Nick,
I don't know if you ever used the 50/2, 100/2 or 24 / 35 shift on a full
frame. I used the oly 7-14 and it doesn't even barely touch the 5d with
zuiko 24mm shift or 35 shift for architecture.
I have and use m4/3 with the 12mm f2. Quality is less than full frame. But
when I want to travel light I take this system. (or the 5d ii with 21f3.5
zuiko.)
So I don't agree. Through a friend working with an importer I was able to
use a leica S2 for a few hours. It is superior to full frame. No surprise.
M4/3s is getting very good, but the lens development shows no consistent
direction: a few weather sealed, no bright zooms, a different form factor
with each iteration of a new body, no distance scales, expensive add on
hoods, etc... Quality sometimes stellar (45mm, 20mm 1.7) sometimes good
(12mm) and the others ok, but not better. And we'll be waiting forever for
a shift lens on m4/3.
The m4/3 lenses are heavily digitally corrected on the bodies. I can do the
same for my old lenses, but honestly, the 35 shift doesn't vignette, shows
very little distortion and is sharp right into the full shifted corners (at
f8). I was affraid it wouldn't resolve the mk2 sensor, but it does.
I don't think oly should have made a full frame digital, but I'm sure happy
canon did! And if there will be a mirrorless FF in the future I'll
certainly look into it.
Iwert
> There are others who think Olympus should have made a "full frame" camera,
> for various reasons, one of which is so we can use our legacy OM Zuikos at
> their intended focal length. This is silly, and backwards. The best
> 4/3rds and micro 4/3rds lenses on a 4/3rds or m.4/3rds camera are vastly
> superior to the best OM Zuikos on any digital camera (this is simple
> physics, as the angle of incidence is important for a digital sensor for
> vignetting and sharpness, but not as important for film).
>
>
>
> -Nick
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