In addition to photography, I have been involved for many years in image processing (both analog and digital) and various ways of improving the technical quality of my cameras and lenses. For a long time, I’ve been using custom-made profiles to manage the colors when creating and printing photographs as well as for correcting optical aberrations, in particular distortion and vignetting.
I have been frustrated for quite a while that the aberrations of my classic manual lenses couldn’t be satisfactorily corrected in Camera Raw and Lightroom due to the lack of lens-specific EXIF data. Although the folks at Adobe now also provide lens correction profiles for classic lenses, their selection remains quite limited and the existing profiles were only created for one, medium, aperture. As a result, they only correct a small part of the vignetting that is particularly pronounced at wide-open aperture.
Thus I decided to create correction profiles that correct both distortion and vignetting in a semi-automatic manner, at least for some of the « classic » lenses that I use occasionally and regularly. Unfortunately, the usefulness of these corrections is significantly limited compared to those for more modern lenses with data transfer, as the lens information cannot be saved automatically with the images due to the lack of EXIF metadata. So one usually has to remember the lenses and aperture values used (For my part, I save them later in the form of IPTC keywords within the XMP side-car files of my raw files).
Creating lens correction profiles
Creating a profile is straightforward, but time-consuming. First, you have to print out a test chart, mount it on solid support (wooden board, thick cardboard, etc.), and then photograph it under uniform lighting, whereby the chart should only fill part of the viewfinder while gradually taking up different positions in the image by shifting and/or tilting the camera. Depending on the lens and the complexity of its optical distortion, I take between 9 (3 x 3) or 20 (5 x 4) photos per aperture setting (mostly wide open aperture, f/5.6 and f/11), whereby this number must of course be multiplied by the number of focal lengths indicated on the zoom ring for varifocal lenses – so you can imagine that the « shooting » of the test chart alone takes plenty of time.
I use the Adobe Lens Profile Creator software to create the profiles. Unfortunately, it hasn’t been updated for years and therefore only runs with restrictions under Windows, but no longer under recent Mac OS operating systems. As it is a 32-bit application, it often crashes when using up a lot of RAM and then it has to be restarted to resume its work. Thus, it often takes several attempts to create a profile.
Applying the profiles
The lens correction files with the “.lcp” extension can be applied within Camera Raw and Lightroom/Lightroom Classic as well as within Raw Therapee and Iridient Developer. However, for them to be recognized by the Adobe apps, they must be copied to the correct folder:
Mac : Users>Username>Library>Application Support>Adobe>CameraRaw>LensProfiles>1.0
Windows : User>AppData>Roaming>Adobe>CameraRaw>LensProfiles>1.0
When using Raw Therapee and Iridient Developer, the Adobe DNG Converter must be installed beforehand so that the corresponding folders are available on the computer. Lightroom users can then activate the profiles in the « Lens Corrections » panel of the « Develop » module. In the « Profile » tab, you must first check the box next to « Enable profile corrections » and then select the lens brand (Make) in the Lens profile menu. The desired profile can then be selected and activated in the « Model » list. The working apertures and/or focal lengths used for lens profiling then appear under « Profile ».
While the default profiles from Adobe do not offer any options here, you can usually choose between different apertures. For zoom lenses, I first had to refine my method to create worthy profiles as quickly as possible. As already mentioned above, you can’t get away with less than a hundred test photos per lens.
Incidentally, lens profiles only really make sense for raw files. With JPEG files, the image processing in the camera and the parameters used play such an important role that a profile created is not necessarily applicable to the photos of other photographers. My profiles are therefore predestined exclusively for users of the RAW format and especially owners of Sony full-frame cameras – I used the A7, A7II, and A7R models for the profiles, but apart from possible differences in vignetting due to different sensor designs, the profiles could be used with newer models as well (also from other manufacturers…). At least that was my experience back then with my Canon EOS 1Ds, 5D Mark II, and 5D Mark III bodies.
Distortion correction works very well in most cases. However, if there is a mix between « pincushion » and « barrel » distortion, as is the case with many lenses having a wide angle of view, the pincushion distortion that occurs at the edge of the image will remain largely uncorrected.
The vignetting correction sometimes has to be adjusted by moving the « Vignetting » slider in Camera Raw or Lightroom towards lower values to prevent the corners of the image from being brightened. However, this is not due to a lack of profile quality, but to the fact that the vignetting usually decreases towards infinity and increases at close range. Unfortunately, it is impossible to rule out such phenomena by taking pictures of a (infinitely large) test chart at infinite distances.
Examples
Depending on the type of lens used and the settings selected, the differences between the « before » and « after » states turn out more or less dramatic. I have noticed that the lens corrections are especially useful with wide-angle and catadioptric lenses, while standard and tele lenses mostly offer decent distortion and vignetting corrections by design. Nevertheless, when wide open, most of those lenses greatly benefit from the lens profiles. Below you’ll find some examples of uncorrected and corrected images.
As the Anglo-Saxons say, « The proof is in the pudding ». I have profiled the following lenses and offer the corresponding profiles for Adobe software for a small fee. All profiles were created with Sony full-frame cameras (Sony A7, A7R, and A7II), but remain useful with other cameras as well, even if the vignetting correction will be more or less effective with cameras from other manufacturers, due to differences in the thickness of the sensor stack and the architecture of the microlenses. All profiles are supplied in sets including different aperture and focal length settings (zoom lenses) and are therefore more elaborated and precise than the « one size fits all » profiles supplied by Adobe and other users. All profiles have also been validated with photos of different subjects and recreated if necessary. You could either purchase brand-specific profile sets for 5 € (links below) or the entire profile collection for 15 € (simply send me a message via the « Contact » page).
Roadmap
Shortly, I’ll publish lens correction profiles for the following Konica Hexanon AR lenses: 28 mm f/3.5, 35 mm f/2.8, 40 mm f/1.8, 50 mm f/1.4, 100 mm f/2.8, 135 mm f/2.5, 135 mm f/3.2, 35-70 mm f/3.5, 70-150 mm f/4 and UC 80-200 mm f/4. Profiles for the following selection of Pentax Takumar, K, M, and A lenses will be created later in the year 2024: SMC-M 20 mm f/4, SMC 24 mm f/2.8, SMC-M 28 mm f/2.8, SMC-M 35 mm f/2.8, SMC-M 50 mm f/1.4, SMC-M 50 mm f/1.4, SMC-M 50 mm f/2, SMC-A 50 mm f/2, Takumar K 135 mm f/2.5, SMC-K 45-125 mm f/4, SMC-M 80-200 mm f/4.5, SMC-A 70-210 mm f/4, SMC-M Macro 50 mm f/4, SMC-M Macro 100 mm f/4, SMC-Takumar 55 mm f/1.8, Super-Multi-Coated Takumar 50 mm f/1.4 and Super-Multi-Coated Takumar Zoom 85-210 mm f/4.5.
Olympus OM Zuiko lenses
Olympus OM Zuiko Auto W 24 mm f/2.8. This is the latest version of this lens, which suffers mainly from monumental vignetting between f/2.8 and f/5.6. To keep the latter under control, I supply a set of three individual profiles (f/2.8, f/5.6, and f/11);
Olympus OM Zuiko Auto W 28 mm f/2.8. An insider tip for sharpness fanatics. At the same level as the 28 mm f/3.5, but with multi-coating for improved performance in back and side lighting. Three individual profiles (f/2.8, f/5.6 and f/11);
Olympus OM Zuiko Auto W 28 mm f/3.5. Legendary wide-angle lens, ideal for landscape and reportage. Three individual profiles for f/3.5, f/5.6 and f/11 ;
Olympus OM Zuiko Auto W 35 mm f/2.8 MC. Three individual profiles (f/2.8, f/5.6, and f/11), should also work well with the first and third versions of this lens ;
Olympus OM G-Zuiko Auto S 50 mm f/1.4. This is the first chrome ring version of this lens. Four profiles for f/1.4, 2.8, 5.6, and 11 ;
Olympus OM Zuiko Auto S 50 mm f/1.4. The latest version with a serial number greater than 1.1 million and the newest multi-layer coating. Four profiles for f/1.4, 2.8, 5.6 and 11 ;
Olympus OM Zuiko Auto S 50 mm f/1.8. Latest version of this lens (Made in Japan, 6 lenses in 4 groups). Four individual profiles (f/1.8, 2.8, 5.6 and 11) ;
Olympus OM E-Zuiko Auto T 100 mm f/2.8. My first version sample is already multi-coated. However, the three profiles (f/2.8, 5.6, and 11) are also suitable for the successor versions;
Olympus OM Zuiko Auto T 135 mm f/2.8. Very good fast telephoto lens. Three individual profiles created at f/2.8, f/5.6 and f/11 ;
Olympus OM Zuiko Auto T 135 mm f/3.5. Three individual profiles were created at f/3.5, f/5.6, and f/11 ;
Olympus OM F-Zuiko Auto T 200 mm f/5. Two profiles at f/5 and f/8 are sufficient to cover both vignetting and distortion. The lens is remarkably well corrected even at wide open aperture ;
Olympus OM Zuiko Auto T 200 mm f/4. Slightly faster version with similarly good imaging performance. Two profiles at f/4 and f/8 ;
Olympus OM S – Zuiko Auto 35-70 mm f/3.5-4.5. Profiles for 35, 50, and 70 mm at open aperture and stopped down to f/5.6 to f/8 ;
Olympus OM S- Zuiko Auto 28-48 mm f/4. Excellent wide-angle zoom, profiles for 28, 35, and 48 mm, at f/4 and f/8 ;
Olympus OM Zuiko Auto 35-70 mm f/3.6. Professional lens with outstanding image quality. Profiles for 35, 50, and 70 mm at open aperture and stopped down to f/5.6 and f/11 ;
Olympus OM Zuiko Auto 75-150 mm f/4. Profiles for 75, 100, and 150 mm at open aperture and stopped down to f/8 ;
Olympus OM Zuiko Auto 65-200 mm f/4. Very good telephoto zoom with slightly reduced image quality at the longest focal length. Profiles for 65, 100, 135, and 200 mm at open aperture and stopped down to f/8.
Canon Fish-Eye Lens 7.5 mm f/5,6. I have presented the lens here. It is a fisheye lens, which draws a circular image within the full format. The profile I made does reestablish straight lines but produces fuzzy details outside the center of the image. However, this is also the case with all the profiles I know of for circular fisheyes ;
Canon FD 24 mm f/2.8 SSC. Breech-lock and chrome-ring version with SSC multi-layer coating. I have already presented it here (together with its successor). Profiles for open aperture, f/5.6 and f/11 ;
Canon FD 24 mm f/2.8. New FD version. Profiles for open aperture, f/5.6 and f/11 ;
Canon FD 28 mm f/2 SSC. Breech-lock design with SSC multi-coating. Profiles for open aperture, f/2.8, f/5.6 and f/11 ;
Canon FD 28 mm f/2.8. New FD version. Profiles for open aperture, f/5.6 and f/11 ;
Canon FD 28 mm f/2.8 SC. Breech-lock design with SC single coating. Profiles for f/2.8, f/5.6 and f/11 ;
Canon FD 28 mm f/3.5 SC. Later Breech-lock design with SC single coating. Profiles for f/3.5, f/5.6 and f/11 ;
Canon FD 35 mm f/2. Very powerful fast wide-angle lens in the nFD version. With improved optical quality compared to the much overhyped earlier SSC versions. Profiles for f/2, f/4 and f/8 apertures ;
Canon FD 35 mm f/2.8. New FD version with excellent image drawing style. Profiles for open aperture, f/5.6 and f/11 ;
Canon FD 35 mm f/3.5 SC. An older breech-lock version of the much-lauded 35 mm f/2.8 with the second, improved, optical design. Profiles for open aperture, f/5.6 and f/11 ;
Canon FD 50 mm f/1.2. A very fast lens in the New FD version and with conventional glass elements. Profiles for open aperture, f/2, f/4 and f/8 ;
Canon FD 50 mm f/1,4. New FD version. Profiles for open aperture, f/2.8, f/5.6, and f/11 ;
Canon FD 50 mm f/1.4 SSC. Breech-lock design with SSC multi-coating. Profiles for open aperture, f/2.8, f/5.6 and f/11 ;
Canon FD 50 mm f/1.8. New FD version. Profiles for open aperture, f/2.8, f/5.6 and f/11. The profiles can also be used for the optically identical Canon FD 50 mm f/1.8 SC version with chrome ring ;
Canon FD 50 mm f/3.5 SSC Macro. Chrome ring version with SSC multi-coating. The profiles for f/3.5, f/5.6, and f/11 should be as effective for the nFD version, given the identical optical design ;
Canon FD 55 mm f/1.2 SSC. Very fast and mechanically as well as optically an outstanding lens in chrome ring design and multi-coating. Profiles for open aperture, f/2, f/4 and f/8 ;
Canon FD 85 mm f/1.8. New FD version. The profiles for open aperture, f/5.6, and f/11 should also be suitable for the SSC version, as it is optically identical;
Canon FD 100 mm f/2,8. New FD version. The profiles for open aperture, f/5.6, and f/11 should also be suitable for the SSC version, as it is optically identical;
Canon FD 100 mm f/4 Macro. New FD-Version. New FD version. The profiles for open aperture and f/8 should also be suitable for the heavier and bigger SSC version, as it is optically identical;
Canon FD 135 mm f/2.8. Profiles for f/2.8, f/5.6 and f/11 ;
Canon FD 135 mm f/2.5 SC. Profiles for f/2.8, f/5.6 and f/11 ;
Canon FD 135 mm f/3.5 SC. Profiles for f/3.5, f/5.6 and f/11, equally useful for the multi-coated nFD version of this lens ;
Canon FD 200 mm f/2,8. New FD version with conventional focusing. Profiles for f/2.8, f/5.6 and f/11 ;
Canon FD 200 mm f/4. New FD version with internal focusing. Profiles for open aperture and f/8 ;
Canon FD 200 mm f/4 SSC. Classic chrome ring version with helical focusing. Excellent imaging properties. Profiles for open aperture and f/8 ;
Canon FD Macro 200 mm f/4. Excellent macro lens for both close-up and long-range shots. Profiles for open aperture and f/8 ;
Canon FD 300 mm f/4. New FD version with internal focusing, but without very low dispersion glass. Profiles for open aperture and f/8.
Canon FL 28 mm f/3.5. Single-coated wide-angle lens with very good image quality. Profiles for f/3.5, f/5.6 and f/11 ;
Canon FL 35 mm f/2.5. Fast wide-angle lens, excellent workmanship, and good image sharpness. Profiles for f/2.5, f/5.6 and f/11 ;
Canon FL 35 mm f/3.5. Somewhat susceptible to stray light, but otherwise very good performance. Profiles for f/3.5, f/5.6 and f/11 ;
Canon FL 50 mm f/1.4. Fast FL standard lens of the first generation, somewhat soft unless stopped down to f/5.6. Profiles for f/1.4, f/2.8, f/5.6 and f/11 ;
Canon FL 50 mm f/1.8. The predecessor of the FD 50 mm f/1.8 lens, with similar image quality. Profiles for f/1.8, f/2.8, f/5.6 and f/11 ;
Canon FL 50 mm f/3.5 Macro. Very beautifully finished and sharp macro lens. Profiles for f/3.5, f/5.6 and f/11 ;
Canon FL 100 mm f/3.5. Excellent compact telephoto lens, perfect for portraits and landscapes. Profiles for f/3.5, f/5.6 and f/11 ;
Canon FL 135 mm f/2.5. Fast telephoto lens from the little-known FL series. Great resolution starting from open aperture, but less contrasty than later, multi-coated FD lenses. Profiles for f/2.5, f/5.6 and f/11 ;
Canon FL 135 mm f/3.5 (upcoming). A Sonnar-type tele lens, very sharp but with lower contrast, perfect for portraits and « bokeh shots ». Profiles for f/3.5, f/5.6 and f/11 ;
Canon FL 200 mm f/3.5 Mark I. Fast telephoto lens from the sixties. High resolution and moderate contrast. Good control of chromatic aberrations. Profiles for f/3.5, f/5.6 and f/11 ;
Canon Reflex Lens 500 mm f/8. Already presented here. The profile eliminates the visible hotspot. Also suitable for the older SSC model ;
Canon Zoom Lens FD 20-35 mm f/3.5 L. Optically very high-quality super wide-angle zoom lens from the « Luxury series ». Individual profiles for 20, 24, 28, and 35 mm at open aperture, f/5.6 and f/11 ;
Canon Zoom Lens FD 28-50 mm f/3.5. New FD version with separate profiles for 28 mm, 35 mm, and 50 mm at open aperture and f/8. Also suitable for the optically identical SSC model;
Canon Zoom Lens 28-85 mm f/4. Optically excellent zoom lens with slight mechanical weaknesses. Profiles for 28, 35, 50,, and 85 mm at open aperture and f/8 ;
Canon Zoom Lens FD 35-70 mm f/2.8-3.5 SSC. Optically and mechanically perfect standard zoom. Profiles for 35, 50, and 70mm at open aperture and f/8. Also for the optically identical nFD successor version;
Canon Zoom Lens FD 35-70 mm f/4. Slower version with similarly good imaging performance. Profiles for 35, 50, and 70mm at open aperture and f/8 ;
Canon Zoom Lens FD 35-105 mm f/3.5. Very nice universal zoom with excellent workmanship and image quality. Individual profiles for 35, 50, 70 and 105 mm at open aperture and f/8 ;
Canon Zoom Lens FD 35-105 mm f/3.5-4.5. Later compact version with reduced processing quality, but similarly good image performance as the sister lens with constant speed. Individual profiles for 35, 50, 70, and 105 mm at open aperture and f/8.
Canon Zoom Lens FD 50-135 mm f/3.5. Relatively rare and optically and mechanically excellent lens. Profiles for 50, 70, 100, and 135 mm, with open aperture and f/8 ;
Canon Zoom Lens FD 70-150 mm f/4.5. Telephoto zoom with « optical image stabilization », very good image quality at all apertures and focal lengths. Profiles for 70, 100, and 150 mm, at open aperture and f/8 ;
Canon Zoom Lens FD 70-210 mm f/4. Push-pull zoom with very good image quality. Profiles for 70, 100, 135, and 200 mm at open aperture and f/8 ;
Canon Zoom Lens FD 75-200 mm f/4.5. « Consumer » lens in lightweight construction, optically good. Profiles for 75, 100, 135,, and 200 mm at open aperture and f/8 ;
Canon Zoom Lens FD 80-200 mm f/4. The predecessor of the famous L lens, professional workmanship, very good image quality, and a close-up limit of only 1 m. Profiles for 80, 100, 135, and 200 mm at open aperture and f/8. The profiles are suitable for both the older SSC and the newer nFD version;
Canon Zoom Lens FD 80-200 mm f/4 L. One of the best telephoto zooms from the manual lenses era, outstanding image quality thanks to lenses made of special glass (fluorite and UD). Profiles for 80, 100, 135, and 200 mm at open aperture and f/8 ;
Tamron SP 17 mm f/3.5 (51B). My copy of this super wide-angle lens turned out to be optically much better than initially assumed. Stopped down to f/8, the sharpness is acceptable even in the full-frame corners, vignetting and distortion remain reasonably low for the large angle of view of 104°. Profiles for open aperture, f/5.6 and f/11 ;
Tamron 24 mm f/2.5 (01B). Solid wide-angle lens with very good imaging capabilities once stopped down a little bit. Profiles for f/2.5, f/5,6, and f/8 ;
Tamron 28 mm f/2.5 (02B). Compact and powerful. Profiles for open aperture, f/5.6 and f/8 ;
Tamron SP 24-48 mm f/3.5-3.8 (13A). Optically very high-quality, compact wide-angle zoom. Profiles for 24, 30, 35,, and 48 mm, with open aperture, at f/5.6 and f/11 ;
Tamron SP 28-80 mm f/3.5-4.2 (27A). Profiles for 28, 35, 50, and 80 mm at open aperture and stopped down by 2 stops;
Tamron 35-135 mm f/3.5-4.5 (40A). Profiles for 35, 50, 80 and 135 mm at open aperture and stopped down by 2 stops;
Tamron SP 35-210 mm f/3.5-4.2 (26A). Profiles for 28, 35, 50, and 80 mm at open aperture and stopped down by 2 stops;
Tamron SP 35-80 mm f/2.8-f/3.8. Profiles for 35, 50, and 80 mm at open aperture and stopped down by 2 stops;
Tamron SP 90 mm f/2.5 (52B). The first version of this telephoto macro lens, in all-metal design. Profiles for f/2.5, f/5.6 and f/11;
Tamron SP 90 mm f/2.5 (52BB). The second version with a mixed polycarbonate and metal design. Profiles for f/2.5, f/5.6 and f/11;
Tamron SP 60-300 mm f/3.8-5.2 (23A). Profiles for 60, 135, 200, and 300 mm, at open aperture and stopped down by 2 stops;
Tamron SP 70-210 mm f/3.5 (19AH). Heavy and long, but relatively fast telephoto zoom. Very good image quality at short and medium focal lengths, but must be stopped down to f/8 or better f/11 for good results at 210 mm. Profiles for 70, 100, 135 and 210 mm, at open aperture and f/8 ;
Tamron 70-210 f/3.5-4 (52A). Very good zoom with lightweight construction. Profiles for 70, 100, 135 and 210 mm, at open aperture and f/8 ;
Tamron 80-210 f/3.8-4 (103A). Amazingly good image quality (optimized for medium focal lengths), at least as good as the 19AH, but much more compact. Profiles for 80, 105, 135 and 210 mm, at open aperture and f/8 ;
Tamron SP 80-200 mm f/2.8 (30A). Optically and mechanically outstanding telephoto zoom with LD glass. Profiles for 80, 100, 135, and 200 mm, with open aperture, f/5.6 and f/11 ;
Tamron SP 300 mm f/5.6 (54B). A very good but slow telephoto lens with a very useful close-up setting, profiles for open aperture and f/11 ;
Tamron SP 350 mm f/5.6 (06B). Relatively rare and therefore expensive mirror lens with very good resolution and contrast. The profile corrects the distortion and the « hotspot »;
Tamron SP 500 mm f/8 (55B). The first version of this mirror lens was very popular at the time. The profile compensates for the strong vignetting and the slight distortion.
Tamron SP 500 mm f/8 (55BB). The second version improves the sharpness close-up and limits the « hot spot ». The profile compensates for the vignetting and the slight distortion.
Minolta MD 28-85 mm f/3.5-4.5. Beautiful and powerful two-ring zoom. The individual profiles for f = 28, 35, 50, and 85 mm at open aperture and f/8 correct vignetting and distortion;
Minolta MD 24-50 mm f/4. Excellent wide-angle zoom. Individual profiles for f = 24, 28, 35 and 50 mm at open aperture and f/8 ;
Minolta MD 24-35 mm f/3.5. Very compact wide-angle zoom with a very practical close focusing distance of 30 cm. Individual profiles for f = 24, 28, and 35 mm at open aperture and f/8;
Minolta MD 35-70 mm f/3.5. The third and final version of this « legendary » standard zoom, whose optical elements were also used by Leitz. Individual profiles for f = 35, 50, and 70 mm at open aperture and f/8 ;
Minolta MD 75-150 mm f/4. A relatively rare telephoto zoom with a small focal length range was only sold for two years. First-class image quality at all focal lengths and apertures with only very slight chromatic aberration, distortion, and vignetting are well corrected by the individual profiles (f = 75, 100, and 150 mm, open aperture and f/8);
Minolta MD 75-200 mm f/4.5. Very good telephoto zoom both optically and mechanically. Individual profiles for f = 75, 100, 135, and 200 mm at open aperture and f/8 ;
Minolta MD 70-210 mm f/4. The predecessor of the legendary « stovepipe » in MD III design. Individual profiles for f = 70, 100, 135, and 210 mm at open aperture and f/8 which should be useable for images taken with the Minolta AF 70-210 mm f/4 lens ;
Minolta MC 80-200 mm f/ 4.5. Early telephoto zoom whose lens elements were also used by Leitz. Very good image quality for the time. Individual profiles for f = 70, 100, 135, and 200 mm at open aperture and f/8 ;
Minolta MD Rokkor 100-200 mm f/5.6. Old-fashioned zoom lens with « optical image stabilization », slim and long design, slow and with a little practical minimum focusing distance. Individual profiles for f = 100, 140, and 200 mm at open aperture and f/11;
Minolta MD 100-500 mm f/8. Super telephoto zoom. Quite slow, but optically good. Individual profiles for f = 100, 200, 400, and 500 mm at open aperture and f/16 ;
Minolta MD 24 mm f/2.8. Outstanding wide-angle lens in Minolta MD III mount. Thanks to « floating elements » excellent image quality even in the outermost image corners. Profiles for f/2.8, f/5.6 and f/8 ;
Minolta MC W-Rokkor 28 mm f/2. Fast wide-angle lens with floating-element design and multi-coating. Very sharp once closed down a little bit. Profiles for open aperture, f/2.8, f/5.6 and f/11 ;
Minolta MC W-Rokkor 28 mm f/2.8. Version with 55 mm filter diameter. Profiles for f/2.8, f/5.6 and f/8 ;
Minolta MD W-Rokkor 28 mm f/2.8. Last optical revision with 49 mm filter diameter, optically as well as mechanically excellent. Profiles for f/2.8, f/5.6 and f/8 ;
Minolta MD Rokkor 35 mm f/2.8. The last optical revision with a 49 mm filter diameter is excellent from wide-open. Profiles for f/2.8, f/5.6 and f/8 ;
Minolta MC Rokkor PF 50 mm f/2. Standard lens with 55 mm filter diameter, optically very good. Profiles for f/2, f/4 and f/8 ;
Minolta MC Rokkor – PG 50 mm f/1.4. Perfectly finished standard lens with very good imaging performance when stopped down, excellent from f/5.6. Individual profiles for f/1.4, f/2.8 and f/5.6;
Minolta MD Rokkor 50 mm f/1.4. Relatively late model with a 49 mm filter diameter. Lighter and more compact than the PG version;
Minolta MD 50 mm f/1.7. Optisch und mechanisch sehr gutes Standardobjektiv mit 49 mm Filterdurchmesser. Einzelprofile für f/1,7, f/2,8 und f/5,6 ;
Minolta MC Rokkor-PF 50 mm f/1.7. Optically and mechanically very good standard lens with 49 mm filter diameter. Individual profiles for f/1.7, f/2.8 and f/5.6 ;
Minolta MD 50 mm f/2. Optically and mechanically very good standard lens. Individual profiles for f/2, f/4 and f/8 ;
Minolta MC Macro 50 mm f/3.5. Very nice workmanship and excellent image quality at close range. Individual profiles for f/3.5, f/5.6 and f/11 ;
Minolta MD Macro 100 mm f/4. Optically first-class telephoto macro lens, impeccable even at open aperture. Only the helical gear of the focusing ring could be a little bit smoother (aluminum on aluminum). Profiles for f/4 and f/8 ;
Minolta MD Rokkor 135 mm f/2.8. Version with 4 lenses in 4 groups, known for its excellent image quality. Profiles for f/2.8, f/5.6 and f/11 ;
Minolta MD 200 mm f/4. Excellent image quality even at open aperture. Profiles for f/4 and f/8 ;
Minolta MC APO Rokkor 400 mm f/5.6. Apochromatically corrected lens with fantastic imaging properties. Profiles for f/5.6 and f/11 as well as for f/11 at 800 mm effective focal length (f/5.6 with Minolta 300-L teleconverter);
Minolta RF Rokkor 500 mm f/8. Optically and mechanically good mirror lens. The lens hood could be longer and a tripod ring is missing. The profile corrects the strong vignetting (hotspot) and distortion.
Nikon Nikkor 18 mm f/3.5. Described by experts at the time as probably Nikon’s best super wide-angle lens in optical terms, slightly stopped down for outstanding image quality right to the outermost corners. CRC mechanism for consistent performance at close range. Individual profiles for open aperture, f/5.6 and f/11 ;
Nikon Nikkor 20 mm f/3.5. Very compact super wide-angle lens, with good image quality even in the corners when stopped down. Individual profiles for f/3.5, f/5.6 and f/11 ;
Nikon Nikkor 24 mm f/2.8. The CRC correction promises very good performance over the entire range. Individual profiles for f/2.8, f/5.6 and f/11 ;
Nikon Nikkor 28 mm f/2. A fast wide-angle lens in AI-S version with CRC mechanism for consistent imaging performance right up to the close-up range. Individual profiles for f/2, f/4 and f/8 ;
Nikon Nikkor 28 mm f/2.8. Optically very sophisticated (8/8) lens with CRC mechanism and close-up setting up to 20 cm. One of the best classic wide-angle lenses. Individual profiles for f/2.8, f/5.6 and f/11 ;
Nikon Nikkor 28 mm f/2.8. The predecessor of the famous AI-S version. Optically and mechanically almost as convincing. Individual profiles for f/2.8, f/5.6 and f/11 ;
Nikon Nikkor 28 mm f/3.5. The lens has already been presented here with five others. It is the AI version, which came out in January 1977, but is optically identical to the subsequent AIS version (1981). Not to be confused with the older versions, which are not as good optically. Individual profiles for open aperture, f/5.6 and f/11 ;
Nikon Nikkor NC Auto 35 mm f/1.4. A super-fast classic lens with early multi-coating, CRC, and slightly radioactive glass. Soft at open aperture and crisp from f/4. Individual profiles for open aperture, f/2.8, f/5.6 and f/11;
Nikon Nikkor 35 mm f/2. It’s an outstanding classic lens that has never been optically revised between the 1950s and 1980s, here in the AI version. Profiles for f/2, f/4 and f/8 ;
Nikon Nikkor HC Auto 50 mm f/2. Great standard lens with very consistent performance, which in my opinion is optically on par with the Summicron-R 50 mm f/2. Identical to the previous version of H Auto and the successor versions Nikkor and Nikkor AI in terms of optics, although there are differences in the coating. Individual profiles for f/2, f/4 and f/8 ;
Nikon Nikkor 50 mm f/1.8 (AI-S). A compact standard lens in lightweight design, very similar to the second Nikon E-series lens, but with NIC multi-coating. Profiles for f/1.8, f/2.8 and f/5.6 ;
Nikon Nikkor 50 mm f/1.4 (N). Very good fast standard lens of the N series (Pre-AI). Individual profiles for f/1.4, f/2.8 and f/5.6.
Nikon Nikkor 50 mm f/1.8. My lens belongs to type 2 (AI), with a traditional design and the smallest aperture of 22. Very good image quality. Individual profiles for f/1.8, f/2.8 and f/5.6 ;
Nikon Series E 50 mm f/1.8. Lightweight, compact standard lens with single coating, otherwise optically equal to the other types with the same key data. Focusing only up to 0.6 m. Profiles for f/1.8, f/2.8 and f/5.6.
Nikon Micro Nikkor 55 mm f/3.5. Legendary macro lens. Individual profiles for f/3.5, f/5.6 and f/11 ;
Nikon Micro-Nikkor 55 mm f/2.8. Very powerful macro lens with « Close Range Correction ». Individual profiles for f/2.8, f/5.6 and f/11 ;
Nikon Nikkor H-Auto 85 mm f/1.8. Very nice portrait lens with great mechanics. Individual profiles for open aperture, f/2.8, f/5.6 and f/11;
Nikon Nikkor 85 mm f/2. Light and compact successor to the 85 mm f/1.8 lens. Individual profiles for f/2, f/4 and f/8 ;
Nikon Series E 100 mm f/2.8. Optically first-class portrait lens in a lightweight and compact design. Individual profiles corresponding to f/2.8, f/5.6 and f/11 ;
Nikon Nikkor 105 mm f/2.5. Legendary portrait lens with Xenotar construction (5 lenses in 4 groups). Individual profiles for f/2.5, f/5.6 and f/11 ;
Nikon Nikkor P-Auto 105 mm f/2.5. Classic portrait lens with 5 elements in 3 groups (Sonnar type). Individual profiles for f/2.5, f/5.6 and f/11 ;
Nikon Micro-Nikkor 105 mm f/4. Very powerful macro lens. Individual profiles for f/4 and f/8 ;
Nikon Nikkor Q-Auto 135 mm f/3.5. « Classic » Sonnar-type telephoto lens with very good sharpness. Individual profiles for f/3.5 and f/8 ;
Nikon Nikkor 200 mm f/4. Optically and mechanically outstanding telephoto lens. Individual profiles for f/4 and f/8 ;
Nikon Nikkor 300 mm f/4.5. Super telephoto lens in AI version without special glass. Individual profiles for f/4.5 and f/11 ;
Nikon Zoom-Nikkor 25-50 mm f/4. Great workmanship and image quality, but quite bulky and heavy. Individual profiles for the focal lengths 25, 28, 35, and 50 mm, at f/4 and f/8;
Nikon Zoom-Nikkor 35-70 mm f/3,5. Professional standard zoom lens with separate macro setting and 62 mm filter diameter. Optically and mechanically a first-class lens. Individual profiles for the focal lengths 35, 50, and 70 mm, each with open aperture, f/5.6 and f/11 ;
Nikon Zoom-Nikkor 35-105 mm f/3,5-4,5. An optically high-quality but compact universal zoom lens. Individual profiles for the focal lengths 35, 50, 70, and 105 mm, each with open aperture, f/5.6 and f/11 ;
Nikon Zoom-Nikkor 43-86 mm f/3.5. Second, an improved, version of the standard zoom that many call the « worst » Nikkor. The profiles for the focal lengths 43, 60, and 86 mm at open aperture and f/8 correct the strong distortion and vignetting;
Nikon Series E 75-150 mm f/3.5. Optically high-quality portrait zoom of the Economy series. Individual profiles for the focal lengths 75, 100, and 150 mm, each with open aperture, f/5.6 and f/11;
Nikon Series E 70-210 mm f/4. « Amateur » lens with solid mechanics and satisfying optical performance. Individual profiles for focal lengths of 70, 100, 135, and 200 mm, at f/4 and f/8;
Nikon Zoom Nikkor 80-200 mm f/4. Professional telephoto zoom, optically and mechanically beyond any doubt. Individual profiles for focal lengths of 80, 105, 135, and 200 mm, at f/4 and f/8;
Nikon Zoom-Nikkor 80-200 mm f/4.5. Slightly slower professional zoom, the second variant in the AI version. Individual profiles for focal lengths of 80, 105, 135, and 200 mm, at f/4 and f/8;
Nikon Zoom-Nikkor 100-300 mm f/5.6. The big brother of the Zoom-Nikkor 80-200 mm f/4, with rock-solid optics and mechanics. Individual profiles for the focal lengths 100, 135, 200, and 300 mm, each at f/5.6 and f/11.
