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Tele Tokina 4.5/200mm Tokyo Koki
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PostPosted: Thu Aug 05, 2010 2:02 am    Post subject: Reply with quote
Thank you Luis you have given me some ideas...I may not be able to do it myself but may have some people I could ask about how to go about getting it done.
@ visualopsins
As I like buying adapters and things that will be my short term solution looking at any lens that comes in the silver mount and see if I can come across a M42.

Life is full of little mysteries and so apparently do lenses Laughing


PostPosted: Fri Aug 06, 2010 7:17 am    Post subject: Reply with quote
Well Mo, there is a Tokina-M42 mount! See it on Kathmandu's 2.8/35:

http://forum.mflenses.com/recent-vemar-lenses-purchase-t31065.html


PostPosted: Fri Aug 06, 2010 8:06 am    Post subject: Reply with quote
Thanks it is good to know they are out there Very Happy Now the hard part to find one Rolling Eyes


PostPosted: Fri Aug 06, 2010 11:11 am    Post subject: Reply with quote
I have one of these lenses at home in M42. It's been taken to bits though and is in a bit of a state. If I can't fix it, and the mount is of the same type, I'll flog the mount to you for a small fee to cover what the lens cost me Smile


PostPosted: Thu Jul 25, 2024 6:26 pm    Post subject: Reply with quote
Today I got a copy of the Tokyo Koki Tele-Tokina 4.5/200mm, albeit an older version than shown in the above postings. The lens is pretty well made, has perfectly round pre-set aperture, and is (for a "tele" construction) surprisingly long - about 16 cm! It has a M42 lens mount and came with an beautiful original "Canon Lens Mount Converter P" which allows me to use all my M42 lenses on Canon FL/FD series SLR bodies. MFD is 3.0 m / 10 ft, not exactly overwhelming.

A quick'n'dirty comparison with a Minolta MD 2.8/200mm gave surrisingly good results (landscape, 24 MP FF).

At f4.5, the lens has a sligtly reduced corner resolution, but at f8 its resolution (center and corner) is absolutely comparable to the MD-II 2.8/200mm. On top of that, the Tokyo Koki 4.5/200mm has much less CAs and in this respect is neraly as good as the Nikkor 2.8/180mm ED. Such low lateral CA / fringing is relatively commont with physically long vintage "tele" lenses, but nevertheless quite remarkable - especially since the lens has a good corner resolution as well.

Nice find, and I may do some flowers shortly (using an M42 bellows). I expect rather nice bokeh, but who knows ... maybe i'm wrong Wink

S


100% crops from the corner of 24 MP JPGs from an A7II. Left: Minolta MD-II 2.8/200mm at f8; righht: Tokyo Koki Tele-Tokina 4.5/200mm at f8


PostPosted: Fri Jul 26, 2024 7:54 am    Post subject: Reply with quote
stevemark wrote:

100% crops from the corner of 24 MP JPGs from an A7II. Left: Minolta MD-II 2.8/200mm at f8; righht: Tokyo Koki Tele-Tokina 4.5/200mm at f8


Interesting comparison. Would it be fair to say that the design of the Minolta prioritizes aperture (f/2.8 ) and sharpness over CA? To be honest I am surprised at the amount of CA at f/8.

Regards, C.


PostPosted: Fri Jul 26, 2024 2:18 pm    Post subject: Reply with quote
connloyalist wrote:
stevemark wrote:

100% crops from the corner of 24 MP JPGs from an A7II. Left: Minolta MD-II 2.8/200mm at f8; righht: Tokyo Koki Tele-Tokina 4.5/200mm at f8


Interesting comparison. Would it be fair to say that the design of the Minolta prioritizes aperture (f/2.8 ) and sharpness over CA?


Yes. Faster lenses per se require smaller radii which in turn would increase the common monochromatic aberrations. To circumvent that, lens designers use glass with a higher refraction when improving the speed of a lens. Sadly, glass with a higher refraction tends to have larger dispersion (larger color aberrations).

connloyalist wrote:
To be honest I am surprised at the amount of CA at f/8.

Regards, C.

Nothing unusual for fast 200mm lenses of its time. They mostly were built without ED/AD/ULD glass (Dispersion v around 80), let alone fluorite (v=90). Simple LD glass (v=70) was used in the Minolta MD 2.8/200mm (as well as in the Canon FD / nFD / nFD IF and the late Nikkor 2.8/180mm). While that was sufficient for creating nice 4/200mm lenses (e. g. Minolta MC/MD 4/200mm "long" or Canon nFD 4/200mm IF), it simply wasn't sufficient for the 2.8/200mm lenses, especially when their size/length was reduced (the Minolta is a mere 13 cm long!).

Leitz was first to create a APO Telyt 3.4/180mm around 1973 (originally a design for the US Navy), followed by Nikon with their ED version of the 2.8/180mm (one lens with v=80). Correction was improved again by Minolta in 1988 with their excellent AF 2.8/200mm APO (now two lenses with v=82). Canon, otherwise well known for their use of fluorite and ULD glass, was late in the game.

S

EDIT: Konica when creating their Hexanon AR 4/200mm thought it was unnecessary to use LD glass (v=70). They went for a cheaper glass with v=60 for the main two positive lenses in the front triplet, and the result is pretty ugly when it comes to CAs. Some background information here: http://www.artaphot.ch/konica-ar/objektive/392-konica-hexanon-200mm-f4
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