Videomaker (2019-05)

contents

full screen

print

contents

full screen

print

1832 VIDEOMAKER >>> MAY 2019 18

nowadays, as long as the lens you wish to try is

from a system with a flange/focal depth deeper

than that of the camera you wish to couple to, the

combination is possible. This means we can adapt

lenses meant to serve 35mm film cameras, or full-

frame digital devices, to mirrorless camera bodies

because they have a shallower seating for their lens.

My Panasonic Lumix GH4 has an MFT sensor

and lens mount. When you take into account

the original flange depth of my camera (approx.

17.5mm), and add to that the depth of the adapt-

er (approximately 25-27mm), the total adapted

lens depth is equal to what the vintage lens origi-

nally worked with (approximately 40-55mm).

This makes the two pieces compatible. However,

the reverse scenario is not possible. MFT lenses

are not adaptable to full-frame cameras because

the image projection will not cover the bigger

sensor at its native depth.

It’s all about the cone of coverage projected by

the lens onto the image plane, or sensor. Tradi-

tional full-frame lenses project an image that will

cover a sensor measuring 24mm x 36mm (full-

frame), at their respective depth (based on brand).

Micro Four Thirds lenses project an image meant

to cover a sensor measuring approximately 17.3

x 13mm at their respective depth.

Crop factor and focal length

The reproduction ratio, or crop factor, of the

full-frame lens to the MFT sensor is the product

of the diagonal of the 24 x 36 format (43.27mm),

divided by the new diagonal of the MFT sensor

(21.64mm), computed as 43.27/21.64, or 2X.

Therefore, the appearance of your 50mm full-

frame Nikon lens is equivalent to a 100mm lens

on the Panasonic GH4.

My short list of classic photographic lenses

that offer unique results

After an exhaustive search of the internet, I was

able to flesh out my collection of vintage glass

to a suitable list of performers. I was eager to

get out and give each of them a modest field

test. Of course, the “kid in the candy store”

impulse led me to one of my most cherished

places — the Rocket Fizz Candy Company! The

owner there was kind enough to give me free

rein over the store one afternoon so I could

shoot some tests. I also put the lenses through

their paces at magic hour near Lake Baldwin

in Orlando, Florida, before settling in at my

favorite pub to compile my notes and enjoy a

frosty Guinness with my old friend Scott — the

bartender at the Bull and Bush.

My findings

Zeiss Planar 50mm f1.7

To lead off this “glass menagerie, I have chosen

the Zeiss Planar 50mm f1.7 from the Contax line,

introduced in 1973. This lens is a classic, with a

design that first arrived on the scene at the turn of

Brand Length F-stop:   Blades Filter Size: Weight Coatings Used Value

Konica 40mm f1.8 6 55mm 140g MC $45

Nikkor-non Ai 50mm f2.0 6 52 206g MC $35

Minolta 45mm f2.0 5 49 125g MC $40

Canon 50mm F1.4 8 58 280g FL $55

Zeiss/Contax 50mm f1.7 6 55 190g T* $200

Zeiss/Jena 50mm f2.8 5 49 250g MC $60

Yashica 50mm f1.9 6 55 215g DSB $35

Olympus OM 50mm f1.8 6 49 170g MC $90

Takumar 58mm f1.4 6 49 220g SMC $45

Helios 44-M 58mm f2.0 8 52 270g MC $60

Glass/Coating Designations 

DSB = Single-Coated (Yashica)

FL = Flourite Glass, and or Flourite Coated

MC = Multi-coated

The following chart offers some of the basic specs of each lens tested.

ML = Multi-layer Coated (Minolta)

SMC = Super Multi-coated

T* = Zeiss Proprietary Super Multi-coated

Chocolate confections at Rocket Fizz. Carl Zeiss Jena 50mm f2.8 2 ISO

400. Note the nice depth of field roll-off.

384 F02 Vintage Lenses.indd 32 3/19/19 2:18 PM

VIDEOMAKER >>> MAY 2019 33

the twentieth century. Other than the proprietary

T* super multi-coatings, and improved build qual-

ity, this lens still reflects the original Planar concept,

including Schott glass elements. Despite its feature

set, this standard only uses a 6-bladed diaphragm,

unlike some of its contemporaries. Diaphragms

with 5 or 6 blades display out of focus highlights

with polygonal sides, where lenses with more

blades in their diaphragm show rounder bokeh.

This lens can be had for around $150 — a bargain

when you consider that it sports the coveted T* op-

tical coatings. These coatings give still images and

video footage beautiful contrast and sharpness.

Carl Zeiss JENA DDR 50mm f2.8

The Carl Zeiss JENA DDR 50mm f2.8 lens is a unique

looking fellow. Its nickname is the “zebra” because

of the appearance of its knurled and striped focus

and aperture rings. The Jena lenses were made in the

original Zeiss factory, in Jena, Germany. During the

allied occupation of Germany, soon after WW2, the

Western powers divided the Zeiss company — mov-

ing half of the operation to Oberkochen under allied

control, while the Soviets absorbed the remainder

into the Kiev Camera Works in Jena and Dresden, in

part for war reparations. In the years that followed,

the Jena factory sustained itself by supplying lenses

for the Zenit company.

The fit and finish of the Jena lens is crude, no

doubt due to the limitations of the early Soviet

era manufacturing. The glass itself is very sharp.

Despite historical records that indicate all Zeiss

lenses were T-coated after circa 1945 or so, my

Jena lens does not kick back the lively colors that

my other Zeiss lenses marked T* reveal. Therefore,

I am of the belief that this lens may be pre-war

and is only MC coated.

Yashica 50mm f1.9 DSB (1973)

At $35, the Yashica 50mm f1.9 DSB (1973), is

perhaps one of the best deals I have found second

hand. Purchased through KEH Camera Brokers in

Atlanta, Georgia, this lens was a kit lens designed

to accompany the Yashica FX-2 and FX-3 cameras

as an affordable, entry-level 35mm package. The

lens is as sharp as its Carl Zeiss cousins but does

not boast the T* coatings. Instead, this lens is of

the DSB variety — a single coated design that has

a medium contrast and a softly refracted quality

to the backgrounds. The absence of super multi-

coating creates a distinctive bokeh that is a nice

departure from the typical twinkle of MC lenses.

These Yashica lenses have excellent build qual-

ity. The helicoid focus mechanics are smooth and

consistent, and the diaphragm ring has soft but

accurate click-stops. The build is aluminum and

chrome plated brass with a tactile rubber focus

grip for a firm feel. There is also a decorative sil-

ver crown around the end of the barrel.

Nikkor 50mm f2.0 (1962)

I love Nikkor lenses. The older the better. Old Nik-

kor primes from the 60s were built to last. They

are all metal, including the focus rings, which

are fluted for a firm grip. The lenses are gener-

Chocolate confections at Rocket Fizz. Carl Zeiss Jena 50mm f2.8 2 ISO

400. Note the nice depth of field roll-off.

Bartender Scott, from the Bull and Bush Pub. Carl Zeiss 50mm f1.7 T*,

wide open at ISO 1600.

Sarsaparilla taffy at Rocket Fizz Candy Co. Carl Zeiss-JENA 50mm f2.8

wide open at ISO 200.

384 F02 Vintage Lenses.indd 33 3/19/19 2:18 PM