At 20:39 2/8/02, Wayne Shumaker wrote (way over his posting quota):
Agree, the 50/1.2 is a different lens altogether. I also think the
50/1.4 SN<1,000,000 is quite different than the 50/1.4 SN>1,000,000.
Perhaps we are splitting hairs. I will have to try them all out on
suitable subjects. Now I have a project for myself. I would even opt
for another 50mm ADITL shoot.
Wayne (who is way over posting quota now)
Indeed . . .
I have a 50/1.4 MC S/N < 1M, another S/N > 1M and < 1.1M, and a third made
after the "MC" deleted from the lens ring markings with S/N > 1.1M. I
cannot tell any difference between the latter two with S/N > 1M, save the
exact lens ring markings. This extends to difference in "performance"
(resolving power and contrast). Both are excellent. I can tell a
difference between the first one (S/N < 1M) and the latter two in just the
lens coatings. This is indicative of a slight formulation
change. Although it's also been a strong performer, it runs just behind
the pair of newer ones.
All these 50/1.4's run just behind the 50/1.2 in contrast and resolving
power. I suspect you will have similar findings if you can shoot some
"slow chrome" and project them onto a matte screen with a good projector lens.
If you do this, don't confound results; use the same film, same body,
same/similar subject material, and focus carefully on high detail subject
material. Still not a completely "scientific" experiment design, but
better than random shooting for partially minimizing variation from other
effects.
Another 50mm standard lens ADITL or similar event would be a Good
Thing. It's the "workhorse" focal length for general
photography. Transports me (and I would guess many others) in the "Wayback
Machine" to a time long ago and far away when it was the *only* lens I
had. Somehow I always managed to find some aspect of the subject that
could be celebrated using only that length. These types of constraints are
an excellent exercise in learning how to "see" the subject material.
-- John
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