The Helios-103 53/1.8 and Menopta 53/1.8 are classic Planar formula lenses for the Contax/Kiev cameras. With a little work, you can also use them on Nikon S-Mount cameras. These lenses are cheap- under $25 inclusive of international shipping. There are lots of them, most are near mint condition.
The quality of the machining has varied on the 12 or so that I've handled. I like the 1981 and 1982 Helios-103 the best, closely followed by the Menopta's. The 1984 and 1985 examples that I've handled required some filing of the flange and rear light baffle for a proper fit. Some to get to fit on a Nikon, and one to get to fit onto a Kiev. They all fit the Contax IIIa without problem. Go Figure.
They all have Shiny Aperture Blades, that can cause a problem with actual use. I've had them flare with strong backlit subjects, and with stray sunlight.
I've been asked about painting them to reduce the reflections. So I took my "worst" lens and gave it a try.
1) Remove the aperture ring. It is held in by three set screws. Just back them off, but you do not need to remove them. The aperture ring slips off, over the name ring.
2) You will see the set screw that holds the name ring in place. On my lenses, there were several holes, but only one had a set screw. Take it out, and remove the name ring. Just unscrew it by hand. The set screw is important to hold the name ring in place while you remove hoods and filters. Do not lose it.
3) The retaining ring for the front elements is now exposed. Use a spanner to remove the retaining ring. I always hold the spanner in place and turn the lens.
4) have a piece of lens paper ready to catch the first element. It comes out easily. Underneath it is a metal spacer and a cemented-pair lens group. I have to give the lenses a "rap" to get them loose. Again, have lens paper ready to catch them. Note the orientation of the metal spacer. It has a ridge cut on one side. You need to get it back correctly. Mark it with the Sharpie.
So, in order: Retaining ring; Front Optic; Metal Spacer; lens group.
5) The aperture blades are now accessible. I use a Sharpie- permanent marker felt tip pen- to blacken the blades. I stop them all the way down, 'paint them", and then open up halfway to finish it. Work the blades. I'm not going to worry to get a perfect finish. This is a cheese-wiz solution. Spray it on, tastes great.
6) Let the lens dry out and air out for ~ 1 Hour. I don't know why, just seems right. Cover it to keep dust out.
7) Time to re-assemble. Inspect closely for dust or strands of felt on the lens. I got carried away once and had to pull some strands out using tweezers. Put the cemented pair back in place, use the lens cleaning paper to do so. Be sure to blow it with the air bulb to get any dust off of it. Also, a good time to clean it with lens cleaner. Put the metal spacer in "the correct way", and push it in place. This group is a tight fit, and the metal ring needs to go in straight.
8) Put the front element in place, again cleaning it and blowing it off. Use the lens cleaning paper to get it into place, holding it by the edges. Do not turn the lens upside down and lower it to the front element because the metal ring will fall out and go "whack" on the front element.
Done.
The quality of the machining has varied on the 12 or so that I've handled. I like the 1981 and 1982 Helios-103 the best, closely followed by the Menopta's. The 1984 and 1985 examples that I've handled required some filing of the flange and rear light baffle for a proper fit. Some to get to fit on a Nikon, and one to get to fit onto a Kiev. They all fit the Contax IIIa without problem. Go Figure.
They all have Shiny Aperture Blades, that can cause a problem with actual use. I've had them flare with strong backlit subjects, and with stray sunlight.
I've been asked about painting them to reduce the reflections. So I took my "worst" lens and gave it a try.
1) Remove the aperture ring. It is held in by three set screws. Just back them off, but you do not need to remove them. The aperture ring slips off, over the name ring.
2) You will see the set screw that holds the name ring in place. On my lenses, there were several holes, but only one had a set screw. Take it out, and remove the name ring. Just unscrew it by hand. The set screw is important to hold the name ring in place while you remove hoods and filters. Do not lose it.
3) The retaining ring for the front elements is now exposed. Use a spanner to remove the retaining ring. I always hold the spanner in place and turn the lens.
4) have a piece of lens paper ready to catch the first element. It comes out easily. Underneath it is a metal spacer and a cemented-pair lens group. I have to give the lenses a "rap" to get them loose. Again, have lens paper ready to catch them. Note the orientation of the metal spacer. It has a ridge cut on one side. You need to get it back correctly. Mark it with the Sharpie.
So, in order: Retaining ring; Front Optic; Metal Spacer; lens group.
5) The aperture blades are now accessible. I use a Sharpie- permanent marker felt tip pen- to blacken the blades. I stop them all the way down, 'paint them", and then open up halfway to finish it. Work the blades. I'm not going to worry to get a perfect finish. This is a cheese-wiz solution. Spray it on, tastes great.
6) Let the lens dry out and air out for ~ 1 Hour. I don't know why, just seems right. Cover it to keep dust out.
7) Time to re-assemble. Inspect closely for dust or strands of felt on the lens. I got carried away once and had to pull some strands out using tweezers. Put the cemented pair back in place, use the lens cleaning paper to do so. Be sure to blow it with the air bulb to get any dust off of it. Also, a good time to clean it with lens cleaner. Put the metal spacer in "the correct way", and push it in place. This group is a tight fit, and the metal ring needs to go in straight.
8) Put the front element in place, again cleaning it and blowing it off. Use the lens cleaning paper to get it into place, holding it by the edges. Do not turn the lens upside down and lower it to the front element because the metal ring will fall out and go "whack" on the front element.
Done.
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The results, from my Contax IIIa set on a tripod, positioned so the low-fall sun was shining directly into the optics. Also the reason why I used the Contax, Metal Curtains. Lens set to F4. Negatives scanned as a strip into Photoshop, with no corrections afterwards. This is what the negatives look like relative to each other.
First up, the untreated lens:
Now, the treated lens:
Backlit scene, treated lens.:
First up, the untreated lens:
Now, the treated lens:
Backlit scene, treated lens.:
Keith
The best camera is one that still works!
When I saw the thread title I was trying to work out how you were going to avoid a problem with future paint flakes ... 'Sharpie' to the rescue. Damned clever and the results speak for themselves. 
Thanks Keith. I've also used the Sharpe to replace the black paint used on the glass of interior optics of older lenses. I had a 1950's Nokton where the Black Paint came off of the glass and was loose inside. Removed it, and used the Sharpe on the glass.
Murray Kelly
Well-known
Thank you, Brian. All noted. I have been into one H-103 here because I thought the flare may have been cuased by a slight separation of the front pair, right on the edge. Painting that didn't seem to help much, although I have since aquired some balsam.
Now might be a good time to go back and try again and do the iris blades at the same time. I note you only do the outer face.
Thanks again
Murray
Brisbane, Oz
Now might be a good time to go back and try again and do the iris blades at the same time. I note you only do the outer face.
Thanks again
Murray
Brisbane, Oz
I figured the outer blades are where the direct light can hit it. I've removed the rear group on a Helios-103 before, and it is not hard. You could do the back of the aperture as well. I think the gain would be marginal, but you never know until you try.
The rear optic of the Helios/Menopta is "almost" symmetric. If you take it out, be sure to mark it with a dot on one of the surfaces to get it back in correctly. Or remember to reverse it if the first test roll comes out "funky".
The rear optic of the Helios/Menopta is "almost" symmetric. If you take it out, be sure to mark it with a dot on one of the surfaces to get it back in correctly. Or remember to reverse it if the first test roll comes out "funky".
mjflory
Accumulator
Thanks again, Brian! You might have noticed that in the recent "flare" thread Raid recommended an older thread in which you'd written about painting aperture blades. The difference is striking. I'll have to try this with my Helios (and my Sharpie).
payasam
a.k.a. Mukul Dube
The use of "painting" foxed me too. A brilliant (no reverse pun) solution.
Spyderman
Well-known
Just one tip if anyone wants to do the back of the blades as well : the rear half of the lens comes off as one block. When you remove the whole optics and aperture from the mount (similar to Kiev mount Jupiter lenses), there is a ring on the back that holds the rear half. Unscrew the ring and the rear part comes off as a unit.
murrayatuptown
Established
"Nice job."
dexdog
Mentor
Brian, thanks for the great step-by-step on how to black out the iris. No worse than taking apart a Canon 50/1.2 for annual haze cleaning.
raid
Dad Photographer
Mark,
I don't even dare do a Canon haze cleaning. I am such a helpless camera repair guy.
Ed S.
Member
I’ve looked at the Before and After photos in post #2 several times (most before joining).
Being a Technical Absolutist, I see the difference, and I vote for the treatment (the After photo).
However, the Before photo looks like an effect I’ve seen in movies from the 60’s and 70’s, and I’ve always assumed it was intentional and desirable.
How difficult is it to achieve the Before photo effect after making the changes?
Also, are there any paint-on solutions for inside the lens body that are darker than flat-black paint? Something a black as a black card (label says "Stygian Black") seems about right, but the paper solution seems too thick.
Gloss-black looks darker, but there always seems to be a reflection from the glossyness. Powered carbon (maybe candle soot) mixed in a very thin epoxy- or paint-base sounds good, but also very experimental (maybe in the future).
Being a Technical Absolutist, I see the difference, and I vote for the treatment (the After photo).
However, the Before photo looks like an effect I’ve seen in movies from the 60’s and 70’s, and I’ve always assumed it was intentional and desirable.
How difficult is it to achieve the Before photo effect after making the changes?
Also, are there any paint-on solutions for inside the lens body that are darker than flat-black paint? Something a black as a black card (label says "Stygian Black") seems about right, but the paper solution seems too thick.
Gloss-black looks darker, but there always seems to be a reflection from the glossyness. Powered carbon (maybe candle soot) mixed in a very thin epoxy- or paint-base sounds good, but also very experimental (maybe in the future).
laptoprob
back to basics
Brian, isn't there a risk of the paint being cut off? The blades move over one another like scissors, right?
Still, the effect is amazing.
Still, the effect is amazing.
For the last question- the sharpie is a "magic Marker", so it is ink and not paint. be careful to get a thin layer on it, and not let it clump. Also be careful of felt from the tip of the pen getting caught in the blades. I learned those tricks on the first lens that I did.
newspaperguy
Well-known
Just a late thought: the sharpie is also great for re-blacking
the bulbulous (sp?) rear element on the J-12.
the bulbulous (sp?) rear element on the J-12.
lorriman
Established
The two photos appear to have a significant exposure difference. Once I had made their histograms look almost the same (and the luminence of the leaves pretty much exactly the same) with curves the before looks better than the after.
Consequently I've decided to paint my aperture blades with my hobby silver pen.
Consequently I've decided to paint my aperture blades with my hobby silver pen.
I have used the sharpie to blacken the lens elements that the black-paint to reduce reflections has peeled of of. i had a Nokon 50/1.5 in Prominent mount that the black paint peels were as big as aperture blades, and looked like them too.
as far as the histograms- exposure was the same, and i scanned the negative strip as an image. What you see is pretty much what it looked like (reversed) on the negative. The machine prints looked closer. I would think the histogram of the first image would show saturated pixels, the second image does not show much in the way of clipping.
as far as the histograms- exposure was the same, and i scanned the negative strip as an image. What you see is pretty much what it looked like (reversed) on the negative. The machine prints looked closer. I would think the histogram of the first image would show saturated pixels, the second image does not show much in the way of clipping.