Repair: Nikkor-S 50mm f/1.4 (Olympic)

Hello, everybody! The recent Olympics has been controversial, we are even discussing some of the topics to this day and for many days to come. Some find it amusing well some people were offended. Some say it was done in poor taste, while some people claim that it points to the next step in human psychology. I do not dare to make such bold claims because I am merely a camera repair enthusiast. But this is what I can say, we can all agree that some parts of the event left us scratching our heads. To me, it was the huge disrespect by the Australian “dancer” to her sport. In this website, we do not disrespect anything related to Nikon. In order to wash away the trauma, I will present to you another “Olympic“, one that is hailed by many as a masterpiece and the best there is, even to this day. Let’s all celebrate and enjoy the “Olympic“.

Introduction:

The Nikkor-S 50mm f/1.4 (Olympic) was made in 1964 under a limited batch of less than 1700 units. It’s even rarer than Nikkor-S 50mm f/1.4 (Millennium) that is a reproduction of this lens. That year is special because of the Summer Olympics hosted by Japan. Many companies saw that as a chance to showcase their prowess by manufacturing exceptional products to be used for covering the games. Nikon made a couple of such projects, the lens you see here is one of them. It’s also the last lens ever mean by Nikon for the Nikon S rangefinder system that isn’t a reproduction. Many people consider this to be the best 50mm Nikkor of its kind because of how well it performs technically, it’s surprisingly good even at f/1.4. That’s a big departure from what many people were used to with the older Nikkor-S•C 5cm f/1.4, which renders a lot differently because it’s considered to be “soft” when shot at larger apertures; that’s just the case when shooting with Sonnar-type lenses. Speaking of which, this is the only 50/1.4 rangefinder Nikkor that isn’t a copy or derivative of the famed Sonnar design.

This is by far the largest rangefinder 50/1.4 Nikkor ever made. It is longer and considerably wider than the older Nikkor-S.C 5cm f/1.4, and it’s heavier, too. The barrel is all-metal so it feels great when you hold it. A lighter type of alloy is used on some parts in order to make it weigh less so it feels a bit different when it’s held. This is in contrast to the older lenses which uses brass.

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Repair: Cine-Zoom-Nikkor 17-70mm f/2.2

Hello, everybody! Do you know the song “Ame no Midosuji” (雨の御堂筋) by the famous singer that came from the country of Taiwan called Ouyang Fei Fei (歐陽菲菲)? It’s about a woman who is searching for her lover in a rainy night. She went on looking for him but in despair she found nobody, and just me do with her memories of him. We have all searched for something in our lives, but sometimes we never get to find some of them. Unlike Ouyang Fei Fei, I have found something that I was looking for, and it came to me as a beautiful surprise. It’s one of the rarest Nikkors ever made and I will show you what I found today.

Introduction:

The Cine-Zoom-Nikkor 17-70mm f/2.2 is one of the few Cine-Zoom Nikkors that’s seen in catalogs, it’s still a mystery even to knowledgeable historians and collectors. Nobody knew when it was made and for how long but I suspect is that it was sold as early as 1959 or 1963. Nobody knew when production stopped so I cannot even speculate. It’s a very mysterious lens and I will try my best to give you the most up-to-date information I could find, including some sample photos and a complete teardown of this lens.

Its construction and all-metal build are outstanding, definitely the best of all Cine-Nikkors. It’s also heavy, so I get nervous just thinking about how much stress the threads of the mount must endure when this is fitted to a movie camera and used for a long span of time.

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