Zenza Bronica EII 75mm f/2.8 lens

   

75mm Bronica f/2.8 lens with Fotodiox adapter for Nikon

I've been using a 75mm f/2.8 Bronica Zenzanon EII lens on my Nikon D7200 camera (via an adapter) for a few years, easily long enough to accurately evaluate its performance, usability, and quality. I bought the 75mm lens along with a 50mm Zenzanon PE and a Bronica Etrs camera about 4 years ago, I let the 50mm lens and camera go which of course I now regret, although not so much the camera as I'm not into film and I did keep the better of the two lenses. The 50mm PE was good but on the day of sacrifice not as sharp as the 75mm EII and anyway, there's some relatively cheap and sharp (but plasticky) 50mm Nikon lenses (and other makes) which are easily obtainable both new and secondhand.

The 75mm Zenza Bronica EII (Etrs) lens is a really good quality lens, It's rock solid and extremely well made, you can just feel how good the lens is the instant you turn the focusing ring. In their day Bronica medium format cameras and Zenzanon lenses were used by many pro-photographers, the lenses were reasonably affordable and not as expensive as some other medium format equipment or the high end 35mm camera's and lenses of the day, but they still cost a chunk of cash, in the late 1980's to early 1990's this particular 75mm Bronica lens sold for about $360 and (according to one online inflation calculator website) this sum now equates to about $713 in (2019) today's money, although I doubt that you could buy a new lens today made anywhere near to the same standard and quality of any Bronica lens without paying well over that amount. The Zenzanon 75mm lens was the standard prime focal length lens for the Bronica Etrs camera in much the same way as the 50mm lens was the standard prime for 35mm film cameras.
The increased availability and use of adapters now means that those old medium format lenses baring names such as Zenza Bronica and Mamiya are once again becoming sought after. I first started to look at Bronica gear about four years ago, Ffordes Photographic (Inverness, Scotland) then had 3 to 4 pages of Bronica Etr lenses listed on their website but a recent look at their web-site's Etrs page listed only 1 single Bronica Etr/s lens which gives some idea of how popular these old lenses are becoming. Luckily many medium format lenses are still relatively easy to find and readily available across the internet but they are starting to dry up (noticeably) and as of 2018 a good to an excellent example of this lens might cost somewhere in the region of between £80 and £150. I have seen examples from private sellers in the USA priced as little as $50 but the cost of shipping to Europe and the UK hikes up the price considerably.
Although medium format equipment is portable It's primary purpose would have been for studio work, you wouldn't want to be carting around a bag full of Bronica lenses that's for sure, the 75mm lens itself is quite heavy and weighs in at 450 grams about 1.00lb, the 50mm PE lens is slightly heavier at 490 grams. A Bronica lens certainly gives a professional look and feel to a Dslr, a kind of cool looking retro modern mix, a bit on the heavy side for some, but Bronica lenses produce really nice photographs so I think that's it's worth the extra hassle.
The 75mm EII stops down from f/2.8 to f22 in full stops and it has 6 elements in 4 groups, the lens has an angle of view equal to a 45mm lens when fitted to a full frame 35mm camera. Bronica lenses can only be used in manual modes on digital cameras although Bronica lenses do have a built-in electronically controlled 5 bladed Seiko diaphragm leaf shutter which is useless on a Dslr as lens adapters don't have any of the necessary electronic contacts and connections. The built-in aperture/leaf shutter is operated manually by simply pressing the stop down depth of field preview button, It's a simple procedure, first set the aperture to say f/8 (or whatever) and focus, then press the stop-down lever on the lens barrel and hold it down whilst taking the photo.
Nikon have focus confirmation built into their cameras but some other camera makes such as Canon require the lens adapter itself to have a dandelion chip to enable in-camera focus confirmation. (Note) A cheaper adapter for Canon without a dandelion chip is also available but focusing the lens without a focus confirmation indicator as a reference point is so much more difficult.

The stop-down depth of field preview lever (or button) can be seen here at the fore end of the lens barrel, the small tab with the blood red dot is the adapter's lens lock/release lever
and due to its very small size it's difficult and very uncomfortable to depress and hold down whilst trying to separate a tight lens from the adapter. Some Bronica lenses are definitely very tight but others go on and off the adapter as smooth as silk.
Using a Bronica lens on a Dslr is simple enough, providing that the user remembers to press the stop-down lever before taking a photo (quite easily forgotten if Bronica lenses are 
only used occasionally).

Detail

  

Full image, infinity at F/8

The same image cropped at 100%, off centre background detail still appears sharp

Overall the Zenzanon 75mm f:2.8 lens performs very well but on rare occasions even with care there can be just a hint of veiling, though nothing too serious that it can't be easily dealt with, older lenses obviously don't have modern coatings so some consideration must be applied when using them without a lens hood, the front element of this lens is recessed very deeply into the barrel of the lens so it really shouldn't suffer any flare at all unless pointed directly into the light. PF is not an issue with this lens and at the correct aperture and exposure this particular lens is easily capable of producing clean sharp images and capturing detail in the distant landscape.

Middle ground objects at infinity have only a slight softness. (image cropped at 96%).

Colour

The Zenza Bronica 75mm lens captures colour and detail really well and so long as your exposures are not at the extreme ends of the photographically acceptable scale of common sense then most images will only require the normal or minimal amount of post-processing. Settings can also be tailored to suit particular lenses in-camera which should further reduce the need for time-consuming post-processing, but go easy, as adding sharpening to an already sharp lens will make for a much harder looking image.

Chromatic aberration or PF (purple fringing) isn't an issue with this particular lens, the edges around high contrasting colours remain sharp and true, they aren't blurred or bordered by purple fringing or any other colour anomalies.

75mm Bronica f/2.8 lens with Fotodiox adapter attached.

Lens stats

Focal length ........75mm

Model .................. EII

Filter size ............ 62mm

Elements ............ 6 in 4 groups  (Early E Mc's, 5 elements in 4 groups)

Aperture .............. f/2.8 - f/22

Min Foc. dist. ...... 0.60  (2ft)

Weight. ................ 450g

Produced ..............1981 - 89

Diaphragm........... Fully automatic Seiko central leaf shutter.

Manufactured...... Japan (Tamron)

Nikon Series E 100mm f/2.8 lens

Nikon Series E 100mm f/2.8 lens, quick fix.

I was already familiar with the image quality and reputation of the Nikon Series E range of lenses long before I bought a Nikon 100mm f/2.8 Series E a couple of years ago, it's cosmetic condition was about average for its age, image quality and contrast was quite good even before cleaning, but now, wide open at f/2.8 it's significantly sharper than my 75mm Bronica f/2.8 is at the same wide open aperture, (I use both lenses with a Nikon D7200 camera). Sharpness between the two lenses evens out at smaller apertures and by f/8 both lenses are about the same.

 Nikon 100mm 2.8 Series E

Anyway shortly after purchasing the Nikon 100mm E series lens I noticed that it had started to develop an annoying noise and a noticeable vibration as the focusing mechanism moved across the dry helicoid threads.

At first, it's whinging was not particularly irritating but the noise became more annoying after I remembered someone once described their own Nikon 100E as sounding like a mule. Dirt and dryness is a problem with many old lenses and the Nikon E series from the late 1970's and early 1980's probably suffer not only because of their age but also because some cheap inferior cost-cutting materials were used in constructing the E (for Economy) range of lenses.

Even at f/2.8 contrast, colour and bokeh are quite strong.

I decided to try and cure the protests of this particular lens (hopefully) forever so I searched for some advice online, at first it looked as if I'd have to completely disassemble the lens. I started to explore and the first screw I took out immediately disappeared down the side of an armchair never to be seen again, but luckily I had some more screws of about the same size (which I didn't lose before) from an old obscure manual lens I'd specifically bought for spares and experimentation from a car boot sale some time ago.
After removing the rear element I discovered that I could just access the last threads of the helicoid so I thought that I'd try and cure it's problems the easy way first, before attempting to completely dismantle the lens. 
I cleaned the rear element and put it to one side and then I carefully reached inside the lens with a swab on a thin stick and cleaned the rear of the front element group which was now easily accessible straight through from the back of the lens, then I lubricated the (just visible) last threads of the helicoid.

  Sharpness in the centre is very good at f/2.8

I used spray grease for the helicoid threads, (firstly) I sprayed some grease into a container and left it until the propellant/vapor (or suspension medium) had evaporated, the grease now much thicker was applied to the helicoid thread using a suitable implement (a thin stick).       
Once reassembled I worked the focusing back and forth for 10 minutes or so attempting to spread the grease evenly throughout the length of focusing travel.
The vibrating bray disappeared, it was now smooth without play and with just enough resistance to give a satisfying new lens like feel to it.
A few days later the weather was very bright (and very cold) so I decided to take the Nikon 100E out for a few turns, I took all shots wide open at f/2.8. Away from direct sunlight most of the test shots were quite impressive at 2.8, clean and sharp though after intentional testing into the light some images did suffer veiling flare so due care should be taken in very bright sunlight, without a lens hood this particular lens will suffer from veiling flare.

       Veiling  flare                             Shaded with hand

All of the images above were taken wide open at f/2.8. The Nikon 100mm E series lens is easy to use and quick to focus manually, PF hardly exists and it was only slightly evident in one or two shots when being critical and looking for it specifically.
The Nikon 100mm E series lens is small, very lightweight and really sharp, my particular lens has strong contrast and quite hard bokeh, a 52mm thread allows for filters or lens hood. This lens is much smoother and sharper after cleaning and lubing, now I wouldn't sell it for double the price I paid for it.

The 100mm Series E can still easily be picked up in good to excellent condition for somewhere between £60 and £100.

Nikon 100mm 2.8 Series E