M42 Lenses

Canon EOS 40D + Pentacon 50mm f/1.8 lens.

Canon EOS 40D + Pentacon 50mm f/1.8 lens + extension tube. Tight depth-of-field: really needs a tripod, but a tripod is often a bit of a faff.

A detail from an oil painting which has been stored in damp conditions. Canon EOS 30D + Chinon 55mm f/1.7 lens from the M42 era.

Canon EOS 40D and M42 lens: Soligor C/D Wide-Auto f/2.8 28mm.

Canon EOS 40D and M42 lens: Soligor C/D Wide-Auto f/2.8 28mm.

The strap is not original equipment, but it functions well enough. Canon EOS 40D + Pentacon Auto f/1.8 50mm lens.

There are several rivers named 'Avon'. The name is derived from the Welsh word for river, 'afon'. The river in this picture is the Bristol, or Lower, Avon. Canon EOS 40D + Soligor C/D Wide-Auto f/2.8 28mm

River Avon at Chippenham, Wiltshire. The old Nestles factory on the opposite bank - Wiltshire United Dairies pre-Nestle. Canon EOS 40D + Soligor C/D Wide-Auto f/2.8 28mm M42 lens on an adapter.

I took this photograph of the River Avon at Chippenham, Wiltshire, with the old Nestles factory on the opposite bank, during October, 2015. I used a Canon EOS 40D with a Soligor C/D Wide-Auto f/2.8 28mm M42 lens on an adapter. When you use vintage optics you have to be prepared to do a bit of post-processing, most particulalrly by adding contrast. But perversely I have reduced contrast for this second version, and increased exposure here and there. I quite like the composition, yet I feel the elements within it are vying for prominence. Nevertheless, I like drawing an imaginary diagonal from the life belt to the red door.

In deference to the unique character of Lacock village, their public telephone kiosk was once painted in a grey colour, but now the standard red colour has replaced it. Cosinon 135mm f/2.8 lens on a Canon EOS 40D digital camera.

Lacock, Wiltshire. Cosinon 135mm f/2.8 lens on a Canon EOS 40D digital camera.

Lacock, Wiltshire. Cosinon 135mm f/2.8 lens on a Canon EOS 40D digital camera.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 40D digital camera.

Carl Zeiss Jena Tessar 50mm f/2.8 lens (£12 on eBay) on a Canon EOS 40D digital camera. The cheapest route to a lens with 'Carl Zeiss' on it. Manufactured between 1952 and 1978, thus there is plenty of choice on the secondhand market. The moment I had it in my hand, I loved the feel of it and the smooth focus and aperture adjustment. Using it on a crop sensor digital camera avoids the criticism that it is soft at the corners: I'm using only the best part of the simple optics. Nevertheless, optimum performance is f/8 - f/11 where contrast is best; otherwise post-processing will improve your efforts. F/2.8 is slow, but these days we're all used to levels of ISO which were unimaginable when this lens was in production, and so only photographers chasing depth-of-field will be bothered by the slowness. Close focus is about twelve inches - it's practically macro! And the long focus throw provides plenty of scope for tiny adjustments. The front element is well recessed: no need for a lens hood, nor a protective filter for that matter (but I disdain protective filters anyway. Like extended warranties, they exist to improve dealers' profit margins). Not as good as the 55mm f/3.5 Micro-Nikkor, which is hard to beat by any lens, but much cheaper, and fun to use. Colour rendition isn't bad, either.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 40D digital camera.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 40D digital camera. The chief reason I bought into the Canon EOS system was to use this lens. Fortunately the low cost of secondhand discontinued digital SLR cameras enables such indulgences. The design of the Carl Zeiss Jena 50mm F2.8 Tessar stretches back at least to the 1930's where countless examples exist in different forms, formats, and mounts. This is a fundamentally simple lens of just four elements in three groups with five aperture blades. It is not the best 50mm lens that I own. However, it is certainly the cheapest. So it is something of a mystery why I find it so satisfying to use. It is slow for a 50mm lens at f/2.8. The focus throw is very wide, allowing precision at the expense of fast handling. It seems sharp, but nearly all 50mm lenses are sharp. It performs well wide open; so do many others. Colour rendition is good. Distortion is not a problem. Contrast is strong. You could say the same about practically all 50mm lenses. But I like this particular lens very much.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 40D digital camera.

Carl Zeiss Jena Tessar 50mm f/2.8 lens on a Canon EOS 40D digital camera.