> Good information, thank you Ken
YW.
As an OM system geek and #1 fanboy since 1986, I can tell you what I've done.
For most of those years, my budget never allowed me to buy the top
level of Zuikos. I always had the very good, but not the best of any
focal length. Did that ever hold me back? Hardly. The second best
Zuiko is still as good, if not better, than most brands' best models.
Actually, this also had the benefit of being slightly more usable. The
smaller lenses are lighter AND have a touch less personality that can
overdraw an image.
Through those years, my primary lenses that I leaned on were first and
foremost the 35/2.8 and 100/2.8. Both of them were/are the older
silvernosed lenses (hence the AG Schnozz moniker). I also had a
24/2.8, 50/1.4 and 200/4. All silvernosed. Many other lenses came and
went, but those were my anchor lenses. Oh, and my pride and joy, the
35/shift. The 200/4 eventually died a horrible death and the 24/2.8
suffered greatly, too.
In the late '90s, early '00s, my kit kinda transformed a bit due to
very tight household budget. The golden child 35/shift went to live
with JDubs, in exchange for a 50/3.5, 200/4 and old scanner. I do
believe I got the best part of the deal. (Thanks, friend). These were
silvernosed lenses.
Due to some major giftings, acquisitions and other general swaps, here
is where I'm at today:
24/2.8 - Blacknose. This lens is very good and a real pleasure to use.
If I have any complaint about it, it's that when used on tripod with
an OM, there is a slight tendency for vibration blurring. Of all my
shorter lenses, this one is most problematic in that regard. It's not
the glass, just the specific conditions of my tripod system and the
lightweight lens on an OM body. The glass is good enough to max out
the resolution of my digital cameras. Best part of the 24/2.8 is the
extremely low distortion and the behavior of it hides the fact that it
is a super-wide. I'm on my second one after literally wearing my old
one out.
35/2.8 - Silvernose. I'm on #2. This is my "home lens". It's the one
that is just most comfortable, natural and relaxed. Not exactly
perfect, but it's the one that you eat dinner with every night and
knows what you look like before that first cup of coffee.
28/2 - Blacknose. I really like this lens, but feel like I'm still
dating it and learning that it doesn't like the same foods I like. Not
a bad lens, by any means, but it is so different than what I'm used to
that I haven't learned how to order for her yet.
50/1.8 - Blacknose. It's there. Nothing exciting. Nothing wrong.
50/1.4 - Blacknose. Yeah, it screems attitude. Get the OOF highlights
going on this lens. Sharp, contrasty and cocky. That's how it goes for
me. I'm not much of a 50mm person, but this lens gives me excuses to
shoot it. It's unreal on digital--nothing out there quite like it.
100/2.8 - Silvernose/hybrid - Mine is a mid-life model that is unlike
anything before or after. Very unusual, but extremely sharp. It's
interchangeable, from a sharpness perspective, with the 100/2. I think
that almost all 100/2.8 lenses are the under-appreciated gems of the
entire line, but the later versions are astounding. Mine has been my
#1 money earner across my entire career. I lived very comfortably with
this lens before getting the 100/2 and I would have died happy.
100/2 - Blacknose - Hubba hubba. Nothing more to add. Perfect in
pretty much every way. Maybe too sharp.
200/4 - Silvernose. The blacknose is better, but this lens is a very
nice lens that also works well on digital cameras. I'm on my second
one.
300/4.5 - Silvernose. The blacknose is probably better, but I'm not
noticing it. Sharp wide-open, very well optically balanced. CA does
show up once in a while. Bokeh to die for.
35-80/2.8 zoom. DUDE! This is as best as it gets. 3D imagery.
Extremely sharp. My portrait lens of choice.
--
Ken Norton
ken@xxxxxxxxxxx
http://www.zone-10.com
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