john_cox7

<p>Jeff<br> Further apologies to Ian. The lens was bought sight unseen but based on the description in used condition from New York. </p>

<p>Jeff<br> Apologies to Ian as this is his thread.<br> As you asked about the Nikkor 24mm f/2.8m AI being used on a digital camera, I am sorry to say this is not the case. The lens was attached to a Nikon FM2N camera, with no filter and a HN-1 lens hood. The photographs that I took of Akaroa, New Zealand were the most disappointing that I have ever taken. I am extremely disappointed with this lens.</p>

<p>Ian<br> I purchased a Nikkor 135mm f/3.5 AIS from KEH some time ago as a lightweight travel lens. It is in near near condition. I have not had the opportunity to try it out as yet. It will be interesting to compare it with the 135mm f/2 AI that I have and the 135mm f/2.8E that I have been given. <br> The inspiration for the 135mm f/3.5 lens came from the gear shift pattern on my van that I just happened to notice more particularly when I was stuck in traffic. That is, 135 over 24; the 135 being focal length and 1:3.5 being maximum aperture.<br> The 24 being the focal length being a Tamron 24mm f/2.5, as I am extremely disappointed with the Nikkor 24mm f2.8 AI that I have.</p>

<p>If it were at all possible, I would like to buy "TIME", as in 60 seconds, 60minutes, 24 hours, etc. "TIME" to be able to use my photo gear, to take photographs at my leisure and pleasure. To enjoy the visual scene and record it as it occurs. To relax without interference from others. To meditate so as to seek a more knowledgeable and intimate understanding of the subject in question. "TIME" to enjoy peace, tranquility and serenity.<br> If only this were possible.</p>

<p>Steve, If the lens I have achieves "infinity" focus at 27 feet at f2.8, then I believe I would need to stop the lens down to at least f8 in order to cover infinity at "infinity". The viewfinder (at f2.8) then appears very fuzzy making composition difficult. Depth of Field stop-down to f8 only darkens the viewfinder, again making composition difficult.</p>

<p>I was given a Nikon mount Vivitar 28mm f2.8 lens which I have never used. The front lens surround says " Vivitar 28MM MC CLOSE FOCUS WIDE ANGLE NO. 28302954 dia 49MM. After reading the above comments, I tried focusing this lens mounted on a Nikon FM. Infinity appears to occur at about 27 feet from the subject, being the edge of a door, so as to get a clear distinction in the split image viewfinder. Viewing a truck parked across the road (about 100 feet away) appears blurry and out of focus. I don't think I will be using this lens based on what I have just found out.</p>

<p>Christian<br> I do not think that there was any difference in the build quality between the early versions of the Nikon FM compared to the last version other than an age difference meaning that the earlier versions being older are likely to require more maintenance due to their age.</p> <p>I still have a FM (Version 2) that survived a vehicle accident without damage. It was catapulted through the interior of a delivery van, hit the back door, ricocheted back through the van, hit the windscreen and finished up on the floor in the back. It was duly send to Nikon for repairs with a note to explain the circumstances. Nikon said that there was nothing wrong with it and returned it. It still continues to work to this day. The van was a write-off with bent chassis, buckled roof and floor pan, and no front end; and no, I wasn't the driver.</p>

<p>Christian<br> Nikon produced a special version of the FM2 (N). It was designed for ophthalmic surgeons and features a circular film gate with a fixed mirror with a special motor drive. I don't know if the mirror is pellicle or not. <br> www.leicashop.com currently have one on their inventory.<br> Nikon also produced a half frame FM2(N) for the Norwegian Police.<br> The titanium honeycombe shutter was available in the FM2 and the first version of the FM2(N). The serial number that I have with the titanium shutter is 737xxxx. The 77xxxxx that I have features the aluminium shutter from the F801/N801. This existed up to the end of production of the FM2N.</p>

<p>The FM series went through 3 versions that I know of before the FM2. Identified by the Rewind Crank Knob and the Shutter Lock. Version 1 = knurled rewind crank knob and knurled shutter lock ring. Version 2 = smooth rewind crank knob and knurled shutter lock ring. Version 3 = smooth rewind crank knob and shutter lock incorporated into the film advance lever. I have not seen any black versions of Version 1, only chrome. Versions 2 and 3 came in both black and chrome versions. There were two FMA's (reconstructed from FEA's by National Geographic. These had a very obvious DA-1 Finder from the F2 attached. These were used in underwater housings with a MD-11 or MD-12 attached.<br> I am not aware of any other "versions" of the FM2 other than black and chrome. There may be some that others can elaborate upon.<br> The FM2N comprised several versions, obviously the Titanium clad versions: FM2T and Year of the Dog. The Year of the Dragon was chrome. There were 3 versions which had different base-plates: Plain, CE sticker attached and CE embossed into the base-plate. These were also available in black and chrome. There was also a version made by Lemix (Korea) with a cursive 'L' on the front. The were a few FM2NA's made with a DA-2 Finder from the F3 attached. <br> I do not have any information on the FM3A other than it was available in both black and chrome.<br> I will leave the FE and FE2 series for others to comment on.</p>

<p>The 45mm f2.8P has a certain "style" to the photographs it can produce. That "style" I find to be unique. I first found this out with a Yashica Minister III with its fixed 45mm f2.8 Tessar lens. Many years later I found a Nikkor 45mm f2.8 GN lens (I didn't know at the time what it was) only to find out that it too was a Tessar design. To the present, and the Nikkor 45mmm f2.8P lens which can produce truly outstanding photographs, both on film and digital (FX).<br> Please also consider the other Tessar design lenses which Nikon has made over the years; these being medium and large format lenses (105mm f3.5, 200mm f8, 300mm f9 and the 450mm f9). I have adapted both the 105mm f3.5 and the 200mm f8 lenses to work on both 35mm film and digital (FX). So, a collection of Nikon Tessar design lenses which are individually mounted on 4 cameras.<br> .</p>

<p>It "may" be possible by using a digital back designed for medium format mounted on Hasselblad rails for attaching film backs. It would need to align with the film plane of the camera.</p>