The camera is the Sony a6000, great for adapting vintage glass to. The lenses are noted with the pictures.
The camera itself does not add much to the classic lens experience, except being able to handle the FD mount properly if I were to get an adapter. Buying a $35 adapter for one $5 lens doesn’t make much sense. Also the Sony’s “back button problem” mention in a previous post is a real pain with longer, heavier lenses. However I did want to see how the combination of the truly excellent 50mm f1.4 lens and the 24MP sensor is. I’d say it’s “astounding”.
A note about the Neewer adapter: I read several complaints about this which come under the heading of “try reading the instructions”; the basic problem being people not recognizing the need to loosen the set screws after putting the lens on and then turning it to get the information line on top. If you do this (and tighten the screws afterwards) the lenses screw in properly. None of mine were off any noticeable amount after the initial adjustment. Also someone whined that the inner ring pushes in the aperture pin “and affects the focus”. Well no, it has nothing to do with the focus and it is supposed to push the pin in: that essentially turns any ‘automatic only’ lens (such as the Soligor I have) into a manual lens as well as making any auto/manual switchable lenses manual only. It’s doing what it’s supposed to do; you need to learn how to use manual lenses.
I admit I have a very difficult time with manual focus, especially close up. I just do not see well enough anymore, so my best results are with ‘fixed focus’ settings or out of pure luck. That is the fault of my eyesight, not any of the equipment used.
I’m setting this to publish the day I’ll be under anaesthesia. If there’s a next post it means I survived because even though I have further pictures taken in my mad dash to try everything I could think of I haven’t put the posts together.
Or; things I came across while looking for other things.
Search engines aren’t what they used to be, especially on certain websites. They used to work. They still do after a fashion, but you have to want what they find for you. Logical operators no longer function, so instead of meeting specific criteria they return anything that has any part of your request. For example if you go looking for the rare four thirds lenses, you get micro four thirds* by the hundreds – as well as dozens of things you may have trouble figuring out the association with. Amazon is champion at this as almost any search will turn up women’s clothing. This is indicative of the other part of the problem; those listing items not categorizing them correctly, whether by accident or on purpose, in the first place.
As frustrating as it is when you’re really trying to locate something, it has its humourous side as well. And sometimes you find little nuggets of ‘gold’. Here are a few unusual items I’ve come across lately while looking around (for no good reason other than that I’m bored and can’t get out and about to take pictures).
Back in the film days Pentax made a 110 cartridge SLR camera with interchangeable lenses. My Uncle Roger had a few of them because he thought they were amusing. They were cute little things and they were well made, but unfortunately the film wasn’t: 110C started out with high standards and quickly degraded to amateur camera status as it didn’t make a dent in the professional market. To be fair 126C was basically 828/135 film inside a plastic cartridge and it failed for the same reason (yes there were 126C SLRs such as this; Instamatic Reflex ). Here we have a lens for one of those Pentax 110C SLRs offered as “can be adapted to micro 4/3”! I’m sure it would be a good shooter. By the way, Yashica made a few high-grade 110C cameras too, but not SLRs:
Staying in the field of unusual lenses, we have this for those who can’t decide between a 28mm and a 35mm wide-angle lens; behold the Soligor Dualfocal! At 7mm, the shortest range zoom lens ever!
This isn’t really a zoom lens per se as it just shifts between 28mm and 35mm. I can see where that might be handy. Or a zoom with detent stops at ‘standard’ focal lengths perhaps? Such would probably be pricey as manufacturers don’t like to be that accurate unless there’s a lot of money in it for them.
When looking at lens adapters I came across this most unusual one:
The Kodak Signet 80 was a rangefinder camera with interchangeable lenses – to of the 1950s Signet line that included the venerable 35, 30, 40, and 50 models as well. Here we see some clever machine work done to adapt the lens to micro 4/3 cameras. Signet 80 lenses are fairly rare, but it just goes to show that if you want to use a lot of various vintage glass a micro 4/3 camera can probably take whatever antique lens you can find!
Now for the funny stuff. I found not one but two “ghost hunting cameras”! Better known as “full-spectrum” cameras. I have to wonder if they really are modified, or are just plain bad at accurate colour rendering! *LOL*
These lead us to ask two questions: 1). do ghosts emanate or reflect infrared and/or ultraviolet? (They don’t have corporeal bodies so they shouldn’t produce heat); 2). if they don’t reflect the visible spectrum, how can you see where to aim the camera? I guess you just point and click and hope for the best. There’s a lot of that style of photography around. *LOL*
If you’re wondering just what it was I actually searched for, you’ll have to go on wondering. When I find it I’ll let you know.
*The ‘four thirds’ sensor size started out with reflex cameras before the mirrorless ‘micro four thirds’ units came along. The difference is in the distance between the sensor and the lens mount: the original was about 39mm to have enough room for the mirror; the micro version is about 19mm because there is no mirror to accommodate and that means it is easier to build external adapters that can connect just about any lens to the camera as the extra distance gives plenty of space to ‘shrink’ a larger lens mount to the micro four thirds’ smaller throat. The other choice for easy lens adaptability is a large throat on the camera, such as with the Canon EOS; this allows a smaller lens to mount within the opening, thus not altering the lens-to-sensor distance and therefor infinity focus. Trivia: one of the tightest lens adaptations is M42 to PK; the Pentax screw thread lenses on to Pentax bayonet cameras. This is because the lenses and mount were adapted over to begin with to create the bayonet ‘K’ series, and are almost identical in size. They really just changed the mount. Why mess with the lens design when all you have to do is update the connection, right? Unfortunately it means the adapters are delicate metal rings and often come with an accessory ‘key’ to twist them out of the bayonet because getting a purchase on them with your fingers alone can be difficult.