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[OM] Re: My New Super-Duper "Minimal" Kit Idea

Subject: [OM] Re: My New Super-Duper "Minimal" Kit Idea
From: Moose <olymoose@xxxxxxxxxxxxxxx>
Date: Fri, 11 Feb 2005 14:24:47 -0800
Rob Harrison wrote:

>.............
>OM-4ti (and OM-1MD)
>F280
>18/3.5 (super wide, interiors)
>35/2.8 shift (wide normal, scenics, architecture, shifted panoramas)
>50/1.2 (standard, available darkness)
>85/2 (shot tele, portraits, details)
>
>I¹d be leaving home the 24 shift, 35-70 zoom, 50/1.8 SC, and 75-150/4.
>
>Now, the only thing I can¹t do (that I would like to do) with this set-up is
>macro. (I¹m not a big super telephoto user.) So, assembled experts‹how would
>you stick to four lenses, retain most or all the capability of these four
>lenses I¹ve listed, and add macro?
>
I've never tried it, but I've heard the 85/2 praised on the list for use 
with extension tubes.

My personal solution would be a 2x macro telextender. My light kit 
almost always has a Vivitar 2x macro teleconverter with 50/1.4 in the 
back pocket. In your proposed kit, it could do double duty. On the 
50/1.2, it makes a 100/2.4 lens that focuses from infinity to 1:1. It 
would add less macro to the 85/2, although adding real close focus. More 
importantly, it would give the reach of a 170/4. Of course, with a close 
focusing 100/2.4, you might find yourself leaving the 85/2 home sometimes.

>Auto extension tube? (There¹s that one Piers¹ friend has FS....) Extension
>tube set? Screw-on 1X, 2X, 3X lenses? Replace the 50/1.2 with a 50/3.5 and
>just use a stop or two faster film? Replace the 85/2 with a 90/2 and add
>expense & weight? Try the Tamron 90/2.5 macro? Hmmm....
>
What I proposed above makes an assumption; that your goal is macros of 
3D subjects in nature and that edge to edge sharpness on a truely flat 
field and high linear accuracy are not strictly necessary. That will 
also be true for the first two solutions you list. Conventional lenses 
like the 50/1.2 and 85/2 compromise a bit on field flatness and 
linearity in favor of other qualities like size, weight, speed, etc. And 
unfortunately, this is often most obvious at close focus. Increasing 
their close focus doesn't help. But for 3D subjects where anything but 
the central area is OOF anyway, it just doesn't matter.

The 50/3.5, 90/2 and Tamron SP 90/2.5 lenses you mention are all true 
macro lenses, with flat field, minimal linear distortion and excellent 
correction for macro use. I personally use the 50/3.5 and 90/2.5 for 
copy stand flat copy work. Outdoors, I prefer the longer focal lengths, 
both for greater lens to subject distance and because I kept getting 
bokeh I didn't like with the 50/3.5. All of these lenses have a drawback 
for me in going only to 1:2 without help of some kind. I don't often go 
to 1:1, but the range both sides of 1:2 is right where I often work, and 
attaching and detaching extension tubes over and over is not my idea of fun.

My overall favorite dedicated macro lens of outdoors is the Kiron 
105/2.8, which focuses directly from infinity to 1:1. The later Tamron 
90mm, the f2.8, and 90/2.8 macros from Sigma, Vivitar (and Tokina?) all 
also do the direct to 1:1 thing. Perhaps one of these would be my 
favorite if I had i instead of the Kiron, who knows? Of course, a 50 mm 
lens with the Viv Macro Teleconverter does it too , if flat field isn't 
important, and also breaks down into a fast normal lens and a 
teleconverter for another lens.

It's useful to remember that speed in a macro lens is mostly for 
focusing ease and non-macro use. DOF constraints mean most macro shots 
will be at smaller apertures.

In my enthusiasm for the Viv Macro Teleconverter, I appear to have 
acquired an extra. If you would like to try that solution, drop me a 
line off list.

Moose



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