Thanks for the links. The rubber ones look better than the metal ones on eBay.
Correct hood for this (if that matters to you) is the metal Nikon HS-6, or rubber HR-1. Plenty available on eBay, but the rubber hood is definitely cheaper.
Thanks for the links. The rubber ones look better than the metal ones on eBay.
I use the collapsible rubber hoods exclusively. It is necessary to achieve the full contrast that this lens is capable of in order to unlock its full magical properties.
You're taking me to school on this. I had no idea it would make that much of a difference.
I just ordered the HR-1 on eBay. $15 with free shipping. I'm loaded for bear now.
What film are you thinking of using?
Just what I have on hand. Kodak Gold 200 and Kentmere 100 and 400. Yes, I need to get some film worthy of the camera and lens. Suggestions?
Now you are well on your way to enjoying one of the very best 50mm lenses ever built.
I too had and used a Nikkormat FT2 with this lens which I bought new in 1975.
I now have 2 of these lenses which I use over any other 50mm.
Ektachrome 100 would be my choice, for "general" use, and Velvia 50, for landscapes.
Just what I have on hand. Kodak Gold 200 and Kentmere 100 and 400. Yes, I need to get some film worthy of the camera and lens. Suggestions?
Do you find that the 50mm f/2 outperforms the 1.2 and 1.4 when they are stopped down to f/2?
I personally prefer Ilford Delta. Color film can have one itching for different emulsions quite often.
Gold is currently ok. Portra will give you a more neutral rendering.
No. Faster lenses will have better rendering @ f/2. I never shoot below f/4.
So why do you believe the f/2 is a superior 50mm lens in the Nikon world? Not arguing, trying to understand.
Because of it's special rendering. Special enough for Leitz to have copied it with a few minor tweaks for their 4th R series Summicron.
Between f/4 and f/11, it has the perfect combination of the ideal level of sharpness, class-leading levels of contrast when used with a hood, superior color accuracy, and just enough warmth to keep it from being sterile and clinical.
Interesting. Is it as distinguished when shooting monochrome as compared, say, to the f/1.4 variant?
I feel that the f/1.4 comes the closest, but with a slightly more sterile presentation.
I'd recommend that you get AI lenses.
Nikon manual focus lenses are backwards-compatible, but not always forward compatible.
The FE and FM take AI lenses, and you can use AI lenses on your FTN, too.
If there are two sets of aperture numbers (one big set, one small set) on the aperture ring of the 24mm lens on the Nikkormat, it's AI.
IIRC, mounting non-AI lenses on your FE or FM will damage the camera's AI mechanism.
50mm f/2 is highly regarded, ubiquitous, and inexpensive.
50mm f/1.4 is also highly regarded. You're paying more for that extra f-stop...
The 50mm f/1.2 lens has attained cult status and price.
Again, not being pedantic or argumentative, but curious. What do you mean by "sterile".
Less warm. I like the 1.4 as well. The difference between the two is minimal. So if it works for you, stick with it.
Because of it's special rendering. Special enough for Leitz to have copied it with a few minor tweaks for their 4th R series Summicron.
So this sterility or lack thereof is really something that would only be noted in color since the notion of "warm" doesn't really exist in monochrome.
Bold statement. Can you back it up? Btw, only 2 gens of the Leica Summicron-R lens exist.
The lens I am referring to was released in the late '70's as the 4th SL/R version. There was an article published in a photo magazine that spells out what I have told you.
Again, only 2 generations of this lens exist. Version 1 was developed in 1964, 6 elements in 5 groups. Version 2 is from 1976 and has six elements in 4 groups. Walter Mandler designed both. They are both classic double gauss designs.
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form FredMiranda / campy.
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