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  1. #11
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    Red face Image size

    Unfortunately, you lose clarity when this image is reduced/compressed. It is kind of like a panorama, in it's own way. The whole reason for its enormity is so you can actually clearly and identify each and every lens in it, with acceptable distortion, when you zoom in. It is not like a portrait, where you do not want to see every pore and blemish. I mean, who wants that? This is a technical image ... the next size down (see #1 posting in this thread) is almost impossible to determine anything with other than it is a lot of stuff! Hence, posting #2 with the attached list of goodies.

    The next page (probably this one) of this thread and all will go back to normal.

    If people take a few moments, as I have tried to do, to limit their never-ending scroll of text, it is quite "manageable."

    And I am seriously having trouble even considering that YOU would consider me, of all people, a "fan boy." I went through the Canon-cycle back in 2005-2007. I gave them a chance to straighten up and they, through their own GREED, refused to do the "right thing", in my book. So, out they went, lock, stock and barrel! I then went with familiarity and the "better" way to deal with older glass in low light.

    Perhaps the best solution to stability is having the option to use EITHER in-the-body or in-the-glass. That way, no matter what lens you use ... you have a CHOICE. Choice is good! Right now, neither camera system is doing that, but I originally had enough non-IS lenses to make the call and go with SONY. The Canon EOS 20D had me pretty "shook up."

    Currently, SIGMA has made two new lenses that offer in-the-lens stability (OS) to the SONY mount, but no matter what you do, you cannot do the REVERSE with Canon or Nikon. If your lens has no stability, you are usually sentenced back to a tripod at 1/30th or slower, for reliable imaging results. C'mon Rooz, what changed ... except the higher-ISO you can now shoot? In the beginning, that was not an option for most hobbyists.

    For now, my path is pretty much set with SONY, mainly due to my investment. That does not make me a fan-boy ... but, I will admit, I am enthusiastic. You want fan-boys? Go to Dyxum and start cracking on SONY. You get your "fan-boy" response, then. Heck, they may start bookin' flights to the "Land Down Under," just to get to ya!
    Last edited by DonSchap; 08-29-2010 at 09:01 AM.
    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

  2. #12
    Join Date
    Jul 2004
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    Oregon
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    Thanks, Don for your very well thought out answer.

    I really like your idea of an A22 camera without video, as video is not one of my personal priorities. However, I know that I am in the minority. Even in P+S there is an increasing demand for HD video.

    Sony could, using the new SLT cameras as a springboard homogenize their camera line and continue the sharing of features across the whole corporate camera spectrum.

    I was all set last week to order the A-500 as it seems to have features that would work well for me, as well as an attractive price reduction. However, with the introduction of the SLT cameras, I do not want to be trapped with an "orphan" camera. So I am sort of now in a holding pattern watching the Sony developments as they occur.

    Sarah Joyce

  3. #13
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    Cool If I were not convinced ...

    If I were not convinced that the SLT-α77 were not somewhere on the near horizon, I would be tempted to add an SLT-α55 to my bag, in a few months, not as any kind of replacement, but more as a backup for fun.

    As it is, I suspect the α55 might just be what the P&S crowd need and want to easily upgrade to, overall. Of course, that is assuming you are willing to spring for an 18-250mm α-mount lens to emulate the current lens the P&S camera's use.

    Name:  SAL18250 DCRP.jpg
Views: 96
Size:  77.6 KB


    I mean to say that the 18-250 would not be a bad combination to begin with, that is for certain. It covers a lot of ground, provides excellent resolving power and still keeps it all relatively simple.

    Sarah, you could always get one and do the "leg work" on it for the forum. You know, take one for the team. LOL
    Last edited by DonSchap; 08-29-2010 at 11:51 AM.
    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. #14
    Join Date
    Dec 2006
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    God's Country - Australia
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    discussion is impossible in thise thread. the scroll is annoying.
    D800e l V3 l AW1 l 16-35 l 35 l 50 l 85 l 105 l EM1 l 7.5 l 12-40 l 14 l 17 l 25 l 45 l 60 l 75
    flickr

  5. #15
    Join Date
    Feb 2006
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    Des Plaines, IL
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    I only have 10 posts, then I get a new page and the scroll is back to normal. How many posts are you seeing at one time?

    Set your post setting to "Forum default" or "10 posts per page"
    Last edited by DonSchap; 08-29-2010 at 04:24 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

  6. #16
    Join Date
    Dec 2006
    Location
    God's Country - Australia
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    its the width thats the problem. scrolling across the page.
    D800e l V3 l AW1 l 16-35 l 35 l 50 l 85 l 105 l EM1 l 7.5 l 12-40 l 14 l 17 l 25 l 45 l 60 l 75
    flickr

  7. #17
    Join Date
    Nov 2008
    Location
    Monmouthshire, UK
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    2,152
    Quote Originally Posted by DonSchap View Post
    ............ I mean to say that the 18-250 would not be a bad combination to begin with, that is for certain. It covers a lot of ground, provides excellent resolving power and still keeps it all relatively simple.

    Sarah, you could always get one and do the "leg work" on it for the forum. You know, take one for the team. LOL
    Oh no it's Deja-vu all over again! Don, I know you like to recommend this lens but I see it as a Jack of all Trades with mediocre performance across the board. Ok, it covers a massive zoom range and maybe P&S up graders will feel comfortable with a one lens solution, but why then not go for a bridge camera. Surely the attraction of a DSLR is higher quality and the wide selection of lenses. I wouldn't recommend this lens to anyone without pointing out it's obvious shortcomings.

    First up is the small aperture at longer focal lengths, at 75mm it's already up to f5.6 and at 150mm and over you're stuck with f6.3. It's arguable that the slow maximum aperture is irrelevant because the lens is so soft at these focal lengths you'll be working at f11 most of the time to get anything like sharp, problem is that stopping down makes the strong colour fringing very obvious and you may well have to bump up the iso to get an appropriate shutter speed. Oh, and don't bother to go inside and try for a shot of the kids at play, you're in for a major disappointment, this lens is strictly for the outdoors unless, like Don, you have a Mecablitz 76. Of course that will cost more than the lens.

    Next up is distortion which is really bad at both ends of the spectrum. Very strong Barrel distortion at the short end morphing to strong Pincushion distortion at the long end. You can forget flat horizons with this lens unless you do all your landscapes at 28mm which is the crossover point.

    Flare and ghosting are a problem at the wide end and Bokeh is pretty ugly at any length so no prizes there either.

    Now I wouldn't want you to go away with idea that there are no plusses, after all it's better than the 18-200mm lens it replaces and if you are forbidden from carrying more than one lens and, and... well, that's about it. Come to think, you may be better off with a P&S, hang on while I go look up some specs.........

    Seriously though Sarah, it sounds like the A580 (or A560) is the camera for you. You can get it with an excellent 18-55mm SAM kit lens (very cheap with the kit) and then a better choice than the 18-250mm would be the 75-300mm f4.5-5.6 DT at half the price. Course, I have no idea of your budget or your intended use so you can take this with a pinch of salt.

  8. #18
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    Question Be all, end all?

    Look, the 18-250 is a 'filler' lens, not your "final solution" ... as you build up your inventory of finer optics. It solves a lot ... and will not break the bank. With it, you have something that covers both ends of the focal range, as you are determining what end you want to concentrate in. Also, you can always sell it when you get the replacements. For what it does on a SONY DSLR, it is arguably "the best in class" and offers the most "bang for the buck."

    "Convenience" in photography has a flip-side ... and as Peter has pointed out, there are some drawbacks.

    The fact is when I provided my α100 to my nephew, my 18-250 went with it, as a cheaper overall all solution. I was done with the lens, as my bag grew in capability. It is still a great "vacation" lens, when you are limited on resources you can take with you. Yes, he came back 8-months later, asking for the TAMRON SP AF 17-50mm f/2.8 XR Di LD Aspherical (IF) and will need the TAMRON SP AF 70-200mm f/2.8 Di LD, eventually. Those two optics, at the cheapest, will be a good $1200 worth of f/2.8, sharp-focus solution.

    Of course anyone can buy other manufacturer's offerings, at the same focal range, but the price goes up. TAMRON continues to lead in a cost-effective approach. Obviously, if you can put that f/2.8 solution in place, at the very start (which I have always supported), please do so. At f/2.8, you can realize a good "indoor" capability. You will probably need a solid flash to help out, but you can achieve much better overall results with brighter lensing. Also, your depth of field control will be as good as you can get, with zoom lenses, as no conventional zoom lens opens wider than f/2.8

    It is simply budgetary relief that I am pointing out and I think Peter realizes that. A $500 solution versus $1200.

    It should be noted that a TAMRON AF 70-300 f/4-5.6 Di LD MACRO solution may be cheap ($150), but there are serious considerations, Two quick aspects to be aware of, with this choice, too: Again, it is dark for indoor use and, second, it gets rather soft looking when you get to the long end of the lens. So, it follows, you get what you pay for. If you want sharp, it is the SONY 70-300mm f/4.5-5.6 G SSM ($799.99). If you want sharp and bright, it is the 70-200mm f/2.8 (you pick your manufacturer).

    I suppose, to adequately offer lensing advice, a bit more information will be required about what kind of shooting you are planning on doing. What you have, now, is the Cliff Note's version of lens advice. The rule stands, more indoor-type of shooting (low-light) you plan on doing, the higher the cost of the solution. The two are inversely proportional, in an almost logarithmic sense.

    This entire SONY DSLR forum is a wealth of information, covering almost everything that has been made for the SONY DSLR system. Of course, there is also Dyxum to dig into their lens library, when making your decision. There are plenty of critiques to read through on each particular lens. Most of the deep specifics, to me, are relatively unimportant. I have made my own selections for a variety of reasons, usually getting the most for the money. There is certainly "overkill" to some of these lens decisions.
    Last edited by DonSchap; 08-30-2010 at 05:45 AM.
    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

  9. #19
    Join Date
    Jul 2004
    Location
    Oregon
    Posts
    4,146
    Peekayoh-

    The Sony 75-300mm is not well thought of at all over at Dyxum. Right now I am focusing on the A-550 as the better choice, as video is not a priority for me.

    Don-

    Sony Alpha Rumors says yes, there will be an A77 coming in either January or February.

    Sarah Joyce

  10. #20
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    Feb 2006
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    Cool the Alpha 580

    Sarah,

    If you are already looking at the α550 ... a better choice would be to wait a couple months and see what you could get from the α580 (available soon). If you simply cannot wait, the α560 brings everything but the larger sensor to the table.
    1. a MUCH Bigger sensor (16MP)
    2. higher available ISO (ISO-25600)
    3. better noise response ...
    4. 3D Panorama Mode
    5. in camera HDR!
    6. Electronic T/C! 1.4x & 2x


    ah hell, they'll toss in the video for free!

    Good lord, spend the couple extra bucks and go for the gold and get ALL the bells and whistles.
    Last edited by DonSchap; 08-30-2010 at 09:20 AM.
    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

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