Projection 16KP-1,4 / 65 (IPZ, Ukraine), adapted for use with mirrorless cameras. Review from Rodion Eshmakov

Material according to 16KP-1,4 / 65 specially for Radozhiva prepared Rodion Eshmakov (subscribe to Instagram!).

Lens view after adaptation.

Lens view after adaptation. increase.

16KP-1,4 / 65 is rare film projection lens for a narrow 16 mm film, produced at the Izyum Instrument-Making Plant (IPZ) as a long-focus alternative to the very common 16KP-1,2 / 50, also found under the name RO-109-1A. 16KP-1,4 / 65 replaced very similar (or identical) lenses OKP1-65-1 and RO-111-1 produced by Lenkinap / LOMO. It should be noted that among the optical factories of the USSR, IPZ stands out for the production of many interesting technical lenses, including very high-quality and interesting film projection 35KP 65 / 1.8, 70/1.8 и 75/1.8, as well as some unknown (so far) military lenses.

The article presents a lens 16KP-1,4 / 65, adapted for use with modern mirrorless cameras. On SLR cameras, because of the too small rear vertex distance, the lens cannot work fully.

Specifications:

Optical design - 6 lenses in 5 groups, a kind of “Planar” design;

Basic optical diagram of the objective lens of the same type OKP1-65-1.

Basic optical diagram of the objective lens of the same type OKP1-65-1.

Focal length - 65 mm;
Relative aperture - F / 1.4;
Estimated aspect ratio - 7.5x10.4 mm, but covers APS-C and (almost) 4: 3 32x24 mm;
Landing diameter - 38 mm;
Experimentally determined light transmission coefficients of the objective - 0.71 (380-800 nm), 0.74 (400-780 nm);
Features - a projection lens, n has a focusing mechanism and an iris diaphragm.

Design features and adaptation

16KP-1,4 / 65 is made in the form factor of a compact but weighty (~ 400 g) lens unit without any frills. The lenses, rolled into aluminum plates, are fixed with only one front slotted nut. There is a groove on the aluminum pancakes, which probably allows for proper alignment of the lens during assembly. The spacer, which acts as a constant aperture of the lens, can be replaced with an iris diaphragm.

Lens before the adaptation procedure.

Lens before the adaptation procedure.

Both glass surfaces bordering on air have a violet-blue anti-mechanical coating.

Violet coating of the front lens element.

Violet coating of the front lens element.

Violet-blue coating of the rear objective lens.

Violet-blue coating of the rear objective lens.

Reflection of rays of the cold part of the spectrum by the objective lenses leads to a distortion of light transmission. 16KP-1,4 / 65 is very yellow in the light.

16KP-1.4 / 65 turns yellow due to the specifically selected enlightenment.

16KP-1.4 / 65 turns yellow due to the specifically selected enlightenment.

To convert the lens for modern mirrorless cameras, a removable iris aperture was installed instead of a constant one. If necessary, the lens unit can be completely disassembled.

Round iris diaphragm installed in the lens during adaptation.

Round iris diaphragm installed in the lens during adaptation.

The XNUMX-blade diaphragm forms an almost perfectly circular opening.

The XNUMX-blade diaphragm forms an almost perfectly circular opening.

The excess metal around the rear lens was cut from the lens unit so that the rear part would not rest against the camera sensor shaft. A Chinese macrohelicoid with an M42 attachment thread and a stroke of 30 mm (3 times more than that of Helios-44) was chosen as a focuser. You can also use the helicoid from Helios-44M.

The metal around the rear lens has been cut to reduce the size of the rear.

The metal around the rear lens has been cut to reduce the size of the rear.

Lens assembly with EF mount.

Lens assembly with EF mount.

The focal length was also adjusted to 45.5 mm, which formally allows you to mount the lens on almost any camera through an adapter. However, 16KP-1.4 / 65 cannot be used on SLR cameras because of the protruding rear part.

The lens unit protrudes far beyond the plane of the M42-EOS adapter screwed onto the lens.

The lens unit protrudes far beyond the plane of the M42-EOS adapter screwed onto the lens.

In terms of its dimensions, the 16KP-1,4 / 65 turned out to be quite large - it looks more like 85-100 mm lenses for SLR cameras and requires a thick adapter for use on a mirrorless camera.

The massive front of the lens is marked with its name, emblem and serial number.

The massive front of the lens is marked with its name, emblem and serial number.

16KP-1,4 / 65 and I-26m 50 / 2.8. Add the M16-NEX adapter to the 42KP ...

16KP-1,4 / 65 and I-26m 50 / 2.8... Add the M16-NEX adapter to the 42KP ...

However, despite some bulkiness, the adapted lens is very easy to use. This is largely due to the helicoid with a wide ring and a large stroke.

The 16KP-1,4 / 65 is not the most difficult lens for alteration. Its design is quite simple and contains reserves for the installation of an iris diaphragm. The small bore makes it easy to find a suitable focusing mechanism. Sufficiently large back focal length and body dimensions make it possible to use the universal M42 mount to ensure compatibility with modern cameras.

Optical properties

The 16KP-1,4 / 65 is not capable of fully working with full-frame cameras. Even when cropping to 4: 3 (32x24mm), there is a strong darkening of the corners when focusing at infinity, although at portrait distances this appears much less. The lens performs very well with APS-C frames as 100/2 equivalent. On crop cameras it is possible to use the 16KP-1,4 / 65 with a shift adapter to obtain photos of 2.33: 1 format. For example, on my Sony A7s the resolution of the APS-C frame is ~ 6 Mp, and the horizontal "shifter" 2.33: 1, shot in the APS-C mode, is ~ 8 Mp.

Within the frame, the APS-C 16KP-1,4 / 65 has excellent image quality in the central area with an open aperture at medium and long distances. The image quality at the edges of the frame is limited by field aberrations (coma, chromatism, astigmatism), field curvature (like in aplanate type KO-90). When used full frame, barrel distortion becomes very noticeable (like a lens START-16). With aperture down to f / 2-f / 2.8 in the corners of the APS-C frame, the situation does not change dramatically, but in general, the area of ​​perfect image is significantly expanded. Aperture up to F / 5.6-F / 8 is advisable only for increasing depth of field or shooting landscapes. In the near field the 16KP-1,4 / 65 behaves rather mediocre, because it is hardly justified to use a macro lens purposefully. Overall, I was very, very satisfied with the image quality of this lens.

16KP-1,4 / 65 forms a beautiful and rather unobtrusive bokeh with "lemon", characteristic of well-corrected "Planars", for example - Schneider Cinelux 70/2... At the same time, 16KP-1,4 / 65 is actually a relative of five-lens Biometar / Vega lenses: the difference is the presence of a positive rear lens, which can be called a speed booster. IPZ also produced eight-lens projection lenses 16KP-1,2 / 35 and OKP3-50-1 50 / 1.2, very similar in layout to modern super-high-aperture lenses for mirrorless cameras ("planar + booster").

The contrast of the image is good under normal conditions, but hard back lighting changes the situation - 16KP-1,4 / 65 is very hazy.

The color rendition of 16KP-1,4 / 65 is very specific: the lens “focuses” on green colors in the frame, darkening blue objects, but due to diffuse scattering on glass-air surfaces, under backlight conditions, a violet veil often appears. Such a combination of two independent multidirectional and dissimilar effects is incorrigible by conventional software, so the image sometimes looks very peculiar. Again, I can't say that this is bad - in my opinion, this is a rather interesting feature of the lens, which allows at least not to bother with the imposition of any filter in the process of jackalizing a photo for your favorite instragrammer.

Quantitative data on the light transmission of an objective can be obtained using spectroscopy in the UV + visible + NIR ranges. The determination technique is not as easy as it might seem, due to the refraction of light in the lenses and difficulties with positioning on the axis. Nevertheless, I obtained a reliable transmission spectrum 16KP-1,4 / 65, on the basis of which the light transmission coefficients were calculated for the ranges of 380-800 nm and 400-780 nm, corresponding to different estimates of the spectral range of the eye - 0.71 and 0.74, respectively. These are rather modest values, but acceptable for a multi-lens lens with single-layer coating of optics - up to 30% of the light entering the lens does not reach the photodetector. For comparison, the photographic Jupiter-9 85/2 has the same light transmission coefficient, and the Helios-0.9M-x MC has a light transmission coefficient of about 44. In the near infrared range (800-1100 nm) 16KP-1,4 / 65 transmits about 55% of the radiation, like many other lenses that were not originally designed for shooting in IR.

Transmission spectrum 16KP-1,4 / 65 in the range of 300-1100 nm.

Transmission spectrum 16KP-1,4 / 65 in the range of 300-1100 nm.

The spectrum curve has the shape of an inverted bucket (Morse potential, aha), characteristic of optics with single-layer antireflection coating. It can be noted that the lens has a maximum light transmission in the range of 540-560 nm (green-yellow). Blue rays are cut off much more intensely than red ones - this may be due not only to antireflection, but also to the nature of the optical glass itself, which blocks short-wave radiation - especially for lead flints. One of the main tasks of multilayer antireflection coatings is not only to increase the overall light transmittance, but also to align the light transmittance spectrum of the lens to normalize color rendition.

I took pictures with this lens with pleasure for quite a long time - I liked it very much for its unusual picture, color and, in general, very good characteristics. Repeatedly the idea arose to purchase something specially for him, like a 20 megapixel APS-C camera Sony A3500, which could squeeze the most out of this excellent glass.

Below are examples of the full-frame Sony A7s. The frames are taken full-frame with subsequent cropping in different ways, mostly simple 4: 3 cropping.

Let me also add some photos made by Andrey Minchenko (Instagram) on the same Sony A7s, but in APS-C mode without further cropping.

Other movie projection and movie shooting reviews:

  1. RO3-3M 2/50
  2. PO 500-1 F9 CM. 1: 2 P (review from the reader)
  3. 2/92
  4. F = 92 1: 2
  5. ОКП-6-70-1 F=70 1:1,8
  6. LOMO RO501-1 F = 100 1: 2 (+ materials from the reader)
  7. LOMO RO500-1 F = 90 1: 2
  8. 16KP-1,4 / 65 (review from the reader)
  9. 35KP-1,8 / 70
  10. 35KP-1,8 / 75 (review from the reader)
  11. 35KP-1,8 / 85
  12. 35KP-1.8 / 120 (review from the reader)
  13. 35KP-1.8 / 100 (review from the reader)
  14. LOMO P-5 F = 90 1: 2 (review from the reader)
  15. LOMO P-5 F = 100 1: 2 (review from the reader)
  16. ЛОМО ОКС1-40-1 40/2.5 (review from the reader)
  17. LOMO J-53 F = 75 1: 2 (review from the reader)
  18. LOMO J-54 F = 85 1: 2 (review from the reader)
  19. LOMO OKS1-300-1 F = 300 1: 3.5 (review from the reader)
  20. Tair-41 50/2 (review from the reader)
  21. KO-120 1: 2,1 120mm
  22. KO-90 1: 1,9 F = 9cm (review from the reader)
  23. KO-120M 1: 1.8 F = 120mm (review from the reader)
  24. KO-120M 120 / 1.8 with a diaphragm and helicoid (review from the reader)
  25. KO-120 1: 2.1 F = 12cm (review from the reader)
  26. LENKINAP RO500-1 F = 9cm 1: 2 P (review from the reader)
  27. Schneider Super Cinelux 70/2 (review from the reader)

The names of the lenses correspond to their exact spelling on the body.

Conclusions

I have come across the widespread 16KP-1,2 / 50 several times, but I never had a desire to adapt and use it, even on APS-C - its optical quality is too mediocre. But on the 16KP-1,4 / 65 I had high hopes, at least in terms of covering the 32x24 mm frame, which were partially justified. This rather simple lens made a lot of pleasant impressions due to its rather high image quality and interesting artistic properties. It is a great pity that the IPZ does not produce civilian photographic optics: the 16KP-1,4 / 65 scheme has good potential for modernization in order to create a competitive ultra-fast full-frame portrait lens for mirrorless cameras.

You will find more reviews from readers of Radozhiva here... All Rodion reviews in one place here.

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Comments: 20, on the topic: Projection 16KP-1,4 / 65 (IPZ, Ukraine), adapted for use with mirrorless cameras. Review from Rodion Eshmakov

  • Oleg

    Where is the watering can and the cats? Review liked the bokeh is beautiful

    • Rodion

      Arkady's watering can and cats. And this is my article.

      • Oleg

        Humor. All the same, it's a pity that none of the former Soviet manufacturers managed to create a high-aperture trinity for a 22,33 and 55mm crop. And a couple of three creative lenses with unusual bokeh like this

        • Rodion

          35 / 1.2, 50 / 1.2 and 65 / 1.4, it turns out, is. Of the shorter throws for APS-C, there is a 22/2 cinematic, by the way, still. He even gets up on the CZK cropped, and therefore costs a lot.

  • UstasFritZZZ

    Happy New Year, Rodion! Excellent visibility and gorgeous glass!

    • Rodion

      Yeah thanks. Happy New Year!

      • Rodion Voronov

        Rodion, hello! The question is, why did you take A7s for shooting with manual glasses, and not A7 first or r, because they are preferable for photos, and s is more under the video? It's just that now I am faced with a choice for a photo which is better to take, I will use the manual and Sonya's relatives 28-70 and 50, 85. On S, the resolution of the matrix scares me, as if it’s not scary for the manual, but how will my relatives show themselves. Color, DD, ISO and the whole picture is very different with the lenses of the usual A7, r from S?

        • Rodion

          I cannot fully answer your question, because the differences between A7, A7R, A7s in dd, color and the picture as a whole are not interesting to me and I did not use all three of them. The idea of ​​a 12 MP fullframe is attractive to me because of the absence of a color shift when using optics with a small back focal segment. As for the pixel size and noise level, many copies are broken, I will not participate in this holivar, but the result suits me. Compared to the A7, the A7s has several other improvements of varying degrees of significance.

        • Human

          I completely agree with Rodion, I can add from myself that at the time of purchase, the A7S was the best in shooting with a lack of light, especially the A7 does not stand up to this parameter. And the A7R cost significantly more, so there was a choice ...

  • Rodion Voronov

    Crop for the photo I see no point, although there is an opportunity to take the A6300 for the money

  • Jea reth

    Rodion, I've already read a review of old optics - and still one thought haunts me ...
    Almost without exception, all the old running optics in the world with a single-layer coating (and sometimes multi-layer coating) frankly turns so yellow in the light. And it would be fine if it was, to some extent, measurable only with the help of technology! But no, it is noticeable even just by eye.
    Anyone will have a question, how was it released from the factory warehouses with a calm face? After all, clearly a subject that needs to be worked on! In our age, an unwanted shade in a photo is a problem, and even then everything was much more complicated.
    And then the thought occurred to me that in the USSR they turned a blind eye to the obviously yellowing optics because of the banal dominance of B / W materials among amateurs. And with these photographs, as you know, at least the yellow filter is just a must have. And here the lens itself, albeit a little, but renders a service. What do you think about this? Why did they seemingly disregard the enlightenment of optics?)

    • Rodion

      Well, they all said correctly: the enlightenment of optics was considered for BW photographic materials. Although a single layer can be made with adequate colors, there are many lenses without MS and with generally normal color rendering (I-26m, for example, in my reviews).
      I am currently preparing a major article on the enlightenment of optics and spectroscopy.

  • Vladimir

    I always wondered - why?

    • Ivan

      I will be responsible for Rodion, because I myself suffer from this to a certain extent - “but because I can”, or “but because I wanted to”. I got into the hands of a little-known lens unit with potentially interesting properties, a logical desire - to put it on the camera and see what it can do. and if there is an opportunity to do it efficiently, then why not.

    • York

      And why eat borzhch if there is buckwheat?
      Why wear blue trousers when there are black ones?
      Why live in Moscow when there is Uryupinsk?
      And why do anything at all, if everything has already been done?

      The question is meaningless.
      To enjoy life sensu lato is to get new impressions and sensations, especially from something made personally.

  • Rodion

    The lens can now be purchased from me for $ 140. I ship across the Russian Federation and the world. Write to mail: rudzil@yandex.ru or in social networks (vk, inst).

    • Rodion

      The offer is no longer relevant, but there are other lenses :)

  • Rodion

    It's funny, but the author of this optical scheme is D.S. Volosov, one of the most famous and significant Soviet opticians. Lenses with FR from 35 to 65 mm were developed already in 1950. Patent: SU102217A1.

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