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Nikkor-S Auto 5.8cm f/1.4 试镜



  1959年2月,Nikon在日本东京发布其专业相机Nikon F以及四枚Auto镜头:Auto S 3.5cm f/2.8、Auto S 5cm f/2、Auto P 10.5cm f/2.5、Auto Q 13.5cm f/3.5,因其光圈环与距离刻度带有短线标记,故而此四枚镜头又别称Tick Mark Lens。在尼康庞大的镜头家族中,Tick Mark Lens却是较为罕见。同年10月,Nikon后继发布一枚大光圈Auto镜头Auto S 5.8cm f/1.4,并在次年3月正式面市。
  2008年的Nikkor Club Quarterly杂志第206期曾对这枚镜头有过详细介绍:

  The Nikkor-S Auto 5.8cm f/1.4

  With the emergence of the single-lens reflex camera, the rivalry between the Sonnar-type lens and the Gauss-type lens was finally resolved. As an asymmetrical optical system, the Sonnar-type lens simply could not ensure the back focus necessary for the operation of a quick-return mirror, and thus had to cede the mantle of standard large-diameter lens to the Gauss-type lens. Thus, as the single-lens reflex camera grew in popularity, the Gauss-type lens became the standard large-diameter lens, while the Sonnar-type lens found its niche as a large-diameter telephoto lens, a role for which its short overall length proved advantageous.

  Moving on to the Nikkor-S Auto 5.8cm f/1.4, this was the first f/1.4 lens for use with the Nikon F Series. Since the Nikon F Series was intended to supersede the Rangefinder S Series, it was absolutely imperative that Nikon develop a standard lens with good brightness characteristics at an aperture setting of f/1.4. In charge of the design of this lens was Saburo Murakami. It seems likely that this was the last lens that he ever worked on, since after its development he was promoted to assistant director of the design division.

  The design of this lens began at around the time the design of the 5cm f/2 was being completed. The 5cm f/2 was a modified Gauss-type lens that featured a weak concave lens at the front, and which was able to ensure back focus as required by F-Series cameras. However, it was no simple matter to make the transition to a lens that was one stop brighter. In general, the brighter the lens, the thicker it is. Thus its overall length is increased and the back focus is shortened. In the end the designers decided to make the focal length 8mm longer, so as to ensure the required back focus.

  
  Figure 3: Lens configuration of the Nikkor-S Auto 5.8cm f/1.4

  Figure 3: Lens configuration of the Nikkor-S Auto 5.8cm f/1.4 Figure 3 shows this lens in a cross-sectional view, with its six-group, seven-element configuration. This configuration is equivalent to a regular Gauss-type lens with a convex lens added at the front. Although the third and fourth lenses appear to be cemented together, they are in fact slightly separated from one another, with a tiny air space in between them. The focal length of 5.8cm represented a trade-off between the decline in performance caused by ensuring the necessary back focus and the need to set a focal length that still fell within the range that would allow the lens to be termed a standard lens. For a short telephoto lens, however, this was a fairly workable focal length. The Noct-Nikkor lens, which was released later with a focal length of 58mm, emulated the 5.8cm f/1.4 in this regard.

  In terms of the balance between aberrations, this lens was typical of the early Gauss-type lenses. The addition of a convex lens to the front group was superbly effective in correcting spherical aberration. Longitudinal (axial) chromatic aberration and lateral chromatic aberration were both minimized and the astigmatism correction was excellent. However, since field curvature persisted in small measure and the coma correction was imperfect, there was considerable flaring at full aperture, and when the lens was stopped down, its resolution was somewhat inferior to that of the latest lenses. These two problems were probably the result of excessive efforts at the design stage to increase back focus, as required by a single-lens reflex camera. Flawless field curvature correction and coma correction were subsequently achieved on the lens that succeeded this model—the Nikkor-S Auto 50mm f/1.4. However, I would like to save that story for another day.

  Although barrel distortion persisted to a small extent, this was not really noticeable unless linear subjects were shot.

  但一直令人费解的是,不到两年时间,也即在1962年1月,这枚镜头便告停产。三个月后,Nikon开始销售Auto S 50mm f/1.4镜头以作为其后继者。
  Nikon官方从未解释Auto S 5.8cm f/1.4镜头停产原因,在如下资料:

  By the end of 1959 this mysterious lens was introduced. Some people believe that this lens, having 7 elements in 5 groups, wasn't produced by Nikon itself. This lens had a relatively short life. In less than 2 years it disappeared from the market. Total production is a mere 39,000 lenses, though it has variations, mainly in its markings on the distance scale. There are lenses with a scale in metres or in inches or in both metres and inches! In March 1962 its ‘sister’ came on the market. A version of this lens has a "Patent Pending" inscribed on the metal lens barrel.

  Photography in Malaysia

  中传言这枚镜头并非是Nikon所生产,这似乎可以解释其匆忙停产的原因。Nikon随后生产的标准镜头,焦距也变为最常见的50mm。58mm焦距镜头对于Nikon而言,神秘而传奇,除却这枚5.8cm镜头,Nikon另一枚58mm镜头便是1976年面世的那枚The Special Lens,夜之眼的Noct 58mm f/1.2。
  作为Nikon镜头生产史上时间最短的Auto S 5.8cm f/1.4镜头,虽然没有Noct 58mm f/1.2夜之眼般成像瑰丽,却也算得上Nikon的珍罕镜头之一,毕竟总共不过才生产39000枚而已。

  昨日中午,因为一枚Auto N.C 24mm f/2.8镜头的买卖问题,阴差阳错地买到一枚成色颇佳的Auto S 5.8cm f/1.4镜头。



  Nippon Kogagu Nikkor-S Auto 1:1.4 f=5.8cm

  Manufacturing date: 1959.10 - 1962.01
  Serial Number: 140051 - 140138 - 177142 - 179051
  Aperture ratio: 1:1.4
  Smallest aperture: 16
  Lens construction: 7 elements in 5 groups
  Angle of view: 40°50'
  Aperture blades: 6
  Nearest distance: 60cm
  Diameter: 67mm
  Filter size: 52mm
  Length: 47.5mm
  Weight: 350g

  镜头结构组的资料略有出入,有7片6组与7片5组两种说法,若果然是7片6组,倒是与1963年日本东京光学(Tokyo Kogaku)所产那标号称日本标头之王的RE. Auto-Topcor 58mm 1:1.4镜头相同,只是成像不及,故而采用7片5组之说,未见官方结构图,存疑。前镜片琥珀色镀膜,典型的Nikon早期单层镀膜。前压圈铭刻:Nippon Kogagu Japan No.16xx77 Nikkor-S Auto 1:1.4 f=5.8cm。镜筒纯金属制造,黑白相间,好处是无论用在黑白机身上均是美观。



  距离刻度0.6米下有专利申请Pat. Pend.字样,序列号16xx77,后期产品,1962年初生产。
  最难得有原配前后盖与皮桶,另有一枚Nikon L39 52mm银圈UV镜,这也是Nikon原厂唯一一枚L39波段UV镜,搭配镜头白口,很是漂亮。镜头前盖正面有Tokyo(东京)Nippon Kogagu(日本光学)标志,背面有52mm Pat. Pending Nippon Kogagu Japan字样。后盖正面有Nippon Kogagu K.K. Japan字样与标志缩样,背面只一大写F字样。做工精美,远非今日Nikon产品可比。

Nikon D200
Nikkor 50mm f/1.8

  两日降温,户外极寒。Auto卡口不可以直接用在Nikon D200数码单反之上,故而镜头入手整整一日仍然难以试镜。中午实在难耐,翻出一卷过期两年有余的乐凯胶卷,下楼草草一圈,十几分钟便拍完一卷,大略测试了最大、最小光圈及逆光、散焦、畸变等种种情况,回来冲洗扫描,难得如此效率。


  f/4 1/60s

  第一张,F4,成像惊艳,反差与细节刻画不输任何一只标准镜头。


  f/11 1/125s

  因为最小光圈F16,常用的F11也即最小光圈只缩小一档,不是理论上缩小两档的最佳光圈,但在135画幅上看不出任何问题,可堪大用。


  f/11 1/125s

  此行巴渝回京,第一枚出手的镜头便是Voigtländer Nokton 58mm F1.4 SL II,那是枚非常优秀的镜头,让我不满意的地方在于58mm焦距在标准镜头中已趋上限,40度左右的视角对于人文摄影而言过窄,而且镜身过长不便携带,虽然成像温婉,散景迷人,但还是平价出手。却不想折腾回来却又是一枚58mm镜头,唯可安慰之处在于Nikkor-S Auto 5.8cm f/1.4结构紧凑。但焦距未免还是有些太长,从标准镜头中最短的40mm忽然到58mm,还是需要时间适应,景深不足,在F11下估焦盲拍,失误。


  f/8 1/500s

  无遮光罩逆光拍摄,层次细节仍好,没有问题,远甚我那枚最近常用的Arsat 50mm F2,如此相比便有辱没Nikkor-S Auto 5.8cm f/1.4之嫌。


  f/1.4 1/60s

  最大光圈与Nikon那枚最大光圈的50mm f/1.2一样,全不可用,耀光严重,反差极小(图片后期加反差),散景二线性令人眩晕。Nikkor-S Auto 5.8cm f/1.4的散景呈轻微涡旋状,口径蚀校正不足,却倒是有极浓烈的老镜头味道。


  f/1.4 1/60s

  后期仍加反差。如此看来,Nikkor-S Auto 5.8cm f/1.4的最大光圈非到万不得已,是万万不可用的。不过背景若非极端条件,倒也有柔滑味道。

  实测感觉,与Nikkor Club Quarterly杂志评价大略相同:

  Results using the lens

  Finally, we will take a look at the photographic results that this lens produces.

  At full aperture the center of the image produced by this lens is extremely sharp; however there is blurring from the center of the picture outwards due to coma flare, and (except in the very center of the picture) there is an overall gauzy effect. The coma flare decreases as the lens is stopped down, and generally disappears at f/2.8- f/4. Due to the slight residual field curvature, however, the image never acquires a solid tone but retains a soft appearance overall. When the lens is stopped down to f/4, the images produced are in marked contrast to images shot using the latest AF Nikkor 50mm f/1.4, which exhibit a uniformly solid appearance that extends to the peripheral areas of the image.

  The first sample image is a photograph of an azalea, taken with the lens slightly stopped down. The soft appearance produced using this lens is probably shown to best effect when an image is shot at a range of less than 1 meter. At full aperture, a subject in front or behind the paper-thin focal plane will be blurred and will merge into the background. This is an effect that is probably difficult to achieve with any other lens. To avoid excessive blurring, this sample photograph was shot one stop down.


  Nikon F-301, Nikkor-S Auto 5.8cm f/1.4, Aperture: f/2, Exposure mode: Aperture-priority auto, Film: RVP100
  Example 1


  Nikon F-301, Nikkor-S Auto 5.8cm f/1.4, Aperture: f/4, Exposure mode: Aperture-priority auto, Film: RVP100
  Example 2

  The second sample image was shot with the lens stopped down slightly more, at f/4. Because the focal length of this lens is slightly greater than focal lengths of ordinary standard lenses, at any given stop setting there is considerable blurring with little perspective distortion. Hence the lens is well suited to mid-to-long range photography. As can be seen from the samples, a fine blurring effect is achieved. One unfortunate aspect of the lens, however, is that since the aperture is hexagonal, stopping down from f/2 to f/2.8 produces shadowing at the corners of the image.

  First released in March 1960, this lens was sold until the release of its successor, the Nikkor-S Auto 50mm f/1.4, in March 1962. Once the lens had outlived its usefulness, production ceased. The lens was thus in production for a mere two years. It was its successor, the Auto 50mm f/1.4, that firmly established the position of pre-eminence that the Nikon F Series and Nikkor lenses now enjoy. However, the tale of the development of the Auto 50mm f/1.4 is one that we shall leave for another time.

  这一枚难得的老Nikkor-S Auto 5.8cm f/1.4镜头,迄今已五十载,第一位透过他眼所见世界之人,已不知是否仍在世间?却难得留得它如此簇新,全然不见岁月痕迹。或者,可在我手中再愈数十年;或者,不日之后再归他人所有。
  还好,曾经我手,曾过我眼。

Nikon F3
Nikkor-S Auto 5.8cm f/1.4
Lucky SHD 100 [Expired Film]
Kodak D-76 / Stock / 20°C / 7'35"
Epson Perfection 4490 Photo
无觅
  • 2.06K
  • quote 5.老虎
  • http://synyan.net
  • 无锡也冷。大风。
    胡成 于 2010-12-26 23:51:44 回复
    今年冬天似乎哪里都很冷,今年冬天将会是最冷的一个冬天的传言或许成真,如此看来2012应当也是真的,我们还有一年,好好得瑟吧。
  • 2010/12/26 23:36:00 回复该留言
  • quote 4.拜罗依特
  • 看见黄色的镀膜,我猜测是单层镀膜吧。玩过一阵M42镜头,对这种黄色镀膜老镜头有些熟悉。
    胡成 于 2010-12-26 9:58:27 回复
    好眼力,这枚镜头确实是单层镀膜。M42镜头很好玩,多而且好,价格也公道,什么时候再淘换一台好成色的Fujica ST801,继续玩下去。
  • 2010/12/25 23:44:26 回复该留言
  • quote 3.老虎
  • http://synyan.wordpress.com
  • 难得的技术贴(好吧,也许之前还有很多,没有读全),拜读鸟……
    胡成 于 2010-12-26 9:51:45 回复
    就像你说的,恶劣天气真的容易诱发技术贴,无锡如何?北京太冷了。
  • 2010/12/25 22:12:58 回复该留言
  • quote 2.百鬼
  • 恭喜入手这只5.8啊,真是运气!Auto Q 13.5cm f/3.5曾经见过,也是只优秀的拍人像的白头--我不确定哪里见到的说法,这批头出自蔡司的技工。还有个不能不提的名字胁本善司。

    记得以前查询凤凰瞳的时候链接就指向你的一篇文字,若是能有机会把两只凑在一起试片就好了。日本光学和东京光学历史上是什么关系,我只知道东京光学就是topcon后来被驹村并入旗下,但是听人说过我的那只topcon就是尼康头,我猜他是是不是把东京光学和日本光学弄混了?

    你们对片子要求太严了,我觉得这个成像已经是非常好了==
    胡成 于 2010-12-24 22:46:40 回复
    上次听你说过查凤凰瞳结果找到这里的事情,不过上次没有细聊。那只凤凰瞳指的是Topcon的RE. Auto-Topcor 58mm 1:1.4,Topcon东京光学与Nikon日本光学没有任何关系,凤凰瞳更不会是尼康头。Topcon直到1932年才在东京成立,1963年他推出了一款著名的Topcon RE. Super单反相机,凤凰瞳就是同年生产的配套镜头,与尼康镜头最大的不同就是这枚镜头滤镜尺寸是62mm,比尼康常用的52mm要大,而且Topcon RE.系统镜头从广角到长焦没有一款镜头采用52mm滤镜尺寸。Topcon RE. Super一直生产到1971年,是六七十年代的顶级单反相机之一,也曾被美国军方采购,可见当时风光。我觉得之所以有些人会把凤凰瞳和尼康镜头弄混,是因为确善能复刻凤凰瞳以后,又以其光学结构和福伦达的商标生产了Voigtländer Nokton 58mm F1.4 SL,最初只有尼康卡口,所以弄不清楚前世今生便会有误解。可惜东京光学在1981年就停止了摄影设备生产,直到1989年才正式更名Topcon株式会社,所以我在几次提到的时候都只说东京光学而不说托普康。
    这个镜头成像很有老相机镜头的特色,我见过几张好成色的照片,无一例外的都和我收的这枚镜头一样带一片尼康原厂银环L39 UV而不是常见的L37,这枚52mm直径的UV镜也是尼康唯一一片390nm紫外线过滤镜,非常罕见。
    我是很喜欢这枚镜头了,但是现在很纠结,成色太新,最容易露白的调焦环都是完美,舍不得用又想用,为难呀。
  • 2010/12/24 22:15:41 回复该留言
  • quote 1.拜罗依特
  • 你没玩过M42系列吗
    胡成 于 2010-12-24 20:59:22 回复
    前后两台Fujica ST801出手以后,留下舍不得出的最后一枚西德Icarex的Carl Zeiss Tessar 50mm f/2.8也忍痛改成了尼康口,怎么了?
  • 2010/12/24 20:49:59 回复该留言

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