Nikon 180mm f/2.8
NIKKOR P, P•C and AI (1970~1981)
Sample Images Introduction Format
Performance Compared Recommendations
Nikon NIKKOR 180mm f/2.8 AI (FX, DX and 35mm coverage, 72mm metal filter thread, built-in hood, 31.2 oz./885g, 6'/1.8 m close focus, about $125 used if you know How to Win at eBay, which is where I got this beauty). bigger.
My biggest source of support is when you use any of these links to approved sources, especially this link directly to them at eBay, when you get anything, regardless of the country in which you live. Thanks for helping me help you! Ken.
April 2020, Hot May 2019 Better Pictures Nikon Reviews Nikon Lenses Nikon Manual-Focus Lenses All Reviews
Why Fixed Lenses Take Better Pictures
Nikon 180mm versions and history
Sample Images
Top Sample Images Intro Format
Compatibility Specifications Performance
These are all shot hand-held as BASIC ★ JPGs; no RAW files, NORMAL or FINE JPGs or tripods were used or needed.
Canary Palm, 8:56 AM, 17 March 2019. Nikon Z7, Nikon NIKKOR 180mm f/2.8 AI on FTZ adapter, f/5.6 at 1/320 at ISO 64, Perfectly Clear. bigger, full-resolution file or camera-original © 45MP file.
Canary Palm, 8:56 AM, 17 March 2019. Nikon Z7, Nikon NIKKOR 180mm f/2.8 AI on FTZ adapter, f/2.8 at 1/800 at ISO 64, Perfectly Clear. bigger, full-resolution file or camera-original © 45MP file.
Recognize that at these large apertures very little is in perfect focus.
Introduction
Top Sample Images Intro Format
Compatibility Specifications Performance
History & Versions Good Bad Missing
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This is a classic professional manual-focus high-speed telephoto. It is ideal for portraits and landscapes and every other kind of photography, with especially good bokeh.
This lens came just before the legendary NIKKOR✱ED 180mm f/2.8 AI-s. This older lens has similar optics with a similar size and weight, for half the price of the legendary ED version. This older 180/2.8 is also ultra-sharp and works brilliantly on today's newest state-of-the-art 50 megapixel cameras.
The biggest difference between the newer ED version and this lens is slightly more chromatic aberration and more spherochromatism, which can lead to colored fringes on out-of-focus highlights. These aberrations also lead to better bokeh than the ED version. You won't see any of the chromatic aberrations unless you're looking at 100% on your computer; the differences are invisible in print. See also Compared.
If you've never shot with one of these masterpieces and only have shot with autofocus lenses, you're in for a treat. This lens is from when Nikon ruled the world of sports and news photography, and back when we still had real professional photographers who knew what pro gear felt like and demanded that it handle well and be built like a tank. Presuming you're using a nice sample like this one, it's a solid ingot of mechanical precision with optics to match, completely unlike the offshored plastic rubbish people accept today.
On DSLRs its fast f/2.8 aperture gives a much brighter viewfinder than the slower 28-300mm VR.
It is not an internal focusing (IF) lens. It focuses conventionally by moving the entire lens assembly in and out as you turn the focus ring.
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
While you can get these precision beauties for only about $150 today if you know How to Win at eBay, treat yours with respect. They sold for the equivalent of over $1,700 when new. This is a thoroughly professional lens.
Nikon NIKKOR 180mm f/2.8 AI. bigger.
History & Versions
See also Nikon 180mm f/2.8 History for a longer perspective from 1953~today.
All three versions of this lens have exactly the same optics as the AI version I'm reviewing here:
1970 ~ 1974: NIKKOR P: Single-coated. Diamond-textured rubber focus ring.
1975 ~ 1977: NIKKOR P•C: Same thing as NIKKOR-P, and adds multicoating with Nikon's Super Integrated multicoating (SIC).
1977 ~ 1981: NIKKOR AI: Same thing as NIKKOR P•C, and adds AI (Automatic light-meter Indexing) and Nikon's signature flat-topped pyramidal "iron block" rubbery focus grip. This is the version shown here.
Good
Superb optics.
Stops down to f/32, which the newer autofocus 180mm and newest state-of-the-art 70-200mm f/2.8E FL can't do.
Built-in hood.
Straight 7-blade diaphragm for classic 14-pointed sunstars.
Superlative mechanics: all metal, all engraved markings and no plastic.
Heirloom-quality design and build to last beyond a lifetime.
Tubular velvet-lined Corinthian leather case and strap often included.
Made domestically in Japan.
Bad
Nothing; this lens is from Nikon's golden era when they ruled the sports and news photography world.
Missing
Nothing at the time; autofocus and Vibration Reduction hadn't been invented yet.
No plastic.
No printing; every marking is deeply engraved and filled with paint to last a few lifetimes.
Not off shored to some second- or third-world country for cheap labor as Nikon usually does today; this is a precision-made masterpiece.
Format
Top Sample Images Intro Format
Compatibility Specifications Performance
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
This is a full frame FX lens, and I'm reviewing it as such.
It works great on DX cameras, too, on which you may make the usual inferences.
Compatibility
Top Sample Images Intro Format
Compatibility Specifications Performance
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
If you have one of the very early non-AI samples,(1970-1977, serial numbers below 360,000), you'll need to have your lens AI-converted to work on cameras made since 1977. Even these oldest samples still work great on every Nikon made 1959-1977.
Presuming you have at least an AI or AI-converted sample, this manual-focus lens works great with most full-frame Nikon cameras made since 1977, both FX digital and 35mm. Of course it won't autofocus on any camera, but usually offers color matrix metering and aperture-preferred auto exposure if you like. It offers Aperture-priority, shutter-priority and full program auto exposure on the Nikon FA, and Matrix Metering on all FX cameras as well as the Nikon F4, Nikon FA and Nikon F6.
It also works great on better DX cameras, but won't meter with the cheapest DX cameras or cheaper autofocus 35mm cameras.
It works on the Z-series mirrorless cameras with the FTZ Adapter.
On all FX digital, Z-series mirrorless cameras, better DX cameras and the F6 be sure to set "180mm" and "f/2.8" at MENU > SETUP > NON-CPU LENS DATA.
See Nikon Lens Compatibility for details on your camera. Read down the "AI, AI-s"column.
Specifications
Top Sample Images Intro Format
Compatibility Specifications Performance
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
Name
Nikon calls this the Nikon NIKKOR P, NIKKOR P•C or NIKKOR AI 180mm f/2.8:
NIKKOR: Nikon's brand name for all their lenses.
P: "Penta," or five optical elements.
•C: Multicoated.
AI: Automatic (exposure meter) Indexing.
Optics
Nikon NIKKOR-P 180mm f/2.8 Internal Optical Construction. bigger.
Nikon NIKKOR-P 180mm f/2.8 Optical Dimensions. bigger.
5 elements in 4 groups.
Unit focusing, the whole lens moves in and out on big helicoids.
Nikon Super Integrated multicoating (SIC) on NIKKOR P•C and NIKKOR AI versions.
Filters
Solid aluminum alloy 72 mm filter thread.
Coverage
Diaphragm
Nikon NIKKOR 180mm f/2.8 AI at f/5.6. bigger.
7 straight blades.
Stops down to f/32 with full-stop clicks.
You may select any aperture anywhere between clicks.
Focal Length
180mm.
When used on DX cameras, it sees the same angle of view as a 270 mm lens sees when used on an FX or 35mm camera.
See also Crop Factor.
Angle of View
13º 40' diagonal on FX.
9º diagonal on DX.
Focus Scale
Yes, correctly color-coded in white for meters and in yellow for feet.
Infinity Focus Stop
Yes.
This is great for astronomy; just turn to the stop and you have fixed laboratory-perfect focus all night.
Depth of Field Scale
Nikon NIKKOR 180mm f/2.8 AI. bigger.
Yes, color-coded to the aperture values.
Infrared Focus Index
Yes: red dot in depth-of-field scale.
Infinity Focus Stop specifications top
Yes.
Close Focus
6 feet (1.8 meters).
170º focus ring rotation.
Maximum Reproduction Ratio
1:8 (0.125×).
Reproduction Ratio Scale
No.
Hood
Built-in Hood Extended, Nikon NIKKOR 180mm f/2.8 AI. bigger.
Built-in telescoping fuzzy black-flocked metal tubular hood.
Hint: They always seem to get pushed back because they don't lock. Find a thick rubber band and put in on the barrel behind the hood and it will keep it extended.
Case
CL-35A Corinthian Leather tubular case, lined with Hungarian red velvet, and strap.
Size
Nikon NIKKOR-P 180mm f/2.8 Dimensions. bigger.
NIKKOR P and P•C: 81 mm ø maximum diameter × 133 mm extension from flange (141mm overall).
NIKKOR AI: 82mm ø maximum diameter × 132.5mm extension from flange (141mm long overall).
Weight
AI version seen here
31.210 oz. (884.9g), actual measured weight.
Rated 31.0 oz. (880 g).
P and P•C versions
Rated 29.3 oz. (830 g).
Quality
Made in Japan.
Serial Number Ranges
NIKKOR P: 312,000 (1970) ~ 336,000 (1974). Nikon made about 17,000 of these.
NIKKOR P•C: 350,000 (1975) ~ 353,000 (1977). Nikon made about 3,500 of these.
NIKKOR AI: 360,000 (1977) ~ 379,000 (1981). Nikon made about 19,000 of these.
Price, USA
April 2024
If you know How to Win at eBay, sells for about $60 ~ $200 used, typically about $125.
Hot May 2019
If you know How to Win at eBay, sells for about $100 ~ $225 used, typically about $150.
March, 1982
$499 new on closeout at B&H Photo (that's $1,315 in 2019 dollars). The new 180/2.8 ED was $560 ($1,475 in 2019 dollars).
January, 1979
$520 new at B&H Photo (that's $1,825 in 2019 dollars).
June, 1977
$419 at B&H Photo (that's $1,760 in 2019 dollars).
Performance
Top Sample Images Intro Format
Compatibility Specifications Performance
Color Rendition Distortion Ergonomics
Falloff Filters Flare & Ghosts
Lateral Color Fringes Macro Mechanics
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
Overall
The 180/2.8 has brilliant, clear, fast and sharp optics and flawless mechanical quality at a giveaway price today.
Focus
Manual focus is flawless.
The entire lens moves in and out on a big, precise brass and aluminum helicoid.
Just two fingertips or one firm fingertip is all it takes to focus this lens, even pointed straight up or down.
Focus is ultra smooth and only lightly damped. If yours is stiff, gritty or uneven, your lens is broken and needs service.
I had Gus Lazzari service my lens seen here; after over 40 years the focus had become sticky.
Focus Breathing
Focus breathing is the image changing size as focused in and out. It's important to cinematographers that the image not breathe because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth.
As a unit-focus lens whose entire optical cell moves in and out together, the image from this 180/2.8 gets larger as focused more closely.
Bokeh
Bokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is excellent at f/2.8, and staying excellent at smaller apertures.
Here are photos from headshot distance:
f/2.8 on Full-Frame
Davis 6250 weather station, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
f/4 on Full-Frame
Davis 6250 weather station, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
f/5.6 on Full-Frame
Davis 6250 weather station, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
f/8 on Full-Frame
Davis 6250 weather station, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
f/11 on Full-Frame
Davis 6250 weather station, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
As always, if you want to throw the background as far out of focus as possible, shoot at f/2.8 and get as close as possible.
Color Rendition
Color rendition is neutral, matching my other multicoated NIKKOR lenses from the 1970s through today.
The earliest single-coated NIKKOR-P lenses may have a slightly different color cast.
Distortion
The Nikon 180mm f/2.8 very minor pincushion distortion. I doubt you'll ever see it.
For critical scientific use you can correct it with these factors in Photoshop's lens correction filter.
These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
30' (10m) |
-1.10 |
10' (3m) |
-0.90 |
© 2019 KenRockwell.com. All rights reserved.
Ergonomics
|
|
Nikon NIKKOR 180mm f/2.8 AI. bigger. |
Nikon NIKKOR 180mm f/2.8 AI. bigger. |
Most of the lens is the big, beautiful focus ring, covered in Nikon's signature flat-topped pyramidal "iron block" rubbery grip material (earlier NIKKOR P and NIKKOR P•C versions use a diamond pattern). Unlike the crappy imitation rubber Nikon has used since around year 2000 on autofocus lenses that gets sticky after about 12 years, this rubber stays just like new forever.
Just two fingertips or one firm fingertip is all it takes to focus this lens, even pointed straight up or down.
The big silver ring is the mounting grip. Grab this to mount and unmount the lens. It's easy to see or feel in any light.
The solid cast-alloy aperture ring is easy to set with a single fingertip. It's easy to set to any intermediate aperture, and has full-stop clicks. Pros set their apertures by feel, counting clicks up or down from f/32 or f/2.8.
Falloff
Falloff on FX and 35mm is minor at f/2.8, and goes away by f/4. It's very nice at f/2.8 when used for a subtle highlighting effect.
It won't be an issue at all on DX (see crop factor).
I've greatly exaggerated the falloff by shooting a gray field and placing these on a gray background; it will not look this bad in actual photos of real things:
180mm f/2.8 falloff on FX and 35mm at infinity.
© 2019 KenRockwell.com. All rights reserved. |
Filters, use with
There's no need for thin filters. I can stack a few regular filters and still not get any vignetting on full-frame.
Go ahead and use your standard rotating polarizer and grad filters.
Flare & Ghosts
This lens uses a simple optical formula and has no significant problem with flare or ghosts. If you really, really push it you can get a slight blue ghost. The dimmer rainbow and repeating effects seen around the sun and the ghost are sensor artifacts not caused by the lens:
Nikon 180mm f/2.8 AI at f/11 on Nikon Z7 with FTZ adapter. bigger.
Lateral Color Fringes
There are no lateral color fringes as shot on Nikon cameras, which by default correct for any that may be there, but there is moderately strong spherochromatism, which can cause color fringes on things that aren't in perfect focus. Spherochromatism is a completely different aberration in a different dimension than lateral color fringes.
At the largest apertures you may see minor color fringes at very large magnifications caused more by spherical aberration than uncorrected lateral color. These are this lens' biggest flaws, and the reason Nikon created the 180/2.8 ED to minimize them.
Macro Performance
It doesn't get very close, but it is very sharp:
On Full-Frame Wide-Open at f/2.8
It's sharp at f/2.8, however spherochromatism is your biggest gotcha with green and magenta fringes on whatever's not in perfect focus:
Mondaine A132.30348.11SBB at close-focus distance at f/2.8, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
1,200 × 900 pixel crop from above. bigger or Nikon Z7-original © 45MP file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14″ × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
On Full-Frame at f/8
It's super sharp at f/8:
Mondaine A132.30348.11SBB at close-focus distance at f/2.8, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
1,200 × 900 pixel crop from above. bigger or Nikon Z7-original © 45MP file.
The dirt specks you're seeing are on the watch face and crystal.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14″ × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Mechanical Quality
Nikon NIKKOR 180mm f/2.8 AI. bigger.
This is one of Nikon's finest lenses of all time. It is made to even better standards than LEICA's lenses because Nikon uses even longer-life lubricants good for about 40-50 years and that don't cloud the glass, rather than the 15- to 20- years over which LEICA's lubricants work and thereafter cloud the glass.
Finish
Semi-matte black enamel over black-anodized aluminum.
Hood
Solid alloy.
Flocked interior.
Non-locking, but it does have a little bit of extra friction to try to hold it in the out position.
Front Bumper
None.
Filter Threads
Solid alloy.
Barrels
All metal.
Focus Ring
Rubber-covered solid alloy.
Rear Barrel
Metal.
Identity
Engraved into the very living metal and filled with paint around the front of the focus ring.
Internals
All metal!
Dust Gasket at Mount
No.
Mount
Dull chromed metal.
Markings
All engraved and filled with paint.
Serial Number
Engraved and filled with paint around front of barrel.
Date Code
None found, use your algebra and your serial number.
Noises When Shaken
Mild clicking.
Made in
Japan.
Sharpness
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you're doing. The only limitation to picture sharpness is your skill as a photographer. It's the least talented who spend the most time worrying about lens sharpness and blame crummy pictures on their equipment rather than themselves. Skilled photographers make great images with whatever camera is in their hands; I've made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don't want you to know that.
If you're not getting ultra-sharp pictures with this, be sure not to shoot at f/11 or smaller where all lenses are softer due to diffraction, always shoot at ISO 100 or less because cameras become softer at ISO 200 and above, avoid shooting across long distances over land which can lead to atmospheric heat shimmer, be sure everything is in perfect focus, set your camera's sharpening as you want it (I set mine to the maximum) and be sure nothing is moving, either camera or subject. If you want to ensure a soft image with any lens, shoot at f/32 at ISO 1,600 at default sharpening in daylight through heat shimmer of rapidly moving subjects at differing distances in the same image.
These cautions aside, this is an ultrasharp lens from corner-to-corner even wide-open at f/2.8. The biggest flaw is some slight chromatic aberration, cured in the ED version. Of course diffraction softens all lenses at f/16, f/22 and especially f/32, but otherwise you'll see more atmospheric heat shimmer in your outdoor photos than you'll see any lack of sharpness, even on Nikon's newest state-of-the-art 50MP cameras.
Be sure you're in perfect focus, as even the slightest lack of perfect focus may lead to you seeing green or magenta color fringes caused by spherochromatism. If you see these, try refocusing with magnified live view, or stop down a little and spherochromatism goes away.
Spherochromatism
Spherochromatism, also called "color bokeh" by laymen, is an advanced form of chromatic aberration in a different dimension than lateral color. It can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds. Spherochromatism is common in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down.
The 180mm f/2.8 has more spherochromatism than the newer 180/2.8 ED (the whole point of the new ED glass is to reduce spherochromatism and other chromatic aberrations).
Mondaine A132.30348.11SBB at close-focus distance at f/2.8, 17 March 2019. bigger or Nikon Z7-original © 45MP file.
1,200 × 900 pixel crop from above. bigger or Nikon Z7-original © 45MP file.
If this 1,200 × 900 pixel crop is about 3" (7.5cm) wide on your screen, the complete image would print at a large 14″ × 21″ (35 × 55 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 6" (15cm) wide on your screen, the complete image would print at a huge 27½″ × 41¼″ (70 × 105 cm) at this same high magnification.
If this 1,200 × 900 pixel crop is about 12" (30cm) wide on your screen, the complete image would print at a mammoth 55 × 82½″ (1.4 × 2.1 meters) at this same extremely high magnification!
Sunstars
The 180/2.8's straight 7-bladed diaphragm makes class 14-pointed sunstars on brilliant points of light at almost all apertures.
Teleconverters
As a fast telephoto, the 180/2.8 works very well with most teleconverters that fit, which are the TC-1, TC-200, TC-201, TC-14, TC-14A, TC-14B, TC-16 (only for the rare F3AF) and TC-16A autofocusing teleconverters.
The TC-2, TC-300 and TC-301 won't fit because they need to poke too far into the back of the lens.
None of the TC-E converters will mount; they are machined not to mount except on AF-S lenses.
Compared
Top Sample Images Intro Format
Compatibility Specifications Performance
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
This original 180/2.8 sells for half the price of the Nikon 180mm f/2.8 ED AI-s today, and is 90% the same lens. Even better, the 135/2 AI-s sells for four times as much as this 180, and is from the same series of lenses, and when new, this 180 sold for much more than the 135/2. If money matters, this original 180/2.8 is a huge bargain.
See also Nikon 180mm versions and history.
Versus the newer 180mm f/2.8 ED (1981-2005)
Nikon 180mm f/2.8 ED AI-s (1981~2005).
Better in the newer ED version
Weighs less (28.0 oz./793g versus 31.2 oz./885g).
Magnificent 9-blade diaphragm versus the 7 blades in the earlier lens.
ED extra-low dispersion glass for greatly reduced secondary chromatic aberration and spherochromatism.
Optically it makes about the same images at reasonable print sizes, but if you look at your digital images at 200% and shoot at f/2.8 you'll see much less green-magenta chromatic aberration in the ED version. At the largest apertures(f/2.8~5.6) you'll see slightly less chromatic aberration in the lab in this ED lens.
Both are super sharp at all apertures, but the ED lens has less chromatic aberration at the largest apertures only visible in the lab at very large magnifications.
Half the distortion, but pretty much invisible in both lenses.
Same close-focus distance, but the ED lens has a slightly larger maximum reproduction ratio of 1:7.5 versus the older lens' 1:8.
Sharper at close-focus distance at f/2.8 in the lab; both are very sharp but the ED is even sharper wide-open (both are flawless stopped down).
Better in the older version reviewed here
Half the price.
Infinity focus stop.
Even bigger and more grabbable mounting grip.
Hood tends to stay extended better, with a little bit of extra friction in the extended position lacking in the ED.
Versus the 180mm f/2.8 AF (1986-present)
The newer autofocus 180mm f/2.8 has optics equally excellent but different optics than the 180mm f/2.8 ED AI-s , and the same superb 9-bladed diaphragm as the ED, and adds autofocus at a higher price with slightly lower build quality and less weight.
The AF version will not autofocus on the FTZ adapter, but it does offer better EXIF data communication and automatic aperture control.
Since you'll have to focus the AF lens manually on an FTZ, you may as well use this manual-focus lens which has much better manual focus feel and precision than the AF lens does. The AF lens manually focuses faster with less focus ring rotation.
The AF lens only stops down to f/22, while the manual-focus versions stop down to f/32.
Versus the NIKKOR✱ED 200mm f/2 AI-s
Nikon NIKKOR✱ED 200mm f/2 AI-s.
The 200/2 has superior amazing bokeh, but isn't as sharp at f/2.8 or other apertures if you're counting pixels. The 200/2 also weighs and costs much, much more.
The choice is simple; if you want the highest sharpness stick with this 180mm f/2.8 or the 180/2.8 ED, but if you need insanely great bokeh, look at the 200mm f/2 AI-s.
Versus Zooms
This 180/2.8 is smaller than any f/2.8 zoom which covers 180mm. That's why Nikon still sells the autofocus version.
Recommendations
Top Sample Images Intro Format
Compatibility Specifications Performance
I got this beautiful 180/2.8 AI from this link to them at eBay. See also How to Win at eBay.
Use the autofocus version on AF 35mm SLRs and DSLRs. Use this manual focus lens on manual focus 35mm cameras. Since the FTZ adapter won't autofocus with the autofocus 180/2.8, use this manual version for cinema, video and where you want the most precise manual focusing or need f/32, which the autofocus version lacks.
This 180, along with the legendary 105mm f/2.5, was in every pro's bag in the 1970s until replaced replaced by autofocus zooms like today's 70-200 f/2.8 zoom. You'd find one of these in every news, portrait and sports photographer's bag throughout the entire 1970s. Just look among the cameras held by the journalists in the beginning of 1977's Close Encounters of the Third Kind and you'll see at least one newsman with one of these.
Get a new pinch-type 72mm Nikon front cap. The flatter originals never were as handy.
I use a clear (UV) protective filter instead of a cap so I'm always ready to shoot instantly. I only use a cap when I throw this in a bag with other gear without padding — which is never. The UV filter never gets in the way, and never gets lost, either.
The very best protective filter is the 72mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints.
For less money, the B+W 72mm 010 is an excellent filter, as are the multicoated version and the basic multicoated Hoya filters, but the Hoya HD3 is the toughest and the best. Nikon's 72mm Clear filter is also optically excellent.
Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt and is less likely to break if hit.
For color slides like Velvia 50, I use a 72mm Nikon A2 filter outdoors.
For B&W film outdoors, I'd use a 72mm Hoya HMC Yellow K2.
If you've found the time and expense I incur to research and bring this all to you for free, my biggest source of support is when you use any of these links, especially this link directly to them at eBay (see How to Win at eBay), when you get anything, regardless of the country in which you live. Thanks! Ken.
Thanks for helping me help you!
Ken, Mrs. Rockwell, Ryan and Katie.
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