Vivitar series 1...

[jime11]

This may help.

Dead Link Removed

 

[abstraxion]

YOU!! I've been trying to get this lens for a month or so now but the prices have gone up a lot recently... seems like it coincides with the creation of this thread!

 

[BimmerJake]

i'd like to think i was that powerful

i pulled mine from KEH.com i'm sure more will pop up there.

 

[Dennis S]

If you are not happy with it, then sell it on eBay with that standard "rare", "minty", and "I do not know Jack Shyt about photography" with a starting price of $100.

I found one today also it under a new description "minty mint" Now that sounds good ?????

 

[elekm]

"Minty mint" -- what an idiotic description.

Anyway, I bought the Series 1 35-85 VFC back in late 1979 and carried it with me on many trips. There is barrel distortion on the wide end, and it's very heavy.

As long as you didn't try to shoot architecturally, I think it's an excellent lens.

I took it into the Louvre and shot some paintings and was quite surprised to see the barrel distortion when my slides came back. But overall, I liked the lens a lot.

I'm sure that it doesn't stand up too well to today's lenses, but back then it was a real workhorse for me.

It definitely falls into the photography as a weapon category.

 

[Paul Sorensen]

I found one today also it under a new description "minty mint" Now that sounds good ?????

Sounds like some sort of gum.

 

[Christiaan Phleger]

Funny enough, after reading this thread in the early parts, I picked up two Vivitar Series 1 lenses at my local, they were pretty rough from fungus (good price tho') and the seller accepted my offer. One is the 90mm Macro 2.5, 37 as the serial start and the other is the first version 70-210mm 3.5, 22 as the serial start. Both cleaned up extremely well, the 90 had a very interesting mechanical design. I didn't want to get too deep too quick, especially with the 90 since its clear that its a good lens, and 'off brand' lenses often have a few 'challenges' that make the standard CLA more easy to screw up. The rear mount came off easy, and along with it was the rear set of elements attached to the mount, very unusual. The fungus was on the next set, with a bit of haze on the set after that. What was very impressive is the internal build quality, very high, on par with the better Nikkors, fit and finish very high standards, certainly much much better than Canon from the same era. The 70-210 was similar, the mount was for Pre-Ai so this was one of the early ones, it was in overall lower condition, missing one or two minor screws but once again I was very impressed with the internal build, this is a seriously Built lens, element groups held into place securely, focussing was smooth due to wide and deep helicoids that were well damped with quality lube. Certainly on par with the best Nikkor zooms of the era that I've worked on, like the 80-200mm f 4.5 (the older version and the newer as well) and most certainly better than the Canon FD 100-300mm that I tried to revive (no go on that, cheep bad cement causing unsalvageable fog on cemented pair of elements, poor internal build).
Overall, both lenses are now totally usable, the 90 is very useful so that will stick around. Its very sharp and has a nice bokeh. I already have many lens options in the range that the zoom covers, but the cosmetics on the zoom are kinda low and its not an Ai lens, so its probably not worth very much at all, but its still very sharp and very contrasty. It might get service as on the 'Car Camera' that sits it the trunk. Just wanted to pass on that those Series One lenses were not all hype, they really are very good lenses inside.

 

[Christiaan Phleger]

Oh, and another thing, really high quality multicoatings on both lenses. Using proper clean fluid and tissues brought the lens elements back to fresh as new, not always possible with 25-30 year old lenses (especially Canon BTW, that fungus likes to etch the Canon's coatings like nobody's biz).

 

[rembrant]

I've had several of the 70-210 Kino's pass through...good stuff. The Komine's are more sought after...also more $,and not often seen. The Series One Kino gear is quite durable,I've never seen one that was not in very nice shape.

 

[rembrant]

Vivitar definitely had lenses before Series One. I have an M42 75-260 that's obviously a bit older style.
My Soligor 35 2.0 CD (M42) was a great"landscape" lens. For Kodachrome and a polarizer the extra speed helped,and the "CD" meant the premium multicoat...which was also nice. It matched up well to my Tamron 28 2.5.

Soligor was one of many "second Tier" lensmakers who never mastered the electronics end. Pentax A lenses were enough problem but then,everything went autofocus. Soligor lost out.

Sigma actually had a "High End" before Vivitar with their fast YS mount lenses. I got a 135 1.8 and a 300 4.0 30 years ago. They also did a 200 2.8,and a BIG 500 mirror,all were out in the mid 70's along with some wides in YS.

 

[Russ - SVP]

Regarding Viv S-1 glass. There are numerous (8) Series 1, 70-210 lenses. However, for the sake of discussion, we will deal with the first three. The 4th & 5th editions are nothing to seriously consider, so we will concentrate on the first three editions, which are the good one's. The 4th & 5th editions are also 2.8-4 variable aperture model's, but lacking in construction quality (Cosina built). Due to the fact that the third one is a variable aperture lens, (2.8-4) it will be somewhat sharper than a fixed aperture lens. It is much easier to design and build a quality variable aperture lens. The first edition was designed by Vivitar (Ellis Betensky of NASA Optics fame, was hired to head the design team that designed it. Which was then built by Kiron (Kino Precision Industries). (67mm filter) It is a professional caliber lens, with a 1:2 macro feature built into it. It was the first zoom, designed with the aid of computers, that truly rivaled the OEM lenses of the time. That was in "76."

The second edition (my personal favorite) was built by Tokina, per, Vivitars specs. It too, is a fixed 3.5 aperture, but smaller, lighter and sharper. (62mm filter size). I really like it because of the fixed 3.5 aperture which is nice for focusing in dim light and long range flash work. However, not a true macro, 1:4 life size.

The third edition was made by Komine, and like the first two, is very well built. It is a 2.8-4 variable aperture lens, and the sharpest of the bunch. It has 1:2.5 life size macro from 100-210mm's, with a working distance of about two feet. Which can be quite useful. Can you see a discernible difference in slides taken with either one of them? No! Don't get caught up in bench tests. All of them will give you professional-publishable images. I really like this lens, and in time may become my favorite. As I revise this review, the third edition has indeed become my favorite. But, the second version is a stellar performar and I use it often on pro assignments.

Also, the Kiron 70-210 f/4 with zoom-lock is a very good lens.

Personally, I recommend the second or third edition of the Vivitar Series 1, 70-210 line.

If you have anymore questions about the Viv line, or want more detailed information on a particular lens, please don't hesitate to ask. Are you aware of the Viv S-1 28-90 or the Kiron 28-105 or the phenomenal Kiron 105 f2.8 mcaro wonderlens? ? As for Kiron glass, well that's another discussion...

Kiron Kid-MrVivseries1

 

[PeterAM]

I have a 28-90 and a 70-210, both K mounts, made by Komine. I bought them back in the early 80's and used them for a few years on a Pentax Super Program. Very heavy lenses.

In the late 80's I hauled those two lenses, a body with a winder, a few primes and a lot of film around the UK for a couple of weeks. Got some great pictures but got so tired of carrying the weight around that I never picked the bag up again. That led me to my current " body with 2 lenses routine " (unless working from the car). Now my back is shot, so that's a better routine anyway.

Still have the two Vivitars. The 70-210 creeps a bit now.

 

[cooltouch]

Back in the 80s, I could either travel heavy or light. My "light" kit included a single camera body, the Vivitar S1 28-90, a Tamron SP 60-300, a Vivitar 285 flash, and a monopod. I miss that 28-90, and am gonna have to do something about that soon, now that I'm back into shooting with film.

Michael

 

[tomkatf]

It's been a long time (mid-70's) since I had one (early Series 1 70-210/3.5) but it was an excellent lens. A bit heavy and IIRC it focused in the "wrong" direction for a Nikon user... Ended up selling it and replacing with the classic Nikkor 80-200/4.5

Best,
Tom

 

[Russ - SVP]

Wrote out the list.

Mike

As soon as I recover my Vivitar bible, I'll fill in the missing #'s and add substantially to the list.

Kiron Kid

 

[benjiboy]

I have the Vivitar Series 1 70-210 f3.5 second version made by Tokina and find it a top class optic, I've compared it with the Canon FD 80-200 f4 L lens and both optically and mechanically it gives it a run for It's money, I have only ever bought genuine Canon lenses before, but the Series 1 was in mint condition boxed with the Vivitar hood,and about a quarter of the price I could get the Canon L lens for. so I made an exception in this case and I'm very happy with it.

 

[FRANOL]

Link: Vivitar Series One 70-210 Macro Zooms - Mark Roberts Photography.htm

 

[Russ - SVP]

Left to right:
Kiron model, f/3.5
Tokina model, f/3.5
Komine model, f/2.8-4
Kiron 70-210. f/4 with Zoom-lock

Regarding Viv S-1 glass. There are numerous (8) Series 1, 70-210 lenses. However, for the sake of discussion, we will deal with the first three. The following editions are nothing to seriously consider, so we will concentrate on the first three editions, which are the good one's. The 4th and 5th editions are also 2.8-4 variable aperture model's, but lacking in construction quality (Cosina built). Due to the fact that the third one is a variable aperture lens, (2.8-4) it will be somewhat sharper than a fixed aperture lenses. It is much easier to design and build a quality variable aperture lens.

The first edition was designed by Vivitar (Ellis Betensky of NASA Optics fame), had a hand in it, and it was built by Kiron. (67mm filter) It is a professional caliber lens, with a 1:2 macro feature built into it. It was the first zoom, designed with the aid of computers, that truly rivaled the OEM lenses of the time. That was in 1976.

The second edition (was my personal favorite) was built by Tokina, per, Vivitars specs. It too, is a fixed 3.5 aperture, but smaller, lighter and sharper. (62mm filter size). I really like it because of the fixed 3.5 aperture which is nice for focusing in dim light and long range flash work. However, not a true macro, 1:4 life size.

The third edition was made by Komine, and like the first two, is very well built. It is a 2.8-4 variable aperture lens, and the sharpest of the bunch. It has 1:2.5 life size macro from 100-210mm's, with a working distance of about two feet. Which can be quite useful. Can you see a discernible difference in slides taken with either one of them? No! Don't get caught up in bench tests. Any of the first three editions will give you professional-publishable images. I really like this lens, and over time, has become my favorite of the line.

Personally, I recommend the second or third edition of the line. I have and use all three of the first editions, and can highly recommend any one of them. Superb optics and construction.

Also, the Kiron 70-210 f/4, is a splendid performer.

QLP (Kiron Kid & MrVivSeries1)

 

[Ian Grant]

I have the Vivitar Series 1 70-210 f3.5 second version made by Tokina and find it a top class optic, I've compared it with the Canon FD 80-200 f4 L lens and both optically and mechanically it gives it a run for It's money, I have only ever bought genuine Canon lenses before, but the Series 1 was in mint condition boxed with the Vivitar hood,and about a quarter of the price I could get the Canon L lens for. so I made an exception in this case and I'm very happy with it.

Back in the late 70's/early 80's Camera, the UK magazine (of that era) did some excellent test reports, they found S1 lenses to be equal to the top 5 time & time again. they were hard hitting reports and spoke out freely unlike other UK magazines who were afraid of losing advertisers.

I had version 1 of KK's list - stolen unfortunately, now I have version 3

Ian

 

[Shawn Rahman]

I am one of the lucky ones with the Komine version. It is built like a tank, and sharp as any comparable Nikon zoom I've owned, including an 80-200 2.8 Nikon.

I noted with amazement that one of the Komine versions of this lens recently sold at $169 on ebay. I bought mine in mint condition from Samy's only last year for $79. There must be something to all the fodder about these lenses on sites like these that is driving the prices up.

 

[benjiboy]

I paid exactly the same for mine Shawn with six months warranty from a shop, mine is the second version made by Tokina, I'm delighted with it ,this fine lens IMHO to a photographer is worth more than $169

 

[Russ - SVP]

Yes, the Tokina and Komine versions are great. And keep in mind, that the Komine version gives you a 1:2.5 macro. And way-sharp macro at that.

Kiron Kid

 

[Dave Pritchard]

I have a Series 1 zoom, 100-300mm, f1:5, close-focusing auto zoom. This one is Tokina-manufactured. It has separate focus and zoom rings. I have not seen much mention of the 100-300 zooms. Mine has the Nikon F adapter.

I love it.

 

[Pumal]

I have the first one in the picture with a Minolta mount. Everything they say about it is true.

 

[benjiboy]

I have a Series 1 zoom, 100-300mm, f1:5, close-focusing auto zoom. This one is Tokina-manufactured. It has separate focus and zoom rings. I have not seen much mention of the 100-300 zooms. Mine has the Nikon F adapter.

I love it.

I think this lens is quite rare Dave, I used to sell Series 1 lenses in the days when they were made, and I don't remember ever seeing one of these.