P5 earlier on. For the session, I had the lens reverse-mounted on the Olympus OM-2S instead.

This setup was simpler, as all you need is the reverse ring adapter, which now attaches straight to the lens mount of the OM body, and the lens reverse screwed to it. Color characteristics of the images were quite similar in both setups, with magnification half that of the digital capture.

Olympus OM-2S, Super Takumar 55mm f/1.8, Reverse Ring

As can be seen from the images, the handling of the film negative strip during development and the subsequent scanning session shows a fair amount of shoddy work, which, of course, could have been better.