A very kind and patient reader recently sent me both lenses, and I’ve spent time shooting them over the last couple of months. While both Nikkors are interesting, collectible, and well-performing lenses, the one which really impressed me has been the newer of the two, the Nikkor 45mm f/2.8P. Though I no longer own an FM3a, I was able to use the 45mm on another interesting classic camera, the Nikon N2000. I also paired it via adapter to my Nikon Z series mirror-less digital, to delightful and surprising results.

The Nikkor 45mm f/2.8P has immediately joined my list of must-have favorite classic lenses.

Specifications of the Nikon Nikkor 45mm f/2.8 P

• Lens Mount: Nikon F Mount (AI-S and CPU contacts)
• Focal Length: 45mm full frame (approx. 67.5mm APSC)
• Aperture: Maximum aperture of f/2.8; Minimum aperture of f/22; 7 rounded blades
• Focus: Manual focus only; Minimum focus distance 45 centimeters (17 inches)
• Dimensions (Diameter x Height): 4.5 x 0.7 inches (114 x 18 mm)
• Weight: 4.2 oz (119 grams)

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Brief History of the Nikkor 45mm f/2.8P

In the early 2000s, Nikon embarked on an unexpected task: to create their last, great manual focus 35mm film SLR camera. Yoshiyuki Nakano served as development leader and Masaaki Tsukamoto lead mechanical design of the camera that would be called FM3a.

I’ve written in great detail about the FM3a in my review, but I’ll here quickly reiterate the importance of this amazing camera.

By 2001, auto-focus was the established norm and digital photography was being adopted en masse by pros and amateurs alike. That Nikon decided to develop and release one last truly high-quality manual focus 35mm film camera was special indeed. And it was during the development of this special camera that Nikon designers started to wonder if it would also be possible to make a new standard manual focus lens to match with the FM3a.

The FM3a, though it was the most advanced, reliable, and capable manual focus 35mm film SLR that Nikon had ever made, was also extremely compact and lightweight. Nikon knew that the accompanying lens must also be compact and light.

In the 1990s, Nikon optical designer Kouichi Ohshita had developed a super compact and lightweight lens for the Nikon Pronea S. To its designer’s chagrin, this lens never made it to production. However, given his expertise in designing such high performance compact lenses, Kouichi Ohshita was entrusted to design the optics for the proposed lens that would accompany the FM3a.

It was decided that the lens should be a 45mm lens, as an homage to the older GN Auto Nikkor 45mm f/2.8. Like that lens, the new lens would employ a similar optical design of four elements in three groups. This design would feature the classic Tessar formula: one convex element at the front, one concave element in the center, and a concave-convex doublet at the rear.

Tessar lenses have two weaknesses – great spherical aberration, and having an image plane that’s not as flat as Gauss lenses. Kouichi Ohshita developed two formulae in preliminary design and testing, one which prioritized flattening the image plane (which reduced contrast at maximum aperture), and another which prioritized sharpness at all apertures by reducing spherical aberration and coma. Ultimately, the latter was used, as it was believed that a standard lens should be consistent at all apertures.

Nikon had recently developed a new high-refractive-index glass, and this was used for the second convex element. The radius of curvature of the doublet was also increased, which flattened the image plane and corrected spherical aberration and coma.

Once the optical formula was decided upon, it was determined that the lens should be compact, sophisticated, versatile, and of exceptional quality. The barrel was made of metal, and a custom metal screw-in lens hood was designed (internally, Nikon designers called this the “barnacle hood”). A very close minimum focus distance of 45 cm (17 inches) was achieved, and the lens was fitted with CPU contacts so that EXIF data could be recorded when the lens was used with digital cameras.

Nikon FM3a Review - A Nearly Perfect SLR

I don’t think there is such a thing as a perfect camera. Beyond the quirks of design that cause even the best of cameras to annoy, there’s personal preference to account. Some people like large cameras, some people small. Some shooters prefer SLRs, others are wrong. But despite this, there does exist a camera that’s closer to perfect than any I’ve used. It’s the Nikon FM3a. Before your eyes complete that roll and before your cursor drifts to the next site in your browser’s reading list (fannypackaficionado.com can wait a few more minutes), let me tell you why I’ve made such a […]

Using the Nikkor 45mm f/2.8P Today

The obvious first impression of the Nikkor 45mm f/2.8 is that its designers achieved their goals.

The lens is supremely small and incredibly well-built. The gorgeous geometric knurling of its all-metal focusing ring is magnificent, and the focus dampening is simply luxurious. The aperture ring clicks beautifully into its detents, and the engraving and paintwork are all top shelf.

When fitted to a camera, the lens nearly disappears, creating a truly wonderful shooting experience in which taking a picture with a full-featured SLR is like using a compact camera. The zone-focusing scale makes it possible to set and forget our aperture, after which we need only point and shoot. Of course, for those interested in complete control, we have the usual aperture and focus rings, which control beautifully.

Some users with big hands might find the lens too small. My hands are average size, and I found the lens a joy to use.

When mounted to Nikon’s new mirror-less Z series cameras (or to other brands’ cameras, like the Sony A series) the camera loses some of its compactness by virtue of its requiring an adapter. That said, mounting this pancake to a mirror-less camera via adapter will be smaller than mounting almost any other classic manual focus lens to the same camera with the same adapter.

Image Quality

For me, the biggest surprise about this nearly 25-year-old lens has been that it performs like a lens designed yesterday. Though using it feels as though we’re using a classic lens from the 1970s, it makes images that are thoroughly modern.

Sharpness is exceptional. Contrast is strong, even at maximum aperture. Distortion is nearly non-existent. When close-focusing, the lens loses none of its capability.

When shooting wide open there is a slight loss of sharpness at the edges of the frame. Similarly there is minor light falloff at the corners of the image at maximum aperture, and contrast drops off similarly at this setting.

However, to be clear, these optical problems are so slight that they will never interfere with our final image. I’ve shot many of the sample photos in this review at wide open aperture. For the perfectionists, stop the lens down to f/4 and all of these problems virtually disappear.

When close focusing it’s possible to achieve some level of bokeh and subject isolation. However, the bokeh is in no way the star of the show. Subjects may be isolated nicely, but there’s no real way to achieve a totally blurred background. That’s not the purpose of this lens. Its purpose is to capture sharp, vital images.

[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The Nikkor 45mm f/2.8P Compared to Other Nikkors

The Nikon Nikkor 50mm f/1.8 pancake lens shares a lot of the qualities of the Nikkor 45mm f/2.8P, and in some ways it’s a better lens. It has a faster aperture, produces nicer bokeh, and is less expensive to buy today. However, the Nikkor 45mm f/2.8P is much smaller, feels as though it’s better built, and (in my experience) makes nicer photos.

Compared with the older GN Auto Nikkor 45mm f/2.8, upon which the newer lens is based, the original GN lens does have some minor advantage. The GN lens uses nine aperture blades and produces rounder, cleaner bokeh (most noticeable in highlight bokeh). It also has a more retro imaging character (i.e., it has worse image quality). Where the more modern Nikkor beats the older GN, however, is that the newer lens has a closer close-focusing distance, is significantly smaller and lighter, and offers AI and AIS compatibility and CPU contacts, where the older lens does not.

The big question is this: should we buy this somewhat uncommon and expensive lens?

The answer depends on what sort of camera we’re using.

For users who want a lens that can be used on a Nikon film camera and also adapted to mirror-less, this is a great choice. For users who only plan to shoot digitally, and specifically with a Nikon Z series camera, the choice isn’t so clear.

I recently reviewed the Z mount Nikkor 40mm, a thoroughly modern lens which shares many of the same design touch points as the older Nikkor. The new 40mm Z series lens is an auto-focus lens, it’s super compact, it makes images that are simply untouchable in their quality, and it’s even available as a limited edition which proudly features the old-style Nikkor lens barrel design. It’s my favorite standard lens in the system. For ease of use and performance on a mirror-less Nikon Z series camera, it’s better than the old 45mm and makes the old Nikkor redundant.

However, we can’t mount the Z mount 40mm lens onto a Nikon FM3a. For users seeking an ultra-compact 40-50mm Nikkor lens which can be used with a mirror-less digital camera and with a Nikon film camera, the Nikkor 45mm f/2.8P is a great choice.

Final Thoughts

I knew that I’d like this lens before I ever used it. But it has still managed to surprise me. Most of those good feelings come from just how beautifully it performs, optically. Though the Nikkor 45mm f/2.8P looks, feels, and carries itself as if it were an ancient optic, a classic legacy lens from the heyday of 35mm film, it makes photos that are as impressive and sharp and punchy as a modern Nikkor, and its versatility (that of being able to mount to both Nikon film and digital cameras) is a big selling point, too.

Fitting the 45mm to my Nikon N2000, my Nikon Z5, and my on-loan Nikon Zf has been a truly wonderful experience. I never expected it, but this lens helped me make images that I’ll adore for the rest of my life. That’s something that very few lenses can do.

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

The post Nikon Nikkor 45mm f/2.8P – a Classic Pancake Lens Review appeared first on Casual Photophile.

Nikon does not often name its lenses. Since its beginning in 1933, the company has manufactured over 110 million lenses, and very few indeed have been engraved with any names other than Nippon Kogaku (Nikon’s old name), Nikon, or Nikkor. When Nikon names a lens, it’s because they want us to notice. It’s because they feel they’ve made an extraordinary lens, one which rises above their own typical optical excellence.

The Nikkor Z 135mm f/1.8 S Plena does just that. It is practically an optically perfect lens, it handles beautifully, with only a few minor drawbacks, and it’s not even that expensive (relatively…).

I’ve been shooting the Plena in real-world scenarios for the last three months. Let me share some thoughts on the newest named Nikkor, the Nikon Nikkor Z 135mm f/1.8 S Plena.

Specifications of the Nikon Nikkor Z 135mm f/1.8 S Plena

• Mount : Nikon Z mount
• Focal Length : 135mm
• Maximum Aperture : f/ 1.8
• Minimum Aperture : f/ 16
• Format : Full Frame (FX)
• Maximum Angle of View (DX crop-sensor cameras) : 12°
• Maximum Angle of View (FX full frame cameras) : 18°10′
• Maximum Reproduction Ratio : 0.2x
• Lens Formula : 16 elements in 14 groups; 4 ED elements, 1 aspherical element; 1 SR (short wavelength refractive) element
  
• Diaphragm Blades : 11 rounded blades; smooth opening and closing
  
• Vibration Reduction Image Stabilization : Only with Z series cameras with in-body VR
• ARNEO Coat : Yes
• Meso Amorphous Coat : Yes
• Fluorine Coat : No
• Focus Mode : Auto/Manual, user-selectable; 2 STM (stepping motor); Internal focusing
  
• Minimum Focus Distance : 2.69ft (0.82m) from focal plane
• Filter Size : Screw-in 82mm
• Approx. Dimensions (Diameter x Length) : 3.9 in. (98 mm)  x  5.5 in. (139.5 mm)
• Approx. Weight : 35.1 oz. (995 g)
• Price : $2,499 USD [B&H Photo Affiliate Link]

What’s a Plena?

When Nikon issued the press release announcement of the Nikkor Z 135mm f/1.8 S Plena, the brand elaborated on the name.

“The name “Plena” is derived from the Latin term plenum, which denotes the state of a space being completely full. This name was chosen to reflect the lens’ ability to fulfill the user’s creative vision with superior light gathering capability, beautiful well-rounded bokeh and outstanding sharpness and clarity throughout the frame.”

I suppose this means that the lens is full. Full of stuff. And it is!

It has 16 lens elements in 14 groups, 4 extra low dispersion glass elements, 1 aspherical element, 1 short-wavelength refractive element, 11 rounded aperture blades, 2 auto-focus stepping motors, two function buttons, a focus switch and a focus ring, a programmable function ring, a weather-sealed body made of metal, and both the largest front and rear lens elements that I’ve ever seen.

That is indeed a lot of stuff, the purpose of all of which is to help us take gorgeous photos.

Nikon touched on this in their press release as well. They claimed that the Plena is a lens like none before it. Nikon promised astonishing edge-to-edge clarity and dreamlike circular bokeh, both at the same time, and affirmed that the lens was designed to be shot wide open at f/1.8.

Tired old photo nerds will know that the two mentioned optical characteristics aren’t particularly  rare. There are many lenses which provide edge-to-edge clarity, and many others which provide dreamlike circular bokeh. The trick, as the experienced among us also know, is to find a lens that does both at the same time. And wide open, no less? That really is a trick.

Nikon NIKKOR Z 135mm f/1.8 S Plena Lens

Buy Nikon NIKKOR Z 135mm f/1.8 S Plena Lens featuring Full-Frame | f/1.8 to f/16, Fast, Lightweight Telephoto Prime, Multi-Focus System, Round Bokeh from Edge to Edge, ED, SR, and Aspherical Elements, Programmable Linear Focus Ring, Customizable Control Ring, ARNEO and Meso Amorphous Coatings, Dust- and Water-Resitant Design. Review Nikon Plena

Ergonomics of the Nikon Nikkor Z 135mm f/1.8 S Plena

The Plena is a heavy lens.

It weighs 35 oz (995 grams), which is about 2.2 lbs. That’s 75% the total weight of the Nikon Z9, Nikon’s heaviest mirror-less camera, and almost double the weight of the Z5, their smallest and lightest mirror-less. So, with the Plena fitted to a Z9 we’re carrying 5.15 lbs of camera and lens; fitted to a Z5 we’re carrying 3.5 lbs. Pretty heavy, and for extended photo shoots, such as a wedding, it could become tiresome. (In fairness, this is true of basically all modern, fast, mid-tele portrait lenses.)

It’s also big. When not fitted to my Nikon Z5 or the on-loan Nikon Zf, it occupied essentially all of the space in my everyday carry camera bag, and about half the space in my photo gear travel backpack.

That said, it’s hard to care about weight and size when we see the images the Plena can make.

We realize pretty quickly that it’s a lens that defies comparison. Nikon’s 85mm f/1.8 Z lens is smaller and lighter by about half, but it can’t match the Plena’s images. The closer optical contender, Nikon’s excellent Nikkor Z 85mm f/1.2 S, is similarly out-shined, and that lens is even heavier than the Plena. Then there’s the Sigma Art 135mm lens for the Nikon F mount weighs even more than the Plena (even before we fit the F mount to Z mount adapter).

And then there’s the fact that, from the perspective of build quality and finish, the Nikkor Z 135mm f/1.8 S Plena is the finest lens in the Z lineup.

While most of the lenses in the Z series are housed in plastic bodies, with some (like the otherwise amazing 40mm having even their mount made of plastic), the barrel, body, and mount of the Nikkor Plena are all made of metal. It feels amazing in the hands, with a gorgeous finish of high sheen satin black paint (or powder coat, or anodized metal?) that matches perfectly with the sheen of the black bodied Nikon Zf.

The knurled rubber focus ring is precise and positioned well, with a static rubber knurled ring sitting ahead of it on the barrel so that holding the lens steady while rotating the focus ring with an extra digit becomes effortless.

The diamond knurled customizable function ring is tucked closer to the lens mount, and this too actuates with luxurious and click-less fluidity. It can be mapped to control ISO, aperture, exposure compensation, and many other functions. The two function buttons are positioned well, with the top-mounted button being most useful when using the camera in portrait orientation.

Drawbacks of the design are nearly non-existent. The only real qualm that I’ve had with the ergonomics being that there’s a tendency to accidentally actuate the customizable function ring in between photos.

This might happen due to behavior brought on by the combined weight of the camera and lens. The whole kit weighs so much that when not using the camera, I’m reluctant to let it hang from a neck strap. But I also find that the lens is so chunky that holding the rig by the camera body feels awkward and front-heavy, and holding it from just the lens feels equally weird. Thus, a natural place to hold the camera and lens when not in active use seems to be the base of the lens barrel. It balances nicely, but this is also where the function ring lives.

The chain of events in real-world use is such that I might shoot some photos, and then I’ll hold the camera in the manner mentioned while I’m repositioning for a different angle or otherwise occupied not taking photos. The function ring spins without my realizing it, this way or that, and when I next raise the camera to take a photo I find that whatever function I’ve mapped to the ring has changed in its setting – the aperture that was once set to f/1.8 is now f/4, for example.

This problem can be easily mitigated by simply holding the camera in a different way, or remembering to check my settings with a glance every time I raise the camera to my eye, or by setting the function ring to a less critical control, or by deactivating it entirely.

In truth, I seek to find problems in every lens and camera that I review. That’s my job. The fact that this lens’ biggest issue is one so trivial should give a good indication of its ergonomic soundness.

And don’t forget that it’s a weather-sealed lens. Peace of mind is nice.

Image Quality of the Nikon Nikkor Z 135mm f/1.8 S Plena

Nikon has been keen to emphasize that there is no more important metric when measuring the effectiveness of the Nikkor Z 135mm f/1.8 S Plena than that of image quality. The lens was made for one purpose – to be an artful and optically perfect lens. They have striven to make a lens which can provide crystal clarity from edge to edge when shot wide open, as well as dreamlike bokeh in both foreground and background elements of a shot, all at maximum aperture.

And they’ve done it.

The Nikkor Plena is unlike any other lens that I’ve used. It does indeed create incredible sharpness. When shot wide open, this sharpness is simply astonishing, and true to Nikon’s claims, this sharpness does extend from one edge of the image to another. Individual strands of hair are easily discernible. A shot that I made of a boat floating in a harbor some twenty yards away from me (at night, and lit only by a streetlamp) shows minuscule droplets of water clinging to a fine line. I can count my daughters’ eyelashes in hastily-shot, badly-lit portraits.

Bokeh is smooth and uniform both in front of and behind the point of focus. Bokeh highlights are pleasant and bubbly and show almost no cat’s eye warping effect as the out of focus highlights reach the edge of the image area. Even when we stop the aperture down, bokeh is still quite round as a result of the many curved and rounded aperture blades. Transition from in-focus to out-of-focus elements is subtle and gradual, never jarring.

There’s no effective vignetting, as the frame is evenly lit at all apertures, edge to edge. Nikon has achieved this through the lens’ massive and curved rear element. It is physically larger than any other lens they’ve yet made, and coupled with the Z mount (which is similarly enormous) the lens is able to project light evenly across the camera’s full-frame sensor.

Chromatic aberration is non-existent. Color bokeh and “onion ring bokeh” is controlled through Nikon’s optical coatings. Glare is mitigated with ARNEO and Meso Amorphous coat technology (Nikon’s highest spec anti-reflection coating), so that backlit subjects remain well-defined and clarity remains high even when shooting directly into sunlight. Flares are incredibly hard to achieve. Only by shooting directly into the sun on an extremely bright day was I able to create a small, purplish flare.

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The Nikkor Z 135mm f/1.8 S Plena in Real World Use

There is a tendency amongst reviewers (and human being, generally) to compartmentalize things, to put things in boxes so that the world is easily understood and digested. Following this tendency, it’s almost natural to assume that since the Nikkor Z 135mm f/1.8 S Plena is a 135mm lens, it must therefore be a portrait lens suitable only for people who make a lot of headshot photos. It is specialized, and shouldn’t be considered for use by everyday photo takers.

I can’t really agree with that. I’m not a portrait photographer. I don’t know any models, or actors, or financial advisors looking to spruce up their resume with a photo. I’m just a person who likes to take photos of my family and the places we go, and to take pictures of neat stuff that I see as I’m living my life.

In the time that I’ve had the Plena, I’ve fallen in love with it and used it in surprisingly varied scenarios.

Sure, I’ve used it to make portraits of my kids, a task which it performed better than any lens I’ve ever used. But I’ve also used it for birding. I’ve used it for street photography and landscapes. I’ve used it for product photography and abstract work. I’ve used it on Christmas Eve, in the middle of the night, when the only light to be seen came from a few feeble Christmas lights and a half-dozen candles.

The thing about the Plena is that it’s a lens that offers something no other lens can offer, and half of the fun of using it has been in discovering what it can do in scenarios that aren’t necessarily its raison d’etre. It’s a low light vacuum, a bokeh factory, a scalpel so sharp it can split the atom.

The only really limiting factor which keeps me from recommending it to literally every single Nikon Z series camera owner, is that it costs $2,500 USD, which is a lot of money.

I can rationalize the cost. I can tell myself that a lens like this is unique and special, and I wouldn’t be lying to myself. I can amortize the cost, remind myself that a lens like this will be owned and loved and used over a span of a decade, two decades, three! And all of it would be true. But $2,500 is still a lot of money. And I won’t tell people how to spend theirs.

Sample Images

[click or tap to enlarge]

Final Thoughts

When I began writing this review some days ago, I was in the midst of a bout of the flu. My head was splitting and my entire body ached. I was tired, and my eyes felt as if they’d retreated deep into their sockets. I rubbed my temples with my fingertips and blinked stupidly at the blank page headlined, Nikon Nikkor Z 135mm f/1.8 S Plena Lens Review. But no words sprang to mind. I simply stared and thought about the Plena.

I thought about how great it was, how lovely it felt to hold, how dense and solid it seemed, how shiny and beautiful it was, and the way its front lens element reminded me of a deep, clear lake. I tried to write my review through the pounding aches, but after typing and deleting paragraph after paragraph, after starting and stopping for a half hour and raking my face and forehead for thirty minutes longer, I knew that no effective words would trickle out of me that day. I’d try again in the morning.

But before I stood from my desk and stumbled off to a fitful nights rest, I scrolled a bit down the page and typed a placeholder – a three word review.

I love lens.

That just about says it all, I think.

Nikon NIKKOR Z 135mm f/1.8 S Plena Lens

Buy Nikon NIKKOR Z 135mm f/1.8 S Plena Lens featuring Full-Frame | f/1.8 to f/16, Fast, Lightweight Telephoto Prime, Multi-Focus System, Round Bokeh from Edge to Edge, ED, SR, and Aspherical Elements, Programmable Linear Focus Ring, Customizable Control Ring, ARNEO and Meso Amorphous Coatings, Dust- and Water-Resitant Design. Review Nikon Plena

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[Some of the links in this article will direct users to our affiliates at B&H Photo, Amazon, and eBay. By purchasing anything using these links, Casual Photophile may receive a small commission at no additional charge to you. This helps Casual Photophile produce the content we produce. Many thanks for your support.]

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While not exactly forgotten by true camera nerds (many of my friends in the camera blogosphere have written reviews of this relatively hidden gem), the Nikon N2000 certainly fails to garner the kind of wide acclaim foisted upon other SLRs from the era of manual focus SLR dominance. Its popularity doesn’t come close to that of cameras like the Nikon F3, the Canon AE1 or the Pentax K1000, to pick three easy comparisons.

Which is strange, since the Nikon N2000 is better equipped than an F3, just as small as an AE1, and far more advanced than a K1000.

Why, then, don’t people squawk endlessly about it on YouTube? No idea. Don’t care. Let’s move on, so that I can get back to what I love— squawking endlessly about cameras that I like.

What is the Nikon N2000

First released in 1985, the Nikon N2000 (known as the Nikon F-301 in Japanese and European markets) is a manual focus 35mm film SLR camera using Nikon’s ubiquitous F mount lens system. As a replacement for the earlier Nikon FG, the N2000 was (and remains) a truly capable consumer-level camera with a number of surprising capabilities.

In fact, the N2000 represents a number of “firsts” in Nikon’s lineage.

It was the first Nikon camera with an integral motor drive. It was the first Nikon camera to use polycarbonate plastic extensively in its construction. It was the the first Nikon with DX-coding capability, and it was one of only four Nikon SLRs which was able to support the advanced exposure modes made possibly by Nikon’s AI-S F mount lenses (the others being the Nikon FA, the Nikon N2020, and the Nikon F4).

It’s a compact SLR, lightweight, surprisingly robust, easy-to-use and easy on the eyes. It’s powered by a common battery type (either four AAA batteries, or four AA batteries with an optional extended baseplate). It meters well, has multiple shooting modes, is equipped with one of the most versatile lens mounts in the history of photography, and can even beep at us when it’s angry.

The N2000 was, and still is, a solid, well-equipped, highly capable film camera. That said, it was short-lived.

By the mid-1980s, the autofocus era had truly arrived. Nikon was more than happy to push their manual focus past aside as AF was embraced by buyers in the lucrative entry-level market. The N2000 was quickly replaced by the far more modern and AF-equipped Nikon N4004s in 1987. (Tragic, because good lord, is that camera ugly.)

Specifications of the Nikon N2000

• Camera Type – Integral-motor 35mm single lens reflex (full frame, 24 x 36mm image area)
• Lens Mount – Nikon F mount
• Exposure Modes – Program, Program Hi (for high speed shooting), Aperture Priority, Manual
• Exposure Metering – Center weighted TTL metering, EV1 to EV19 at ISO 100 with f/1.4 lens
• Shutter – Electronic vertical-travel focal-plane shutter
• Shutter Speeds – Stepless speeds from 1 to 1/2000 second on Program, Program Hi, and Aperture Priority modes; non-stepless Manual mode speeds from 1 to 1/2000th second; Bulb mode for long exposures
• Viewfinder – Fixed eye-level pentaprism; 0.85x magnification with 50mm lens; approx. 92% frame coverage
• Focusing Screen – Fixed Nikon Type K2 with central non-shading split-image rangefinder circle, microprism collar, and matte-/Fresnal outer field; 12mm diameter reference circle denotes metering area
• Viewfinder Info – Shutter speed LED readout; Over- and under-exposure warning LED’s; Ready light when using flash
• Exposure Compensation Control – Plus or minus 2 Ev in one-third stop increments
• Film Speed Range – ISO 25 to 4000 for DX-coded film; ISO 25 to 3200 for non-DX-coded film
• Film Advance and Rewind : Automatic film advance up to 2.5 frames per second; manual rewind
• Flash Sync – 1/125 second or slower with electronic flash
• Additional Features – Frame counter, film type window in film door, audible warning alarm for multiple events, self-timer, red indicator LED, hot-shoe for flash and monitor, tripod socket, exposure lock

Using the Nikon N2000 Today

I’ve temporarily owned a dozen or more Nikon N2000s during my time as editor of this site and owner of a camera shop. I’ve shot a few examples of the same, here and there, over spans of weeks and months, and what has always struck me about the N2000 is just how quietly good it is.

But don’t confuse that with actual audible quietness. It’s not a quiet camera. It’s loud. But I don’t mind that. Like a Contax G2 or any good camera in a movie from the early 1990s, the Nikon N2000 makes all the right noises for a camera-liker like me. Its shutter chonks hard, its winder whirrs brightly, and I wouldn’t have it any other way.

In the hand, the N2000 feels amazing. With its geometric grip, it balances one-handed better than something like a Nikon FE or a Canon AE1, cameras which are slippery in their gripless-ness. With a compact lens mounted, such as the 45mm Nikkor Pancake or the Nikon 50mm Series E, the camera is compact and subtle enough to be used as a travel and walkaround camera.

The camera’s F mount is capable of mounting any Nikon AI or AI-s lens. Naturally any third party lens made for the same mount will work as well. Only a few exceptions exist (see the manual for those).

The Nikon N2000’s controls rest exactly where they should, and handling the camera becomes second nature within just a few frames. By the end of the first roll of film I’m able to set shutter speed (or exposure mode), adjust exposure compensation, use the exposure lock, frame, and focus, all without ever taking my eye from the viewfinder or fumbling about with confusing dials and switches.

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The viewfinder is informative and among the brightest viewfinders I’ve ever seen in a manual focus camera. This brightness, and the ample focusing aids packed into the fixed focusing screen, make manual focus fast and easy. Additionally, the in-VF LED display does everything I want it to do.

In manual mode, the bank of LEDs on the right-hand side of the VF shows our set shutter speed as well as a flashing speed recommendation based on the camera’s meter. In Aperture Priority mode, it shows the automatically selected shutter speed based on available light and the lens’ aperture, and when using the exposure lock it displays the locked speed and recommended setting. In program mode, the camera takes care of everything and the LEDs let us know what’s happening.

What’s missing from the VF is an indicator to show our selected lens aperture. While this is something that becomes known by feel over time, I wouldn’t have been upset if Nikon had managed to shoehorn that feature into this otherwise perfect viewfinder.

Set to single shot, the camera advances the film one frame after each shot. Set to continuous mode, the camera fires shot after shot at a pace as fast as 2.5 frames per second. Film rewind is manual – we only must remember to slide and press the two-factor authentication that is the camera’s rewind switch, and then crank the crank like on so many earlier manual cameras.

For the way that I use film cameras (aperture priority is my preferred mode, I like manual focus and single lens reflex shooting) the N2000 is an uncomplicated hit. It just works.

The Nitpicks

But not all is perfect. The N2000 does fail me in certain ways.

To start, the On/Off switch is annoying. It’s a spring-tension collar that surrounds the shutter release button. To turn the camera on or to select our drive mode, we pull it up from its L (locked) position and rotate it to either S (single shot) or C (continuous), and the motion just doesn’t feel good, being kind of vague and cheap. This is admittedly a minor annoyance, at most, but its an annoyance that’s felt every time I have to turn the camera on or off, or change drive modes from single to continuous.

Next, the tripod socket is positioned almost at the very edge of the bottom of the camera, so that when mounted to a tripod, the whole thing kind of dangles precariously with all of its weight on one side. Another nitpick, for sure, and one that will rarely impact me or anyone else. But I’m paid to complain.

Lastly, the exposure compensation dial has an egregiously protective locking feature whereby it is impossible to adjust the exposure comp by even one increment without pressing and holding down the lock button.

My very favorite method of shooting is to shoot in aperture priority, and to rely heavily on exposure compensation control as I’m reading the scene. If the subject is backlit, for example, I like to use exposure comp, or if the metering circle of the center-weighted meter happens to be in an area that’s extra dark or extra light, I will typically notice that and compensate accordingly. But with this dial’s lock, the process becomes tedious and frustrating, so that eventually I end up attempting to achieve my exposure compensation through use of the AE lock (which is hit or miss, and even more frustrating).

Other minor grumbles include the following: There’s no depth-of-field preview; the camera won’t work without batteries; it’s made out of plastic; there’s no cable-release thread on the shutter release; there’s no mirror lock-up; there’s no shutter blind. None of these things bother me, but they might bother you.

[Above: The Nikon N2000 makes great shots with all types of lenses and in all types of light. It just works.]

Final Thoughts

We all love cameras. But the cameras we all seem to love best are the ones that surprise us with their capability and quality at an equally surprising low price. The Nikon N2000 is just such a camera. Fitted with a standard, compact Nikon lens, it’s hard to think of another manual focus camera that outperforms the N2000. Especially when we consider that a used Nikon N2000 can be bought for about $50.

However, there is one big reason that a certain type of camera-liker might not like the N2000. If you’re the kind of photo nerd who can’t abide manual focus, the N2000 is a non-starter. It’s manual focus only, and that’s the end of that.

But if the N2000 sounds just right in all ways but one. If the only thing holding you back is that nagging little lack of autofocus, worry not. Nikon made an almost identical camera, called the N2020, which is nothing less than the very excellent N2000, but with autofocus. Wow. What a time to be alive.

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Of course, to satisfy the requirements of the nifty fifty, Nikon had to keep an eye on size and cost. For this reason, the Nikkor Z 40mm naturally lacks some of the finer features of the more expensive lenses in the system, and though it has let me down in a couple of ways, on the whole, the Nikkor Z 40mm is a remarkable lens and a worthy successor to the traditional nifty fifty.

Just try to ignore that it’s not exactly a fifty.

Specifications of the Nikon Nikkor Z 40mm f/2

• Focal Length: 40mm FX (full-frame sensor cameras); 60mm DX (APS-C crop-sensor cameras)
• Lens Mount: Nikon Z
• Optical Design: 6 elements in 4 groups
• Focus Type: Auto focus, user-selectable manual focus
• Minimum Focus Distance: 11.4 inches (29 cm)
• Angle of View: 57°
• Maximum Aperture: f/2
• Minimum Aperture: f/16
• Diaphragm Blades: 9, rounded
• Image Stabilization: No
• Filter Size: 52mm front-mounted filters
• Size and Weight: 2.8 x 1.8 inches (70 x 45.5 mm); 6 oz (170 grams)
• Price: $276.95 (B&H Photo affiliate link)

Nikon NIKKOR Z 40mm f/2 Lens

Buy Nikon NIKKOR Z 40mm f/2 Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2 to f/16, Two Aspherical Elements, Super Integrated Coating, Stepping Motor AF System, Programmable Control Ring, Rounded 9-Blade Diaphragm. Review Nikon null

Why this 40mm Matters

Before the Nikkor Z 40mm, Nikon offered a number of standard prime lenses compatible with their full frame mirror-less cameras, but none satisfied the criteria of the nifty fifty. None were a standard, affordable, every-day lens. I’ve tested them all.

The Nikon Nikkor Z 50mm f/1.8 S came closest to the traditional nifty fifty’s basic specs, but it’s a big lens, and priced high at $620.

The Nikon Nikkor Z 50mm f/1.2 S was a beautiful piece of kit, but it’s simply enormous, and costs $1,900.

The Nikon Nikkor Z MC 50mm f/2.8 macro is a special lens indeed, and one that adds versatility and utility to the nifty-fifty formula. But, predictably, it’s bigger than the traditional 50mm, and costs $600.

None of these 50mm lenses satisfied the needs of someone seeking a traditional nifty fifty.

But then, at the end of 2022 Nikon released the Nikon Nikkor Z 40mm F/2. While not exactly the same as the nifty-fifties of old, the Nikkor Z 40mm delivers on the promise of the nifty fifty; it’s a truly compact standard focal length lens with high performance offered at an incredibly low price (in fact, it’s the least expensive full frame lens in the entire Z series ecosystem – tied with the Nikkor 28mm f/2.8).

First Impressions

The most instantly notable trait of the Nikon Nikkor Z 40mm f/2 is its size and weight. It’s tiny. At just 1.8″ long it feels exactly like the compact manual focus lenses of the olden days, and since it’s entirely made of plastic, it weighs very little (just 6 oz). Mounted to my Nikon Z5 it feels perfectly sized and perfectly balanced.

Next we notice the build quality. While lightness is a benefit in portability, usability, and comfort, it can also lend a sense of cheapness. I get a bit of that with this lens, even though I tested the Special Edition version, which is styled to look like the old manual focus Nikkors of the film days. It just doesn’t feel as dense or solid as the pricier, fancier lenses.

It’s entirely made of plastic. This includes the filter threads, lens barrel, control ring, and worst of all, lens mount. I imagine that Nikon’s engineers in the lab were really feeling the pressure from the bean-counters at the office. There’s not an engineer or designer on Earth who would willingly choose to make a lens mount out of plastic. But I’m sure it shaved a dozen (or so) dollars off the price.

And then we get to the important part – the shooting.

Controls and Focus

Unlike the more expensive lenses in the Z series system, the Nikkor Z 40mm has few controls. In fact, it has just one, a large multi-purpose control ring encircling the lens barrel. This control ring’s default control parameter is focus – by spinning it, we can focus the lens manually. For this purpose, it works well, automatically activating manual focus even when the camera is set to auto focus.

Manual focus is precise and refined, and of all of the focus-by-wire electronic manual focus systems that I’ve ever used (and I’ve used them all) Nikon’s modern system is the best. It’s smooth and responsive, and it acts progressively (more aggressive spins yields faster focusing).

It’s also possible to change the function of the control ring so that it no longer controls focus, but rather controls other settings, such as lens aperture or exposure compensation or ISO. This is particularly useful in certain shooting modes for users who don’t care about manual focus. The ISO control, in particular, is nice.

In auto focus mode, the lens works beautifully. There’s no external moving parts, and focusing is snappy and responsive. There is very minor focus breathing, but it’s not bad enough to really impact anybody, including video shooters. (Focus breathing is defined as a measurable optical change in the image when focusing from far to near.)

Image Quality Pros

The Nikkor Z 40mm makes really interesting images that combine the technical excellence of modern lens technology with a dash of old film-era lens character. This film-era character comes largely from Nikon’s desire to keep down cost and size by using a somewhat archaic optical formula – it’s made of 6 lens elements in 4 groups. Just compare this lens’ formula to the massive and expensive Nikkor Z 50mm F/1.8 S lens – that one has 12 elements in 9 groups.

But such a stark contrast in quantity doesn’t necessarily result in a similar drop in quality.

The Nikkor Z 40mm has two aspherical lens elements to limit aberrations and distortion, resulting in high sharpness and accurate rendering. The lens also uses Super Integrated Coating to suppress flares and ghosting, to improve contrast and render accurate colors.

This blend of minimal optical formula and ultra-modern lens technology creates a very interesting dynamic. Images are crisp, clean, sharp, and punchy. There’s no flaring or ghosting. Chromatic aberration and color bokeh are virtually non-existent. So we achieve most of the most desirable benefits of a modern lens.

However, the relatively simple optics also create images with fundamental flaws (which I call character).

The center of images are super sharp at all apertures (including wide open), but corner and edge sharpness and contrast decline to certain degrees at varying apertures.

Wide open at f/2, we see a very classic rendering which will feel familiar to shooters who remember the days prior to manual focus. As we stop the lens down, all of the optical issues smooth out greatly, as expected, until f/8. Above f/8 we begin to lose sharpness and quality due to diffraction.

This blend of old and new style image quality lends itself best to everyday shooting, street photography, travel, and editorial photography. Users who focus on these types of photographic styles will adore the rendering of this lens.

Landscape photographers and portrait artists will likely find fault (though a 40mm lens likely won’t be on these photographers’ wish lists anyway).

I should also quickly mention that the lens suffers no distortion and very little vignetting. In fact, the latest firmware update for this lens updated its lens profile to further correct any native flaws (the camera does some electronic magic to correct our photos before they’ve even finished writing to the SD card).

Image Quality Cons

Bokeh is not bad, for a 40mm lens. But if we’re comparing it to the other standard lenses in the range, it’s really not great.

The out of focus areas are a bit busy. Bokeh highlights aren’t perfectly round. And the transition from in-focus to out-of-focus elements of an image is a bit abrupt and lacks subtlety. That said, get close to our subject and it’s possible to make some nice subject isolation and decent bokeh. (Especially at this price point!)

Which brings up the next little complaint. Focusing close tends to lessen sharpness at all apertures. This is most noticeable at f/2, as one might expect, but it’s present through the range of f/stops.

Image Samples

Final Thoughts

Right now, the Nikon Nikkor Z 40mm F/2 is a special lens. There’s no other directly comparable lens for the Nikon Z system.

I reviewed the 40mm Voigtlander lens not very long ago. However, that lens doesn’t offer auto focus. And there are a couple of Chinese-made 40mm Z mount lenses, as well, but these are made for APS-C cameras, not full frame.

There are plenty of 35mm lenses, but these aren’t directly comparable, often they’re manual focus only, and often they cost more money. The 50mm lenses mentioned earlier don’t fit the bill, and there are none others that offer the performance to value that this Nikon 40mm offers.

In short, it’s an amazing lens. For Nikon Z series users who want an every day lens with superb performance at a wonderful price, a lightweight travel lens, or a fond reminiscence of the old days of cheap nifty fifties, the Nikon Nikkor Z 40mm F/2 is it.

Nikon NIKKOR Z 40mm f/2 Lens

Buy Nikon NIKKOR Z 40mm f/2 Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2 to f/16, Two Aspherical Elements, Super Integrated Coating, Stepping Motor AF System, Programmable Control Ring, Rounded 9-Blade Diaphragm. Review Nikon null

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The post The New Nifty Fifty— Er, Forty? Nikon Nikkor Z 40mm F/2 Lens Review appeared first on Casual Photophile.

Compared to Nikon’s only other Z series macro lens, the Nikkor Z MC 105mm f/2.8 VR S which I reviewed earlier this year, this 50mm Macro is a real bargain. But it’s also a compromise. Thus, we are left to ponder. To buy, or not to buy? That is the question.

Unlike Hamlet, I won’t soliloquize. Let’s get to the review.

Specification of the Nikon Nikkor Z MC 50mm F/2.8

• Mount : Nikon Z Mount

• Focal Length : 50mm

• Maximum Aperture : f/ 2.8

• Minimum Aperture : f/ 22

• Format : Full Frame (FX)

• Maximum Angle of View (DX crop-sensor cameras) : 31°30′

• Maximum Angle of View (FX full frame cameras) : 47°

• Maximum Reproduction Ratio : 1:1, Life Size

• Lens Formula : 10 Elements in 7 Groups; 1 ED Element, 1 Aspherical Element

• Diaphragm Blades : 9

• Fluorine Coat : Yes

• Focus Mode : Auto/Manual, user-selectable
  

• Minimum Focus Distance : 0.53ft (0.16m) from focal plane

• Filter Size : Screw-in 46mm

• Approx. Dimensions (Diameter x Length) : 3 in. (74.5 mm)  x  2.6 in. (66 mm)

• Approx. Weight : 9.2 oz. (260 g)

Build Quality, Ergonomics, Functions

Mounted to my Nikon Z5, the Nikon Nikkor Z MC 50mm F/2.8 feels balanced and easy to handle. There’s a super-sized focusing ring for manual focus, and two switches on the side of the barrel. The topmost switch toggles between Auto and Manual focus modes, and the bottom switch is a focus range limiter which allows the lens to focus either throughout its entire focus range or in close-focusing distances only (a useful mode when we’re shooting exclusively macro for any length of time).

The large focusing ring activates the focus-by-wire electronic manual focus when the focus switch is toggled to Manual mode. This is natural, but there’s also an additional bonus. When we have the lens set to Auto focus we can set the manual focus ring to control other camera parameters, such as exposure compensation or ISO, which is a nice touch.

The Z MC 50mm F/2.8 is not a part of Nikon’s high-end S series lens lineup for their Z series cameras. This means that it lacks some of the niceties which make the S series lenses so, well, nice. It’s made mostly out of plastic, not metal, and it doesn’t contain the special ARNEO and Nano coatings found on some of the lens elements of the S series lenses. Nor does it pack vibration reduction and internal focusing, nor such luxuries as OLED info displays and special function buttons.

But these omissions also bring benefit. A more restrained optical assembly, external focusing, and compromises in the areas of pure performance mean that the 50mm Nikkor is smaller and lighter than most of Nikon’s lens lineup. This lightness lends itself well to a lens which is supposed to fill the role of both a specialized macro lens and a standard everyday lens. The Z MC 50mm ostensibly replaces two lenses in our camera kit with one. If we substitute the Nikon Nikkor Z 50mm F/1.8 S and the Nikon Nikkor Z MC 105mm F/2.8 VR S for the Z MC 50mm, we’re saving 27.8 ounces (1.73 lbs) in weight and approximately $880.

Nikon NIKKOR Z MC 50mm f/2.8 Macro Lens

Buy Nikon NIKKOR Z MC 50mm f/2.8 Macro Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2.8 to f/22, One ED Element, One Aspherical Element, 1:1 Magnification, 6.3″ Minimum Focus, STM Autofocus System, Focus Range Limiter, Magnification and Focus Distance Indexes, Weather-Sealed Construction…

Image Quality and Performance

Savings in weight and money don’t mean much if we’re left with a poor lens that makes sub-par images. While the Nikon Nikkor Z MC 50mm F/2.8 doesn’t make images as nice as those made by some dedicated 50mm lenses nor Nikon’s macro 105mm, it more than holds its own.

Shot wide open at normal focusing distance, the lens is extremely sharp in the center of the frame. While there’s softness at the edges, this actually creates a pleasing effect in portraiture and everyday shooting. There’s also significant vignetting at maximum aperture, but both of these issues resolve significantly with the lens stopped down to f/4, and by f/5.6 the lens is uniformly sharp and bright at the edges. Peak sharpness is achieved at f/8, after which diffraction begins to creep.

Black peppercorns at 1:1.

Chromatic aberration is non-existent, distortion is so low as to be a non-issue (and it’s correctable in Lightroom), flares and ghosts don’t really occur, and images, generally speaking, are gorgeous.

When focusing close at 1:1 reproduction ratios, to make true macro photos, the lens’ aperture actually decreases to a maximum of f/5.6. This phenomenon has been typical of macro lenses through the decades. As we focus closer and closer, the aperture must close smaller and smaller. The only appreciable impact that this has on our image-making is that we must ensure we have ample light when shooting macro. This is far easier today than it was a decade ago, or certainly in the days of film, since digital sensors have become so sensitive in recent years. But it can still be an issue when we’re shooting low-light macro or photographing a moving subject.

When making true 1:1 macro photos, our working distance is about two inches. This means that the point of focus will be just two inches in front of the front element of the camera lens. Thus, it may be tricky to take photos of skittish flying insects or hairy spiders, but this is a trade we must make to have a standard 50mm walk-around lens contained within our dedicated macro. It should also be noted that we can achieve further working distances by decreasing the reproduction ratio (the ratios and their working distances are helpfully engraved on the extending macro lens barrel).

Where the lens most obviously stumbles is in auto-focusing at close working distances. While the lens snaps to focus very quickly and almost silently when shooting at normal, standard working distances (ie. taking photos of people, landscapes, snapshots, etc.), it does have a tendency to slide and hunt when shooting extreme close ups.

But we do have options. First, we can switch the lens to close focus mode via the toggle on the lens barrel. Flicking this switch from FULL to close focus mode will tell the lens to only attempt to achieve focus on close-up subjects (from 0.3 to 0.16m distant). Second, we can switch the lens to manual focus mode, set our distance manually via the focus ring, and hover the camera closer to or further from our subject in order to achieve focus. These two built-in solutions are instantly accessible via physical switches, which beats fumbling through menus, and the use of either or both mitigated any poor AF performance that I encountered throughout my time with the lens.

Nikon Nikkor Z MC 105mm F/2.8 VR S Macro Lens Review

Nikon offers two dedicated macro lenses in their Z Series lens range. Here we review the longer of the two, the Nikkor Z MC 105mm.

Compared to the Nikon Nikkor Z MC 105mm F/2.8 VR S

I’ve already touched upon the many ways that the Nikkor Z MC 50mm F/2.8 is different from the 105mm. Briefly, I’ll repeat.

The first and most obvious difference is that the 50mm lens is a 50mm lens. That means it’s smaller than the 105mm, shoots more “normal” photos, and will probably be more useful to everyday and casual photographers. It would be possible, and indeed possibly preferable for many people, to buy and mount the Z MC 50mm and use it as an all-around lens that can also take true 1:1 macro photos. People have been doing this since the original Nikon F and the pre-AI Nikon 50mm Micro Nikkor.

The Z MC 50mm is smaller and lighter than the 105mm by a wide margin.

It costs about $400 less than the 105mm.

The macro photos it makes will be just as good for the vast majority of non-professional photo nerds.

The Z 50mm MC is not part of Nikon’s S lens series. Thus, the 50mm’s optical formula, coatings, and build are of a supposedly lower standard. Will the lack of Nano Crystals and ARNEO coatings be missed if we choose to buy the 50mm? Probably not. But maybe so. It depends on the pixel peeping habits of the user.

The Z 50mm MC’s focusing is external, which could allow dust and contaminants to enter the 50mm lens over time.

Finally, the 50mm lacks the OLED display screen of the 105mm.

Still, it’s hard not to choose the Z 50mm MC when we see what it can do and how much it costs compared to the 105mm. With those savings, we could buy the amazing ES-2 Film Digitizing Adapter, which fits to the front of the Z 50mm MC and allows us to digitally “scan” 35mm film negatives and mounted slide. For me, a film shooter, that’s a very attractive product, and one that cannot be used with the larger Z 105mm MC.

There exist a number of alternative, non-Nikon, macro lenses for Nikon’s Z Mount system from in numerous focal lengths from Venus Optics, Voigtlander, and TTArtisan, to name a few. These lenses, however, are all manual focus lenses. For this reason, I hesitate to dive too deeply in comparing these to Nikon’s AF lenses since the core functionality differences are so great.

Final Thoughts

The Nikon Nikkor Z MC 50mm F/2.8 is essentially two great lenses in one. It works beautifully as a standard 50mm lens and again as a dedicated 1:1 true macro lens. Additionally, it’s the smallest and lightest 50mm lens in the Z Series system. For users who are looking to minimize their weight and cost, it’s a wonderful prime lens to add to the collection.

However it’s also a compromise, and users who value pure performance over all else will likely find themselves wishing they’d spent the extra money on a dedicated 50mm and the 105mm macro from Nikon’s S line.

I think of the Nikon Nikkor Z MC 50mm F/2.8 as the perfect starting point in a photographer’s macro journey. It’s a lens that will pleasantly surprise its owner with years and years of amazing photos, both standard photos and macro photos. To be fair, it may be the only macro lens a person ever needs.

Get your own Nikon Nikkor Z MC 50mm F/2.8 from B&H Photo

Nikon NIKKOR Z MC 50mm f/2.8 Macro Lens

Buy Nikon NIKKOR Z MC 50mm f/2.8 Macro Lens featuring Z-Mount Lens/FX Format, Aperture Range: f/2.8 to f/22, One ED Element, One Aspherical Element, 1:1 Magnification, 6.3″ Minimum Focus, STM Autofocus System, Focus Range Limiter, Magnification and Focus Distance Indexes, Weather-Sealed Construction…

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The post Nikon Nikkor Z MC 50mm F/2.8 Macro / Standard Lens Review appeared first on Casual Photophile.

I’ve used many of the Nikon pro series bodies over the years and the F5 holds its own against all of them. In fact, this was the first of the modern professional bodies, and the same basic styling exists in the most current pro DSLRs. Nikon got this design right and it has held up over time. The Nikon F5’s heft feels right, the grip is deep, yet comfortable, the switches and dials all seem to be in the perfect spot, and the viewfinder is clear and bright. Everything about the F5 just feels good.

Specifications of the Nikon F5

From the very first load of film it was clear to me that the F5 is a camera made for serious, professional use. It’s meant to be loaded fast, shot fast, and rewound fast. The film leader is pulled from left to right and is loosely placed in the area marked by Nikon’s designers. Once the film back closes, the camera’s automation takes over, and in the blink of an eye the film is spooled and ready to shoot. With the right battery pack and settings it can shoot 8 frames per second and can rewind a roll of 36 exposures in approximately 4 seconds. Staggering numbers for a camera made almost 30 years ago.

When shooting this camera for the first time, I was immediately aware of the focus speed and torque.  I have several AF and AF-D lenses that require the F5’s screw mount auto-focus motor to focus.  When you half depress the shutter button and activate the focus motor, the torque generated will cause the body to heel over if you don’t have a firm grip.  It’s very powerful and focuses screw drive lenses faster than any camera I’ve used in the past.

Auto-focus is not just fast, it’s also accurate. Nikon used a new Multi-Cam 1300 auto-focus system for the F5. It’s basically a 5 point AF system that covers the center area of the cameras viewfinder. It has 3 modes, Manual, AF-Single Servo and AF-Continuous Servo. On top of that you can select one of five auto-focus points individually or all at once in Dynamic AF Mode. Compared to modern DSLR and mirror-less auto-focus systems, this seems rudimentary, but it’s a very competent auto-focus system.

Metering is another positive for this camera. It incorporates a 3D Color Matrix system which uses a 1005 pixel RGB sensor to measure color, brightness, and contrast within a scene. Using 3 metering modes, Matrix, Center Weighted and Spot, there are plenty of options to meter a scene correctly. Using the camera’s custom function settings, we can change the size of the center weighted area to suit the photo or photographer’s specific needs. It also rotates the spot metering area to match whichever auto-focus point we’ve selected.

The F5 includes the same shutter and shooting mode settings of most Nikon pro bodies. Single Frame, Continuous Low, Continuous High and Continuous Silent are all present. Shooting modes include the acronymic PASM; Programmed Auto, Aperture Priority, Shutter Priority, and Manual.

Lens Compatibility

One of the best attributes of the F5 is its F-Mount lens compatibility.

Nikon has maintained general functionality of a single lens mount for their SLR and DSLR cameras since 1959, the ubiquitous F Mount. And the F5 continues this trend. It can mount all AI, AI-S, AI-K, AF-D, AF-G, AF-S and VR F Mount lenses, versatility that’s truly remarkable. We can even mount and use the 24mm, 45mm and 85mm PCE tilt shift lenses. What this means is that F5 users have a massive amount of lenses to choose from, which means it’s possible to find any focal length, any speed, and style lens at an acceptable price point.

Unfortunately it won’t control the current AF-P or newest E lenses.

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My Long Term Experiences with the Nikon F5

I briefly mentioned some of the things I love about this camera. The handling is very satisfying and something every film lover should experience at least once in their lives. The buttons and dials seem to be in exactly the right place for all shooting situations. It has two shutter buttons, one on top for normal shooting, and one on the built-in grip for portrait orientation. Each shutter button incorporates locking switches to prevent accidental shutter releases (which happens to the best of us). The shooting modes and auto-focus modes are all easily accessible. The metering switch is very conveniently placed on the viewfinder housing for quick access. And there’s even a built-in viewfinder shade for long exposures. This camera is obviously well-thought-out and it shows.

The camera itself utilizes 8 AA Alkaline or Ni-NH batteries that insert into the grip. Having the ability to use new batteries means we don’t have to fuss with obscure or antiquated rechargeable battery types. Many photographers in the past reported their F5’s consumed batteries quite rapidly, but this has not been my experience. It is rumored that Nikon fixed the battery drain issue early on in the production run, and my model is a later serial number. This perhaps lends some credibility to the anecdote.

My first few rolls were shot using AF-D lenses which focused perfectly. At this point I was very curious to learn how it acted with modern auto-focus lenses. My main concern was focus accuracy on lenses like my 14-24mm G, 70-200mm VRII, 85mm G, etc. I set up a simple test pattern and rotated through my lenses to check for focus accuracy. Inspecting the film afterwards, many of them focused perfectly, even wide open, but some didn’t until after F4-5.6 depending on the lens. Unlike DSLRs, the F5 does not have auto-focus fine tune. You have to do similar tests on your own lenses to ensure focus accuracy so you don’t miss a shot when it counts.

Another advantage of this camera is the accessories.  It has a removable viewfinder which can be swapped out for a waist level view finder, a magnification finder, a high point action finder, or the included multi finder.  In addition, there’s a series of swap-able focusing screens that can be used.  I own the normal type EC-B screen and a type L manual focus split prism screen.  The prism screen is really helpful when shooting with manual lenses, or for ensuring focus accuracy with modern autofocus lenses in manual mode.  The F5 also uses the same 10 pin connector as many of the modern Nikon DSLR’s and works perfectly with my MC-30 remote cable.  There are a great deal of accessories available for this camera.

I’ve owned this camera for years now, and it’s the best film camera that I’ve used to date. It does everything I ask of it and more. It’s very reliable, extremely durable, and just a joy to operate. I’ve shot portraits, candids, landscapes, events and even a wedding with this camera. It’s done a fine job with all of them.

The ability to close the view finder eyepiece and attach my MC-30 cable release is really handy for long exposures. The 1/250^th flash sync speed is awesome when shooting studio portraits with strobes, and it works perfectly with my SB-800 speed lights in manual or TTL mode. The custom settings are also very helpful and the camera can be tailored to suit specific needs. Even finer points, like the auto-rewind function when I’ve finished a roll and the exposure adjustment for different focusing screens, are really advantageous. There’s simply a lot to like about this camera.

[Sample shots made with the F5, various lenses and various film. This sort of camera can make any type of image. Good luck!]

Some of the quirks I’ve noticed with the F5 are minor and easy to work around. The first thing I noticed was the camera in matrix metering mode tends to expose a little on the dark side in certain scenes. I find I get better results using center weighted or spot metering to make sure the camera is seeing things more accurately. Another issue I noticed was the camera ignores the AF/M switches on some of my AF-S lenses. I learned this the hard way in MUP mode and wasted a few shots before realizing I had to use the on camera switch to deactivate the auto-focus. Not a big deal to overcome but something to be mindful of.

The final complaint I would have, although minor, is the custom menu settings. There are a lot of numbered settings and the menu can be a little confusing to navigate, especially in the field. As a result, I keep a copy of the custom settings and a complete instruction manual on my phone to use as a reference if needed. The common complaints associated with this camera, weight, size, small auto-focus area, don’t bother me in the slightest. I come to expect those things from older gear.

All in all, this is a great camera. If you’re a Nikon fan, or just a fan of awesome film cameras in general, I recommend getting one. If you already have one and you aren’t using it, dust it off and go out shooting. These cameras were designed to be well-used and I plan on using mine until it dies, hopefully a very long time from now.

Buy your own Nikon F5 on eBay here

Nikon F4 versus Nikon F5 and the Camera as a Tool

A guest post from a friend of the site pits the Nikon F4 against the Nikon F5, and questions whether cameras are only tools, or something more.

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