The Nikon Series E 75–150mm f/3.5 Lens

I came across someone selling this lens on ClubSNAP Photography Forum and did some research on it. It seemed like this particular Series E lens has earned a "legendary" reputation for its sharpness. I managed to successfully bid for one on eBay for a reasonable S$150 (after shipping from US), and its condition is considered quite a good buy for an approximately 30-year-old lens.

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The E 75–150mm f/3.5 was released in Japan in May 1980. Nikon Series E lenses are interchangeable lenses that were developed to complement the Nikon EM, which was affectionately known as the "Little Nikon" in Japan. Keen to establish the EM Series, Nikon used a different brand name for the lenses in order to differentiate them from the Nikkor brand. Ultimately, a total of 8 Series E lenses were manufactured. There were 5 fixed-focal-length lenses and 3 zoom lenses:

1. E 28mm f/2.8 (not released in Japan)
2. E 35mm f/2.5
3. E 50mm f/1.8 (not released in Japan)
4. E 100mm f/2.8
5. E 135mm f/2.8 (not released in Japan)
6. E 36–72mm f/3.5
7. E 75–150mm f/3.5
8. E 70–210mm f/4

Nikon succeeded in making the Series E lenses light in weight, so as to match the compact and lightweight EM, by making the barrels of the fixed–focal–length lenses out of engineering plastic. The company also attempted to make the lenses substantially cheaper than existing Nikkor lenses by streamlining production, e.g. by minimizing the number of points at which adjustment was required. There was absolutely no compromise on design, however, and one of the concepts behind the series was that the lenses would preserve the same quality as existing Nikkor lenses. They would exhibit the same Nikkor performance and would be compact and lightweight, yet reasonably priced. The user would see only advantages.

In addition, as can be understood from the standard way in which the smallest stop setting for the aperture ring is indicated in orange, the Series E lens family comprises AI–S–type lenses* that are interchangeable with AI-S Nikkor lenses, aside from the fact that the structure of a Series E lens does not allow a meter coupling shoe to be fitted to it.

Although the Series E is no longer in production, the elemental development that was geared towards the Series E (such as the use of engineering plastic and cost reductions by means of improved productivity) later became indispensable to the technological development of subsequent Nikkor lenses. These technologies represented the foundations for subsequent development of the Nikkor line. Thus, although this lens does not bear the Nikkor name, it is one that a photographer will want to keep handy, even in the digital era.

Although the E 75–150mm f/3.5 was manufactured as a popular lens for use with the Nikon EM, the finished lens was, in fact, sufficiently well-executed as to find favour with the experts. With a x2 zoom range covering a 75–150mm portrait area, the clarity of f/3.5, and an unchanged F-stop setting during zooming, the lens proved easy to use with cameras such as the F2 and F3, as well as with the EM, and was visually well-suited to them. It was also outstanding in terms of performance. The lens’s modest zoom ratio means that it images cleanly throughout its zoom range, from full wide-angle to full telephoto. Zoom lenses are often praised as being on a par with fixed-focal-length lenses, but this lens probably really is as good as a fixed-focal-length lens.

The 20mm Diana F+ Fisheye Lens

I thought it'll be too wasted to just ship the 35mm back alone all the way from US, hence I added the fisheye lens to accompany it... to make the shipping more worth it. Actually I've been eyeing on it all along! ;)

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Each shot yields a 180° circular image on a square print – bursting with the Diana F+’s saturated colours and dreamy atmosphere! An interchangeable plastic Fisheye lens for the Lomography Diana F+ and Diana F+ cameras! With a 20mm focal length and a 180° field of view, this is the world’s first all-plastic interchangeable fisheye lens for a medium format camera!

Here’s what it can do:

• 180-Degree Field of view: This enormous field of view takes in literally half of the world around you and compacts it into a nice and tight circular image. Barrel distortions twist and bend your subjects around the edges, stretch them towards and away from your lens, and converge their lines towards the center.
• True Diana F+ Images: This high-quality plastic lens perfectly captures the signature look of Diana F+ images – warm, saturated colors, soft focus, and that special dreamlike feeling.
• Extreme close-up potential: Not an exercise for the timid - the Fisheye lavishly rewards those who bravely advance within a whisper of their subject. Get right up to their face, and watch their nose get sucked into your lens while their ears and forehead s-l-i-d-e-s backwards. Sharp, beautiful pictures are possible from even the closest quarters.
• Huge depth of field: Super-wide-angle images like the ones spat out by the Fisheye come with a wonderful bonus: focused sharpness from the front to the rear of your image. Each fisheye image shows massive depth of field, so your subject and background will be nice and crispy clear.

The Diana F+ 35mm Back

After my 1st roll of 120 film, I decided that it'll be too expensive and boring in the long run for the Snowcat to take 120 films only. So I decided to add on the 35mm film option!

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Expressly designed for the Diana F+, this 35mm Back is fully interchangeable and easily pops on and off the camera. A new dawn of 35mm creativity has risen into the sky, and it’s our pleasure to embark on a mission of multi-format exploration with you – one color-drenched, Diana-dreamy, and slightly leaky shot at a time.

• Shoot all types (color, slide, b&w) of 35mm film with your Diana F+ and Diana F+ cameras
• 2 integrated exposure counters tell you the precise frame you’re on
• Choose from 4 different image formats
• Interchangeable back that can be easily installed and removed

Snowcat Diana F+ meows...

My hubby wanted to give me a present for going through the labour pains for delivering our daughter. Although the Snowcat Diana F+ is most probably "extinct" in Singapore, I managed to find it still available in a online shop linked to Amazon.com, and it's much cheaper (by about $80 including shipping cost) than other limited-edition Diana F+ clones sold by the local stores.

Film : Kodak Ektacolor Pro 160
Date Taken : January 2011

It's the first time I'm playing with medium-format 120 film and camera, so I expected some "hiccups" along the way. I wasted the first 2 shots, not knowing when to stop winding the film to the "start" of the roll. Then I was eager to see what my new toy can produce, so I just bring the camera out to shoot anything anywhere... Just as I thought "well, the last 2 shots... already nothing for me to take...", I spotted the "Snow Cat" sleeping so soundly in a corner! That was THE picture of the day! And I simply love the cool vignettes the camera produces!

Lomo LC-A... 4th roll

Film : FujiChrome Velvia 100F (Expired)
Date Taken : December 2010 - January 2011

The colours of this roll of film greatly surprises me! My LC-A never seem to fail me... always producing great pictures no matter where I bring her. It's the photographer still working on her skills that makes the difference! Hee!

About the Diana F+ Snowcat

This sassy comic cat was designed by renowned Korean illustrator SnowCat. Release: Spring 2009

Overview

• Film format: 120
• Size: 5” x 3.75” x 3” (12.5cm x 9.5cm x 7.6cm)
• Variable shutter (daytime & “B” for unlimited long exposures)
• 12-shot (5.2x5.2cm), 16-shot (4.2x4.2cm), and endless Panorama (4.6x4.6cm) formats
• Removable lens for super-wide-angle pinhole shots

Diana F+ Features

A Recreation and Homage to the Original

Starting from scratch with an original 1960’s Diana camera, we pulled apart every tiny nook, cranny, gear and wheel to rebuild it from the ground up. Every quirk and “imperfection” was duly noted and reconstructed – yielding a lightweight beauty that handles and feels just like the original.

Two Shutter Speeds

Choose between "N" for normal daytime snapshots or “B” for unlimited indoor and nighttime exposures.

The Plastic Fantastic Diana Lens

The Diana's original all-plastic lens has been duplicated with utmost love and care to ensure the same dreamy, gorgeous, color-drenched, sometimes-blurry, and often-mindblowing results that Diana users have always treasured.

Two Image Sizes

For your pleasure, you can choose between the 12 full-frame shots (5.2x5.2cm), or 16 smaller square images - in the classic Diana format (4.2x4.2cm)!

Multiple and Partial Exposures

Like the Holga, you can advance the Diana F+ as much or as little as you like after each shot - making multiple exposures, half-exposed frames, and stretched out crazy-long shots a snap.

Pinhole Function

Remove the lens, set the aperture to a super-small pinhole and shoot a super-wide-angle, severely old-school image through a tiny hole.

Endless Panorama

Use this setting along with the smaller image format (4.2x4.2) to place sequential frames right next to each other and create a concurrent and unlimited panoramic image.

Shutter Lock and Tripod Thread

Sharp and solid long exposures (especially pinhole images) require a steady camera. To help you out, we’ve included a standard tripod thread on the bottom of your Diana F+ and a small shutter lock that allows you to keep the shutter indefinitely without holding it down.

Hello Nikon EM!!

After months of pestering my dad for his "antique" film camera, he finally gave it to me during the Chinese New Year visit in February! The camera was well-kept and in good-condition after not used for almost 20 years, except for its super mouldy leather casing! Nevertheless, the camera needed to be checked if it's still in working condition and thoroughly cleaned up by the expert Mr Tay before it can make its first appearance.

Film : Agfa CT Precisa 100
Date Taken : October 2010

The first roll of film on the Nikon EM was amazingly good! Considering that it hasn't been used for so long, Mr Tay must have done a very good check and cleaning of the "grandpa" camera. The pictures were taken around and inside Marina Sands, as well as at Dempsey Hill.

About the Nikon EM

The Nikon EM is a beginner’s level, interchangeable lens, 35mm film, single lens reflex (SLR) camera. It was manufactured by Nippon Kogaku K. K. (today Nikon Corporation) in Japan from 1979 to 1982 (available new from dealer stock until circa 1984). The camera was originally designed and marketed to the growing market of new women photographers then entering the SLR buyer's market.[1] The EM uses a Seiko MFC-E focal plane shutter with a speed range of 1 to 1/1000 second plus Bulb and flash X-sync of 1/90 second. It is 86 mm (3.4 in) high, 135 mm (5.3 in) wide, 54 mm (2.1 in) deep and weighed 460 grams (16 oz). Unlike most Nikons of the time, it was available only in black. The EM has no full manual exposure mode capability, but instead was intended to be used by inexperienced photographers who could not easily master the intricacies of shutter speeds and f-stops. There were also significant changes over previous cameras in the internal mechanics and electronics of the EM, designed to lower costs. Gone were the tight tolerances, ball bearing film advance, and high-quality titanium shutter. The introductory US list price for the body plus normal lens was only $231 – note that SLRs usually sold for 30 to 40 percent below list price.

The EM accepts nearly all lenses with the Nikon F bayonet mount (introduced in 1959) supporting the Automatic Indexing (AI) feature (introduced in 1977). The contemporary Nikon made AI lenses were the Nikkor AI-S, Nikkor AI and Nikon Series E types. The AF-S Nikkor, AF-I Nikkor, AF Nikkor D and AF Nikkor autofocus lenses are also AI types. Nikon’s most recent 35 mm film SLR lenses, the AF Nikkor G type (introduced in 2000) lacking an aperture control ring; and the AF Nikkor DX type (2003) with image circles sized for Nikon's digital SLRs will mount but will not function properly. IX Nikkor lenses (1996), for Nikon's Advanced Photo System (APS) film SLRs, must not be mounted, as their rear elements will intrude far enough into the mirror box to cause damage.

Design History

Beginning in 1977 with the advanced amateur Nikon FM, there was a complete overhaul of the entire Nikon SLR line. The 1970s and 1980s were an era of intense competition between the major SLR brands: Nikon, Canon, Minolta, Pentax and Olympus. Between circa 1975 to 1985, there was a dramatic shift away from heavy all-metal manual mechanical camera bodies to much more compact bodies with integrated circuit (IC) electronic automation. In addition, because of rapid advances in electronics, the brands continually leap frogged each other with models having new or more automatic features. The industry was trying to expand out from the saturated high-end professional market and appeal to the large mass of low-end amateur photographers who were itching to move up from compact automatic leaf-shutter rangefinder (RF) cameras to an SLR, but were intimidated by the need to learn the details of operating a traditional SLR.

Although Nippon Kogaku enjoyed a sterling reputation among professional photographers with their Nikon F2 of 1971, the F2 was a slow seller to most amateurs and beginners, being fairly bulky, expensive, and complicated.[2] Although the Nikon midlevel Nikkormat FT (1965) and EL (1972) camera series were made almost as well as the Nikon F and F2, their relatively high price turned amateurs away from the brand, who instead flocked to cheaper models from other manufacturers.

Features

The Nikon EM formed the base of the new line. It was the smallest and cheapest SLR ever made by Nippon Kogaku. It was a battery-powered (two S76 or A76, or one 1/3N) electromechanically controlled manual focus SLR. The EM featured a lightweight and compact hybrid copper aluminum alloy body and fiberglass reinforced polycarbonate plastic top and bottom covers, plus aperture priority semiautomatic exposure control governed by a built-in 60/40 percent centerweighted, silicon photodiode light meter. A left side viewfinder galvanometer needle pointer indicated the exposure on a shutter speed scale. The viewfinder also had Nikon’s standard 3 mm split image rangefinder and 1 mm microprism collar focusing aids, but the focus screen was fixed. The viewfinder is dimmer than those in the semi-professional Nikons since the expensive prisms of the latter were not used. The camera is also fitted with a low-light exposure warning in the form of an audible 'beep'.

Accessories for the EM included a highly automated dedicated electronic flash unit, the Nikon SB-E (guide number 56/17 (feet/meters) at ASA 100) and a very small power winder, the Nikon MD-E (motorized film advance at 2 frames per second). However, the star of the E-system were a new brand of lenses – the Nikon Series E lenses (discontinued circa 1987). The Series E lens line up in 1980 were a 28 mm f/2.8 wide angle, a 35 mm f/2.5 semi-wide angle, a 50 mm f/1.8 normal, a 100 mm f/2.8 short telephoto and a 75–150 mm f/3.5 zoom, with the subsequent addition of a 70–210 mm f/4 zoom, and a 135 mm f/2.8 medium telephoto. These lenses were intended to enhance the EM’s appeal with new users, by being inexpensive but good quality alternatives to the pricey regular Nikkor branded lenses.

The EM also had one very rare feature for an electronically controlled camera. Nippon Kogaku’s philosophy that a camera must always work when called upon resulted in the EM’s backup ability to operate without batteries – albeit in a limited fashion: completely manual mechanical control with limited shutter speeds (1/90 second, marked M90, or Bulb) and without the light meter. (A little-known feature of the EM is that when the battery is removed, the "Auto" setting produces a shutter speed of approximately 1/1000 sec. This is documented in the factory repair manual.)

The EM and its attendant E-system accessories were Nippon Kogaku’s first attempt to reach the low end of the SLR market.[2] Called internally “the Nikon for women”, the EM was designed to provide style (exterior contours sculpted by Italian automobile stylist Giorgetto Giugiaro), convenience (a system of dedicated accessories), ease of use (as much automation as possible in 1979), low cost (simplified manufacturing process) and the prestige of the Nikon name (prominently displayed on the pentaprism housing) for initiates to SLR-dom.[1][2]

Unfortunately, the Nikon EM and its later offshoots (FG, FG-20) proved to be a sales and marketing failure for Nikon.[2] Older Nikon owners refused to countenance the cheap internal construction and lack of manual mode flexibility of the EM. The expected female beginner photography market also failed to appear, as tyro photographers (including women) rejected the implicit condescension of an aperture-priority only EM, and voted with their wallets in favor of higher-priced Nikons or the extra features of less-expensive Canon and Minolta cameras.

Despite its cheaper construction quality, the EM has proved to be as reliable over the years as its more expensive Nikon counterparts of the era.[3] A set of less expensive lenses marketed with the camera's introduction (Series E) also came in for heavy criticism, and Nikon soon dropped the entire line.[2] Although the Series E lenses were unpopular with Nikon buyers, several of the Series E lenses exhibited excellent performance, particularly the 50 mm f/1.8 (pancake), the 100 mm f/2.8, and the 75–150 mm constant f/3.5 zoom. The relatively low prices of the EM/FG family and the Series E lenses in the used equipment market make them good bargains in terms of price/performance.

Lomo LC-A... 3rd roll

Film : Lucky B&W SHD100
Date Taken : September 2010

I love the superb black-and-white contrast of the Merlion night sceneries! The LC-A truly lives up to its name as the father of all lomo cameras!!!

Lomo LC-A... 2nd roll

Film : Agfa CT Precisa 100
Date Taken : May 2010

C.H.I.J.M.E.S appears so beautiful after the cross-processing effect!