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Re: [OM] The Case for Really Wide Angle lenses

Subject: Re: [OM] The Case for Really Wide Angle lenses
From: Ken Norton <ken@xxxxxxxxxxx>
Date: Wed, 22 Apr 2020 15:27:13 -0800
> This means nothing to me. It could be called the Goober 10/5.6, for all I 
> care. It's what it does, not what it's called.

"Goober" might be a bridge too far, but that's pretty much how I feel
about the label "Sigma".


> Nah, I never did get the interest in that. To me, it's like grain/noise. It's 
> not part of the subject, but an artifact
> of capture. If it trips one's artistic trigger, sure; but doesn't mine.

I'm going to say that it depends on my mood, the subject, and the
artistic intent. An example would be abstracts. In the world of
abstracts, grain can be a compositional or design element. As B&W
images are, by nature, abstracts, the presence of grain isn't
necessarily a bad thing. With glossy prints, grain may also be
beneficial as it helps anchor the eye to the image plane, otherwise
the eyes will quickly latch onto an edge. This, of course, may be the
intent, but sometimes it isn't as the subject may be in that large
expanse of glossy and the eye is instead being pulled away to anything
it can focus on.


> I admit to being somewhat perplexed when I got the 21/3.5 and then the 18/3.5 
> for OM. I seem to have recovered. ;-)

Thanks to Bob, I now have a 21/3.5 and it is a sweeeeeet little lens.
But, man-alive, it definitely takes a different approach to
photography than the 24/2.8. That tiny variation of 3mm makes a world
of difference. While really nice, and it fits my subject matter well,
it's outside of my comfort zone. However, it matches up well with the
28/2 in focal length steps, so it's a wonderful lens to have.

I think the increments that work well without packing on too many
pounds worth of wide-angle primes. 21 plus 28. Or 24 plus 35. The 24
and 35 combo is what I shot for most of my adult life.

AG Schnozz
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