chris_roberts10

Depends on a number of things: What lenses does he have? If they're not good ones (14-42, 40-150, 70-300) then the recommendation to not adapt may have some merit. If, however, he has some good ones (such as the 14-54, 12-60, 11-22, 50-200, 9-18, 50, 14-35, 7-14, 35-100) then it could be a wise thing to extend their life on µ4/3 as replacing them in a new system would be thousands of dollars. Also related to what lenses he has, know that only a handful of 4/3 lenses had motors robust enough to work well with a CDAF focusing system (the majority of µ4/3 cameras). Olympus only has PDAF support on the E-M1, E-M1ii, and the E-M5iii. The CDAF lenses that will work effectively on lesser µ4/3 bodies were: 25/2.8 9-18/4-5.6 14-42/3.5-5.6 14-54/2.8-3.5 ii 40-150/4-5.6 70-300/4-5.6 You're going to be looking at used gear to find something for $500 or less. There are a lot of used E-M1 (mark i) cameras for that price. I'm guessing that you'll need to get the E-M1 because you'll need its PDAF focusing (otherwise you'd be abandoning the system because your lenses aren't worth investing further in). The E-M1 will focus the whole 4/3 lens lineup effectively. Make sure you get one of the Olympus MMF adapters or the Panasonic MA1. They will make the lens work seamlessly with the E-M1. Third party 4/3-to-µ4/3 adapters have always been crap and will just be a waste of your money. The Olympus MMF-1 was solid metal and was my favourite (though the hardest to find these days). The MMF-2 or MMF-3 are great too, just polycarbonate.

<p>8.5mm f/3.5<br> <br />14-35mm f/1.8 </p>

<p>From the manual:<strong> <br /></strong><br> <strong>2.Multi-spot metering</strong><br />Several points can be measured in the scene in the viewfinder, taking your measuring reference point into account.<br /><br> 1) As shown in the photo above, when you want to obtain correct exposure on her face and also want<br />to obtain correct exposure on the background, press the spot metering button twice on her face and<br />once on the background.<br /><br> 2) The final exposure is made by averaging each exposure value of the three points. The emphasis of<br />the exposure is put on her face since it is metered twice and the correct exposure can be obtained,<br />while even the exposure on the background can be maintained since it is metered once.<br /></p> <ul> <li>The digital values of both the shutter speed and the aperture appearing at the bottom of the viewfinder are sequential weighted averages calculated each time a point is metered.</li> </ul> <ul> <li>The triangle index in the centre of the right-hand LCD is also used as the centre point around which the other readings also marked by the "~" dot are divided.</li> </ul> <ul> <li>When three points are measured, three fixed dots are displayed finally.</li> </ul> <ul> <li>The exposure value stored into memory in the multi-spot metering mode is cleared under the following conditions:</li> </ul> <ol> <li>When more than 30 secs have elapsed without releasing the shutter after the spot metering button has been pressed last.</li> <li>When the metering mode selector is pressed.</li> <li>When the finger is removed from the shutter button after exposure.</li> </ol> <p>Multi-spot metering is only possible by pressing the spot metering button unlike the one-point spot<br />metering. Up to eight points can be metered using the multi-spot metering. Subsequent attempts will be<br />disregarded.<br> <strong>3. H/S Control</strong><br /></p> <ul> <li>"H" stands for "highlight" and is used when the subject is white, while "S" stands for "shadow" and is used when it is black.</li> <li>The H/S control can be used with both the one-point spot metering and the multi-spot metering. Here is how to use the H/S control in the one-point spot metering explained in consideration of its application.</li> </ul> <p>< Highlight Control ><br /></p> <ol> <li>Press the spot metering button to indicate the fixed dot at the position of the triangle index.</li> <li>When the highlight control button at the upper back of the camera is pressed and released, the dot starts moving upward to make compensation. </li> <li>Set the desired amount of compensation with the arrow buttons according to how bright the subject is.</li> </ol> <p>< Shadow Control ><br /></p> <ol> <li>Press the spot metering button to indicate the fixed dot at the position of the triangle index.</li> <li>When the shadow control button next to the highlight control button is pressed and released, the dot starts moving downward to make compensation. Set the desired amount of compensation according to how dark the subject is.<br /></li> </ol> <p> </p>

<p>The T90 would be the ultimate fulfilment of your needs and offers everything else but the kitchen sink as well. You can get a pretty nice one cheap these days. I have both and would argue that the T90 bests the F-1n by a wide margin.</p>

<p>In the UK, I'd check out <a href="http://ffordes.com/">Ffordes</a> for sure. Their stock is pretty limited right now to zooms and 28's, but normally they carry a wider variety of FD. Anywhere you go will be a compromise of course as eBay typically gives you the best quality and the best price. </p> <p>Keep in mind that if you like the 85mm on the AE-1 but are moving to mirrorless, you'll get a completely different FOV that you might not be as wild about (depending on what system you choose). µ4/3 is the prominent system to adapt to and that would give you a 170mm FOV which isn't very useful - too long for portrait, too short for wildlife. If you like 85mm on film, maybe give the 50mm f/1.2L a try as it'll be more similar to the FOV that you like on the AE-1. It'll also save you a bit of money. </p> <p>The new mirrorless world offers vastly improved high-ISO options compared to film, so you should also consider that the 1/2L glass could be overkill. For the cost of a good condition 85/1.2L (~$1000), you could get a mint condition 24/2 (~$375), a 50/1.4 (~$100), an 85/1.8 (~$200), and a 100/2 (~$300). Personally, I'd forget about the 85/1.8 and buy something nice for myself while investing in the other three. The 24/2 and the 100/2 are both outstanding lenses that are pretty unequalled at their focal lengths.</p>

<p>I've used the cheapo Pixco adapters for ages and they've always been flawless.</p>

<p>You can't expect much with cleaning fungus... once you can see it, it's probably etched the glass and that can't be fixed. The lens value can't be recovered. :(</p>

<p>An 18% grey card.</p>

<p>The 100/2 is significantly sharper and has smoother bokeh. The 85/1.8 is an okay lens, but firmly in the "nothing special" category of FD glass. If you want to save money, get the 85. If you want the better lens, get the 100.</p>

<p>I agree with the several recommendations of the 50/1.4 lens. All of the versions are beautiful and good value. The 50/1.2L (if money's no object) bests them significantly with greatly increased sharpness at wide apertures. When I shot film, there was no other FD lens that came close to it for me.<br> <br /> The 100/2 is beautiful if you like something longer. It is better than any other 85-135 range lens that I have ever used. Many people comment that it should have been an L-series lens and I agree.<br> <br /> Since moving to a crop sensor, however, there is only one FD lens that I'd put at the top of the list: the 24/2. It's just perfect.<br /> <br /> I'll give an honourable mention to my favourite FL lens: the 55/1.2. Cheap for a 1.2 lens, gorgeous rendering, built like a tank.</p>

<p>There's no way the 55 or 58 out-resolve the later 50's; they just don't correct aberrations as well. That said, the lack of correction gives the older lenses unique character that many consider far more important to attractive rendering than a resolution test could measure.</p>

<p>Canon FD 20mm f/2.8<br> <img src="https://farm6.staticflickr.com/5594/14655635587_6d2148849c_c.jpg" alt="" width="800" height="533" /></p>

<p>As others have commented, the 100 f/2 is extraordinary. It eclipses the 135 f/2.8. If 100mm is a focal length that works for you, then you won't find a better lens to cover it. That lens doesn't go for less than $400 and in mint condition, will fetch $500+. Even if you didn't want to keep it, if you can buy a mint copy for $210 then you could flip it and make a couple hundred dollars. Seems an easy decision.</p>

<p>Ditto to what Dave S said. eBay gives you the best choice of lenses and there's 80-200 f/4L's all over the place. If you want one, that's the place to go. Don't go to gokevincameras though unless you want to pay twice what anyone else will charge.</p>

<p>If the aperture is stuck wide open, then it's quite possible that the blades got oily and then jammed. It's not common for FDn lenses, but it does happen. Otherwise, you just have to make sure that you mounted it to the adapter properly: set to smallest aperture (F22), set adapter to "open," mount the lens by lining up the red dots and twisting until it's locked in place, twist the adapter ring to "lock." If the aperture didn't move, then option #1 would be my guess.</p>