> For those who did not read between the lines of AG's post, I
> understand him to be saying that this lens ought to be a
> particularly "good 'un", or in Walt's terms "a keeper". Even
> for use on an E- body.
Good catch. Yes, that was what I was implying.
There was a period of time where the 100/2.8 underwent a few
subtle changes. Also, during this same period of time Olympus
altered the lens-coating process and was introducing some
additional layers. You will not find a green reflection in this
lens, but there are additional visible colors not seen in the
earlier ones. If I recall, and I'll have to google the old
posts to verify, the change occured somewhere around 109000. The
lenses in the 120000's are of a different design. Slightly
improved in some areas, but I don't think they've got quite the
same 3D characteristics. The MC/Blacknosed 100/2.8 lenses are
more color neutral and slightly more flat-fielded and sharper
edge-to-edge. They also have a different iris-blade design in a
slightly altered position. The earliest 100/2.8 lenses had a
very good center, but fell off in resolution near the edges.
They also flared like no tomorrow.
The look and feel of the images from the 100/2.8 in this series
is quite unique. The lens is essentially identical to the 85/2
and I am aware of a similar evolution of design that occured
with that lens, but haven't tracked the serial numbers or which
one is "best". Never owned one, probably never will.
I haven't had quite the same success with the 100/2.8 on the E-1
as I have with OM bodies. At some apertures there is a marked
edgyness to the bokeh when the focus point is around 3-5 meters.
This is not present in the film images. I'm not sure exactly
why this is happening, but I suspect that it has to do with the
CCD's AA and IR filters. The microlenses are changing the angle
slightly (turning the continous light gradient into a stair-step
pattern) and the IR filter is cutting off the radical
focus-shift that occurs with this lens in the near-IR spectrum.
When shooting distant city lights you'll see what I mean. With
film, you will get nice star patterns around the
lights--especially red tower beacon lights, but these stars take
on different shapes or just turn into round edgy blobs on
digital.
Honestly, the one lens that continues to amaze me is the 200/4.
On the E-1 it is not only sharp, but it produces a very sweet
bokeh.
AG
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