Test Shots of Instax NONS Back for Hasselblad 500cm

2024/08/18

Since Fuji discontinued the peel-apart film compatible with Polaroid instant film backs, my Hasselblad 500cm has been limited to shooting traditional film for quite some time. Over the past decade, there have been several attempts to develop instant film backs that use Fuji Instax Film, but some failed to reach their funding goals, while others experienced delayed development and came out with numerous issues. After waiting for so long, I'm finally thrilled to see NONS Camera released a commercial-grade Instax Film back. Although it still has a few minor flaws, I'm so grateful that my four Carl Zeiss lenses can now be used again.

自從富士停產相容於拍立得機背的撕拉片後，我的Hasselblad 500cm有好長一段時間只能拍傳統底片，近十年來陸續有採用富士Instax Film的機背在開發，有的再募資階段就不成功，有的則是開發時程延遲，最後出來的產品問題很多。等了又等，最後才看到NONS出了這個商用產品等級的Instax Film機背，雖然還有一些小瑕疵小缺點，但是能讓我的四顆Carl Zeiss鏡頭再次發揮，已經很感動了。


Hasselblad 500cm, Carl Zeiss Planar 2.8/80, Instax SQ


Hasselblad 500cm, Carl Zeiss Sonnar 4/150, Instax SQ


Hasselblad 500cm, Carl Zeiss Sonnar 4/150 + Ext. Tube 32mm, Instax SQ


Hasselblad 500cm, Carl Zeiss Sonnar 5.6/250 + Ext. Tube 32mm, Instax SQ


Hasselblad 500cm, Carl Zeiss Distagon 4/50, Instax SQ


Hasselblad 500cm, Carl Zeiss Distagon 4/50, Instax SQ


Apple iPhone 12 miini, 1.6/26mm

Auto CHINON MC 55mm f1.7 M42 on Sony A7III

2024/6/9

Today, I took my CHINON 55mm f1.7 lens, which I've been collecting for years, out for the first time to shoot some flowers and plants. After attaching a 12mm extension tube and an adapter, I mounted it directly onto my Sony A7III digital camera. This setup basically turns it into a macro lens with a magnification of around 1:4 to 1:2.5. If I switch to APS-C mode, the magnification goes up to about 1:1.5, making it easy to capture close-up shots of the little yellow daisies (Wedelia) like the one shown here.

今天第一次帶著收藏多年的CHINON 55mm f1.7出門拍些花花草草，裝上12mm的延伸環和轉接環後直上Sony A7III數位相機，基本上就是約1:4~1:2.5的微距鏡頭了，如果再切換到APS-C模式，就是1:1.5左右的倍率，很容易就可以拍出以下小黃菊(蟛蜞菊, Wedelia)的近拍照。


Auto CHINON MC 55mm f1.7 + 12mm extension tube

I hadn't paid much attention to this lens before, mainly because I bought it along with the CHINON CM-3, an M42 film camera. Since CHINON was primarily an OEM for cameras and lenses, and its own brand was often associated with budget cameras and lenses, I didn’t particularly care about the optical quality of this lens. However, after recently researching this 55mm f1.7 lens online, I came across a claim that it was manufactured by the renowned Tomioka Optical. This piqued my interest, and I decided to give it a try.

以前沒有特別注意這顆鏡頭，主要是因為它是跟CHINON CM-3這台M42底片相機一起購入，由於CHINON本身是相機和鏡頭代工廠，自主品牌則常是廉價相機鏡頭的代表，我對這棵鏡頭的光學品質並未特別在意。前這子網路上查詢這顆鏡頭的資訊時，看到一種說法，即這顆55mm f1.7的鏡頭是有名的富岡光學代工，也就興起了試拍的念頭。


Auto CHINON MC 55mm f1.7 M42

In June, before the peak of the hot summer, the pathway along the Sunshine Bridge in Xindian is lined with blooming little yellow daisies. The insects are also drawn to the flowers, lingering and flitting back and forth.

六月天，在進入炎熱的夏季前，新店陽光橋下的步道沿線都是盛開的小黃菊，蟲兒也受到了吸引，流連往返。

Auto CHINON MC 55mm f1.7 + 12mm extension tube


Auto CHINON MC 55mm f1.7 + 12mm extension tube


Auto CHINON MC 55mm f1.7


Auto CHINON MC 55mm f1.7

Rebirth Zeiss-Opton 50mm f2 on Sony A7III 老鏡復活

 2024/5/26

Zeiss-Opton 50mm f2 T on Sony A7III

In 2005, when CONTAX cameras were discontinued and digital cameras were becoming increasingly popular, I bought my first digital SLR — the Canon EOS Kiss Digital. I later upgraded to the EOS 5D Mark II, partly because it allowed me to use CONTAX lenses via an adapter. The downside was that I had to focus with the lens wide open, then stop down to meter the light before pressing the shutter — a cumbersome process. At the time, my biggest hope was that a manufacturer would eventually release a full-frame digital camera with a universal mount and electronic viewfinder, so that my CONTAX Carl Zeiss lenses could be revived in the digital age, bringing back the joy of manual focus photography.

在2005年，CONTAX相機停產，數位相機逐漸普及時，我買了第一台數位單眼相機Canon EOS Kiss Digital，之後也升級到EOS 5G Mark II，目的之一就是可以透過轉接環使用CONTAX鏡頭。它的缺點是需先用大光圈對焦，再用縮光圈測光，之後才能按下快門拍照，因此當時我的最大的期待就是有家廠商出了一台萬用接環具有電子式觀景窗的全幅數位相機，可以讓我的CONTAX Carl Zeiss 鏡頭可以在數位時代復活，恢復手動對焦攝影的樂趣。

Finally, in 2013, Sony released the first full-frame mirrorless camera. With its short flange distance of just 18mm, it not only supported SLR lens adapters but also allowed lenses from traditional rangefinder cameras to be used. In order to continue using my collection of lenses — Contax SLR/RF, M42, L39, and Hasselblad — in the digital photography era, I chose the right time to switch my entire Canon EOS camera and lens system to the Sony A7 series.

終於在2013年，Sony發表了第一台全幅無反光鏡單眼相機，由於法蘭距僅18mm，不但適合轉接單眼相機的鏡頭，也讓傳統連動測距式相機的鏡頭可以轉接後使用。為了讓我收藏的各種鏡頭Contax SLR/RF、M42、L39、Hasselblad 可以在數位攝影時代能繼續發揮，我找了適當的時機將全套的Canon EOS相機和鏡頭換成Sony A7系列。

This Zeiss-Opton 50mm F2 T lens is over 70 years old, yet it still performs beautifully on the Sony A7 III. In this backlit shot of a Bauhinia flower petal and green leaves, the transparency is stunning, and the countless bokeh highlights in the background seem to be celebrating the rebirth of a vintage lens.

這顆 Zeiss-Opton 50mm F2 T 已超過70年，在Sony A7 III相機上仍然發揮得很好，這張背光的羊蹄甲花瓣與綠葉，晶瑩剔透，背後無數光點，看似慶祝老鏡重生。

Zeiss-Opton 50mm f2 T

Zeiss-Opton 50mm f2 T