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07-20-2007, 12:40 AM   #31
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At most Pentax could announce something like 21 lenses. Releasing them is another story. The DA* were initially announced here in Switzerland to be released in spring (and is still stated so on their web page).

07-20-2007, 03:46 AM   #32
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QuoteOriginally posted by RMabo Quote
The difference between the old FA lenses and the new DA Stars, is that the new lenses has a more telecentric optical design to overcome the problems with digital sensors compared to analogue film. The optical design is also constructed to minimise chromatic abberations. And the coating is updated for better performance on digital sensors.

So that's why Pentax didn't put the old FA's into production again, since they clearly would be undperforming against the likes of Canon L glass on digital sensors. The DA Star lenses are designed to give the utmost in optical performance on digital sensors.
Seems like some people have noticed this in practice... personally, I have found the following "problems" when using made-for-film lenses on digital sensors...
1) No vignetting. (I find the "sweet spot" really does apply).
2) Edge-to-edge sharpness (same again).
3) I can use the same lens on digital and film cameras (crazy wacky oddball throwback luddite film-user that I am) and not have to carry double the lenses.

About the only real drawback I see is that the designed-for-35mm-film lenses are larger and in some cases more expensive. The optical 'problems' of made-for-35mm lenses on digital sensors seem more theoretical than noticeable to me... though I'm willing to be proven wrong if the new lenses are clearly superior.
07-20-2007, 06:05 AM   #33
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QuoteOriginally posted by ZaphodB Quote
Seems like some people have noticed this in practice... personally, I have found the following "problems" when using made-for-film lenses on digital sensors...
1) No vignetting. (I find the "sweet spot" really does apply).
2) Edge-to-edge sharpness (same again).
3) I can use the same lens on digital and film cameras (crazy wacky oddball throwback luddite film-user that I am) and not have to carry double the lenses.

About the only real drawback I see is that the designed-for-35mm-film lenses are larger and in some cases more expensive. The optical 'problems' of made-for-35mm lenses on digital sensors seem more theoretical than noticeable to me... though I'm willing to be proven wrong if the new lenses are clearly superior.
My experience is consistent with Zaphod's; the full frame lenses I have perform very well on the digicams I've used over the years. I've read a lot of the theories explaining why "digital" lenses are superior but don't see the difference.

I understand why most manufacturers now make only cropped lenses. Why spend the extra money on something most customers don't want?

That said, I'm dismayed by it because I still shoot film too.
07-20-2007, 07:53 AM   #34
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QuoteOriginally posted by scottax1 Quote
Why spend the extra money on something most customers don't want?
I think you'll find that most customers couldnt care less... most people want cheaper and smaller, hence the push for more APS-C/H lenses.

07-20-2007, 02:07 PM   #35
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QuoteOriginally posted by ZaphodB Quote
Seems like some people have noticed this in practice... personally, I have found the following "problems" when using made-for-film lenses on digital sensors...
1) No vignetting. (I find the "sweet spot" really does apply).
2) Edge-to-edge sharpness (same again).
3) I can use the same lens on digital and film cameras (crazy wacky oddball throwback luddite film-user that I am) and not have to carry double the lenses.

About the only real drawback I see is that the designed-for-35mm-film lenses are larger and in some cases more expensive. The optical 'problems' of made-for-35mm lenses on digital sensors seem more theoretical than noticeable to me... though I'm willing to be proven wrong if the new lenses are clearly superior.
While good multicoated made-for-film lenses work OK on digitals, trust me, a lot of made-for-film lenses have serious contrast problems on digitals, even ones that worked OK for film.

I have a first-generation Sigma 28-200 zoom. It worked quite well on my family's PZ-70 film camera, but had utterly abysmal contrast when mounted to my K10D.

Note that there are full-frame "digital optimized" lenses - see for example the Tamron Di (Not Di II) series and the Sigma DG series. Both are lineups of fullframe lenses with extra care taken to perform well on digitals.

That said, high-quality film lenses have been using such techniques for years to get every last little bit of image quality out them. It's just in the consumer end where "digital optimized" or "digital integrated" fullframe lenses mean that you know they at least put SOME effort into making a decent lens without internal reflections.

My experience is that due to the fact that they already have top-of-the-line multicoatings, most Pentax SMC lenses work fine on DSLRs, and like the the FA*s should perform great on them too.
07-21-2007, 09:29 AM   #36
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QuoteOriginally posted by tcom Quote
At most Pentax could announce something like 21 lenses. Releasing them is another story. The DA* were initially announced here in Switzerland to be released in spring (and is still stated so on their web page).
I have put in some formal inquiries and hope to have some answers shortly...
07-21-2007, 10:11 AM   #37
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Ben

You must stop this incessent desire to tease us with your cryptic missives!!!!!

07-22-2007, 02:47 AM   #38
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Honestly, a fall surprise wouldnt be too bad. It would be a spring surprise here (makes it even better) and hopefully just in time for my birthday*




*Thats assuming they actually get their act together and release something

07-22-2007, 03:31 AM   #39
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QuoteOriginally posted by benjikan Quote
I have put in some formal inquiries and hope to have some answers shortly...
Doing a lot of wildlife, the currently available lenses from Pentax have not enough reach, and even the announced DA 300 is too short.

I would hope they announce at least an DA(*)80-400 and maybe a prime or two beyond 300mm.
07-22-2007, 04:27 AM   #40
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Another 250-600mm would be great.
07-22-2007, 07:10 AM   #41
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QuoteOriginally posted by pentaxshooter Quote
Ben

You must stop this incessent desire to tease us with your cryptic missives!!!!!

I was quite serious. I want the info as well.
07-22-2007, 09:29 AM   #42
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QuoteOriginally posted by ZaphodB Quote
The optical 'problems' of made-for-35mm lenses on digital sensors seem more theoretical than noticeable to me... though I'm willing to be proven wrong if the new lenses are clearly superior.
Many "made for film" lenses has problems with CA on digital cameras.
(the F 100-300 f/4.5-5.6 that I have is useless on my Pentax DSLR's because of this, but the DA 50-200 is a much better performer).

Light bouncing around in the sensor chamber (because of lack of anti-flare coating on the rear lens element on "made for film" lenses) is another real issue, but har to see. There was a discussion dpreview a while back on this where one had shot black cardboard with a hole in the middle just to see the light bouncing around, it was slightly noticeable on the cardboard. This means that "made for film lenses" can have lower contrast on parts of the image because of light bouncing around. However, you may not notice it if you don't make a comparision with the same shot, shot with a "made for digital" lens of same focal length, apertures and shutter the same.

Take care
R
07-22-2007, 10:08 AM   #43
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I have an early surprise! Watch K10D prices tomorrow!
07-22-2007, 11:05 AM   #44
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QuoteOriginally posted by RMabo Quote
Many "made for film" lenses has problems with CA on digital cameras.
(the F 100-300 f/4.5-5.6 that I have is useless on my Pentax DSLR's because of this, but the DA 50-200 is a much better performer).

Light bouncing around in the sensor chamber (because of lack of anti-flare coating on the rear lens element on "made for film" lenses) is another real issue, but har to see. There was a discussion dpreview a while back on this where one had shot black cardboard with a hole in the middle just to see the light bouncing around, it was slightly noticeable on the cardboard. This means that "made for film lenses" can have lower contrast on parts of the image because of light bouncing around. However, you may not notice it if you don't make a comparision with the same shot, shot with a "made for digital" lens of same focal length, apertures and shutter the same.

Take care
R
At the Professional Imaging 2007 in Zurich in March, I spoke with a Pentax rep. I asked if the FA250-600 is still available. I was told that I will probably still be able to find it, but I could be disapointed by the result as the lens does not provide enough resolution for a 10MP camera.

So I asked if they plan to release lenses beyond the announced 300mm, he did not know.

So the existing FA lenses are not recommended by Pentax on a 10MP camera, but they have no alternative to them (so far).
07-22-2007, 01:31 PM   #45
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if you're willing to wait

QuoteOriginally posted by tcom Quote
At the Professional Imaging 2007 in Zurich in March, I spoke with a Pentax rep. I asked if the FA250-600 is still available. I was told that I will probably still be able to find it, but I could be disapointed by the result as the lens does not provide enough resolution for a 10MP camera.

So I asked if they plan to release lenses beyond the announced 300mm, he did not know.

So the existing FA lenses are not recommended by Pentax on a 10MP camera, but they have no alternative to them (so far).
Hi Dominique,

I too have heard mixed reviews on the FA* 250-600 with DSLR's. However, my FA* lenses are fantastic on my DSLR bodies. My 200/4 and 300/2.8 are incredible, as is the 80-200/2.8. It is truly a shame that they are not made any more...

However, that being said, the very long lens issue has been taken care of... although most people cannot afford the super telephotos. Sorry, you'll just have to wait to see what it is...

Cheers,
Marc
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