35mm Lenses

17mm f/3.5 Tokina SL17

Yeah, I know I started this out saying I use Nikon cameras for Nikkor lenses, but this Tokina is fantastic. It's 103 degree field of view really can "push the walls back" when you can't!

24mm f/2.8 Nikkor-N.C. AI'd

This was, at one time, the most important lens in my daily "work" bag. Mine is a pre-AI version that has been converted to AI. The lens is nice and sharp with excellent contrast. Construction is 9 elements in 7 groups and weight is a tad over 10 ounces. The 84º field of view, 1' minimum focus distance, and Nikon CRC (Close Range Correction) made it a great general purpose wide angle lens for photojournalism.

25-50mm f/4 Zoom Nikkor AIS

Since I bought this lens, I find my 24mm staying on my backup body more and more. It's a touch slow for indoor-non-flash work, but with flash, it's a great reportage lens. I use it a lot.

24-40mm f/2.8 Tokina AT-X Zoom

Thie is another one of the very few non-Nikkor 35mm lenses that I love to use. I bought this lens as a backup to the 25-50mm Nikkor. For indoor work with a fast emulsion such as Tri-X or Fuji Press 800, the extra stop of speed makes a big difference, even if only for focusing. It's very sharp and is a nice addition to the arsenal.

55mm f/3.5 Micro Nikkor AI

Mine is a late AI model. Nikon replaced it with an f/2.8 version, but I think the f/3.5 is actually a bit sharper. No matter, either lens is an outstanding choice. I have the PK-13 extension tube which is allows this lens to reach 1:1 (repro rate without the tube is 1:2).

85mm f/1.8 Nikkor AI'd

This is NOT the AF-D lens which is currently available. This lens was never offered as an AI, but there was a Nikon conversion kit. Mine was AI'd by the milling method. The later versions of this excellent lens are the most desirable (serial number above 410001, rubberized focus ring). It's a beefy lens (about 15 ounces), but still takes standard 52mm filters. It's f/1.8 speed make it a great choice as a short tele in available light. Even if I have a zoom in the bag that covers that focal length, this lens is usually in the bag as well.

105mm f/2.5 Nikkor AI'd

There isn't much I can say that hasn't already been written about this legendary lens. As far as I'm concerned, it is THE lens for 35mm portraits. Mine was the last version prior to the AI series, and was converted to AI by milling the aperture ring.

50-135 f/3.5 Zoom Nikkor AIs

This constant aperture zoom was only made for a couple of years in the early 1980's, and only as an AIs lens. At 24.5 ounces, it's not a flyweight, but it more than makes up for that in photographic results. I'm not a big fan of zooms, but this one is an exception. I think a good portion of it's excellent performance can be attributed to it's relatively short 2.7:1 zoom range. One feature I like is that the front element does not rotate while focusing, which makes for easier use of a polarizer. This is one of the few manual focus lenses that I use on my DSLR's as well as on 35mm.

300mm f/4.5 EDIF Nikkor AIs

When I bought this lens, I wasn't sure if it was going to make it onto my "favorites" list. It was purchased from a seller who doesn't share my definition of "excellent condition." The glass is in good shape, but the lens had seen better days. My first tests with the 300 blew me away, it was far better than I had hoped, and it's now in my daily working bag. Mine is a former newpaper lens, so it has it's share of bag bruises.

Medium Format

In 2004, I made a major changes in my photographic life. For many years, my primary medium format gear was Mamiya C-series TLR's. I've been a big fan of the twin lens reflex camera since I got my first Yashica Mat 124G back in 1975. I've used Rolleiflex and Minolta Autocord TLR's, but the interchangeable lens capability of the Mamiya C-series - not to mention the excellent quality of their lenses - made me a convert to that system.

Anyway, a friend who migrated to digital made me an offer I couldn't refuse, so I bought his entire Bronica SQ-A and SQ-Ai system. After shooting my first 20 or so rolls of film, I was hooked and have expanded the system in a big way. Just my luck, right about the time I migrated to Bronica, Tamron announced that they were discontinuing all Bronica SLR systems. That really doesn't matter at all as there is a wealth of gear on the used market.

My other medium format favorite is a Graflex Miniature Speed Graphic that dates to about 1941 which I use with 6x9 roll film backs.

50mm f/3.5 Zenzanon PS

An excellent general purpose wide angle, and very useful for wedding work.

55mm f/4.5 Mamiya-Sekor

The 55mm f/4.5 is an excellent general purpose wide angle and is one of my favorites for use during wedding receptions. At f/4.5, the viewfinder is a bit dim in low light, but that's a small price to pay for the excellent results. I no longer own this lens.

135mm f/4.5 Mamiya-Sekor

Another dynamite optic, the 135mm f/4.5 is the perfect head shot lens for the TLR. It's tack sharp. This lens has also been sold to make room for the Bronica system.

150mm f/4 Zenzanon PS

OUCH! This lens is killer for portraiture. Truth be told, this piece of glass sold me on the SQ based system. It spends a lot of time on my SQ-Ai body. Hint: an S-18 extension tube is an important accessory to have if you want to shoot close up with this lens. The S-36 is helpful if you want to get REAL close...

101mm f/4.5 Kodak Ektar

This is my "normal" lens of choice on my 2X3 Pacemaker Speed Graphic. It's single coated so the use of a proper lens hood is a must. Regardless, it delivers stunning results in both black & white and color images.

Large Format

My 4x5 camera body of choice is a Toyo monorail camera, the D45M, which I use both in the studio and the field. In 5x7, I have a very soft spot for my Eastman View #2 (these are pre-Eastman 2D).

I recently sold my Century 4a studio camera and acquired a Calumet C-1 "Green Monster" 8X10 (with the 5X7 and 4X5 reducing backs). I'll miss the 4a, but I really needed a camera body with more movements, not to mention one that could go out on location easily. If you've never taken a massive studio camera in to the field, you've missed one of the unique "pleasures" of large format photography!

65mm f/8 Schneider Super Angulon

While this lens doesn't offer squat for movements on 4x5 (it barely covers the full 4x5 image area), it offers an equivalent angle of view of a 20mm lens on a 35mm camera. It's quite sharp corner to corner at f/16 and f/22. Used with a 6X9 roll film back, it's like using a 28mm lens an a 35mm camera.

Mine is in a size 00 Synchro Compur, so mounting to my modified Toyo 45E was a bit of a problem. Toyo doesn't offer undrilled recessed lens boards for their monorail cameras, nor do they offer one drilled for a size 00 shutter. My solution was to make a plate from 1/8" Baltic Birch plywood (painted flat black) which was then mounted to a Toyo recessed board. A 25mm hole drilled through the plywood plate provides the proper hole for the size 00 shutter.

It's a dynamite piece of glass for shooting interiors.

90mm f/8 Ilex-Calumet Wide Field Caltar

Very similar in design to the Schneider 90mm f/8 Super Angulon. An extremely sharp lens, it's mounted in a Seikosha MXV shutter. This is my general purpose wide angle lens for 4X5.

5" f/4 Ross Wide Angle Xpress

This lens resides in an unsynched Betax #4 shutter. I have it mounted for my Eastman #2, though coverage is a little tight at the corners.

180mm f/5.6 Rodenstock Sironar

I got rid of my 150mm Schneider after I processed the first negatives I shot with this lens. The contrast and sharpness are superb.

210mm f/5.6 Rodenstock Sironar-N MC

While many would argue the merits of having both a 180 and a 210 for 4X5, the 210 is perfect for tabletop shooting and for some portraiture. For a slightly longer than normal lens, this one is hard to beat.

8 1/2" (215mm) f/4.5 Ilex Series S Paragon Anastigmat

In an Ilex No.4 Universal shutter (self cocking), the 8 1/2" Paragon Series S is an excellent focal length for tabletop work. The Paragon S lenses are sleepers in the large format world, sharp and contrasty, but they're often passed over by many (unknowing) photographers who've never used one. In addition to tabletop work, the 8 1/2" is also a great portrait lens for 4X5.

10" (254mm) f/6.3 Ilex Paragon Anastigmat

I bought this lens in barrel and mounted it in a N.I.B. Ilex #3 Synchro that had been sitting in my equipment closet for many months. I've had many lenses in this focal length, including the Kodak Commercial Ektar, but this lens is my favorite.

12" (305mm)) US 4 (f/8) Wollensak Symmetrical

This Rapid Rectilinear design lens dates back to at least 1903 and came mounted on my Century 4a Studio Camera (circa 1928). 12" may not seem like enough focal length for portraiture for 8x10 (and in some cases, 5x7), the rule of using a focal length "2X normal" for portraits doesn't really hold when you start getting into larger film sizes.

Once again, Carol Miller did a splendid job of bringing back to life the Wollensak Century shutter (same as the Wollensak "Regular") in which this lens resides. For electronic flash use, I've mounted a sync'd Packard shutter behind the lensboard of this lens as I didn't want to modify a 100+ year old shutter assembly.

The f-stop scale on the shutter of this lens is of the old US type. For those who aren't familiar, US in this case stands for "Uniform System", not United States. A quickie conversion list from US to the modern f-stop scale: 1=4, 2=5.6, 4=8, 8=11, 16=16, 32=22, 64=32, 128=45, and 256=64.

I held onto this lens when I sold the Century 4a. At the moment, I'm deciding if I'll mount it up for the Calumet C-1 or for the Eastman #2.

305mm f/9 Apo-Nikkor

I bought this lens on a lark and I'm glad I picked it up! Mine is mounted on a 6" board for the Calumet C-1 with a front-mounted Packard Ideal shutter. It's a superb lens for 8X10 if you don't need a lot of movements (at least at longer camera/subject distances). For repro and tabletop work, it's outstanding.

12" f/9 Goerz Artar

This lens mounts on the same box lens board that is used with it's 14" Red Dot cousin. It's slightly shorter focal length is nice on the 5X7 Eastman when I use a 2-up split sliding back.

14" f/9 Goerz Red Dot Artar

This lens is the subject of another page I've posed about making a box lens board that houses a Packard-Ideal shutter. I use this lens on my Eastman View #2, primarily as a portrait lens. Everything you may have read about the legendary R.D. Artar is true, they ARE superb!

Wollensak Triple Convertible 8" US 4, 13" US 16, and 14" US 16

I bought this lens for my Century 4a studio camera. A triple convertible, it gives focal lengths of 8", 13", 14", depending on which lens cells are in use. The Regno pneumatic shutter in which it's mounted works, but needless to say, it's NOT very accurate (not to mention no flash sync). For fun, I mounted it up on a lens board for my Toyo D45M, it's a pretty nice lens! When I can justify putting some money into it, I just might send it off for mounting into a modern Copal #1. Then again, maybe not...

I now have the lens mounted for the Eastman #2.

As with the Wollensak Symmetrical, the triple iris scale on this lens is calibrated in the US system.

17" f/10 Kodak Copying Ektanon

I wanted a slightly longer lens for 8X10 and this gem came along. While it's optimized for 1:1 reproduction, it does a fantastic job at longer distances. Wide open at f/10, it can be a bit tricky to focus in dim light.