good glass
Mar 12, 2014 17:34:24 #
romanticf16
Loc: Commerce Twp, MI
pappy0352 wrote:
I have read the entire thread so I thought I would add my 2 cents. I'm an older man who is disabled and live on a small income. I shoot with a canon 60D and use mid range glass because that is what fits my budget. Would I like L glass, hell yes but I know this wont happen. I consider myself an advanced amateur. Will my any of my shots ever be in National Geographic no, but photography is my passion and always will be. To me the most important part of my shots is how I like them.
Pappy
Pappy
If you were the only photographer at the right place at the right time you could be in a national magazine. Do a google Search on Joe Clark, HBSS.
Mar 12, 2014 17:42:47 #
roy4711 wrote:
when we talk about good glass can we say zeiss is the best.
I'm certainly not qualified to answer this. But to me, the question is too vague. Better in my mind is to get specific. Better to talk about good lens for a specific camera, a specific purpose, and a specific budget.
Barring unlimited assets, the answer for a Canon camera used for birding, without completely breaking the bank might be the new Tamron 150-600mm. Or perhaps the Canon prime 400mm. Or perhaps the Canon 100-400mm. But perhaps not a 100mm macro lens. Or perhaps adding in a telextender. Or perhaps if the need warrants it, spending $6,000, or $12,000 on a longer reach lens.
See what I mean... It depends!
Mar 13, 2014 09:55:25 #
On the movie side of things, I've used Zeiss, Angenieux, Nikkor, and others. Zeiss made "superspeeds" which were a set of excellent, fast, shorter primes, and we used them because we wanted to use a film without too much grain.
Recently, I compared the Nikkor 12-24 on a Metabones adapter, making it a sharper, shorter f/2.8 lens; versus a Kowa 6mm f/1.8 1" sensor C-mount (on the OTHER Metabones adapter) machine vision lens for a film of a truck trip from Florida to California shot on a Black Magic Design Pocket Cinema Camera.
The look of the Nikkor is generally sharp, but I had deja vu when looking at the Kowa footage. Not only is the thing WIDE (hard to do on the Pocket Cinema Camera) but it is tack, tack, tack sharp.
Deja vu? I was once doing a Rank Cintel film transfer, color corrected, when the somewhat famous color corrector stopped the machine and said "what happened?" He referred to the huge jump in quality when we introduced a specific prime in the shoot. In the movies, it is a PROBLEM when you have varying quality, but this was an industrial, so no one cared. This is why you do lens testing before shooting a movie. Of course, these days, with the fusillade of digital post everything possible, lens differences are generally mitigated. That said, you ALWAYS go for the "good glass."
Recently, I compared the Nikkor 12-24 on a Metabones adapter, making it a sharper, shorter f/2.8 lens; versus a Kowa 6mm f/1.8 1" sensor C-mount (on the OTHER Metabones adapter) machine vision lens for a film of a truck trip from Florida to California shot on a Black Magic Design Pocket Cinema Camera.
The look of the Nikkor is generally sharp, but I had deja vu when looking at the Kowa footage. Not only is the thing WIDE (hard to do on the Pocket Cinema Camera) but it is tack, tack, tack sharp.
Deja vu? I was once doing a Rank Cintel film transfer, color corrected, when the somewhat famous color corrector stopped the machine and said "what happened?" He referred to the huge jump in quality when we introduced a specific prime in the shoot. In the movies, it is a PROBLEM when you have varying quality, but this was an industrial, so no one cared. This is why you do lens testing before shooting a movie. Of course, these days, with the fusillade of digital post everything possible, lens differences are generally mitigated. That said, you ALWAYS go for the "good glass."
Mar 13, 2014 11:44:09 #
Mar 14, 2014 12:30:30 #
wj cody
Loc: springfield illinois
i could not tell you, as by the time i got to the halfway mark on the bottle, i cudnt thasthe a dam thi....
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