NikonGear'23
Gear Talk => Lens Talk => Topic started by: JKoerner007 on December 01, 2017, 18:52:50
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Voigtlander wasn't lying: record-breaking performance at virtually every aperture:
https://www.lenstip.com/index.php?test=obiektywu&test_ob=517
Wish they made one in Nikon mount :'(
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(https://www.lenstip.com/upload2/200363_roz.png)
"In the case of that mirrorless device the decency level we set about 38-40 lpmm and the best fixed focal length lenses might reach 65- 70 lpmm. So far the record holder has been the Tokina Fírin 20 mm f/2 FE MF with a value of 72.6 lpmm.
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"At the time of the announcement the Cosina company claimed the Voigtlander 2/65 would be one of the sharpest lenses available on the market. The results of our test show they didn’t exaggerate even a bit. Already at the maximum relative aperture the lens reaches almost 66 lpmm so several lpmm higher than the maximum resolution value of the Zeiss Sonnar T* 55 mm f/1.8 ZE. It is very impressive. If the maximum aperture is so good, small wonder on stopping down the situation becomes even better. By f/2.8 you see an absolute resolution record among lenses we have tested on the A7R II so far, a value of 78.5 ± 1.1 lpmm. What’s more, even the lower result of 74.7 lpmm obtained by f/4.0 would be enough to constitute a new record.
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"It’s hard not to be an enthusiast for a lens which resolution results broke all current records and which didn’t have one single weakness in this category. Hats off!"
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Unfortunately the lens is strictly designed for a mirrorless camera. Its flange back is too short to adapt to any existing DSLRs.
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Yes, so we are waiting for the new Voigtlander Apo Lanthar 120/2 for FF ;)
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Unfortunately the lens is strictly designed for a mirrorless camera. Its flange back is too short to adapt to any existing DSLRs.
Wish they made one in Nikon mount :'(
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Yes, so we are waiting for the new Voigtlander Apo Lanthar 120/2 for FF ;)
Indeed!
Or ... until Nikon comes out with a new, cutting-edge mirrorless by mid-next year ... and the adapters soon follow ;)
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I've had this lens for months. In a day or so, my copy of the A7R3 will arrive (it has been shipped) and I will see what this combination can do.
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I've had this lens for months. In a day or so, my copy of the A7R3 will arrive (it has been shipped) and I will see what this combination can do.
Looks like f/2.8 is the aperture to use for stacking ...
Will be interested to see your impression: combining a new/great sensor ... pixel-shift ... 310° of focus throw ... and a record-breaking-sharp Voigtländer seems to have some serious potential.
I am sure your images will follow soon ... so I will stay tuned 8)
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Looks like f/2.8 is the aperture to use for stacking ...
Will be interested to see your impression: combining a new/great sensor ... pixel-shift ... 310° of focus throw ... and a record-breaking-sharp Voigtländer seems to have some serious potential.
I am sure your images will follow soon ... so I will stay tuned 8)
Right now I'm busy testing the earlier version of the Printing Nikkor 150mm APO f/2.8 lens against the second version, both of which I have on hand. The earlier version is optimized for less than 1:1 magnification, while the later Printing Nikkor APO f/2.8 "A" is optimized for 1:1 and above. Both are very large and heavy lenses, so I'm working on devising supports to reduce lens vibration from sheer hanging weight. The earlier version has exceptionally high sharpness and resolution marks, perhaps better than any lens I know of.
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Right now I'm busy testing the earlier version of the Printing Nikkor 150mm APO f/2.8 lens against the second version, both of which I have on hand. The earlier version is optimized for less than 1:1 magnification, while the later Printing Nikkor APO f/2.8 "A" is optimized for 1:1 and above. Both are very large and heavy lenses, so I'm working on devising supports to reduce lens vibration from sheer hanging weight. The earlier version has exceptionally high sharpness and resolution marks, perhaps better than any lens I know of.
If I were going to choose between the two, I suppose I would choose the latter 'A' version, since beyond 1:1 is my main interest for a studio lens.
For field use, the 65mm 1:2 Voigtländer Apo Lanthar Macro sounds much more exciting and hassle-free.
Speaking of which, I am surprised you're having vibration issues with large subjects. Generally, these troubles mainly seem to afflict greater-than-10:1 type photomicroscopy.
Rather than a tripod, have you ever considered using a heavy desk, and placing a Thorlabs Breadboard (https://www.thorlabs.com/thorproduct.cfm?partnumber=MB1824) on it, with the breadboard supported by Sorbothane Feet (https://www.thorlabs.com/thorproduct.cfm?partnumber=AV6)?
Don't let a quick look fool you—those breadboards are about 25 lb (heavier than any tripod) and the Sorbothane Feet really absorb vibration. It's what I use for my studio macro shots ... albeit for much tinier subjects. Might be too inflexible for your situation.
Here are some images ... the first is the raw breadboard ... the second is with a covering (as I use live subjects). It sits atop a heavy cherrywood desk and there zero vibration.
The photos show a manual RRS rail, but I am using an automated rail now, with 1μm steps.
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If I were going to choose between the two, I suppose I would choose the latter 'A' version, since beyond 1:1 is my main interest for a studio lens.
For field use, the 65mm 1:2 Voigtländer Apo Lanthar Macro sounds much more exciting and hassle-free.
Speaking of which, I am surprised you're having vibration issues with large subjects. Generally, these troubles mainly seem to afflict greater-than-10:1 type photomicroscopy.
Rather than a tripod, have you ever considered using a heavy desk, and placing a Thorlabs Breadboard (https://www.thorlabs.com/thorproduct.cfm?partnumber=MB1824) on it, with the breadboard supported by Sorbothane Feet (https://www.thorlabs.com/thorproduct.cfm?partnumber=AV6)?
Don't let a quick look fool you—those breadboards are about 25 lb (heavier than any tripod) and the Sorbothane Feet really absorb vibration. It's what I use for my studio macro shots ... albeit for much tinier subjects. Might be too inflexible for your situation.
Here are some images ... the first is the raw breadboard ... the second is with a covering (as I use live subjects). It sits atop a heavy cherrywood desk and there zero vibration.
The photos show a manual RRS rail, but I am using an automated rail now, with 1μm steps.
Interesting idea, but most of my work is not "tabletop" size. However, I am working on the vibration problem and will have a report hopefully in the next week. I am testing Sorbothane, Neoprene, and so on. More important in this case is the sensitivity of a large overhanging lens. I will be supporting that and other large lenses aside from other vibration dampening. .
One lens, no matter how great, does not cover all the styles of shooting my subjects require. And just as in-the-field shooting has its concerns, so does studio work. And lenses that not only are well corrected, but that have a special "draw" or style are still hard to find, IMO. Of course, I prefer the earlier version of the Printing Nikkor, with its emphasis on lower magnification ratios. This earlier version also has a special lens ring that moves the internal lens elements to tweak the particular magnification ratio I am using. The later version is "fixed" in this respect.
Here is a photo of the Printing Nikkor 150mm APO f/2.8, the earlier version with the special lens-element ring. You can see why the length and weight of the lens is my main vibration problem. This is the actual lens I have, but not my camera. I will be working with this lens on the D850 and the A7R3, so I have to support the lens carefully. Why bother? The quality of the lens is better than other lenses I have AND it has a special draw or look all its own, IMO. Since I am not doing field work with this lens, I can take special pains to get what I can out of this lens rather than look to use a more convenient lens.
Sorry to get off topic. I will soon be testing the CV-65mm Macro lens as well.
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Here is a photo of the Printing Nikkor 150mm APO f/2.8, the earlier version with the special lens-element ring.
What about making a tripod collar to fit around the tube in the center?
Dave Hartman
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What about making a tripod collar to fit around the tube in the center?
Dave Hartman
Instead, I will use a long rail, with a lift on one end, Arca-Style.
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What about making a tripod collar to fit around the tube in the center?
Dave Hartman
My sentiments exactly. In fact, I commenced writing that before I saw your post, Dave :D
With a leverage like illustrated above, stabilising the lens is a hopeless task unless some kind of direct support for it is provided. You cannot argue with physics.
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I'm thinking something like this would work well.
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Probably better than not having any support at all. Yet, if the lens is going to be moved (?) when focusing, the coupling between support and lens is weak because it cannot be firmly locked. In such cases, a separate tripod collar for the lens is the way to go.
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Probably better than not having any support at all. Yet, if the lens is going to be moved (?) when focusing, the coupling between support and lens is weak because it cannot be firmly locked. In such cases, a separate tripod collar for the lens is the way to go.
The problem is that the lens has no focus ring, as you know. So I have to mount something on a focus rail, but still have some support. If you know how this is done, perhaps a link to Amazon.com with the right pieces (or somewhere) would be much appreciated.
As it is now, I will have to mount the device I just posted on a Novoflex focus rail that takes that vertical support rail I need to stack this, which is part of the problem. A single image would be no problem.
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I'm thinking something like this would work well.
A lot of moons ago when I was busy with micro-macro work, I've jumped to conclusion: there is nothing on the our Earth what may reduce, in reality, all of kinds of vibrations to zero. But it could be reduced to absolute minimum by long shutter, as long as possible, just to avoid the color shift. I know this is not acceptable in every situation, and good ND was a problem in my time and location, but anyway... One may use the best support ever possible, but vibrations will find their ugly way thru the bodies of the pipes. But if we are working with knowledge of our limitations, we will succeed. Your images just a good proof of it. Good luck! LZ
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I bought a 135/3.5 Ai in late November or early December. I wanted to try my new lens but it was dark by the time I go home. OK, a five minute exposure at f/5.6 will do the trick. The concrete sidewalk was unstable but that's were my point of view was. I stood in the gutter, opened the shutter with a locking cable. A bit of over kill: I used the hat trick to start the exposure. I walked away and sat down. Five minutes then returned and closed the shutter. I must have nailed the focus. The lens performance nocked my socks off.
I can't imagine 5 min. + 3 min. x 150 slices = major frustration. What if mirror up mode was used? What if a radio releast mode was use? Would a one minute delay to allow vibration to die before opening the shutter be acceptable? I know that would add two and a half hours to a 150 exposure stack. Can this be automated?
Dave Hartman
Note to self: enjoy others' stacks. Don't get hook yourself.