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My other family - Minolta & Sony
Strobist:
Minolta 5600 HS (D) bare to the ceiling,
2nd Minolta 5600 HS (D) fill camera left
Triggered by Phottix Odin (High Speed Sync)
>>>Taken by Sony A6000 & Sony 55-210mm f4.5-6.3
Camera: (from left to right)
Sony A7R with
Lens: Minolta 100mm f2.8 Macro
Sony Zeiss 55mm f1.8
Sony Zeiss 16-70mm f4.0
Minolta 70-210mm f4.0
Minolta 35mm f2.0
Minolta 28-135 (secrete hand shake)
Minolta 24-105mm
Minolta 35-105mm
SMC Pentax DA Limited family - all five lenses gathered
Photo: Thomas Ohlsson Photography
www.thomasohlsson.com | 500px | Facebook | Flickr | Instagram
I am, by my nature, a bargain hunter. And that extends to lenses. Expensive glass is great, but if you're shooting outside, don't you just need the focal length? Stopped down a little, all lenses are sharp, right?
Here is a trio I've recently dubbed The Anti-Trilogy. A wide zoom, a medium zoom and a long zoom for a Canon 35mm or full frame digital SLR. If you are canny, you can pick up all of these lenses for under £100 for the three.
Searches on the net will decry two of these lenses as terrible. The 22-55mm is according to legend, unbelievably soft and susceptible to both distortion at both ends and flare. The 38-76mm is not wide enough in terms of focal length, and is noisy. The 55-200 actually gets a pretty good write up everywhere, but suffers from purple fringing wide open.
To defend these unloved Canon brothers, let's set some things straight. A wide lens for under £50 is unlikely to be as good as one costing £300. The 22-55 does feel light and cheap, and the massive curve on the front element suggests that lens correction software is going to be your friend at the near and far ends of the zoom range. This is true, especially at the near end, where barrel distortion is so extreme that you have to correct at +7 in Lightroom. The crop needed to get the frame usable again narrows the width of the picture, which is kind of going against the idea of the wide lens.
But... in good light, stopped down to F/8 to f/11 the lens is a performer at the wide end, only soft in the extreme corners of the frame. These are apertures you'll be using for landscapes or interiors on a tripod. IQ actually picks up at 5.6/6.3 at 35mm, and distortion is of the negligible complex variety. At the 55mm far end (ha!), you can shoot at 5.6 well, with only minor pincushion distortion. Flare is an issue on this lens, but you have to accept that on a lens that is almost entirely made of plastic. Without a hood, expect flare. You can partially correct that with a hood, so if you've got time to set up, why not?
The 38-76mm is surprisingly sharp throughout the range, wide open. Given that "wide open" is F/4.5, that's hardly a surprise. It isn't very wide, but you know what, unless you've got your back to a kerb or a cliff's edge, take a big step backwards. Hey presto, 32mm! At the far end, this lens slows to F/5.6, but the bokeh, while being busy, isn't distracting. It's a relatively useful lens with decent IQ. Copies vary in quality, so I have to say this one is a good one. As they're all going to be second hand by this point, buy carefully, inspect closely and test whenever possible. £20 for a full frame lens is not bad at all. Oh, and descriptions of this lens as noisy are well off the mark. My copy borders on silent, even without USM.
The 55-200 and its younger brother the 55-200 II are probably the pick of the bunch here for one reason; in camera, full frame lens correction works for both of them. So the image quality jumps WAY up straight away in camera. Of the three lenses, this one is probably the most useful as a walk around zoom, and from 55 to 100mm gives very decent images indeed, especially when stopped down to F5.6/F6.3. At the far end, These tend to go for between £30-50 and are common. The lack of IS is a factor at the far end, as is the relatively slow aperture. Fringing is an issue too, and the lens can struggle in high contrast situations. But it does a good job in most situations stopped down to F/6.3, distortion is negligible, and it is very light. If you can pick one up at the lower end of the price scale, it is definitely worth getting.
So, yes, you are limited by cheaper lenses. Constant aperture zooms are going to have more glass, better build quality, and most importantly will give you more options for your photography. But for all but the dedicated enthusiast or budding professional, they are out of reach. For about a hundred pounds, you could have a new lens to play with every fortnight. If you want optimum image quality on a slightly bigger budget, look at the primes in Canon's range. The outgoing 50mm 1.8 II is good (and under £70 new!), and the 40mm 2.8 STM is also worth considering (under £100 on eBay). But if you need to cover your bases on the cheap, or just like taking out new-to-you lenses for kicks, these three are well worth a look.
Adapt vintage medium format lenses to your mirrorless camera with Fotodiox adapters. Learn more: fotodioxpro.com/collections/lens-mount-adapters
....I use the older vintage manual everything lenses most of the time over their newer digital cousins.
Canon EF-S 24mm f/2.8 STM (11/'14)
Canon EF 50mm f/1.8 II (12/'90)
Canon EF-S 18-55mm f/3.5-5.6 IS STM (04/'13)
Canon EF 28-80mm f/3.5-5.6 II (04/'99)
Canon EF 28-90mm f/4.0-5.6 II (Silver) (09/'02)
Canon EF 35-80mm f/4.0-5.6 (09/'90)
Canon EF 80-200mm f/4.5-5.6 II (03/'95)
Canon EF-S 55-250mm f/4-5.6 IS II (07/'11)
Fotodiox Pro EF-EOS(M) Auto adapter
* Canon EOS M50 camera
* Vivitar Auto Wide-Angle 28mm f/2.8 TX (Tokina) lens
* Fotasy FD/FL-EOSM lens adapter
Just cleaning a bit today.. so many things to throw away (but not this collection!), it drives me crazy!
See notes.
The two 'Plastic Fantastic' modern Pentax prime lenses are added to my existing collection of: Takumar-A 28mm f2.8, SMC Pentax-A 50mm f1.7 and SMC Pentax-A 100mm f2.8 'vintage' prime lenses.
Takumar 28mm 3.5 I don't know the difference between these two lenses but I've had the larger one for a while now and it takes great pics so I couldn't pass up the smaller compact version. Now I have two. Shot with my Sony A6000 and Takumar 55mm 1.8 SMC lens.
M42:
Helios 40-2 85mm F/1.5
Helios 44-2 58mm F/2.0
Helios 44-2 58mm F/2.0
Helios 44M 58mm F/2.0
Mir 1B 37mm F/2.8
Pentacon Auto 50mm F/1.8
Pentacon Auto 50mm F/1.8
Super Takumar 55mm F/1.8
Industar 50-2 50mm F/3.5
Meyer optik Domiton 40mm F/4.0
Chinon 135mm F/2.8
Chinon Auto 50mm F/2.0 (not on the picture)
Weird lens without the zoom top (Info unknow)
Minolta MD:
Minolta MD 50mm F/1.7 (not on the picture)
Minolta MD 50mm F/1.7 (not on the picture)
Sigma 28-80mm F/3.5-4.5
Tokina 80-200mm F/4.5-32
Kiev:
Jupiter 8M 50mm F/2.0
PK:
Makinon Zoom 80-200mm F/3.5-22
Unknow:
Panagor MC 80-200 F/4.5-22
My current Canon FD lens set. See the test charts for each lens in the "Canon FD Lens Tests" album.
Shown are the following lenses:
Canon FD 28mm f3.5 "Chrome Nose"
Canon FD 50mm f1.8 "Chrome Nose"
Canon FD 50mm f1.8 "Chrome Nose" (#2)
Canon FD 50mm f1.8 SC
Canon FD 50mm f1.8 (New FD mount)
Canon FD 135mm f3.5 "Chrome Nose"
Canon FD 135mm f3.5 "Chrome Nose" (#2)
Canon FD 135mm f2.5
Canon FD 300mm f5.6
Vivitar 2x Teleconverter
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
The 20-year old Pentax F 35-70 that I bought over at eBay... Mounted on a K100D Super with 49mm B+W polarizing filter
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
Picon T was made by Piesker & Co., Berlin, Germany. Got it from my friend, Jibin, who converted the mount from Exkata to Nikon F. I then used an adapter to mount it on the OM-D. I tried it with D600 but had some difficulty with exposures.
BTW, there is little information on the company and the lens online.
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
My collection of medium format lenses for a Kiev 88C film camera. I think this is the complete set for the Kiev 88C threaded fitting lenses, apart from a tilt shift lens.
TAIR-33, TAYIR-33, 4.5/300mm, black & zebra style.
JUPITER-36B 3.5/250
MC TELEAR-5B 5.6/250 ZOOM
KALEINAR-3B 2.8/150
MC VEGA-28B 2.8/120
VEGA-12B 2.8/90
MC VOLNA-3 2.8/80
MIR-3 3.5/65 black & zebra style
MIR-38B 3.5/65
MIR-26B 3.5/45
ZODIAK-B 3.5/30
19 & 48mm MACRO EXTENSION TUBES
KONVERTER K-6B 2X
The collection grows, including stuff I don't even know what the heck it would fit. But I LOVE zebra lenses and remember seeing Spiratone ads in the back pages of my Dad's old photography magazines. So when I saw this Spiratone 135mm f2.8 lens in zebra-ware as well as a Spiratone aux. telephoto lens also in matching chrome uniform... I knew that I had to have it. It is an addiction. I just cannot get enough of these old lenses. It is a consuming passion. I wonder if there is a formal diagnosis for this... Lensophile???