Brian,
The 100/2 Zuiko is one of my favorites, so regarding the observation that it
may be less sharp, as Samuel L. Jackson so eloquently put it in one of my
favorite scenes (Chapt. 1, Scene 4) in Pulp Fiction: "Oh, well, allow me to
retort!"
Gary's first test, using an OM-1, of the 100/2 is contrary to my experience.
His second test, using the same lens on a different body, a 2000, is entirely
consistent with my observations, i.e., that performance suffers slightly at the
smaller apertures. I generally try to avoid using mine at either f/16 or f/22
for that reason. If I am in a situation where I need greater depth of field
than f/11 provides, and if it is worth the effort, I would dig out and use
either the 90/2, 135/4.5, or even the 90/2.8 Tamron, all of which seem to
perform better at the smaller apertures. The difference isn't great and the
100/2 certainly isn't a "dog" beyond f/11, but for critical work in that range,
a different lens might be a better choice.
Walt
--
"Anything more than 500 yards from
the car just isn't photogenic." --
Edward Weston
-------------- Original message ----------------------
From: "Brian Swale" <bj@xxxxxxxxxxxxxxx>
>
> Hi all
>
> Yesterday I scanned two Kodachromes I shot a couple of years ago, using a
> OM1 on a heavy tripod, and self-timer with mirror lock-up.
>
> The subject was a yellow flag iris flower.
>
> Two lenses were used; Panagor 50mm f/2.8 which can go to 1:1; and the
> Zuiko 100/2 which will go as close as 70cm.
>
> The images were almost the same size, but the Zuiko shot was slightly
> smaller.
>
> My clear impression is that the Panagor shot is sharper.
> Following the rationale of Gary Reese expressed on his lens-test site, I
> think
> that this results from the glass of the Panagor being MUCH closer to the
> camera body than the glass of the Zuiko. So that the vibration of the
> aperture
> stop-down to f/16 (Panagor) and f/22 (Zuiko) had a greater effect on the
> significantly longer lens. Shutter speed in both cases was about 1 second.
>
[snip]
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