Specifically some test photos using the NIKON Ai Micro-Nikkor 105mm F2.8 S.
Test shot with the lens alone, with the lens plus the PN-11 auto extension ring, and finally some walking around images using the lens alone... all images using Fujifilm Neopan 100 b&w negative film and in-camera TTL metering. Except for the set-up shot, all images are the entire frame (no cropping).



Below: Used as a walking around lens (no extension ring), handheld...



For macro work a tripod is required, particularly when using the extension ring. Consider a macro focusing rail set for fine adjustments.
For Nikon F2 and F3 series cameras the lens user manual rates the type "K" split focusing screen as excellent. For the lens alone that's true, however when the lens is use together with the PN-11 half of the "K" split screen was blacked out and I ended up using a "B" focusing screen.
I had film loaded in the F3P, but the shutter release button does not accept a release cable, so I would recommend using the F3HP, which allows for a cable release. OTOH, the MD-4 Motor Drive (which works with the F3P) accepts the MR-3 release button accessory which in turn accepts a cable release.
The lens has a very long throw (about 300º) which facilitates manual focusing.
According to one reviewer, the manual focus AiS Micro-Nikkor 105mm F2.8 works on all Nikon FX digital cameras (check before you buy).
Recommendation:
It's a great lens (available new from Nikon: 1983 - Present). With digital, the photographer is most likely using live-view, a tripod, and manual focus for macro work... so it's worth a look see particularly at used prices (I paid approx. USD 200 for the lens and PN-11).
Thanks for reading,
Casey
CheersI like Neopan 100 with certain of my lenses and definitely for night shoots...
I often read comments such as Neopan is flat with lifeless midtones and a lack of micro contrast in the mid tones. It almost sounds like the commenter knows what they're talking about.... and maybe they do.
As I understand it, Micro-Contrast is a perception (not measurable) based on the tonal range in a specific area (i.e. the midtones). One line of thinking is that 'high' Micro-Contrast is "better" because the 3D pop looks alive... for better or worse, okay.
Take a color photo and convert it to b&w, how you do the conversion makes a difference, but in any case if there is a good variation in the grays then the image is thought to have high Micro-Contrast.
Micro-Contrast is often associated only with the lens, but one can assume that the sensor or film also makes a difference. For 35mm format, a large print from a Leica Monochrom & APO 21 lens might be a 'high water mark' of sorts...
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in an interview of Peter Karbe by Thorsten Overgaard regarding the Leica 50mm APO-Summicron-M ASPH f/2.0 which was designed by Peter Karbe...
"The contrast has to fall off very fast in terms of depth of field. That’s it. That is the idea – and the ideal. The fall off has to be very fast!"
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Just a few random thoughts...
Casey