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10-23-2016, 11:41 AM   #46
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I am curious as to why too. Have you considered sample variation? Tamron is just as guilty of sample variations as the rest of the bunch. Most of the images I have seen from the 24-70 are on the very good to excellent side.

10-23-2016, 01:08 PM   #47
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How many full size samples have you seen that are not test targets shot at studio? Only Sony managed to pull equal joke with their users (dim FE 70-300, similarly priced).
01-19-2017, 03:10 PM   #48
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Just tried the D-FA 50mm macro to compare with the 24-70 at 50mm. Not surprisingly the 50mm is, how shall I put this ... just a 'little' bit sharper.across the frame. When I say a 'little', read in a different league. Yes, I know it's a prime versus zoom argument, and the 24-70 is weather resistant, but I was beginning to wonder why so many folk were in awe of the K-1. Having a chance now to compare the K-1 and the 24-70 with another lens in its focal range, the 50mm macro has restored my faith in the K-1 - it was the 24-70 that was lacking. I'm not referring to edge sharpness, which is weak in the zoom, but in the centre too.

I've being experimenting with K-3 with zooms and primes, comparing the K-1 with the 24-70, to the K-3 combinations. The K-3 options were constantly better. I was beginning to wonder if the K-3 with it's smaller pixel pitch and smaller image circle was always going to be superior. However, now I have the 50mm macro, I now see the sharpness across the frame is on a par with the K-3 (not scientific, viewed at 100% etc - but obviously apparent, it's miles ahead of the 24-70).

I realise sharpness is not the only quality of a lens that matters, but to me the K-1 offered the chance to crop to K-3 size over it's entire frame, but with the 24-70, which is only good in the centre, I couldn't crop to the edge and maintain sharpness. With the 50mm I can. The focal planes in an image stand out in a composition on the 50mm - you can really appreciate the dof, whereas on the 24-70 the edges are weaker than the centre so the dof only really shines in the centre.

The D-FA 50mm does appear, after a weeks of usage, to be a fine lens. On the K-1 the creative options really open out. With the 24-70, I was fighting the lens. So will I keep the 24-70 ? Yes, as I went through the same concerns with the 16-50 on cropped, and eventually learned to get it to work for me. I've sold many images from the 16-50, but I suspect that the 24-70 will be a similar struggle, but the weakness at the edges limits the option to crop, which was a key advantage of the FF system. I will probably use it on wet and misty days ... or will I, when I can switch back to the better weather proofed 16-50/K-3 ? Time will tell. As a walk around lens ? A bit heavy for me. I don't like changing lenses in the field, especially when the weather is poor, so I will no doubt find a use, but it's not going to be used as much as I'd expected.

I don't believe I have a bad copy, as the test results I've achieved (subjectively) do map well to the those published here and on the internet.

I've taken to carrying the K-1/D-FA 50mm and a K-3 with a 50-135 to cover 35-135mm (in cropped terms), which is the range I work in. Incidently the 50-135 at 50mm on a K-3 shines over the K-1/24-70 at 70mm.

This has turned into a bit of a slagging off of the 24-70. I know there are many users that are very happy with this lens, but for me the way I work, I've been too conscious of the lens' abilities/limitations when in use. Guess this is why we buy and intend to sell (but never actually get round to it), lenses as our needs change. It's a pity it was not a * lens, but I appreciate the size of Ricoh's development resources is a limitation. F4 D-FA starred lenses over 24-200 range would have been perfect for me. The (probable) heavy wide aperture primes on the roadmap are of little interest. I'm probably not too far off the mark with many who would like starred F4 sized zooms. 2018 ???? Until then I'll be using my two body option.
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