The Canon 6D is an interesting beast. I have found that some lenses,
which are heavenly on some cameras puke up socks on the 6D, but I've
also found other lenses to to extremely well on the 6D but not well on
the other cameras.
This weekend, I have spent quality time with one combination that is
working really well. The Canon 6D with an old silvernosed Zuiko 35mm
F2.8 lens. When converted to monochrome, the images are close to near
perfect. It is a combination that works.
So far, the lenses which I'm going to call top-dog on the Canon 6D are
as follows:
24/2.8
35/2.8
100/2.8
300/4.5
Lenses which underperform on the 6D:
28/2
50/1.4
100/2
200/4
35-80/2.8
On the 4/3 system, the top-dog lenses are:
24/2.8
50/1.4
100/2.8
100/2
200/4
Tokina ATX 100-300/4
35-80/2.8
On the 4/3 system, the underperform lenses are:
28/2
50/1.8
300/4.5
On film, all can be top-dog lenses, but the exceptional ones are:
28/2
35/2.8
100/2.8
100/2
35-80/2.8
300/4.5
On film the underperform lenses:
50/1.8
200/4
Tokina ATX 100-300/4
So far, nothing too scientific, but it is interesting to see the
parallels with the OM film cameras. The 6D and the OM bodies match up
well with the F2.8 lenses, but the 6D chokes on the F2 lenses. The
200/4, which is vibration-prone with the film cameras, is almost
stunning on the 4/3 cameras, but is just not quite there on the 6D.
The oddity is the 300/4.5, which has CA to end all CA on 4/3, is near
perfect on the 6D.
So, in a nutshell, the 6D with my original two silvernosed lenses, the
35/2.8 and 100/2.8 are about the best combination of everything.
Especially in B&W.
Long live the silvernose lenses, and Go Cubs!
AG Schnozz
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