Re: SLR Newbie - Step-up rings / lens cap questions

Robert Coe <bob@xxxxxxxx> wrote:

On Fri, 28 Sep 2007 18:46:03 GMT, Paul Furman <paul-@xxxxxxxxxxxxx> wrote:
: John wrote:
: > Tony Polson wrote:
: >>"John" <Machinist@xxxxxxxxxx> wrote:
: >>
: >>>I would recommend the 50mm f/1.4 which is a little better. I have
: >>>both.
: >>
: >>Better in what way, exactly? It has only an extra two thirds of a
: >>stop, which the average shooter will use how often? It has no other
: >>redeeming features.
: >>
: >>Optically, they are both pin sharp across the frame at f/8, but they
: >>both have hideously harsh bokeh wide open. The f/1.8 has much better
: >>sharpness wide open than the f/1.4 used at f/1.8, so what is the
: >>point? Unless you absolutely need that extra two thirds of a stop,
: >>the f/1.8 is a much better buy. Smaller, lighter, sharper, and very
: >>much cheaper. One of the sharpest 50mm lenses ever made.
: >>
: >>>Always try to go as low on the f stop as possible when buying a lens.
: >>
: >>Nonsense. Buy the lens that offers the most in the areas that matter.
: >
: > I suppose you think the 50mm f/1.2 that cost $1300 is no way as good as
: > your cheap f/8 at $60.00...Wahahahahah...........
:
: Well I only paid about $300 for my 50mm f/1.2 but it's not as sharp as a
: 50mm f/1.8 for $100 just faster so interesting for special uses. They
: have to make compromises to get a lens that fast. But yes as a general
: rule faster more expensive lenses are better than cheap slow lenses.

Not to lecture Paul, since he obviously knows this, but lenses of equal
quality but different speeds are usually designed to have different points of
maximum sharpness. Back in the film days, my wife and I had two 50mm lenses
for our Nikons: an f/1.4 and an f/2. Both were excellent lenses; but IIRC, the
point of maximum sharpness of the f/1.4 was f/4, while that of the f/2 was
around f/5.6. So while the extra stop of the f/1.4 was nice indoors, the f/2
was a better outdoor lens.

The ~50mm Nikkors were also optimised for different focusing
distances. Most were optically at their best at infinity. Obviously
the 55mm Micro Nikkor was optimised for macro work, but it was still
exceptionally sharp at infinity.

The 50mm f/1.2 AIS Nikkor differed in being optimised for a focusing
distance around 3 to 6 metres (10 to 20 feet). It was aimed squarely
at the photojournalist market, and that range of distances was thought
to be most often used. At wider apertures, it was noticeably less
sharp at infinity than at 6 metres. Stopped down to f/8, it was
adequately sharp at all focusing distances between about 2 metres
(6 feet) and infinity, but it made a poor lens for close-up work.

In Japan, the 50mm f/1.2 is very much a cult lens. It is a quirky
optic, and it takes skill to get the very best out of it. Of course
it lives in the shadow of the superlative 58mm f/1.2 Noct-Nikkor,
whose characteristics are very different.

The Noct-Nikkor is a beautiful lens, one which carries a very high
price tag. Good used examples even exceeded the price of used Leica
50mm f/1.0 Noctilux-M lenses until Leica significantly increased the
price of that lens earlier in 2007.

The rare Elcan-made glass used for one element of the Noctilux is no
longer manufactured. Therefore, it would appear that Leica has
decided to cash in on the remaining stock, after which the Noctilux
may not be replaced in the Leica range.

.

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