冬天的太陽 - 攝影手札

Tripod Socket Replacement of Hasselblad SWC (Older Version)

2026-07-11T21:05:22.159+08:00

2026/7/11

In May of this year, I acquired a Hasselblad SWC (the original version, rather than the later SWC/M). The first thing I noticed when I received the camera was that its tripod socket was only about half its original length.

After doing some research online, I learned the reason behind this modification. On the original SWC, the clearance between the tripod socket and the camera body is too small. When a CFV digital back is installed, the battery compartment of the digital back interferes with the rear half of the socket, preventing the CFV back from being mounted on the camera.

To solve this problem, it has become a fairly common modification to cut away the rear half of the socket, creating enough clearance for the CFV digital back. On my camera, the rear portion of the socket has been removed with a very clean, precise cut, suggesting that the modification was carried out by a professional.

今年5月，我入手了一台Hasselblad SWC(舊款，新款為 SWC/M)相機，收到相機的第一時間我就發現相機的腳架快拆板只有有原來長度的1/2。上網爬文查證的結果，原來是這款SWC的腳架快拆板與機身之間的空隙太小，當安裝CFV數位機背時，機背的電池會頂到腳架快拆板後半部，導致數位機背無法安裝於SWC機身。為了解決這個問題，將腳架快拆板切除後段1/2，算是蠻常見的做法。我手上這台相機，快拆板後端切除得很乾淨，應該是專業人士所為。

Since I don't have any plans to use a CFV digital back, I decided to restore the camera to its original configuration by replacing the modified half-length tripod socket with an original Hasselblad part. After searching through several online auction sites, I finally managed to find and purchase a brand-new original tripod socket on eBay.

因為我沒有使用數位機背的機會，打算找個原廠零件把這1/2個腳架快拆板換掉。經過幾番搜尋各大拍賣網站，終於從eBay購得全新的腳架快拆板零件。

The next step was to figure out how to replace the tripod socket. During my research, I found two documents that served as useful references:

接下來，就是開始研究如何更換新的腳架快拆板，我找到兩份文件可供參考：

Repair Manual for Hasselblad 500C, 500C/M and Super Wide C
https://phsc.ca/repair/Hasselblad/hasselblad_camera_500C.pdf

Service Manual Hasselblad SWC903
https://repaircameras.org/files/hasselblad/hasselblad-903swc-service-manual.pdf

On the later SWC/M, the tripod socket is externally mounted and slightly raised above the camera body. This design makes it much easier to accommodate a digital back, as the socket can be removed or replaced with a redesigned third-party quick-release plate if necessary. The earlier SWC, however, uses a much less accessible design. To replace the tripod socket, the camera body must first be opened. Then, three major components must be removed: the film advance lever, the circular shutter-cocking mechanism, and the lens assembly. Only after these parts have been taken out can you access the three screws inside the body that secure the tripod socket.

新款SWC的腳架快裝版都是外裝，而且有增高，所在使用數位背時，比較好因應，例如直接拆除或是更換成第三方重新設計過的腳架快裝板。這款較早期的SWC則必須先打開機身，然後取下快門桿、鏡頭快門上弦環形機構、鏡頭共三項重要零件後，才能從機身內鬆開用來鎖定腳架快裝板的3顆螺絲。

After installing the new tripod socket, simply reassemble the camera by reversing the disassembly steps. Reinstall the lens assembly, the circular shutter-cocking mechanism, and the film advance lever, and the replacement is complete.

更換好新的腳架快拆板後，反向操作，機身組合鏡頭、鏡頭快門上弦環形機構、快門桿，大功告成。

The Focusing Helicoid Disassembly of the Carl Zeiss Jena Flektogon 25mm f4 M42 Zebra Version

2026-07-05T13:45:45.971+08:00

2026/7/5

One of the first issues I noticed after acquiring this lens was that the focusing ring was extremely stiff. At certain points, it required considerable force just to turn it. Considering that this is a 50-year-old lens, it's no surprise—the original helicoid grease inside the focusing mechanism has most likely dried out over the decades. Instead of providing smooth lubrication, it has become a source of resistance.

Following the previous article on rear-end disassembly, this installment covers the disassembly, cleaning, and re-lubrication of the focusing helicoid. The first step is to remove the entire optical assembly. Looking from the rear of the lens, once the aperture linkage, aperture ring, and related components have been removed, the retaining ring that secures the front optical assembly can be unscrewed. The complete optical unit—including the front lens group, aperture assembly, and rear lens group—can then be lifted out from the front of the lens, leaving only the focusing helicoid behind.

這顆鏡頭入手之後，令人困擾的問題之一是對焦環很緊，有些位置甚至需要非常用力才能轉過去，畢竟是50年的老鏡頭了，鏡筒內的潤滑油應該都乾掉了，原本潤滑的功能變成阻力。

接續上篇拆開後鏡筒之後，這次就來拆開對焦筒、清潔、重新潤滑。首先，要把整個鏡組取出，從後鏡筒觀察，光圈開閉連桿、光圈環等相關的零件拆除後，再將鏡頭前面的鏡組固定環卸下，即可將整個鏡組、光圈筒和後鏡組從前方取出，剩下的就是對焦筒了。

The retaining ring that secures the front optical assembly is the first ring adjacent to the lens barrel.
緊鄰鏡筒內的第一圈壓環就是用來固定整個鏡組

The focusing helicoid consists of three main components:
(A) The outer barrel, which supports the optical assembly and the aperture housing.
(B) The focusing ring, engraved with the focusing distance scale.
(C) The depth-of-field scale ring.

On the underside of Ring C, there are two metal tabs positioned 180 degrees apart. These tabs couple Ring C to Component A, and each tab is secured by two screws. After removing the four screws and lifting off the two metal tabs, Component A can be separated from the combined B + C assembly.

對焦筒由三個零件組成 (A) 固定鏡組和光圈筒的外筒 (B) 有對焦距離刻度的對焦環 (C) 有光圈景深刻度的環。C環的底部相對180度位置有兩個與A環連動的鐵片，每個鐵片有兩個螺絲固定，將這兩個鐵片卸下，即可將這Ａ環和B+C環分解。

Inside Ring B, you will find a set screw that secures the infinity focus position. After removing this screw, Ring B can be separated from Ring C. I first used WD-40 to dissolve and remove the hardened grease from the helicoid threads. Afterward, I cleaned away any remaining WD-40 with isopropyl alcohol. Once the threads were completely clean, I applied a thin, even layer of medium-damping helicoid grease before reassembling the three rings by reversing the disassembly steps. The focusing ring now turns exceptionally smoothly.

B環內部可以看到一顆無限遠刻度的固定螺絲，將這顆螺絲旋下，便可將B環和C環分解。我先使用WD-40清洗螺紋上已經乾掉的油脂，再用酒精將WD-40清除，最後在螺紋上一層中度組尼潤滑油，之後反向操作上述步驟便可將這三個環再組合起來，轉起來非常順手。

When threading Component A back into the combined B + C assembly, it is important to engage the helicoid at the correct starting position. After the two metal coupling tabs have been reinstalled, Component A should be able to travel all the way to the bottom of the B + C assembly, which corresponds to the infinity focus position. Finally, reinstall the optical assembly, the rear aperture control mechanism, the M42 mount, and the remaining components. With that, the restoration is complete.

當A環要重新旋入B+C環，須注意螺紋旋入的位置，當上述兩個鐵片固定後，A環需能夠到達B+C環的底部(也就是無窮遠的位置)。最後裝回鏡筒，以及後端的光圈控制機構相關零件、M42接環等，就大功告成了。

Rear Mount Disassembly of the Carl Zeiss Jena Flektogon 25mm f4 M42 Zebra Version

2026-06-14T20:39:44.811+08:00

2026/6/4

Today, while cleaning the aperture blades of a Carl Zeiss Jena Flektogon 25mm f/4 M42 lens, I removed the front optical assembly and took out the aperture blades for cleaning. After carefully reinstalling the blades in their correct positions, I attempted to refit the aperture control cylinder, only to discover that it would not go back into place because it was being blocked by a small metal tab that actuates the aperture mechanism. It became apparent that the M42 mount at the rear of the lens had to be removed first so that this component could be detached before the aperture control cylinder could be reinstalled.

Since I was unable to find any videos or photographs online showing how to remove the M42 mount on this particular lens, I decided to document the entire disassembly process myself. I hope this record will serve as a useful reference for anyone attempting a similar repair in the future.

今天為了清理Carl Zeiss Jena Flektogon 25mm f4 M42 的光圈葉片，我拆了前鏡組，取出光圈葉片清理後，重新擺好葉片，再裝回葉片控制圓筒，發現裝不回去，因為有一個控制光圈葉片的金屬突起阻擋。看起來必須先拆鏡頭M42接環，才能將該零件移除才能安裝。由於網路上找不到相關的Ｍ42接環拆除影片或照片可參考，所以我就拍下整個過程，做個記錄與分享。

Carl Zeiss Jena Flektogon 25mm f4 M42 Zebra Version

This is the lens base after the front optical assembly and aperture blades have been removed. Once the aperture blades are correctly repositioned, the aperture-control cylinder can be reinstalled. However, at approximately the 8 o’clock position, there is a small metal protrusion that engages and rotates the aperture-control cylinder. This protrusion prevents the cylinder from being inserted back into place, so it must be removed first before reassembly can proceed.

這是前鏡組和光圈葉片取出後的底座，重新擺好光圈葉片，就可以放入葉片控制的圓筒零件，但在8點鐘位置有一個轉動葉片控制圓筒的金屬突起導致無法放入圓筒，必須先移除才行。

The rear of the lens features the common M42 screw mount, and at first glance there appear to be no visible screws for disassembly. In fact, the black base beneath the mount is an aluminum outer housing. To remove it, firmly hold the lens body and rotate the black housing counterclockwise. The housing will then unscrew and can be lifted off, revealing the internal mechanism underneath.

鏡頭底部是很常見的M42接環，外觀看不到任何可拆卸的螺絲。其實接環下方的黑色底座是一個金屬鋁外殼，先握緊鏡身，再將黑色的外殼以反時針方向旋轉，即可取下。

After removing the black outer housing, you will see a ring-shaped component. This part connects the aperture actuator pin on the M42 mount to the depth-of-field preview switch on the lens body, forming the mechanism that controls whether the aperture remains fully open or stops down. Once the single spring attached to this mechanism is carefully removed, the ring-shaped component can be lifted out, allowing access to the parts beneath it.

取下黑色外殼後，可以看到一個環形的零件，它連接了接環上的光圈頂針和鏡身的景深預觀鈕，是用來控制光圈「開/縮」的機構，將機構上唯一的彈簧拿下來後，即可移除這個零件。

After removing the ring-shaped component, you will see four screws located beneath the mount. Once these screws are removed, the M42 mount can be detached easily, providing access to the internal aperture mechanism and other components inside the lens.

取下環形零件後，就可以看到接換下方有四個螺絲，將這些螺絲旋起後，M42接環就可以順利拿下來。

Next, the metal linkage that directly controls the opening and closing of the aperture blades becomes visible. Attached to it is another spring, whose purpose is to keep the aperture blades positioned at the f-stop selected on the aperture ring. This spring provides the necessary tension to ensure that the aperture mechanism follows the setting of the aperture ring accurately and remains fixed at the chosen aperture value during operation.

接下來，真正控制光圈葉片「開/縮」的金屬連桿出現了，上面有另一只彈簧，是用來將光圈葉片固定在光圈環所選定的光圈值。

One end of the linkage extends into the lens barrel and connects directly to the aperture blade control mechanism. The other end features an L-shaped metal tab, which interfaces with the ring-shaped component removed earlier. Together, these parts form the complete aperture actuation system. Through the interaction of the M42 aperture pin and the depth-of-field preview switch, the mechanism ultimately controls the opening and closing of the aperture blades, allowing the lens to switch between full-aperture viewing and the selected working aperture.

連桿的一端是深入鏡筒內的光圈葉片控制機構，連桿另一端L形鐵片則是與先前拆下的環形零件連動，最終透過光圈頂針和景深預觀鈕完成「開/縮」光圈的動作。

By removing these two screws, the component that controls the opening and closing of the aperture blades can be detached. Once this part is out of the way, the aperture blade assembly and its control cylinder inside the lens barrel can be reinstalled without obstruction, making reassembly much easier.

拆下這兩顆螺絲，可以把控制光圈葉片「開/縮」的零件取下來，這樣鏡筒內的光圈葉片零件就可以順利安裝了。

I referred to mikeno62's video, Carl Zeiss Jena Flektogon 4/20 for Exakta, as a guide during the disassembly/reassembly process.

我參考了 mikeno62 的影片 Carl Zeiss Jena Flektogon 4/20 for Exakta

https://youtu.be/XkzOlicu1bo?si=cEWQ1F8tx5XDYN_p

Carl Zeiss Jena Flektogon 35mm f2.8 and Sony A7C

2026-06-14T11:37:04.176+08:00

2026/3/22

I own three Carl Zeiss Jena lenses: the Tessar 50mm f/4, Biotar 58mm f/2, and the Flektogon 35mm f/2.8 featured in this test. The Flektogon 35mm wide-angle lens was produced in several versions. The one I have is the so-called “zebra” version, recognizable by its striped focusing ring. It has a remarkably short minimum focusing distance of 18 cm, which reportedly provides a reproduction ratio approaching 1:2. A later multi-coated (MC) version was also produced, featuring a faster f/2.4 maximum aperture and a 20 cm minimum focusing distance.

The principle behind most macro lenses is to move the optical assembly farther away from the film plane. However, this increased distance reduces the amount of light reaching the film. In other words, when shooting at a 1:2 reproduction ratio, the amount of light reaching the film is only about half of what it is when focused at infinity. Although the lens is mechanically marked as f/2.8, the effective light transmission is closer to f/4. This lens incorporates a thoughtful design feature. When shooting wide open at f/2.8, the aperture scale gradually shifts from f/2.8 toward f/4 as the focusing distance becomes shorter. In the era before TTL metering, this served as a useful reminder to photographers that they needed to compensate for the light loss by slowing the shutter speed by one stop.

Mounted on a Sony A7C and shot using Auto White Balance, the Carl Zeiss Jena Flektogon 35mm f/2.8 produces fresh, clean colors under bright morning sunlight. It faithfully renders the pale blue sky, the yellow-brown tones of bare tree branches, the vivid green grass, and the soft pink of azaleas. I suppose that is part of the enduring charm of classic lenses.

我收集的 Carl Zeiss Jena 的鏡頭有三顆，Tessar 50/4、Biotar 58/2 和這次測試的 Flektogon 35/2.8。Flektogon 35mm 廣角鏡頭有許多版本，手上這顆的外觀是俗稱的斑馬鏡，最近對焦距離是 18cm，據說是接近 1:2 的放大率，後期還有光圈 f2.4 、最近對焦距離是 20cm 的 MC 版本。大部分微距鏡的原理，就是將鏡組遠離底片平面，但較長的距離會使得到達底片光量減少，換言之，當微距攝影達 1:2 放大率時，底片的感光量只有對焦無窮遠時的一半，雖然機械光圈標示為 f2.8，但實際的感光量為 f4。這顆鏡頭在設計上有個小巧思，一開始以光圈f2.8拍攝時，隨著對焦距離越來越近，機械光圈標示會從 f2.8 移動到 f4，這在相機沒有TTL測光的年代，算是一項對攝影者的善意提醒，需要使用慢一檔快門來補償失光量。

Carl Zeiss Jena Flektogon 35/2.8 接上 Sony A7C，以自動白平衡拍攝，在上午的大太陽底下，色彩清新乾淨、忠實呈現出天空的淡藍、枯樹枝的焦黃、草地的鮮綠和杜鵑花的淡粉紅，我想這就是老鏡的特色吧。

Carl Zeiss Jena Flektogon 35mm f2.8

Carl Zeiss Jena Flektogon 35mm f2.8

Carl Zeiss Jena Flektogon 35mm f2.8

Lens Comparison: Carl Zeiss Jena Sonar 85/2 T vs Jupiter-9 85/2 MC

2026-05-16T13:23:21.874+08:00

2026/5/16

After taking the Soviet Jupiter-9 85mm f/2 MC (M42) out for a photo walk last time, I thought it would be interesting to compare it directly with the West German Zeiss-Opton Sonnar 85mm f/2 T (Contax RF), which led to this test record.　I mounted both lenses on Sony E-mount adapters for the comparison. In terms of physical size, the Jupiter-9 is about 1–2 mm taller. When stopped down to f/4, the Jupiter-9 maintains an almost perfectly circular aperture shape, while the Zeiss-Opton produces a more polygonal, star-like diaphragm opening. As for weight and handling, the two lenses feel fairly similar in hand.

上次帶著蘇聯 Jupiter-9 85/2 MC (M42) 外拍後，想到應該要與西德 Zeiss-Opton Sonnar 85/2 T (Contax RF) 比較一下，所以就做了這次的測試記錄。我將兩顆鏡頭都裝上了Sony E轉接環，就高度而言，Jupiter-9 約高了1~2mm，縮光圈至 f4 時，Jupiter-9呈現近乎圓形，Zeiss-Opton則是多角星芒狀，重量手感則是差不多。

These test shots were taken indoors under mixed lighting conditions, combining tungsten bulb lighting with daylight coming through a window. Comparing both lenses wide open at f/2, I personally find the Jupiter-9’s background rendering more pleasing, with stronger subject separation and a greater sense of three-dimensionality. The Zeiss-Opton Sonnar, on the other hand, stands out for its superior sharpness and contrast. When stopped down to f/4, it becomes even clearer that the horizontal lines behind the text are actually composed of dotted segments. I’ve also included both full-frame images and enlarged crops for reference.

All test photos below were taken with a Sony A7C with in-body image stabilization enabled (85mm setting).

這次的測試照片是在室內燈泡光源和窗戶室外光源混和的條件下拍攝的，以光圈f2來比較，我覺得 Jupiter-9 對背景虛化的處理比較令人討喜，也較有立體感，而Zeiss-Opton Sonnar 則是勝在銳利度和反差，縮光圈到 f4 時更可以清晰地看到文字後的橫線是點狀虛線所組成。同時附上全幅和放大裁切後的相片給大家參考。

以下測試照片均以 Sony A7C + 防手震啟動(85mm) 拍攝

Jupiter-9 85/2 MC at f2, 1/250, ISO400

Jupiter-9 85/2 MC at f4, 1/60, ISO400

Zeiss-Opton Sonnar 85/2 T at f2, 1/250, ISO400

Zeiss-Opton Sonnar 85/2 T at f4, 1/60, ISO400

Center crop at 100% magnification:

擷取影像中間，100%放大後：

Jupiter-9 85/2 MC at f2, 1/250, ISO400

Jupiter-9 85/2 MC at f4, 1/60, ISO400

Zeiss-Opton Sonnar 85/2 T at f2, 1/250, ISO400

Zeiss-Opton Sonnar 85/2 T at f4, 1/60, ISO400

MC Jupiter-9 85mm f2 and Sony A7C

2026-05-16T12:35:13.963+08:00

2026/3/22

My third collectible Soviet lens is the Jupiter-9 85mm f/2 MC, a lens with a strong lineage tracing back to the pre-war Carl Zeiss Jena Sonnar 85mm f/2 made for Contax RF cameras. This particular copy was manufactured in the late 1980s and features MC multi-coating. Although the exterior shows heavy signs of wear, the optics themselves are actually quite clean. When I first received the lens, the aperture scale and index mark did not line up correctly. I spent quite a bit of time disassembling the entire optical block and aperture ring, then recalibrated and reassembled it so that each aperture marking now aligns perfectly with the indicator.

The most distinctive characteristic of this lens is its rendering wide open: contrast is very low and the image appears soft and dreamy, but once stopped down, the contrast improves significantly. In the first photo, the background blur behind the uBike bicycle seems to “melt away” into the distance, while the highlights carry a slightly creamy texture with a hint of swirl, producing an exceptionally smooth bokeh.

我收藏的第三顆蘇聯鏡頭是Jupiter-9 85mm f2 MC，與戰前的CONTAC RF相機接環的Carl Zeiss Jena Sonnar 85mm f2有著濃濃的血緣關係。這顆鏡頭是上個世紀80年代後期製造的，有冠上MC鍍膜，雖然外觀磨損的很厲害，鏡片倒是蠻乾淨的。這顆鏡頭剛到手時，光圈環的數字和指標位置有些差異，我費了一些功夫拆下整個鏡組和光圈環，將光圈環重新鎖定在正確的位置，讓每個光圈環的數字和指標都能對得上。

這鏡頭最大的特色是在光圈全開時，反差很低、很柔和，但縮光圈後反差也就好很多。第一張照片uBike腳踏車背後，散景一路往後「化開」，高光邊緣帶一點奶油感與旋轉感，非常滑順。

Industar-61-L/Z MC 50mm f2.8 and Sony A7C

2026-05-09T09:54:00.011+08:00

2026/3/22

My very first Soviet lens collection piece, the Industar-61 L/Z MC 50mm f/2.8, is back in action. I took it for a walk around the National Taiwan University campus to soak up some sunshine. Under bright sunlight, using the sparkling highlights filtering through the leaves as the background, this lens can produce its signature “star-shaped bokeh” effect.

Over the past few years, NTU has been undergoing constant redevelopment. Old buildings have been demolished one after another, while new buildings funded by alumni donations continue to rise. Even NTU Xiao-Fu, where I used to bring my kids on weekends, has been torn down. Over these past two decades, my photos of the NTU campus have gradually evolved from Fujifilm slide film and peel-apart film to digital photography and Instax film.

我收藏的第一顆蘇聯鏡頭 Industar-61-L/Z MC 50mm f2.8 又出動了，帶它來台灣大學校園走走，曬曬太陽。在大太陽下，以樹葉的點狀反光作為背景，就可拍出這顆鏡頭特有的「星狀散景」效果。

這幾年台大持續大興土木，老舊建築一棟一棟的拆，校友捐贈的新大樓一棟一棟的蓋，以前週末溜小孩的台大小福也拆掉了。這二十幾年來，我拍台大校景的照片也從富士正片、撕拉片，漸漸得變成數位相片、Instax底片。不變的就是手上的四十幾棵手動對焦老鏡頭，拜各種轉接環之賜，得以在數位相機和拍立得相機上復活，使得一些傳統優質老鏡的價格也水漲船高。

Industar-61-L/Z MC 50mm f2.8

Industar-61-L/Z MC 50mm f2.8

Star-shaped bokeh, Industar-61-L/Z MC 50mm f2.8

Industar-61-L/Z MC 50mm f2.8

Zeiss-Opton Biogon 35mm f2.8 T and Sony A7C

2026-04-06T16:49:00.005+08:00

2026/3/22

This Zeiss-Opton Biogon 35mm f/2.8 T (Contax RF mount) is a lens I added to my collection over twenty years ago, back when I was still actively shooting film. Its defining feature is the highly protruding rear element, which comes very close to the film plane. This design was intended to achieve near-zero distortion, resulting in images with virtually no geometric deformation and extremely high resolution. However, what was an advantage in the film era becomes a limitation in the digital age. Because the rear element sits extremely close to the image sensor—and digital sensors are less capable of capturing oblique light rays—this leads to noticeable vignetting around the edges of the image. The effect is especially pronounced at f/2.8, but improves significantly when stopping down to around f/5.6–f/8.

這顆 Zeiss-Opton Biogon 35mm f2.8 T (Contax RF接環) 是我在二十幾年前還常在拍底片時收藏的鏡頭。它的特點就是後鏡組很突出，就快要頂到底片平面了，據悉這樣的設計是追求零畸變，成像幾乎沒有變形，且解析度極高。但這項在傳統底片時代的優勢，在數位攝影時代，因為後鏡組極度靠近感光元件，且因感光元件無法取樣斜進光線的特性，導致成像周邊有很明顯的失光現象，在光圈f2.8時非常明顯，光圈縮小至f5.6-8之後可獲得大幅度改善。

Zeiss-Opton Biogon 35mm f2.8 T (f2.8)

Zeiss-Opton Biogon 35mm f2.8 T (f5.6 or smaller)

Zeiss-Opton Biogon 35mm f2.8 T

Zeiss-Opton Biogon 35mm f2.8 T

Zeiss-Opton Biogon 35mm f2.8 T

Zeiss-Opton Biogon 35mm f2.8 T on Sony A7C

Zeiss 35mm f2.8 Lens Collection : Biogon, Distagon, Flektogon and Sonnar

2026-03-29T12:10:00.002+08:00

2026/3/21

Previously, I was already using three cameras — the Zeiss Ikon CONTAX RF, Kyocera CONTAX SLR, and Sony A7III — and I also owned three 35mm f/2.8 wide-angle lenses, namely the Biogon, Distagon, and Sonnar, each representing different optical designs. On a whim, I started wondering whether there were any other 35mm f/2.8 lenses within the Zeiss lineup that featured different optical designs. The answer turned out to be Flektogon and Biometar. The former comes in M42 and Exakta mount versions, while the latter is available in the CONTAX RF mount. The Flektogon 35mm f/2.8 M42 is relatively easy to find on the second-hand market, so I also picked up a Pentacon Praktica L camera to pair with it, adding another set to my Zeiss 35mm f/2.8 lens collection. As for the Carl Zeiss Jena Biometar 35mm f/2.8, not only is it quite expensive, but it also overlaps in focal length with my existing Zeiss-Opton 35mm f/2.8, so I decided to put that idea on hold for now. Below is a description of these lenses quoted from ChatGPT:

先前因為已經使用 Zeiss Ikon CONTAX RF、Kyocera CONTAX SLR、SONY A7III 這三台相機，也同時擁有了三顆 35mm f2.8 的廣角鏡頭，依序是 Biogon、Distagon、Sonnar 這三種光學設計。一時心血來潮，想說看看 Zeiss 鏡頭群中是不是還有其他不同光學設計的 35mm f2.8 鏡頭，答案是 Flektogon 和 Biometar，前者有 M42 和 Exakta 兩種相機接環版本，後者則是 CONTAX RF　相機接環版本。 Flektogon 35mm f2.8 M42 在二手市場上相對比較好取得，我也同時找了一台Pentacon Praktica L 相機來搭配，讓我的 Zeiss 35mm f2.8 鏡頭收集又多了一組。至於 Carl Zeiss Jena biometar 35mm f2.8 這顆鏡頭，除了價格不便宜，同時也和手上的 Zeiss-Opton 35mm f2.8　焦段重複，就暫時先打消收集的念頭了。以下引用 ChatGPT 對這些鏡頭的介紹：

These four 35mm f/2.8 lenses represent the optical pinnacle of Zeiss across different eras and camera systems. Although they share the same maximum aperture, their internal constructions and rendering characteristics are completely distinct:

這四款 35mm f/2.8 鏡頭代表了蔡司（Zeiss）在不同時代與相機系統上的光學巔峰。雖然光圈相同，但其內部構造與成像個性截然不同：

Zeiss 35mm f2.8 Lens Collection

(1) Biogon 35mm f/2.8: The Distortion Killer of the Rangefinder World

Optical Design: Highly symmetrical construction.
Key Strength: Near-zero distortion. Because the rear element sits extremely close to the film plane, the light path is very direct, resulting in minimal distortion and exceptionally high resolution.
Best Suited For: Street photographers and architectural photography enthusiasts.
Representative Model: Post-war Zeiss Ikon Contax RF.

(1) Biogon 35mm f/2.8：旁軸界的畸變剋星

光學結構：高度對稱設計（Symmetrical Design）。
核心優勢：零畸變。因為後鏡組極度靠近感光元件，光線路徑直，幾乎沒有變形，且解析度極高。
適合誰：街頭攝影師、建築攝影愛好者。
代表作： Zeiss Ikon Contax RF 戰後版。

(2) Distagon 35mm f/2.8: A Stable Foundation for SLR Cameras

Optical Design: Retrofocus construction.
Key Strength: Excellent edge-to-edge image quality. The design deliberately extends the back focus distance to clear the SLR mirror, which also results in favorable light incidence angles on digital sensors.
Best Suited For: Photographers who appreciate classic Zeiss rendering with strong tonal depth and balanced performance across the frame.
Representative Model: Contax Zeiss 35mm f/2.8 T* (C/Y mount).

(2) Distagon 35mm f/2.8：單眼相機的穩定基石
光學結構：反望遠結構（Retrofocus）。
核心優勢：邊角畫質優異。為了避開單眼相機的反光鏡，設計上刻意拉長後焦距，這讓它在數位機身上也有很好的光線入射角。
適合誰：喜歡德系層次感、追求全畫面平衡的攝影師。
代表作： Contax Zeiss 35/2.8 T* (C/Y 卡口)。

(3) Flektogon 35mm f/2.8: The Close-Focus Legend of East German Zeiss
Optical Design: Early retrofocus design (from Carl Zeiss Jena, East Germany).
Key Strength: Exceptional close-focus capability. The minimum focusing distance is typically around 18–19 cm, allowing for wide-angle shots with a macro-like perspective.
Best Suited For: Photographers who enjoy vintage lens character, especially for still life and flower photography.
Representative Model: Carl Zeiss Jena 35mm f/2.8 (M42 mount, commonly known as the “zebra version”).

(3) Flektogon 35mm f/2.8：東蔡的近攝傳奇
光學結構：早期反望遠設計（來自東德 Carl Zeiss Jena）。
核心優勢：超強近攝能力。最短對焦距離通常僅 18-19cm，能拍出具備廣角透視感的微距效果。
適合誰：喜歡老鏡氛圍、拍攝靜物或花卉的玩家。
代表作： Carl Zeiss Jena 35/2.8 (M42卡口，俗稱「斑馬版」)。

(4) Sonnar 35mm f/2.8: A Modern Benchmark for Compactness
Optical Design: An asymmetric evolution of the Gauss-type design.
Key Strength: Exceptional compactness and high contrast. Despite its relatively simple construction, it is highly efficient, producing rich colors and the clear, modern Zeiss rendering.
Best Suited For: Photographers who prioritize portability and a “carry-everywhere” setup, especially Sony E-mount users.
Representative Model: Sony Zeiss FE 35mm f/2.8 ZA (pancake lens).

(4) Sonnar 35mm f/2.8：現代輕量化代名詞
光學結構：非對稱的高斯演進版。
核心優勢：極致輕便與高對比。結構簡單但效率極高，成像色彩濃郁且帶有現代蔡司的通透感。
適合誰：追求「隨身機」手感、Sony E 接環用戶。
代表作： Sony Zeiss FE 35mm f/2.8 ZA (餅乾鏡)。

If you prioritize maximum resolution and near-zero distortion, choose the Biogon
→ e.g. ZEISS Biogon T* 35mm f/2.8 ZM
If you want close-up or macro-like wide-angle shots, choose the Flektogon
→ e.g. Carl Zeiss Jena Flektogon 35mm f/2.8 M42
If you want the most compact autofocus lens, choose the Sonnar (FE version)
→ e.g. Sony Zeiss FE 35mm f/2.8 ZA
If you’re on a budget but want classic Zeiss T* color rendering, choose the Distagon
→ e.g. Carl Zeiss Distagon 35mm f/2.8 (C/Y mount)

快速選購指南
如果你追求最高解像力與無變形選 Biogon。
如果你想拍微距或特寫選 Flektogon。
如果你想要最輕便的自動對焦鏡選 Sonnar (FE版)。
如果你預算有限但想要經典 T* 色彩選 Distagon。

The minimum focusing distances of these four lenses differ quite significantly. I’ve included uncropped sample photos taken with them adapted to the Sony A7 III for your reference.

這四顆鏡頭的最近對焦距離差異還蠻大的，附上專接到 Sony A7 III 拍攝的未裁切相片給讀者們參考。

Carl Zeiss Jena Flektogon 35mm f2.8

Carl Zeiss Distagon 35mm f2.8 T*

Carl Zeiss Sonnar FE 35mm f2.8 ZA T*

Zeiss-Opton Biogon 35mm f2.8 T

Sony A7C, Konica Hexanon 35/2, Voigtlander Color-Heliar 75/2.5 Combination 外拍組合

2025-08-09T07:41:00.007+08:00

2025.7.27

The Sony A7C is my second Sony full-frame digital camera. I bought it because its lightweight body (compared to the Sony A7III) is perfect for adapting classic RF film camera lenses, such as Leica M39 lenses or Contax/Nikon RF lenses. Pairing the silver-and-black camera with two silver lenses for outdoor shooting feels like stepping back into the 1950s — a perfect match.

Traditional RF film cameras have a physical limitation in close-up photography because the optical axis of the lens and that of the rangefinder window are not the same. As a result, most lenses are designed to focus only down to about 0.9–1 meter. Nowadays, many lens adapters are designed with a focusing helicoid, which allows the focusing range to extend by about 5 millimeters when the lens is mounted on a digital mirrorless camera, shortening the minimum focusing distance by several tens of centimeters and adding even more enjoyment to shooting.

Sony A7C 是我的第二台 Sony 全幅數位相機，購入的原因是她輕便的機身(相較於Sony A7III)非常適合轉接傳統RF底片相機的鏡頭，例如Leica M39鏡頭或Contax/Nikon RF鏡頭。銀黑色的相機搭配兩顆銀色鏡頭外拍，彷彿回到了1950年代，真是絕配啊。傳統RF底片相機由於鏡頭的光軸和測距窗的光軸並不一樣，在近距離拍攝上有物理限制，因此大部分的鏡頭在設計上僅能對焦到0.9~1米。現在很多轉接環在設計上都加入的調焦功能，當鏡頭裝在數位相機上時對焦可以再延伸約5毫米，讓最近對焦距離可以縮短數十公分，在拍攝上的樂趣就更大了。

Sony A7C and Lens Combo

Sony A7C, Konica Hexanon 35/2

Voigtlander Color-Heliar 75/2.5

Yashica Electro 35 AF-mini Test Shots 傻瓜相機試拍

2025-07-27T10:36:00.004+08:00

2025/7/26

I was surprised to stumble upon a Yashica Electro 35 AF-mini autofocus point-and-shoot camera on a shopping website. I had always thought that Yashica’s Electro 35 series came to an end in the 1980s with the advent of autofocus cameras. Unexpectedly, after Kyocera took over, they brought back this historically significant and classic name for a mass-market, fully automatic compact camera. Since the camera body didn’t indicate the lens specifications, I looked it up online — it has a 34mm focal length and an f/4.5 aperture, which were pretty standard specs for consumer-grade cameras of that era (similar to those from Konica, Nikon, etc.).

偶然在購物網站上發現一台 Yashica Electro 35 AF-mini 自動對焦傻瓜相機，讓我非常驚訝。原以為 Yashica 的 Electro 35 系列早在 1980 年代自動對焦相機問世後便已劃下句點，沒想到在 Kyocera 接手後，竟將這個具有歷史意義的經典名稱重新應用在大眾化全自動便攜相機上。由於這台相機的機身並未標示出鏡頭的規格，上網查了一下，焦距為34mm，光圈是f4.5，大概是當時這類大眾化相機的基本規格(同時期Konica、Nikon ...)。

Recently, traditional film cameras have become trendy among young people. My daughter jumped on the bandwagon and asked if I had a suitable camera she could try out. I handed her the Yashica Electro 35 AF-mini that I had acquired some time ago, loaded it with Kodak ISO 400 film, and it ended up accompanying her on trips to Chiayi and Kyoto, Japan. She came back with some pretty nice travel photos (nowadays, we scan the film and upload digital files). Back in the days when this camera was new, film only cost about a quarter of what it does now. Thinking back, I’m grateful I got to experience that golden era of traveling abroad with a dozen rolls of film and coming home with so many tangible memories

最近年輕人開始流行起傳統底片相機，女兒也趕流行，問我是否有合適的相機可以給她玩一玩。這台入手一陣子的Yashica Electro 35 AF-mini 後來就裝了柯達400度底片，陪女兒去了嘉義和日本京都旅遊，拍了一些還不錯的旅遊相片回來(現在都掃描底片上傳數位檔了)。在這台相機的年代，底片的價格只要現在價格的1/4，想一想，還好我有經歷過帶著一打底片出國旅遊的黃金年代，留下了許多實體回憶。

Yashica Electro AF-mini, 34mm f4.5, Kodak UltraMax 400

Yashica Electro AF-mini, 34mm f4.5, Kodak UltraMax 400

Canon PowerShot G16 + TC-DC58E @ Badaozi Fishing Port 八斗子漁港

2025-05-11T17:52:00.001+08:00

20250501

This Canon PowerShot G16 digital camera, launched in 2013, has been with me for over a decade. I've changed its lithium battery three times, and currently, all functions are still working well. Despite the convenience of immediate editing and uploading with an Apple iPhone for everyday photography, which has become a handy tool, I still often take this digital camera out to experience the feeling of operating a camera. The Canon PowerShot G16 features a 5x zoom lens with a 135 equivalent focal length of 28mm-140mm. To maintain image quality without using digital zoom, I can attach the original 1.4x teleconverter lens (TC-DC58E) from Canon, extending the telephoto focal length to 196mm.

這台2013年上市的Canon PowerShot G16隨身數位相機，我已經使用了十幾年了，鋰電池也換過三輪，目前各項功能都還很正常，雖然Apple iPhone手機拍的照片具立即編輯和上傳的便利性，已經成為日常生活照的攝影利器，有時候我還是常常帶這台數位相機出門，回味一下操作相機的感覺。Canon PowerShot G16的鏡頭具備五倍變焦，135等效焦距是28mm-140mm，為了能夠在不使用數位變焦，維持原解析度的影像品質下，可外掛原廠1.4倍望遠鏡頭(TC-DC58E )，讓望遠的焦距達到196mm。

Canon PowerShot G16

Canon PowerShot G16 + TC-DC58E (1.4x Tele-converter)

During a recent visit to Keelung's Badaozi Fishing Port, I exclusively used the Canon PowerShot G16 + TC-DC58E for photography. The weather that day was overcast, and the camera's white balance faithfully portrayed the simple fishing port, lacking the vibrant tones of smartphone photos, which made it feel like a true representation of what was seen. Several small fishing boats equipped with high-wattage lights were moored in the port, used for attracting light-sensitive fish or squid during nighttime fishing, also known as 'lantern fishing'.

這次到基隆八斗子漁港一遊，就完全使用Canon PowerShot G16 + TC-DC58E來拍攝。當天天氣是陰天，相機本身的白平衡忠實的呈現樸實的漁港，少了智慧手機照片的鮮豔色調，讓人感覺到這才是真正的所見及所得。漁港內停了數艘釣小管的漁船，船上裝載有高瓦數的電燈，夜間可吸引趨光性的魚群或小管靠近捕撈，也稱作燈火漁業。

Pentax SP1000 + SMC Takumar 55mm f1.8 + AGFA vista+ 400 film Test (expired 10 yrs.) 過期10年底片測試

2025-03-22T12:00:00.151+08:00

2025/3/22

Today I'm sharing the Pentax SP1000, which is very common in the M42 camera world. The version most commonly seen in Taiwan bears the Asahi Optical (旭光學 Asahi) branding, but this particular camera was exported to the U.S. and carries the Honeywell branding instead. The standard lens I paired with this camera is a later version of the SMC Pentax Takumar 55mm f1.8. Its image quality is above average, though personally, I find the Auto Chinon 55mm f1.7 MC to be slightly superior in comparison. Below are a few test photos taken with this setup. The film used was AGFA Vista Plus 400, which had been refrigerated and expired for 9 years and 4 months.

今天分享的是在M42相機領域很常見的 Pentax SP1000，在台灣常見的版本是有旭光學 Asahi 標誌的相機，而這台相機卻是外銷美國，打上美國品牌 Honeywell 標誌的版本。我搭配在這台相機上的標準鏡頭是後期的 SMC Pentax Takumar 55mm f1.8，成像品質算是中上，個人覺得與 Auto Chnon 55mm f1.7 MC 相比，後者還是比較優，以下是幾張測試照片，底片是冷藏保存過期9年4個月的 AGFA vista plus 400。

Zenit 12XP + Helio-44m-5 58mm f2 MC + AGFA vista+ 400 film Test (expired 10 yrs.) 過期10年底片測試

2025-03-22T12:00:00.150+08:00

2025/3/22

The Zenit 12XP from the Soviet era found its way into my collection mainly because it came bundled with the Helios-44M-5 58mm f2 MC lens. I think most enthusiasts familiar with the history of M42 cameras probably know that the Helios-44 series is derived from the Carl Zeiss Jena Biotar lens. Under certain apertures and backgrounds, it can produce a unique swirling bokeh effect. Unfortunately, due to the limited number of shots I had with this roll of film, I wasn't able to achieve that effect this time.

蘇聯時期的 Zenit 12XP 會出現在我的收藏中，其實是跟著 Helio-44m-5 58mm f2 MC 這顆鏡頭一起來的。我想大部分知道M42相機歷史的同好，應該都知道 Helio-44 這一系列的鏡頭是源自 Carl Zeiss Jena Biotar 鏡頭，在特定的光圈與背景下可以拍出背景旋轉的特殊效果。很可惜在這次有限的底片張數測試下，我沒有成功。

Back to the Zenit 12XP itself — compared to Japanese SLRs, its body is narrower but taller. The shutter advance feels quite snappy, and after using it, switching back to a Japanese camera makes the film advance feel surprisingly heavy. Judging from this roll, the Helios-44M-5 58mm f2 delivers very sharp image quality. Below are a few test shots. The film used was AGFA Vista Plus 400, which had been refrigerated and expired for 9 years and 4 months.

回到 Zenit 12XP 這台相機，相較於日本血統的單眼相機，它的機身較窄但高度較高，快門過片算是輕快，剛操作完轉回日本相機時，會覺得日本相機過片還真是費力。從這次拍攝的底片來看，Helio-44m-5 58mm f2 的成像相當銳利。以下是幾張測試照片，底片是冷藏保存過期9年4個月的 AGFA vista plus 400。

Leotax T + Konishirorku Hexar 50mm f3.5 + AGFA vista+ 400 film Test (expired 10 yrs.) 過期10年底片測試

2025-03-22T12:00:00.149+08:00

2025/3/22

The first thing that caught my attention about the Leotax camera from Japan's Showa Optical Works was its name — it sounded like a combination of LEica and cOnTAX. The Leotax T in my collection is a Leica-style rangefinder camera using the M39/L39 mount, released in 1955. At that time, three models were introduced: the F, T, and K. The main differences lay in their shutter speeds: the F had a top speed of 1/1000s, the T topped out at 1/500s, and the K further omitted the slow speeds below 1/25s — effectively making them high-end, mid-range, and entry-level models, respectively.

我第一注意到日本昭和光學的 Leotax 相機，是它的名稱很像是LEica+cOnTAX的組合。手邊收藏的這台 Leotax T 是1955年上市的仿Leica M39/L39的測距對焦相機，同時期上市的有F、T、K三種型號。主要的差別在快門速度，F最高快門為1/1000秒，T最高快門為1/500秒，K則是再移除1/25秒以下的慢速快門，剛好就是高中低階三款。

The Leotax T came bundled with the Hexar 35mm f3.5 collapsible lens, made by Konishiroku (the predecessor of Konica). It likely uses a Tessar-type 4-element, 3-group optical design. The image quality is solid and sharp, with vivid colors. Even when used on a digital camera, the lens continues to deliver pleasing color and sharpness. Below are a few test shots. The film used was AGFA Vista Plus 400, which had been refrigerated and expired for 9 years and 4 months.

Leotax T 搭售的鏡頭是Konishirorku小西六(Konica柯尼卡前身)的 Hexar 35mm f3.5 可縮藏入機身鏡頭，應該Tessar的四片三群結構，成像很紮實，顏色有很鮮豔，及使用在數位相機上，色彩和銳利度仍是非常討喜。以下是幾張測試照片，底片是冷藏保存過期9年4個月的 AGFA vista plus 400。

Chinon CM-3 + Auto Chinon 55mm f1.7 + AGFA vista+ 400 film Test (expired 10 yrs.) 過期10年底片測試

2025-03-22T12:00:00.148+08:00

2025/3/22

Since I started getting into photography, I had always thought CHINON only made point-and-shoot cameras. It wasn't until I discovered the CHINON CM-3 SLR that my impression changed — it turns out CHINON was actually a very capable camera manufacturer. The way I came across the CHINON CM-3 was quite special. M42 mount cameras trace back to the 1945 CONTAX S, and brands like Pentax, Fujica, and Yashica continued producing M42 cameras using cloth shutter curtains. Unfortunately, this material tends to degrade over time, and many Pentax M42 cameras suffer from this issue today. Because of that, I started looking for M42 cameras with metal shutter curtains. The Voigtländer Bessaflex TM, produced by Cosina after 2000, would have been the top choice — but sadly, I had just sold my long-held one at a high price. Eventually, while browsing through various M42 camera listings, I came across the CHINON CM-3, one of the rare M42 cameras to use a vertically traveling metal shutter. Its appearance is strikingly similar to the Nikon FM/FE series from the same era. I couldn’t help but wonder — how did I never know CHINON also made such solid SLRs? Truly, I was unaware and underinformed.

從我開始玩攝影以來，我一直以為CHINON只有生產傻瓜相機，直到發現這一台CM-3單眼相機才讓我改觀，其實它也是一家實力雄厚的相機公司。而發現這台CHINON CM-3也是很別，由於M42接環的相機源自於1945年的CONTAX S，後續各廠牌如Pentax、Fujica、Yashica等M42相機一直以來都採用布質的簾幕快門，這樣的材質年代久了之後容易老化，許多Pentax M42相機就有這樣的問題。基於上述原因，我開始找尋具金屬簾幕快門的M42相機， Cosina在2000年後生產的 Voigtländer Bessaflex TM 應該是首選，無奈我才剛高價賣掉一部多年的收藏。最後從許多M42相機的拍賣文中發現了CHINON CM-3是一台少數採用金屬縱向簾幕的M42相機，而且外觀與同期的Nikon FM/FE系列相機神似，唉，我以前怎麼不知道CHINON也有這麼扎實的單眼相機呢，真是孤陋寡聞啊。

The CHINON CM-3 came with the Auto Chinon 55mm f1.7 MC lens, which is widely believed online to have been made by the famous Tomioka Optical factory. In actual use, the image quality is excellent. Below are a few test shots. The film used was AGFA Vista Plus 400, which had been refrigerated and expired for 9 years and 4 months.

CHINON CM-3搭配的鏡頭是 Auto Chinon 55mm f1.7 MC，網路上普遍的說法是來自有名的富岡光學代工廠，實際拍攝起來成像品質極佳，以下是幾張測試照片，底片是冷藏保存過期9年4個月的 AGFA vista plus 400。

Fujica V2 +Fujinon 45mm f1.8 + AGFA vista+ 400 film Test (expired 10 yrs.) 過期10年底片測試

2025-03-22T12:00:00.147+08:00

2025/3/22

This is a Fujica rangefinder camera from the 1960s, and the body is quite heavy. The model is V2. I've never been able to figure out why it's called V2 — typically, there should be a previous model named V or V1. For cameras of this type from that era, features like a 1/1000s top shutter speed and shutter-priority auto mode can both be found on this camera. One of its more unusual design aspects is that the focusing ring isn't integrated into the lens — instead, there's a separate dial on the camera body to adjust focus. This kind of design had appeared before in CONTAX RF cameras, though it's admittedly less intuitive to use. The lens is a Fujinon 45mm f1.8, which is a pretty standard spec for rangefinder cameras of that time. Below are a few test shots. The film used was AGFA Vista Plus 400, which had been refrigerated and expired for 9 years and 4 months.

這台是1960年代的 Fujica 測距對焦相機，機身相當重，型號是V2。我一直沒找到型號為V2的原因，一般而言，應該會有前一代稱為V或V1的相機。同時期的這類相機，1/1000秒快門、快門先決自動模式在這台相機上都找得到，較為特殊的設計是對焦環並不是整合在鏡頭上，而是在機身有個獨立的轉盤可調整對焦距離，這樣的設計，在CONTAX RF相機上有出現過，使用上較不直覺就是了。鏡頭的規格是Fujinon 45mm f1.8，就同期測距對焦相機而言，算是很一般的規格，以下是幾張測試照片，底片是冷藏保存過期9年4個月的 AGFA vista plus 400。

Test Shots of Instax NONS Back for Hasselblad 500cm

2024-08-18T16:18:00.001+08:00

2024/08/18

Since Fuji discontinued the peel-apart film compatible with Polaroid instant film backs, my Hasselblad 500cm has been limited to shooting traditional film for quite some time. Over the past decade, there have been several attempts to develop instant film backs that use Fuji Instax Film, but some failed to reach their funding goals, while others experienced delayed development and came out with numerous issues. After waiting for so long, I'm finally thrilled to see NONS Camera released a commercial-grade Instax Film back. Although it still has a few minor flaws, I'm so grateful that my four Carl Zeiss lenses can now be used again.

自從富士停產相容於拍立得機背的撕拉片後，我的Hasselblad 500cm有好長一段時間只能拍傳統底片，近十年來陸續有採用富士Instax Film的機背在開發，有的再募資階段就不成功，有的則是開發時程延遲，最後出來的產品問題很多。等了又等，最後才看到NONS出了這個商用產品等級的Instax Film機背，雖然還有一些小瑕疵小缺點，但是能讓我的四顆Carl Zeiss鏡頭再次發揮，已經很感動了。

Hasselblad 500cm, Carl Zeiss Planar 2.8/80, Instax SQ

Hasselblad 500cm, Carl Zeiss Sonnar 4/150, Instax SQ

Hasselblad 500cm, Carl Zeiss Sonnar 4/150 + Ext. Tube 32mm, Instax SQ

Hasselblad 500cm, Carl Zeiss Sonnar 5.6/250 + Ext. Tube 32mm, Instax SQ

Hasselblad 500cm, Carl Zeiss Distagon 4/50, Instax SQ

Hasselblad 500cm, Carl Zeiss Distagon 4/50, Instax SQ

Apple iPhone 12 miini, 1.6/26mm

Auto CHINON MC 55mm f1.7 M42 on Sony A7III

2024-06-10T04:09:00.129+08:00

2024/6/9

Today, I took my CHINON 55mm f1.7 lens, which I've been collecting for years, out for the first time to shoot some flowers and plants. After attaching a 12mm extension tube and an adapter, I mounted it directly onto my Sony A7III digital camera. This setup basically turns it into a macro lens with a magnification of around 1:4 to 1:2.5. If I switch to APS-C mode, the magnification goes up to about 1:1.5, making it easy to capture close-up shots of the little yellow daisies (Wedelia) like the one shown here.

今天第一次帶著收藏多年的CHINON 55mm f1.7出門拍些花花草草，裝上12mm的延伸環和轉接環後直上Sony A7III數位相機，基本上就是約1:4~1:2.5的微距鏡頭了，如果再切換到APS-C模式，就是1:1.5左右的倍率，很容易就可以拍出以下小黃菊(蟛蜞菊, Wedelia)的近拍照。

Auto CHINON MC 55mm f1.7 + 12mm extension tube

I hadn't paid much attention to this lens before, mainly because I bought it along with the CHINON CM-3, an M42 film camera. Since CHINON was primarily an OEM for cameras and lenses, and its own brand was often associated with budget cameras and lenses, I didn’t particularly care about the optical quality of this lens. However, after recently researching this 55mm f1.7 lens online, I came across a claim that it was manufactured by the renowned Tomioka Optical. This piqued my interest, and I decided to give it a try.

以前沒有特別注意這顆鏡頭，主要是因為它是跟CHINON CM-3這台M42底片相機一起購入，由於CHINON本身是相機和鏡頭代工廠，自主品牌則常是廉價相機鏡頭的代表，我對這棵鏡頭的光學品質並未特別在意。前這子網路上查詢這顆鏡頭的資訊時，看到一種說法，即這顆55mm f1.7的鏡頭是有名的富岡光學代工，也就興起了試拍的念頭。

Auto CHINON MC 55mm f1.7 M42

In June, before the peak of the hot summer, the pathway along the Sunshine Bridge in Xindian is lined with blooming little yellow daisies. The insects are also drawn to the flowers, lingering and flitting back and forth.

六月天，在進入炎熱的夏季前，新店陽光橋下的步道沿線都是盛開的小黃菊，蟲兒也受到了吸引，流連往返。

Auto CHINON MC 55mm f1.7 + 12mm extension tube

Auto CHINON MC 55mm f1.7 + 12mm extension tube

Auto CHINON MC 55mm f1.7

Auto CHINON MC 55mm f1.7

Rebirth Zeiss-Opton 50mm f2 on Sony A7III 老鏡復活

2024-05-26T19:43:00.000+08:00

2024/5/26

Zeiss-Opton 50mm f2 T on Sony A7III

In 2005, when CONTAX cameras were discontinued and digital cameras were becoming increasingly popular, I bought my first digital SLR — the Canon EOS Kiss Digital. I later upgraded to the EOS 5D Mark II, partly because it allowed me to use CONTAX lenses via an adapter. The downside was that I had to focus with the lens wide open, then stop down to meter the light before pressing the shutter — a cumbersome process. At the time, my biggest hope was that a manufacturer would eventually release a full-frame digital camera with a universal mount and electronic viewfinder, so that my CONTAX Carl Zeiss lenses could be revived in the digital age, bringing back the joy of manual focus photography.

在2005年，CONTAX相機停產，數位相機逐漸普及時，我買了第一台數位單眼相機Canon EOS Kiss Digital，之後也升級到EOS 5G Mark II，目的之一就是可以透過轉接環使用CONTAX鏡頭。它的缺點是需先用大光圈對焦，再用縮光圈測光，之後才能按下快門拍照，因此當時我的最大的期待就是有家廠商出了一台萬用接環具有電子式觀景窗的全幅數位相機，可以讓我的CONTAX Carl Zeiss 鏡頭可以在數位時代復活，恢復手動對焦攝影的樂趣。

Finally, in 2013, Sony released the first full-frame mirrorless camera. With its short flange distance of just 18mm, it not only supported SLR lens adapters but also allowed lenses from traditional rangefinder cameras to be used. In order to continue using my collection of lenses — Contax SLR/RF, M42, L39, and Hasselblad — in the digital photography era, I chose the right time to switch my entire Canon EOS camera and lens system to the Sony A7 series.

終於在2013年，Sony發表了第一台全幅無反光鏡單眼相機，由於法蘭距僅18mm，不但適合轉接單眼相機的鏡頭，也讓傳統連動測距式相機的鏡頭可以轉接後使用。為了讓我收藏的各種鏡頭Contax SLR/RF、M42、L39、Hasselblad 可以在數位攝影時代能繼續發揮，我找了適當的時機將全套的Canon EOS相機和鏡頭換成Sony A7系列。

This Zeiss-Opton 50mm F2 T lens is over 70 years old, yet it still performs beautifully on the Sony A7 III. In this backlit shot of a Bauhinia flower petal and green leaves, the transparency is stunning, and the countless bokeh highlights in the background seem to be celebrating the rebirth of a vintage lens.

這顆 Zeiss-Opton 50mm F2 T 已超過70年，在Sony A7 III相機上仍然發揮得很好，這張背光的羊蹄甲花瓣與綠葉，晶瑩剔透，背後無數光點，看似慶祝老鏡重生。

Zeiss-Opton 50mm f2 T

NONS SL42 II + Yashica Lens ML 35mm f2.8 Test Shots 曝光測試

2023-09-17T21:53:00.006+08:00

2023.09.09

This time, I tested the shutter of the NONS SL42 II camera using the Yashica Lens ML 35mm f2.8. The lens has a minimum aperture of f16, and if it could reach f22, it would be more suitable for Fujifilm Instax ISO 800 film. The NONS SL42 II is equipped with a 1.8x multiplier lens on top of the Yashica lens, so the film's ISO value will be approximately 800/1.8/1.8=247, close to 250 (based on past experience, I prefer to slightly overexpose Instax film, so I set the light meter to ISO 200). Under sunny conditions, the optimal combination would be f16 and 1/250. Since 1/250 is the maximum shutter speed of the NONS SL42 II, it's challenging to choose a larger aperture like f5.6 or f8 to capture a well-focused subject with a blurred background in bright sunlight.

這次來測試NONS SL42 II相機的快門，使用的鏡頭是Yashica Lens ML 35mm f2.8，最小光圈是f16，如果可達f22將更適合Fujifilm Instax ISO 800的底片。由於NONS SL42 II還會再裝上一個1.8倍鏡，再接上Yashica鏡頭，所以底片的 ISO值將會相當於 800/1.8/1.8=247 接近 250 (依過去使用經驗，我習慣讓Instax底片多曝光一點，所以測光表我設訂成ISO 200)。如過在拍照的Sunny rule下，會是f16和1/250的組合，1/250已經是NONS SL42 II這相機的最高速快門了，所以想要選擇較大光圈如f5.6、f8來拍點主體清楚且背景模糊的相片，在大太陽底下幾乎不可能。

The first set of test shots was taken under a tree shade, creating a somewhat overcast feeling, approximately 3 stops lower than f16, resulting in the combination of f5.6 and 1/250. Under the same EV value, subsequent photos were taken with the combinations of f8 and 1/125, f11 and 1/60, and f16 and 1/30, respectively. Upon closer inspection, except for the fourth photo, the central area of the other photos shows slight overexposure, suggesting that the shutter speed scaling in the center might be slower. The fourth photo itself is clearly underexposed, and my guess is that the lens might have over-closed at f16, requiring a compensation of 0.5-1 stop.

第一組測試點是在樹蔭下，大概是陰天的感覺，比f16低3級，也就是f5.6與1/250的組合，再相同EV值下依序拍得f8與1/125、f11與1/60、f16與1/30組合的相片。仔細看除了第4張相片，其他相片的中央，都有些許過度曝光，推測這快門的縮放在中央的速度可能較慢。而第4張相片本身也很明顯曝光不足，我的推測是鏡頭在f16光圈可能縮過頭了，可能要補償0.5-1級才行。

First Set - No ND4 Neutral Density Filter

第一組無ND4減光鏡

#1. f5.6 1/250

#2. f8 1/125

#3. f11 1/60

#4. f16 1/30

The second set of test shots captured the exterior of a building with reflective beige tiles. The metering result should have been adjusted by an additional 1 stop of exposure, but I overlooked this while focusing on the installation of the ND4 neutral density filter. The light meter's ISO value needed to be adjusted to 50 when using the ND4 filter. It can be observed that, under slight underexposure conditions, only the central point (windows) of the fifth photo shows a slight white overexposure. Similarly, the eighth photo with f16 shows underexposure.

第二組測試點拍攝的建築物外觀是會「反光」的土黃色磁磚，測光的結果應該要再加1級曝光，但拍攝當下我忽略了，只專注於鏡頭加裝ND4減光濾鏡後須將測光表的ISO值調整為50。可以觀察到，再曝光較為不足的情況下，只有第5張相片的中心點(窗戶處)有些許泛白的過曝。同樣的第8張f16曝光不足。

Second Set - No ND4 Neutral Density Filter

第二組無ND4減光鏡

#5. f5.6 1/250

#6. f8 1/125

#7. f11 1/60

#8. f16 1/30

The third set of test shots was taken under a tree shade, capturing backlit leaves. Due to a large area of overexposed sky in the frame, the overexposure in the central area of the photo becomes apparent, especially when the overexposed sky area is larger (as seen in the tenth photo), resulting in overexposure above the tree shade.

第三組測試點是在樹蔭下拍攝背光的樹葉，由於畫面中有較大面積的過度曝光天空，相片中央的過度曝光區域變得很明顯，當過度曝光天空面積更大時(如第10張相片)，樹蔭上方也出現過度曝光的現象。

Third Set - No ND4 Neutral Density Filter

第三組無ND4減光鏡

#9. f5.6 1/60

#10. f8 1/30

Based on the above tests, it is speculated that when there is a large area of overexposure in the photo, it leads to overexposure in the central area and even other sections of the image. This issue persists even at slow shutter speeds of 1/30 and 1/60.

經過以上測試，推測當相片畫面中有較大面積的過度曝光區域時，就會造成畫面中心，甚至其他區塊的過曝，即使是在慢速快門1/30、1/60下仍是無法避免。

Cemented Faces Repaired, Carl Zeiss Mirotar 8/500 T* 鏡片膠合異常

2023-09-09T16:34:00.117+08:00

2023/9

Over the past few years, I have often purchased second-hand lenses from Yahoo Auctions Japan. The main reasons are the wide selection and reasonable prices (the depreciation of the Japanese yen is also a factor). Of course, there have been quite a few cases of stumbling upon lemons. Minor issues like loose parts leading to the aperture not opening or small patches of spiderweb-like mold are still relatively easy to deal with.

This time, I hit a major snag. The purchase price of this lens was about sixty percent of the market price, and as soon as I received it, I was startled by the droplet-shaped reflections on the reflective mirror elements. It didn't look like mold, and I suspected it might be due to the silver coating on the reflective mirror cracking. It seemed unlikely to be salvageable, but I decided to give it a shot and consulted a professional technician.

I made an appointment with the technician, and upon inspection, he determined that the poor adhesion between lens elements was causing the issue. There are two lens surfaces on this lens that need to be bonded with special glue. The previous repair technician probably didn't bond them properly, causing air bubbles in the adhesive, resulting in marks resembling water droplets.

這幾年常常從日本Yahoo拍賣購買二手鏡頭，主要是選擇多，價格合理(日幣貶值也是因素之一)，當然踩到地雷的案例也不少，小問題像是零件鬆脫導致光圈無法開啟、小範圍蜘蛛網狀霉絲都還容易處理。

這次算是採到大地雷，這顆鏡頭的購入價約是市價的六成，拿到手後第一時間就被反射鏡組上反射的水滴狀影像嚇到，看起來不像霉絲，自己判定可能是反光鏡的鏡面塗銀層龜裂，很可能沒救了，不過還是死馬當活馬醫吧，找專業的師傅看看吧。

跟師傅約了時間，師傅看了一下就判定這是鏡組間黏合不佳，這鏡頭有兩處鏡片接觸面須用專用膠黏合，前一位修鏡師傅應該沒黏好了，導致黏膠間產生氣泡，形成類似水滴狀的痕跡。

Water droplets in Front View
鏡頭正面水滴狀脫膠

Water droplets in Rear View
鏡頭背面水滴狀脫膠

The technician explained that if it were old factory lenses, heating the lens group after applying adhesive could separate them. If it was a more recent adhesive, such as UV glue, it would require soaking in a solvent solution to separate them. Two weeks later, the technician returned the lens to me, now clean and pristine, explaining that the lens group was separated after soaking in the solvent and then re-bonded after cleaning.

修鏡師傅表示如果是舊的原廠鏡片黏合膠應該加熱後鏡組就可分離，如果是必較近期的黏合可能是用UV膠，需要泡溶劑藥水才可分離。兩週後，師傅交還給我乾淨漂亮的鏡頭，並說明是泡溶劑後分離鏡組，清潔後再重新黏合。

The lens after repair
經修復後的鏡頭

Carl Zeiss Mirotar 8/500 T*
Cemented Face 膠合面示意圖

NONS SL42 II + Carl Zeiss Planar 50mm f1.4 @ NTU 台灣大學

2023-01-01T19:58:00.005+08:00

2022.11.3

Went for a stroll at National Taiwan University and tested the NONS SL42 II + Carl Zeiss Planar 50mm f1.4 combo. Noticed significant vignetting at the image periphery, similar to what I observed in the previous test with the Carl Zeiss Distagon 35mm f1.4. I speculate that this vignetting is caused by the 1.8X (NFE) lens attachment on the NONS SL42 II (the diameter of the 50mm f1.4 rear lens element is larger than that of the 1.8X lens). Based on my experience, using the Asahi Optical SMC Pentax 35mm f3.5 minimizes vignetting because the diameter of the rear lens element in the 35mm f3.5 is smaller than that of the 1.8X lens.

台灣大學散步，順便進行 NONS SL42 II + Carl Zeiss Planar 50mm f1.4 測試，成像週邊有很明顯的暗角，這跟之前測試過的 Carl Zeiss Distagon 35mm f1.4 差不多。我研判這暗角應該是 NONS SL42 II上裝的1.8X (NFE)鏡造成的 (50mm f1.4後鏡組鏡片的直徑>1.8X鏡的直徑)，依使用經驗，如果是使用 Asahi Optical SMC Pentax 35mm f3.5 則暗角不明顯，(35mm f3.5後鏡組鏡片的直徑<1.8X鏡的直徑)。

Furthermore, this camera features a leaf (circular) shutter, but due to its slower opening and closing speed, photos taken at shutter speeds of 1/125-1/250 seconds show overexposure by 0.5-1 stop at the center. To avoid this phenomenon, it is recommended to primarily use shutter speeds below 1/60 second (if necessary, ND filters can be used, as the ISO 800 of Instax film is highly sensitive in daylight).

另外，這個相機採用的是葉片(圓形)快門，但是因為快門開闔的速度還不夠快，導致在1/125-1/250秒快門時所拍攝的相片其中心點的曝光會多0.5-1格，為避免這個現象破壞作品，建議以使用1/60秒以下快門為主 (必要時可搭配ND濾鏡使用，因為ISO800的Instax 拍立得相紙，在白天是外的感光度實在太高了)。

The light sensitivity and latitude of Instax Mini film are significantly lower compared to the iPhone camera. In the comparison, the shadows in the Instax photo are almost entirely black, and the lightly blue sky is overexposed, resulting in a whiteout. Instax film is truly only suitable for shooting subjects with relatively even lighting.

Instax mini 拍立得相紙的感光寬容度和 iPhone 手機的相機比起來，真的差很多，可以看到前者的樹蔭近乎全黑，且淡淡藍天已經過度曝光泛白，Instax 拍立得相紙真得只適合用來拍光源較為平均的主題?

Lastly, here is a photo taken with the test combo NONS SL42 II + NFE + Carl Zeiss Planar 50mm f1.4.

最後，來一張本次的測試組合 NONS SL42 II + NFE + Carl Zeiss Planar 50mm f1.4。

NONS SL42 Introduction 相機介紹
https://nonscamera.com/zh-tw/products/nons-sl42-black

Passive EF mount (no electronic signal output, cannot autofocus or control aperture electronically)
Shutter speeds (10 steps): 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 second, and B shutter
Recommended aperture based on current shutter speed, displaying F-values
B shutter timer can go up to 999 seconds
Film counter, battery status display
Standard hot shoe, syncs with shutter at 1/250
Power: 3200mAh built-in lithium battery, Charging: DC 5V, 1A
Film: Fujifilm Instax Mini
Film size: 54 x 86 mm (width x height)
Image size: 46 x 62 mm (width x height)
Dimensions: 158 x 65 x 116 mm (length x width x height)
Weight: 510 g

被動EF卡口 (無電控信號輸出，無法自動對焦或者電控光圈)
快門速度 (10 檔): 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 秒和 B快門
基於當前快門速度推薦光圈，顯示 F數值
B快門計時器最高可以到999秒
菲林計數，電池狀態顯示
標準熱靴，快門同步到 1/250
供電: 3200mAh 內置鋰電，充電: DC 5V, 1A
菲林: Fujifilm Instax mini
菲林尺寸: 54 x 86 mm (寬 x 高)
圖像尺寸: 46 x 62 mm (寬 x 高)
外形尺寸: 158 x 65 x 116 mm (長 x 寬 x 高)
重量: 510 g

Starburst Bokeh with a Soviet Macro Lens: Индустар-61 Л/З 50/2.8 (Industar-61 L/Z 50 2.8) 星芒特殊散景蘇聯微距鏡

2022-08-21T21:28:00.046+08:00

2022.8.21

The Industar-61 L/Z 50/2.8 MC M42 macro lens from the Soviet LZOS factory features an optical structure with a Zeiss Tessar design, consisting of 4 elements in 3 groups. This lens can produce a distinctive six-pointed starburst bokeh between apertures f5.6 to f8. Although Christmas is still four months away, in order to capture the special starburst bokeh, the photographer had to bring out Christmas decorations to serve as the background for Santa Claus.

來自蘇聯LZOS工廠的Industar-61 L/Z 50/2.8 MC M42微距鏡，使用蔡司Tessar 4片3群的光學結構，在光圈5.6~8之間可拍出六芒星的特殊散景。雖然今年聖誕節還要4個月才會來臨，為了拍出星芒特殊散景，也只好把聖誕燈飾找出來當聖誕老公公的背景了。

Sony A7 Mark II + Industar-61 L/Z 50/2.8 MC (six-pointed starburst bokeh 六芒星散景)

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

The exterior design of the lens exudes the rugged and robust aesthetic characteristic of the fighting nation. 鏡頭外觀是戰鬥民族貫有的粗曠感

Industar-61 L/Z 50/2.8 MC Apeature Fully Opened 光圈全開

Industar-61 L/Z 50/2.8 MC Apeature 光圈 f5.6-8

Industar-61 L/Z 50/2.8 MC
4 elements 3 groups optical formula 4片3群的光學結構
https://allphotolenses.com/lenses/item/c_343.html

NONS SL42 + Fujifilm Instax Wide Mini @ Tamsui Shell Warehouse 淡水殼牌倉庫

2022-07-09T10:08:00.004+08:00

2022,7,6

A Visit to Tamsui Shell Warehouse

A few days ago, thanks to my mother-in-law's recommendation, I discovered that there is a 'Shell Warehouse' near the Tamsui MRT station. Yes, it's the Shell that sells petroleum! Coincidentally, today my child is participating in soccer training at Tamkang University in Tamsui. After handing my child over to the team coach, I took my NONS SL42 instant camera to the 'Shell Warehouse' to take photos. The entire area is very clean, and the buildings have been well restored (at least to us non-experts).

一訪淡水殼牌倉庫

前幾天經岳母介紹後，我才知道淡水捷運站旁有個「殼牌倉庫」，沒錯，就是那家賣石油的 Shell！剛好今天小孩到淡水真理大學參加足球集訓，把小孩交給球隊教練後，我就帶 NONS SL42 拍立得相機到「殼牌倉庫」拍照，整個園區很乾淨，建築物也修復的不錯 (對我們外行人而言)。

'The designated historical site of the original British firm Jardine Matheson Warehouse (Tamsui Shell Warehouse) has four large warehouses, three small buildings, and the remains of oil tanks, covering an area of nearly 13,200 square meters. It bears witness to important historical moments such as the opening of Tamsui Port, Japan's rule over Taiwan, and the bombing of Taiwan by the U.S. military during World War II. It is one of the few surviving foreign trade warehouses in northern Taiwan and one of the few industrial heritage sites in Taiwan.'

For a complete introduction, you can refer to the New Taipei City Government website: https://newtaipei.travel/zh-tw/attractions/detail/110415

「新北市市定古蹟原英商嘉士洋行倉庫(淡水殼牌倉庫)擁有四座大倉庫、三座小建築物、油槽遺址，約近4千坪的土地面積，見證淡水開港、日本領台、二次世界大戰美軍轟炸台灣等重要歷史時刻，是北臺灣少數僅存的洋行倉庫，也是台灣少數僅有的工業遺址古蹟。」

完整的介紹可參考新北市政府網站 https://newtaipei.travel/zh-tw/attractions/detail/110415

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

NONS SL42 + NFE + Carl Zeiss Distagon 28/2.8 T*

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

NONS SL42 + NFE + Carl Zeiss Distagon 28/2.8 T*

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

NONS SL42 + NFE + Zenitar Fish-Eye 16/2.8 MC

NONS SL42 + NFE + Industar-61 L/Z 50/2.8 MC

NONS SL42 + NFE + Carl Zeiss Distagon 28/2.8 T*

Finally, for those interested, a reminder: the sensitivity of Fujifilm Instax is as high as ISO 800. Bringing a ND4 or ND8 neutral density filter will allow you to capture many great shots.

最後，看到這的同好，提醒您 Fujifilm Instax 的感光度高達 ISO 800，帶個 ND4 或 ND8 的減光鏡，會讓您多拍許多好作品。