I have three of the Fotodiox adapters,the chipped,the pro,and the cheap consumer version....all work as intended...I would be in agreement it's not the adapter...

Does the lens come into to sharp focus from minimum focus distance to infinity?One other the note...I find the Nikkor 18/3.5 is sharpest in closeup work up to about 30 meters,so what were your shooting distances?

I don't know if you would be interested in a Zeiss 21/2.8 ,but I convinced this lens is quiet sharp at closeups as well as further shots to infinity.This would be the lens I would recommend for FF shooting if sharpness to the corners is imperative.A close second for less cashola would be the Zeiss 18/3.5 for excellent corner sharpness,but the Nikkor 18/3.5 is a touch sharper in the center.

Depp wrote:
I have three of the Fotodiox adapters,the chipped,the pro,and the cheap consumer version....all work as intended...I would be in agreement it's not the adapter...

Does the lens come into to sharp focus from minimum focus distance to infinity?One other the note...I find the Nikkor 18/3.5 is sharpest in closeup work up to about 30 meters,so what were your shooting distances?

I don't know if you would be interested in a Zeiss 21/2.8 ,but I convinced this lens is quiet sharp at closeups as well as further shots to infinity.This would be the lens I would recommend for FF shooting if sharpness to the corners is imperative.A close second for less cashola would be the Zeiss 18/3.5 for excellent corner sharpness,but the Nikkor 18/3.5 is a touch sharper in the center.



I have not tried close focus with the Nikkor, but since I primarily wanted to use it for landscape it would kinda defeat the purpose. I concur that the ZE21 is the best in this class and I tested a few alternatives to search for the "next best thing" and of the few I have tested, the Zuiko 21/3.5 will do for now, pretty good for price and portability. Until the nest one comes around...
Thanks for your input.

My Rokkor 58/1.2 on my newly purchased 5D



-Kyle

^^ A classic combo.

^^ Indeed a classic combo. You'll love it.
You may find it hard to use at first especially wide open but once I got an improved focussing screen for my 5DII it I was able to get much better pictures with it. Something to consider.

And hey, we even have a similar rug too!

My Minolta G Lens collection

Taken with Sony a900, Sony 135mm f/2.8 t/4.5 STF

I figure this Nikkor ED 500/4P is alternative enough when it's used on an EOS 1DsIII.

Looks like a very nice copy of the Nikkor ED 500/4P...sold a the Nikkor 400/3.5 and half a dozen faster Nikkors to fund my foray into DSLR's....have plans on acquiring a nice copy like yours of the 500/4 P,soon I hope...

Minolta MD W.Rokkor 2/28mm fresh converted to EOS

Depp wrote:
Looks like a very nice copy of the Nikkor ED 500/4P...sold a the Nikkor 400/3.5 and half a dozen faster Nikkors to fund my foray into DSLR's

Interesting. I sold a 400/3.5 last year. So far, so good with the 500P. I was shooting surfers today to get back into the hang of it - MF long lens technique that is. I snagged a few keepers (500/4P + EF 1.4x on 1DIII)...

After using the Pentacon 500/5.6 the Nikkor 500/4 P will be a dream for focusing.

Mostly Vivitar TX Series 2nd generation(All Tokina with the exception of one Kiron built 85-205 on top left.)

Back Row L-R:85-205/3.5 Close Focus,300/5.6 TX,400/5.6 TX,75-260/4.5 TX,90-230/4.5 TX,90-230/4.5 Close Focus TX
Front Row:70-150/3.5 Close Focus,75-205/3.5 Close Focus,35-105/3.5 Close Focus TX,100-300/5 Close Focus TX,100-200/4 Close Focus

Alt sunshade.

Got tired of having to shade the front element of the lens with my hand in some situations with the sun just above the frame, especially with a polarizer attached. It makes a huge difference in some difficult situations, and none whatsoever in others. You can see in the upper right image that the flash from the camera does not hit the front element of the lens. That's what only such a huge contraption can offer. It remains to be seen how much I'm actually going to use it, it was kind of fun building anyway.

Lens is a Distagon 25/2.8 and the shade is tailored for the crop sensor of the Fuji.

dcjs wrote:
Alt sunshade.

Got tired of having to shade the front element of the lens with my hand in some situations with the sun just above the frame, especially with a polarizer attached. It makes a huge difference in some difficult situations, and none whatsoever in others. You can see in the upper right image that the flash from the camera does not hit the front element of the lens. That's what only such a huge contraption can offer. It remains to be seen how much I'm actually going to use it, it was kind of fun building anyway.

Lens is a Distagon 25/2.8 and the shade is tailored for the crop sensor of the Fuji.

Why'd you make the shade this big? I imagine if you're outside and there's a bit of a breeze this will induce shake, no?

Bigger is more effective, it will kill stray light from sources that are closer to the frame, and there's no way around that fact. If the shade was only half as long, the flash would have hit the front element in the upper right picture.

Of course I can always remove material, and the first spot to do this would be on the underside, making the shade asymmetrical, since there are rarely light sources from below the camera (save reflections off bright objects maybe), but I wanted to start with the maximum effect.

It's interesting. It looks heavy! What's it made out of?

While on the subject of alt hoods on alt lenses, here are pics of my hooded Biotars.
Shown are Zeiss Jena Biotars 2/58 and 1.5/75, both with B+W Hoods.
Being both German, they work very well together!
More pictures of my Aluminum Zeiss Jena lenses you can find in this gallery:
http://www.miedema.dyndns.org/galleries/czj-alu/index.html
Here you also see the lenses without Hood , and Photos made with these lenses.

Just a quick demonstration of what the "monster shade" can do in certain situations (sun just came out for the first time in a couple of days).

Hoya HD polarizer attached, the sun is about 45° above the horizon. The filter doesn't make much of a difference reagarding flare/stray light, this is just to demonstrate how the extreme loss of global contrast counteracts the use of a polarizer for getting saturated colours.

The shade is made of 3mm hard foam sheets that are lightweight, quite strong and easy to work with. Glued together with superglue, robust enough to be dropped or kicked across the room without issues. Probably not robust enough to sit on it. Weighs maybe 100g, doen't make a difference in handling at all, except for the bulk and weird looks of course. The inside is covered with matte black spray paint.

As long as you're going to this much trouble might I suggest using flocking cloth instead of flat black paint. The differences are said to be substantial!

http://www.fpi-protostar.com/flock.htm