Dj R wrote:
You could have a pair of 1.4 used primes or a new 1.4e for the same price. Gotta pay to play- for the FL glass.
And with nikon right now, that's the way the cookie crumbles.
E, if you're not seeing a difference with the 28E... that's BC you're the <1% that can make it work with any of these tools. Maybe it's not worth a $1k premium (used 28 1.4e when compared with the value of your used 35 1.4). However, for some folks, money is no object.
Just look at the focal lengths and determine the best combination of glass for your workflow.
Either way, you're going to make magic.
For me, right now... I have owned four FL E lenses. Still have three. They are amazing. I prefer the new gears!...Show more →
Look at the focal length numbers on the 70-200. Do you see where the white dot is? Right at the 105 mark. The 70-200 is trying to tell you something. It's saying replace me with the 105E, I'm too big and heavy 😂😂😂
Now seeing some more images, I agree with Charles that this lens bokeh rendering is a little harsh IMO. Especially with foliage backgrounds. I would choose the lens with the best bokeh rendering for weddings. Just me.
Mykal wrote:
Look at the focal length numbers on the 70-200. Do you see where the white dot is? Right at the 105 mark. The 70-200 is trying to tell you something. It's saying replace me with the 105E, I'm too big and heavy 😂😂😂
Haha! You are correct my friend, the 105E was screaming at me... while still being at Nikon Service Center for a month now
This 70-200E is just a loaner while my dusty 105E gets cleaned out. How long does it take to clean a lens anyway?! Perhaps there's something wrong with it other than the dust issue? I'm still at "parts hold" status.
Oh well, I can't complain. 70-200E should do it for now
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wayne seltzer wrote:
Now seeing some more images, I agree with Charles that this lens bokeh rendering is a little harsh IMO. Especially with foliage backgrounds. I would choose the lens with the best bokeh rendering for weddings. Just me.
False. The bokeh rendering is complete opposite of harsh.
I've reviewed my 28G and 35G images again and again and compared them to the 28E. I now see the mini 58G rendering on my 28E! The 28G and 35G have this nervous bokeh, especially on far corners.
I'll post some more stuff soon. Did a few more shoots with the 28e. The 28e is definately a tweener lens so far for me for events. Its nice because often times for pj parts of weddings 35 isnt wide enough but 28 will do and 28 is normal enough where I can step in fast enough for situations where 35 would work too. But heres the kicker, my brain is used to 24 and 35 being different distinct looks with bokeh and perspective styles and its matched up with compositional muscle memory of my feet. 28 is almost like a half step between notes and I am still working out what looks best compositionally with the 28e. It is a unique look though and I do like it a lot. But it cant do what my 35art can, and maybe this is what Ive been trying to say, 28 cant perform like 35 or 24 in the extreme ways those lenses act, but 35 and 24 can do more or less whatever 28 can do and vice versa. The extreme characters of those two lenses define their use. For 28 however I am finding a understated wide lens gives the most sense of "being there", or 3d effect. I would say the most interesting aspect of the lens is the perspective and its affects the way you compose images.
Depth of Feel wrote:
I'll post some more stuff soon. Did a few more shoots with the 28e. The 28e is definately a tweener lens so far for me for events. Its nice because often times for pj parts of weddings 35 isnt wide enough but 28 will do and 28 is normal enough where I can step in fast enough for situations where 35 would work too. But heres the kicker, my brain is used to 24 and 35 being different distinct looks with bokeh and perspective styles and its matched up with compositional muscle memory of my feet. 28 is almost like a half step between notes and I am still working out what looks best compositionally with the 28e. It is a unique look though and I do like it a lot. But it cant do what my 35art can, and maybe this is what Ive been trying to say, 28 cant perform like 35 or 24 in the extreme ways those lenses act, but 35 and 24 can do more or less whatever 28 can do and vice versa. The extreme characters of those two lenses define their use. For 28 however I am finding a understated wide lens gives the most sense of "being there", or 3d effect. I would say the most interesting aspect of the lens is the perspective and its affects the way you compose images. ...Show more →
funny post.
so much truth!
aside from the fact that you said the 35A can't be replaced....
were you originally considering the "thought" of going from 24/35/50/85 to 20/28/50/85 (which looks more versatile on paper, but doesn't mean jack if it doesn't jive with your feet/brain).
and now you're feeling you'll miss the 35 FL too much? or is it a Sigma Art thing?
Depth of Feel wrote:
I'll post some more stuff soon. Did a few more shoots with the 28e. The 28e is definately a tweener lens so far for me for events. Its nice because often times for pj parts of weddings 35 isnt wide enough but 28 will do and 28 is normal enough where I can step in fast enough for situations where 35 would work too. But heres the kicker, my brain is used to 24 and 35 being different distinct looks with bokeh and perspective styles and its matched up with compositional muscle memory of my feet. 28 is almost like a half step between notes and I am still working out what looks best compositionally with the 28e. It is a unique look though and I do like it a lot. But it cant do what my 35art can, and maybe this is what Ive been trying to say, 28 cant perform like 35 or 24 in the extreme ways those lenses act, but 35 and 24 can do more or less whatever 28 can do and vice versa. The extreme characters of those two lenses define their use. For 28 however I am finding a understated wide lens gives the most sense of "being there", or 3d effect. I would say the most interesting aspect of the lens is the perspective and its affects the way you compose images. ...Show more →
It would seem the 28mm perspective may not gel with your style of photography. Personally I love the 28mm for street photography in Asia as the streets are narrow and you can capture life in motion. For weddings I am not so sure unless the lens is really smooth.
Some old streets in Indonesia/Papua New Gunea with the Nikon FTN and Nikkor 28. This is where I love the 28mm. FOV
28 feels less intimate and less dramatic, but its definately a story teller. I loved shooting my kids with it. And it works better then 24 or 35 as a walk around pj lens. For portraits there are better choices I think. I will most likely keep it, sell my 28g and 28d but im also going to keep my 35art and probably 24art. The 20g though has done 90% of what I use the 24 for. A lot of it also comes down to working distance.
Got my lens yesterday morning, and had an elopement that afternoon (in some pretty non-ideal light.)
(I don't know why everything I upload on here looks like garbage ... what's the ideal upload size?)
Anyway, first brief impressions:
- the lens is pretty big, but just a touch lighter than my 35 Art. But compared to the 28G it's a monster.
- it's SHARP.
- Bokeh is much nicer than the 28G... probably a little less nervous than the 35 Art, also; but DOF is generally deeper with the 28E, so I think that's a bit of a wash
- Autofocus isn't blazing fast, but it's fine, and more importantly it seems really accurate, even at further distances, where my 35 Art generally fails regularly.
- handles flare well
I'll be using it a bunch more this weekend, which'll be the real test to see if it stays.
