There isn’t much to be had in the way of native 28mm lenses for Sony FE cameras. Of course, Sony offers the FE 2/28 and I’ve tried that one out several times but couldn’t bring myself to buy it. I just don’t like its rendering, the pictures are dull and lifeless to my eyes. That only leaves legacy lenses as prime 28mm options. Continue reading “SMC Pentax 3.5/28 compared to other 28mm lenses”
During a facebook conversation Henrik Robeck asked if I could do a comparison between Minolta 28mm 1:3.5 lenses, specifically the two latest optical designs. However, I was curious enough to see the differences myself, so I decided to do a comparison between all the different 3.5/28 designs in the Minolta SR-mount line-up. Continue reading “Minolta 28mm 1:3.5 lenses – a comparison”
I wondered enough to finally get one, hoping to find the ultimate 40mm lens for street photography: the Minolta M-Rokkor 40mm 1:2 is a very light lens with a relatively long focus travel and a tab to further support easy focussing. And because it is in Leica M-mount it means that the register distance is short, so the total length of adapter + lens on the Sony A7R2 is also really small.
These lenses came from people who had a home in Curaçao besides their Dutch home; the equipment probably was bought in Curaçao, but the seller couldn’t confirm that. Anyway, the total set was imported in America, as both lenses and the accompanying SR-T 200 camera bore American type designations; I don’t think Celtic lenses were sold in Europe, except maybe in the UK.
The most prominent feature of this lens is its weight indeed: with 600g it is the heaviest Minolta macro lens you can find. It is a chubby, hefty lens and it oozes mechanical quality. The matching life-size adapter is aptly provided with a tripod mount, while the adapter for the MD Macro 100/4 successor hasn’t one.