Why Every Photographer Should Use a Manual Focus Lens


Your camera is smart. It has processors that are able to run algorithms, for near instantaneous adjustments to compensate for lighting conditions and changing environments. I’m a professional lens reviewer, and tend to complain if a lens/camera combination takes more than a split second to achieve accurate autofocus. But the reality is that most modern camera/lens combinations achieve accurate autofocus remarkably fast. Modern DSLRs can pretty much see in the dark, and still focus reasonably well with a near absence of light, and their performance at extremely high ISO settings is phenomenal.

Yes, your camera is most certainly smarter than your father’s, but the question is, are you a smarter photographer than your father?

Dustin Abbott DPS MF 15

Could it be that the wizardry of modern processors, sensors, and autofocus motors (AF) cocoon modern photographers from what actually happens in the process of taking photos? And, in doing so keep us from having to learn some of the essential basics of photography that could make us better? Here is why I think every photographer should spend some time with a manual focus only lens.


A press release for a modern lens will say something like, “Nine rounded aperture blades.” That means next to nothing to most modern photographers for one simple reason – they will never see those blades. All they will ever see is the glass within the barrel of their lens. The reason for this is simple: lenses with an automatic iris aperture (the camera sets the aperture electronically), focus with the lens wide open (aperture blades withdrawn), and only stop down to the chosen aperture in the split second when that the shot is taken. It is pretty amazing how quickly this all happens, when you stop and think about it.

Most lenses produced for Canon EF mounts (excluding Samyang/Rokinon lenses along with a few non-mainstream models) have an auto iris aperture control. Even Zeiss manual focus lenses in Canon (ZE) mounts have automatic irises, and Samyang/Rokinon is retooling many of their lenses with AE versions with auto aperture control. Put simply, very few modern lenses in a Canon mount have an actual aperture ring. Nikon shooters get a few lenses with manual aperture rings (for some reason Zeiss lenses include one on Nikon [ZF] mounts.)

Auto aperture iris control is great for convenience. Just twist the dial on your camera (often in third stop increments) and select the aperture you want, or even let the camera choose it for you in an auto mode. It’s quick and painless.

The downside, of course, is that the actual significance of what is happening when that iris is opened wide or closed down is often lost upon modern photographers. We can talk about “stopping down” a lens or the advantage of a wide aperture prime, but until you have actually seen the difference in an aperture iris you won’t have a full sense of what that really means. Take a look at this series from the new Rokinon 50mm f/1.4.

When you actually see that aperture closing down you really get a sense of the difference between the f-stops and how much more light gathering there actually is at wide apertures. This series starts at f/1.4 and goes to f/8 – see how much difference the aperture size makes in the amount of light entering the camera?

Dustin Abbott DPS MF 8

Dustin Abbott DPS MF 9

Dustin Abbott DPS MF 10

Dustin Abbott DPS MF 11

Dustin Abbott DPS MF 12

Dustin Abbott DPS MF 13

Dustin Abbott DPS MF 14

My wife is an intelligent woman. She even has a pretty decent eye as a photographer, and has taken some great photos. But despite having been married to a gear guy since 1997, and having a hundred or so lenses going in and out of our house, she still to this day often gets confused about aperture. It can be confusing, as the logic (due to the way that f-stops often get reported) is backwards. Bigger numbers mean smaller apertures -and that seems backwards. There is no mistaking this with a manual focus lens with a manual aperture ring – you can physically see the aperture iris shrinking as you stop the lens down (choose a smaller aperture size – larger f-stop, like f/11 etc).

More photographers would get what aperture numbers really mean in terms of light gathering, if they physically saw the aperture blades close down or open in their lenses.

Light Gathering

Most cameras have a standard focusing screen, that does not show the true depth of field. This, added with the fact that the camera typically focuses with the lens wide opened, means that you often don’t get a sense of how much less light is available when the lens is stopped down (f/4-f/16, for example) or how much more is available at large apertures (f/1.2-f/2.8). Most DSLRs have a DOF (depth of field) preview button somewhere, but it is often in an obscure location and rarely gets used by many people. For this reason many photographers have never seen the true depth of field of any of their wide aperture lenses, or any other lens for that matters. This changes when you use a manual focus lens (particularly with a focus screen that shows true depth of field). More on this in a moment.

Yes, it is a pain when the viewfinder is quite dark when you have a manual aperture lens mounted and stopped down to, say, f/8. That’s the reason that modern lenses and cameras don’t show you this in your viewfinder. But it also means that you aren’t being forced to learn what f/8 really means in terms of light gathering. You also don’t see how much more light is available, or how much more shallow the depth of field is with a large aperture. You don’t really think about your aperture setting at the time of capture, resulting in a loss of creativity because your mind isn’t forced to visualize what aperture means to the shot.

But beyond this, manually selecting your aperture really helps you to mentally dial in the relationship between aperture and depth of field. The fact that you have to think about selecting the aperture, and see a difference in the viewfinder, in both the depth of field and the amount of light, helps you to realize how shallow depth of field shots (with a large aperture) and large depth of field shots (with a small aperture) are going to turn out. I have learned how to mentally visualize how depth of field is going to affect a scene so much more because of using manual aperture lenses. Here is a series from the Zeiss Planar T* 50mm f/1.4 lens. It starts at f/1.4, f/2, f/2.8, and then finally shows f/4. Notice the huge difference this makes to the degree in which the background is blurred.

Dustin Abbott DPS MF 1

Dustin Abbott DPS MF 2

Dustin Abbott DPS MF 3

Dustin Abbott DPS MF 4

The large aperture shots are much more attractive, and give a better three dimensional effect to the image. You probably won’t always shoot with manual focus lenses, but using one will help train your brain to visualize your shots more effectively and artistically.

Depth of Field and Focus

It is quite a revelation to use a wide aperture, manual focus prime, with a focusing screen like an EG-S that shows true depth of field. At close to medium distances you can actually watch focus travel from one thing to another, and subjects pop into focus. It really helps you think about storytelling as a part of your imagery. When you think about what you want in focus, it means that you have become intentional about what you want your viewer to see.

Many cameras have AF point spreads that are not wide enough to reach the edges of the frame. Manual focus lenses remove that limitation, and I am more likely to take an image with my subject in focus in an extreme corner when I use one. The rule of thirds for composition is a great starting tool, but sometimes rules are made to be broken. Take a look at this shot of a family games night. The cards are in the extreme bottom corner. Your eye goes there first, but then considers the whole out of focus scene beyond. Your brain allows you to mentally fill in the blanks, and image possibilities, rather than just a looking at a scene.

Dustin Abbott DPS MF 7

Many macro photographers have learned to choose to use manual focus at those very fine distances. It is often challenging to place an AF focus point right where you need it (particularly when using a tripod), but manually focusing allows you to simply focus until what you need to be in focus is sharp. I’ve heard a lot of people fuss over the focus speed of some macro lenses, including the amazing EF 100mm f/2.8L IS. All I can say is that you need to use a manual focus macro lens sometime. Using the Zeiss Makro-Planar in either a 50mm or 100mm focal length helps you to realize how much the macro range adds to the focus possibilities of such a lens. There are so many extra focus points! Using a manual focus macro lens will certainly help you appreciate the AF on macro lenses, and will also help you understand why the AF focus (distance) limiter switch is there and how to properly use it.

Dustin Abbott DPS MF 6

Dustin Abbott DPS MF 5

Learning to focus with a manual focus lens will help your mind to understand how to better use autofocus lenses (particularly those with focus limiters).

In Conclusion

We live in a high-paced world. We want everything to be faster and easier. But great art is rarely created is rarely created in a rush. When I am shooting professional event work and weddings, I tend to use image stabilized, wide aperture, zoom lenses. They are big and heavy, but they are extremely flexible and deliver great results. I need speed in those situations, but some of my most creative shots in my catalogue have been taken with manual focus lenses. I slow down and become more creative. Some of my most critically acclaimed images have been taken with manual focus lenses, both inexpensive and expensive ones.

If you have been guilty of doing most of your photography in a rush, do yourself a favor a get yourself a manual focus lens (even a cheap one). If you want a cheap option, grab yourself an SMC Takumar 55mm f/1.8, and an adapter to your mount of choice. You can probably get a lens and an adapter for under $100. It takes some amazing pictures, and will open a world of appreciation for some of the lenses from another era. It will probably also make you a better photographer.

Even better is the SMC Takumar 50mm f/1.4, or if you want to use a value oriented modern manual focus lens, try one in your favorite focal length from Rokinon or Samyang (same thing, just rebranded lenses). You’ll find a number of reviews of different ones on my website. If you are willing to spend more and want the finest optics and image quality available, Carl Zeiss makes some of the best lenses period. They tend to be mostly manual focus, and I’ve had the privilege of using and reviewing many of them.

Once you learn how to take good pictures with a manual lens, shooting with your modern gear will seem easier than ever, and you might even use it more creatively. These are just a few reasons why every photographer should spend some time with a manual focus only lens.

Read more from our Cameras & Equipment category

Dustin Abbott is a photographer, author, and reviewer, along with being a Pentecostal Pastor. He is married to Lana and they have three children. His work has been published in many publications and used commercially by a number of companies. You can find out more about him or read his reviews at www.dustinabbott.net and watch his video reviews on YouTube here.

  • Michal Rosa

    Why Nobody Should Be Telling Everybody What To Do Especially Unsubstantiated Private Opinions

  • Shawn Conrad

    Using a manual focus Zeiss on my 6D a couple years ago was probably the worst photography related experience I ever had. Unless you change the focusing screen it is going to be one hell of a frustrating time. Nothing’s more enjoyable then getting home and noticing you missed focus on 75% of your shots…

  • Using manual focus lenses is definitely an acquired skill. Unfortunately Canon bodies have the least amount of manual focus aids of the current manufacturers (I have a couple of 6Ds myself). I can say that swapping the focus screen for the EG-S (which took me two minutes) makes a HUGE difference in focus accuracy. I’m not saying in this article that everyone’s favorite lens is going to be a MF lens, but rather that there is a lot about photography to be learned by spending some “analog” time.

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  • Lawrence Jones

    Whether one likes it or not, having a go with a manual lens can be an enlightening and educational experience. It is one that does not have to be expensive either. I think taking the title and thinking that Mr. Abbott is “telling everybody what to do” is reaching a bit. Mr. Abbott is correctly pointing out that shooting with manual glass can be an enriching experience that can broaden ones understanding of the tools and thus the potential for artistic freedom and expression.

  • Douglas Allchin

    I use a Fuji XE2 and a Planar F1.4 (and many other manual focus lenses like the 90mm Tokina macro – cost $45) and the focus peak feature has meant 95% of my pictures are in focus..I have taken photos since 1957 and had everything from a Zeiss Contessa through to a Nikon D3.. Nothing has proved as satisfying as the XE2 in aperture priority.

  • Back in the days before we had auto-focus lenses, cameras came equipped with split-focus screens which allowed us to see when the subject was in focus. The trouble with split-focus screens is that they are dimmer (let in less light for the viewer). With the advent of auto-focus lens which are often quicker and more accurate than their human counter parts, manufacturers have opted to do away with split-focus screens and go with the brighter view finders that everyone loves. With some cameras you have the option to trade out the regular focus screen and put a split-focus screen in its place. Without the aid of split-screen focus I think that a lot of people will experience frustration as they fail to “nail the focus” on their images when using manual focus and a regular view finder. (live view and the ability to zoom are a different story, of course, I’m talking specifically about regular view finders and how hard it is to see what is actually in focus)

  • I love split focus screens, it’s one of the things I missed most in the transition to digital. If you were a photographer before about 1995 the concentric circles of the focusing screen were your constant reminder that you were using a nice professional camera and not a toy.

  • Do you shoot in Auto? Or are you one of the people who thinks you can learn a lot from taking more manual control over your photography?

    Same idea here. Do yourself a favor and shoot all manual for a day, beyond learning it’s great at getting you to slow down and think about your photo instead of shooting as fast as possible and seeing what works out.

  • I’d say go a step further and pick up an old Nikon or Pentax SLR from ebay. For less than $100 you can get a body and a fast prime lens or two. The only electronics in the system is a watch battery powering a built in light meter, everything else you do is hand powered by the user. You can truly say that you made the photograph. Not the microprocessor inside.

    There’s something undeniably satisfying watching the two images line up in the split prism viewfinder, taking the shot, then manually advancing the ratchet to reset the shutter and move the film one frame forward. I wouldn’t advise it replace your professional camera on shoots, but take it out on a day off to re-teach yourself the basics of photography.

  • Michal Rosa

    I’m one of those people who is smart enough to recognize hipster bloggers who are not qualified to give any kind of advice.

  • The standard focus screen in many DSLRs simply isn’t that friendly to manual focus. Focus confirm chips, and replacement focus screens make a huge difference. There is some frustration with the transition to using manual focus lenses, but I found that it definitely made a difference in my work as a photographer. I’ve reviewed over 20 lenses this year alone, so I definitely see a little bit of everything!

  • Some of the mirrorless bodies are the best for manual focus. I’m a little jealous of some that have in body image stabilization. Using some of my old Zeiss or Takumar lenses with IS would be awesome.

  • I think you may just “get” what I was talking about 🙂

  • Exactly. There is something about the analog process that is very satisfying as a photographer.

  • Chirantan Pramanik

    Nice discussion. I have Takumar 55mm f/1.8 with my 550D. I want to add Helios 44-2 58mm f/2 and Pentax K mount 50mm f/1.7. they are very good and even cheaper manual lenses… 🙂


    I can recognize that you’ve never shot a manual focus lens. My MF 50 f1.2 and 400 f3.5 are way more fun than my AF 24-70 and 70-200. That’s my substantiated public opinion.

  • Those are some of my favorites. The Helios 44-2 is just so unique.

  • I agree wholeheartedly with this post.
    I’ve been shooting film since the beginning of this year and so far, my DSLR is collecting dust most of the time unless it’s something I am experimenting on.

    The thing with film is that you think 10 times before pressing the shutter button since there is no ‘delete’ button. Each shot costs you a lot. This way it improves your photography by forcing you to ‘learn’ the basics first rather than depend on the electronics.

    I’ve a collection of excellent manual focus M42 lenses (Carl Zeiss Jenas, Canon FDs and Super Takumar) with adapters for my canon bodies and they work so well that my first choice of lenses is always those rather than the chunky auto focus lenses, not to mention the extra glass elements to the modern lenses which actually degrade the color saturation and 3-d pop effect that old manual focus lesser element lenses don’t!

    It takes time to get used to these but this is how you learn patience and create art in a slow and calm manner. 🙂

  • Michal Rosa
  • SteveR

    I use manual focus lenses more than auto focus. When shooting macro or wildlife, auto focus often does not focus exactly on the target. When shooting a bird among branches, the lens gets confused and tries to focus on the branch.

    I have quite a few manual lenses from my film cameras and good quality manual lenses are available at little cost from pawn shops and online; adapters are available through several online sources to allow the manual lens to connect with your DSLR. They don’t have electrical connections so they will need to be used as manual focus.

    Taking time to manually focus causes you to show down and it gives you time to consider what you actually wish to show with you shot.

  • Spoonie

    If you want a cheap option, maybe just try flicking the auto focus switch on any existing lenses you own to “M”? And maybe if you explained what an f stop was it wouldnt seem confusing? Its just a ratio of the the diameter of the aperture in a lens and its focal length. So a 50mm at f2 has an apeture with a diameter of 25mm, f8 is 6.25mm. As long as you think of the f number as a denominator in a fraction, it makes sense higher numbers mean less light. You don’t need to blow an xtra $100 on gear you’ll probably never use to see this in action, just hit the depth of field preview button on your camera and you’ll see it. Maybe you like the romanticism of shooting with old manual gear, but you don’t need to buy it too learn or see these things in action on modern lenses.

  • Spoonie

    Considering every autofocus lenses I have ever seen has manual focus built into it, I recon he probably has. And that’s my substantiated public opinion. Good luck manual focusing that 400mm lens at f3.5 BTW.

  • Spoonie

    You should probably go pick up an old camera and give them another go to remind yourself they obscured the composition in the centre of your frame, and gave no assistance focusing anywhere other than in the centre of the frame then.

  • It is VERY rare to encounter an autofocus lens that actually has a great manual focus ring. The focus throw tends to be too short, many of them lack decent hyperfocal markings or even a distance window, and there is rarely hard stops at minimum focus and infinity. For that matter, infinity focus is almost never at the marked point. Finally, there is often very little focus throw between about 2-10m – a crucial zone for portrait, street, or general purpose shooting. A lens designed for manual focus will typically address all these issues. The point of this article isn’t manual focus vs. AF (I own about 15 AF lenses and the majority of the lenses I review are AF lenses), it’s that using a manual focus lens can help train your mind and make you a better photographer even when using your typical AF lens.

    BTW, I notice for your “simple” example of the calculation of the iris opening (f/stop) you conveniently used a 50mm f/2 example. The math is very simple for that, but unfortunately many lenses are not 50mm f/2 – the math gets a little more complicated even for an 85mm f/1.4 for a lot of people. I would suggest that the illustration used in this article (a simple visual reference) is probably actually less confusing to many readers/photographers. Your point about an f/stop as a denominator in a fraction is a good one. Fewer lens manufacturers are using the denominator approach anymore and instead just state the f/stop.

  • I’ve pretty much emptied my local pawn shops of vintage lenses. I haven’t kept them all (I currently have around 7-8 vintage lenses), but enjoyed playing with each of them for a bit. They aren’t all gems (some of them are garbage), but some of the best glass from that era is still very special.

  • Jordan X Randall

    I’m definitely guilty of relying on auto focus a lot (even though I started with a K1000, but lots of those weren’t in focus either hah). Speed is one thing but I really don’t trust my reliance on my eye. Hell, even with autofocus sometimes shots may come back a little fuzzy when you view larger in LR.

    Any thoughts as to the idea of how/whether you’re actually able to SEE if things are in focus or not? I don’t think its my eyes, I’ve got great vision you’ll have to just trust me there, but something in translation between the viewfinder and myself.

    Also considering I may need to calibrate focus on my lenses…

  • Jordan, I definitely do a thorough AFMA (calibration) on all of my AF lenses. Some need next to none while others need a fairly extensive adjustment. I have a lot of peace of mind once I feel I have those values dialed in. It makes me feel like I’m getting the best out of my equipment. I typically use Reikan FoCal as my primary tool for calibrating lenses to the body. I like to run the automatic AFMA and then run the Semi-Automatic where I have eyes on the end result to make sure the two values are agreeing.

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  • Adrian J Nyaoi

    Like trying to drive auto car in manual mode; most modern DSLR are not manual focusing friendly .

  • Bubba Jones

    Yes, it did make it a tad difficult, as for “… gave no assistance focusing anywhere other than in the centre of the frame…”. Simple recompose, easy-easy lemon-squeeze

  • Carlos J Encarnacion

    My first camera was a Pentax KX film camera, It was perfect when compared to most previous cameras of the time (around 1976), center weighed Spd photodiode match needle meter, exposure, aperture and speed visible in the viewfinder, mirror lock up, DOF preview. No auto aperture, no auto speed and no auto focus. I really learned to get the most of that piece. I would gladly jump into it if someone offered a conversion to digital sensor, even if I did not have all the features of modern digital bodies. There were times when I wished for automatic, even dreamed of it. For those times when I need auto-speed, then I can go with any of the auto everything DSLRs, like when shooting sports, but for macro, landscapes and studied shots I prefer to be the photographer and control the shots. Manual photographers of this time have the advantage of having the best of both worlds.

  • Greg Lawhorn

    I would rather focus manually 95% of the time. The only time I use auto focus with quick moving wildlife or the grandkids. I find that focusing manually lets me settle into the picture.

  • As others have pointed out, we are blessed today to be able to choose. I think those that are comfortable with manual focus do enjoy the tactile feedback of focusing more than just pointing and shooting.

  • Despite the amazing metering capability of modern DSLRs, there are still many times that you need to take control of certain functions to either produce the right exposure or to fulfill your creative vision for the shot – which may not be a perfect exposure.

  • mozelleclaws

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  • Carlos J Encarnacion

    The Pentax KS-2 and the K-3 are not very expensive as compared to most of today’s pro camera bodies, they offer similar or better features, they have in body IS and are SOLID. And in many ways are meant to offer great manual exposure features of an analog machine as well as all the bells and whistles of a digital automatic. Best of both worlds.

    Even a pro can find these more than adequate. Before FF, APS-Cs were the choice of pros, so why are they not pro quality anymore? I own a 500mm PRE-SET, T-mount lens and I can take some great surfing, nature, moon, sunsets, landscapes and bird photography. Add a cheap extension tube set and I can take some serious close-up (of some scary things) from a distance, while I take advantage of auto ISO, the extended ISO capabiliies of the sensor and the IS. Many photography teachers will make you use manual settings before they allow you to use full auto so you can grasp the basic knowledge about exposure.

  • FourColorTheorem

    Think about these two shutter speeds, 1/500 second and 1/125 second. Which one lets in more light? 1/125, of course! But wait, on the camera they’re called 500 and 125. The smaller number lets in more light. Huh? Same thing with apertures. f/4 lets in more light than f/8. On the camera they’re shown as 4 and 8. In each case you’re thinking about fractions! Yes, that’s what the slash is for. Give it a thought.

  • Solid point.

  • dabhand

    I have no quibble with manual or automatic but I do question some of the reasons given for manual – the main one being “manual glass can be an enriching experience that can broaden ones
    understanding of the tools and thus the potential for artistic freedom
    and expression” especially as a contra-argument of “the complexities of using manual glass can seriously inhibit the potential for artistic freedom
    and expression” could be equally valid.

    Other points such as ‘it causes you to slow down and think’ or ‘ it enables a more immersive process’ are really lame – they are down to the attitude of the individual, someone who ‘just does it’ is hardly likely to change their approach and is more likely to find themselves frustrated.

    As for ‘a manual lens can be an enlightening and educational experience’, so can retuning your car by rewriting the engine management unit – who does that – only a very few, most of us just turn the key and take what we get.

    If individuals enjoy using manual methods, and in certain genres (macro photography, focus stacking, complex images etc) it really is the best approach, but to suggest that every one else should do it for, at the very best, specious arguments that don’t really cut it, is a nonsense.

  • PeeDee

    Hello fellow photogs, all this m/f sounds fine & dandy, till you try to really nail focus and find the keeper percentage has gone down considerably. I have 2 m/f lenses, the 105mm f2.5 and the 55mm f2.8 macro, and yes they are fabulous lenses, but after using a/f lenses the speed variance is a killer. Don’t get me wrong I will keep using my m/f lenses coz its just a different way of shooting and quite fulfilling really. I think if they are tripod mounted and if the subject is not moving slowly you could get some stunning images. Methinks the modern generation will use them sparingly and us older buggas will still find any reason we can to pull’em out and show’em off, maybe ‘nostalgic’ maybe not, its an individuals choice and also an emotional ‘feely’ kinda thingee. Anyway don’t mean to be pro or con in this matter, just some thoughts , that’s all, may 2016 be a fulfilling year for all us photogs and may we all discover something new about ourselves and always be there for your loved ones. Peace & Brotherhood.

  • Eamontron

    It would have been more helpful to label the f number on each of the pictures so people can see the difference.

  • Since getting my Fujifilm X-T1, I’ve pretty much completely moved over to manual focus. My lens has an aperture ring, so I see immediately how the change in aperture is affecting my photo. When you half-press the shutter button, you get a depth-of-field preview, and I use focus-peak highlighting to help me focus.

    I hardly ever use auto-focus now.

    Dustin, you’re right in what you say; I’ve found that manually focussing really makes me think about what I’m trying to achieve with my photo and how I want it to look. And I feel so much more in control of what I’m doing.

  • You are definitely getting the point of the article, which can only really be understood by people doing what you are doing.

  • Douglas Allchin

    Have you ever done a comparison between the Fuji ‘kit’ C series zoom lens and legacy primes, or indeed comparisons between Fuji primes and 3rd party legacy primes of similar specification? Just wondered?

  • Not Fuji lenses, but I’ve compared Canon/Tamron/Sigma/Zeiss lenses with legacy primes with sometimes interesting results.

  • Somu Padma

    There is no challenge in AF lens though they help for a quick & quality pic.With cheap to moderate cost AF lens AF is always a struggle below certain light level and forcing manual focus.Using a Good old manual lens is a true challenge for our skills and for sure we can take aid from the modern camera.For example My Nikon D5200 range finder helps with a green glow dot for manual focus, further using the live view in zoom, manual focus can be done quick and sharp.Even to make best exposure before switching to manual lens we can be check exposure values with an AF lens and then making the snap with proper settings for sure will make great snaps with old manual lens.I tried several old manual Nikkors, CZJ Pancolar, Helios, Vivitar and getting an Takumar soon.There is so much fun and creation in using a manual lens.They are no way inferior to AF lens except for the automation.Now am using both AF & Manual lens equally.Here am adding an image taken with “CZJ Pancolar 50mm f1.8” on Nikon D5200.Am a Photographer since 80s, grown up to this day Digital photography enjoying as much.A true photographer should equally value AF and Manuals.All have their own strength & weakness.Thanks so much for this interesting article Dear Dustin Abbot.


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