Mike Gordon wrote:
> Variables: to consider are:
> 1) Difference between actual stack thickness and designed stack thickness.
> (zero for film)
> 2) Exit pupil distance (shorter distance gives more problems)
> 3) Aperture (wider aperture gives more problems)
> 4) Angle of view (wide angle gives more problems)
This has certainly mirrored my experience with the 6D. The F2.8 lenses
vastly outperform the F2 lenses on the 6D, but the F2 lenses
outperform the F2.8 lenses on the 4/3 bodies and on film. Maybe
"vastly" is a little overstated, but it is definitely there.
The OMZ 35-80/2.8 is a good example. This lens is simply incredible on
film, on the E-1 and L1. But on the 6D, it doesn't grab you by the
throat and shake you around like you'd expect.
The 50/1.4, 28/2 and 100/2 smoke it on film and the 4/3 bodies, but
are also-rans on the 6D. Unless stopped down, the 50/1.4 is almost
worthless on the 6D.
The oddity of the bunch is the 35/2.8 (silvernose). This lens is
outstanding on film, even MORE outstanding on the 6D, but hohums me on
the 4/3 bodies. The 24/2.8 is OK on film, outstanding on the L1 and 6D
but not so hot on the E-1 and E-3.
AG
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