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01-22-2009, 10:50 AM   #1
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Pentax eats Canon

I have just swapped from a 30d to a k20 and am stoked (apart from the curve around complexity and PEF)

I shoot studio for $ and often the k20 will be ok (some clients will insist on FF and i will borrow a 1ds)

much of my shooting is clubs and Gigs for fun and fringe benefits..

On the 30d i had to shoot 1.8 and 1.4 primes as noise was such an issue, L zooms just were not an option for many shots.

Im wondering however if the k20 will allow some 2.8 zoom shooting due to very sharp and usable images around 800 iso and higher? the canon noise was ordinary beyond 400 wide open at 1.8 with an 85mm (awesome sharp lens tho!).

I am about to post some wanteds up and am thinking do i go 85 1.4, 77ltd, or 28-70 2.8 (pentax or tammy?).

Which of the primes will perform best in the studio? I have some serious lighting rig at my disposal.

While im at it same goes for a 50mm, any ideas?

Cheers everybody.

01-22-2009, 11:09 AM   #2
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The Pentax 85/1.4 and Pentax 28-70/2.8 are older, discontinued models and both hard to find and expensive. The 77 ltd is spoken very highly of, as is the DA* 50-135/2.8. Either of those may work for you.

As for 50, Pentax makes a great 50/1.4, or there's a new DA* 55/1.4 that is supposed to be out by February. The 50/1.4 does not have the built in motor, so it's probably louder than you're used to with canon (same for the 77ltd) but the new 55/1.4 has the new SDM (roughly equivilant to USM), so it'd probably be your best bet.
01-22-2009, 11:13 AM   #3
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Well,

Threads bashing Pentax are quite common place here, so you're is a bit refreshing

However, the Canon D30 is one generation before K20D, if you want to be fair, compare it with the D40 or the D50. (The K20D was released in between)

As for you question, I shoo t nearly always at 800 iso (indoors and low light, no flash), there is some loss of sharpness as compared to 100 iso, but the degradation is looking like fine grain (provided you reduce chrominance noice) comparable somehow to medium format.

Common statement is that images on the K20D are clean up to 1000 / 1200 iso. Above you have to really need it and pratice a lot before getting good results.

16-50 is considered as a serious contender on pro league as long as you get a good copy. I don't own it so I can't comment.
Pentax are usually very good, about the ones that I own :
31 ldt is stellar, great colors, very high resolution, creamy bokeh...
50 / 1.4 is a nice lens but not as usefull as my 31ltd or my 70ltd
70 ldt is a great little lens, bokeh not as good as 31, and a bit slow (2.4) so I'm considering the 77ltd (much more expensive and bigger also)

I don't do studio shooting so I can't tell about your needs for this specific setup.

Regards,
01-22-2009, 11:42 AM   #4
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QuoteOriginally posted by quenched Quote

I am about to post some wanteds up and am thinking do i go 85 1.4, 77ltd, or 28-70 2.8 (pentax or tammy?).

Which of the primes will perform best in the studio? I have some serious lighting rig at my disposal.

While im at it same goes for a 50mm, any ideas?

Cheers everybody.
I always shoot available light so I can't comment about studio performance. I can say that the 77ltd is a lens that I recommend without hesitation. It is my favorite one, period.

For a "50", you could consider a 43ltd as well. Also, the 50-135* is a stunningly good zoom. IQ is in prime lens territory. Seriously. Other zooms, not so much imho.

Another option in a "50" is Zeiss or Voigtlander if you are willing to shoot MF. Either the Zeiss 50/1.4 or Voigt 58/1.4 will yield pretty amazing results. For that matter, if you are ok with MF, Zeiss makes a whole bunch of primes in Pentax mount. The 25/2.8 has interested me for some time now, but my budget is a little limp from the holidays...

01-22-2009, 04:56 PM   #5
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I agree with nostatic about the 77/1.8 ltd. I only received mine a couple of weeks ago, and I continue to be amazed at the IQ of this lens - sharp in-focus and pleasing out-of-focus areas, not to mention a joy just to handle. It's one of those lenses that urges you to switch off AF and enjoy the full tactile and visual experience.

On the question of a '50', it's a term that's sometimes used to describe a focal length from 35mm camera usage. With respect to field of view, of course, that's equivalent to around a 33mm lens on a Pentax DSLR. If that's what you're looking for, then the 31/1.8 ltd is a strong contender, for similar reasons to the 77ltd. I can't speak about the 43ltd or the FA50/1.4, as I don't have either.
01-22-2009, 05:11 PM   #6
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QuoteOriginally posted by quenched Quote
I shoot studio for $ and often the k20 will be ok (some clients will insist on FF and i will borrow a 1ds)

...


much of my shooting is clubs and Gigs for fun and fringe benefits..
Seriously? They are able to tell the difference between a $1k- and an $8k- cameras' pictures in a studio environment? Why aren't they taking their own pics? I don't mean this towards you, but that's the most ridiculous thing I've heard in a couple days

You probably can't mention said "benefits" on a family site such as this, can you?
01-22-2009, 05:25 PM   #7
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QuoteOriginally posted by quenched Quote
I have just swapped from a 30d to a k20 and am stoked (apart from the curve around complexity and PEF)

I shoot studio for $ and often the k20 will be ok (some clients will insist on FF and i will borrow a 1ds)

much of my shooting is clubs and Gigs for fun and fringe benefits..

On the 30d i had to shoot 1.8 and 1.4 primes as noise was such an issue, L zooms just were not an option for many shots.

Im wondering however if the k20 will allow some 2.8 zoom shooting due to very sharp and usable images around 800 iso and higher? the canon noise was ordinary beyond 400 wide open at 1.8 with an 85mm (awesome sharp lens tho!).

I am about to post some wanteds up and am thinking do i go 85 1.4, 77ltd, or 28-70 2.8 (pentax or tammy?).


Which of the primes will perform best in the studio? I have some serious lighting rig at my disposal.

While im at it same goes for a 50mm, any ideas?

Cheers everybody.

-------


I personally think you are a little "savage" in your assessment. Prior to digital, when bodies cost a whole lot less than they do today, it was not uncommon for photographers to have more than one system.

Canon, with their long fast glass were worth buying for those special applications where wide open results mattered more than stopped down performance.

I have used Pentax for over 40 years and, for me, the main drawing card was the glass! I was about to "spit the dummy" and go elsewhere due to the lack of FF from Pentax.

I did a lot of research and found that Pentax produced the overall finest glass in the focal lengths important to me - 50mm and less. I bought the K20d and some more lenses and am very happy.

If I want more control, I will go with my 6X9 Horseman and the Rodenstock lenses.

Cheers,
01-23-2009, 01:55 AM   #8
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QuoteOriginally posted by quenched Quote
I have just swapped from a 30d to a k20 and am stoked (apart from the curve around complexity and PEF)

I shoot studio for $ and often the k20 will be ok (some clients will insist on FF and i will borrow a 1ds)

much of my shooting is clubs and Gigs for fun and fringe benefits..

On the 30d i had to shoot 1.8 and 1.4 primes as noise was such an issue, L zooms just were not an option for many shots.

Im wondering however if the k20 will allow some 2.8 zoom shooting due to very sharp and usable images around 800 iso and higher? the canon noise was ordinary beyond 400 wide open at 1.8 with an 85mm (awesome sharp lens tho!).

I am about to post some wanteds up and am thinking do i go 85 1.4, 77ltd, or 28-70 2.8 (pentax or tammy?).

Which of the primes will perform best in the studio? I have some serious lighting rig at my disposal.

While im at it same goes for a 50mm, any ideas?

Cheers everybody.
I would suggest checking out the Tamron 28-75 f2.8 one of the sharpest zooms I have ever experienced and Pentax 16-50 lenses. I also highly recommend the Ltd 40mm f2.8 which is very sharp wide open.

Ben

01-23-2009, 02:48 AM   #9
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I would like to add that the quality for portraits of the FA 77ltd is outstanding and gives wonderful colour tones and terrific bokeh



Neil
01-23-2009, 04:37 AM   #10
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Not quite sure where i am savage mate, ever watched a game of rugby?

Yew!
01-23-2009, 05:15 AM   #11
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QuoteOriginally posted by ryan s Quote
Seriously? They are able to tell the difference between a $1k- and an $8k- cameras' pictures in a studio environment? Why aren't they taking their own pics? I don't mean this towards you, but that's the most ridiculous thing I've heard in a couple days

You probably can't mention said "benefits" on a family site such as this, can you?

NOT SURE WHAT YOU MEAN? ARE YOU BEING SARCASTIC?
DOUBLE THE SENSOR SIZE AND 8 MORE MPS ARE NOTICEABLE ON A 23 INCH SCREEN ALL DAY...

SOME OF MY CLIENTS ARE ADs FOR SOME WELL KNOWN BRANDS, THEY OFTEN SPECIFY FF, IS THIS STRANGE?

RE BENEFITS...CORRECT
01-23-2009, 07:01 AM   #12
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23" LCD means maximum of 2048 x 1152 resolution

even 5 megapixels is over that limit...
01-23-2009, 08:47 AM   #13
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QuoteOriginally posted by Gooshin Quote
23" LCD means maximum of 2048 x 1152 resolution

even 5 megapixels is over that limit...

For screen display i agree with you guys, there is no reason to get more MP if the limiting factor will be the monitor... but from what he is suggesting, these are high-profile accounts and most likely will be used for prints as well... then it is another ball game...
01-23-2009, 10:38 AM   #14
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QuoteOriginally posted by BBear Quote
For screen display i agree with you guys, there is no reason to get more MP if the limiting factor will be the monitor... but from what he is suggesting, these are high-profile accounts and most likely will be used for prints as well... then it is another ball game...
EXACTLY

THOSE INCREASED SPECS TRANSLATE TO A 'BIGGER' SHOT IN SO MANY WAYS.

AGREED THERE ARE LIMITATIONS IN THE MONITOR BUT THE SHOT IS STILL THE SHOT AND IF IT IS THERE TO BEGIN WITH A TRAINED EYE WILL SEE IT.

SAME WAY AN AUDIO GUY CAN PICK A 'LOSSLESS' FILE OVER A WAV.

I CANT GIVE YOU THE PRECISE SCIENCE BUT I CAN SEE THE DIFFERENCE AND SO CAN THE ADs, ISNT THAT THEIR JOB..?

Last edited by quenched; 01-23-2009 at 10:43 AM.
01-23-2009, 12:38 PM   #15
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QuoteOriginally posted by quenched Quote
EXACTLY

THOSE INCREASED SPECS TRANSLATE TO A 'BIGGER' SHOT IN SO MANY WAYS.

AGREED THERE ARE LIMITATIONS IN THE MONITOR BUT THE SHOT IS STILL THE SHOT AND IF IT IS THERE TO BEGIN WITH A TRAINED EYE WILL SEE IT.

SAME WAY AN AUDIO GUY CAN PICK A 'LOSSLESS' FILE OVER A WAV.

I CANT GIVE YOU THE PRECISE SCIENCE BUT I CAN SEE THE DIFFERENCE AND SO CAN THE ADs, ISNT THAT THEIR JOB..?
QuoteOriginally posted by quenched Quote
NOT SURE WHAT YOU MEAN? ARE YOU BEING SARCASTIC?
DOUBLE THE SENSOR SIZE AND 8 MORE MPS ARE NOTICEABLE ON A 23 INCH SCREEN ALL DAY...

SOME OF MY CLIENTS ARE ADs FOR SOME WELL KNOWN BRANDS, THEY OFTEN SPECIFY FF, IS THIS STRANGE?

RE BENEFITS...CORRECT
All this yelling is making my head hurt!
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