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Nikon D300 - AF S 70 200G ED VRII - TC 20E III

it was quite windy and impossible to use a tripod and a slow shutter speed.

 

Shot this with Zeiss Loxia 25mm f2.4

 

I think the color straight out of the camera with this lens is not great but still much better than most of typical Sony lenses. .

I think Zeiss lenses usually get better color without too much photoshop color manipulation and Nik kind of filters.

  

But I think I still don't like Sony color(even with a Zeiss prime) for flowers or nature in general(too green biased).

That said, I think SOOCC of Sony(especially with a Zeiss Loxia prime) is great for urban landscape or winter snowscape or like that kind of dark and gloomy stuff, to me it is more realistic than typical Canon or Fuji SOOCC.

  

(updated 2)About Sony E mount wide angle selection 4(why buying a Zeiss is safer than an expensive Sony GM or any expensive lens from an Asian lens maker) :

 

Now we have got more choices and it is getting more confusing than ever.

The Zeiss Loxia 25mm f2.4 is just out in the last week of the last month(Feb 2018), I have tested it a several times and ordered 2(one for me and one for my friend). I think it will be a perfect walk around and architecture lens for me.

The Zeiss is a good lens, no doubt about it. But a just few weeks after this lens announcement, Sigma and Sony also announced their version of a good(not sure if they are great yet) 24mm fast prime respectively and I am sure they are a bit more main-stream kind of a lens than the Zeiss and a lot of people prefer that(although I have almost no interest in these).

The Sony FE24mm f1.4GM lens will be a bit smaller than their 35mm f1.4, they could make it dramatically smaller than the similar quality Canon or Nikon or Sigma as they designed it specifically for the short flange back design of the E mount.

The 24mm is one of those FL's where Sony can take huge advantage of the short flange design of the E mount, so it is surprisingly small, a much smaller lens than the similar Sigma(but much more expensive, I heard it would be around 1.9k USD).

So I might get the Sony in addition to the Loxia 25mm f2.4 but only when it is really as small and sharp as it is said to be by Sony guys. Sony guys say it would be not just smaller than the Canon or the Nikon version but about 200g lighter than their rival 24mm f1.4 primes..

If tue, it will be amazing.

But,to me, 24/25mm is a street or walk around with my dog kind of lens, or sometimes a serious architecture lens that requires the across the frame sharpness of many Loxia or Voigtlander primes at f4 or a smaller f stop and so I do not need anything faster than f2.8 in this focal range(but it must be very extremely sharp across the frame at f4 and smaller f stops), so the Loxia 25mm is a good lens for me, but unfortunately not a great lens...........

So the Loxia 25 is a must-buy lens if you love manual focusing and a bit slow but super sharp at infinity kind of lens even at the big cost of a bit of annoying Lo-CA and distortion.

Even with the known CA and distortion issue, the Loxia 25mm f2.4 is a sharp lens even wideopen and at f4 it is really extremely sharp.

But still, it is not as good as the 85, it is a superb lens for a wide angle prime but not as good as many of optically really well corrected mid range primes such as the Loxia 85mm f2.4, the Voigtlander 65mm f2APO(the best E mount prime for now, now I am 100percent sure about it), the Sony FE50mm f1.4ZA, the Zeiss Batis 135mm f2.8APO(the second very best prime in the current E mount system)...

That said, I still think it is the best corrected Zeiss wide angle prime for the E mount system, with much less serious field cuvature issue than that of the 21mm Loxia or the 18mm Batis. And its central resolution is way better than any of the other E mount Zeiss primes(the Batis 25/2, the Batis 18/2, the Loxia 21/2.8).

The Loxia 25 seems to be quite a bit sharper than a great copy of the 21 especially into the edges and corners. It also has a bit less pronounced distortion and it has a lot better coating and micro contrast than that of the Batis 25mm f2.

So is it a no-brainer? For me ? yes........it is a easy pick. But for most of people the Sigma may be a better value. Last night I was reading a several tests on that lens (Canon version) and I realized it is a really sharp lens even at f2.8 it is sharp across the frame.

The new coating of the Sigma seems to be very good too. It has a bit pronounced heavy vignetting at f1.4 and f2, but from f2.8 or so, it is just fine.

Comma may be a bit of issue for Astro stuffs but if you do not do it then it won't be any issue.

It is big and heavy but not obnoxiously so like their 85 or 105mm one.

I can tolerate that if I have to (I mean if there is no Loxia 25mm kind of a tiny MF prime for the E mount yet).

The best of all , it is very cheap at 889 US or so. Here it is about 91800yen(about 845 US). The AF of this new Sigma is just fine, optimized for the E mount bodies.

I think the Loxia 25mm is a good lens for sure, but it is not a great value (not the best bang for your buck kind, it is quite expensive).

And if I have to be 100 percent honest with myself, then I would have to admit I was a bit too excited about this lens when it was first out and tried two copies but one was defective(clearly decentered and replaced by Zeiss without any question asked).

It is a good lens and may well be the best E mount wide angle prime, but still not as good as the Batis 135mm or the Voigtlander 65, or the Sony FE50mm f1.4, or even not as sharp as the Voigtlander 40mm f1.2 at f4.

And while it is a great lens for a wide angle prime, its best resolution is no where near the record breaking result recorded by the Voigtlander 65mm f2 APO.

So there is still no even one great wide angle prime for any FF system just yet........

I understand those super sharp wide lenses are much more difficult to design than a mid angle prime, but I hope someday we will get a few wide and super wide primes that perform like the best corrected mid angle primes such as the Voigtlander 65mm f2 APO, the Sony FE50mm f1.4 ZA Planar, the Zeiss 135mm f2.8 APO Batis, etc.

Now I am waiting for my Voigtlander 40mm f1.2. I had this lens a couple of times in the last winter but stupidly sold it and it has been back ordered since the last Chinese New Year's day.. I think it will arrive tomorrow or a day after tomorrow, so I will be very busy testing it over the next few weeks.

One thing I really felt amazing about Zeiss this time was their outstanding service:

My first copy of the Loxia 25mm f2.4 was clearly decentered and I sent a few images from it to Zeiss, Zeiss did not even ask me any crazy questions or insulting comments on my testing skill or anything in any nasty sarcastic way, but just sent me a replacement.

And they told me after testing it against my first copy, then send my first one back and they also paid for the shipping back fee.

Amazing service! If it was Sony , then they just'd tell me my testing method is wrong or it is just not in the focus plane and so test it again at a smaller F stop, etc.

And probably they'd never honor the warranty.

This is why it is safer to buy a Zeiss or Voigtlander prime than any expensive Sony prime.

I also find Sigma support and service excellent.

 

UPDATE: I really confirmed my final copy of the Loxia 25 has no decentering problem and I registered it online.

To my surprise they gave me 3 year extended warranty for free.

Amazing service, and I think all Asian lens makers(including Sony, Fuji, Samayng, Laowa, Canon, Nikon, etc) should learn how they should treat their highend lens customers from Zeiss.

 

Nikon, Canon, Sony , Fuji , Samyang really suck in this area and they must improve it to Zeiss level if they really want to be perceived as a premium lens brand. They are even worse than Sigma in this regard and they are definitely much worse than Tamron. Even cheap lens makers like Tamron Sigma can give you proper 2 year warranty for any lens they make then why can Sony , Canon and Nikon do the same for their respective premium line of lenses?

 

UPDATE: Now we've got the Tamron 28-75mm f2.8RXD lens , and it was out a couple of weeks ago in Japan.

I have tested it a several times already and the copies I test were all sharp, without any centering issue.

I am not sure if I keep it or return it, but I think it is at least as good as the FE24-70mm f2.8GM in the overlapping range, with the GM winning in the wide end and the Tamron winning in the long end.

At 70mm f2.8 , the Tamron is noticeably sharper, with a bit less pronounced CA.

The weak spot of Tamron and GM is terrible flare resistance and a bit pronounced pincushion distortion at the long end.

To me what really surprising about this lens was its AF performance , it is better than my FE24-105mm f4G and almost as fast AF-ing as the FE24-70mm f2.8GM.

 

So I may keep it as I have the excellent FE16-35mm f2.8GM and FE11-24mm f4G also.

Maybe the current best camera bag space saving lens kit without compromising significant resolution or sharpness consists of these below:

1 FE16-35mm f2.8GM

2 Zeiss Loxia 25mm f2.4

3 Tamron 28-75mm f2.8 XRD, which is much cheaper lighter and smaller than the FE24-105mm f4G OSS(a mediocre lens).

4 Voigtlander 40mm f1.2 SL

5 Batis or FE85mm f1.8(I prefer the GM but it is too huge for a small bag)

6 Batis 135mm f2.8 APO(expensive but it is small for a quality 135mm prime).

 

If we need anything longer , then add the Tamron 70-210 f4 USD or new Canon EF70-200mmf4LIS MK2 , which is said to be the best sharpest 70-200mm of all makers.

   

Nikon D300 * AF S 70 200G F2,8 IF ED VRII * TC 14E II

 

Pelagic Trip Viareggio 18.05.2012

 

Dal pontile di Lido di Camaiore

AF S 70 200G ED VRII + TC 20E III

Shot with Nikon D700 + Nikon 70-200 F2.8G + TC-20 III

exploring the winterly garden

 

Nikon D3 & AF-S Nikkor 2,8/70-200G VR-I

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G VR II

Nikon 1 J1 + FT1 + TC-20EIII

+ 70-200G VR II

Nikon D300 - AF S 70 200G ED VRII - TC 20E III @ 400

Nikon D300 + AF S 70 200G + TC 20E III @400

Nikon D300 + AF-S 70 200G f2,8 ED VRII

Shot with Nikon D700 + Nikon 70-200G VR II

AF S 70 200G ED VRII + TC 20E III

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with the Nikon D700

Nikon D300 1/125@f/8 ISO 200 Nikkor 70-200G VRII f/2.8

PHOTOGRAPHER MAYHEM #2785731

[Nikon D70 Tokina 19-35 ISO200 F8ish raww > APP 1.4 > 43-shot pano about 93deg FOV horizontal, rendered to ~25%]

 

Note that I am Geo-tagging this as somewhere on Skyline Drive just north of the Blue Ridge parkway, which is really the most that I can remember of it...the one part that I do remember is Rt56 heading east off the Blue Ridge Parkway. Just before it got pitch-black, as the the sun was going down behind the mountains across US81.

 

Trust me you don't want to do that on a bike.

Unless you're more than slightly suicidal.

 

So anyway this scene wasn't all *that* impressive but I definitely wanted a pano of it.

So the thing is that between Skyline Drive and the Blue Ridge parkway much of it is similar, and there are just hundreds of overviews, with a few that really stand out (as one heads farther south the mountains get much more uniform and there are fewer large valleys), and there are miles and miles of road to ride and overviews to shoot, 200 miles and at least one overlook per mile...but it just deserves some real time and effort, but if you do that you'll never get through it. And it's tiring as hell to stop, pull out a camera, take shots, then put it away and get going again, especially if I pull my helmet and gloves off, especially if I have to pull it out of my backpack, which is what I was resigned to do as I couldn't get the straps short enough on my DSLR with a lens on it, to keep it from banging against the tank when I rode. So some sort of camera-carry on the tank is in order...or a smaller camera...or a lanyard of a cord...or a hip holster...but the main thing is that it's just a PITA to ride this and take shots every 500 yards or so. And it destroys the ride, on top of that. The thing to do is to ride about 45m or so, ride until I need to take a break, as mile after mile of twisty road and a succession of somewhat-near-to-death experiences gets a bit tiring on a bike, and then stop somewhere and take some shots. 250 miles at an average speed of 35mph, you're going to get plenty of good shots that way.

 

Don't give into the urge to stop and shoot everything that looks halfway-interesting, or to take a bunch of pictures every 2 or 3 minutes. And I think that holds in general. You don't want to ruin the trip in the process of trying to get a good picture (or more than one good perspective) of everything that's even remotely interesting. And in any case you're probably just going to come back with a bunch of average shots despite your best efforts, with *maybe* one or two good ones. The results will be better when you're not rushed, and you will be rushed if you spend too much time taking shots. Aside from the associated technical difficulties like perspective error in the above pano and poor shooting technique, which *will* happen, even if you take your time...you'll still forget those little details and fight to get great framing, meaning at least 75% of the shots will be a waste...with one or two gems popping up in them. I'm fully aware that I tend to take a lot of shots because I move towards perfection rather than getting great shots as soon as I start to take pictures, and that makes me a lot more willing to take say 20 shots of a scene than I probably should be. But combining that with a whole lot of scenes to shoot and I spend a LOT of time and effort taking shots and come back with hundreds of them, of which maybe 10 or so are really any good. So I've learned to just cut the number of scenes that I shoot and give myself more time and energy to try to get good shots on a handful of them, even if in doing so I miss some good scenes altogether.

 

There's just so much crap to shoot along this road and in the end I have to have faith that I'll be up here again and there will be other times. Now if this was *Paris* or someplace similar, a place that is not just huge but full of interesting sights and I'd get there maybe once or twice in my life if I'm lucky, I'd pretty-much have to dedicate a day maybe two to just walking around and taking pictures. That actually works well, because then I'll go to and see places that I wouldn't have otherwise, and discover local idiosyncracies that I would never have thought of looking for, when my focus is on "tourism" and "going places that seem interesting" (which usually means something specific) and not just dropping myself into the stream of life and not worrying about anything more than just walking around and taking pictures of whatever suits me, maybe stopping to eat when I get hungry. My best shots and often my most enjoyable explorations come when I just forget about everything else for an afternoon and just wander around with a camera, a couple of lenses and a lot of film. Good digital gear and especially "great" lenses cost so much that I have to drop a grand or so into the gear, and that really cuts into that casual "let's stop here and eat" or "let's go on this excursion" that one really needs to get out and about and discover and enjoy the local scenery...spending a lot of money on gear for "tourist" shots is self-defeating, just like carrying a lot of big & heavy gear. Trust me, a $150 400g non-IS Tamron 28-300, a $100 200g Tamron 19-35, a $25 150g SLR body, a $15 100g 18" tripod and $10-$15 worth of film of eBay plus a $50 Epson V300 scanner back home will take you far especially in good light which is usually the case unless you insist on taking handheld shots around twilight. That's $350 worth of gear and the associated digital gear will cost you $300 just for the *body* even in a subframe, and you're not going to get the equivalent Tamron lenses for a subframe for under $200 each. For that kind of money you're locked into a G12 or S9100 or something similar. And they are fine for most wide-angle shots but you'll always be fighting the limited DR and 10-bit per channel color. They're just not DSLRs and can't take DSLR-quality shots. Or ok spend even more money for decent micro-4/3rds gear. The one thing is that I've yet to take film through airport security so I'm not quite ready yet to put my full "faith and security" into film for international travel. Plus, truly, the newer cameras mostly just focus better, faster and more reliably, than the old ones. So if you're going to use old gear you should be comfortable getting it to meter and focus reliably. But seriously between my BB9550 and my 500si and those two Tamron lenses I'm not really sweating. I'd rather have an A850 and the S9100, definitely, but that's $2500 worth of digital gear just to replace a functional and decent cellphone-camera and a good SLR. There are many things that I could do with $2500 other than take pictures slightly better than I can take them with the gear that I already have.

 

Funny thing, I had the N80 on me with the Tokina 19-35 and I had ISO1600 film in it...I didn't even think of finishing out the roll and putting some ISO100 in it and at least trying this shot with the two together. I have about 20 rolls of Fuji ISO1600, it may be a while before I shoot another roll of it much less finish those 20 rolls, though I'll probably run another roll or two through the 500si just for fun. I'm not buying a Tamron 28-300 regular for the N80 (though I might get one for the D70), and the debate now is whether the Tokina 19-35 will stay on the D70 or the N80. But it's going to be a long, long time before I buy another Tamron 28-300VC in Nikon-mount unless for some reason I buy a subframe and start to shoot movies. That was just a beast of a lens to haul around, and yes I know it's not even that big and heavy compared to say a 70-200 F4. I know. Doesn't change the facts when you're actually carrying it. I may have to try the Tamron 10-24 after all. If I want to shoot digital ultrawide landscapes cheep. KR whines that the Tamron 10-24 is much softer than the Nikon 10-24 when shot wide-open but I suspect that someone forgot to tell him that cheap zooms aren't supposed to be shot wide-open and with wide-angle shots who really cares if the corners aren't laser-sharp. Plus it's 18mm effective...you can shoot it at F11 handheld. One of the shots in this pano is 1/10s handheld at 30mm effective, came out fine. A lot of them were 1/15s.

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikkor 70-200G F2.8

Nikon D2X, 70-200G VR AF-S

Redispen 1.5mm, 55 years old.

 

Nikon D7100

AF-S 70-200G-ED 1:4 F200mm F4

Mitutoyo M PLAN APO 10X.

Mirror up time 1500 ms.

Time= 500ms

12 Cree power leds 80W peak 3300 us on time.

 

Color leds:

Red 99%

green 50%

Blue 0%

White 0%

Color time 19 msec.

 

Led flash delay after shutter open: 480 ms .

Zerene stacker: 140 steps @8 um.

ControlMyNikon tethering software V4.3.

 

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G VRII

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G VRII

Cross-view sunflowerseed.

 

Nikon D7100

AF-S 70-200G-ED 1:4 F200mm F4

Mitutoyo M PLAN APO 10X.

Mirror up time 1500 ms.

Time= 500ms

12 Cree power leds 80W peak 3000 us on time.

Led flash delay after shutter open: 480 ms .

Zerene stacker: 120 steps @10 um.

StereoPhotoMaker.

ControlMyNikon tethering software V4.3.

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikkor 70-200G F2.8

Shot with Nikon D700 + Nikon 70-200G VR II

Parte do material de trabalho...

 

Estou paquerando agora umas belezuras, como a desejada 70-200VR e tops 150 HSM Macro, 12-24, mais um SB600 e quem sabe talvez uma D70 como step...

 

Abraços

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikon 70-200G VRII

Shot with Nikon D700 + Nikkor 70-200G F2.8

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with Nikon D700 + Nikkor 70-200G F2.8

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

Shot with the Nikon D700

Shot with Nikon D700 + Nikon 70-200G VR II

Shot with Nikon D700 + Nikon 70-200G F2.8 VR II

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