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05-18-2018, 03:02 AM   #211
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QuoteOriginally posted by D1N0 Quote
There is some lateral ca in out of focus contrasty areas:
Weird. Looks almost free of CA with default processing in Apple Aperture on my mac:

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05-18-2018, 03:34 AM   #212
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Aperture must do some automatic de fringing then.
05-18-2018, 06:58 AM   #213
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QuoteOriginally posted by D1N0 Quote
Aperture must do some automatic de fringing then.
I really wouldn’t expect it to do that. It doesn’t do it for e.g. my DA70. And it doesn’t recognise the lens. Also, Aperture hasn’t been updated by Apple for ages (it’s EOL), although the underlying RAW engine is part of the system and gets updates.

Are you sure you aren’t accidently applying some CA correction here?
05-18-2018, 07:09 AM - 1 Like   #214
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Nope, and if I was it wouldn't show CA. It's not like you add CA in post.

05-18-2018, 07:54 AM   #215
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It certainly would be an interesting button, the "add CA" button, but I don't know how much use I would find for it.

Maybe better to have a button that just outlines all objects with purple.
05-18-2018, 08:04 AM   #216
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DXO's latest shows the same purple. In DXO I can show corrections or not and since this lens doesn't yet have corrections they don't differ.
05-18-2018, 08:33 AM   #217
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QuoteOriginally posted by UncleVanya Quote
To put this in context the review of the FA 50 1.4 doesn't seem so bad now that I see how poorly the Nikon 50mm 1.4G does.

Perhaps just as interesting the Nikon 58mm 1.4G isn't all that either - however the bokeh is nice enough. But that is a lot of $ to pay for a lens that performs that way.
It was my understanding that the 58/1.4G was a specialist for night shooting due to very low coma (like the Noct-Nikkor that came before it), and if you didn't need that, then there was no reason to shell out the extra $ compared to Nikon's other 50s. So perhaps not the best comparison?

05-18-2018, 09:14 AM   #218
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QuoteOriginally posted by Scintilla Quote
It was my understanding that the 58/1.4G was a specialist for night shooting due to very low coma (like the Noct-Nikkor that came before it), and if you didn't need that, then there was no reason to shell out the extra $ compared to Nikon's other 50s. So perhaps not the best comparison?
I agree it is a specialist lens. I also point it out as it was part of those reviews. It may well be a fine lens for purpose.
05-18-2018, 09:18 AM - 1 Like   #219
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QuoteOriginally posted by Mistral75 Quote
That's longitudinal chromatic aberration: magenta in front of the focal plane and green behind it.

All fast lenses but truly apochromatic ones suffer from longitudinal chromatic aberration.

The only apochromatic 50ish lens I know of is the Zeiss Otus Apo-Distagon T* 55mm f/1.4.

Correct, this is par for the course. Shoot the same scene with the DA* 55, Sigma 50 1.4, or even the DA 70 ( I have all three) and you will see the same but worse.
As long as it is controlled enough to be easily correctable in camera or in post I don't think it is big issue.

We'll have to see more samples from the final production version to get a better feel for how well fringing is controlled, but zero fringing is an unrealistic expectation.
05-18-2018, 10:28 AM   #220
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This lens needs to be in the US$800 range. Why?
There is a gap in price range that they should take advantage of between a normal 1.4 AF lens and other, more highly corrected or faster lenses like the Sigma ART which goes for roughly $950 ($100 less on sale). Canon 1.2 goes for $1300 and the Zeiss Milvus $1200-$1300. The Sony Planar T* goes for $1500 (the manual version in other mounts goes for $725).
In order for the Tamron version to stay competitive it has to be an absolute better performer than at least the Sigma wide open, or if equal, lower priced and better construction (not as plasticky). This is to create momentum by being the better option price and performance wise. Rokinon 1.2 at $1000 is an example of lower price competition on Canon, but manual focus only and can't say anything about its optical performance, although the Canon itself has mixed reviews (the 85/1.2 seems to be the undisputable performer).
After that it's expected that the Pentax version be $200 more because of the weather sealing, so we would end up with a $1000 lens.
The market here is very crowded and therefore it has to be an outstanding lens (more so because of the * designation if Pentax doesn't want it to become meaningless in the future). I see this as an opportunity for both brands to show their outperforming optics, craftsmanship, quality and technology. If it's a breakthrough lens they could even benefit from selling it at a loss.
If the price is really going to be up there it would have to be a stellar piece of glass with a lot going for it in many areas like all of the following:
• Great for portraits with beautiful projection and OOF highlights.
• Highly absent of coma and astigmatism for astro (part of landscape which is a strong point for Pentax).
• Close focusing.
• Great sunstars and city lights at night at smaller apertures and rounded at wider ones (balance between portraits and landscape again).
• No distortion (rectilinear projection). which shouldn't be a problem specially at this focal range.
• No axial CA.

- Field curvature doesn't bother me nor should it anyone since it's not a macro lens nor should it be used for repro work. The only time I'm photographing anything like a flat test chart or a wall is an actual graffiti on a wall, and stopping down just solves that since it's not going anywhere, and I'm actually the one inducing motion blur at those settings.
- Transverse (lateral) CA is easy to correct in camera or post.

As for AF, it should be responsive enough for even the most advanced systems to date and in case Pentax ever decided to up it's game in that area in the next generation of bodies.

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05-18-2018, 10:51 AM   #221
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@torashi Tamron version? I assume you mean the Tokina license of the Pentax design. This lens will not be badged a Tamron. I don’t expect it to be USD $800 either.
05-18-2018, 11:07 AM   #222
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QuoteOriginally posted by monochrome Quote
@torashi Tamron version? I assume you mean the Tokina license of the Pentax design. This lens will not be badged a Tamron. I don’t expect it to be USD $800 either.
Tokina? I thought it would be a Tamron like the 15-30, 24-70, 70-200 and 150-450.
Hmm, now I see the Tokina Opera…
Why not $800ish? There's certainly a void in that price range.

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05-18-2018, 11:08 AM - 1 Like   #223
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QuoteOriginally posted by torashi Quote
This lens needs to be in the US$800 range. Why?
Because you're unwilling to pay a fair price for such a high-end lens.

---------- Post added 18-05-18 at 09:09 PM ----------

QuoteOriginally posted by torashi Quote
Tokina? I thought it would be a Tamron like the 15-30, 24-70, 70-200 and 150-450.
Wrong. The D FA* 70-200 and the D FA 150-450 are Pentax.
05-18-2018, 11:40 AM - 1 Like   #224
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QuoteOriginally posted by torashi Quote
Tokina? I thought it would be a Tamron like the 15-30, 24-70, 70-200 and 150-450.
Hmm, now I see the Tokina Opera…
Why not $800ish? There's certainly a void in that price range.

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This is a Pentax-patented design, with some Co-design work by Tokina. Tokina has licensed the d sign and will offer this lens in other mounts, such as for Nikon and Canon. As elsewhere stated, the 70-200 and 150-450 are 100% Pentax designs and aren’t licensed to Tamron (or anyone else).

Why not $800? Because it is worth $1,200 - $1,300.
05-18-2018, 12:52 PM   #225
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Fair price? What is a fair price? Pricing depends much more on brand name than anything else.
Buying a Tokina Opera at the same price point as a Zeiss Milvus gives you AF, but it's not gonna hold up its value in time like the latter. A reason for that is reputation. And Zeiss has one of coming close to optical perfection. Also, it would be the reason for them being able of demanding a high price.
Next, the previous two have a WR design, so perhaps there won't be a huge price difference between the Tokina and Pentax versions.
As for comparing it with Sigma, even if the image quality is the same, it would have to be around $950 with weather sealing and all, because else it would become a niche product since not everyone needs or expects to have WR. It's just a product of which not enough copies are going to be sold to justify the manufacturing process.
I'm not saying I'm unwilling to pay for a product in that price range, I'm just in the position of seeing it as a tough sell.
I guess they can put the price they want for the Pentax version since it's already a niche market because there aren't too many competitors (but it's also not like Tamron's versions which don't have WR ergo the higher tag on the Px's), but for a third party manufacturer like Tokina, it's not a product easy to position in this particular market.
I'm just saying it's gonna be price since the options are so limited.


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