> > in any "modern" lens, it's really hard to tell sometimes, but the
> > 'pupil
> > magnification' (the diameter ratio between the exit and entrance
> > pupils)
> > could be an indicator of "how much" retrofocus is a certain lens.
>
> I've never though about it that way, but it makes a lot of sense.
> Wow, then the 21/2 is *very* retrofocus, the rear exit pupil is
> very large compared to the front one.
Actually the 21/2 is a lot less retrofocus than some SLR lenses. The Distagon
and Minolta 21/2.8 come to mind. Huge front elements, smaller rear elements
than the Oly 21/2.
> The Mamiya 7 super wide-angle optics are actually pleasantly small, I
> find:
> 58mm filter size, comparable to small-ish 35mm SLR lenses. Unlike the
> huge
> and heavy RB7 lenses I use, they are monsters. At least they all take
> the
> same 77mm filter size, from 50mm to 250mm (all at f/4.5)
The Mamiya 7 wides are really in a class of their own. They basically match the
specs of the 21/2 in terms of resolution (and better it in contrast), for a neg
that is about 5x bigger(!). Superbly corrected and unbelievably sharp right
into the absolute corners. I am continually amazed by the 43 and 50mm. A
near-symmetrical biogon-style design has some advantages that are simply
insurmountable in any SLR retrofocus lens I've seen.
> > It's an unfair comparison :-) The 21/2 is, IMHO, Olympus' Masterwork
It's definitely one of their masterworks. But they have many. I'd put the
18/3.5 on par basically with the 21/2 in many ways (size, sharpness). Other
gems that have nearly no peers (at least at the time they were made): 90/2,
the f/2 macros (20, 38), 24 shift.
> The C/Y Distagon is indeed a monster lens. Alas, it's the best of
> the best for 21mm SLR lenses as I understand.
Well... define 'best'. It's got complex mustache distortion, is huge, and
expensive. The Oly 21/2 betters it in all 3 of those respects, and is a stop
faster.
-Ed
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