Henry Posner/B&H Photo-Video wrote:
>
> At 09:40 PM 04/16/2001, you wrote:
> > > I currently own a EF28-105mm, saw some photos produced with my friend's
> > > EF28-70 f/2.8 the other day, and is tempted to get one. I really like the
> > > resolving power and contrast of the photos,
>
> I took the Nikon School of Photography a few years ago and in one segment
> they showed side-by-side scenes with excellent contrast/saturation and the
> same scene with mediocre contrast/saturation. We all presumed they'd used
> some pol filters or fancy developing or hot ED glass. They showed us that
> the scenes with the excellent contrast/saturation were taken with lenses
> with lens hoods. That was THE ONLY difference.
>
> I am no longer convinced that expensive glass is an absolute requirement
> for excellent images.
Henry et al,
I am convinced that this is the case as well because my experience has
proven that the best lens still produces a crummy image if light is
allowed to strike the front element at an oblique angle.
While a lousy lens can only make lousy images, a good lens is often all
that is needed for a given situation. What's the point of shooting
portraiture with an exceptionally sharp lens when it reveals so much
that the customer is unhappy. Good coatings that produce good color
balance coupled with good lighting and/or good subject and composition
have always been foremost in making good images. For some subjects such
as landscapes, sharpness is paramount. After all, a landscape
photographer who shoots 35mm is competing with medium and large format
shooters who, if nothing else, have more dye clouds with which to render
shapes and color subtleties. Often times I feel that too much emphasis
is put on aquiring the best optics money can buy, while
composing/capturing less than optimal subjects in poorly composed
images.
--
Glass, gas, and go.
Rusty
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