|PC||Perspective Control lens.|
|E||The lens incorporates an electromagnetic diaphragm mechanism.|
|MICRO||Macro lens. Designed specially for shooting close-ups of small subjects but can be also used in other genres of photography, not necessarily requiring focusing at close distances. Learn more|
|D||The lens relays subject-to-camera distance information to the camera.|
|■Nikon PC Micro NIKKOR 85mm F/2.8D||M||6 - 5||0.39m||⌀77||1999 ●|
|■Nikon PC-E Micro NIKKOR 85mm F/2.8D||A||6 - 5||0.39m||⌀77||2008 ●|
■ Production details
|Production status:||● In production|
|Original name:||Nikon PC-E Micro NIKKOR 85mm 1:2.8D|
|System:||Nikon F (1959)|
■ Optical design
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Nikon F [46.5mm]|
|Diagonal angle of view:||28.5°|
|Lens construction:||6 elements in 5 groups|
|Close Range Correction (CRC)|
■ Diaphragm mechanism
|Aperture control:||Aperture ring (Manual settings only)|
|Number of blades:||9 (nine)|
■ On Nikon D APS-C [1.53x] cameras
|35mm equivalent focal length:||130.1mm (in terms of field of view)|
|35mm equivalent speed:||F/4.3 (in terms of depth of field)|
|Diagonal angle of view:||18.9°|
|Closest focusing distance:||0.39m|
|Maximum magnification:||1:2 at the closest focusing distance|
|Focusing modes:||Manual focus only|
|Manual focus control:||Focusing ring|
■ Tilt and Shift mechanism
■ Physical characteristics
|Maximum diameter x Length:||⌀83.5×107mm|
|Weather sealing:||Water-resistant mount|
|Lens hood:||HB-22 - Bayonet-type round|
■ Source of data
|Manufacturer's technical data.|
July 1, 2008
NIKON FURTHER EXTENDS THE NIKKOR PERSPECTIVE CONTROL LENS SELECTION WITH THE INTRODUCTION OF TWO NEW PC-E MICRO LENSES
MELVILLE, N.Y. – Nikon, Inc. today introduced the new PC-E Micro NIKKOR 45mm f/2.8D ED and PC-E Micro NIKKOR 85mm f/2.8D lenses, expanding a series of lenses that allow photographers to effectively correct perspective and/or depth-of-field to push creative boundaries. These new Perspective Control (PC) lenses correct linear distortion in order to better replicate images as seen by the human eye, including straightening the converging lines of rectilinear objects such as buildings, while also introducing welcome command over depth-of-field. Their versatility makes these the perfect lens complement for a myriad of applications, including photographing architecture, nature, interiors and still-life-especially product photography.
"The introduction of the wide-angle 24mm Perspective Control lens answered a demand from photographers. Specific shooting disciplines demand precise image control that only a specialized lens of this design can provide," said Edward Fasano, general manager for marketing, SLR System Products at Nikon, Inc. "We are pleased to now add the 45mm and 85mm Micro PC-E lenses, offering photographers an expanded number of PC focal lengths from which to choose and resolve complex photographic challenges."
When shooting subjects, such as tall buildings with a conventional lens, composition often calls for tilting the axis of a camera. This typically results in a significant distortion of converging lines, impacting the desired visual accuracy of the image. A PC-E NIKKOR lens' "shift" control provides correction for this type of distortion. "Shift" control can also give a photographer the ability to "effectively" move the apparent position of the camera-providing further perspective versatility, allowing, for example, the ability to avoid unwanted reflections in an image.
A PC-E lens' "tilt" control gives photographers additional creative control over depth-of-field. Known as the Scheimpflug principal, tilt-shift lenses are capable of modifying the focal plane of the lens, allowing the extension or limitation of the point of critical sharpness in the image. The combination of "tilt" and "shift" controls featured in all PC-E NIKKOR lenses gives photographers extraordinary control over perspective-control which simply is not possible with conventional lenses.
A special tilt/shift mechanism gives users up to +/- 11.5mm shift for perspective control and +/- 8.5-degree tilt control for creative focus. The Perspective Control lenses correct distortion and vanishing point issues with convenient side-mounted controls at 1mm / 1-degree intervals that will adjust the focal plane with shift and tilt adjustments. The lens optics rotate up to 90 degrees right or left for perspective control adjustment, while a click-stop is provided every 30 degrees. Photographers can confirm the effect of each adjustment accurately through their Nikon SLR viewfinder.
The new PC-E Micro NIKKOR 45mm f/2.8D ED and PC-E Micro NIKKOR 85mm f/2.8D offer a combined standard-to-medium telephoto range coupled with dramatically expansive depth-of-field that is well suited for a variety of tasks and the exploration of new levels of creativity.
All NIKKOR-E lenses incorporate a rounded nine-blade electromagnetic diaphragm that provides auto aperture control when used with Nikon SLRs that feature an electronically controlled aperture, including the D3, D300 and newly announced D700 camera.* This unique feature allows photographers to more easily compose images without the typical darkening of the frame experienced with other lenses of this type.
The PC-E Micro NIKKOR 45mm f/2.8D ED lens continues the NIKKOR legacy of high-quality optics and durable design. It features an Extra-low Dispersion (ED) glass element providing superior sharpness and color fidelity by effectively minimizing chromatic aberration and three aspherical lens elements to minimize various other types of lens aberration. While both lenses offer a 1:2 reproduction ratio, the PC-E Micro 85mm f/2.8 D lens offers a medium-telephoto angle of view and increased camera-to-subject working distance that is preferable in many applications. In addition, both lenses incorporate Nikon's Super Integrated coatings that deliver superior color reproduction, as well as Nikon's exclusive Nano Crystal Coat to virtually eliminate any remaining instances of ghosting and flare.
Together with the recently announced NIKKOR PC-E 24mm f/3.5 ED lens, photographers now have a comprehensive assortment of Perspective Control NIKKORs ranging from wide to medium-telephoto from which to choose.
The lens can be tilted up to +/-8.5 degrees and shifted up to +/-11.5mm. The tilt and shift functions can be used singly or in combination. The lens can be rotated through +/-90 degrees with click stops at every 30 degrees to change tilt or shift direction.
Fast full-frame shift lens • Professional model (Top class)
Shift lenses are high-quality lenses, usually wide-angle, that provide a parallel shift facility like the sliding lens panel of professional large-format cameras for correcting converging vertical lines and manipulating the perspective especially for use in architectural and product photography.
Whereas normal lenses designed for 35mm full-frame cameras have an image circle diameter of 43.27mm so that all four corners of the image are inside the image circle, shift lenses provide much larger image circle (60mm or even more). Decentration of the lens is possible within this area.
Vertical shift is the most popular: upward when photographing high buildings, and downward for product shots, so that the camera does not have to be tilted. When the camera is tilted either upward or downward, perpendicular lines are not imaged as perpendicular, but rather converge upward or downward, which is very pronounced in wide-angle shots and can be very irritating.
Genres or subjects of photography (3):
Portraits • Macrophotography • Travel photography
Adaptation to digital SLR cameras:
Canon EOS SLRs • Sigma SD SLRs • Sony SLRs/SLTs • Pentax SLRs • More information
In order to adapt the lens, the flange focal distance (FFD) of the lens mount must be equal to or greater than the FFD of the camera mount. This lens has the Nikon F mount with a FFD of 46.5mm. This is even shorter than the FFD of Canon EOS digital SLR cameras, which have the shortest FFD of 44mm of any modern digital SLR cameras. Therefore, this lens cannot be adapted to any digital SLR camera.
Recommended slowest shutter speed when shooting static subjects handheld:
1/100th of a second
Sorted by focal length and speed, in ascending order
|Nikon PC NIKKOR 19mm F/4E ED||A||17 - 13||0.25m||--||2016 ●|
|Nikon PC-E NIKKOR 24mm F/3.5D ED||A||13 - 10||0.21m||⌀77||2008 ●|
|Nikon PC-E Micro NIKKOR 45mm F/2.8D ED||A||9 - 8||0.253m||⌀77||2008 ●|
|Nikon PC-NIKKOR 28mm F/4||P||10 - 8||0.3m||⌀72||1975 ●|
|Nikon PC-NIKKOR 28mm F/3.5||P||9 - 8||0.3m||⌀72||1980 ●|
|Nikon PC-NIKKOR 35mm F/3.5||P||6 - 6||0.3m||⌀52||1962 ●|
|Nikon PC-NIKKOR 35mm F/2.8||P||8 - 7||0.3m||⌀52||1968 ●|
|Nikon PC-NIKKOR 35mm F/2.8||P||8 - 7||0.3m||⌀52||1975 ●|
|Nikon PC-NIKKOR 35mm F/2.8||P||7 - 7||0.3m||⌀52||1980 ●|
|Nikon PC Micro NIKKOR 85mm F/2.8D||M||6 - 5||0.39m||⌀77||1999 ●|
|Schneider-Kreuznach PC-TS Makro-Symmar 90mm F/4 HM||P||6 - 4||0.57m||⌀95||2010 ●|
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By using rotation, the direction of the entire lens can be switched.
By using Tilt/Shift rotation, the relationship of the tilt and shift operation directions can be switched from right angle to parallel.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.
The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.
Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.
Format refers to the shape and size of film or image sensor.
35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.
APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.
Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).
Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.
As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.
A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).
This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),
CF – crop-factor of a sensor,
FL – focal length of a lens.
A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.
A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.
Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.
The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.
Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.
Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.
Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.
The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.
The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.
In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.
Provides correction of aberrations and ensures constantly high image quality at the entire range of focusing distances from infinity down to the closest focusing distance. It is particularly effective for the correction of field curvature that tends to occur with large-aperture, wide-angle lenses when shooting at close ranges.
The basic mechanism of the floating element system is also incorporated into the internal and rear focusing methods.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".
The diaphragm must be stopped down manually by rotating the detent aperture ring.
The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.
The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.
The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.
The aperture setting is fixed at F/2.8 on this lens, and cannot be adjusted.
As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.
Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.
At maximum aperture, the opening will be circular regardless of the number of blades.
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).
For lenses with collapsible design, the length is indicated for the working (retracted) state.
A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.
Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.
Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.
The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.
Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.
Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.
Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.
Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.
Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.