I don't know if Rodney Dangerfield was into photography, but if he was he must have used f/3.5 lenses, judging by the way he was always bugging his eyes out. Which would be understandable, because any half-baked photographer knows that f/3.5 is a raging vortex where photons go to die, leaving your eyes straining for the faintest trace of light. Not to mention the utter impossibility of achieving anything remotely resembling shallow depth of field with such an infinitesimal iris. No proper lens jockey would be caught dead with such a miserable excuse for a photographic tool. So if you have any remaining shred of photographic self-respect, let me save you the trouble now of reading any further ;-).
Welcome to the final installment of our "Choosing Manual Focus Lenses" series. In this article, we will look at the larger picture of lens sets in general and also check out a few options for specialty optics, such as macros and shift lenses.
Zoom lenses really started to come into their own by the late-1970s and became standard equipment with most SLRs by the mid-'80s. Versatility was the name of the game, with such optics sometimes enabling a photographer to replace up to 3 primes with one lens. However, this was not a free lunch; there were always compromises involved.
Welcome to Part 2 of Choosing Manual Focus Lenses. We will now delve deeper into the categories of focal lengths and the differences between them. As in the previous post, we will be looking at this in terms of vintage 35mm format manual focus (MF) lenses, but you can use the principles for more modern glass and other formats. WARNING - There may some numbers involved! (I'll try to control myself ;-))
Fun With Focal Lengths
In 35mm format: "Normal" lenses range from 40 - 58mm (with 50mm being by far the most common and was the basic kit lens offered with SLRs for years); Wide-angles go from about 28 - 35mm; Extreme wide angles from 15 - 25mm; Ultra-wide angles are less than 15mm; Telephotos from 65 - 300mm; and Super Telephotos are greater than 300mm. All of these categories are approximate, but you get the general idea. We will look at single focal-lengths and, in the next article, discuss how zooms combine several focal lengths into one lens and the advantages/disadvantages of doing so.
One of the most daunting experiences for an SLR owner can be deciding which lenses to choose to achieve their photographic goals. The sheer number of possibilities can seem overwhelming when trying to narrow things down to a manageable kit, both expense- and weight-wise. Further complicating matters is that what works well for someone else may be entirely different than what will be best for you. Choosing lenses goes beyond mere quantitative measurements. Your aesthetic sense of how you see the world around you, along with the genres of photography you pursue, and the conditions you will be working in all have a direct bearing on which lenses will be most suitable for you.
Too many of us have learned the hard way about which lenses are best suited to our needs and abilities. Trial and error does often eventually lead us to the right conclusions, but with a considerable amount of wasted time, energy, and MONEY. Could there be a better way?
Here is the final edition of our "Choosing a Vintage SLR System" series for manual focus SLRs. In Part #1 we looked at the Pentax M42 screwmount system. Pentax was the last of the "Big 5" (Canon, Minolta, Nikon, and Olympus being the others) to adopt a bayonet-style lensmount, doing so in 1975. The K-mount has continued to serve (in modified form) into the digital era. For now we will confine ourselves to the manual focus film era. So let's get to it with our standard format of: 1) Lenses, 2) Bodies, 3) Flash, 4) Accessories, and 5) Reliability & Servicing.
Greetings, and welcome to our fifth vintage SLR system overview, this time featuring Pentax (or Asahi Optical Co. as they were originally known). In this installment we will examine their first SLR system, which (aside from the Asahiflex models) utilized the M42 screwmount introduced by Zeiss in 1949. Over time, such was their success, M42 became commonly referred to as the Pentax screwmount. The M42 mount was used by Pentax for 20 years (1957-76) and today represents one of the most affordable and accessible SLR systems available to the vintage-focused photographer. In the second part of our Pentax overview, we will dig into the bayonet-style K-mount system introduced in 1975, and which is still used (in a modernized electronic form) by Pentax. As usual, we will break things down by: 1) Lenses, 2) Bodies, 3) Flash, 4) Accessories, 5) Reliability & Servicing.
With a major SLR slump under way, the early-to-mid-1980s were the golden age of the compact AF (auto focus) 35mm camera. Many snapshooting consumers, who had been sucked in by the snake-oil promise of SLRs that did everything for you, now turned to what they had really needed all along, relatively affordable compact AF models. Innovations were coming fast and furious, and widespread cost-cutting had yet to enter the picture. All of the major (and most of the smaller) manufacturers had at least one high-quality entrant in the hotly-contested 35mm f/2.8 category. By the late '80s, however, the bean-counters and the public's clamor for zoom lenses ensured the demise of the capable, yet economical, AF compact. But let's go back to the boom days of...
The mid-1970s were a time of major transition in the SLR industry. The biggest changes involved the downsizing of camera bodies (initiated by Olympus), the general electrification and computerization of many functions (most notably with the Canon AE-1), and the inevitable de-contenting and cost-cutting that came with increased competition between all manufacturers for market share. Perhaps no series of SLRs demonstrated being caught in this no-man's land more than the first three models Pentax released with its brand-new K-mount bayonet in 1975. Two models would survive only three years, the third only six. Yet, ironically, the fourth model, introduced in 1976, would go on to be one of the most successful and iconic of all SLRs and would be in production for well over 20 years. Fortunately for vintage camera lovers, any of these K-series SLRs can still be enjoyed and are serviceable even today. So let's take a look at the tragic trio of the KM, KX, K2, and the student camera extraordinaire, the K1000.
Domination of the mid-to-late 1960's sales charts. Millions of devoted fans. As influential on SLR development as a certain group of four blokes were on rock 'n' roll during the same period. We can only be talking about one camera...the Pentax Spotmatic (or Spottie to its ardent admirers), the first true superstar SLR.
This is the first installment of our Best Bargain Lenses series in which we attempt to sift out the truly best-bangs-for-your-buck in the legacy lens world. We are starting with the Pentax K-mount (bayonet) because of increased interest in vintage Pentax glass since the release of the new K-1 full-frame (35mm format) DSLR. You will find that most bargains lie in the focal lengths between 28 to 200mm and at moderate apertures (e.g. f/3.5 or f/4 for wide angles and telephotos and f/1.7 to f/2 for normal lenses). The beauty of these unassuming optics goes beyond their low prices; because of their smaller maximum apertures they were able to use simpler (most of the time) optical constructions, which saved weight and bulk and yet gave excellent performance. So let's start the party with the original series of Pentax K-mount lenses: the SMC Pentax models which were manufactured from 1975 to 1977 (offering the best build quality before cost-cutting entered the picture with the M- & A-series). As we go through we will consider each lens in context with its predecessor in M42 screwmount and successor in SMC-M. Prices are current as of 2016 and are an average cost for lenses in very good to excellent condition.
Suffers from a two-decade and counting film and manual focus SLR addiction. Has recently expanded into 1980's AF point and shoots, and (gack!) '90s SLRs. He even mixes in some digital. Definitely a sick man.