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Day 338
It's nearly impossible to take photos anymore... there's always more and more work to do.
Anyway, enjoy your weekends :)
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AF Nikkor 28-85 f/3.5-4.5N (1990 - 1999)
AF Nikkor 70-210 f/4-5.6D (1993 - 1999)
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
Background
Just as in the old days, many zoom shooters still prefer to avoid zoom lenses that have a very wide zoom ratio and consequent decreased performance. Even some of Nikon’s newest wide-range zoom lenses are criticized for distortion and image softness. This is the origin of the classic zoom “Trinity”. The classic Nikon pro-level auto-focus trinity included the AF Nikkor 20-35mm f/2.8D, the AF Nikkor 35-70mm f/2.8D, and the AF Nikkor 80-200 f/2.8D. The eclectic set pictured here achieves more or less the same benefit as the pro-level trinity, albeit without the wide constant apertures and with more distortion, in particular at the ultra-wide end. It is interesting to compare the features of these lenses with their most current counterparts.
AF Nikkor 28-85 f/3.5-4.5N (1990 – 1999)
This is an excellent and relatively conservative mid-range AF zoom lens from the pre-D era. It is possibly the best AF 28-85 lens ever produced by Nikon. Optically, it is exactly the same as its manual focus predecessor, the Ai-S 28-85 f/3.5-4.5, which is also an excellent lens. This lens is a cosmetic upgrade to the original AF design, which was a first generation AF Nikkor. The original version had a hard plastic focusing ring, which was replaced by soft material on this upgrade. The AF Nikkor 28-35 f/3.5-4.5N is extremely sharp throughout its zoom range, and distortion is limited due to its conservative 3x ratio. The build quality is also excellent, and it was designed as a high-end mid-range zoom, just below the professional AF Nikkor 35-70 F/2.8. The lens is perfectly matched to the contemporaneous F4, which does not yet support D-technology or the “Silent Wave” internal lens AF motors. Also, the Nikon F4 still requires aperture to be controlled on the lens in Aperture Priority mode (i.e., no secondary control dial). The only slight inconvenience of this lens is that the front of the lens including the filter rotates when the lens focuses, so polarizers must be adjusted after focusing. Unfortunately, this great lens was never upgraded to a “D” version. Replacing this design were the AF Nikkor 24-85mm f/2.8-4D and the AF Nikkor 28-80mm f.4.5-5.6D. The 24-85 is not nearly as sharp as the 28-85 f/3.5-4.5, although the 24-85 included the new D-functionality to communicate distance information from lens to camera. On the other hand, the consumer grade 28-85mm f/3.5-5.6D has unexpectedly excellent optical performance in a lightweight and unsatisfying plastic design. This 28-85mm f/3.5-4.5 eschews image fuzziness and lightweight construction, and is perfectly functional even on FX digital as a high-performance mid-range zoom. However, the many mid-range zooms that have been developed by Nikon subsequent to the 28-85/3.4-4.5 incorporate newer technologies and features, if not always better optical performance. The first newer feature that one misses in the 28-85/3.5-4.5 is the (rotary gray code pattern) distance encoder ("D"-function). Although distance information is not critical most of the time, it is theoretically very useful in certain situations for the newer cameras that support it, especially for flash photography and automatic distortion correction in certain modern DSLRs. To see what other features are missing in this early autofocus design, let’s compare with its closest current counterpart, the AF-S Nikkor 24-85mm f/3.5-4.5G ED VR lens. The newer lens adds one ED and three aspherical optical elements, includes a “Silent Wave” internal AF motor in the lens, adds rapid manual/autofocus switching, and most importantly adds advanced generation VR image stabilization. Of course the filter does not rotate when the lens focuses. Unfortunately, the newest G-type lenses cannot be used on old manual focus cameras and are also inconvenient on some older autofocus cameras. In conclusion, the 28-85/3.5-4.5 is probably just as good optically as the most current comparable design, and perhaps tougher mechanically. The biggest advantages of the newest 24-85 over the 28-85/3.5-4.5, in addition to a slightly greater zoom range, are the D-functionality and of course the VR image stabilization. Although VR doesn’t help with moving subjects at slow shutter speeds, it definitely makes it much easier to shoot at slower shutter speeds without a tripod or other camera support. These days, VR is becoming more and more popular on mid-range zooms and other lenses. Indeed, the availability of VR on the newest mid-range zooms may be a reason to finally retire this lens, unless you are shooting an F4.
AF Nikkor 70-210mm f/4.5-5.6D (1993-1999)
This is a high-end short telephoto zoom lens that is an upgrade from its otherwise similar predecessor that lacked the D-function. This lens was positioned just below the pro-level AF Nikkor 80-200 f/2.8D ED. It has an extremely robust push-pull mechanical design and has great optical performance. It works perfectly on current FX digital cameras and takes fine images throughout its zoom range. In the film era, the relatively small f/5.6 maximum aperture on the long-end was sometimes a problem of the 70-210/4.5-5.6 in situations with limited light. However, with modern FX digital, it is an easy matter to crank up the ISO when necessary. Today’s most current alternative might be the AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF ED. This new G-type lens adds a wider zoom range, two extra-low dispersion optical elements, “Silent Wave” internal focusing, and of course VR image stabilization. VR is certainly an advantage on the newest lens, although one pays for the extended zoom range, Silent Wave motor and VR, with a larger and heavier zoom than this older lens. The newest G lens lacks an aperture ring so it cannot be used on manual focus cameras and is inconvenient on some older autofocus cameras.
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
This late model D-type lens has cosmetics that begin to resemble the current production G-type lens designs. The AF Nikkor 18-35mm f/3.5-4.5D is actually very similar to the current production AF-S Nikkor 18-35mm f/3.5-4.5G. Compared with this D-type version, the newer upgraded G-type lens incorporates a Silent Wave internal focusing motor, instant manual focus, and somewhat better optical performance. The G version has 12 optical elements versus only 11 in the D version. Both versions can exhibit significant distortion, but distortion is not unusual in a lens of this type and price range. The newest G-type lens is 12.5mm longer and slightly heavier, and it lacks an aperture ring, so it has problems with older cameras. The AF Nikkor 18-35mm f/3.5-4.5D has good performance and it is lightweight and portable, so it can be packed for travel to conveniently accommodate a wide range of ultra-wide situations.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
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We've been busy at the Muse Headquarters, cooking up a new design for mortal muses. And today we're doing a giveaway if you share link your IG handle on this post. Come and play. You know you want to!
xox
Face in the window in the night
Caught for a second by the light
Ashes of memories still aglow
Only for you
Portraits and pictures you once saw
Visions in blue
~ Ultravox
AAAAAAAAAAAAAAAAAAAAAAAAAAAAA hôm nay đi ăn thì gặp 2 e Husky đẹp cựccccccccccc
đẹp hơn cả con ở Kim Mã cơ :((
trời ơi 2 con nó to vĩ đạiiiiiiiiiiii
chụp ảnh cùng thì cno' liếm hết người =))))
1 con màu xám 1 con màu nâuuuu
lông xù xù nhìn đẹp zai cựcccccc kìiiiiii í T__T
Sinh nhật bắt mẹ muaaaa :-x
ôm được 2 e mà bh vẫn chưa hết cuồng =)))))
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thôi đi học Ma tốc độ đây =))))))))
dạo này chăm qá mức cần thiếtttt
mình đang lơ mơ lề mề gặp bà Ma tốc độ ở Đông thái choáng luôn @@
Comt điiiiiiiiii
Back in my day we used glass fuses. Sometimes the glass broke and your fingers got cut...that's the way it was and we liked it! (obscure Dana Carvey reference if anybody gets it).
The Nikon F3, Nikon's first pro-level camera with an electronic shutter, was in production from 1980 through 2001. The pictured camera is fitted with the HP High-Eyepoint prism.
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The Nikon F3 was the first professional level Nikon SLR to incorporate an electronic shutter and automatic exposure capability. Of course, the F3 provides the same high-quality materials, refined fit and finish, and durability for professional use as all F-Series cameras. Like its predecessors, the F3 was part of a remarkably broad and advanced professional camera system.
When used in the new aperture priority mode, shutter speed range is a stepless 8 sec. to 1/2000 sec. An F3HP is an F3 body with a so-called "High-Eyepoint" DE-3 prism. Compared with the original F3 standard DE-2 eyelevel finder, the F3HP has a larger viewfinder eyepiece. Actually, most of the F3s that I have seen incorporate the HP viewfinder. Of course, the F3HP viewfinder provides a 100% frame coverage, like all F-series cameras, and a large, bright image with 0.8x magnification. Nikon offered 21 interchangeable focusing screens for the F3, but for general photography, the standard K screen (with split image, microprism collar, and matte field) is satisfactory.
Back in the day, I waited years to upgrade to the F3HP because I liked my F2AS so much. However, since I, like many, had been using a Nikon FE as my second body together with the F2AS, I eventually succumbed to the desire to have aperture priority auto exposure metering on my main camera body, as well.
The F3HP, particularly without the optional MD-4 motor drive attachment, has a perfect shape, body size, and weight for comfortable and stable holding as well as all-day carrying. The F3's built-in handgrip allows a firm grasp.
One advantage of the F3 over the F and F2 is that the exposure meter is incorporated into the camera body instead of the prism. As a result, you can now change viewfinders and still keep the exposure meter. The F3HP's easy-to-view High Eyepoint DE-3 prism is perfect for most purposes, but for various specialized professional applications, Nikon offered other types, such as the DW-3 Waist-Level Finder, the DA-2 Action Finder, and the DW-4 6x Magnification Finder. Nikon even produced the DX-1 AF Finder, with an electronic focus-aid indication!
The exposure meter on/off switch is a plastic lever that is incorporated around the shutter release button. This is something of a precursor to a similar switch on the future F4 and other newer Nikon camera bodies. However, I find the switch on the F3 quite tight and hard to turn. In fact, my original switch got damaged from long use and became stuck in the off position. I had get the switch replaced at my local repair shop. Fortunately, there is no reason why the switch could not just be left in the on position during periods when the camera is in frequent use. Even with the switch in the on position, the meter circuit does not actually activate unless the film wind crank is pulled slightly away from the body and the shutter release button pushed part way down. The shutter and meter are locked off when the film advance lever is pressed into the lock position. The F3 is the first F-level camera to utilize a standard ISO shutter release thread in the center of the shutter release button, instead of the older AR-2 style connector. The shutter release button is positioned just right, in the middle of the body, and has a silky-smooth feel.
As indicated above, the F3 is the first F-series camera body to support aperture priority automatic exposure instead of just manual exposure adjustment. Simply turn the shutter speed dial to "A" to enter this mode, then adjust the aperture ring appropriately. A really cool feature of the F3 is the 80% center-weighted exposure meter, concentrated within the viewfinder's 12 mm outer reference circle area. The 80% central weighting is a great compromise between Nikon's standard 60/40 weighting and a spot meter. The 80% weight allows you to easily meter on the most important section of the image, while still incorporating some exposure information from the remainder of the frame. You can center the 80% central spot on the metering target, then hold down the exposure memory lock button on the front of the body and re-frame. However, since I personally find it uncomfortable to use the exposure lock button in this position, I usually use manual exposure mode in these cases unless I am in a rush to shoot.
The F3 viewfinder includes at the top of the frame an ADR readout of the aperture setting on all Nikon F-mount lenses that have an aperture ring (basically any pre-G lens will work on the F3). To the left is an LCD display of the automatically or manually selected shutter speed, in full stop increments. One thing that I don't like about the F3's manual exposure mode is the compact-style manual exposure indicator display in the viewfinder. When in manual exposure mode, correct exposure is shown by small +- indicators to the left of the shutter speed display. You adjust the exposure until both the + and - indicators are visible at the same time. This system, while extremely accurate, is not as clear or quick as the match needle setup in the Nikkormat EL/FE/FE2/FM3A or the three diode (-o+) setup in the F2AS/FM/FM2n system. The F3's viewfinder display is illuminated by ambient light. However, you can push a small button on the prism to electronically illuminate the display in the dark.
The F3 is the last F-series body to have manual film wind, unless you attach the optional MD-4 Motor Drive (with up to 6 frames per second performance). Starting from the F4, the F-Series evolved to built-in automatic film advance. This is great if you need to often shoot rapidly. However, if you just want a high-end film camera for slower, more deliberative shooting, manual film advance provides quieter film operation, much better battery life, and a smaller and lighter package compared with the auto-advance F4, F5 and F6. Unlike the semi-pro bodies like the FE and FM, the film advance lever on the F3 may be operated in one complete stroke or a series of shorter strokes. The F3 can be used without a battery in an emergency. Just push the mechanical shutter release lever on the front of the camera, although the mechanical shutter speed is limited to only 1/60 second. That is certainly a far cry from a full range of shutter speeds, but at least flexible enough for many situations, if needed. Nevertheless, lack of power is almost never going to become an issue. My F3HP battery and shutter have never died throughout decades of use, and a single battery seems to last forever with the camera's low power usage.
The meter coupling lever on the F3 can be locked up to allow mounting of prehistoric non-AI lenses, although most users probably converted their non-AI lenses to AI decades ago. As a pro-level camera, the F3 has a proper mirror lock-up feature for certain specialized lenses and for slow exposure times. Of course, multiple exposures on a single frame are also supported.
Since the camera has an electronic shutter, it also has an electronic self-timer, complete with a flashing red light, just like modern SLRs.
The eyepiece has the usual shutter lever, but still no adjustable diopter. This is no problem, however, since Nikon still makes screw-in diopter lenses for the F3. Actually, the F3HP works fine with diopter lenses for the F90X, F100, etc. These diopter lenses have screw-in rings that are slightly thinner than harder to find ones that are actually designed for the F3. The large F3HP viewfinder eyepiece is relatively easy to use with glasses. On the F3 without the HP prism, use diopters that are designed for the FM/FE series of cameras.
In order to use an electronic flash unit, just like the earlier generation F and F2 bodies, the F3 still requires that an accessory shoe be mounted over the rewind knob, or that a special Nikon F3 flash unit be mounted directly onto the camera in the same position. (Of course, you could also use a side-bracket flash with a synch terminal cable.) Interestingly, the maximum flash synchronization speed is 1/80 sec., slightly slower than the 1/90 sec. maximum synch speed on the Nikon F2. The new advance is that the F3 offers TTL automatic flash exposure, although the F3 can't simultaneously meter ambient light. The powerful F3-era Nikon SB-16a Speedlight is a perfect match for the camera. Newer Nikon flash units can also provide TTL flash functionality with the F3, when used with the special adapter AS-17, which also allows convenient flash exposure compensation.
If you don't have the AS-17, you can do balanced fill flash the old way, as follows. First, set the background exposure manually, with a shutter speed at or below the maximum electronic flash synchronization speed. Then set the appropriate camera distance based on the film ISO, selected aperture and guide number. Finally, fill flash is achieved by further shutting down the aperture by 1-2 stops, and correspondingly adjusting the shutter speed. You can also set the SB-16a to TTL and adjust the flash exposure down by 1-2 stops using the exposure compensation dial. The compensation dial does not adjust the background exposure in this case because both shutter speed and aperture are set manually. All that being said, for fill flash, it would frankly be easier and faster to use a more modern body such as the F90X, F100, F5 or F6, which all provide various forms of 3D matrix automatic balanced fill-flash, Nikon's most advanced flash system. The F4 also has a pretty good flash capability, but it is still one generation older pre-3D technology (i.e., no communication of subject distance from D-type lenses.)
The basic Nikon F3 and F3HP were available in black. The Nikon F3 was also available in a few special variants, all of which had the High-Eyepoint viewfinder, such as the Nikon F3/T with a titanium exterior, the Nikon F3 Press, and various limited edition models. The F3/T was produced in both champagne and black colors.
As a pro-level camera, the F3 offers the benefits of aperture priority auto exposure, basic TTL flash, and a more compact and elegant design than the prior-generation F and F2 bodies. Compared with its later descendants, the F3 does not provide such benefits as matrix (multi-segment) metering, automatic balanced fill flash, multiple exposure modes, and built-in automatic film advance. On the other hand, the core F3 is significantly smaller and lighter than those later pro-level bodies. And, when used properly, the F3's exposure metering system can be just as effective, or even more so, compared with the early-generation matrix metering systems in some later Nikon cameras. For deliberative photographers who still like to shoot film, the F3 and F3HP provide a highly-refined and relatively compact manual focus platform for the extensive universe of "Pre-G"-type Nikon F-Mount lenses.
Copyright © 2015 Timothy A. Rogers. All rights reserved.
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Can't do a macro shot without some background blur ;-)
The PCB is a infered LED driver for old vintage nigh vision equipment from the good old USSR.
so, i'm trying the ol' bathroom mirror portrait trick, but my grand plans are foiled because instead of being tricked into looking into the camera reflection in the mirror odin was was quite happy to play with the real camera in front of him. i was hoping that he would accidentally hit the shutter button to snap a photo, but mostly he just fiddled with the knobs and mouthed the SLR eyepiece. with a bit more apprenticeship, i'm sure he'll be be ready to begin the process of taking over as family photographer.
actually, at first the camera was off to the side as i was attempting to get a picture with both of our faces in the frame, but that resulted in multitudes of shots of him lunging for the camera while i precariously balanced him in one hand and the camera in another. so i compromised and put the camera front and center which means you'll have to wait a little longer for a proper portrait of him and me.
really, i am slightly less camera shy than i appear. but only slightly.