Minolta 80-200mm f/2.8
Minolta Maxxum AF 80-200mm f/2.8 APO (metal 72mm filter thread, 44.7 oz./1,267g, about $1,200 used if you know How to Win at eBay; I paid only $159 for this one for instance). My biggest source of support is when you use this link directly to them at eBay, or use any of these links when you get anything, regardless of the country in which you live. Please always use these links when getting any of your gear so I can continue to share what I know for free — but I receive nothing for my efforts if you buy elsewhere. Thank you for your support! Ken.
Minolta Maxxum AF 80-200mm f/2.8 APO. bigger.
Sample Image Files
This Minolta Maxxum AF 80-200mm f/2.8 is a macro lens for all Minolta MAXXUM and Sony Alpha cameras. Used on today's Sony A99 it has image stabilization and ultra-fast autofocus. it does the same thing as Sony's 80-200mm f/2.8 for less than half the price.
It works perfectly on the Sony A99, except that the AF-D Depth Map AF (whatever that is) and the automatic lens corrections don't work. So what, the images look great and everything else works, like face recognition and all the focus modes including Direct Manual Focus (DMF) override, so all is well.
This Minolta has a plastic exterior, but does have a metal mount and metal focus ring.
This is a full-frame lens for 35mm film and full-frame digital, and will be reviewed thusly. Feel free to use this on cropped-frame cameras, too.
This is the world's first autofocus macro lens, introduced with the Minolta MAXXUM 7000.
This is also the world's first lens that can focus continuously from infinity to 1:1 life-sized. It uses a three-group floating optical system.
Minolta Maxxum AF 80-200mm f/2.8. enlarge.
Minolta calls this the MAXXUM AF 80-200mm f/2.8 (32).
MAXXUM is Minolta's autofocus brand, called Dynax outside the US.
The (32) is the smallest f/stop.
Note on this lens the original form of the MAXXUM name, with overlapping Xs.
7 elements in 6 groups.
"Double Floating System," with three different groups of elements moving around to provide optimum performance ar every magnification from infinity to 1:1.
Coated mostly in blue, with a green multicoated surface or two.
Minolta 80-200mm f/2.8 at f/22. bigger.
7 straight blades.
Stops down to f/32.
Non-compensating system. We lose 1-2/3 stops of light at 1:1, and the camera still tells us that this is an f/2.8 lens — even though it's really only an f/5 lens at 1:1.
35mm film, full-frame and smaller format digital.
Focal Length top
When used on an APS-C style camera, sees an angle of view similar to what a 80mm lens sees when used on a full-frame or 35mm camera.
Angle of View top
46.7º on full-frame.
Close Focus top
0.656 feet (0.2 meters or 7.87 inches) from the image plane.
Working Distance top
About 2 inches (80-200mm) from the front of the lens!
Maximum Reproduction Ratio top
1:1 (1.0 x) life size.
Hard Infinity Focus Stop? top
This is great for astronomy; just turn to the stop and you have fixed laboratory-perfect focus all night.
Focus Scale top
Depth-of-Field Scale top
Yes, but abbreviated.
Infra-Red Focus Index top
Aperture Ring top
Filter Thread top
Does not rotate.
2.66" (67.5mm) diameter by 2.36" ~ 3.94" (60 ~ 100 mm) extension from flange.
It gets longer as focused more closely.
44.705 oz. (1,267.4 g), actual measured.
Minolta specifies 10.9 oz. (310g).
Minolta 80-200mm f/2.8 hood.
No hood is needed; the lens is very deeply set inside its own conical baffle.
55mm snap-in front cap and standard MAXXUM rear cap.
Made in Japan.
Minolta Product Number top
Price, USA top
People pay from $130 to $290 for them in 2013.
The Minolta 80-200mm f/2.8 works very well, especially on a Sony A99, with ultra-fast autofocus and great sharpness.
It's sharp, but not as sharp as Nikon's similar 55mm f/2.8 AF Micro NIKKOR.
AF speed is ultra fast, with one full turn (two half-turns) of the AF screw bringing it from infinity down to 2.5 feet. This is twice as fast as the new Sony 80-200mm f/2.8, for instance.
The 100 macro has to cover a lot of ground with its huge focus range, and it does so quickly. On an A99 or MAXXUM 7000, it will rack itself all the way from one stop to the other without much waiting.
On the Sony A99, focus is great; I don't need any AF fine-tuning.
Manual focus is fast; a 180º turn of the ring brings you from infinity to 1:1.
It's fast, but not that precise for general use; it's perfect for macro use.
Bokeh, the character of out of focus backgrounds, not simply how far out of focus they are, is
The Minolta 80-200mm f/2.8 has no visible distortion.
For scientific use, what little distortion it has can be corrected by using these factors in Photoshop's lens distortion filter:
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Minolta 80-200mm f/2.8.
Ergonomics are easy; the whole lens is a handle for mounting and unmounting.
Swapping between auto and manual focus requires moving a switch on the camera, or maybe using the Sony A99's DMF mode, any of which can be a big pain depending on your camera.
The Shading Correction in the Sony A99 probably doesn't recognize this lens; I leave it OFF.
I've exaggerated the falloff by shooting a gray field and placing these on a gray background.
There is no problem with vignetting on full-frame with any normal filter, or even two stacked filters.
The filter ring doesn't rotate.
This original 1985 Minolta MAXXUM AF 100 apparently has distance encoding, and gives great exposure with flash, even shot into a mirror with the flash shining back at itself.
Of interest mostly to cinematographers focusing back and forth between two subjects, the image of a fixed subject continuously gets larger as the lens is focused from infinity to 1:1.
Ghosts are no problem with this multicoated lens, even on the complex Sony A99 which has all sorts of internal mirrors in the optical shooting shooting path.
Here's looking directly into the disk of the sun, which was blinding in person:
Minolta 80-200mm f/2.8 at f/8. enlarge.
If you go as far out of your way as I did here, there is a slight green blob opposite the sun, and more commonly seen, a small blue blob just outside the light source.
I'm unsure if the veiling flare seen here is from the lens, or from the fixed mirror in the optical path of the Sony A99 on which I shot this.
Minolta 80-200mm f/2.8 with hood.
No hood is needed; the lens barrel is already deeply conical.
None, on an uncorrected 24 MP Sony A99.
It gets to 1:1, meaning something 24 x 36mm fills your image on full-frame, or something 16 x 24mm fills your image on smaller-format digital cameras.
It's super-sharp throughout most of the image, even at f/2.8, if you're in perfect focus.
I expected this; this is what macro lenses do.
The real problem is that no 80-200mm lens is good for macro, unless you're copying slides. Otherwise at 1:1, there is only two inches (5 centimeters) between your subject and the front of the lens, so you can't get light in.
For more serious macro, use the Minolta MAXXUM 80-200mm f/2.8 instead.
Rear, Minolta 80-200mm f/2.8. enlarge.
The Minolta 80-200mm f/2.8 is typical 1980s plastic.
Filter Threads and First Barrel
Inner Barrel (seen only as front extends)
Solid metal with engraved magnification numbers.
None; painted on barrel.
All metal, especially the focus cams.
Mounting Index Dot
Red plastic ball.
Engraved into bottom of barrel and filled with paint.
Moisture seal at mount
Noises When Shaken
Lots of high-pitched rattling.
Yes, it's very sharp if you stop down, duh. Image sharpness depends more on you than your lens, and lens sharpness doesn't mean much to good photographers.
The MAXXUM 80-200mm's biggest limitation is softness at the sides and corners wide-open.
As shot on the full-frame 24MP Sony A99:
The center is already extremely sharp.
The sides and corners are dark and somewhat blurrier. The Nikon 55mm AF is far superior.
The center is perfect, and the sides and corners are now much lighter — but not any sharper.
The sides and corners are better than at f/4.
f/8 is even sharper at the sides and corners.
f/11 is optimum; the sides are very sharp. (The center has been sharp at every aperture.)
It's softer all over; diffraction is limiting performance.
It's softer all over; diffraction is limiting performance.
It's softer all over; diffraction is significantly limiting performance if you don't need it for depth of field.
Spherochromatism, sometimes mistakenly called "color bokeh" by laymen, is a minor aberration which can add slight color fringes to out-of focus highlights in fast, long lenses.
This lens is neither fast nor long, and I see no spherochromatism.
Sunstar on The Star at f/8.
Crop from above Sony A99 1.4x crop image at 100%.
With its conventional 7-bladed diaphragm, the AF 100/2.8 makes great 14-pointed sunstars on brilliant points of light, even at larger apertures. Bravo!
This Minolta 80-200mm f/2.8 is from 1985 and is still working perfectly today in 2013 after having been bought from a random stranger on eBay.
It has no motors and no encoders, except maybe a distance encoder. There is nothing critical to go wrong that a good repairman can't fix. The only electronics are a ROM chip that should not wear out unless you go doing something stupid, like trying to take it apart.
It is perfectly normal for the rubber grip on the barrel to turn white from lack of use. The whiteness rubs off with use; a white looking barrel means a lens that hasn't been used much.
Therefore unlike many AF lenses today, this 100 AF Macro ought to last last for plenty of more decades of great pictures.
Minolta downgraded this 80-200mm AF to much more plastic and rounded the diaphragm, destroying sunstars some years after this model. Otherwise, it's the same thing in an obviously crappier package.
Much later, Minolta downgraded it again to only an f/3.5 macro.
I'm unsure if today's Sony's 80-200mm f/2.8 uses the same optics or not — it probably does, and adds a focus lock button.
Nikon's 55mm f/2.8 AF (1987-1989) is a copy of this Minolta lens mechanically. They feel the same and look very similar. Optically, the Nikon 55mm is simpler (6 versus 7 elements) and uses only a two-group floating system versus three groups in this Minolta lens — but the Nikon 55mm f/2.8 is one of the sharpest lenses in all of photography, and sharper than this Minolta.
Canon's 80-200mm f/2.5 Macro (1987-) is a much better made lens mechanically, and is the only one of these 1980s lenses still sold unchanged today. It sells new for not much more ($270) than these Minolta lenses sell for used.
This Canon Macro has better optics than this Minolta, but not as good as the Nikon. The Canon only focuses to 1:2; you need a special adapter to get to 1:1.
I bought this Minolta 80-200mm f/2.8 for my Sony A99 for use as a normal lens.
For a 80-200mm lens for MAXXUM or Sony, we have three choices: the 80-200mm f/1.7 MAXXUM lens, the f/2.8 lenses or this f/2.8 macro. This macro focuses much faster and closer than the others, and none of the others is sharper. If f/2.8 is fast enough, then I'd get this macro instead of the faster lenses.
For digital Sony cameras, since their Auto ISO and Program modes tend never to shoot any wider than f/4 even in very dim light, you won't be using the extra speed of the other lenses, so get this macro instead for faster and closer focusing.
For use on 35mm MAXXUM cameras, the f/2.8 is probably best, as you'll need the extra speed on film, and the MAXXUM program modes properly use the largest apertures.
For dedicated macro use, 80-200mm lenses are a bad idea because you have to get too close to the subject. You block your light and annoy live subjects. Get the MAXXUM 80-200mm f/2.8 or Sony 80-200mm f/2.8 instead.
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