Nikon PC-Nikkor 28mm f/4 User manual
NOMENCLATURE
Preset ring
alignment
index
Preset ring
Aperture
ring
knob
Distance scale
index
Distance scale
Infrared
index
Shift
scale
index
2
Aperture scale
Aperture
ring
alignment
index
Focusing ring
Shift
knob
Oepth-of-field indicators
Shift
scale
Maximum
permissible
shift
values
Mounting
index
~----------------------------------~~-------------
3
CONTENTS
Foreword .
...............
4
Mounting
the
lens
..
.........
5
Setting the
aperture
....
......
6
Stop-down
measurement
.
.....
7
Focusing
...
.......
....
...
8
Depth
of
field
..........
. . 9
Shift
and
rotation
movement
.
..
10
Maximum permissible shift
..
.
11
Framing
....
........
..
...
12
Panoramas . . . . . . . . . . . . . . .
16
Depth
of
field tables
....
....
20
Close-up table
............
.
22
Features/specifications
..
...
..
23
4
FOREWORD
The
PC-Nikkor
28mm
f/4
is
the
second retro-
focus wideangle lens from Nikon offering the
special lens-shifting feature for perspective con-
trol (PC)
of
the
image. With
the
PC-Nikkor, the
photographer
can
shift
the
lens optics up
to
11
mm off-center and,
at
the same time, rotate
the
lens barrel up
to
360
°
to
achieve a wide
variety
of
perspective correction measures, and
special-effects photographs. And
the
28mm
focal length
of
this lens offers a wide picture
angle
of
74° which, when used with a horizontal
shift, provides a covering power
of
92
°,
or
almost
equal
to
that
of
a
20mm
lens.
The
PC-Nikkor
is
ideally suited
to
architectural
and commercial photography, enabling the
photographer
to
duplicate rising, falling and
shifting features generally available only with
large view
cameras-and
the
photographer has
the
added
feature
of
thru-the'-Iens viewing and
metering for greater ease
of
operation.
To
ensure
minimum
ghost
and flare, with maximum image
contrast
, Nikon Integrated Coating (NIC)
is
applied
to
all
ai
r-
to-glass lens surfaces.
MOUNTING
THE
LENS
The PC-Nikkor
28mm
f/4
mounts on
all
Nikon
F/F2
and Nikkormat series cameras.
To
mount
the lens,
position it
in
the camera's
bayonet
mount
so
that
the
mounting index
dots
on the lens and the camera are
aligned. Then, grasp the milled surface
of
the
mount-
ing ring and twist the lens counterclockwise until
it
.clicks and locks into place. (See "Stop-Down Measure-
ment" on page 7 for metering procedures.)
To
remove the lens from the camera body, press the
lens release
button
on the camera and, keeping the
button
depressed, twist the lens clockwise.
To
use the PC-Nikkor as a normal
28mm
lens
without
using the perspective control feature,
rotate
the
lens
barrel so
that
the shift scale faces up. Then, if neces-
sary, turn the milled shift knob until the lens optics
are centered (i.e., the distance scale index line
is
aligned with the shift scale index dot).
5
SETTING
THE
APERTURE
6
The
PC-Nikkor
is
provided with a manual diaphragm
operable from
f/4
to
f/22
and a spring-loaded preset
ring
to
aid
in
setting the diaphragm quickly
to
the
shooting
aperture;
a total
of
eleven
cli
.ck-stop posi-
tions,
at
1/2-stop
intervals, make for precise place-
ment
of
the preset ring. Also, identical sets
of
f/
numbers are engraved
on
opposite
sides
of
the
front
rim
of
the
lens
to
facilitate
operation
when the lens
is
used inverted.
To
set
the
aperture,
the following procedure
is
recom-
mended: Press
the
preset
ring inward (i.e., toward the
camera body) and
turn
it until
the
f/number
setting
corresponding
to
the
desired shooting aperture
is
aligned with
the
ring·'s alignment index
dot;
then
release
the
ring and
it
will spring
outward
and
lock
in
place.
Note
that
the preset ring,
once
set, limits the
travel
of
the
aperture
ring so
that
the diaphragm can
be set easily and quickly
to
the
.shooting
aperture
without
the
need for checking the scale during stop-
down
operation.
Stop-Down
Measurement
The PC-Nikkor
lens
does not couple with the Nikon
F/F2 Photomic or Nikkormat series thru-the-Iens
meters. However, .these meters can still
be
used to
measure exposure
by
the stop-down method. Before
mounting the PC-Nikkor
lens
on the camera, set the
camera coupling
pin
as
follows: For Nikon F/F2
Photomic series cameras, push the
pin
up into the
finder with a coin or similar object; when set, 5.6
will
appear
in
the maximum aperture indicator. For
Nikkormat series cameras, push the
pin
to the right
as
far
as
it
will
go.
Once
the coupling pin
has
been properly set, mount
the PC-Nikkor on the camera
{see
page
5},
switch the
meter
on
in
the usual way, select the desired camera
shutter speed, and manually set the lens aperture ring
for proper metering
{for
Nikkormat
EL
automatic
operation,
see
instruction manual}.
FOCUSING
II
-
.,..--
5..
r-
-
I
I
"
~
.
,
'
~-
:J!
"'-'-
·t
8
TIai6
I
I
c1
The
aperture
and
preset
rings
of
the
PC-Nikkor enabl€
focusing
at
full
aperture
for
the
brightest viewfinder
image, with rapid setting
of
the
diaphragm
to
th€
preset
shooting
aperture.
Having
set
the
preset
rin~
to
the
desired
aperture
setting, focus as follows:
Turn
the
aperture
ring fully counterclockwise (i.e.
to
the
f/4
setting)
to
open
the
qiaphragm fully
fOI
focusing
(photo
1);
then
turn
the
focusing ring unti
the
image
on
the
focusing screen
is
in
sharp focu:
(photo
2). Before releasing
the
shutter,
turn
the
aperture
ring clockwise until
it
contacts
the prese'
ring
and
can
no
longer be
turned
-
the
diaphragm i:
now
at
the
preset
shooting
aperture
(photo
3).
Note
: The
Type
E focusing screen
is
highly recommended
fo
use
with
Nikon
F
/F2
cameras. The vertical and horizonta
lines etched on the screen help
you
to
properly
align thl
camera and lens
for
proper perspective correction
of
thl
image.
Q)
Depth
of
Field
Depth
of
field refers
to
the
zone
of
acceptable focus
extending
in
front
of
and behind
the
plane
of
sharpest
focus. Within
thi~
zone, image blur
is
negligible and
everything can be considered as being
in
sharp focus.
To observe the
depth
of
field with the PC-Nikkor lens,
it
is
necessary to manually
set
the
diaphragm
to
the
required shooting aperture; for procedures, refer
to
"Setting
the
Aperture"
on page 6.
Depth
of
field can also be determined by reading
the
color-coded depth-of-field indicators engraved
on
the
lens barrel opposite
the
distance scale. Each pair
of
colored lines corresponds
to
an
f/number
of
the
same
color engr-aved on the lens
front
rim.
To
find
the
depth
of
field
at
a particular aperture, focus
the
lens
on the subject and then check
the
numbers on
the
distance scale opposite
the
colored lines
that
match
the color
of
the preset shooting
aperture
setting.
When
in
doubt
about
depth
of
field
for
a critical
shooting situation, refer
to
the
tables on pages 20 and
21
of
this instruction manual.
9
SHIFT
AND
ROTATION
MOVEMENT
10
The front part
of
the PC-Nikkor shifts
up
to
11
mm
from the center
in
a plane parallel to the film, and
the whole
lens
mount rotates through a
full
3600.
By
combining the parallel shift with the rotation
movement
of
the
lens,
an
infinite variety
of
adjust-
ments can
be
made.
To shift the lens, turn the knurled shift knob. The
knob shou
Id
always
be
turned
so
that it
is
facing away
from the direction
in
which the
lens
is
to
be
shifted.
The shift scale shows the degree
of
shift
in
millimeters.
When
the shift scale
is
facing upward, the lens can
be
shifted
11
mm
to the right of center.
In
order to shift
the
lens
in
other directions, simply rotate the whole
lens mount, stopping
at
one
of
the 12 click-stop
settings provided
at
30
0 intervals, or choosing a
desired intermediate position.
By
combining these two
movements, the lens can
be
sh
ifted
up
to
11
mm
from
the center
in
any direction.
Maximum
Permissible Shift m
00
5 2
15
I
08
OJ
Depending
on
the direction of shift, however, ,there
is
a
ma
x
imum
permissible shift, beyond which distortion
may
occ
ur
in
the picture corners, because the film
format
is
rectangular while
image
area produced by the
I • '_ I I I I I
-----
1
••
,.
1
.••
,1
.
.-
. :
Di
agram
1
len
s
is
circular. The amount
of
shift permissible
without distortion
is
indicated
in
millimeters
at
each
click-stop
on
the
lens
barrel. Shifting beyond these
limits is poss
ibl
e,
none
th
eles
s,
if you take
ca
re to
~~
compose
so
that any distortion
will
occur
in
unim-
~t
portant parts
of
the picture. The diagrams
at
right
show the limits based
on
the direction
of
shift. 'H
tttITtttt
n
ABCOEF
G H
IJ
KLA
Diagram 2
Azimuth
A
t
-f--
......
~-.:--+-.-
Ma
x.adequate
91ift
G
P
ic
ture area
when
the lens
is
not shifted
11
FRAMING
As
long as
the
camera
is
held
in
a position parallel
to
the' subject when shooting,
it
reproduces scenes more
or
less
as
the
eye sees them, with
no
unpleasant per- t
spective distortion. However, shooting from this
position often produces unbalanced composition,
since
the
camera
is
usually used close to ground level.
Much unwanted foreground
is
included in
the
lower
half
of
the
frame, while
part
of
the
main subject, for
instance
the
top
of
a building,
is
excluded (Fig. 1).
Fig.1
12
:::
::::
::::::::
::::::::;::::::
••
, • •
••••
0:
•••••
I::
:::
::
:
:::
:
::
:::
::::!:
::
::
::
:
:::
::::::
:
:::
:
:
~:
=:
:.::
:::
::
:
::
.
:::.::;::.:
~
••
,.
1'
1
••
•
••
~
••
• •
Ii
••••••
I
••••••••••
I I
••••••
...
..
...
..
..
.
...
....
.......
..
.-
....
......
.
..
I I
Il
l " I I
II
I •
.
..
.
• r '" T •
~"'
..
Inevitably, the camera must
be
tilted
in
order to
include the top of the building and minimize the
foreground (Fig.
2)
. But with the camera tilted, the
plane
of the
film
is
no
longer parallel to the subject,
and
because the
i'mage
size
varies
aCCQrding
to subject
distance, the nearer parts of the subject are repro-
duced
on a scale larger than those farther away.
The
sides
of the building appear to converge,
as
if the
building
were
leaning back or falling. Similar distor-
tion occurs
in
horizontal lines when photographing a
long
line
of buildings
at
an
angle.
Fig.2
FRAMING-continued
The PC-Nikkor's
shift
and rotation movements enable
you
to
create balanced composition
without
tilting
the
camera, so
that
the
film remains parallel
to
the
plane
of
the
subject (Fig. 3).
To
photograph a tall building, hold the camera
parallel
to
the
plane
of
the
building.
Rotate
the
lens
mount
until
the
milled knob points downward, and
sight
the
subject on
the
focusing screen. Now
turn
the
milled knob until all
of
the
building
is
visible and
unwanted foreground area
is
trimmed away, checking .'
to
be sure
that
the
adjustment
is
within
the
permissi-
ble
shift
area (see page 11).
If
you
must
exceed
the
permissible shift
adjustment
,
in
order
,to include
all
of
the
desired subject,
try
to
compose
the
picture so
that
any peripheral distortion
will
occur
in
unimportant
areas, such as sea, sky
or
earth.
Use
the
same technique
to
make adjustments for horizontal
and diagonal
su
bjects.
Fig.3
14
PANORAMAS
The
shift
movement
of
the
PC-Nikkor
can also be used for making panoramic
pictures by joining exposures. Its advan-
tage over
the
normal lens
mounted
on
panoramic
equipment
is
that
it enables
you
to
maintain exactly
the
same film
plane
in
both
exposures so
that
the
fin-
ished photographs will match exactly.
With
the
ordinary lens,
the
camera must
be
moved after the first exposure
in
order
to
take
in
a new arc
of
the
horizon. This
movement
changes
the
film plane, so
that
"
vertical and horizontal lines
in
the
subject
make new and different angles with
the
film.
As
a result,
no
two
photographs will
ever match perfectly when joined.
To
take panoramic shots, place the lens
in
normal position, shift scale facing
upward, and operate the milled shift
knob
to
shift
the
lens
as
far
to
the left
as
possible. Compose, focus, and
shoot
. With-
out
moving
the
camera, wind the film
advance lever
to
advance
the
film one
frame, and
rotate
the lens
mount
through
180
0 so
that
the shift scale faces straight
down. Now make the second exposure.
17
PANORAMAS
-continued
These two exposures together cover a horizontal
angle
of
92°
without
turning
the
camera, 8°
30
' more
than
the
range
of
a
20mm
wideangle lens, and with
the added advantage
of
larger image size. The table
below gives a comparison
of
the
angles
of
various
wideangle lenses and
the
PC-Nikkor
panorama
range.
In
making a vertical panorama, a 79° vertical angle
can be covered using the
extreme
rise
and
fall shifts,
with
the
camera still
in
the
horizontal position. The
overlapping area
is
least when two pictures are
matched vertically.
Caution:
Extreme
care
is
necessary when
taking
panoramic
shots
to
avoid
camera
movement
, since even a slight
movement
between
exposures
will result
in
some
distortion
and
photo·
graphs will
not
join
exactly.
For
best results
mount
the
camera
on a
tripod.
Nikkor
lens Hori
zo
ntal Vertical
oi
c
ture
an21
e
oicture
an21e
20mm f/4 83°30'
61
30'
24mm f/2.8 74° 53°
28mm f/2
64°
45°
35mm f/1.4 53° 37°
28mm
PC
I
Ver~ical
c
onnection
. 64u 79°
IHOrizontal
connection
92° 45°
111
When making enlargements, be sure
that
the
negative
is
absolutely parallel
to
the
easel
to
prevent distortions.
All
of
the
focusing adjustments on
the enlarger should
be
maintained
constant
from
one
exposure to the
next. When
the
prints are removed
from the washer, insert them
in
a
rotary dryer facing
the
same direction.
Overlapped area for verti
ca
l shifting
1
--"-J
r.-----------------------,
I
PC-
kor I
I
I
DEPTH-O
F-FIELD
TABLES
~
Reproduction
4 5.6 8
11
16 22
ft
ratio
1
11
-
11/16
"-
11·9/16"
-
11-3/8"-
11·3/16"
-
10·15/16"-
10·9/16"
-1/7.12
1'5/16"
1'7/16"
1
'5/8"
1'7/8"
1'1·3/8"
1'2·1/16"
1.2
1'1
·7/8"
-
1'1·11/16"
-1'1 -
7/16"
-
1'1·1/8"-
1'11/16"
-
1'3/16"
-1/9.28
1'2·7/8"
1'3-1/8"
1'3-
1/2
"
1'3·15/16"
1
'4
·7/8"
1'6
·1/8"
1.5 1'5·
1/8"
-1'4
·13/16"
-1'4-3/8
"-
1'3·7/8"
- 1'3·
1/8"-
1'2·3/8"-
1/12
.5
1'6·15/16"
1'7-5/16"
1'8"
1'8·15/16"
1'
10·11/16"
2'1-3/8"
2
1'10·3/8"-
1'9-3/4"-
1'
9"
-
1'8·1/16
"-
1'
6-3
/4"
-
1'5-7/16"-
1/17.8
2'1-7/8"
2'2·3/4"
2'4-1/4"
2'6·3/8"
2'10·13/16"
3'6-5/8"
2.5
2'3·5/16"-
2'2·7/16"
-
2'1·3/16"-
1'11·13/16"-
1'9-
7/8"-
1'
8"-
1/23.2
2'9-1/4"
2'10·13/16"
3'1·9/16"
3'5·5/8"
4'3-1/4"
6'1/8"
3
2'8-1/8"-
2'6-13/16"-
2'5-1/16"-
2'3·3/16"-
2'9/16"-
1'10·
1/8"-
1/28.5
3'5-1/16"
3'7·5/8"
4'1/8"
4'7·3/8"
6'2-15/16"
11'2"
4
3'5"-
3'2·13/16"-
3'0"-
2'9"
-
2'5-1/8"-
2'1·5/8"-
1/39.1
4'10-1/16"
5'3-9/16"
6'2·3/16"
7'10-3/8"
14'9
"
00
5
4'1·1/4"-
3'10"-
3'6"-
3'1·7/8"-
2'8-11/16"-
2'4·1/4"-
1/49.7
6'5·5/16"
7'3-5/8"
9'2·1/16"
13'7"
82'1"
00
7
5'3·7/8"-
4'10·3/8"-
4'3·13/16"-
3'9·9/16"-
3'2-1/16"-
2'8"-
1/71.0
10
'4"
12'
11"
20'6"
83'6"
00
00
15
8'9·11/16"-
7'6-15/16"-
6'3-7/16"-
5'2·3/8"-
4'3/4"-
3'2·15/16"-
1/156
54'7"
00
00 00 00
00
00
20'7"-
14'9"-
10'5"-
7'8·3/16"-
5'4-9/16"-
4'0"-
,
1/
00
00 00 00 00
00 00
·20
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