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02-19-2016, 09:04 AM   #46
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I am a Zeiss ZK fanboy.

Can not wait to try out my ZK 25mm, ZK 28mm and ZK 35mm lenses out on the new K1. No one knows for sure, but I expect that one of more of these ZK lenses will be exceedingly nice on the new Pentax full frame.

02-19-2016, 01:45 PM   #47
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Has anyone experience with the M 20 F4 on FF? The 15-30 seems to be the solution with the best IQ, but way out of reach for me at the moment. Are there any alternative in that price range (maybe another old manual lens I forgot about?)
Otherwise i will stick with my Sigma 8-16 in Cropmode, i guess this will do it in the beginning
02-19-2016, 09:41 PM   #48
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QuoteOriginally posted by narual Quote
Are you talking wide or ultrawide?
That is the pertinent question!

Back in the day, anything wider than 24mm was ultra wide and very few people shot wider than 28mm. Most folk who learned on APS-C are fairly astounded when they see the 28mm FOV in the big bright viewfinder of say, a Pentax ME Super.

So, for the OP the answer is simple...almost any decent 28mm (there are many, many good ones) will work great for landscape and cityscapes/architecture and many interiors. For street work, 35mm is the traditional focal length. If you must go wider, you probably won't need to go less that 20mm.


Steve
02-19-2016, 09:45 PM   #49
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QuoteOriginally posted by bobbotron Quote
My Zenitar 16mm is incredibly wide on my 35mm Spotmatics.
Yep 180 degrees diagonal. Mine is K-mount and a ton of fun on my K-mount film cameras.


Steve

02-19-2016, 10:17 PM   #50
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I just bought a F28/2.8, which is the highest rating 28mm lens in the PF review database. It didn't cost too much and it's tiny, light, fast focussing and has a five bladed aperture which makes it unique in my lens collection. It will definitely need a hood though.

Still on the lookout for a FA20/2.8....
02-19-2016, 11:14 PM   #51
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I'd be happy with my current 10-17 when left above 15mm, that is far more than I ever had in my film days.

Edit.. Another really nice option that I owned before is the Tamron 17-35 f2.8-4, it was a fine lems back in my Alpha days.
02-20-2016, 12:00 AM   #52
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I have a Sigma 8-16mm. I guess still usable at 15-16mm. So will not sell away.
And I have a Promaster 19-35mm f3.5-4.5, it probably can work too.
I don't think I can afford the D FA 15-30mm f2.8.
02-20-2016, 12:52 AM   #53
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Mind you, there's a pretty strong case to be made for getting the DFA15-30 and probably selling my DA15, DA21, FA*24, F28 and DA*16-50. It will depend on how the new lens performs with respect to starbursts and flare resistance, but it will be a great focal range on both full frame and APS-C.

02-20-2016, 01:27 AM   #54
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QuoteOriginally posted by jimr-pdx Quote
I'd be happy with my current 10-17 when left above 15mm, that is far more than I ever had in my film days.
I've had my DA10-17 "de-hooded", on my MZ-S it now works down to 12mm without that horrid vignette from the hood and from 10-12mm it has a full circular vignette.

Glenn
02-20-2016, 01:31 AM   #55
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QuoteOriginally posted by G and T Quote
I've had my DA10-17 "de-hooded", on my MZ-S it now works down to 12mm without that horrid vignette from the hood and from 10-12mm it has a full circular vignette.
Pictures, or it didn't happen.



This is at 10mm. In the corners there is no hood at all - it's still miles from a full frame image circle.
From 15mm it is fine.
02-20-2016, 01:39 AM   #56
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The Pentax FA 20-35 can be found on Fleabay for as low as 300 EUR in mint condition.
Stopped down it makes a great cheap 20mm lens.

Here is it on FF in full res (there are raindrops on the lens ...):



The to be announced Laowa 12mm F2.8 probably will be the best option in the near future.
02-20-2016, 07:56 AM   #57
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QuoteOriginally posted by stevebrot Quote
So, for the OP the answer is simple...almost any decent 28mm (there are many, many good ones) will work great for landscape and cityscapes/architecture and many interiors. For street work, 35mm is the traditional focal length. If you must go wider, you probably won't need to go less that 20mm.
Steve, yep, you are right, for someone who did not test wide lenses (and ultra wide as well) on FF, it's a bit premature to shop for that range.
Here is the one lens, cheap/great F35-70mm macro I can't wait to test on FF. It should be brighter.
02-20-2016, 08:08 AM   #58
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QuoteOriginally posted by stevebrot Quote
Yep 180 degrees diagonal. Mine is K-mount and a ton of fun on my K-mount film cameras.
Steve
Agreed! I wish I got the K mount version, mine doesn't have a manual switch, so I can't stop it down on k mount cameras doing one of the stop down hacks on the lens. That said, it's great fun to have a fisheye for the m42 cameras.

02-20-2016, 09:23 AM   #59
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QuoteOriginally posted by stevebrot Quote
That is the pertinent question!

Back in the day, anything wider than 24mm was ultra wide and very few people shot wider than 28mm. Most folk who learned on APS-C are fairly astounded when they see the 28mm FOV in the big bright viewfinder of say, a Pentax ME Super.

So, for the OP the answer is simple...almost any decent 28mm (there are many, many good ones) will work great for landscape and cityscapes/architecture and many interiors. For street work, 35mm is the traditional focal length. If you must go wider, you probably won't need to go less that 20mm.


Steve
You're right, Steve. I've used the FA 28 2.8 a bit on my A7r. It is excellent at mid apertures. I haven't tested it wide open because that is not relevant for me. The only reason it is not permanently in my A7r kit is that I have an equally good MF 28 that is more convenient to focus on the A7r.
02-20-2016, 09:39 AM   #60
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QuoteOriginally posted by stevebrot Quote
Back in the day, anything wider than 24mm was ultra wide and very few people shot wider than 28mm. Most folk who learned on APS-C are fairly astounded when they see the 28mm FOV in the big bright viewfinder of say, a Pentax ME Super.
For reference, my dad had a 28mm in the film era and did not like it. His complaint was that it made everything too small in the frame for most scenes.

When you couldn't crop to custom aspect ratios--you want to shoot a long mountain range but are stuck wasting the top and bottom thirds of the frame--the use for UWAs was a bit more limited. This is yet another aspect of photography digital has changed.
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