Bob,
I would add to your elaborate test schema the control of doing the
same recording onto B&W film, and comparing the light falloff
differences. EV 0.6+/- is a mighty fine distinction. But we can do
better than that with the digital sensor as we can look at the 12bit
quantized data... ;
Illumination only. This should be intuitively obvious to the most casual
observer. Most other characteristics are independent of whether the lens is
"for digital" or "for film", are independent of flatness of field, etc., and
are simply a function of tradeoffs in lens design or care in manufactu
On Sep 6, 2005, at 3:32 AM, mike wilson wrote:
A D-FA50 macro lens is designed to be best at flat-field imaging,
stopped
down to f/8-f/32, in the near-focusing range. An A50/1.4 is
designed for
general pictorial use at wide apertures, and will not perform at
its best at
copystand distance
>> It was either in the general Pentax lenses and accessories booklet or
>> the manual of the 1.7x AF T/C that I read that the 50/1.7 is
>> recommended for macro work with extension tubes; the 1.4 was
>> recommended against.
> IIRC, that was deduced to be due to the flatness (or lack of) of the
>
> From: Kostas Kavoussanakis <[EMAIL PROTECTED]>
> Date: 2005/09/06 Tue AM 08:57:10 GMT
> To: pentax-discuss@pdml.net
> Subject: Re: Film Lenses on Digital
>
> On Mon, 5 Sep 2005, Godfrey DiGiorgi wrote:
>
> > A D-FA50 macro lens is designed to be
On Mon, 5 Sep 2005, Godfrey DiGiorgi wrote:
A D-FA50 macro lens is designed to be best at flat-field imaging, stopped
down to f/8-f/32, in the near-focusing range. An A50/1.4 is designed for
general pictorial use at wide apertures, and will not perform at its best at
copystand distances.
It
I did not fully see the quality of Pentax primes until I tried them on
my *ist D. For some reason they seem sharper on the APS-C sensor than
they ever did on film.
Joe
But what are you trying to compare, Bob? Evenness of illumination,
resolution, contrast ... what? A gray card will only show you
evenness of illumination. At f/2.8, it's a toss up between the two
50mm lenses to predict which will do better, although at copystand
distances I'd put my bets on
What I would be interested in, then, is D-FA50 Macro wide open and the
A50/1.4 at the lowest common stop, or the DA40 and the SMC 40 at the lowest
common stop.
Regards,
Bob...
By all means, marr
There are no "digital" prime lenses between 20 and 35mm. Pentax
lenses designed for digital SLRs, to date, include:
DA14
DA16-45
DA18-55
DA40
DA50-200
D-FA50 Macro
D-FA100 Macro
If I get a chance to set up my copystand and lighting, I'll make a
gray card exposure with the A24/2.8 or FA35/2,
Yes. Also, if one of you digital dudes would shoot a gray card frame edge to
frame edge with one of your digital primes (say between 20 and 35 mm or so)
and one of your film primes of *equal* focal length, I would be interested
in comparing light fall off at the corners. Tripod mount camera on
On Sep 5, 2005, at 10:57 AM, Fred wrote:
I am curious to ask, for those who have had a lot of experience
using your
favorite ol' 35mm film lenses on APS digital bodies (D & DS), which
specific lenses seem to be "just as good" (or perhaps "even
better") in
digital use? And, conversely, which
Hi all.
I am curious to ask, for those who have had a lot of experience using your
favorite ol' 35mm film lenses on APS digital bodies (D & DS), which
specific lenses seem to be "just as good" (or perhaps "even better") in
digital use? And, conversely, which lenses seem to be "not as good" in
dig
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