Nikon 35mm PC shift lens changes colors

"Gordon Moat" wrote in message
...
wrote:
[SNIP]
Some might wonder why bother at all. While a large format camera
with movements will work better, the reality of some photo situations
is that the time and space requirements for some locations do not
allow setting up a large format camera and managing to get enough
images on location. These tiny shift lenses are convenient in some
special circumstances and situations.


In another thread I mentioned recently using a Pentax LX to get a set of
night pictures where I had to work very fast - I had only a few minutes
before the site closed and the security guys locked everywhere up. The lens
I was using was the Pentax 28mm shift: no way on Earth I could have done the
shots in time with a large format camera.

(I suppose I could have used my 6x6 with a 45mm shift lens, but I didn't
have it with me on that job, and that wouldn't have given me the metering
that the LX offered.)


Peter

"Gordon Moat" wrote in message
...
wrote:
[SNIP]
Some might wonder why bother at all. While a large format camera
with movements will work better, the reality of some photo situations
is that the time and space requirements for some locations do not
allow setting up a large format camera and managing to get enough
images on location. These tiny shift lenses are convenient in some
special circumstances and situations.


In another thread I mentioned recently using a Pentax LX to get a set of
night pictures where I had to work very fast - I had only a few minutes
before the site closed and the security guys locked everywhere up. The lens
I was using was the Pentax 28mm shift: no way on Earth I could have done the
shots in time with a large format camera.

(I suppose I could have used my 6x6 with a 45mm shift lens, but I didn't
have it with me on that job, and that wouldn't have given me the metering
that the LX offered.)


Peter

Well, I don't know what the problem is. The prints showed the color
shifts, and maybe it's just bad processing from the lab or bad film. I
shot some slides and sent them to another lab, so I'll see what they
look like when I get them back.

Meanwhile, I put the lens on my D70. Again, the manual says not to use
this lens (based on its serial #) on the D70, as it did for the N90s,
yet I don't see any mounting or electrical problems on either body. I
guess there is a possibility that an unmodified lens could do some
damage and Nikon wants no liability in that regard.

The nice thing about the D70 is that I can see my shots right away,
which is essential, given that I cannot meter this lens at all on the
D70 (according to the manual, PC lenses will not meter on this body).
So I use the sunny 16 rule and LCD screen to get proper exposure.
Fortunately, I do not see any color shifts like I did on the negative
film. That's definitely a good sign. The 1.5x factor makes this a 53mm
lens, which is still useful but not as much as 35mm. Hence, I'd like to
shoot film, and if the slides have good color, then everything's OK.

Well, I don't know what the problem is. The prints showed the color
shifts, and maybe it's just bad processing from the lab or bad film. I
shot some slides and sent them to another lab, so I'll see what they
look like when I get them back.

Meanwhile, I put the lens on my D70. Again, the manual says not to use
this lens (based on its serial #) on the D70, as it did for the N90s,
yet I don't see any mounting or electrical problems on either body. I
guess there is a possibility that an unmodified lens could do some
damage and Nikon wants no liability in that regard.

The nice thing about the D70 is that I can see my shots right away,
which is essential, given that I cannot meter this lens at all on the
D70 (according to the manual, PC lenses will not meter on this body).
So I use the sunny 16 rule and LCD screen to get proper exposure.
Fortunately, I do not see any color shifts like I did on the negative
film. That's definitely a good sign. The 1.5x factor makes this a 53mm
lens, which is still useful but not as much as 35mm. Hence, I'd like to
shoot film, and if the slides have good color, then everything's OK.

wrote:

Well, I don't know what the problem is. The prints showed the color
shifts, and maybe it's just bad processing from the lab or bad film. I
shot some slides and sent them to another lab, so I'll see what they
look like when I get them back.

I hope the slides tell you a bit more. The only other thing I can think of
is perhaps some flare from edge lighting, though if you used a hood, or
changed camera to scene position, then that would not happen.



Meanwhile, I put the lens on my D70. Again, the manual says not to use
this lens (based on its serial #) on the D70, as it did for the N90s,
yet I don't see any mounting or electrical problems on either body. I
guess there is a possibility that an unmodified lens could do some
damage and Nikon wants no liability in that regard.

I wish I knew more about the details of the modification. The 35 mm shift
lens I have is not modified. When I went to the PhotoImaging & Design
Expo, and asked if I could try the lens on several different bodies, the
reps didn't want to try it out. However, they had no problem with my
mounting it on an F6 or FM3A.



The nice thing about the D70 is that I can see my shots right away,
which is essential, given that I cannot meter this lens at all on the
D70 (according to the manual, PC lenses will not meter on this body).

Normally, when I use any shift lens, I meter using my Sekonic L-358. I
find that faster than metering unshifted, and then shifting and setting
aperture and focus again. When I use the lens unshifted for imaging, then
the in camera meter is fine (if your camera will work that way). If I
recall correctly, the D70 is based upon a N80 or lower specification SLR.


So I use the sunny 16 rule and LCD screen to get proper exposure.
Fortunately, I do not see any color shifts like I did on the negative
film. That's definitely a good sign. The 1.5x factor makes this a 53mm
lens, which is still useful but not as much as 35mm. Hence, I'd like to
shoot film, and if the slides have good color, then everything's OK.

Yes, the crop factor is a problem, and even the 28mm shift lens would be
affected. However, I don't see any shift lens as one you would use often,
so a little bit of film use with one will not break the bank account.
Hopefully, your slides will look fine, and the problems will be solved.

Ciao!

Gordon Moat
A G Studio
http://www.allgstudio.com

wrote:

Well, I don't know what the problem is. The prints showed the color
shifts, and maybe it's just bad processing from the lab or bad film. I
shot some slides and sent them to another lab, so I'll see what they
look like when I get them back.

I hope the slides tell you a bit more. The only other thing I can think of
is perhaps some flare from edge lighting, though if you used a hood, or
changed camera to scene position, then that would not happen.



Meanwhile, I put the lens on my D70. Again, the manual says not to use
this lens (based on its serial #) on the D70, as it did for the N90s,
yet I don't see any mounting or electrical problems on either body. I
guess there is a possibility that an unmodified lens could do some
damage and Nikon wants no liability in that regard.

I wish I knew more about the details of the modification. The 35 mm shift
lens I have is not modified. When I went to the PhotoImaging & Design
Expo, and asked if I could try the lens on several different bodies, the
reps didn't want to try it out. However, they had no problem with my
mounting it on an F6 or FM3A.



The nice thing about the D70 is that I can see my shots right away,
which is essential, given that I cannot meter this lens at all on the
D70 (according to the manual, PC lenses will not meter on this body).

Normally, when I use any shift lens, I meter using my Sekonic L-358. I
find that faster than metering unshifted, and then shifting and setting
aperture and focus again. When I use the lens unshifted for imaging, then
the in camera meter is fine (if your camera will work that way). If I
recall correctly, the D70 is based upon a N80 or lower specification SLR.


So I use the sunny 16 rule and LCD screen to get proper exposure.
Fortunately, I do not see any color shifts like I did on the negative
film. That's definitely a good sign. The 1.5x factor makes this a 53mm
lens, which is still useful but not as much as 35mm. Hence, I'd like to
shoot film, and if the slides have good color, then everything's OK.

Yes, the crop factor is a problem, and even the 28mm shift lens would be
affected. However, I don't see any shift lens as one you would use often,
so a little bit of film use with one will not break the bank account.
Hopefully, your slides will look fine, and the problems will be solved.

Ciao!

Gordon Moat
A G Studio
http://www.allgstudio.com

Philip Homburg wrote:

In article ,
Gordon Moat wrote:
The recommendation from Nikon on brand new
cameras was the F6 or FM3A. There is a newer 28 mm shift lens, and that
one is okay to use on the D2X.

Nikon lists in its manuals which lenses cannot be used. As far as I
can tell, shift lenses are generally okay provided that they are compatible
with Ai cameras.

None of the shift lenses are AI, nor AIS, but the later manufactured ones had
more material cut away (than earlier versions), allowing them to not foul the
mounting.

This is only an issue on the earliest versions. Since the OP remarked that his
was a Nippon Kogaku labelled version, that one is too early. He mentioned that
it had been modified, but I don't know what areas need to be changed to allow
mounting safely on newer gear, so that leaves a question on his lens. If the
modifications are more like the later shift lenses, then he should be fine.

Ciao!

Gordon Moat
A G Studio
http://www.allgstudio.com

Philip Homburg wrote:

In article ,
Gordon Moat wrote:
The recommendation from Nikon on brand new
cameras was the F6 or FM3A. There is a newer 28 mm shift lens, and that
one is okay to use on the D2X.

Nikon lists in its manuals which lenses cannot be used. As far as I
can tell, shift lenses are generally okay provided that they are compatible
with Ai cameras.

None of the shift lenses are AI, nor AIS, but the later manufactured ones had
more material cut away (than earlier versions), allowing them to not foul the
mounting.

This is only an issue on the earliest versions. Since the OP remarked that his
was a Nippon Kogaku labelled version, that one is too early. He mentioned that
it had been modified, but I don't know what areas need to be changed to allow
mounting safely on newer gear, so that leaves a question on his lens. If the
modifications are more like the later shift lenses, then he should be fine.

Ciao!

Gordon Moat
A G Studio
http://www.allgstudio.com

In article ,
Gordon Moat wrote:
This is only an issue on the earliest versions. Since the OP remarked that his
was a Nippon Kogaku labelled version, that one is too early. He mentioned that
it had been modified, but I don't know what areas need to be changed to allow
mounting safely on newer gear, so that leaves a question on his lens. If the
modifications are more like the later shift lenses, then he should be fine.

Both the 28/4 and the 35/3.5 do not extend beyond the lens mount. After the
modification to fit Ai cameras they should be safe for AF cameras as well.


--
That was it. Done. The faulty Monk was turned out into the desert where it
could believe what it liked, including the idea that it had been hard done
by. It was allowed to keep its horse, since horses were so cheap to make.
-- Douglas Adams in Dirk Gently's Holistic Detective Agency

In article ,
Gordon Moat wrote:
This is only an issue on the earliest versions. Since the OP remarked that his
was a Nippon Kogaku labelled version, that one is too early. He mentioned that
it had been modified, but I don't know what areas need to be changed to allow
mounting safely on newer gear, so that leaves a question on his lens. If the
modifications are more like the later shift lenses, then he should be fine.

Both the 28/4 and the 35/3.5 do not extend beyond the lens mount. After the
modification to fit Ai cameras they should be safe for AF cameras as well.


--
That was it. Done. The faulty Monk was turned out into the desert where it
could believe what it liked, including the idea that it had been hard done
by. It was allowed to keep its horse, since horses were so cheap to make.
-- Douglas Adams in Dirk Gently's Holistic Detective Agency