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Found 5 results

  1. The Nikon industrial Printing Nikkors are exemplary and highly corrected lenses, but for whom? Who wants to use them because, for the most part, they are restricted to a particular narrow field of view. There not only is no infinity available, but in general they are highly restricted as far as view. Worse (much worse) is that the higher the f/stop, the less sharpness and resolution. So, we can’t just dial up the f/stop to f/11 or f/16 and expect spectacular results. The Printing Nikkors are optimized wide open or close to it.. They may be better than ordinary lenses, but the sharpness and resolution are confined to the lens either wide-open or nearly so. And that is a very thin depth of field. Who uses that? And so, there is no sweet spot for standard photography unless... and here it comes, we stack focus. That’s where these lenses come into their own and earn their high prices, at least in my book. Using focus stacking, we can paint on focus just where we want it, a razor-thin layer at a time. Yet, even for focus stackers, the reproduction rate for most is very limited in range. It’s a kind of “take it or leave it” proposition, i.e. use this limited field of view or forget about it. Most Printing Nikkors only come alive on a bellows system, some work only well on a focus rail and none work well on the camera itself without a rail or a small helicoid. There is no native helicoid or way to focus other than the rail, which as focus stackers know, is the least preferred way to stack focus. Why do I bother with these lenses and invest hard-earned cash in finding them? That’s a good question, but the answer is: I like the quality in these lenses and I only wish that kind of correction was the standard in lenses. The closest I come are the Zeiss Otus lenses, (and the Zeiss 135mm) which I consider an Otus. With the above in mind, let’s look at the main Printing Nikkors (95mm, 105mm, and 150mm) and see what their field of view IS like. Forget about macro range and above. These lenses can go there, but I don’t. Someone else can check that out. The 95mm PN standard magnification range is listed as 1/3x~1/1.5x, while the 105mm PN standard magnification range is listed as 1/1.5x~1.5x, and the 150 PN standard magnification range is listed as 1/x. Other than there, we are going outside their optimum qualities at our own risk IQ-wise. Since I don’t usually do macro, but rather close-up photography, that tells me that the PC 95 is going to be the most useful (all around) for me. It does not mean that the others (or the 95mm) don’t go higher in f/stops, but that they don’t go higher at their sharpest. What’s the point of having a $3K lens if I am not going to be able to shoot at the range I want to shoot at and get top IQ? Unless I want to stack focus, I am kind of limited to “arty” photos, ones with just a hint of field depth. It’s nice, but for only once in a while. The 95mm PN can be used mounted directly to my Nikon D850, provided that camera is mounted on a focus fail. I could also add a very small helicoid to the lens, but the moment I do that I immediately lose some of what I most need, range. This lens is designed for something like 1:2 magnification. I find the 95mm very sharp, easy to use, and probably gives me the best bang for the buck, so to speak. The PN 95mm has 45mm outer threads. The lens mount M45 x 0.75 and there are 12 blades. The 105mm PN pretty much has to be on a bellows or view camera and, even then, the range is limited to about one view and (for my work) that is not even at its sharpest. The PN 105mm has 43mm filter threads and the lens mount is M45 x 0.75. There are 12 blades. There are two PN 150s (actually three), but the one not mentioned here follows the lead of the PN 150, 2nd version, and I don’t have it. The 150mm PNs are advertised for 1X magnification range, but it will work wider, but of course at a loss in IQ I would imagine. The PN 150mm (first version) has front and rear threads of 62mm. I’m not an expert, but this earlier version of the 150mm has an additional ring that compensates for the magnification, insuring sharper images over a wider range of magnification. This is perhaps what makes this version the most useful to me. It actually works and is kind of amazing to watch. You just dial it in and it is sharper. And the PN 150 (version 2) has a filter thread of 58mm and 12 blades. It can’t go much above f/4.5 and not lose quality. It does not have the extra ring to compensate for magnification. As far as mounting the Printing Nikkors to the Nikon-F mount, it is not difficult, but you do have to match up adapters. I have enough laying around here to mix and match until they all are ready to go. I post here two stacked photos for each of the four Printing Nikkors I have. These photos give you a rough idea of the kind of reproduction-ratio that I can get with these lenses. I am sure if you want to go 1:1 and above, you would with some get better results. However, I do the best I can with what I have. Below are shown two sets of four images, the first four are simple stacks of 2 layers, one each focused around the center of each flower. This lets you see each lens with little stacking. The second four images are all stacked liberally. They will show you what a stacked image looks like with each lens. I’m not sure what you will get out of these, but you can take a look. Meanwhile, I continue checking out these interesting (to me) lenses, the Printing Nikkors.
  2. The Printing Nikkors for Close-Up Work Since the term apochromatic has no standard definition, various ideas of what is apochromatic exist. Finding apochromatic (APO) lenses that are really outstanding is difficult. By now, most of us know that the three new Zeiss APO lenses (135mm, 55mm, 85mm) are corrected apochromatically to a high standard, but finding lenses of similar quality (as to APO) is difficult without delving into the various industrial lenses, lenses designed for enlarger work or for various film-scanning operations. One good set of APO lenses are what are called the “Printing Nikkors,” a series of four Nikon industrial lenses designed for or use in film transfer (copy) machines, making accurate copies of 35mm cinema films and the like. These machines cost upward of $100,000, and the lenses individually cost (I am told) some $12,000 each. They are very highly corrected. To achieve this, chromatic aberration is corrected not only for the red, green, and blue range of the visible spectrum, but for the entire wavelength range (400 ~ 800nm). These four Printing Nikkors were each designed for a particular usable magnification range. Of the four Printing Nikkors (75mm, 95mm, 105mm, and 150mm), I have managed to find three of them, being the 95mm, 105mm, and 150mm. Here is a list along with what reproduction range they were designed for, and the general range suggested for use. 75mm = 1/4x (usable 1/6X ~ 1/3X) 95mm = 1/5x (usable 1/3X ~ 1/1/5X) 105mm = 1x (usable 1/1.5X ~ 1.5X) 150mm = 1x (usable 1/4X ~4X) I don’t use the Printing Nikkors for macro or higher magnifications, but primarily for close-up photography. This particular Printing Nikkor, the 150mm is of no use to me mounted directly on my Nikon D810 camera. Rather, it needs a bellows, and I generally use the Nikkor PB-4 for that. Since I mostly use this particular lens for focus stacking, the bellows works well for the close-up range. As a quick sidebar, to take advantage of the available focus-stacking software (I use Zerene Stacker), there are three main ways to stack focus and they produce different results, so it is important to use the most efficient method if you can. I give them here, starting with the best solution on down to the least efficient. The ranking is in terms of avoiding unwanted artifacts in your resulting stacked images: (1) The best way to stack is on a bellows, by fixing (locking) the lens to the front standard (so it does not move), and then focus with the rear standard on which sits the camera body (and sensor). So, we fix the lens, and only move the camera to focus. (2) The second best way to stack photos (and easiest) is by turning the focus barrel of the lens itself. This is why it can be important to purchase a lens with the longest focus throw you can get. For example, the famous Coastal Optics 60mm APO f/4 forensic lens (which is highly corrected) only has a focus throw of about 210-degrees, way too small (IMO) for stacking photos. You really have to use it mounted on a camera, mounted on a focus rail, and that is not good. On the other hand, the legendary Voigtlander 125mm f/2.5 APO-Lanthar Macro lens has a focus through of some 610-degrees. What a difference! (3) And lastly (and worst-ly) is to mount the camera-body and lens on a focus rail and move the whole combination to focus. This is not recommended, but I still have to often revert to it. (4) And there is the concern that spherical objects are the hardest to stack because you must take even smaller incremental layers with spheres, since there is no flat surface. To capture a sphere without artifacts takes some very fine increment-steps to stack properly. The above choices (themselves) each involve problems of their own, of course. Not all lenses will work well on a bellows, not all lenses have a decent focus throw, and the third option of using a focus rail should be avoided, if possible. These three options were first explained to me by Rik Littlefield, the author of Zerene Stacker, the focus-stacking software that I find to be the best for my work. I must say that my choice of flowers here is not ideal. In my experience the color yellow (and red, for that matter) are not as easy to capture correctly compared to the greens and blues. But this is what I have in the studio, so I am using it. Here are three different images, the first two images are stacked images shot with the Printing Nikkor 150mm wide open (f/2.8), and one at its narrowest aperture (f/11). The third image is a non-stacked traditional one-shot photo at f/11. My thoughts? My first thought is that I have to learn to better master the color yellow. Second, I feel this lens is very unforgiving, perhaps even a little aggressive or “forensic,” as in: what you see is what you get. And thirdly, I continue to wrestle with the question of to-stack-or-not-to-stack at all. The traditional one-shot photo is not bad. Why bother to stack, when stacking means artifacts of one kind or another (visible or not to the average viewer) will be present? It seems to me that the three new Zeiss APOs are not, well, so “forensic,” and have a softer feel to them. The bottom line is that I have to learn to better use the Printing Nikkors or….. just stick with the Zeiss APOs. Now, the industrial enlarger-lens, the El Nikkor APO 105mm, does not seem to have a “forensic” look. This is not to mention that maneuvering a large lens like the Printing Nikkor 150mm, mounted on a bellows, mounted on a quick-release clamp, in the field is no easy trick.
  3. The Printing Nikkors for Close-Up Work Since the term apochromatic has no standard definition, various ideas of what is apochromatic exist. Finding apochromatic (APO) lenses that are really outstanding is difficult. By now, most of us know that the three new Zeiss APO lenses (135mm, 55mm, 85mm) are corrected apochromatically to a high standard, but finding lenses of similar quality (as to APO) is difficult without delving into the various industrial lenses, lenses designed for enlarger work or for various film-scanning operations. One good set of APO lenses are what are called the “Printing Nikkors,” a series of four Nikon industrial lenses designed for or use in film transfer (copy) machines, making accurate copies of 35mm cinema films and the like. These machines cost upward of $100,000, and the lenses individually cost (I am told) some $12,000 each. They are very highly corrected. To achieve this, chromatic aberration is corrected not only for the red, green, and blue range of the visible spectrum, but for the entire wavelength range (400 ~ 800nm). These four Printing Nikkors were each designed for a particular usable magnification range. Of the four Printing Nikkors (75mm, 95mm, 105mm, and 150mm), I have managed to find three of them, being the 95mm, 105mm, and 150mm. Here is a list along with what reproduction range they were designed for, and the general range suggested for use. 75mm = 1/4x (usable 1/6X ~ 1/3X) 95mm = 1/5x (usable 1/3X ~ 1/1/5X) 105mm = 1x (usable 1/1.5X ~ 1.5X) 150mm = 1x (usable 1/4X ~4X) I don’t use the Printing Nikkors for macro or higher magnifications, but primarily for close-up photography. This particular Printing Nikkor, the 150mm is of no use to me mounted directly on my Nikon D810 camera. Rather, it needs a bellows, and I generally use the Nikkor PB-4 for that. Since I mostly use this particular lens for focus stacking, the bellows works well for the close-up range. As a quick sidebar, to take advantage of the available focus-stacking software (I use Zerene Stacker), there are three main ways to stack focus and they produce different results, so it is important to use the most efficient method if you can. I give them here, starting with the best solution on down to the least efficient. The ranking is in terms of avoiding unwanted artifacts in your resulting stacked images: (1) The best way to stack is on a bellows, by fixing (locking) the lens to the front standard (so it does not move), and then focus with the rear standard on which sits the camera body (and sensor). So, we fix the lens, and only move the camera to focus. (2) The second best way to stack photos (and easiest) is by turning the focus barrel of the lens itself. This is why it can be important to purchase a lens with the longest focus throw you can get. For example, the famous Coastal Optics 60mm APO f/4 forensic lens (which is highly corrected) only has a focus throw of about 210-degrees, way too small (IMO) for stacking photos. You really have to use it mounted on a camera, mounted on a focus rail, and that is not good. On the other hand, the legendary Voigtlander 125mm f/2.5 APO-Lanthar Macro lens has a focus through of some 610-degrees. What a difference! (3) And lastly (and worst-ly) is to mount the camera-body and lens on a focus rail and move the whole combination to focus. This is not recommended, but I still have to often revert to it. (4) And there is the concern that spherical objects are the hardest to stack because you must take even smaller incremental layers with spheres, since there is no flat surface. To capture a sphere without artifacts takes some very fine increment-steps to stack properly. The above choices (themselves) each involve problems of their own, of course. Not all lenses will work well on a bellows, not all lenses have a decent focus throw, and the third option of using a focus rail should be avoided, if possible. These three options were first explained to me by Rik Littlefield, the author of Zerene Stacker, the focus-stacking software that I find to be the best for my work. I must say that my choice of flowers here is not ideal. In my experience the color yellow (and red, for that matter) are not as easy to capture correctly compared to the greens and blues. But this is what I have in the studio, so I am using it. Here are three different images, the first two images are stacked images shot with the Printing Nikkor 150mm wide open (f/2.8), and one at its narrowest aperture (f/11). The third image is a non-stacked traditional one-shot photo at f/11. My thoughts? My first thought is that I have to learn to better master the color yellow. Second, I feel this lens is very unforgiving, perhaps even a little aggressive or “forensic,” as in: what you see is what you get. And thirdly, I continue to wrestle with the question of to-stack-or-not-to-stack at all. The traditional one-shot photo is not bad. Why bother to stack, when stacking means artifacts of one kind or another (visible or not to the average viewer) will be present? It seems to me that the three new Zeiss APOs are not, well, so “forensic,” and have a softer feel to them. The bottom line is that I have to learn to better use the Printing Nikkors or….. just stick with the Zeiss APOs. Now, the industrial enlarger-lens, the El Nikkor APO 105mm, does not seem to have a “forensic” look. This is not to mention that maneuvering a large lens like the Printing Nikkor 150mm, mounted on a bellows, mounted on a quick-release clamp, in the field is no easy trick. View full article
  4. A lens that I find remarkable and use quite often is the CRT Nikkor-O, and industrial lens that, when controlled, can produce wondering images. Here is a discussion and dozens of sample images in high-resolution, taken with the high-end Nikon bodies, D3x, D3s, D800E, and D810. Here is the link to the PDF. http://spiritgrooves.libsyn.com/macrostopcom-the-crt-nikkor-o-lens-and-images
  5. This legendary lens also performs admirably well on an Olympus camera. Because of the smaller sensor it effectively becomes a long - 210mm f2.5 - telephoto lens. 1. f4 2. f4
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