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#11
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Why no 28-300/18-200 lenses with lower f-stop?
On 7/13/2011 8:19 AM, Pete Stavrakoglou wrote:
wrote in message ... "David J wrote: wrote in message ... In , Bruce wrote: So I have this Tamron 28-300 (which is 18-200 on a FX body, right? Sorry if I get that backwards) which is a fine enough lens, but it goes from f3.5 - f6.3. It's not a huge lens by any stretch. What I am wonder is why such a lens can't be made that is either 2.8 straight through or has an at least lower f-stop throughout (say 2.8 - 4). It simply isn't possible to make a good, wide aperture 11X zoom lens at an affordable price. You can thank the laws of physics for that. that's why they're not wide aperture, but rather f/4-5.6 or so. 11X zoom lenses are best avoided. Period. nonsense. For some it may be true. The rest of us will make our choices according to our own needs. There are plenty of times when the 11X zoom is the best tool for the job, as you imply. Self-justifying nonsense. No-one "needs" an 11X junk zoom. There is never any situation when an 11X zoom can be "the best tool for the job". It is always the worst tool for any job. An 11X zoom is a choice only for undiscerning camera owners who don't care about image quality - people who bought interchangeable-lens cameras (why?) but are just too darn lazy to change lenses. Still nonsense. Of course it is. While the quality of even a 10x zoom may not be equal to that a a top notch prime, It can be quite useful when weight and bulk are issues. -- Peter |
#12
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Why no 28-300/18-200 lenses with lower f-stop?
On 12/07/2011 10:12 AM, Bruce wrote:
An 11X zoom is a choice only for undiscerning camera owners who don't I know pros that have bought 18~200 lenses. They are all that bad, I've also sold 200~400 VR lenses, lots of 70~200/2.8, 300/2.8 400, 600 etc.. At the end of the day the lens on the camera will always get you better than the one your dream list that is still sitting on a dealer's shelf. |
#13
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Why no 28-300/18-200 lenses with lower f-stop?
On 7/10/2011 2:11 PM, Sandman wrote:
What I am wonder is why such a lens can't be made that is either 2.8 straight through or has an at least lower f-stop throughout (say 2.8 - 4). It could be made. In fact, here's a link to what purports to be a 1990's Nikon design prototype for a 28-200mm f/2.8. The page is in Italian: http://snipurl.com/1jwhqq [marcocavina.com] Such a lens would, of course, be considerably larger, heavier, and more expensive than a 70-200mm f/2.8. My own guess is that it would be _so_ big and heavy as to destroy most of the convenience value of a superzoom, and so it wouldn't sell all that well regardless of optical performance. On the other hand, if Nikon were to make the 75-150mm f/2.0 prototype shown at that same site, I'd almost certainly buy it. -- Mike Benveniste -- (Clarification Required) Its name is Public opinion. It is held in reverence. It settles everything. Some think it is the voice of God. -- Mark Twain |
#14
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Why no 28-300/18-200 lenses with lower f-stop?
On 7/13/2011 5:44 PM, Bruce wrote:
Michael wrote: The fact it was made under contract by Cosina makes it all the more remarkable. The 75-150mm is a fine lens, but who actually designed and made the lens has been controversial for a very long time. It shares some obvious design "features" with "real" Zoom-Nikkors including the felt-based, certain-to-wear-out zoom damping present in the 50-135mm f/3.5, 80-200mm f/4.5 and many other 1-ring Nikkors of the era. You can't even call it zoom creep -- it's _much_ faster than a creep. The other issue with the "outsourcing" theory is that the elements of the 75-150mm Series E used the same NIC multicoating as those of Nikkors. Even to this day, multicoating recipes are considered closely guarded secrets -- so it's far more likely that Nikon manufactured the completed lens elements. If assembly was outsourced, and Nikon has never admitted this, the most likely partner was Kiro Optics (Kiron) rather than Cosina. In the later 70s/early 80s, many professional portrait shooters lobbied Nikon for a full AIS Nikkor version of the 75-150mm (the Series E lenses were AIS but lacked the build quality of AIS Nikkors) but Nikon did not respond. Since the 75-150mm wasn't released until May 1980, those pros doing the lobbying in the later 1970's truly had remarkable vision. -- Mike Benveniste -- (Clarification Required) Its name is Public opinion. It is held in reverence. It settles everything. Some think it is the voice of God. -- Mark Twain |
#15
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Why no 28-300/18-200 lenses with lower f-stop?
On 7/14/2011 10:02 AM, Bruce wrote:
I agree, it is the worst feature of the 75-150mm. However, it doesn't affect the Nikon 70-210mm f/4 Series E, when it might be expected to. I have a well-used AI converted 80-200mm f/4.5 Nikkor and the zoom creep is nowhere near as bad as the 75-150mm E, plus the overall build quality is in a different league. The 70-210mm suffers from zoom creep as well, but why Nikon chose to use the felt strip approach on some lenses and not on others I can't even begin to speculate. The point is that Nikon _did_ use this approach for both Nikkors and non-Nikkors, and the competing but similar portrait zooms from did not. I can't speak to the non-AI copy you claim to have, but it's irrelevant. Nikon totally redesigned the lens in 1977, including a new optical formula, and used felt strips in the new design. I have a long history of contact with two Nikon designers, one going back to the 1970s, who have been clear as to how the Series E project was managed. Ah yes, the "appeal to anonymous authority" fallacy. How very typical. Let us not forget that the whole point of Series E was to produce optically good but inexpensive lenses. Kino Precision was never a cheap manufacturer, and not a company with which Nikon has had extensive dealings in any case. Kino did provably produce lenses for other budget manufacturers, including Vivitar. Whether Nikon had dealings or not merely assumes your conclusion, and like Tokina, Kino was founded by former Nikon engineers. To quote one Tony Polson from rec.photo.equipment.35mm, "The lens was made for Nikon by Kino Precision of Japan, who also made some outstanding optics for Vivitar, as well as their own Kiron range." The fact that the Series E zooms had full multi-coating (but which was not fully up to NIC standards) is not in any way relevant to where the lens elements were manufactured. The Nikon Compendium and other sources disagree. And to quote one Tony Polson from rec.photo.equipment.35mm, "The Series E zooms had the same multi-coating to the full standard (NIC or SIC?) that was applied to all Nikkors at that time." -- Mike Benveniste -- (Clarification Required) Its name is Public opinion. It is held in reverence. It settles everything. Some think it is the voice of God. -- Mark Twain |
#16
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Why no 28-300/18-200 lenses with lower f-stop?
"John A." wrote in message ... On Wed, 13 Jul 2011 12:31:12 -0400, Mike wrote: On 12/07/2011 10:12 AM, Bruce wrote: An 11X zoom is a choice only for undiscerning camera owners who don't I know pros that have bought 18~200 lenses. They are all that bad, I've also sold 200~400 VR lenses, lots of 70~200/2.8, 300/2.8 400, 600 etc.. At the end of the day the lens on the camera will always get you better than the one your dream list that is still sitting on a dealer's shelf. One might interpret that as rather defeatist. Needs some kind of interpretation, Shirley. |
#17
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Why no 28-300/18-200 lenses with lower f-stop?
On 14/07/2011 10:02 AM, Bruce wrote:
Anyone who thinks that SMC is 100% Pentax, T* is 100% Carl Zeiss and NIC/SIC is 100% Nikon is being slightly naive. There are many close similarities and few dissimilarities. However, Nano is something else entirely, and all Nano-coated lens elements are currently Nikon-made. T* and SMC was jointly developed by a Zeiss Pentax partnership, they worked on several projects including Ophthalmology equipment. Zeiss was looking in the late 1970s for a OEM maker for the planned RTS, but Pentax was planning their LX, so they couldn't come up with a agreement. That left Yashica that was happy to OEM the RTS. Mike |
#18
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Why no 28-300/18-200 lenses with lower f-stop?
On 7/14/2011 1:03 PM, Michael Benveniste wrote:
On 7/14/2011 10:02 AM, Bruce wrote: I agree, it is the worst feature of the 75-150mm. However, it doesn't affect the Nikon 70-210mm f/4 Series E, when it might be expected to. I have a well-used AI converted 80-200mm f/4.5 Nikkor and the zoom creep is nowhere near as bad as the 75-150mm E, plus the overall build quality is in a different league. The 70-210mm suffers from zoom creep as well, but why Nikon chose to use the felt strip approach on some lenses and not on others I can't even begin to speculate. The point is that Nikon _did_ use this approach for both Nikkors and non-Nikkors, and the competing but similar portrait zooms from did not. I can't speak to the non-AI copy you claim to have, but it's irrelevant. Nikon totally redesigned the lens in 1977, including a new optical formula, and used felt strips in the new design. I have a long history of contact with two Nikon designers, one going back to the 1970s, who have been clear as to how the Series E project was managed. Ah yes, the "appeal to anonymous authority" fallacy. How very typical. Let us not forget that the whole point of Series E was to produce optically good but inexpensive lenses. Kino Precision was never a cheap manufacturer, and not a company with which Nikon has had extensive dealings in any case. Kino did provably produce lenses for other budget manufacturers, including Vivitar. Whether Nikon had dealings or not merely assumes your conclusion, and like Tokina, Kino was founded by former Nikon engineers. To quote one Tony Polson from rec.photo.equipment.35mm, "The lens was made for Nikon by Kino Precision of Japan, who also made some outstanding optics for Vivitar, as well as their own Kiron range." Wouldn't cross-examination of witnesses be easy if they were all like Brucie? The fact that the Series E zooms had full multi-coating (but which was not fully up to NIC standards) is not in any way relevant to where the lens elements were manufactured. The Nikon Compendium and other sources disagree. And to quote one Tony Polson from rec.photo.equipment.35mm, "The Series E zooms had the same multi-coating to the full standard (NIC or SIC?) that was applied to all Nikkors at that time." -- Peter |
#19
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Why no 28-300/18-200 lenses with lower f-stop?
PeterN wrote:
On 7/13/2011 8:19 AM, Pete Stavrakoglou wrote: wrote in message ... "David J wrote: wrote in message ... In , Bruce wrote: So I have this Tamron 28-300 (which is 18-200 on a FX body, right? Sorry if I get that backwards) which is a fine enough lens, but it goes from f3.5 - f6.3. It's not a huge lens by any stretch. What I am wonder is why such a lens can't be made that is either 2.8 straight through or has an at least lower f-stop throughout (say 2.8 - 4). It simply isn't possible to make a good, wide aperture 11X zoom lens at an affordable price. You can thank the laws of physics for that. that's why they're not wide aperture, but rather f/4-5.6 or so. 11X zoom lenses are best avoided. Period. nonsense. For some it may be true. The rest of us will make our choices according to our own needs. There are plenty of times when the 11X zoom is the best tool for the job, as you imply. Self-justifying nonsense. No-one "needs" an 11X junk zoom. There is never any situation when an 11X zoom can be "the best tool for the job". It is always the worst tool for any job. An 11X zoom is a choice only for undiscerning camera owners who don't care about image quality - people who bought interchangeable-lens cameras (why?) but are just too darn lazy to change lenses. Still nonsense. Of course it is. While the quality of even a 10x zoom may not be equal to that a a top notch prime, It can be quite useful when weight and bulk are issues. And don't forget aperture. While no wide ranging zoom is much good at its widest aperture, the best modern ones are pretty good for most of their range at f8. Good enough that it would take a critical pixel level comparison to distinguish image quality from that of a prime of equivalent focal length at f8. Which is good enough that you'd see no difference in the highest quality A4 print, and in some cases you'd find it hard to see a difference in an A3 print. -- Chris Malcolm |
#20
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Why no 28-300/18-200 lenses with lower f-stop?
On 18 Jul 2011 21:00:07 GMT, Chris Malcolm
wrote: Of course it is. While the quality of even a 10x zoom may not be equal to that a a top notch prime, It can be quite useful when weight and bulk are issues. And don't forget aperture. While no wide ranging zoom is much good at its widest aperture, the best modern ones are pretty good for most of their range at f8. Good enough that it would take a critical pixel level comparison to distinguish image quality from that of a prime of equivalent focal length at f8. Which is good enough that you'd see no difference in the highest quality A4 print, and in some cases you'd find it hard to see a difference in an A3 print. Also lest not forget it is not just sharpness which is comprimised. Distortion can be not trivial either. That said I've recently acquires the Nikon 18-200 VR2 and it serves it's purpose. However it does help to shoot raw and be able to correct for lens distortion in the conversion process when needed. |
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