I've had some Minolta/Rokkor lenses that I received as gifts for a few weeks now, and traveled to SEKI & Yosemite this weekend, finally having the time to experiment with them. I had some reservations about the abilities of older glass, because a lot of the pics I've seen from legacy lenses have had relative poor contrast, poor color reproduction, i.e., they've been relatively mundane in the actual photo properties compared to native lenses. My hesitation/reservations are all now completely in the past. I tried to find the most difficult shots to make over the weekend (and, believe me, SEKI & YNP did not disappoint) in terms of contrast and color, and was greatly assisted by some of the worst air pollution in memory in the Central Valley. Just a couple of no-brainers that I'm still getting used to: A. Remembering to adjust the aperture ring. Having learned on AF lenses, this is harder than it sounds. B. Remembering to focus by using that tap feature on the touch screen. C. Legacy glass can be HEAVY, and in high wind, the need for a better tripod is evident. D. For all practical purposes, the DOF crop factor governs everything one shoots. While a Rokkor 200mm f/4 is a really nice lens, having to effectively shoot with a prime 400mm lens in, say, high mountain valleys, is just ridiculous. Having a 50mm shoot like a 100mm is really difficult to get used to, but not impossible. E. Taking notes for each shot to remember settings sucks. One of the good things, however, is that as a landscape guy, I can leave almost all the lenses at juuuuuuust below infinity for focusing and that's it, since most of what I'm shooting at is far away. Sort of the Ron Popeil "Set it and forget it" method. All of the following shots were made with either a MD Rokkor 50mm 1.7 or a 135mm 2.8, and they're from around 1982 or so. All of them had rudimentary processing as jpegs from Photoscape, and were not done in RAW/LR. Normally they would, but I haven't fixed my main PP computer, so the full potential of these hasn't been reached yet. 135mm 2.8, shot looking due west, sunset, about 1/2 up the staircase at Moro Rock. This, I think, shows off particularly well how the lens has great IQ, but also addresses contrast issues. There's the air pollution down low, then clouds, sunset colors and then the last bit of blue sky. View attachment 188746 Moro Rock Sunset #1 by tanngrisnir3, on Flickr 50mm 1.7 at 1.7, 29 second exposure. Shot well after dark, and likely exposed too long (it was FAR darker than this), but I wanted to see how sharp the lens was wide open. I can't ever see a reason now to get a lens faster than 1.7 View attachment 188747 Wide open test, Rokkor 50mm 1.7 by tanngrisnir3, on Flickr Just after dawn, Giant Forest, 50mm 1.7 View attachment 188748 Giant Forest, Post Dawn by tanngrisnir3, on Flickr 135mm 2.8, likely around f/8. Tioga Road, looking NW. View attachment 188749 Tioga Road, Sunset, NW by tanngrisnir3, on Flickr 135mm 2.8, West Ridge Wall, El Cap Gully. Or, if you prefer, East Ridge Wall, Ribbon Falls Amphitheater. This is where having a fixed 270mm lens sort of comes in handy. Shot from Tunnel View where, if you've been there, you know the HUGE vista shots that are available. The rock face at frame right is the western face of El Capitan. View attachment 188750 West Ridge Wall, El Cap Gully by tanngrisnir3, on Flickr 135mm 2.8 Classic shot from Tunnel View, but at 270mm. That's Half Dome in the upper right. Tunnel View at 270mm #2, B&W by tanngrisnir3, on Flickr 135mm 2,8, Light on trees, Wawona Road. View attachment 188752 Light on Trees, Wawona Road. by tanngrisnir3, on Flickr 50mm 1.7 Finally, good, old California chapparal country, bottom of the Grapevine, near sunset. Last Light, Tejon Ranch, Rokkor 50mm 1.7 by tanngrisnir3, on Flickr Can't wait to get my box up and running again, esp w/Lightroom 4 coming out, and use the two ridiculously long primes (135 and 200) at Death Valley in a few weeks. Overall, I was nervous about using old glass for reasons that turned out to be completely unjustified, and am looking forward now to scrounging around the pawn shops of LA for quality legacy gear.