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  1. #41
    Join Date
    Jun 2008
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    Quote Originally Posted by DWessel View Post
    If cost were not an option, what macro lens would you recommend for the a900.:confused.
    Sony 100mm F/2.8 Macro or the Sony 50mm F/2.8 macro depending on your macro needs. More than likely the 100mm will serve you better. You might also want to consider some extension tubes or a 2X TC for 2:1 magnification.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  2. #42
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    Feb 2006
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    Thumbs up Truly good MACRO

    Quote Originally Posted by DWessel View Post
    If cost were not an option, what macro lens would you recommend for the a900.:confused.
    I have found the TAMRON SP AF 180mm f/3.5 Di LD 1:1 MACRO (IF) to be terrific performer with some real reach and your not having to be right on top of your subject to get a superior shot. In other words, you have room to move.

    One aspect of the lens it that is does not change shape when focusing, like many other macros dop, therefore not scaring the "subject" by sudden movement or encroachment of its space. Also, the polarizer filter stays put and can even be rotated with the lens shield on it.



    One other thing about its construction, TAMRON uses two Low Dispersion elements in it, to reduce or eliminate color aberration, usually found in telephoto macro lenses.

    In my opinion, it really is a quality piece, complete with a detachable tripod ring.
    Last edited by DonSchap; 04-28-2009 at 07:54 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  3. #43
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    Feb 2006
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    Des Plaines, IL
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    Red face Lens anecdote

    Just a while back, a young man stopped me, as I was shooting with the SONY CZ 135mm f/1.8

    He was rather taken aback by the size of this lens and marveled at the f/1.8 capability. He asked what the lens could do over other lenses of the same focal length, to which I told him it had "the fastest focus lock" I had ever witnessed. The enormous aperture allows the camera's phase detection focus system to pick out objects that other lenses just ... well, cannot see. No matter what the aperture selection, the f/1.8 is the focusing system's aperture, then the camera closes the aperture down to the "dialed-in" one as you fully depress the shutter release and the shutter trips.

    He seemed skeptical ... so then I showed him, by focusing into a dimly lit area of the scene. He had his own camera with him, with a Canon-mount 70-200mm f/2.8 and we watched as he attempted focus under the same lighting conditions and the lens quickly sawed itself back & forth, back & forth ... never achieving lock.

    "Kind of rough, huh?" I sympathized. "This lens is one of the best available for this and well worth whatever you have to pony up to purchase one. The biggest problem is you cannot get it in the Canon-mount."

    "How much did you pay, if I may ask?" he requested.

    "Let's just say it was at least $150 less than you are going be asked for, today. The prices keep climbing." I said, with a level of utter disgust in my voice. "But, whatever the price, this piece of glass is one of best you can mount. The closest thing Canon has is an 135mm f/2L ... with no Image Stability. You need to go to the 200mm f/2 IS to get that ... dig deep for that $5300 price tag!"


    Just thought I'd share that, Elisha. It seems to really make me smile ... real big.
    Last edited by DonSchap; 04-28-2009 at 07:56 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  4. #44
    Join Date
    Oct 2008
    Location
    Raleigh, NC, USA
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    788
    Does it use SSM or the Sony's AF motor?

    Just a reminder that if I ever do start making money off this, back to Sony I may come. What an awesome lens. Plus the 35G and 85CZ look to be pretty awesome as well.
    Jason Hamilton
    Selective Frame

    EOS 5D - Canon EF 24-85mm f/3.5-4.5 USM, EF 35 f/2, EF 50mm f/1.8 Mk II, EF 70-210 f/3.5-4.5 USM, EF 85mm f/1.8 USM, EF 100mm f/2.8 Macro, Helios 44-2 58mm f/2 (with EOS adapter), 430EX, Canon S90
    Nikon FE - Nikkor 35mm f/2 AI'd, Nikkor 50mm f/1.8 AI, Nikkor 105mm f/2.5 AI, F to EF adapter, 2xVivitar 285, other lighting stuff
    Mamiya C220 - 80mm f/2.8

    Gear List flickr

  5. #45
    Join Date
    Dec 2006
    Location
    Guelph, Ontario
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    lol Don. I like big lenses. that one is a beauty. My next will definitely be a CZ.
    Canon EOS 7D

    flickr
    FLUIDR

  6. #46
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    Jun 2008
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    It's definitely screw driven. The only SSM lenses are the G zooms and the Zeiss Zooms.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  7. #47
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    Feb 2006
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    Cool Considering the 35mm f/1.4 G

    I've been kicking around the idea of the SONY AF 35mm f/1.4 G for a while, now, and from what I have read ... as I cannot seem to locate one to shoot through, it is not showing the value one would hope for from a lens of its type. Other than the ADI support (8-contact lens), the SONY-rebrand appears to be a direct "carry-over" from the 35mm-film days and that may be the lynch-pin in my decision.

    I like the way Photozone does its evaluation and from time to time, we disagree, but when it comes to a lens like this ... I tend to give them the benefit of the doubt, because the chances are we are going to be using this particular lens for the SAME THING.

    Here was their verdict:

    "Verdict


    To G or not to G is the question and the answer is ... no. The Sony 35mm f/1.4G may offer lots of creative potential thanks to its ultra-large max. aperture but technically it is not an overly impressive lens especially in relation to its very steep price tag. The resolution is rather poor at large aperture settings and this is, after all, the primary playing ground of this lens. The situation improves significantly when stopping down to f/4-f/8 although very high lateral CAs can decrease the sharpness perception if not corrected. Distortions and vignetting are very well controlled, less so longitudinal CAs ("bokeh CAs"). Some users mention a very good bokeh (out-of-focus blur) but we failed to see greatness here (note: the quality of the bokeh goes beyond the sheer depth-of-field). The build quality is excellent and the AF is fast enough for most applications. All-in-all a lens which surely had its time but it isn't really prepared for the digital era."


    I may just wait until Zeiss produces a 35mm f/1.4 or a 24mm f/1.4 for use on the SONY. For now, I can tolerate what I can produce with my other glass. $1400 is serious money for effectively "older" performing glass. Probably would be better off finding a Minolta 35mm f/1.4 G RS w/o the ADI support for around $900.
    Last edited by DonSchap; 04-28-2009 at 08:14 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  8. #48
    Join Date
    Jun 2008
    Posts
    2,204
    Yeah, I don't think it is worth it. Kurt munger just reviewed this lens and liked it, although I really just don't think it's worth the cost and up to the rest of them. Maybe a 35mm F/2.0? Still really expensive though. I think you are correct in waiting for something better.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  9. #49
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    Oct 2008
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    Raleigh, NC, USA
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    At least the 16-35 seems to be pretty awesome. I think with the introduction of the 16-35 and the 80-400 they really offer a great pro-level set of zooms, which is really want a lot of pros use.

    Sony really needs a great 24, 35, and a better 50. The 1.4 is nice, but its also just a film carry over. Totally worth the cost, but they need some CZ stuff in that range. They don't even offer a 24 at all right now, just the older 20 and 28. It just doesn't do the A900 justice.

    I think of the A900 as being more aimed at the 5D type studio and wedding crowd, so not having as many super-telephotos makes sense. Not having great primes doesn't.
    Last edited by laydros; 04-29-2009 at 08:20 AM.
    Jason Hamilton
    Selective Frame

    EOS 5D - Canon EF 24-85mm f/3.5-4.5 USM, EF 35 f/2, EF 50mm f/1.8 Mk II, EF 70-210 f/3.5-4.5 USM, EF 85mm f/1.8 USM, EF 100mm f/2.8 Macro, Helios 44-2 58mm f/2 (with EOS adapter), 430EX, Canon S90
    Nikon FE - Nikkor 35mm f/2 AI'd, Nikkor 50mm f/1.8 AI, Nikkor 105mm f/2.5 AI, F to EF adapter, 2xVivitar 285, other lighting stuff
    Mamiya C220 - 80mm f/2.8

    Gear List flickr

  10. #50
    Join Date
    Jun 2008
    Posts
    2,204
    Damn, just saw this posted, can't wait to check it out!

    http://www.photozone.de/sony-alpha-a...sony_70400_456
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

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