On Wed, 26 Jan 2000, Olaf Greve wrote:
> It might indeed be the way to go. I'm very satisfied with the 28/3.5 (apart
> from the slow speed, which becomes an issue when using the lens indoors), so
> using a 21mm as a complimentary lens (and ditching the 24mm) might not be a
> bad idea. For now, I'll give the 24/2.8 some more tries to see if I can get
> more satisfying results with it, and if not, then I'll consider getting a
> 21mm.
A lot of how we view lenses may have to do with our esthetics and
the kind of light we're confronted by where we shoot. I own 24/2.8SC,
24/2.8MC and 24/2. I rarely have used the 24/2, except for available
darkness shooting. I do not find a huge difference between the 24/2.8s
SC & MC versions in sharpness, though there is in flare control. As it
happens, I like the little extra flare of the SC. As to the flatness,
the light where I photograph most often (you could call it "N-1 country")
is usually very contrasty, so that's an asset, not a liability. The barrel
distortion in the 24/2 seems worse than in the
other two, but nothing like that in the 17-35/2.8 Canon L which is
the darling of travel, wildlife, documentary and fine arts shooters.
IOW, maybe we're protethting too much ?
Or focusing too much on the numbers and not enough on the
"flavor" the lenses render to the eye and how they interface with
our own work ? How significant is this to those who are shooting
anything besides architecture/interiors ? No one does flat copywork with
a 24, do they ? When it comes to the 24's and conventional assessments of
lens quality, judging from those I've owned, nothing compares to the
plain-jane Nikkor 24/2.8 for sharpness, contrast and flare control.
I used to own an OM 28/2, and still own 28/2.8 and the in(or)famous
28/3.5 . The 28/2 is a great lens (I sold it to afford an M6), but
I find the other two work well for me. Maybe I'm optically "easy",
but my 28/3.5's vignetting has not been a problem, and I have many
sharp shots taken with it (must have been at f/8 ?). It has a
certain velvetiness to it, a creamy look (that reminds me of older
Leitz lenses that someone else just referred to on the list) that I find
works really well with color. Yeah, I know, really
technobabbling here...I see a 21/3.5 on my usually tilted acquisitions
horizon.
*= Doris Fang =*
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