I’ve used movie cameras for nearly a decade, and I’ve discovered some fascinating issues through the years. Among the many field of issues I’ve stored is a really fascinating lens with a considerably mysterious origin. The Lens in query is a Komura 35mm f2.8 made in Nikon S mount, and it has turn into considered one of my favorites. Whereas Komura 35mm lenses should not all that uncommon the f/2.8 model is much less frequent and fashions in Nikon S mount are fairly uncommon. Sankyo Koki, the corporate behind the Komura model is somewhat mysterious, with respectable alternatives of lenses made in virtually each conceivable mount floating round. The corporate its self appears to have disappeared round 1985, however fortunately their lenses have stood the check of time.
I’ve been a giant fan of the Nikon line of Rangefinders for years, however considered one of their down sides is that there should not many third social gathering lens choices and most are very uncommon so I jumped on this lens once I noticed it listed on-line with its authentic exterior finder. And I not like many web primarily based impulse purchases I’ve not come to remorse this one.
Now to the nice half the lens itself! The lens has a pleasant high quality to it, each in construct and picture rendering aesthetics. If I needed to sum it up in a single phrase I suppose “classic” could be the opportune phrase, however fortunately I don’t have such a restrict on what I can say about this lens. It has a pleasant depth of discipline when extensive open particularly should you get shut. There’s little or no vignetting extensive open, there’s some vignetting when the lens is closed down, somewhat counter intuitive in comparison with most older lenses I’ve used, however nonetheless not the worst I’ve seen. The lens usually doesn’t flare, however when it does it’s one heck of a present with a fairly dramatic ‘Aurora’ fashion of flare. I’m not a giant fan of this flare, however I’ve solely seen it on a few frames shot
As for coloration rendering, Black and white movie seems to be nice when shot in live performance with this lens, with a pleasant distinction. Coloration seems to be okay however is just not particularly correct with exaggerated hues in most cases. On a facet notice the samples had been shot on lengthy expired Kodak gold 400 I ran by means of the digicam at 160 pace. I believe they give the impression of being fairly good contemplating the movie was lower than an excellent classic, however more energizing movies are prone to reveal totally different outcomes. Not essentially higher, however totally different.
One level of frustration I face when utilizing the Komura is its aperture ring is reversed in comparison with the Nikon lenses I exploit on the identical cameras and sometimes facet by facet with the Komura. Not a giant deal if it’s your solely lens but when you have already got some Nikon lenses like me and are used to the aperture operating right-to-left it may be irritating when you end up turning the aperture within the flawed path.
I usually shoot this odd ball lens on my Nikon S3 (pictured on the high of the put up), a somewhat worn digicam that I made a decision to reskin with precise snake pores and skin. Whereas I believe the 2 make an awesome pair of off beat movie package, I acknowledge I in all probability stand alone in my aesthetic admiration for the digicam, however I personally prefer it and wouldn’t change something about it. The 2 are a pleasant combo for the reason that S3 has 35mm body traces on the viewfinder, that means the 2 may be paired with out the necessity of an exterior finder or goggles. This implies the matching Komura finder doesn’t get a lot use, but it surely leaves the shoe mount open for a light-weight meter – a small however good bonus for a digicam of this age.
My closing ideas on this lens are many, however in brief I prefer it. It seems to be good when rendered on black and white movie, and that’s 90% of what I shoot. The flare may be unappealing, however I’ve hardly ever encountered it and it seems significantly subdued on black and white movie (I don’t know why). its depth of discipline is a few what subdued in comparison with many increased finish lenses, but it surely will get the job executed and is extra pronounced than on many Nikon produced rangefinder lenses I’ve in contrast it to. It’s not and straightforward lens to seek out, however I believe it isn’t a lens each Nikon SP proprietor shall be clamoring to get their fingers on. If in case you have one of many basic Nikon rangefinders and desire a stable 35mm lens that is considered one of a fairly restricted pool of choices, and it has sufficient character it brings one thing distinctive to the lineup that could be very totally different from the native Nikon lenses.
See what else I’ve been as much as on my weblog or study extra about Nikon rangefinders and odd lenses on my YouTube channel.
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