Gee Moose. Not sure why you found that experiment irritating. Seemed
definitively in favor of the PL 12-60 if macro w/o auxiliary gear has
priority. The rendering was nicer at least in part due to the FL. The
roll-over was excellent and enjoyable.
Would have dearly loved to have seen the 12-100 with T132 at 100mm for one
shot to compare rendering/IQ with the PL.
The PL certainly looks more proportionate on that cam FWIW and probably handles
a bit better. That is less an issue on the E-M1-ii where the 12-100
balances fine and the sync IS is very impressive.
The color difference is quite substantial and would have thought only possible
with different sensors. The coatings/glass chosen on Oly are thought to be
different than Panny lenses as the sensor stack UV cut off on Panny is 430nm
vs 390nm on Oly cams. I don't know if that flower was a "purple" or had a
component of true violet--the latter being difficult for some cams but not as I
recall Oly. True violet on Canyon along with skin tones in an image was
especially an issue if used ACR if desired both to be "correct". Curiously
fine with Portra 160. I don't recall that much dramatic rendering
differences with lenses before for colors, except due to older coatings on
complex lenses such as the Viv S1 90-180. Subtle color rendering differences
appear to be common. The CV 90/3.5 vs Zuiko 85/2 for example render color
differently on Canon or some films for that matter. The greens in general
with the big foot little brother are more "jewel like", ?saturated vs the Zuiko
85
/2, ? due to the APO design.
Betwixt and Between, Mike
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