Hows the focus throw and ability to nail focus at infinity? I had heard the 65 APO was tricky in that regard but being that this one isn’t macro hopefully it’s easier?
jhinkey wrote:
I've not seen an APO lens that didn't eventually show some PF under super extreme conditions like these.
Still pretty darned good behaviour.
There appeared to be some variation in APO'ness from the 65 APO samples posted. My copy (which I sold) was very good from wide open with water in sunlight. Other users showed some results that appeared to be worse.
How about angular field variation during focusing of 1m to INF?
thx
Fred Miranda wrote:
I just received the Voigtlander 50mm f/2 APO-LANTHAR and will start a review on it.
I'm planning on checking the lens for centering and comparing it to the CV 65/2 APO-LANTHAR today. Check out my initial tests and impressions on this thread.
pdmphoto wrote:
The lens flare at the light sourse, and odd shape of the light wide open, are not promising.
Not sure which flare you are talking about - there's general flare around the light and then green-ish sensor reflections heading away from the image sensor.
Likely the light source is not perfectly round nor perfectly uniform in brightness which would affect what it looks like when so over-exposed.
Re p2#7, a little perspective (from 2015) might help:
"Some times there is a visible fringing wide open in the 50mm APO-Summicron (M). People often look at the purple fringing as an error that better lens design will have to deal with, but truth is it is not going to go away anytime soon. As long as we have sharp lenses and "sharp" detailed sensors, we will have fringing."
Overgaard goes on to say that this small element can be seen as a part of the clean definition of micro details, and co-occurs with the clean and precise colors. I'm paraphrasing here.
My beaten to death night London skyline pictures are nothing short of amazing with this lens. And I only have an A7III, I can't help wonder what they'd be like with an R sensor.
My beaten to death night London skyline pictures are nothing short of amazing with this lens. And I only have an A7III, I can't help wonder what they'd be like with an R sensor.
My beaten to death night London skyline pictures are nothing short of amazing with this lens. And I only have an A7III, I can't help wonder what they'd be like with an R sensor.
https://i.imgur.com/HBAghRF.jpg
Wow... the sun stars are just amazing with this lens. Damn, now I have to buy one.
httivals wrote:
‘Generally speaking when you have a wider aperture lens, it allows the optics design to be such that it’s going to be sharper, especially when you start stopping down..’ Art of Photography guy
While the above may not always be true, it often is. Roger Cicala at lensrentals had several posts about a month back where he tested fast aperture lens stopped down and they performed better, as I recall, than slower lenses that weren't stopped down as much. I may be misremembering slightly so you should check them out if you're interested.
I was actually surprised be the lensrentals results, because I had always believed another truism - that if you have a slower lens you can design it to perform better stopped down compared to the faster lens because you don't have to go through the compromises of designing a fast lens....Show more →
Both true, oddly.
The reason is that slower lenses are usually budget lenses, and fast ones get every optical trick in the book thrown at them!
But when you make a state of the art slow lens, it can be remarkable. And we all know when you make a budget fast one it usually.......has character.
Dec 12, 2019 at 04:58 PM
Steve Spencer Offline • • • • • • • Upload & Sell: On
He has some samples in the other thread, but the review is still coming. Looks like he had a holiday party to go to last night from the pictures in the other thread and it is still early afternoon in California where he is, so I can be patient. I am sure we will hear from him before too long as soon as they get some decent weather, which in California should mean very soon.
