Originally posted by normhead I get tired of doing this over and over again....
This photo taken with a Panasonic FZ1000 1inch sensor 1/4 the size of APC-s, it's 20 MP and at 100 ISO can almost out resolve a K-3. We have a long way to go before sensors out resolve lenses.
Or it you want to know how Pentax lenses do, look at the results from various lenses mounted on a Q. Again, very small sensor, very little sign that the sensor is out resolving the lens. It's great theory, except for the part where there isn't a shred of empirical evidence to support it.
Tiny P+S sensors like the FZ1000 and Q are the least likely to outresolve a lens. The Pentax-Q is diffraction-limited from f/4.
---------- Post added 06-21-2016 at 03:33 PM ----------
Originally posted by Wild Mark Lol. I took the punt years ago buying up the legacy stuff on the risk that it was not going to be any good. Looks like I got lucky (but you make your own luck in my book).
Of course the latest coatings make a difference but the optical differences are marginal. One clear difference between legacy and modern lenses is the design imperative of modern lenses to be sharp across the entire FoV. Some want this, but as pointed out here and elsewhere, it is not important to have sharp across the whole frame as the 'content' worth looking at is meant to be in the centre not the edges.
Pentax was way head of the curve on coating and any prime with SMC basically "just works". I've only had a handful of lenses which were flare-prone (M28/2.8) and I blame the optical design more than anything. Vintage zooms are a lot more hit-and-miss across the board, typically I think you're better giving them a pass unless they're something like a 70-200.
The major difference between legacy and modern lenses is actually telecentricity. Film picks up light at any angle, but digital sensors capture it best when it's coming straight inwards. Modern lenses are designed to put their optical center at infinity, so the beams of light are always coming straight in, but this wasn't a design consideration back in the film days. This means that some designs are great on film and just plain bad on digital. It's a fairly common problem in wide-angle lenses.
And yeah, certainly there wasn't as much focus on edge sharpness. Particularly wide-open edge sharpness - in most lenses it's there to help you focus more than anything, although there are of course exceptions. "Superlenses" in general - 24mm and wider lenses, supertele lenses, superfast lenses, etc - just tended to be poorer due to worse design, worse manufacture, fewer types of exotic glass available etc. You owned a 20mm lens, who cares about the corner sharpness?
If you guys really want a sharp lens at a good price, pick up a Samyang 35/1.4, 24/1.4, or 135/2. The 50/1.4 and 85/1.4 are not that impressive though.