Repair: Nikkor-H 50mm f/2 Auto

Hello, everybody! I was listening to the Air Supply this afternoon. While I liked the duo in my younger years I got tired of listening to them after buying their “Goodbye” album. It’s an OK album with a catchy song in it but it was played-to-death by DJs so you could hear the song everywhere you went. It got so annoying that listening to somebody singing in a falsetto voice made me want to act violent. After some 27 years after “Goodbye”,  I finally decided to make my peace with Air Supply and began to enjoy their music again. It looks like I just need some time-off from them in order to re-kindle my love for their music. It’s now fun again to listen to their music and re-live your younger days when you dedicated a song to a girl that you liked and had the DJ play it. Today, I am going to show you a lens that was so popular that people began to treat it as a mere lens cap despite the fact that it is a nice lens with more-than-decent performance.

Introduction:

The Nikkor-H 50mm f/2 Auto is probably Nikon’s most prolific 50/2 lens and it’s certainly the most successful if you consider the longevity of its optical design. It was sold in 1964 as the Nikkor-H 5cm f/2 Auto and it was revised as the lens in this article and later as the multi-coated Nikkor-H•C 50mm f/2 Auto. A huge re-design effort by Nikon in the 1970s or the late 1960s turned it into the New-Nikkor 50mm f/2 and the lens arrived at its last form as the Nikkor 50mm f/2 Ai in the late 1970s. All of the lenses that I mentioned above used the same basic lens formula and was modified in small ways to improve its performance or to give it a new feature such as the ability to focus a bit closer. The reason why it was so successful is because its performance is great for its time and so the need to develop a better design wasn’t so urgent. This earned a lot of money for Nikon as the same design was used for almost 15 years spanning several model changes! This is the dream of many accountants and the optical designer must’ve been really proud of his work! The key to it is the simplicity of the design which makes manufacturing easier and cheaper. Lenses of this type are usually sold together with cameras as “kit-lenses” as they will be called later in the new millennium and they should have a more-than-decent degree of performance and they should also be able to be manufactured cheaply. This lens fulfilled them all and so it became one of Nikon’s most successful “kit-lenses” of all time.

IMG_8382Many consider this to be amongst Nikon’s best 50mm lens designs that can still compete with many modern lenses. This lens was so successful that it stayed in production until 1979 (from 1964) in the form of the Nikkor 50mm f/2 Ai which is simply the New-Nikkor 50mm f/2 with a few modifications. It’s a very good lens if you ask me but it’s also why I don’t like it as much as the Nikkor-S 50mm f/1.4 Auto because I like lenses with quirks.

img2The optical formula is simple and it only consists of 6 elements in 4 groups arrayed in the typical Gauss-type configuration. This gives the lens a well-balanced character and this is also the reason for this lens’ ability to correct the effects of chromatic aberration which is typical for Gauss-type lenses. The original formula was introduced in 1964 for the earlier variant of this lens and was subsequently tweaked a bit to make it focus closer. The later versions of this lens has better coatings applied, making it better at countering flare and ghosts which I think is the weakness of the earlier un-coated version.

IMG_8383Here are all of the 3 variants of the Nikkor-H 50mm f/2 Auto from the earliest version to the left and the last version with multi-coating called the Nikkor-H•C 50mm f/2 Auto. The external differences are obvious, the earlier one has the old-style look while newer ones have the later hill-and-dale (山谷) aperture rings. Nikon also sold factory Ai-kits for these like the one you see at the middle so you can use them with modern Nikons. Many small details such as the screws and knurling differences aren’t obvious. I can confirm that the size of the barrels are a little bit different between these sub-versions so you cannot do a simple parts-swap between these.

IMG_2473The later multi-coated version has a black front ring to help combat against reflections. It looks handsome to be honest and many people prefer this over the old silver-nosed ones.
IMG_2523Here it is coupled to the Nikkormat EL, the later black-nosed version is a very sexy lens if you mount it on a black camera. Its size is typical of most smaller Nikkor primes from the same era. Handling is excellent as you would expect from a classic Nikkor, I like these old Nikkors because they have all-metal rings that feel good on my hands. I also find it really easy to turn them when wearing gloves because the knurling is deep. Some people don’t like touching metal when shooting in winter for obvious reasons but I don’t really mind.
IMG_8386The usual silver-nosed variants looks best when paired with a chrome camera. There are some people who can be really conscious when it comes to these things because cameras and lenses are like jewelry to them. This setup will certainly turn a lot of heads.

Knowing your gear is important so you can maximize its use. I will show you a couple of pictures that I took with this lens under various apertures. I shot these from f/2, f/2.8 and f/4 because these apertures show the biggest changes in terms of the characteristics and feel of the pictures and these are also the best apertures to shoot with if you want to see any flaws from a lens. They are sequenced from left-to-right by aperture number so you won’t have to guess which pictures were shot with what aperture number. Seeing how it performs in these simple tests will give you an idea as to what its strengths are so that it’s going to be easier for you to exploit them. You’ll also see its weaknesses and you can use them to your creative advantage or just avoid situations that will show these.

(Click to enlarge)

Vignetting is on the heavy side wide-open but improves as you stop it down to f/2.8 but it will only go away from f/4 and up. While this won’t be obvious when shooting real-world pictures you may want to avoid shooting it wide-open with an even-colored background or against the sky. You may use this to your own advantage if you want, I remember that studios used to add this to portraits in the dark room way into the 1980s. Ghosts and flare resistance is on the poor-side specially on the latter where shooting with the sun near the frame will cause everything in your frame to lose contrast and stopping it down won’t be of any help. Some people like this and their main reason for using older lenses is to shoot pictures with these flaws to make them unique.

(Click to enlarge)

The bokeh quality is kind of harsh to be honest and this is one of the reasons that I stayed away from this lens. I took the pictures above with foliage in the bakground because this is the best way to show if a lens has terrible bokeh quality or not. The good news is that it isn’t really bad when you have something else for a background, just avoid twigs and you should be OK. The rather angular 6-sided iris doesn’t make things better because it makes the quality of the bokeh quite harsh when you stop the lens down. Your bokeh balls aren’t going to look circular and will look hexagonal like Canon’s I hated this and I prefer more natural-looking septagonal iris. This is more a matter of taste, some people prefer it over the circular ones.

(Click to enlarge)

Some of you may be wondering how significant the effects of multi-coating is on this lens so I shot these pictures for you to help illustrate the benefits of multi-coating. The photos to the left were all shot with the un-coated version while the ones on the right were shot with the multi-coated version. If you click on the pictures and examine them you will see that the multi-coating is effective in countering the effects of internal reflections. There is an ugly blue ring and the ghosts appear to be bigger and more opaque on the photos that the un-coated version took. These are caused by the lens elements reflecting themselves within the barrel. I can sometimes even count how many elements a lens has by looking at the ghosts and counting how many geometric shapes there are! You will also notice in the pictures that were shot using the multi-coated lens that it’s at least twice as effective in countering the effects of flare. The fall-off curve of the flare is shallower on the older un-coated version and therefore you see more of the flare spreading in the frame. You’ll see that it can reach towards the corners (about 1/3 of the frame) while it’s absent in the pictures to the right. The slightly-milky effect of flare is terminated not too far from the light source and you will see that the dark parts appear darker.

(Click to enlarge)

Here are pictures that I shot with the subject at various distances. Wide-open, the lens is sharp and the contrast is more than adequate. Resolution isn’t there yet but it’s decent. It has reasonably-smooth bokeh when shooting at things that don’t have foliage or twigs for a background, vignetting is harsh when shooting against the sky. Stopping it down to f/2.8 will make it resolve better as you can see finer details begin to appear clear. The bokeh is still pleasing and contrast improves by a bit. Stopping the lens down to f/4 will make your picture sharp up to the corners. The bokeh quality remains decent and the overall frame is clear. I am impressed with this lens’ performance because it’s predictable through-out its aperture range and across various distances. The character of the lens doesn’t change much as you stop the lens down, this is typical of the Double-Gauss or Planar-type and it’s one of the reasons why I prefer the more “exciting” Sonnar-type lenses. While chromatic aberration is controlled really well, the effects of spherical aberration wide-open can be seen in the form of a slight flare in areas of fine detail but you won’t see it unless you go out of your way to find it.

(Click to enlarge)

Saturation is pretty good and the contrast is decent but it’s not quite “there” yet when it’s compared to later lenses with much-better coatings applied or the Zeiss lenses that were calculated to have higher-than-usual cotrast as evident with post-war Zeiss Biotars or the Zeiss Tessars, I have used both lenses and while they’re amazing their contrast can be too high for certain photos like portraits. This lens is a well-balanced lens in every way and it is one of the reasons why it’s boring.

_haw6084The lens has decent subject isolation qualities that’s going to be adequate for most cases. This is a lens that was calculated for rendering images that have well-balanced traits and not as a tool for rendering “art” photos like the Nikkor-S.C 5cm f/1.4 where it was made to render really well up-close and perform with “lots of character” at further distances. This was deliberate and is one of the things that you should find out for yourself when you’re evaluating lenses or learning how to use a new one.

_haw6102Flaring is terrible but that can be caused by the damaged coatings on this lens. If you are looking for this kind of look then this lens is for you. You can use this creatively to add a bit of “atmosphere” or mood to your photos or videos and make them stand-out from the competition. It’s these quirks of old lenses that makes them special.

_haw6104Sphero-chromatic aberration is controlled really well and you’ll never see any purple or green tint at really bright highlights in your photos in most cases. I tried really hard here and I still can’t manage to show it. The down-side is you get bokeh that’s not as smooth, a lens with deliberate under-correction of sphero-chromatic aberration will be smoother. I am not a lens designer and I’m not an expert in this field but this is how it generally is.

Here are some pictures that I took with Fujifilm Industrial 100. Film has a distint look and it’s why I am showing you these pictures. In order to evaluate a lens better we’ll need to see how it performs with both film and digital, this will give us a holistic view of the lens and we can also see how this lens perform in the true context of its design because it was made during the film era so it was calculated to work best with film. I am not a purist but this is a must for somebody who wants to understand this lens further. Just to make it all clear to you, I was using a Nikkor-H•C 50mm f/2 Auto to take these pictures instead of the older un-coated one.

(Click to enlarge)

I really love how this lens renders when shot with film. The pictures have a clean look to them without being “sterile” like what most modern lenses tend to do. The pictures have a natural feel to them and the character of the bokeh is also quite nice when you have the right variables in your background. This lens has a tendency to show bad bokeh qualities if you gave it the chance to show them, the good news is that it’s OK most of the time.

(Click to enlarge)

The lens definitely renders pictures with the unique “vintage look”. Shooting it with film just makes it even better because this is as vintage as you can get. Colors look neutral so far unlike most lenses that were designed before the early 1960s which has the tendency to add a blue tint to your pictures because they were optimized to work with black-and-white film which used to be the standard of their era. These test pictures echo the results that we got with digital in the sense that the colors look nice under the right light. There are some lenses that are so bad at this that they will render a muddy-looking colors even when shot under ideal lighting conditions, this lens isn’t one of those.

(Click to enlarge)

Stopping the lens down from f/5.6 and beyond will give you sharp photos from corner-to-corner in most cases. I have not done any tests but this lens looks like it has a flatter field curvature compared to some lenses. I have read somewhere that this lens is great when used as a close-up lens or when shot in-reverse using bellows and this is probably why. If a lens as a rather high curvature of field then it won’t be good for things like close-ups. It can be hard to see but this lens has a bit of barrel distortion but it’s not obvious. This will never really be an issue for the majority of the pictures that you will take using it.

I hope that my pictures help give you an idea as to how this lens performs. It’s still a very good lens by recent standards (maybe 2 decades ago?). These are still great for practical photography so long as you get the later multi-coated version. Earlier ones tend to flare a lot like what you just saw in my pictures. While I will admit that it may be due to bad and scratched coating it’s still something that you should look out for if you want to purchase one for regular use and just as a part of your collection. Speaking of collecting, these are fun to collect because they came in numerous versions and all of them are cheap. These can be bought for less than $100 these days while the ones that have the factory Ai-rings being just a little bit more expensive. If you want to use these as practical tools then buy the one with the factory Ai-rings because they will be more useful for you if you want to use them with modern Nikon cameras or older film cameras that use the Ai-interface. It’s also a nice lens for videographers but I suggest buying the later New-Nikkor 50mm f/2 for the simple reason that it has rounder focusing ring so you can attach a follow-focus or an attachment for motorized focusing easier. So, what are you waiting for? Go and find one for your collection or use if you still don’t have one! These lenses are excellent and they’ll last you for decades more to come so long as you maintain them properly and I will show you how to do that in the repair article that follows.

Before We Begin:

If this is the first attempt at opening a lens then I suggest that you read my previous posts regarding screws & driversgrease and other things. Please also read what I wrote about the tools that you will need in order to fix your Nikkors.

I highly suggest that you read these primers before you begin (for beginners):

Reading these primers should lessen the chance of ruining your lens if you are a novice. Before opening up any lens, always look for other people who have done so in Youtube or the internet. Information is scarce, vague and scattered (that is why I started this) but you can still find some information if you search carefully.

I highly recommend that you also read my working with helicoids post because this is very important and getting it wrong can ruin your day. If I can force you to read this, I would. It is that important!

For more advanced topics, you can read my fungus removal post as a start. This post has a lot of useful information here and there and it will be beneficial for you to read this.

Disassembly (Lens Barrel):

These are simple to take-apart and repair, their construction is similar to many lenses in the Nikkor line-up from the 1960s but there’s a small difference and I will show you what that is later. This is a nice lens for beginners to work on as their first Nikkor repair but it is best that you work on a lens from another brand (like Canon) as your first try at fixing lenses because they’re even cheaper and I don’t really care much about lenses from that brand at all so messing one won’t hurt the overall pool of used lenses. Just never forget to use right tools like drivers and take plenty of photos as you go so you’ll know how to put things back together again and you are going to be OK. Like most lenses, we’ll begin with removing the objective as our priority so we can work on the lens without thinking about damaging the delicate glass and the good thing is it’s easy to do that with this lens.

IMG_2476The front ring is secured by a tiny set screw and removing it will allow you to unscrew the whole thing. This is the only Nikkor that was made like this as far as I recall, most of the time this screw is situated at the outer wall of the front ring and not in the bezel just like this.

IMG_2478Unscrew the front ring by turning it towards the left and you should get it out easily. If yours is stuck just apply some alcohol to soften the glue and try again later, repeat the process until you get it to turn easily.

IMG_2479Once the front ring is gone you can pull the objective out from the barrel. Put it in a safe place while you work on the rest of the lens to prevent damaging the delicate glass, a small padded box works really well.

IMG_2480The focusing ring is being secured by these 3 screws. Make sure that you turn the focusing ring until it reaches infinity and take several notes and pictures before you remove the focusing ring. This is where you adjust your lens’ focus so you will want to put everything back together properly later.

IMG_2485The screws are sealed with lacquer to kepp it from being moved accidentally. I usually apply a small amount of alcohol to soften it first. Removing it was easy since it wasn’t glued but you’ll find instanced where this is stuck and the only way to remove it is to saturate the holes with alcohol to soften the bond.

IMG_2481The bayonet mount is secured by these screws. Carefully remove them using a JIS screwdriver. Many people strip the heads of these screws because they are not aware that these are JIS heads so using the wrong driver will strip these. It is one of the reasons why many people get stuck with lens repair. To prevent it from happening to you make sure to read my article on how to remove screws from bayonet mounts. There’s also a video there so please check it out.

IMG_2482The bayonet mount comes-off like this. There’s nothing that will snag so don’t worry about anything. We also extracted the objective so there’s nothing that’s going to get damaged there.

IMG_2499Here’s how it looks like when you remove the rear baffle. You don’t have to do this unless your lens is really dirty. Be careful with the spring and don’t stretch it too far or harm it in any way. Remove the spring if you need to work on the bearing or ball-race of your lens to prevent damaging it.

IMG_2520Removing this ring will allow you to dismantle the bearing. I had to re-pack it because mine was really dirty and I wanted to kill the germs in the lens badly. Putting it back will require all the patience you can muster but I have a way to do this easily but it still takes a bit of time.

IMG_2483The aperture ring can’t be removed just yet because it’s still coupled to a lever behind it that allows it to control with the iris.

IMG_2484Once the screw is gone you can easily remove the ring. Clean this very well, it is common to find disgusting gunk hidden under it that’s akin to toe-jam.

IMG_2486The sleeve is being secured by these screws. Carefully remove these by using a driver that fits the heads perfectly to prevent scarring the surrounding metal or stripping their heads.

IMG_2487You can remove the sleeve like this by sliding it towards the front. This can get stuck due to hardened grease or glue, it can sometimes get difficult to remove these and saturating them with solvents is the only way to go. Note that I made a few marks on the lens to help me determine the helicoids’ alignment when it is focused to infinity. This is important so I’ll have guides later.

IMG_2488Removing the sleeve will reveal these 2 access holes. Turn the helicoids a bit to reveal these 2 screws that secure the helicoid key and remove them. The key is used to constrain the helicoids so they all work in-unison so turning the center helicoid turns the rest of the helicoids at the same rate. This enables the lens to extend or contract, giving you the ability to focus the lens. Note the position of the helicoid key before you remove it so you won’t put it back the wrong way.

IMG_2489Simply wiggle it and it should come-off from the gap between the helicoids at the bottom of the barrel. Clean it very well and don’t mass with the screw at its center because that’s used to adjust the width of the tongue.

IMG_2490Once the helicoid key is gone you can go separate the helicoids. Make sure to mark where the helicoids separate so you’ll know how to mesh them properly later during re-assembly. Many people forgot to do this or did it the wrong way so they’re stuck with a lens that won’t focus properly. Read my post on how to work with helicoids to prevent this from happening to you.

IMG_2491The inner helicoid can’t be removed from the central one because this is in the way. This is the helicoid stop and it prevents the helicoids from turning too far and undoing itself. Simply unscrew these to remove it.

IMG_2492These are sometimes glued and can be stuck at times and you’ll need to wedge it out using a small flat screwdriver. Make sure that you remember which way should be facing up because this isn’t symmetrical in most cases.

IMG_2493Again, never forget to mark where the helicoids separated.

IMG_2494The aperture-coupling claw and its ring is secured by a brass retainer. Remove it by turning the brass retainer’s end towards the slot of the helicoid key, use a small dental pick to push the retainer out and then pick it out with your nails.

IMG_2495You can now remove this safely. Clean these parts very well and make sure it’s moving smoothly before you put everything back together again.

IMG_2497The central helicoid’s top end houses this ring. This ring prevents the helicoid stop from making a full-turn and constrains it within the focusing range of the lens. You don’t have to remove because it was adjusted at the factory. I am just fussy over germs I wanted to remove this. Before removing it make sure that it has been marked so you’ll know how it should align. Next, loosen these screws and try to turn it. If it won’t move then pickle it on an alcohol bath over-night, that should soften the glue used on it and you can turn it until it comes-off. Its threads are very fine and it’s easy to cross-thread this part so be careful when you remove or re-install this thing.

IMG_2498Here it is. I don’t advise removing these set screws because you can forget how or where they’re supposed to be originally and put them back wrong.

Clean everything properly and make sure that you removed all of the old grease from the helicoids so you won’t contaminate the fresh grease that you’ll apply later. Make sure it’s dry before you apply the fresh grease and never apply too much of it so it won’t migrate to your iris and cause an even bigger problem.

Disassembly (Objective):

It’s easy to overhaul the objective so long as you have the right tools like a lens spanner. It is also important that you have several sets at-hand so you won’t ruin anything because you didn’t use the right type or you used a flimsy one from mainland China. Don’t fix any part that doesn’t need fixing and only clean what’s dirty.

IMG_2506The front elements assembly can be unscrewed just like this.

IMG_2503The front element is being secured with a retainer ring and it can be removed by using a rubber cup that has the same diameter.

IMG_2504If it won’t come-off then try and place a few drops of alcohol on its thread and let that soften the lacquer that was used to secure it.

IMG_2505The front element can now be extracted with a lens sucker.

IMG_2507The 2nd and 3rd elements are cemented together into a doublet and housed in a collar that can be unscrewed from the housing of the front elements group. I usually place a small drop of alcohol into this hole to soften the lacquer so that it’s easier for me to unscrew the collar.

IMG_2519Here it is. Do not remove the cemented elements from its collar, they are glued to the collar at the factory.

IMG_2500The rear elements assembly is housed inside this barrel. Simply unscrew this to separate if from the housing of the objective.

IMG_2502The rear element is being secured by a retention ring. It’s sealed at the factory with lacquer or enamel paint and it can be tough to remove. Use a sharp knife and scour the seam to break the seal and then saturate it with alcohol to soften it. If that won’t work then use a stronger solvent like naphtha or acetone. Care must be used when using acetone as it will craze the surface of plastic parts or harm the coating of your lens.

IMG_2518This is how it looks like when extracted. Make sure to note which side should be facing the front so you won’t put things back facing the wrong direction or have the elements in the wrong order.

IMG_2501The rear doublet is secured by this ring. It can be difficult to remove because it may be sealed at the factory just like the ring from the previous step. Carefully remove it using the steps mentioned previously and use a proper lens spanner to carefully remove it. The spanner should fit these slots perfectly.

IMG_2508Carefully remove the ring and make sure not to drop the glass.

IMG_2509The rear doublet can now be extracted.

Clean the lenses with lens tissue and alcohol or naphtha. Never air-dry these because the solvents may leave drying marks. I always wipe them with a clean cloth and then use the best bulb blower I have to blow any fibers away from the surface of the glass. Never soak any cemented elements in solvents because that will damage them. Be sure to return the elements back to their proper orientation so you won’t damage them. I draw small marks at the walls of the elements using a permanent marker to help me determine where they should be facing and which order each element should be according to the formula. This is very important to prevent an accident.

Disassembly (Iris Mechanism):

This section is entirely optional and should only be done if your lens is super filthy or the iris has oil on the blades. Putting the blades back can frustrate many beginners but this is an easy step for this lens since it only has 6 blades. Whatever you do, always take notes. I always take photos just in case so I will always have a reference to fall-back to. Handle it very carefully and never handle the blades at the flat parts. Always handle them at their base where it’s thicker but be careful not to damage their pins.

IMG_2510The iris mechanism is being held-together by this ring. It can be adjusted and so it’s sealed at the factory with lacquer. In order to put this back at the correct orientation again I made 2 marks that serve as keys so all I have to do is align these later. The marks were bigger than I wanted so I sanded them soon after I dismantled everything.

IMG_2511There are 3 of these around the housing of the objective and these screws hold the ring so it won’t come-off accidentally. As you can see, they were sealed and secured by a lacquer-like substance that can be dissolved with alcohol. These are also situated inside a long slot so you can turn the ring inside to adjust the size of the iris. You will never determine the proper configuration yourself at home without the use of specialized testers so it’s best that you put it back the right way. This is also a nice place to make your marks if you’re scared about the idea of marking the insides of the housing.

IMG_2512You can pick the ring off with your fingers but be careful not to harm the iris or the spring you see here. These are precisely-milled and they can be snug so I always make it a point that I take it slow when working with these.

IMG_2513Here’s how the spring should be positioned. The bent-end should should be at the side that comes in-contact with the inner wall of the housing, the straight-end pushes-against a tab under this cam. You can see the end of the cam here in this picture, it’s the one that’s hollow at the center.

IMG_2514Finally, remove this screw so you can remove the reguator. This screw couples to the ring that we removed in the previous section (with the brass part).

IMG_2515Simple extract it using your fingers and take note of its position so you’ll never put it back facing the wrong way later.

IMG_2516The rotator disk can then be removed. You simply lift the tab from the outside and push it until it raises from the iris and then gently remove it with a pick. It isn’t symmetrical so don’t forget to take notes. Notice how dirty it is? I haven’t seen anything this dirty to be honest.

IMG_2517The iris can now be dismantled and cleaned. I wiped each blade carefully with lens tissue and naphtha and put everything back again after the housing of the objective was cleaned thoroughly of germs. This is just a simple 6-blade design so it’s easy to put together unlike the intricate traditional designs that you can find in many classic rangefinder lenses.

That’s it for the iris. This was an easy job for me and it took me less than 5 minutes to put everything back. I wiped each blade using lens tissue saturated with solvents and used a plastic pair of tweezers so I won’t accidentally magnetize them. Most of my metal tools or all of them are magnetized because I store them all in the same tin.

Conclusion:

It only took me less than 3 hours to work on this lens as it was easy to repair it. It would take much less if the lens wasn’t dirty because it took me a lot of time to clean the fungus and hardened gunk away from the lens, it’s now clean inside-and-out. This is what I want to do to unwind from a hard day at work, anything more difficult than this stress me out.

The last thing that I had to do is to calibrate this lens’ focus and to do that I had to adjust the ring at the central helicoid in conjunction with the focusing ring. If you’re new to all this then please read my article on how to calibrate your lens’ focus. It’s easy for this lens but it will require that you have at least some basic information on lens repair and a bit of knowledge on how a lens works (optically) but you will be fine so long as you followed my guide and you have the right tools that I mantioned in the article.

IMG_8384After a good cleaning the lens now works beautifully. Who would have known that this used to be a lens that was bought for $18.00 from a junk box? That’s a big advantage if you know how to repair your own stuff, you get to own lenses for very little money!

That’s all for this article. I hope that this article will help generate interest and discussion about this lens because this lens deserves to be enjoyed and studied further by users and collectors alike. See you again in the next article, Ric.

Help Support this Blog:

Maintaining this blog requires money to operate. If you think that this site has helped you or you want to show your support by helping with the upkeep of this site, you can simple make a small donation to my paypal.com account (richardHaw888@gmail.com). Money is not my prime motivation for this blog and I believe that I have enough to run this but you can help me make this site (and the companion facebook page) grow.

Buy me a roll of film or a burger?

Thank you very much for your continued support!

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Helping support this site will ensure that this will be kept going as long as I have the time and energy for this. I would appreciate it if you just leave out your name or details like your country and other information so that the donations will totally be anonymous it is at all possible. This is a labor of love and I intend to keep it that way for as long as I can. Ric.

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