The Nikkor AM-ED (APO-Macro) f/5.6 Lens

[Michael Erlewine]

My copy of the Nikkor AM-ED (APO-Macro) f/5.6 lens finally arrived, with a Copal #0 shutter. I simply used a K2-Ring for the mount, a K-5 Ring for some exention, and then mounted the lens to a 37mm-52mm step-up ring directly to the front of the lens. I think I got that right.

Anyway, it works. I have it mounted on the Nikon PB-4 bellows and am using the Nikon D810 on the rear-standard. Here are my first to photos taken with the lens, enough to prove to me that this is a sharp lens, with good color, although the color may be a teeny-weenie bit on the harsh side. It seems well-corrected and, as mentioned, very sharp. I like it.

These photos taken with the Nikon D810, PB-4 Bellows, and Zerene Stacker.

[Dr Klaus Schmitt]

oh that's beautiful Michael, great results!!

[Akira]

Looks impressive, Michael.

I still believe that you used BR-2(A) instead of K2, though.  BR-2(A) has a male 52mm thread, and K2, a female one.

[Michael Erlewine]

Looks impressive, Michael.

I still believe that you used BR-2(A) instead of K2, though.  BR-2(A) has a male 52mm thread, and K2, a female one.

You may be right. Not my long suit. I will check next time I can.

[Akira]

If you screwed the mount directly or via K5 into the 52mm thread of AM ED to use it in reversed position, the mount is probably BR-2(A).

[Michael Erlewine]

If you screwed the mount directly or via K5 into the 52mm thread of AM ED to use it in reversed position, the mount is probably BR-2(A).

My previous remarks were another plan. It looks like I just used the BR-2A and attached it to the thread of the front of the lens, with the lens reversed. Make sense?

[Akira]

My previous remarks were another plan. It looks like I just used the BR-2A and attached it to the thread of the front of the lens, with the lens reversed. Make sense?

Yes, that was the method I proposed in another thread.

[Frank Fremerey]

It seems to suit you well.

My recomondation: Try to leave Zerene out of the picture. Explore movements instead.

You will be surprised what the histrorical AMED can do for you

Why do I say that?

See: The Noct has a perfect soft transition between focus and BG-rendering. This suits you well.

The AMED has a superhigh definition, much more like an Otus stopped down to 5.6. Take this without stacking to get the most of it.

[Michael Erlewine]

Here is a photo taken with the Nikon D810, with only a few stacked layers (three) to touch on key point to have sharp (three layers). I also checked out single-shot photos, but saw little difference than a stacked photo with only a few layers. The real problems of this lens are not that.

I am sure some of you can tell me why, but although this lens is very sharp, more than sharp enough, the lens elements must lack some coatings, so the colors are harsher than softer. Perhaps modern lenses have special coatings we get used to. I can see it in the top flower petal, the light greenish one. There is not much I can to do ameliorate that color sheen. I could try a polarizer, but the way I have the lens mounted, there are no threads to mount a filter.

So, suggestions are welcome. Otherwise, this is a remarkable lens.

[Frank Fremerey]

I feel the coating issue can only be seen, if light hits the front element in an unhelpful way. SO: When I use this lens I apply a huge Compendium (I use my Sinar F2 bellows for it) ... just enough to shadow off any stray light. PLUS: I avaoid backlit scenes with that lens.

[Michael Erlewine]

I feel the coating issue can only be seen, if light hits the front element in an unhelpful way. SO: When I use this lens I apply a huge Compendium (I use my Sinar F2 bellows for it) ... just enough to shadow off any stray light. PLUS: I avaoid backlit scenes with that lens.

I have never used a compendium. Any rules? Does it have to fit tight or can it just kind of loosely shade a lens?

What is the difference between a compendium and a matte box?

[Frank Fremerey]

Compendium is like a lens hood but not attached to the lens. In my case it sits on the monorail
like a part of the camera. I never used a matte box but if a matte box efficiently gets rid of stray light
you are in business.

[simsurace]

Here is a photo taken with the Nikon D810, with only a few stacked layers (three) to touch on key point to have sharp (three layers). I also checked out single-shot photos, but saw little difference than a stacked photo with only a few layers. The real problems of this lens are not that.

I am sure some of you can tell me why, but although this lens is very sharp, more than sharp enough, the lens elements must lack some coatings, so the colors are harsher than softer. Perhaps modern lenses have special coatings we get used to. I can see it in the top flower petal, the light greenish one. There is not much I can to do ameliorate that color sheen. I could try a polarizer, but the way I have the lens mounted, there are no threads to mount a filter.

So, suggestions are welcome. Otherwise, this is a remarkable lens.

This green sheen could be due to reasons unrelated to the lens (or did you try a different lens on the same shot?). The top petal is apparently lit by a light behind the subject on the right side. The left back part of the petal is lit by the reflecting light from the front part, which would be green light. I would simply try to move the back light closer in, angle it more into the petal and tune it down. This should both get rid of the white glare on the right part of the petal and throw some direct light on the now shaded part of the petal.

As for the lens shade, you simply want to shield the front element from any light sources, make it as tight as possible without the shade coming within the angle of view.

[Michael Erlewine]

Thanks everyone. I will just build a little shade out of the crinkly heavy paper I use for video work. Also, perhaps a polarizer might help, but I have not had this lens long enough to have any filter holder figured out. As for light, it was just outside light from a window.

Still, this lens reminds me of what I find in the Printing Nikkors, which are also very sharp, highly-corrected, but lack coatings, as they were never made for outside use, but rather to be used inside a film scanner.

I do appreciate any suggestions how to modify these lenses so that they can be used outside, because they are outstanding lenses, but just a little harsh. Any ideas?

[Bjørn Rørslett]

I used the 120 AM for all those years I did large-format photography, and never saw any "green" issue. The lens surely is designed to deal with daylight. It might be you react to the ED glass design and the purity and contrast of colours produced by it. Plus see the next paragraph.

Try a magenta CC filter to cut a little back on the greens if required. Also, do examine the light source as I suspect using anything other than a true continuous-spectrum source can get you into the trouble you describe. LED lights will not do.