Favorite vintage Nikkor prime lens!

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blee1996

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The Nikkor lens I used most recently is the 50/1.2 AiS, because it is small and versatile. It lives on my Nikon FA for my entire month in Europe with family, nothing else. If I have to judge by artistic image rendering, I will pick the Canon EF 50/1.2 L over the Nikkor. But then again the Canon is much bigger and heavier.

I have the ancient 55/3.5 micro in UG grade from KEH for a song, and I love it. I don't see it lacking against my Leica Elamrit-R 60/2.8, other than the heft and precision feel.
 
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@dynachrome that's a definite top 10 (15) Nikkors the 105mm f/1.8. A few years ago I had a specific need for this lens and I got a nice one for a nice price and after spending a few months with it my overriding thought was "why was I not using this lens sooner". The 105mm has replaced the 85mm role in most of my shoots now. It provides a nice separation from the wides I would usually carry (although that has been evolving, I blame Huss). Of course near wide open for portraits is a typical use for the lens and as a travel/landscape lens it has a nice looking compression with higher F-stops. It works quite well with the TC-14a which was surprising, but it shouldn't, since that teleconverter was released at nearly the same time.

Fast 85's have always been a staple in my bag, mostly weddings, but especially when I was shooting a lot of indoor sports the stellar 85mm f/1.4 Ai-s was my choice but I always wondered why Nikon released both of these lenses at the same time, and why the 85 had the CRC while the 105 did not. This article here doesn't specifically address that, nonetheless a worthwhile read on the lens.
 

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Can it be used for landscape photography…?

Your question has me wondering why you phrased it that way. Considering the field of view of a 55mm lens, it could certainly work for some landscape photography. A plus is that since that lens is super sharp corner to corner, it may provide finer edge detail where a wide angle lens might distort.
I hope that answers your question.
 
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Your question has me wondering why you phrased it that way. Considering the field of view of a 55mm lens, it could certainly work for some landscape photography. A plus is that since that lens is super sharp corner to corner, it may provide finer edge detail where a wide angle lens might distort.
I hope that answers your question.

I’m mostly into landscape photography...!
 
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@dynachrome that's a definite top 10 (15) Nikkors the 105mm f/1.8. A few years ago I had a specific need for this lens and I got a nice one for a nice price and after spending a few months with it my overriding thought was "why was I not using this lens sooner". The 105mm has replaced the 85mm role in most of my shoots now. It provides a nice separation from the wides I would usually carry (although that has been evolving, I blame Huss). Of course near wide open for portraits is a typical use for the lens and as a travel/landscape lens it has a nice looking compression with higher F-stops. It works quite well with the TC-14a which was surprising, but it shouldn't, since that teleconverter was released at nearly the same time.

Fast 85's have always been a staple in my bag, mostly weddings, but especially when I was shooting a lot of indoor sports the stellar 85mm f/1.4 Ai-s was my choice but I always wondered why Nikon released both of these lenses at the same time, and why the 85 had the CRC while the 105 did not. This article here doesn't specifically address that, nonetheless a worthwhile read on the lens.

I tend to use the Nikkor 105mm f/2.5 less, since it has much more image instability and I don’t like using a tripod on my walks...!
 
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Your question has me wondering why you phrased it that way. Considering the field of view of a 55mm lens, it could certainly work for some landscape photography. A plus is that since that lens is super sharp corner to corner, it may provide finer edge detail where a wide angle lens might distort.
I hope that answers your question.

My question was if the 55mm was sharp at infinity…!
 
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For landscape photography I mainly use the Nikkor 28 f/2.8, Nikkor 35 f/2 O.C., Nikkor 50 f/2 AI and Nikkor 50 f/1.4...!
 

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I was about to purchase a Nikon 55mm f/2.8 Micro Nikkor when I read this.
Does anyone have issues of oil on the blades…?

It is possible, but easy enough to check for. If your 40 year old lens does not currently have a problem with oil on the aperture blades, it's not likely to happen any time soon. I think, as others have suggested, there may have been a change in lubricants or manufacturing somewhere in the production.

A more likely defect you will encounter, IMHO, is stiff focus because of dried up lubricant on the helicoids. I think they used some kind of molybdenum disulfide lubricant, which over time can dry out and become chalky. Stiff focus is very common on the AI-S version. Just have a look at Ebay-- it won't take long to find one with "Focus Very Stiff" or similar comments. That being said, fixing either problem is pretty straightforward, if it comes to that.

Regarding the other question of whether the 55 Micro f/2.8 is sharp at infinity-- Yes, for me it's plenty sharp as an all-rounder.
 

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Nion 2 - I also already answered that - the 55/2.8 Micro is verrry sharp at infinity, better than the 50's you're using.
 
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The Nikkor 105mm f/2.5 any version is a wonderful lens, and one lens I think should be in every Nikon shooter's stable, they are always able to be found for relatively low cost especially considering the quality of images.
If you really like the 105/2.5 and can justify the slightly larger size and weight, I would recommend checking out the f/1.8. While I do like the smaller size of the f/2.5, for a very lightweight medium-short telephoto sometimes I opt for the 85mm f/2 Ai, or I'll spring for the f/1.8 and pack a lighter set of wides.
 
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Nion 2 - I also already answered that - the 55/2.8 Micro is verrry sharp at infinity, better than the 50's you're using.

I’m looking for a good deal on eBay for a late series 55 f/2.8...!
 

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mshchem

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I bought my 55mm f/2.8 Micro Nikkor in January 1980, the first shipment from Japan. I used it exclusively for the next three years as it was the only Nikon lens I owned. Later on I started to amass a plethora of Nikon lenses.

My lens has had a very hard life, I travelled exclusively on motorcycles everywhere, including trips to Europe, New Zealand and parts of Asia with this lens always in the thick of things. It lived in my tank bag so was subject to extreme heat and cold.

In the early 2000's I did quite a lot of portraiture with this lens, especially close portraiture work, which, due to the floating elements (CRC, Close Range Correction, in Nikon language) is about as good as it can be.

One extremely hot day in our backyard doing a water based theme of portraiture, my Micro Nikkor started playing up. At first I noticed that whenever I did a portrait frame, the camera sounds were not quite correct. Switching to landscape mode everything was hunky dory. The camera had at one stage been sitting in direct sunlight for about an hour in portrait mode while we worked on the backdrop, the ambient temperature was north of 40ºC, so things were really hot. I remember going back to the camera and found it too hot to touch, so I covered it for a short time then we started exposing film.

I ended up switching to my 85 f/1.4 Nikkor as the 55mm became stroppy. Eventually I realised there was something wrong with the aperture blades, some kind of goo. I took it to a camera repair shop and the first question he asked me was, "have you had this in direct sunlight in the recent really hot weather?" He had over the years had the odd 55 f/2.8 Micro Nikkor come in after super hot weather.

He pulled it apart, cleaned the melted blade lubricant away and re-lubricated the aperture blades with something that should be alright, according to him. He also re-collimated the optics. It is still as spectacular as ever.

So yes, this is an issue, but I would suggest it isn't an issue if you are able to ensure the lens works perfectly when you purchase it and don't subject it to extremes of heat.

When in use the camera slowed down somewhat. I was using an F3 with an MD4 drive attached. After taking an exposure, instead of quickly winding on, the whole lot paused a bit and after this small pause, the motor drive then wound on to the next frame. This is how I found the issue in the first place.

This is the 85mm f/1.4 version of what I was trying to do with the 55 Micro Nikkor. Extremely hot weather and after a few failed attempts with the 55 Micro Nikkor I switched to the 85mm lens to finish the job. And if the subject looks hot, it is because she was! We literally turned the garden hose onto ourselves a few minutes after I had this frame and if I remember correctly, we then had some ice cream.


This is a beautiful photograph. I like to think it was 40°F not 40°C 😁

Nikon must have improved the lubrication in recent years. I had a 55 2.8, I picked it up 2nd hand, focusing was quite stiff.
 

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I have a UV filter on every lens that can take a front filter to cut the UV light and protect the lens from dirt and damage. Will that protect from all damage? No, it does what it can and that has helped me since 1958.
 

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Lately it’s been a Micro-Nikkor 105mm f/4 AI that I found with ext tube at an estate sale for $75.

And the 105mm f/2.5.
Don’t own one but the 180mm has such a classic rendering.
 

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Lately it’s been a Micro-Nikkor 105mm f/4 AI that I found with ext tube at an estate sale for $75.

And the 105mm f/2.5.
Don’t own one but the 180mm has such a classic rendering.

I have the Nikkor ED 180mm f/2.8 and the rendering is unbelievable, I surprised myself one day during a portrait session by switching from the 105 f/2.5 to the 180 for a bust shot of my sitter. The 5-6 frames with the 180 turned the session around and the lasting image from the session was a framed 8x10" print for his 60th birthday. Tripod used with a ball joint for quick reframing then lock-up, then press the shutter button.

The only issue I have with the 180 ED is the weight and the fact that it doesn't have a tripod collar like my 300 ED telephoto. With a Nikon F3 with an MD4 motor drive attached firmly to a decent tripod, the 180 is rock solid. Even with fast film and fast shutter speeds, the steadiness of a tripod mounted long focal length lens is just so much better.
 

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Do you keep your vintage lenses in a chiller or in a cellar? Where do you keep vintage prime lenses?
 
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Do you keep your vintage lenses in a chiller or in a cellar? Where do you keep vintage prime lenses?

On a closet shelf and my Nikon F2…!
 
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I don't want to nitpick what "sharpness" implies relative to an excellent, now bargain priced 55/2.8 micro versus some recent Zeiss or Leica branded lens costing anywhere between ten and fifty times as much. If I need more detail, any decent medium format equivalent will blow any of those out of the water, not to mention doing things in the 4X5 and 8x10 format league. I just enlarged an 8X10 example onto Fujiflex yesterday that no 35mm lens on earth can reasonably imitate, nor anything like inkjet printing. When it comes to a contest between Bambi and Godzilla, Godzilla wins every time, even if Bambi is on steroids.

I understand why people spending top dollar for the largest number of little rodent pixels running around inside their 35mm camera would also spend big bucks for the sharpest optics to go with that. But frankly, my bargain Fuji 6X9 film rangefinder, which weighs less than what I typically see them carrying, gives substantially more printable detail.

But even given the strict parameters of this thread, the difference between the Nikkor 55/2.8 and something way more expensive would probably be nullified by the limits of film resolution itself. You might choose a different lens for a different reason. For example, my 85/1.4 Ai is also close-range corrected, but with wider aperture, and far better out-of focus-rendering or "bokeh" than the
55/2.8 Micro, which has a rather annoying "double-lined" blur. But that 55 is so petite that it's easy to carry in the same pouch as the Nikon 85-equipped. And due to its excellent highly corrected contrasty optics, its easier to critically focus than most 50 primes of wider aperture. But ordinarily, I keep it with my copy stand setup. For roaming about snapshooting, I bought an old single-coated 50/2 H Ai'd for its vintage less clinical look on film. The 85/1.4 Ai is still my favorite 35mm shooting lens, however.

One of those “sharpest” lenses from Leica, 28mm f/2 Summicron ASPH, if purchased will make you a poor man buying that Leica...!
 

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The 75-150mm f/3.5 Series E. Oh wait! That's not a Nikkor.

How about the 180mm f/5.6 Nikkor-W? No? F-mount only, you say?

Then my vote goes to the 43-86mm f/3.5, so I can demonstrate to people suffering from "golden age" syndrome just how far we've both progressed and regressed.
 
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One of those “sharpest” lenses from Leica, 28mm f/2 Summicron ASPH, if purchased will make you a poor man buying that Leica...!
[/QUOTE
 
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When a lens is supposedly diffraction limited at f/5.6, as the Nikon Nikkor 28mm f/2.8 AI-s, is there a discernible difference between it and the Leica 28mm f/2 ASPH costing 25 times more…?
 

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When a lens is supposedly diffraction limited at f/5.6, as the Nikon Nikkor 28mm f/2.8 AI-s, is there a discernible difference between it and the Leica 28mm f/2 ASPH costing 25 times more…?

Is that an excerpt from Ken? If it is ... well, he is mostly fine, but it's still better to take his articles with a grain of salt. Or even spoonful of salt.
 
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