Nikon Lenses AF Fisheye-Nikkor 16mm f/2.8 User manual

Fisheye-NiKkor
16mm
r f/2.B
INSTRUCTION MANUAL
GEBRAUCHSANWEISUNG
MODE D'EMPLOI
MANUAL DE INSTRUCCIONES .
~.S

B*G 4~
~¥w •• ~ 25~
En gl ish Page 8
Depth-of-field
table Page 24
Deutsch Seite 12
Scharfentiefe-Tabelle Seite 25
F ran~ais Page 16
Table de profondeur de champ -Page 25
Espaiiol Page
20
Tabla de profundidad de campo -Page 25

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7

NOMENCLATURE
1. Distance sca le 6. Apertur
e-d ir ect·readout scale
2. Aperture scale
7. Aperture ind exi ng post
3. Distance/ape rt ure scale index 8. Mete r coupling ridge
4. Focusing ring 9. Aperture ring
S. Meter coupling sh oe
FOREWORD
Unlike other Nikkor fishe ye lenses producing a cir-
cular image,
the Fisheye-Nikkor 16mm f/2_8 lens
fills
up the frame with an image_ But it still pos-
sesses a 1
80
0 angle
of view (as measured across the
diagonal) an d gives you the same exciting fisheye
effects as regular fisheye lenses_
Weighing
in at 330 grams, this lens is light enough
to carry a nywhere for special effects or ali-encom-
passing views as
in advertising, industrial, or travel
photography . With a maximum aperture of f/2 .8,
the 16mm Fisheye provides a bright and easy- to-
focus image in the viewfinder. And because coma
has been so well corrected, it can be us ed wide
open for sharp available light or ni g ht shots. Other
features include automatic maximum aperture in-
dexing (AI) with AI-type Nikon and Nikkormat
cameras* and a seco ndary aperture scale for aper-
ture direct readout (ADR) in the finder of suitably
equ ipped cameras. Four rear-m ounting bayonet -
type filters (L1 Be, 056, A2, and B2) are supplied
with this lens as standard equipment ; one must be
attached to the lens at all times .
* All
AI - Nikkor lenses have a mete r coupling shoe
for use with non-AI-type cameras. However,
8 m
axi mum aperture inde xing is still required.
MOUNTING THE LENS A
Po si tion the lens in the camera's bayonet mount,
aligning the mounting indexes on the camera and
the lens. Twist the lens c ounterclockwise until it
clicks into place. To remove, depress the lens re-
lease
button on the camera and twist the lens
clockwise.
Note: When mounting the lens on a came ra wit h a meter coupling
lever (AI type), make sure that the came
ra 's meter coupling lever
is correctly positioned; when mounting on a ca mera without this
lever (non-A I type), " manual " max imum aperture indexing is re-
quired. In both cases, refer to the came ra's instruction manual.
AUTOMATIC APERTURE DIAPHRAGM- B
The Fisheye-Nikkor's automatic diaphragm couples
directly to the thru-the -Iens meter of any F2 Nikon
Photomic or Nikkormat camera for full aperture
ex posure measurement via a meter coupling ridge
for
AI cameras or a meter coupling shoe for non-AI
cameras . The apert ur e ring has click-stop settings
for each full f-stop from f/2 .8 to f/22 and can also
be set to intermediate openings for more precise
exposure. An "a perture-direct-readout" scale is
al so engraved on the lens to allow direct reading of
the aperture setting in suitably equipped camera
finders. The pro cedure for exposure measurement
is sim ilar to that used wit h other Nikkor lenses fea-
turing automatic diaphragms. For details, see the
instruction manual supplied with your camera or
Photomic finder.

FOCUSING---------C
Due to its fully automatic diaphragm, the Fisheye-
Nikkorcan be focused with maximum image bright-
ness
on the screen throughout the entire focusing
range.
The Fisheye-Nikkor focuses from infinity
down to 1 foot (O.3m). In this way you can focus
on foreground subjects while throwing the back-
ground out of focus or move in close to the subject
without stopping down the lens.
To focus, look through the camera viewfinder and
turn the focusing ring until the image on the screen
appears needle-sharp.
Depth
of field can be observed by simply pressing
the camera's depth-of-field preview button; or refer
to the table on page 24 .
Recommended Focusing Screens
Various interchangeable focusing screens are avail-
able
for F2 and F3 Nikon cameras to suit any type
of lens or picture-taking situation. Those which are
recommended for use with this Fisheye-Nikkor
16mm f/2.8 lens are listed below.
• When
the Teleconverter TC-200 is attached to
this lens, use the following table:
@ = Excellent focusing
@ = Acceptable focusing
The split-image rangefinder, microprism or crosshair
area
is dim. Focus on the surrounding matte area.
£::,. = Acceptable focusing
The in-focus image in the central spot may prove to
be slightly out of focus on film. Focus on the sur-
rounding matte area.
Blank means inapplicable.
9

MOUNTING FILTERS D
Four rear-mounting beyonet-type filters (L 1 Be ,
A2, B2, and 0 56) are supplied with the Nikkor-
Fisheye 16mm f/2_8 as standard equipment- To
remove the filter already attached to the lens, press
your thumb and forefinger against the outside rim
of the filter and rotate it counterclockwise_ To at-
tach a new filter , simply reverse the procedure . If
you inadvertently get fingerprints on the filter
while
changing it, use lens cleaning liquid and tis-
sue to wipe it clean. Because of the optical con-
struction of this lens, it is necessary to keep a filter
attached to the lens at all times.
The table below shows the filter factors. No expo-
sure compensation is necessary with the Nikon or
Nikkormat cameras which have thru -the-Iens me -
ters, since
their built-in meters read only the light
passing through the lens and compensate automat-
ically for any loss of light.
Fi lm
B/W and color
film
Filter Exposure faclor
Type Designation Da ylight Tungst en light
Skylight LlSC
Color fil m I-=L~igh.c:tc:A~mb~.~' -I---~A 2=--_1-'-1.:;2,,(' .',;/3:!.-1 -+_,,-1.2;,:(," " ~31?----l
only Light Blue 82 1. 2 (1/3) 1.2 (1/3)
s/w film only Orange 056 3.5 (1·5/6) 2 (1)
( ) Exposure corrections In (/stops
10
COMPOSING---------E
Using a fisheye lens requires much more planning
and thought about picture composition than does a
conventional lens. The lens not only produces wide-
angle-
distortion but it also exaggerates the relative
size
of objects to conform to its format: objects
near the center are bigger than those at the edges,
and they show less optical distortion. The entire
field is pushed into the distance and spatial rela-
tions are transformed. And with a slight shift of
the camera, quite new distortions are created. Be
careful not to accidentally include in the picture
unwanted objects, such as the legs of a tripod or
the hands or feet of the photographer.