Doris wrote:
> 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.
While I'm a strong advocate for the notion that different lenses having
different flavours and that older less optically refined lenses are more
suitable to certain purposes or effects. I'm a little confused by this
statement about using lenses to control contrast. I was under the
impression that the contrast of the materials is entirely different from
lens contrast, and that in fact a contrasty lens as long as it also has good
resolving power will better render shadow detail. Am I missing something?
[snip]
>The 28/2 is a great lens (I sold it to afford an M6),
been thinking I might do this very thing. If I liquidate a few of the
lenses (28/2, 80-200/2.8 & 90/2.5 Tamrons) sitting on my shelf I might
better be able to afford an the M6 I'm eyeing.
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.
but then I think jeez I'd love a 21/2 or the 24/2. Even though I have the
21/3.5 and 24/28, for me the charm of the Zuiko system is still tied to
these fast wides (despite their relative infamy) I lust after.
Glen
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