> Don't have to ask me, I did. It's the 28 all the way. But you must
> understand, if they were equal in every way but fl, I'd still take the 28
Both lenses are gobsmack sharp on the 6D. Extremely sharp. The 28/2 is
probably just a bit better behaved, but that may be due to the
generation that the 35/2 is. It's a silvernosed MC lens.
DoF is an "output-based" calculation. If I take an picture with the
28/2 and match it up with the same picture from the 35/2, and even
knock the aperture down another notch on the 35/2 so try and get
equivalent DOF for a given cropped output, the 35/2 has a
substantially different sharpness falloff than the 28/2. The 28/2 does
that "zone of in-focus" thing, whereas, the 35/2 has a distinct "plane
of in-focus" with a radical divergence on either side. So, even if I
give an aperture crutch to the 35/2, the 28/2 has greater apparent DoF
because of how the two lenses render the out-of-focus divergence. The
28/2 is more like a modern zoom lens in that regard. The 24/2.8 is
somewhere in the middle.
For landscape photography, the 28/2 is better as a result. The DoF
appears deeper. For event photography, the 28/2 is certainly more
forgiving. The 35/2 provides a distinct subject separation from the
background. The 28/2 is more clinical in this regard.
I've mentioned the "wrap-around" aspect that some of the top-dog
Zuikos have. The 35/2 is the poster-child in this regard. The
35-80/2.8 has it, the 50/1.2 has it, the 100/2 has it, the 90/2 has
it, and my 100/2.8 has some of it. The 28/2 does have a tiny little of
it, but not to the same extent. This "wrap-around" characteristic is
something that I think I'm starting to figure out how it actually
works. There is an optical aberration that renders the back-focus and
the front-focus a little differently. This is partially the
green/purple fringing thing, but it's also a little bit of folding of
the out-of-focus back into itself. It causes a type of "rimming"
around our subject that causes it to stand out from the background.
Kinda like an in-lens "clarity" control. This could explain why the
50/1.4 and 100/2.8 will exhibit it at certain subject-camera
distances, but not universally so like the high-brow lenses.
The bulk of modern lenses (with some notable exceptions) have all
aberrations ironed out of them. They just don't do the same thing.
It's more than just large aperture and bokeh. It's what is happening
in that first portion on either side of the plane-of-focus.
AG Schnozz
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