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#321
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"Alan Browne" wrote ...
I recall that now. I was very surprised that the 4/3 Oly 300 was so large v. the 35mm framed cameras considering that it should aim for a smaller target. One of the claims of Oly is a 'smaller lighter system' after all. It should have a very fat sweet spot and be exceedingly crisp across the sensor. I can understand the Oly marketing on this: "Give them equivalent to 35mm full frame 600mm magnification. Give them more aperture. Give them a fat sweet spot in the lens". So, indeed it would be worth it for pro nature and sports shooters. They could have leaned it down optimally for the sensor at the same aperture (f/2.8) and made it less expensive, but they chose the "ultimate" route. It will be interesting to see how many show up on the sidelines. -------------------------- I shoot sports, and have just recently started showing up on the sidelines with my new Olympus equipment. It has, naturally, attracted quite a bit of notice, as my colleagues were very accustomed to seeing my ubiquitous white Canon lenses. I don't have an Olympus 300/2.8 (I'm holding out for the 90-250/2.8), but I'm sure it would only further add to the shocked reactions "I didn't know Olympus made digital SLRs!" : ) Rob |
#322
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Alan Browne wrote:
unless you have HSS on your flash/camera. It does.. -- Stacey |
#323
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Diane Wilson wrote:
DOF is a function of image magnification (mostly due to longer focal length) and aperture. Film or sensor size doesn't enter into it. So if a faster lens does give you an extra F stop, then yes, you do get more creative control over depth of field... in the sense that if you want to go with a more shallow depth of field, you can do it. I wish this was the case (for somethings?), but it's not. The problem is with a smaller sensor be if digital or film, to keep the same FOV at the same vantage points you use a shorter lens. The coc size needed for the size of the print for the given format also comes into play. 4/3 or any of the APS size sensors has more DOF than say a 35mm camera does at the same FOV and fstop. http://www.photo.net/learn/optics/dofdigital/ I really don't think there is a whole stop between 4/3 and APS, especially printing 8X10 perspective though. -- Stacey |
#324
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#325
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Diane Wilson wrote:
In article , says... Diane Wilson wrote: DOF is a function of image magnification (mostly due to longer focal length) and aperture. Film or sensor size doesn't enter into it. So if a faster lens does give you an extra F stop, then yes, you do get more creative control over depth of field... in the sense that if you want to go with a more shallow depth of field, you can do it. I wish this was the case (for somethings?), but it's not. The problem is with a smaller sensor be if digital or film, to keep the same FOV at the same vantage points you use a shorter lens. The coc size needed for the size of the print for the given format also comes into play. 4/3 or any of the APS size sensors has more DOF than say a 35mm camera does at the same FOV and fstop. No, it really is based on magnification. Only on the SAME SIZE FORMAT. I understand focal length isn't the issue, but you have to remember FOV changes with format size so to keep the same relative image size at the SAME SHOOTING POSITION, focal length changes so magnification changes as well. *Everything* to do with DOF is derived from basic optics. The type and size of the sensor or film does not enter into the equation at all. Sorry Diane you're wrong here.. Go shoot with a 4X5 and then come back with examples of how a macro shot of a acorn -full frame- on 4X5 shot at F8 has the same DOF as the same acorn -full frame- on a APS dSLR at F8. I've done both and it's not EVER in the same ball park.. I suggest you spend 10 minutes and actually READ the weblink I posted. -- Stacey |
#326
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"Tony Polson" wrote in message ... Chris Brown wrote: In article , Lourens Smak wrote: In article , Alan Browne wrote: I really can't care less. What is key to understand is limits. And the 4/3 system is inherently limited due to its physical size. That's what people said when Oskar Barnack showed them the first Leica... And they were right - three quarters of a century later, cameras using 120 film still deliver vastly superior image quality. On that basis, we should all be using 4x5" film, because all the more popular formats are vastly inferior ... The truth is that, in the pre-digital world, 35mm was more than good enough for 90% of photography, and it still is. Yes, 120 roll film is better, and 4x5" is much better, but 35mm is still more than good enough for the vast majority of purposes. Barnack was right. And so it is with Four Thirds. At ISO "speeds" up to 400, the Olympus E1 and E300 (E-VOLT) produce essentially noise-free images at 5 MP and 8 MP respectively. The E1 is essentially noise-free at ISO 800. In bright light where ISO 800 is not needed, yes, but in low light, it is very noisy. With the noise filter on, not so bad. I own 2 of them, and try my hardest not to go over ISO 400. The other aspects are what draw me to the E1. Reliability, durability, build quality, sharp optics, beautiful color, little post processing required, and there are fast zooms, faster than anything put out by Canon & Nikon, 2 lenses that give an effective FOV from 28mm - 200mm, we're talkin' a constant F/2, on the horizon. THe lenses are light weight, which is important to me. Patrick |
#327
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#328
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