Hello Who here actually uses old lenses on their digital camera with an adapter?
Wishing you a great Sunday and good light.
Best regards, AndreasHello Who here actually uses old lenses on their digital camera with an adapter?
Wishing you a great Sunday and good light.
Best regards, AndreasHallo Wer nutzt hier eigentlich alte Linsen per Adapter an seiner digitalen Kamera?
Einen schönen Sonntag und gut Licht.
Gruß Andreas
Hobbyfotograf
I'm using a Helios-44M (f2-f16) on a Canon EOS70D. It performs really well.
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Cheers, LeoI'm using a Helios-44M (f2-f16) on a Canon EOS70D. It performs really well.
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Cheers, LeoIch benutze ein Helios-44M (f2-f16) an einer Canon EOS70D. Es schlägt sich sehr wacker.
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Gruß Leo
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Cheers, LeoI'm using a Helios-44M (f2-f16) on a Canon EOS70D. It performs really well.
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Cheers, LeoIch benutze ein Helios-44M (f2-f16) an einer Canon EOS70D. Es schlägt sich sehr wacker.
https://www.photoclub.io/fotos/foto?p=36176&userid=992&profile=992 Gruß Leo
Günter Rudi Herzel
I have a few vintage lenses, including the Helios 44-4, all with M42 mount adapters. I use a Porst 35mm and extension tubes for copying my slides. I also use these lenses for still life photography, but not so much for everyday shooting. I really love my autofocus.I have a few vintage lenses, including the Helios 44-4, all with M42 mount adapters. I use a Porst 35mm and extension tubes for copying my slides. I also use these lenses for still life photography, but not so much for everyday shooting. I really love my autofocus.habe ein paar Altgläser, auch das Helios 44-4 , alle M42 Anschlussadapter, benütze ein Porst 35mm und Zwischenringe zum Kopieren meiner Dias, auch für die Stillleben benütze ich diese Objektive, aber weniger zum alltäglichen Gebrauch . Liebe meinen Autofocus.
Hobbyfotograf
MC Rokkor PG 50mm 1:1.4 Minolta and a few other vintage Nikkor lenses.
But they're pretty rare. The 50mm Minolta is more commonly used with an adapter from K&F Concept.MC Rokkor PG 50mm 1:1.4 Minolta and a few other vintage Nikkor lenses.
But they're pretty rare. The 50mm Minolta is more commonly used with an adapter from K&F Concept.MC Rokkor PG 50mm 1:1,4 Minolta und noch einige alte Nikkor Objektive.
Aber eher selten. Das 50mm Minalta da schon eher mit Adapter von K&F Koncept.
But they're pretty rare. The 50mm Minolta is more commonly used with an adapter from K&F Concept.MC Rokkor PG 50mm 1:1.4 Minolta and a few other vintage Nikkor lenses.
But they're pretty rare. The 50mm Minolta is more commonly used with an adapter from K&F Concept.MC Rokkor PG 50mm 1:1,4 Minolta und noch einige alte Nikkor Objektive.
Aber eher selten. Das 50mm Minalta da schon eher mit Adapter von K&F Koncept.
Unfortunately, I saw this thread too late; otherwise, I wouldn’t have brought up the topic again. I’m still working my way through all the club activities here.
I have several old (50+) lenses that have sadly been waiting in the display case to be used. Maybe I’ll find some motivation here to take one out for a spin every now and then...Unfortunately, I saw this thread too late; otherwise, I wouldn’t have brought up the topic again. I’m still working my way through all the club activities here.
I have several old (50+) lenses that have sadly been waiting in the display case to be used. Maybe I’ll find some motivation here to take one out for a spin every now and then...Leider habe ich diesen Thread zu spät gesehen, sonst hätte ich das Thema nicht extra nochmals aufgeworfen; bin erst beim "durchackern" des ganzen Clublebens hier.
Habe mehrere alte (50+) Linsen, die aber leider in der Vitrine auf ihren Einsatz warten. Vielleicht finde ich hier Motivation, ab und an mal eine an die Luft zu tragen.....
I have several old (50+) lenses that have sadly been waiting in the display case to be used. Maybe I’ll find some motivation here to take one out for a spin every now and then...Unfortunately, I saw this thread too late; otherwise, I wouldn’t have brought up the topic again. I’m still working my way through all the club activities here.
I have several old (50+) lenses that have sadly been waiting in the display case to be used. Maybe I’ll find some motivation here to take one out for a spin every now and then...Leider habe ich diesen Thread zu spät gesehen, sonst hätte ich das Thema nicht extra nochmals aufgeworfen; bin erst beim "durchackern" des ganzen Clublebens hier.
Habe mehrere alte (50+) Linsen, die aber leider in der Vitrine auf ihren Einsatz warten. Vielleicht finde ich hier Motivation, ab und an mal eine an die Luft zu tragen.....
Semiprofi
You can also use older full-frame lenses with corner issues on a crop sensor. The affordable 35mm lenses from back in the day were notorious for their "soft" corners, but that doesn't matter on a crop sensor. What's interesting is that the used prices for 50mm lenses shot up with the rise of crop sensors, since they made such great portrait lenses. When I think about how much a Minolta Rokkor 85mm—*the* portrait lens—cost in the '70s and '80s, it still makes my head spin today. Another lens I often use on full-frame is a Cosina 24mm f/2.8 macro with an M42 mount. It’s a truly wonderful lens with a close focusing distance of just 19cm.You can also use older full-frame lenses with corner issues on a crop sensor. The affordable 35mm lenses from back in the day were notorious for their "soft" corners, but that doesn't matter on a crop sensor. What's interesting is that the used prices for 50mm lenses shot up with the rise of crop sensors, since they made such great portrait lenses. When I think about how much a Minolta Rokkor 85mm—*the* portrait lens—cost in the '70s and '80s, it still makes my head spin today. Another lens I often use on full-frame is a Cosina 24mm f/2.8 macro with an M42 mount. It’s a truly wonderful lens with a close focusing distance of just 19cm.An einer Crop kann man auch alte WWs mit Mängel in den Ecken nutzen. Die preiswerten 35er von dunnemals waren ja bzgl "weiche" Ecken berüchtigt, aber an der Crop ist das belanglos. Interessant ist ja, dass die Gebrauchtpreise der 50er mit dem Aufkommen der Crops in die Höhe gingen, hatte man doch so eine gutes Portraitobjektiv. Wenn ich daran denke, was ein Minolta Rokkor 85mm - also DAS Portraitobjektiv - in den 70er/80er Jahre kostete, wird mir heute noch schwummerig. Was ich öfter auch an der Vollformat nutze, ist ein Cosina 24mm 1:2,8 Makro mit M42 Anschluss. Ein wirklich wunderbares Objektiv mit einer Naheinstellgrenze von 19cm.
Michael Hansen
This year, I bought a Canon AE-1 along with some Canon FDn lenses. I use these lenses both on my Sony A7II (exclusively with manual focus lenses) and on my APS-C Fujifilm cameras. What’s interesting about the Fujis are the focal lengths of 85mm, 135mm, and 200mm for close and mid-range shots. Thanks to the crop factor, edge distortions don’t appear, and the smooth bokeh is preserved. At €50 for a Canon FDn 2.8 / 135mm lens, the price is unbeatable. It’s compact, fast, and fits right in your jacket pocket. On full-frame, it’s a 135mm lens; on APS-C, it gives a field of view equivalent to 200mm.This year, I bought a Canon AE-1 along with some Canon FDn lenses. I use these lenses both on my Sony A7II (exclusively with manual focus lenses) and on my APS-C Fujifilm cameras. What’s interesting about the Fujis are the focal lengths of 85mm, 135mm, and 200mm for close and mid-range shots. Thanks to the crop factor, edge distortions don’t appear, and the smooth bokeh is preserved. At €50 for a Canon FDn 2.8 / 135mm lens, the price is unbeatable. It’s compact, fast, and fits right in your jacket pocket. On full-frame, it’s a 135mm lens; on APS-C, it gives a field of view equivalent to 200mm.Dieses Jahr habe ich mir eine Canon AE-1 mit einigen Canon FDn Linsen gekauft. Diese Linsen werden sowohl an der Sony A7II (Benutzung ausschließlich mit MF Objektiven) als auch an meinen APS-C Fujis genutzt. Interessant bei den Fujis sind die Brennweiten 85, 135 und 200mm in Nah- und Mittelbereich. Durch den Crop treten Randfehler nicht auf, das sanfte Bokeh bleibt erhalten. Preis € 50,00 für ein Canon FDn 2,8 / 135mm ist absolut konkurrenzlos. Klein, Lichtstark und passt in die Jackentasche. 135mm an Vollformat, Bildausschnitt von 200mm an APS-C.
Handyknipser
My vintage 50mm 1.4 Minolta AF on the Sony A99II is my go-to setup for street photography and my "always with me" camera when traveling. Wide open, it has this imperfect, creamy look that I really love for street shots. Thanks to its fast aperture, you can shoot almost anytime with it.My vintage 50mm 1.4 Minolta AF on the Sony A99II is my go-to setup for street photography and my "always with me" camera when traveling. Wide open, it has this imperfect, creamy look that I really love for street shots. Thanks to its fast aperture, you can shoot almost anytime with it.Mein antikes 50mm 1.4 Minolta AF an der Sony A99II ist mein Standard Setup für Streetfotografie und meine "immer dabei" Kamera auf Reisen. Gerade offen hat es diesen unperfekten und cremigen Look, den ich für Street sehr mag. Durch die Lichtstärke kann man damit auch fast immer Fotografieren.
Hobbyfotograf
Semiprofi
@Jochen Petry You can also use "analog" Canon EF lenses on a digital EOS camera. But that's not really the point—the issue is that old prime lenses often have their own unique character, which the perfectly corrected modern lenses just don’t have. And let's not even get started on the awful bokeh of zoom lenses.
www.photoclub.io/fotos/foto?p=82691@Jochen Petry You can also use "analog" Canon EF lenses on a digital EOS camera. But that's not really the point—the issue is that old prime lenses often have their own unique character, which the perfectly corrected modern lenses just don’t have. And let's not even get started on the awful bokeh of zoom lenses.
www.photoclub.io/fotos/foto?p=82691@Jochen Petry Du kannst auch "analoge" Canon EFs an einer digitalen EOS betreiben. Aber darum geht es doch nicht, es geht darum, dass alte Festbrennweiten oft einen eigenen Charakter mitbringen, den die totkorrigierten modernen Objektive nicht haben. Vom grausligen Bokeh der Zooms reden wir mal erst nicht.
www.photoclub.io/fotos/foto?p=82691
www.photoclub.io/fotos/foto?p=82691@Jochen Petry You can also use "analog" Canon EF lenses on a digital EOS camera. But that's not really the point—the issue is that old prime lenses often have their own unique character, which the perfectly corrected modern lenses just don’t have. And let's not even get started on the awful bokeh of zoom lenses.
www.photoclub.io/fotos/foto?p=82691@Jochen Petry Du kannst auch "analoge" Canon EFs an einer digitalen EOS betreiben. Aber darum geht es doch nicht, es geht darum, dass alte Festbrennweiten oft einen eigenen Charakter mitbringen, den die totkorrigierten modernen Objektive nicht haben. Vom grausligen Bokeh der Zooms reden wir mal erst nicht.
www.photoclub.io/fotos/foto?p=82691
Hobbyfotograf
@Erich Kremer
Sure, I could get an old EOS film camera to go with my Canon EF lenses, but I’d rather use my Canon FD gear from the ’80s. Although, those lenses don’t really have much of a distinct "character"—except for lower resolution. The exception might be the Tokina ATX 2.5/90mm macro, which is beautifully soft yet still sharp when shot wide open.
For the M system, on the other hand, I have plenty of lenses with their own unique signatures, some dating back to the pre-war era with completely uncoated optics.
That said, the effect of these vintage lenses has to suit the look I’m aiming for.
My favorite setup is modern, neutral lenses for a clean look, plus a few old lenses as alternatives. When shooting nudes and portraits, I often end up carrying three or four different 50mm lenses (my favorite focal length).
@Erich Kremer
Sure, I could get an old EOS film camera to go with my Canon EF lenses, but I’d rather use my Canon FD gear from the ’80s. Although, those lenses don’t really have much of a distinct "character"—except for lower resolution. The exception might be the Tokina ATX 2.5/90mm macro, which is beautifully soft yet still sharp when shot wide open.
For the M system, on the other hand, I have plenty of lenses with their own unique signatures, some dating back to the pre-war era with completely uncoated optics.
That said, the effect of these vintage lenses has to suit the look I’m aiming for.
My favorite setup is modern, neutral lenses for a clean look, plus a few old lenses as alternatives. When shooting nudes and portraits, I often end up carrying three or four different 50mm lenses (my favorite focal length).@Erich Kremer
OK, natürlich könnte ich mir zu meiner Canon EF Objektiven eine alte EOS für Film anschaffen, aber da nehme ich lieber mein Canon FD Zeux aus den Achzigern, das allerdings kaum einen sichtbaren "Charakter" zeigt, außer schlechterer Auflösung. Ausnahme ist vielleicht das Tokina ATX 2,5/90mm Makro, das offen sehr schön weich, aber noch scharf ist.
Für das M System hingegen habe ich genug Objektive mit eigener Handschrift, das geht die Sammlung bis in die Vorkriegszeit mit völlig unvergüteten Objektiven.
Allerdings muss der Effekt der alten Linsen für mich zur gewünschten Bildwirkung passen.
Am liebsten habe ich moderne neutrale Objektive für neutrale Bildwirkung und zusätzlich ein paar alte Objektive als Alternative. Bei Akt und Portraitshootings kommt es so öfter mal vor, das ich drei bis vier verschiedene 50mm (meine liebeste Brennweite) Objektive dabei habe. 8-)
Sure, I could get an old EOS film camera to go with my Canon EF lenses, but I’d rather use my Canon FD gear from the ’80s. Although, those lenses don’t really have much of a distinct "character"—except for lower resolution. The exception might be the Tokina ATX 2.5/90mm macro, which is beautifully soft yet still sharp when shot wide open.
For the M system, on the other hand, I have plenty of lenses with their own unique signatures, some dating back to the pre-war era with completely uncoated optics.
That said, the effect of these vintage lenses has to suit the look I’m aiming for.
My favorite setup is modern, neutral lenses for a clean look, plus a few old lenses as alternatives. When shooting nudes and portraits, I often end up carrying three or four different 50mm lenses (my favorite focal length).
@Erich KremerSure, I could get an old EOS film camera to go with my Canon EF lenses, but I’d rather use my Canon FD gear from the ’80s. Although, those lenses don’t really have much of a distinct "character"—except for lower resolution. The exception might be the Tokina ATX 2.5/90mm macro, which is beautifully soft yet still sharp when shot wide open.
For the M system, on the other hand, I have plenty of lenses with their own unique signatures, some dating back to the pre-war era with completely uncoated optics.
That said, the effect of these vintage lenses has to suit the look I’m aiming for.
My favorite setup is modern, neutral lenses for a clean look, plus a few old lenses as alternatives. When shooting nudes and portraits, I often end up carrying three or four different 50mm lenses (my favorite focal length).
@Erich KremerOK, natürlich könnte ich mir zu meiner Canon EF Objektiven eine alte EOS für Film anschaffen, aber da nehme ich lieber mein Canon FD Zeux aus den Achzigern, das allerdings kaum einen sichtbaren "Charakter" zeigt, außer schlechterer Auflösung. Ausnahme ist vielleicht das Tokina ATX 2,5/90mm Makro, das offen sehr schön weich, aber noch scharf ist.
Für das M System hingegen habe ich genug Objektive mit eigener Handschrift, das geht die Sammlung bis in die Vorkriegszeit mit völlig unvergüteten Objektiven.
Allerdings muss der Effekt der alten Linsen für mich zur gewünschten Bildwirkung passen.
Am liebsten habe ich moderne neutrale Objektive für neutrale Bildwirkung und zusätzlich ein paar alte Objektive als Alternative. Bei Akt und Portraitshootings kommt es so öfter mal vor, das ich drei bis vier verschiedene 50mm (meine liebeste Brennweite) Objektive dabei habe. 8-)
Semiprofi
@ Jochen Petry all the way back to the pre-war era with completely uncoated lenses.
Try to get your hands on a few old Chinese Lucky 400 lenses (I still have three of them), they don’t have any lens flare protection. Pairing the Luckys with an uncoated lens and a bit of backlight, you can recreate that vintage charm. @ Jochen Petry all the way back to the pre-war era with completely uncoated lenses.
Try to get your hands on a few old Chinese Lucky 400 lenses (I still have three of them), they don’t have any lens flare protection. Pairing the Luckys with an uncoated lens and a bit of backlight, you can recreate that vintage charm. @ Jochen Petry bis in die Vorkriegszeit mit völlig unvergüteten Objektiven.
Sieh mal zu, dass du ein paar alte chinesische Lucky 400 auftreiben kannst (ich haben noch drei davon da), die haben keinen Lichthofschutz. Die Luckys zusammen mit einem unvergüteten Objektiv und etwas Gegenlicht und du kannst den alten Charme reproduzieren.
Try to get your hands on a few old Chinese Lucky 400 lenses (I still have three of them), they don’t have any lens flare protection. Pairing the Luckys with an uncoated lens and a bit of backlight, you can recreate that vintage charm. @ Jochen Petry all the way back to the pre-war era with completely uncoated lenses.
Try to get your hands on a few old Chinese Lucky 400 lenses (I still have three of them), they don’t have any lens flare protection. Pairing the Luckys with an uncoated lens and a bit of backlight, you can recreate that vintage charm. @ Jochen Petry bis in die Vorkriegszeit mit völlig unvergüteten Objektiven.
Sieh mal zu, dass du ein paar alte chinesische Lucky 400 auftreiben kannst (ich haben noch drei davon da), die haben keinen Lichthofschutz. Die Luckys zusammen mit einem unvergüteten Objektiv und etwas Gegenlicht und du kannst den alten Charme reproduzieren.
Semiprofi
I'm currently uploading some photos taken with "old analog" lenses on the Fujifilm GFX 50S. The GFX 50S is, in a way, the opposite of a crop sensor camera—the sensor is actually larger than the standard 35mm film format. So, with most lenses in full-frame mode, you get vignetting and softness around the edges. It's really fascinating to see how different lenses perform on this "oversized" sensor.I'm currently uploading some photos taken with "old analog" lenses on the Fujifilm GFX 50S. The GFX 50S is, in a way, the opposite of a crop sensor camera—the sensor is actually larger than the standard 35mm film format. So, with most lenses in full-frame mode, you get vignetting and softness around the edges. It's really fascinating to see how different lenses perform on this "oversized" sensor.Ich stelle zZ einige Fotos ein, die mit "alten analogen" Objektiven an der Fujifilm GFX 50S gemacht wurden. Die GFX 50S ist gewissermaßen das Gegenteil einer Crop-Kamera, der Sensor ist größer als das Format auf Kleinbildfilm. Man hat also bei den meisten Objektiven im Vollformat Modus eine Vignettierung + Unschärfe im Eckbereich. Es ist aber sehr interessant, zu beobachten, wie sich die unterschiedlichen Objektive an dem "übergroßen" Sensor verhalten.
Hobbyfotograf
Hey everyone,
Just wanted to revisit this topic. I recently picked up a TS-E 90mm f2.8 from 1991 to use with my Canon EOS R5.
And wow, I’m really impressed. This lens not only delivers razor-sharp images but also has a unique bokeh. It’s not quite as creamy as the EF 85mm f1.4, but still very pleasing.
Now I’m thinking about checking out some of the old wide-angle lenses (around 24mm) as well. However, I have some concerns. Chromatic aberrations (color fringing or longitudinal color errors) tend to show up more often with these older lenses if they aren’t “coated.”
Has anyone had experience with vintage glass? I’m specifically thinking about the TS-E 24 f3.5, not the Mk II version!
There are very few sample images of this lens available online.Hey everyone,
Just wanted to revisit this topic. I recently picked up a TS-E 90mm f2.8 from 1991 to use with my Canon EOS R5.
And wow, I’m really impressed. This lens not only delivers razor-sharp images but also has a unique bokeh. It’s not quite as creamy as the EF 85mm f1.4, but still very pleasing.
Now I’m thinking about checking out some of the old wide-angle lenses (around 24mm) as well. However, I have some concerns. Chromatic aberrations (color fringing or longitudinal color errors) tend to show up more often with these older lenses if they aren’t “coated.”
Has anyone had experience with vintage glass? I’m specifically thinking about the TS-E 24 f3.5, not the Mk II version!
There are very few sample images of this lens available online.Moin meine Lieben,
um das Thema noch einmal aufzumachen. Ich habe mir ein TS-E 90mm f2.8 aus dem Jahre 1991 gekauft um es an einer Canon EOS R5 zu nutzen.
Und siehe da, ich bin begeistert. Das Teil bildet nicht nur gestochen scharf ab, sondern hat auch ein ganz eigenes Bokeh. Nicht so schön wie ein EF 85mm f1.4 aber dennoch sehr schön.
Nun will ich mir die alten Linsen im Weitwinkel Bereich (um 24mm) auch noch einmal ansehen. Allerdings habe ich da so meine Bedenken. Dort kommen chromatische Aberration (Farblängs- oder Farbquerfehler) ja doch häufiger vor, wenn diese Linse nicht "vergütet" ist.
Hat jemand Erfahrungen mit dem Altglas? Ich denke hier an das TS-E 24 f3.5 nicht an die Mk II Version!
Es sind ganz wenige Bilder dieser Linse im Netz zu finden.
Just wanted to revisit this topic. I recently picked up a TS-E 90mm f2.8 from 1991 to use with my Canon EOS R5.
And wow, I’m really impressed. This lens not only delivers razor-sharp images but also has a unique bokeh. It’s not quite as creamy as the EF 85mm f1.4, but still very pleasing.
Now I’m thinking about checking out some of the old wide-angle lenses (around 24mm) as well. However, I have some concerns. Chromatic aberrations (color fringing or longitudinal color errors) tend to show up more often with these older lenses if they aren’t “coated.”
Has anyone had experience with vintage glass? I’m specifically thinking about the TS-E 24 f3.5, not the Mk II version!
There are very few sample images of this lens available online.Hey everyone,
Just wanted to revisit this topic. I recently picked up a TS-E 90mm f2.8 from 1991 to use with my Canon EOS R5.
And wow, I’m really impressed. This lens not only delivers razor-sharp images but also has a unique bokeh. It’s not quite as creamy as the EF 85mm f1.4, but still very pleasing.
Now I’m thinking about checking out some of the old wide-angle lenses (around 24mm) as well. However, I have some concerns. Chromatic aberrations (color fringing or longitudinal color errors) tend to show up more often with these older lenses if they aren’t “coated.”
Has anyone had experience with vintage glass? I’m specifically thinking about the TS-E 24 f3.5, not the Mk II version!
There are very few sample images of this lens available online.Moin meine Lieben,
um das Thema noch einmal aufzumachen. Ich habe mir ein TS-E 90mm f2.8 aus dem Jahre 1991 gekauft um es an einer Canon EOS R5 zu nutzen.
Und siehe da, ich bin begeistert. Das Teil bildet nicht nur gestochen scharf ab, sondern hat auch ein ganz eigenes Bokeh. Nicht so schön wie ein EF 85mm f1.4 aber dennoch sehr schön.
Nun will ich mir die alten Linsen im Weitwinkel Bereich (um 24mm) auch noch einmal ansehen. Allerdings habe ich da so meine Bedenken. Dort kommen chromatische Aberration (Farblängs- oder Farbquerfehler) ja doch häufiger vor, wenn diese Linse nicht "vergütet" ist.
Hat jemand Erfahrungen mit dem Altglas? Ich denke hier an das TS-E 24 f3.5 nicht an die Mk II Version!
Es sind ganz wenige Bilder dieser Linse im Netz zu finden.
Semiprofi
It has less to do with exposure and more with the angle at which the rays hit the sensor. The film doesn’t mind the angle, but the sensor doesn’t like it when the rays hit at too steep an angle.It has less to do with exposure and more with the angle at which the rays hit the sensor. The film doesn’t mind the angle, but the sensor doesn’t like it when the rays hit at too steep an angle.Mit der Vergütung hat das weniger zu tun, es ist der Winkel, in dem die Strahlen auf den Sensor treffen. Dem Film ist der Winkel egal, aber der Sensor mag es nicht, wenn die Strahle zu schräg auftreffen.
Hobbyfotograf
Hi Erich,
Okay, so how can I check this without having to carry around a laptop or monitor when I borrow a lens like that? Any tips?
The background is that the older lenses are significantly cheaper than the models introduced in 2009 (used price difference is about €1000).
Sure, the 2009 model is more refined, but if the older glass is good enough for my purposes (hobby)...
I don’t want to spend around €500 on a lens and then be disappointed by color fringing.Hi Erich,
Okay, so how can I check this without having to carry around a laptop or monitor when I borrow a lens like that? Any tips?
The background is that the older lenses are significantly cheaper than the models introduced in 2009 (used price difference is about €1000).
Sure, the 2009 model is more refined, but if the older glass is good enough for my purposes (hobby)...
I don’t want to spend around €500 on a lens and then be disappointed by color fringing.Moin Erich,
OK, und wie kann ich ohne dass ich einen Laptop oder Monitor mitschleppe das überprüfen, wenn ich solch eine Linse ausgeliehen bekomme? Gibt es da einen Tipp?
Hintergrund ist, dass die alten Linsen wesentlich günstiger zu bekommen sind, als die im Jahre 2009 vorgestellten Exemplare (Preisunterschied gebraucht ca. 1000 €).
Sicher ist das 2009 Exemplar durchdachter, aber wenn für meine Zwecke (Hobby) das alte Glas ausreicht ...
Ich möchte nicht nur ein Objektiv für ca. 500€ erwerben und über die Farbsäume enttäuscht sein.
Okay, so how can I check this without having to carry around a laptop or monitor when I borrow a lens like that? Any tips?
The background is that the older lenses are significantly cheaper than the models introduced in 2009 (used price difference is about €1000).
Sure, the 2009 model is more refined, but if the older glass is good enough for my purposes (hobby)...
I don’t want to spend around €500 on a lens and then be disappointed by color fringing.Hi Erich,
Okay, so how can I check this without having to carry around a laptop or monitor when I borrow a lens like that? Any tips?
The background is that the older lenses are significantly cheaper than the models introduced in 2009 (used price difference is about €1000).
Sure, the 2009 model is more refined, but if the older glass is good enough for my purposes (hobby)...
I don’t want to spend around €500 on a lens and then be disappointed by color fringing.Moin Erich,
OK, und wie kann ich ohne dass ich einen Laptop oder Monitor mitschleppe das überprüfen, wenn ich solch eine Linse ausgeliehen bekomme? Gibt es da einen Tipp?
Hintergrund ist, dass die alten Linsen wesentlich günstiger zu bekommen sind, als die im Jahre 2009 vorgestellten Exemplare (Preisunterschied gebraucht ca. 1000 €).
Sicher ist das 2009 Exemplar durchdachter, aber wenn für meine Zwecke (Hobby) das alte Glas ausreicht ...
Ich möchte nicht nur ein Objektiv für ca. 500€ erwerben und über die Farbsäume enttäuscht sein.
Semiprofi
The zoom on the display should generally be sufficient for assessment. A good rule of thumb is: the further the rear lens protrudes into the camera, the more problematic it can become.The zoom on the display should generally be sufficient for assessment. A good rule of thumb is: the further the rear lens protrudes into the camera, the more problematic it can become.Der Zoom im Display dürfte zur Beurteilung eigentlich genügen. Faustregel ist; je weiter die Hinterlinse in die Kamera hinein ragt, um so problematischer kann es werden.
Hobbyfotograf
Thanks, Erich,
I’ll give it a try and let you know how it goes.
Just have to wait for the right offer. At the moment, they’re not exactly nearby...
Hannover, Berlin, or Leipzig
Cheers, DidiThanks, Erich,
I’ll give it a try and let you know how it goes.
Just have to wait for the right offer. At the moment, they’re not exactly nearby...
Hannover, Berlin, or Leipzig
Cheers, DidiDanke Erich,
werde ich ausprobieren und berichten.
Muss nur noch das richtige Angebot abwarten. Zur Zeit sind die nicht gerade um die Ecke ...
Hannover, Berlin oder Leibzig
LG Didi
I’ll give it a try and let you know how it goes.
Just have to wait for the right offer. At the moment, they’re not exactly nearby...
Hannover, Berlin, or Leipzig
Cheers, DidiThanks, Erich,
I’ll give it a try and let you know how it goes.
Just have to wait for the right offer. At the moment, they’re not exactly nearby...
Hannover, Berlin, or Leipzig
Cheers, DidiDanke Erich,
werde ich ausprobieren und berichten.
Muss nur noch das richtige Angebot abwarten. Zur Zeit sind die nicht gerade um die Ecke ...
Hannover, Berlin oder Leibzig
LG Didi
Semiprofi
@Eric Dittmann: I can highly recommend the Minolta Rokkore to you. Stay away from the Pentacon 29mm 2.8—it's a complete disaster.@Eric Dittmann: I can highly recommend the Minolta Rokkore to you. Stay away from the Pentacon 29mm 2.8—it's a complete disaster.@Eric Dittmann: Ich kann dir die Minolta Rokkore wärmstens empfehlen. Finger weg vom Pentacon 29mm 2,8, das Ding ist eine Katastrophe.
Hobbyfotograf
The zoom on the display should actually be sufficient for evaluation. The rule of thumb is: the further the rear lens extends into the camera, the more problematic it can become.
Erich Kremer
Oh, and
since I have to use an RF/EF adapter, the rear lens is positioned further away from the sensor—about one to one and a half centimeters. So that should actually be more of an advantage, right?
Best regards, DidiThe zoom on the display should actually be sufficient for evaluation. The rule of thumb is: the further the rear lens extends into the camera, the more problematic it can become.
Erich Kremer
Oh, and
since I have to use an RF/EF adapter, the rear lens is positioned further away from the sensor—about one to one and a half centimeters. So that should actually be more of an advantage, right?
Best regards, DidiDer Zoom im Display dürfte zur Beurteilung eigentlich genügen. Faustregel ist; je weiter die Hinterlinse in die Kamera hinein ragt, um so problematischer kann es werden.
Erich Kremer
Ach so,
da ich ja einen RF/EF Adapter nutzen muss, ist die Hinterlinse weiter weg vom Sensor. So ungefähr einen bis einanhalb Zentimeter. Das dürfte sich also eher als Vorteil auswirken, oder?
LG Didi
Erich Kremer
Oh, and
since I have to use an RF/EF adapter, the rear lens is positioned further away from the sensor—about one to one and a half centimeters. So that should actually be more of an advantage, right?
Best regards, DidiThe zoom on the display should actually be sufficient for evaluation. The rule of thumb is: the further the rear lens extends into the camera, the more problematic it can become.
Erich Kremer
Oh, and
since I have to use an RF/EF adapter, the rear lens is positioned further away from the sensor—about one to one and a half centimeters. So that should actually be more of an advantage, right?
Best regards, DidiDer Zoom im Display dürfte zur Beurteilung eigentlich genügen. Faustregel ist; je weiter die Hinterlinse in die Kamera hinein ragt, um so problematischer kann es werden.
Erich Kremer
Ach so,
da ich ja einen RF/EF Adapter nutzen muss, ist die Hinterlinse weiter weg vom Sensor. So ungefähr einen bis einanhalb Zentimeter. Das dürfte sich also eher als Vorteil auswirken, oder?
LG Didi
Semiprofi
You need to be careful here. I couldn’t use my Rokkor lens on the Canon DSLR because the adapter didn’t have the correct flange distance. Only on the mirrorless Fujifilm GFX50S can I use the Rokkor with an adapter. Of course, I could attach an EF adapter, then a Minolta MD adapter to that, and then the Rokkor, but that just creates the same mess I have on my EOS 6D—the lens ends up with an extra spacer ring through the adapter and effectively becomes a macro lens. Skip the old EF adapter and go straight to the mirrorless camera.You need to be careful here. I couldn’t use my Rokkor lens on the Canon DSLR because the adapter didn’t have the correct flange distance. Only on the mirrorless Fujifilm GFX50S can I use the Rokkor with an adapter. Of course, I could attach an EF adapter, then a Minolta MD adapter to that, and then the Rokkor, but that just creates the same mess I have on my EOS 6D—the lens ends up with an extra spacer ring through the adapter and effectively becomes a macro lens. Skip the old EF adapter and go straight to the mirrorless camera.Also da musst du nun aufpassen. Meine Rokkore konnte ich an der Spiegel Canon nicht nutzen, da stimmt mit Adapter das Auflagenmaß nicht. Erst an der spiegellosen Fujifilm GFX50S kann ich die Rokkore mit einem Adapter nutzen. Ich könnten natürlich den Adapter EF ansetzen und dann an den EF Adapter den Minolta MD Adapter und dann das Rokkor, aber dann habe ich den gleichen Salat dran hängen wie zB an meiner EOS 6D, das Objektiv hat durch den Adapter dann einen Zwischenring und ist ein Makro. Lass den alten EF Adapter weg und geh direkt an die Spiegellose dran.
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