The Noct 58mm f/1.2 is a purpose-built, character lens: extraordinary center rendering and one of the best historical solutions to sagittal-coma flare, paired with very smooth, flattering bokeh — but it demands respect. On modern digital sensors it rewards careful technique (precise MF, stopping down when you need uniform sharpness) and modern tools (live-view magnification, focus peaking) make it far more usable. If you want a unique “wide-open” look for portraits and low-light moods, the Noct is still hard to beat; if you need corner-to-corner clinical sharpness at f/1.2 for landscapes or architecture, this isn’t the lens for that job.
What Nikon designed this lens to solve
The Noct was created to solve a specific optical problem: sagittal coma flare in wide-aperture “normal” lenses (how point lights smear and turn into comets off-axis). Nikon’s design priorities were to perform exceptionally at maximum aperture for night and low-light shooting — not to chase modern corner-to-corner micro-resolution at every aperture. That heritage explains the lens’s soul: beautiful wide-open rendering and point-light control rather than “evenness” across the frame at f/1.2.
Build, ergonomics, and focusing
Build: Classic all-metal Nikon Ai/AI-S construction — solid, compact, with engraved markings and a tactile aperture ring. Feels like a precision tool.
Focus: Manual focus only. At f/1.2 the depth of field is wafer-thin; tiny focus errors are punished. On mirrorless bodies use focus-peaking and magnified live view — these modern tools make the Noct usable for critical wide-open work. If you plan to zone-focus or shoot moving subjects, the lens is a poor fit unless you’re very practiced.
Optical performance
Center: Very strong. The Noct’s centre performance wide open is unusually good for a vintage f/1.2; it produces high perceived sharpness and contrast when perfectly focused. This is consistent across modern tests.
Midframe & corners: The outer field lags at f/1.2. Expect softness and lower micro-contrast towards the edges at infinity focus; stopping down improves it dramatically, with most reviewers finding the lens “most comfortable” between f/2 and f/5.6 for balanced frame performance. If you need edge-to-edge sharpness on a high-resolution mirrorless sensor, anticipate stopping down.
Practical takeaway: center shots wide open = magical; wide scenes at f/1.2 = mixed results unless you stop down.
Bokeh and rendering
This is where the Noct shines emotionally: buttery, smooth out-of-focus transitions and pleasing highlight shapes from its blade geometry. Reviewers consistently praise its “non-busy” bokeh and subject separation that flatters skin and portraits. Expect rounded, painterly highlights without aggressive onion-ringing in most situations. If your aim is subject isolation and a classic portrait look, the Noct delivers.
Coma, point-light handling, and night use
The Noct was explicitly tuned to minimize sagittal coma flare, so point lights in the corners (street lights, stars) behave far better than most “normal” lenses wide open — fewer comet tails, more consistent discs. For night street photography and low-light environmental portraits, that unique coma control is a major reason to reach for the Noct.
Chromatic aberration & vignetting
Axial/Lateral CA: Longitudinal chromatic aberration (color fringing in front/behind focus) is noticeable at very wide apertures; lateral CA in the outer frame is more pronounced on high-pixel sensors. Most reviews show CA becoming much more manageable by f/2.8–f/4.
Vignetting: Expect noticeable fall-off at f/1.2 — often a stop or two in the corners at infinity focus. Closer focusing distances reduce apparent vignetting, and stopping down tames it.
Practical tip: shoot RAW and use targeted CA removal + profile vignette correction (or use it creatively — the vignetting can be flattering on portraits).
How it behaves on modern mirrorless / high-MP bodies
Adapted to AF bodies (via FTZ or other adapters) or used with adapters on Sony/Canon mirrorless, the Noct shows both its strengths and weaknesses more clearly:
Strength: centre micro-rendering and bokeh are preserved; coma control remains a standout advantage for night work.
Weakness: higher-resolution sensors reveal the midframe and corner weaknesses and CA more readily; some reviewers recommend stopping down more quickly than you might have with an older film era body.
Practical workflow: use magnified live view, focus peaking, and consider slight back-button magnify + shutter-half-press preview to ensure micro-focus accuracy.
Recommended uses
Environmental and studio portraits where you can control focus and want creamy backgrounds.
Street / night work with point lights — the Noct’s coma control makes it exceptional here.
Creative wide-open photography where center pop and subject separation are priorities.
Avoid: landscapes or architectural work where corner resolution at wide apertures is critical.
How to get the best images from the Noct
Use focus-magnification and focus peaking on mirrorless bodies.
If subject distance > ~10–15 m (infinity/landscape), stop down to f/4–f/8 for better edge performance.
For portraits where you want strong subject separation, f/1.2–f/1.8 is spectacular — just nail focus.
Shoot RAW and apply modest CA correction and vignette control in post; preserve the bokeh and micro-contrast.
When shooting night points, frame to use the Noct’s coma strength — corner lights will behave nicely compared to other “normal” lenses.
Quirks
The lens rewards technique: minor focus errors are visible at f/1.2.
It has a personality — micro-contrast and “pop” vs modern clinical contrast can vary depending on sensor and processing.
Some testers report a focus shift or slightly different micro-behavior depending on camera (film vs high-MP digital), so check your pairing.
Who should buy this?
Buy it if you are looking for a unique portrait/night lens with classic rendering and you enjoy manual focus craftsmanship. Don’t buy it if you need modern AF convenience or clinical, pixel-peeping corner sharpness wide open for technical landscape or studio product work. It’s a specialty tool that rewards respect and technique.
Comparing to modern alternatives
Compared with newer 50–60mm fast lenses (and Nikon’s own modern Noct Z variants), the vintage Noct is less “even” across the frame but has a distinctive personality that many modern ultra-fast lenses try to mimic. If you want perfectly neutral, ultra-sharp wide-open modern optics, look to contemporary designs; if you want classic character, silky bokeh, and the legendary night performance, the vintage Noct is a soul-fulfiling choice.
Further reading
Highly recommended if you want to dive deeper: Photography Life (detailed optical measurements and field tests), Phillip Reeve (recent mirrorless/42–61MP body tests), Moment (coma and night testing), Ming Thein (practical imaging notes), The Cine Lens and Steve Huff (character and sample galleries).
This guide explains what the Metz SCA system is, the difference between its main versions, how to select and install SCA adapters, how to use TTL and manual flash control, high-speed sync, off-camera options, and common troubleshooting tips.
1. What the SCA system does
Metz designed the System Connector Adapter (SCA) to make their flashes adaptable across many camera brands. Instead of buying a different flash for each brand, you pair a Metz flash with an SCA adapter that “translates” the electrical contacts and control signals. That way, a single Metz unit can work with Nikon, Canon, Minolta, Leica, and many more — while still providing TTL or other camera-specific functions.
2. Main SCA families
SCA 300 – the original series, developed during the film SLR era. These adapters allow TTL and basic communication but don’t support newer digital protocols.
SCA 3000 – the updated family for the digital age. These modules handle modern TTL systems (E-TTL, i-TTL, etc.) and sometimes add features like high-speed sync. Versions are marked M3, M5, M6, etc., with higher numbers usually indicating newer firmware.
Other SCA branches – Metz also released other system connectors (e.g., SCA-500) for special applications, but the bulk of modern use involves the 3000 series.
3. Choosing the right adapter
Check your flash model (e.g., 54 MZ-4i, 58 AF-1).
Look up Metz’s compatibility charts — these list which adapter matches which camera brand and model, plus what features will work.
Pay attention to version codes — if your camera is recent, you may need an adapter with updated firmware (e.g., SCA 3102 M6 instead of M3).
4. Attaching the system
Switch off both flash and camera before connecting.
Slide the adapter into the flash’s detachable base until it clicks.
Mount the assembled unit on the camera hot shoe and lock it in place.
Power up the camera first, then the flash. On most cameras, the flash-ready indicator should appear in the viewfinder or LCD if the setup is correct.
5. TTL flash operation
With the proper adapter, your camera can control flash exposure through its native TTL system. Flash exposure compensation (FEC) is often set on the camera, though some Metz units allow adjustment on the flash itself. If exposures are slightly off, dial in a correction using the camera’s controls.
6. Manual control
Even with no adapter at all, Metz flashes can be used in manual mode. Here you choose the power output (full, 1/2, 1/4, down to 1/128) and set the zoom head as needed. Manual is the most predictable approach when working with studio lights or third-party triggers.
7. High-speed sync and sync limits
If your flash + adapter + camera all support high-speed sync, you can shoot above the camera’s normal sync speed (e.g., 1/500s).
If not, you’ll be limited to the standard X-sync speed (usually between 1/60s and 1/250s). Check the compatibility chart to confirm.
8. Off-camera options
Wired: Metz made SCA extension cords so you can keep TTL communication even with the flash off-camera. One type has a plug at one end to fit Metz hammerhead flash units, the other (SCA 307A) has a male module connector on one end and a female module connector on the other and is used for all hot shoe Metz flash off camera.
Optical/radio: Many Metz flashes have an optical slave mode. For radio triggers, most photographers use them in manual mode unless the trigger system specifically supports Metz TTL (rare).
9. Troubleshooting checklist
Make sure you’re using the correct adapter family and version.
Always power down before connecting or removing modules.
Test the flash in manual mode at your camera’s sync speed to confirm the basic connection works.
Clean the contacts with a cotton bud and alcohol if the flash misfires.
Be cautious with older Metz flashes: some output higher trigger voltages that may damage modern cameras unless the SCA adapter regulates it.
10. Care and storage
Avoid stress on the camera hot shoe if you’re using a heavy Metz flash use a bracket or cable.
Keep adapters in labeled pouches so you don’t mix them up.
Don’t store the flash with batteries installed for long periods – leaking batteries will ruin the contacts inside your flashgun..
Filters are an essential part of photography and cinematography, helping control the look, tone, and accuracy of captured images. Among the many available, the 81A series filter stands out as one of the most useful warming filters for both film and digital shooters.
What Is the 81A Filter?
The 81A filter belongs to a family of warming filters designed to subtly shift the color balance of an image. Specifically, the 81A introduces a mild amber cast that counteracts overly cool or blue tones.
Filter factor: Typically around 1.2× (requiring about 1/3 stop exposure compensation).
Color temperature adjustment: Raises the effective color temperature by approximately 200 Kelvin. For example, it can correct daylight film (balanced for 5500K) when shooting in shade (around 6000–6500K).
Material: Usually made of optical glass or high-quality resin, coated to reduce reflections and flare.
In short, it gently warms up the scene without making colors appear unnatural.
Why Use the 81A Filter?
Correcting Cool Light Outdoor photography often results in cooler images, especially under open shade, overcast skies, or at high altitudes. The 81A reduces this bluish tint for a more natural, balanced look.
Enhancing Skin Tones Human skin can look washed out or pale in cool lighting. The subtle warming effect of the 81A filter adds life and warmth to skin tones, making portraits appear healthier and more flattering.
Improving Landscapes In scenic photography, the filter can make foliage appear richer and skies less stark. It gives a sense of warmth that makes landscapes feel more inviting.
Film and Digital Versatility While originally designed for film, the 81A remains relevant for digital shooters who want to achieve an in-camera look rather than relying on post-processing.
How to Use the 81A Filter
Choose the Right Size The filter comes in different diameters (e.g., 52mm, 58mm, 77mm) to fit your lens. Make sure you match the filter thread size, or use a step-up ring if needed.
Mounting the Filter Simply screw the filter onto the front of your lens. Because the 81A is subtle, it can be left on the lens as a protective cover without drastically altering your images.
Exposure Compensation Since the filter factor is low (about +0.3 stops), most modern cameras automatically adjust exposure. For manual film cameras, you may need to open up the aperture slightly or slow down the shutter speed.
Combining Filters The 81A can be used alongside polarizers, neutral density filters, or other creative filters. Just be mindful of stacking too many, as this can introduce vignetting or reduce image sharpness.
Practical Scenarios
Portraits outdoors: Adds a healthy glow to skin tones.
Mountain or seaside photography: Corrects excessive blue tones.
Travel photography: Provides a consistent warmth across varied lighting conditions.
81A vs. Other Warming Filters
81B and 81C: Slightly stronger warming effects than the 81A, useful in colder light or when a more pronounced warmth is desired.
Skylight (1A) filter: Similar in concept but less warming than the 81A, often used just for lens protection.
Conclusion
The 81A series filter may seem subtle, but its effect is powerful in the right situations. By gently warming tones, it improves color balance, enhances skin, and gives outdoor shots a natural vibrancy. Whether you’re a film purist or a digital photographer looking for an in-camera aesthetic, the 81A remains a classic, reliable tool in the filter kit.
There is some confusion about which battery fits which Nikon camera and which charger you should use when considering the Nikon EN-EL3 (also supplied as the EN-ENL3a and Nikon EN-EL3e. This is not surprising as both batteries look pretty much the same, dimensionally at least. They’re both also Li-ion 7.4V 1400mAh. The real difference is the Nikon EN-EL3e has three contacts while the Nikon EN-EL3/EN-EL3a has just two.
The third contact on the EN-EL3e battery sits in the middle of the two contacts found on the EN-EL3. This third contact was added to provide additional information for Nikon’s D200 Digital SLR. The battery will however fit and work in older cameras. But the older two contact EN-EL3 battery will not go fully into the more modern three contact cameras as the camera’s third internal contact will prevent the battery from slipping all the way into the housing.
When it comes to the battery charger the MH-18 / MH-18a will charge both the EN-EH3 and the EN-EH3e batteries
Cameras that take the EN-EL3e battery Nikon D50 Nikon D70 Nikon D70s Nikon D80 Nikon D90 Nikon D100 Nikon D200 Nikon D300 Nikon D300S Nikon D700
Cameras that take the EN-EL3 / EN-EL3a battery Nikon D50 Nikon D70 Nikon D70s Nikon D100
Many T2 mounts and Vivitar lens converters have a numbering system to identify the camera lens mount fitting. This originated from Taisei Kōgaku the originator of the Tamron lens system. Vivitar also used the numbering system for their converters, so if you see one with 2x-4 you know it’s a 2x converter with a Canon FD lens mount.
Below is a comprehensive list of the numbering system for the T2 mount and the 2x and 3x converters of Vivitar. Other lens manufacturers may have adopted the same system. The ones in bold are confirmed as existing, others are discovered from researching various web sites, but I’ve never seen an actual example for sale.
TA-1 / 2x-1 / 3x-1: For M42 screw mount camera bodies such as Chinon, Cosina, Praktica, Zenit, early Asahi Pentax, Yashica and Fujica
TA-2 / 2x-2 / 3x-2: For Exakta camera bodies, and some Topcon and Praktica models with same mount.
TA-3 / 2x-3 / 3x-3: For Nikon F/AI cameras bodies.
TA-4 / 2x-4 / 3x-4: For Canon FL/FD camera bodies.
TA-5 / 2x-5 / 3x-5: For Minolta SR /MC/MD camera bodies.
TA-6 / 2x-6 / 3x-6: For Miranda (M42 screw-mount) camera bodies.
TA-7 / 2x-7 / 3x-7: For Konica AR camera bodies.
TA-8 / 2x-8 / 3x-8: For Konica F camera bodies.
TA-9 / 2x-9 / 3x-9: For Miranda Sensorex Series cameras
TA-10 / 2x-10 / 3x-10: For Leicaflex
TA-11 / 2x-11 / 3x-11: For M39 (LTM/Leica) screwmount camera bodies such as Leica, FED, Zenit, etc
TA-12 / 2x-12 / 3x-12: For Olympus Pen F / FT
TA-13 / 2x-13 / 3x-13: For Alpa Reflex camera bodies.
TA-14 / 2x-14 / 3x-14: For 16mm C mount
TA-15 / 2x-15 / 3x-15: For Topcon / Exacta camera bodies
TA-16 / 2x-16 / 3x-16: For Zeiss Contarex camera bodies.
TA-17 / 2x-17 / 3x-17: For Topcon Auto 100camera bodies.
TA-18 / 2x-18 / 3x-18: For Zeiss Icarex camera bodies.
TA-19 / 2x-19 / 3x-19: For Kodak Retina Reflex
TA-20 / 2x-20 / 3x-20: For Olympus FTL
TA-21 / 2x-21 / 3x-21: For Olympus OMcamera bodies.
TA-22 / 2x-22 / 3x-22: For Pentax K bodies and Chinon, Ricoh etc with same mount etc
TA-23 / 2x-23 / 3x-23: For Fujica AXcamera bodies.
TA-24 / 2x-24 / 3x-24: For Contax and Yashica camera bodies with C/Y bayonet mount.
Many vintage cameras had a lens without a filter thread. Manufacturers such as BDB, Leech and Actina created push-on filters for users of that type of camera.
These filters, typical with an aluminium mount, push over the lens and hold in place with a small spring clip.
They came without a glass filter and had either a plastic or an aluminium retaining ring to hold the glass or resin circular filter in place.
They’re sold with two measurements in millimetres. The first number is the lens diameter, and the second is the added filter diameter. Usually just the push on size was engraved on the rim of the holder while both numbers appear on the box – eg 40/38.
There used to be a wide variety of glass filters that can still be found in second hand camera shops or auction sites and resin or gel ones can be easily cut to size from cokin or Kodak Wratten style filters so there’s many options to hand.
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BPM Bellows were made way before 35mm autofocus and digital cameras came along with their newer more advanced electronic lens mounts. While Nikon and Pentax kept the same basic mount size and added electrical couplings, Canon, Minolta and Olympus changed completely so you wont find BPM adaptors for these cameras. That said many options have been reproduced in China and sell at low cost on eBay, and although the BPM system isn’t on their radar it is possible to cobble together an option that will allow your camers to fit BPM bellows.
Here are various options for the newer Canon, Minolta (also Sony) and Olympus (also Panasonic) camera mounts
How to attach a Canon EOS Lens to BPM Bellows:
You could buy a cheap Canon EOS fit accessory such as an extension tube or 2x converter (or even a broken EOS SLR body) and strip back to the mount which you can then stick to any BPM mount with superglue. A small extension tube would be ideal as there’s no glass to remove. Alternatively cut the centre out of a plastic Canon EOS rear lens cap and glue it to any BPM mount. Care obviously needs to be taken to A) centre it and B) make sure it’s stuck well enough to support the weight of the lens. If this is all too much bother you can buy a cheap lens that BPM made mounts for and attach that to the front with the necessary BPM lens mount. The beauty of the BPM system is any lens can be added to the front. It doesnt have to be camera brand specific.
How to attach a Canon EOS Body to BPM Bellows:
Same advice as above – using a mount from an existing EOS Canon item and glue to any BPM mount. If you got an extension tube or teleconverter, both sides can be utilised for body and lens fittings. Or there’s a Canon EOS T2 mount https://www.photographyattic.com/product-2984 that you can screw a BPM M42 screw mount adaptor to https://www.photographyattic.com/product-553. The T2 mount isnt exactly the same as M42 but it will screw in so far and be safe enough to use.
How to attach a Minolta Dynax / Sony Alpha Lens to BPM Bellows:
You could buy a cheap Minolta Dynax / Sony Alpha fit accessory such as an extension tube or 2x converter (or even a broken Minolta Dynax / Sony Alpha SLR body) and strip back to the mount which you can then stick to any BPM mount with superglue A small extension tube is ideal as there’s no glass to remove. Alternatively cut the centre out of a plastic Dynax/Alpha rear lens cap and glue it to any BPM mount. Care obviously needs to be taken to A) centre it and B) make sure it’s stuck well enough to support the weight of the lens. If this is all too much bother you can buy a cheap lens that BPM made mounts for and attach that to the front with the necessary BPM lens mount. The beauty of the BPM system is any lens can be added to the front. It doesnt have to be camera brand specific.
How to attach a Minolta Dynax / Sony Alpha body to BPM Bellows:
Same advice as before – using a mount from an existing Minolta Dynax / Sony Alpha item and glue to any BPM mount. If you got an extension tube or teleconverter, both sides could be used for body and lens fittings. Or there’s a Minolta Dynax T2 mount that you can screw a BPM M42 screw mount adaptor to https://www.photographyattic.com/product-553. The T2 mount isnt exactly the same as M42 but it will screw in so far and be safe enough to use. Or you can also buy a Minolta MD to Minolta AF adapter and use the BPM Minolta MD mount https://www.photographyattic.com/product-557 to attach the Minolta Dynax / Sony Alpha body BPM Bellows
How to attach an Olympus / Panasonic Micro 4/3 Lens to BPM Bellows:
You could buy a cheap Olympus / Panasonic Micro 4/3 fit accessory such as an extension tube or 2x converter (or even a broken Olympus / Panasonic Micro 4/3 body) and strip back to the mount which you can then stick to any BPM mount with superglue A small extension tube is ideal as there’s no glass to remove. Alternatively cut the centre out of a plastic Micro 4/3 rear lens cap and glue it to any BPM mount. Care obviously needs to be taken to A) centre it and B) make sure it’s stuck well enough to support the weight of the lens. If this is all too much bother you can buy a cheap lens that BPM made mounts for and attach that to the front with the necessary BPM lens mount. The beauty of the BPM system is any lens can be added to the front. It doesnt have to be camera brand specific.
How to attach an Olympus / Panasonic Micro 4/3 Body to BPM Bellows:
Same advice as before – using a mount from an existing Olympus / Panasonic Micro 4/3 item and glue to any BPM mount. If you got an extension tube, both sides could be used for body and lens fittings. Or there’s a micro 4/3 to T2 mount https://www.photographyattic.com/product-1826– that you can screw a BPM M42 screw mount adaptor to https://www.photographyattic.com/product-553. The T2 mount isnt exactly the same as M42 but it will screw in so far and be safe enough to use.
The camera and lens have to be used in manual with each of the options above, as there is no way to have electronic coupling with the BPM Bellows system.
If you have trouble finding what you need to use BPM bellows please get in touch and we will try and help.
The cross polarising techniques is a simple one to create. Just place a polarising filter in front of the lens and photograph a stiff plastic object in front of an LCD computer screen. To illustrate the tip I attached a Hoyarex Linear Polarising filter* to the front of a digital camera.
I then positioned a plastic cereal container in front of my computer monitor (make sure the background is neutral grey and not a screen saver ) and mounted the camera on a tripod. You can hand hold if there’s enough light to get a camera shake free photo.
When you rotate the polariser you will see a rainbow of colour with the background colour of the monitor.
As you rotate the colours will become stronger and the background will go black.
I repeated the technique using a plastic wine glass
* Any polarising filter can be used – linear or circular . We have a selection for sale here in both screw in and system filters. Polarising filters for sale. The system filters are more practical as you can use one filter with a variety of lenses with different filter threads. Just get the filter, a holder, and a range of adaptor rings for the holder to attach to different lenses.
A reversing ring reverses an interchangeable lens on the camera body. One side has a camera body mount, the other side has a diameter the same size as the lens’ filter thread you intend to reverse. A “Nikon AI to 55mm reversing ring” for example would allow a Nikon lens with a 55mm thread to be reversed on a Nikon body with an AI mount.
Reversing a lens makes it perform like a macro lens at a fraction of the cost.
To show the difference I mounted an Olympus 50mm Zuiko on an Olympus Micro 4/3 camera.
I then attached a reverse ring to the front of the lens
and turned it around to fit to the camera backwards.
I took a photo of breakfast cereal inside a plastic container with the lens in both the forward position
and the reversed position.
The lens was set to its closest setting of 0.45m for both photos. As you can see reversing the lens with a lens reverse ring allows much closer photographs to be taken.
I then took a series of photos with the lens reversed to show the type of photos you can take. Most of these are with the lens at maximum aperture so it gives a more creative effect with minimal sharp zone and lots of nice blurry backgrounds, like what you would achieve using a Lens baby .
Close up of OM-10 exposure dial with shallow depth of field.
Backlit photo of pens caps taken into the light to give the dreamy low contrast result.
Leica camera control taken at f1.8 to ensure shallow focus.
Takumar lens front taken with lens stopped down to f/5.6 to ensure a decent level of sharpness.
A glass chess piece with others in the background to give nice bokeh.
As you can see reversing a lens is a creative way to add options to your camera kit for low cost.
We have a number of reversing rings for sale at photographyattic.com check out this tag page. Lens reversing ring
