> I'd give up the 35-80/2.8 or the 90/2 before I'd let go the
> 100/2. I feel pretty much the same way about the 135/4.5,
> too.
I've had the opportunity to use a 100/2 under the watchful eye
of its owner. If Joel hovered any closer the lens would have
fogged. ;)
Anyway, I will admit that it's a very sweet hunk-o-glass. Very
sweet indeed. However, the controls were switched around and I
felt like I was using a Nikkor. It looked REALLY good on my E-1
and I shot a few comparison shots, but strangely enough, it
wasn't comfortable to me. Maybe it was the nervous owner
nearby, maybe it was the knowledge that it cost more than almost
my entire kit. Regardless of what it was, I happily returned to
my 100/2.8.
Now, I'll brag that my 100/2.8 is a bit "special", but honestly,
I cannot tell, from a technical analysis, which shots were taken
with which lens. I'm sure if I did a wide-open shot that would
have been visible, but my standard F-stops were dead on the
same. The colorcast is the only differentiation between the two
lenses in the E-1 shots. When I get a better sensor maybe I can
tell the difference then.
My favorite Zuikos still remain the 24/2.8 (awesome linearity),
the 35/2.8 (wide-angle bokeh monster) and the 100/2.8.
Sometimes, better optics just don't have enough extra oomph to
offset the cost and logistical issue of carrying them around. I
don't care how good a lens is, if you don't have it with you it
ain't worth the spit it could hold.
Years ago on this list we talked about what was the best looking
OM setup. I think the concensus was: OM-3Ti with MD2 and the
100/2.
There is a part of me--the retrogrouch--that would pick up an
OM-3Ti and a few of these deeeelux F2 lenses and kiss off
digital. It sure would make weeklong back-country expeditions a
whole lot easier than the nightmare of digital in the field.
Hey, I've got an outstanding film scanner--what more do I need?
AG
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