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10-10-2011, 11:01 AM   #16
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QuoteOriginally posted by v5planet Quote
But if you want to show the drama of a mountain in the distance, the more intimate FOV of a moderate telephoto is what generally works best for me. It leaves a bit of mystery along the edges of the frame. ;-)
I few months ago I spent some time in the Colorado Rockies, and one day drove to the top of Mt Evens (14250ft / 4275m) with a view along the Front Range from Wyoming to New Mexico. The right lens for shooting up there with my K20D? My trusty little alu-body CZJ Tessar 50/2.8 (12 iris blades).

I tried the Tamron 10-24, and Komine 28/2 CFWA, and SuperTak 35/3.5, and they just couldn't capture the immensity and distances. To compress those distancea, I used the Enna Tele-Sandmar 100/4.5. (The SuperTak 135/3.5 and TeleTak 200/5.6 were a bit too restrictive.) All these are great lenses for certain scales of 'scapes. But 28+50+100mm cover a lot of usable territory. Hmmm, is this an argument for an 18-135? Or maybe a 28-80?


Last edited by RioRico; 10-10-2011 at 11:10 AM.
10-10-2011, 11:03 AM   #17
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QuoteOriginally posted by Ron Kruger Quote
if you use delay or remote on a Pentax, you automatically disable SR and get mirror-up function: a very good feature.
This is actually not true of the K-7, at least. SR does indeed automatically turn off, but mirror-lock up must be selected deliberately from the drive mode menu.

Agreed that a tripod becomes your best friend for scenic shots. Even if you have enough light to stop down and shoot hand held, the tripod really makes you think about composition. (And of course in really interesting light, you won't be able to shoot hand held stopped down .
10-10-2011, 11:05 AM   #18
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QuoteOriginally posted by RioRico Quote
I few months ago I spent some time in the Colorado Rockies, and one day drove to the top of Mt Evens (14250ft / 4275m) with a view along the Front Range from Wyoming to New Mexico. The right lens for shooting up there with my K20D? My trusty little alu-body CZJ Tessar 50/2.8 (12 iris blades).

I tried the Tamron 10-24, and Komine 28/2 CFWA, and SuperTak 35/3.5, and they just couldn't capture the immensity and distances. To compress those distancea, I used the Enna Tele-Sandmar 100/4.5. (The SuperTak 135/3.5 and TeleTak 200/5.6 were a bit too restrictive.) All these are great lenses for certain scales of 'scapes. But 28+50+100mm cover a lot of usable territory. Hmmm, is this an argument for an 18-135?
The 18-135 is a lens I've seriously considered as a rainy-day walkaround and backpacking workhorse. Some day I'd like to put my K-7's WR to the test.
10-10-2011, 12:52 PM   #19
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16-45

I got a 16-45 to replace the DAL 18-55 for my K-x, and I am happy I did. A little wider (w/out much distortion) and significantly sharper... It almost works as my main lens, but it's just a little too short. So, I either use a Tamron 24-135 for my one lens solution or the 16-45 and the DAL 55-300 for a two lens solution.

10-10-2011, 02:13 PM   #20
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Improvement?

QuoteOriginally posted by v5planet Quote
This is actually not true of the K-7, at least. SR does indeed automatically turn off, but mirror-lock up must be selected deliberately from the drive mode menu.


Agreed that a tripod becomes your best friend for scenic shots. Even if you have enough light to stop down and shoot hand held, the tripod really makes you think about composition. (And of course in really interesting light, you won't be able to shoot hand held stopped down .
You're right. Mirror lock-up was automatic with remote or delay on my K20D, but it isn't on my new K5 (just checked the manual). This is one thing I wish they wouldn't have changed. Now I have to make an additional menu selection to get mirror-up.
10-10-2011, 05:17 PM   #21
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Unless you are shooting new buildings, I would not get overly concerned about distortion

I shoot a lot with the sigma 0-20 and also with the samyang 14mm F2.8. I like the samyang for it's speed but the extra FOV of the sigma makes it wirth ti
10-10-2011, 09:49 PM   #22
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I shoot landscapes with only the Sigma 10-20. Distortion is not a problem for most landscape work and this lens is fantastic for architecture. Just watch the amount of "tilt" when you take the shot. GO and get it, you won't be disappointed. It is my firm belief that every landscape photographer should have an ultra wide angle lens in the bag!
10-10-2011, 10:05 PM   #23
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I have a Sigma 8-16 and I can't recommend this lens enough! It is much sharper than the 10-20 and has much less distortion. Also, the build quality is excellent. You can get one at B&H for about 700$US which will work out for you at about 500€ + taxes/fees.

10-10-2011, 10:57 PM   #24
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Personally, I'd go for a DA16-45 if I were in your shoes. I don't have one yet, but I've always been impressed by results I've seen - and it's reasonably priced. If you can get one cheap, even better. But a word of warning though: I don't believe, from what I've heard, that this lens is immune from the decentring issues that seem to afflict modern lenses. Be sure to buy from a reputable source which will be amenable to returns (and refunds, if necessary), and be sure to test for across-the-frame sharpness as soon as you get it.
10-10-2011, 11:22 PM   #25
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The DA21 has VERY little distortion, but might not be wide enough, the DA15 has a bit, but almost unnoticeable.. I've shot with the DA 12-24 and other than being right at 12mm it seemed ok as well.. I myself am looking at a Sigma 10-20 f3.5 or a DA15Ltd as my options.. only because you can't throw a filter in front of the Sigma 8-16!!
10-11-2011, 10:39 AM   #26
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QuoteOriginally posted by RioRico Quote
Ultrawides aren't really landscape lenses.
Maybe so. But it really depends on the specific landscape you're shooting, and what you're trying to achieve. If you are shooting a small glacial lake surrounding by immense mountains, an ultra-wide can come in handy. Landscapes also often benefit from have an interesting foreground subject, and sometimes an ultra-wide is needed to make that work.

That said, if I'm shooting landscapes, I would not wish to be confined exclusively to an ultra-wide lens like the 10-20. Even if I were an environment conducive to shooting UWA 'scapes, I would still only use a 10-20 maybe for half myshots. And in some environments, it would be simply too wide for most practical purposes. I was in Colorado and Utah a few weeks ago, and found my DA 12-24 to wide for at least 90% of the landscapes out there. I would have been much better off with the DA 16-45. So if you can only afford one lens (as an upgrade to the inglorious 18-55), I think the 16-45 would make the most sense. If you find that 16mm is not wide enough for architecture, then you can save your money to buy an ultra-wide like the Sigma 8-16 at a future date.
10-11-2011, 10:46 AM   #27
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QuoteQuote:
The DA21 has VERY little distortion...
I find a lot of distortion with the 21. Made me say "uh". I already have a fisheye :-)
10-11-2011, 04:42 PM   #28
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Wow, guess my memory did not serve me well, the DA15 definitely outperforms the DA21, but I'd say the DA 12-24 beats them both hands down. Unfortunately the Sigma 10-20 runs from Barrel to Pincushion then flattens out. The Sigma 8-16 does very well too, but for me it's useless because you can't put filters in front of the front element. The Tamron 10-24 has a slight barrel distortion consistant through the range, comparable to the DA15
Photozone's geometric distortion grids.. just click!
DA15
DA21
DA12-24
Sigma 10-20
Sigma 8-16mm
Tamron 10-24

If I were in your shoes, I would probably go with the Da12-24.. I'm tempted to go for it myself, but the DA15 using the 49mm filter thread sure would be cheaper on my pocket book since I already have CPL's and ND filters for it... I must say I am impressed with the Sigma 8-16.. if only there was an EASY way to put an ND or CPL in front of it.
10-13-2011, 04:05 PM   #29
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For landscapes and architecture? I'd say the DA12-24 is a good fit.

I own it plus the DA15 & DA21 and prefer using these primes for "fun", while the DA12-24 feels more like "work". The DA12-24 hood is a PITA and the lens has pretty bad CA, but it is very sharp, goes from very wide to long enough for people shots, and is an ideal urban and landscapes travel lens. Not great for HDR's though, my primes are far better for that.
10-13-2011, 08:21 PM   #30
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I also would recommend the 12-24. A very useful range with excellent IQ. Wide when you need it.
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