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Forum: Pentax SLR Lens Discussion 07-12-2014, 08:43 AM  
Sigma 8-16mm
Posted By interested_observer
Replies: 23
Views: 3,331
All fisheyes are (usually) 180 degrees wide (on the diagonal) by their design - in terms of fisheye zooms they are (usually) 180 degrees wide at their widest end. What varies across the fisheyes and their focal length differences is the magnification at the center point and type of projection used and the extent of the projection across the corners and in particular the sides. The diagonal corner points are going to be at least 180 degrees and on some of the more extreme fisheyes more.

In terms of the focal length across both a fisheye and rectilinear lens, the only reasonable comparison is the magnification used at the center point. After that, the barrel distortion takes over - in the case of the fisheye it is uncorrected, while in the case of the rectilinear it is corrected to maintain straight lines (at the expense of artificially stretching the view). The other aspect is how the projection from the lens is laid down across the sensor. Some fisheyes have the entire projection with in the sensor (circular fisheye) - while others have the extent of the sensor within the projection of the lens (full frame fisheye).

The other aspect of fisheye lenses is how the photographer employs the lens. Walk up close to a subject and the lens will pull the center of the view in and diminish the edges. Then have the object move out of the frame, and the center suddenly becomes push back and diminished while the edges and corners appear to become drawn in.

Looking at a zoom fisheye, at its widest they are running 180 degrees corner to corner. However, when you zoom in, nothing optically really changes with the lens - the lens does not change its projection or anything, its just the extent of the projection that is laid across the sensor. So effectively, you are loosing view across the corners and edges. Using the 10-17 lens as an example, you zoom from 180 field of view (on the diagonal) to about 100 degrees at 17mm. Essentially you are just magnifying the center as you zoom and the wider view (of the corners and edges) roll off the edge of the sensor - in essence you are cropping the view from 10mm to 17mm.

Most folks think that fisheye lenses portray an extreme and un-natural view of the world. In some cases they are correct. However, again its up the the photographer and how they employ the lens. When comparing a fisheye to a rectilinear across the same identical scene, the fisheye can appear more natural in its view of the world - where as with the rectilinear the lines may be straighter - but the view un-naturally stretched, elongated and distorted. It all comes down to what looks the best in terms of what the photographer intends to present.
:cool:
Forum: Pentax News and Rumors 05-24-2014, 07:55 AM  
K-mount lens roadmap updated
Posted By normhead
Replies: 571
Views: 98,872
I have to agree, all these people wanting a particular lens.

From my perspective, a good photographer can take an image with whatever is handed to him her. If you have to have a 24 mm lens... you don't know photography.

What people don't understand when approaching this topic is, lenses like the 31, 21, 15 , 43, 77 etc. are not great lenses because of their focal length. Pentax could make lenses in every focal length from 10 to 100, and I suspect people would ask when they're going to start they are going to start filling in the .5s.

When I say I like my 21 Ltd. that doesn't mean I would like a Nikon 21 or a Canon 21, of any anything else 21. it means I like the Pentax 21. If I like the Canon 24, it doesn't mean I would like a Pentax 24. What I like or dislike about lenses not determine by the focal length.

To me, if you can get a great 21 but you won't because you want a 24, with all due respect, you don't understand photography. And I'd say this to anyone, if you have access to a 77 but not a 90, and you can't get by with the 77, you don't know what you're doing.

I'm ready for the barrage of ridiculous posts where people insist they have to have this focal length, but to me, it's the same thing as standing on top of a building and yelling " I know nothing about photography and instead of learning to take advantage of the great lenses out there, I'm going to sit here and whine about the lenses I don't have."

This is not about some people being pickier than me. This is about people being obsessive. I know it's easier to sit and whine about lenses that don't exist than it is to get out there and find out how to do what you want to get done.

One of my favourite quotes from school "Find the lens you like and buy the camera system that goes with it." Notice folks were encouraged to find the lens they love. At no point did my instructor advise sitting home and crying over the lenses that have never been made and writing to camera companies suggesting they make the lens. Life is too short.

People, this is foolish behaviour. The lens roadmap is made to let you know what might be coming. And that's encouraging. I was extremely disappointed with the Sigma 120-400. The idea of a Pentax 90-370 is something that interests me. It's to let you know that if you're looking, there's going to be something available. I've since moved on to the DA* 60-250 and 1.4 TC which makes almost any other combination redundant, but it's still interesting to see what's coming, if for no other reason to advise others. I've told lots to buy the 55-300, not because I own it, or will ever own it, but because from what they say, it's the lens they need.

The roadmap is not an excuse to spend your life crying in your beer because of some lens Pentax doesn't make.

And the other thing I'd leave this conversation with is, I've seen a photographer find the lens he loves, which say for example might be the 31, or a 50 or even a 70, but all the sudden that photographer hardly ever uses any other lens. On every possible occasion he uses that lens. He uses his 31 when he should be using a 40 or a 50, because that's his favourite lens. And if it's your favourite lens, using a 31 instead of a 43, it's close enough. Or using 40 instead of a 50, same thing. If you love the lens, it's close enough, if the lens is nothing special to you, then the focal length doesn't matter, you won't use it, even when you should.

It's kind of sad, seeing so many people who are still searching for a lens they can enjoy working with, and are actually hoping Pentax will miraculously produce in the future some lens that's just right for them. That's a long shot, no matter what you're hoping for.

A lot of people need to go back to square one. Find a lens you love, buy the camera that goes with it.

For me, my 18-135 and 21 ltd and 40XS and 60-250 are all I need to be happy. I go on lots of hikes with just those 4 lenses. If you're still looking for a lens at this point, I don't know what's wrong with you. I have lots of lenses I own and barely use...because I use the ones I really like.
Forum: Pentax SLR Lens Discussion 02-16-2014, 12:38 AM  
Sigma 17-70mm F2.8-4 Contemporary Review
Posted By marcm
Replies: 26
Views: 6,562
I don't know why, but I had a different experience than most others here with the sigma 17-70 contemporary. First I tested it for sharpness against my 18-55 WR kit lens by shooting a test sheet/chart with each lens (using a K-30). The sigma contemporary was sharper, noticeably sharper, but not by leaps and bounds. I then shot photos around the neighborhood, the same scenes with both lenses. I was surprised to see that the kit lens was consistently sharper than the sigma! I don't have an explanation (my shots were compared at the same f stops and shutter speeds). I was also surprised to observe that the color on the sigma was much duller than the color on the kit lens. The kit lens can sometimes take colors that are a little too color saturated, but I felt the kit lens did a better job with both sharpness and color with my neighborhood photos. Given that the kit lens definitely has the advantage when it comes to price and weight/size, I sent the lens back. I know the sigma has the advantage of having more focal length on the wide angle and telephoto ends of the spectrum and that the sigma lets about twice the light into the camera as kit lens. I also know that many who prefer the sigma over the kit lens know much more about lens than I do and have more educated eyes, so I make no claim that the kit lens is the better lens (I suspect it isn't). I saw wonderful photos from the sigma online. Mine were not wonderful. However, I thought it best to report my true experience.
Forum: Pentax SLR Lens Discussion 02-06-2014, 03:38 AM  
The Bokeh Club
Posted By margriet
Replies: 25,987
Views: 2,368,322

bug shroom by margreetz, on Flickr
Forum: Pentax SLR Lens Discussion 01-15-2014, 02:51 AM  
Sigma 50/1.4 EX vs. Pentax FA 50/1.4 and DA 55/1.4
Posted By DSims
Replies: 17
Views: 6,666
The DA*55 easily wins here, though the Sigma has its virtues. What these casual samples (and almost any professional lens test you'll ever see, for some stupid reason) don't show you is how they perform stopped down by only 1/3 and 2/3 stops. Very few lenses are great wide open (and most that are cost $1000+ or $1000+++), but the sign of a top performing lens is how it does before it's stopped down by a full stop. If it takes a full stop to get good IQ the lens is marginal, at best. That's what's so impressive about the DA*55 - like the FA*85, it has very high IQ at f/1.6 or f/1.8. That's excellent performance, especially for such a fast lens.

BTW, the FA50/1.4 (or any of its F/FA brethren - I've owned 3 of the 4) can't hold a candle to the DA*55 until stopped down to at least f/2.8 (which defeats the whole purpose of having a fast 50, after all). The DA*55 (or the FA43, for that matter) is a much better choice. (However, in terms of usable images, the DA*55 is still at least a full stop faster than the FA43 in practice).


The DA*55 can have absolutely beautiful OOF backgrounds. But you also need to be aware that in a few situations it can create some of the harsher backgrounds I've seen from a lens (for example, some backgrounds with bushes or similar elements come out poorly - to the point of distraction, I think). However, IMO it's worth the risk for the high quality it usually produces. If you haven't already looked, please see the PPG for examples of both the impressive sharpness and image isolation at f/1.6 or f/1.8, as well as the harsh or busy backgrounds in (fortunately) only a few of the images.

PENTAX : Select a PENTAX interchangeable lens camera or a lens model

Despite its one potential shortcoming, the DA*55 is one of the most impressive, fast lenses available on any DSLR, especially amongst AF models.

The Sigma may have less defined OOF areas, with a more blurry effect. Some people prefer this. The problem is the IN Focus areas exhibit similar characteristics. Thus your subject stands out more nicely with the DA*55, despite the risk of occasional harsh backgrounds.
Forum: Pentax SLR Lens Discussion 12-24-2013, 07:03 AM  
What is your take on the Da 70 vs Fa77 or the upstart Samyang 85?
Posted By Gray
Replies: 27
Views: 5,869
As promised here are some quick comparison shots at maximum aperture to show the bokeh. In all photos, focus is on the green lid, ISO 160 with varying shutter speed to match exposure brightness.
No surprises really.

For interest I've also included two good zooms at 70mm (the Sigma 17-70 "C" and DA 18-135) + the excellent Sony RX100II at 67mm equivalent.

Vivitar (Samyang) 85 f1.4


FA 77 Limited f1.8


DA 70 Limited f2.4



Sigma 17-70 "C" 70mm f4.0


DA 18-135 WR 68mm f4.5


Sony RX100II, 37mm (67mm APS-C equivalent) f4.9
Forum: Pentax SLR Lens Discussion 12-26-2013, 05:01 PM  
The Bokeh Champs
Posted By Cannikin
Replies: 19
Views: 2,335
Close up "macro" type shots are not good for judging bokeh. Any lens can turn generate "smooth/dreamy" blur if close enough that the background is unrecognizable. The real bokeh test comes at medium distances where the background is noticeably blurred, but still recognizable as distinct objects. This is where "bad bokeh" rears its ugly head.

The lens with the most consistently smooth bokeh that I own is the FA 31 Limited. I own the FA 43 and 77, as well as the A50 f1.2 and Sigma 35 f/1.4, and it's really not that difficult to generate jittery bokeh on any of them if you know how (medium distance subjects on backgrounds with lots of high contrast lines). The 31 is very smooth at any distance for all but the busiest backgrounds, though there is quite a bit of longitudinal chromatic aberration (green/purple bokeh fringing) if that bothers you.

Also, wider aperture doesn't necessarily mean smoother bokeh. On the A50 f/1.2, f/1.2 is noticeably more "nervous" on high contrast lines than at f/1.4-2.
Forum: Pentax News and Rumors 12-20-2013, 07:31 AM  
Pentax-Ricoh Russia Answers: FF and Ricoh future
Posted By normhead
Replies: 491
Views: 98,841
You said "but", you should have said "because." Pentax markets themselves as a maker of lightweight glass, easy to carry, functional. They are not a "Me too" company making stuff for the Nikon Sigma Canon fanboys. Again reading between the lines, Pentax has carved out a niche with light glass, fewer elements and not as much size.

I have two Sigma lenses, the 70 macro and 8-16, they bloat my camera bag. If I sold those two lenses, I could carry the 15 ltd, 31 ltd and 77 ltd, and it would be less weight. The point people seem to be missing here is these 1.4 lenses, are specialty lenses. These are not lenses where you can throw a bunch of them in your camera bag, and go find a picture. And that is one of the great joys of photography. You go for a walk with your camera, and you find something to take a picture of that is just stunning.

My Sigma 8-16, is heavily corrected, sharp edge to edge etc. etc. but quite often it gets left home because it's heavy. For many Pentax shooters, if it's not in your bag while you're walking around, it's useless. Very few of us have studios.

I love posting this image.


My client on this trip brought his D800e, and we shot a lot of side by side images. We were on a day hike that passes by 4 or 5 waterfalls when I took this image. He chimped my image and said "oh I can't take that, my 14-24 was too heavy to bring."

I simply cannot fathom how quickly the "it has to be perfect" edge to edge guys will slough this off, and I can't say it loud enough.

You cannot carry every edge sharp monster lens you might need on a trip or a hike.

Do you understand? You will be like my client… no picture because you didn't bring the right lens.

Not an edge soft picture, No picture.

I have been on so many hikes where I had every intention of coming back to a spot where there wads an image I didn't have the right lens for, but it usually doesn't happen. And if you do go back, the light isn't the same or something else is different.

You simply cannot slough off weight. For most, it is a major disadvantage in a lens. With a lightweight edge soft lens you can get a fantastic image. WIth no lens, you can't get any image.

This whole train of thought is predicated on the notion of the unlimited ability to bring heavy lenses. That is an absolute, unequivocal fallacy. Now, I hope you will pause and reflect on that before you post another of these absolutely crazy heavier but not edge sharp comparisons. Lighter lenses can go where heavy lenses cannot. There is a a whole class of image that uses the best portable glass. But it has to be portable. Discussing you Nikon 14-24 isn't part of the conversation.

If Canon, Nikon, SIgma etc. are so good, why can't they produce something lightweight and sharp on the edges? They can't and they don't. They've taken one side of the trade off, Pentax has taken the other.

What there should be would be a rule that only lenses of similar weight should be compared against each other. It would solve a lot of confusion. Even though measubating poster after measurebating poster conveniently posts like they are, no argument they make can over come that first fallacy. If your premise is wrong, any argument based on it is wrong. Sigma's 1.4 30, is not the same type of equipment as Pentax's 31 ltd.. You can tell just looking at them.

So, instead of coming on here and repeating "Pentax glass isn't as sharp edge to edge." every time someone talks about how light Pentax lenses why don't you all learn to stay on topic. If we're talking about weight, we're talking about weight. For those of us concerned about weight we don't give a crap about any little dweeb chirping in the background, talking about some specialty lens that weighs twice as much. We're talking about weight because, that is the first thing that's important to us. There is no "but." We want the best lightweight glass. If heavy glass exists, it doesn't exist in our universe. it's in a whole different galaxy.

Am I starting to get through?

There is a whole universe of top notch light weight glass out there. And not one of it's users is un-aware that they could buy a piece of glass that cost a lot more and weighs twice as much, that would perform better technically but probably not artistically better. We know about it, we don't want it. You guys are like a bunch of 747 pilots talking to glider pilots. it's all flying, but were not in the same plane. Gliders have landing gear, 747s have landing gear, but not the same landing gear. What is relevant to one is not relevant to the others, even though it's all flying.
Forum: Weekly Photo Challenges 11-24-2013, 07:55 PM  
Weekly Challenge # 265 - beauty of things imperfect and transient
Posted By ramseybuckeye
Replies: 36
Views: 4,500

Leaf Stain by ramseybuckeye, on Flickr
Forum: Photographic Technique 10-17-2013, 02:07 AM  
How to handle bright skies over architecture/landscapes?
Posted By Inexorable
Replies: 18
Views: 2,742
I have struggled a lot with this issue and one of the solutions that worked for me was Single Exposure HDR to leverage the relatively higher dynamic range of the K-30 / K-5 / K-3 cameras and their RAW files

Here is an example of the result.



I posted an explanation of the technique on my blog at

Single Click High Dynamic Range (HDR) Photography – Pro Grade and Free!

Please be warned that I am a hobby photographer who embarked on a journey to learn photography a while ago on this forum holding hands of the good folks on this forum.

Forum: Pentax SLR Lens Discussion 05-01-2013, 10:12 AM  
Laboratory tests versus Real-life usage: Are Pentax lenses being misrepresented?
Posted By KDAFA
Replies: 58
Views: 6,161
It seems that some have misunderstood the main thrust of what I was saying.

Nowhere in my post did I question the accuracy of PZ's measured data, or their measuring methods.

Again, nowhere did I say that PZ (or other technical measurement sites) are useless - on the contrary, more than once I said that technical measurements have their time and place, and their usefulness.

But the key thing I was saying is that measurements alone are insufficient in revealing the full optical nature of a lens.

To try and illustrate that point, I showed that not one but three highly regarded Limited lenses (Pentax's premium glass) failed to impress PZ. (Yes, I am aware of other Pentax lenses PZ is impressed with, eg. the FA31 and DA70 Limiteds).

As I kept on stressing in my post, do we see a disconnect somewhere? In other words, how is it that great lenses like those three (and that's not just my isolated opinion - many, many others have seen it, and concur) fail to register on PZ? Clearly something is "missing" - there is a disconnect.

And that leads to my other main point: Actual user experience, formed over time in real-life usage situations is every bit as weighty as numbers and charts, and often more relevant. Technical tests need to be supplemented.

Lytrytyr pretty much sums it up:
For an informed decision,
I've found it best to factor in
a mix of (subjective) user reviews
and (objective, but sometimes flawed) technical tests.

Talking now about "pixie dust", Civiletti wrote: "Perhaps fairy dust is in the mind of the beholder. I have seen images on this site from these Pentax lenses that supposedly do something special in rendering. I do not see it."

And top-quark wrote: "Subjective reports of "pixie dust" and the like are utterly worthless - you might as well say it's "magic" and be done with it."

My response is that it is probably true that not everyone sees it. That's fine, and in so saying I mean no disrespect to anyone at all.

But some do see it.

There is an old saying that "where there's smoke, there's a fire". Subjective reports of pixie dust are not utterly worthless - the fact that various people are reporting it should at least trigger us to the possibility that something just might be up. And end of the day if an individual simply does not see it, then like I said, that's fine.

But I was nowhere suggesting that we just call it "magic", and disregard all technical testing. I've already reiterated that technical tests have their use. But just because a certain quality cannot be readily measured doesn't mean it doesn't exist - we know that. And indeed things like colour rendering, 3D effect, bokeh quality etc lie beyond our ability to measure today.

So in short, while sites like PZ and the like are doing the best they can by way of objectively testing lenses, many things lie beyond the realm of measuring, and the plain fact is that their results are thus inadequate evaluations of a lens. Hence the need to supplement with the experience of users in the field.

Incidentally, I wasn't zeroing in on PZ alone - I was speaking in general of the whole lens measurement thing. But PZ is the site I'm most familiar with (I guess many others are familiar with it too).

I need to add here that in my post I neglected to mention that price is always a consideration for most of us, myself included. I wanted to mention it but just forgot, and If I have offended any, please accept my apologies. Certainly I understand that finances are often limited, and cost is definitely a deciding factor in choosing lenses - or anything else, for that matter.

Top-quark wrote: "As far as I'm concerned, it tells me that I can better spend £500 on something else which is a good thing to know - when it comes to that sort of money I don't necessarily need to find out for myself."

Very true - 500 is a lot of money. But I wasn't suggesting that you should have to find out for yourself whether a lens is suitable by paying for it and trying it out, only to be dissatisfied - that would indeed be a costly experiment. What I meant was to check the technical reviews, and also leverage off the field experience of others - a friend who owns said lens would be ideal, of course.

In my own case, when I was researching between the DA70 Limited and the FA77 Limited, one of the first things I did was - would you guess it? - go to Photozone! After digesting, it was clear to me that the DA70 had more even sharpness across the frame and less Purple Fringing; and I knew that I would have to forego this if I chose the FA77. Like many here, I too found the FA77 expensive compared to the DA70. But then, I read user comments, which talked about that magical factor of the FA77 and I began to hunt for pictures that could substantiate that claim. Eventually I was sold - I was prepared to sacrifice some evenness across the frame, and tolerate the occasional PF, to obtain the "look" generated by the FA77, something I was hard-pressed to find in the pictures taken by the DA70 which I scrutinised.

I share my experience not to put down the DA70 Limited - it is a good lens in its own right, and truly I like the look of the pictures it produces too! (Certainly I love the "look" of all DA Limited family lenses). But for my personal taste, it was the FA77 which would serve best.

Rather, I share the above to illustrate that I made use of technical reviews, plus reports of users' field experience, plus scrutinised actual photos showing those "intangible, unmeasurable traits", and made my decision.

But since technical review sites eg. PZ form their conclusions mainly from measurements, it stands to reason that a given lens whose technical readings per se do not quite measure up to expectations will receive a so-so rating - something which seems to happen quite a bit to Pentax glass, it seems to me. And the tragedy lies in the fact that said lens could in fact be returning superb performance in practical use, seen in the real-world pictures taken! This was the main contention of my original post - are Pentax lenses being misrepresented? Of course, the same could be happening to non-Pentax glass, but that's for another forum.
Forum: Pentax SLR Lens Discussion 04-26-2013, 05:46 PM  
Zoom lens vs Primes and focal length lazyness...
Posted By pacerr
Replies: 40
Views: 4,393
Using a zoom lens is neither good nor bad. It can be a most efficient and economical tool. Would you rather carry a bag full of box-end wrenches or a single, adjustable wrench for routine jobs? Don't let the snob-factor influence the logical selection of tools - consider each tool on its own merits.

If the process of using a prime is the goal you want, simply treat the zoom as a convenient collection of the two or three primes you would otherwise carry instead. A tight elastic/rubber band or piece of tape readily 'locks' the zoom ring at a pre-selected FL encouraging you to use the lens as a fixed FL lens. Changing lenses then becomes easy, and dust-proof, as well.

If the esthetics of using a prime lens is your goal, and that can be a satisfying thing in its own right, acquire those primes that fit your needs. The choice doesn't have to rest upon which class of lens is 'better' according to some arcane review or price tag and both types of tools have their place in the kit-bag.

As an added benefit, an economical, consumer-quality zoom lens allows you to easily explore various FL options to help select the high end prime(s) you'd eventually like to invest in -- a far more useful exercise than asking others to recommend your own kit. The chart above is the companion tool for this effort.

If you haven't yet acquired the personal experience to have confidence in your choice of lenses, the type of lens you use will have very little to do with the quality of the results. I'd note, however, that it's never a mistake to acquire the best quality of tools one can reasonably afford as it does make the learning process more enjoyable.

I'd also note that too often FL is considered solely in terms of magnification. An equally important characteristic is the perspective and field-of-view offered by camera location and the effect on the "story" told by the resulting composition. Note the subject image size is identical and that two different "stories" are expressed by these scenes. (This concept also applies to the choice of FL when using macro lenses - it's not just stand-off distance that counts.)



H2
Forum: Pentax SLR Lens Discussion 04-23-2013, 12:57 PM  
As much grief as the 16-50 (used to) get, is it in its own class?
Posted By top-quark
Replies: 75
Views: 9,261
Gonna jump in feet first here.

First thing: f**king weather sealing! It was the draw of weather sealing that drove me to slap down £639 for this swine AND sell a really decent £200 Tammy to help pay for it. This ignored two things:
  1. The 16-50 may like the rain but I don't

  2. If I'm in the rain, I'm outside. This means I've got plenty of light so I can use the perfectly acceptable 18-55mm.

It's not that it's a bad lens. But at that price, I don't just expect perfection, I expect miracles. It's just not good enough: resolution is a bit all over the place, CA is poorly controlled, quality control is iffy and you're playing SDM roulette. It handles terribly: the poor balance means that it feels a whole lot more than its (considerable) actual weight. It's the only zoom lens I've ever used that is more wieldy at maximum extension than minimum.

Back to that price. £639 was a special offer. Currently it's £700 - £800. That makes it significantly more than the corresponding Sony and Canon models. Yeah, I know there's a Nikon 17-55 that comes in more than a grand. Maybe it comes with an oral favour attachment. I dunno. Nikon users are clearly even stupider than me if they don't buy the Tamron / Sigma models instead.

I rather enjoyed some of the endorsements in this thread. "Ideal for cathedrals". Hmm. Cathedrals don't exactly move so a combination of stabilization and wide angles means that slow shutter speeds should be fine. "Tack sharp at F5.6". Great! And I've paid for F2.8 because...?

In case it isn't clear, I didn't much like this one. I'd rather have good F4 than indifferent F2.8. Unfortunately, the class that the 16-50 is in is a bit, well, remedial.
Forum: Pentax SLR Lens Discussion 03-05-2013, 10:10 AM  
Why not bring back the legendary glass?
Posted By JonPB
Replies: 110
Views: 9,668
Regarding the FA*24: first of all, I don't think anyone's saying that this lens can't produce good images, or even that it isn't a good lens, just that it doesn't qualify as "legendary glass." I agree with that. It is "historical glass," being one of the first mass produced lenses with an aspherical element, using I believe a resin mold technique that never caught on but which gives the lens a bit of warmth. As far as I can tell, cost-is-no-object Leica didn't release an ASPH lens until 2 years after the FA*24 was released. But I'm not even sure about all of that and such details only matter to collectors, so, onward.

While this post talks about the FA*24 in some detail, I'm really going after what attributes make up a fine lens.



Yes and no. The nisen bokeh is caused by, as you say, bright outlines of bokeh discs, which is overcorrected spherical aberration. But from everything I've seen, the FA*24 has only moderate overcorrection compared to most Pentax lenses, and is no worse than the "reference class" bokeh of the 50/1.4 lenses. I would be willing to wager that the FA 31 adds more color to its bokeh than the FA*24, too, but I went with a red-dot on my 35mm lens so I can't say that for sure.

What the FA*24 suffers strongly from is a contrast between sagittal and tangential resolution. This exacerbates the bokeh outlines for parts of the disc. Here's an example (shot on film).



Look at the disc bokeh in the trees, upper left corner, where you see the sagittal edges (lines from the center to the edge) are brighter but where the tangential edges (lines equidistant from the center) are much better. Together, they create wedge-shaped ugliness, but this shows that the problem isn't purely circular in nature.

The near focus, light color branches are instructive. Toward the center of the frame, there is no double-lined effect, but this arises with some vengeance with the branch extending to the upper left corner (sagittal) about halfway from dead center. Yet on the right side, nearly the same distance from the center, is a branch with what looks like undercorrected (that is, desirable) spherical aberration, but this one is angled away from, not towards, the corner, which is to say that it is positioned tangentially.

I point this out because a legendary lens should have good spherical correction as well as having sagittal and tangential resolution in parity with each other. For example, the FA 43, despite its colored bokeh fringing and lack of edge resolution, has rather harmonious resolution that leads to pleasing rendering.



Curiously, I think that shot shows what I like about the lens. High contrast yet soft. Lends punch to the overall image without pulling the eye away with unnecessary detail.

We can agree, I think, that the FA*24, though not outright bad, doesn't resolve fine detail well enough to be "legendary." That said, the visual effect of an image--which to me is what makes a successful picture--depends on a first impression made by contrast, which tells the story, and only then uses fine detail to keep the mind interested. As the person who was standing behind the shutter when it released, I don't need to be reminded of the broad strokes in the image, so contrast doesn't seem as important; but for someone viewing the picture for the first time, that's the first thing they see. And the FA*24 gives that in gobs.


So, yes, I think Pentax could design a better 24mm lens, and ought to for any 135-frame camera they release. However, given the options for a much larger f/1.4 lens, much slower f/3.2 lens, slower and optically inferior zoom, or many-fold more expensive alternatives, the FA*24 hits quite a sweet spot in the current lineup. What makes the 24 so desirable is how unique it is: there are lots of very good 35s, 50s, and 85s, but only a slow progression in the area of 24s. While I fully intend to keep my FA*24, I would vote for giving us a similar, more modern lens rather than remaking this 22 year-old design.
Forum: Pentax SLR Lens Discussion 03-05-2013, 04:18 AM  
Pentax FA 43 or DA 35 Macro?
Posted By DSims
Replies: 37
Views: 5,932
There's a simple breakdown I've given before. I think there are 3 outstanding ~50mm Pentax lenses, and here they are. The DA*55 is the only one I don't own (simply because I have trouble justifying owning all 3), but I've used it:


DA*55 - sharpest, especially near wide-open at f/1.6 or f/1.8. The FA*85 (and probably A*85) is its only peer in this regard, that can actually be this sharp and clear this fast. However, it can have terribly harsh backgrounds at times (such as with some bushes), while being beautifully smooth at other times. Color rendering is more or less like an average Tokina (which is good), but not the step-above that the FA43 is.

FA43 - Backgrounds are never that bad but never especially smooth either. In other words the background's not distracting, but may not be noticeably beautiful either. However, foreground colors are striking, beating the other two, as well as any other lens I've used. NOT optimally sharp unless stopped down a bit - preferably a whole stop or more. It is effectively 2 full stops slower than the DA*55, but still can't be beat in its overall rendering and colors, especially if you're stopping down a bit. This little silver finished metal lens and hood looks the coolest, correctly giving people the impression that - despite its small size - it could be something special.

A or K50/1.2 (I have the K version) - Almost impossible to get a harsh background - always smooth. Only the FA31 is similar in this regard. Doesn't appear that sharp throughout the first stop or more, but not bad either. I believe the K version has slightly nicer backgrounds and I prefer it, although some of this is caused by what are technically called flaws today. i still like it better. Color rendering is the beautiful warm rendering of an ~35 year old Pentax lens.


In summary, all 3 are distinctly different. I think you could easily own any 2 of them. If I were starting over and I could only own 1 I'd probably pick the DA*55, but as it is I can't bring myself to part with the unique qualities of either of the other two, especially since each qualifies as the "best Pentax lens made" in its particular area of strength.
Forum: Pentax SLR Lens Discussion 03-04-2013, 08:55 PM  
Pentax FA 43 or DA 35 Macro?
Posted By DSims
Replies: 37
Views: 5,932
The WOW factor in the FA43 is that it captures colors more vividly than any other lens I've seen (the DA15 and the similar-in-rendering DA10-17 are roughly equal to it in color brilliance, although they have a rather different character).

The FA31 doesn't really have a wow factor, which is actually the whole point of its design.


The FA43 suffers a noticeable loss of IQ if not stopped down to at least f/2.2, and is better off stopped down to at least f/2.5 or f/2.8. Still, it beats any of the Pentax AF 50's at equivalent apertures, and it yields a desirable image character that's difficult to find anywhere else. But don't mistake it for one of the fastest lenses, like the FA77 or FA31 (which are great wide open) or the FA*85 or DA*55 (which perform nicely at f/1.6 or 1.8).

Lenses are kind of like people - none of them are ideal, but once you stop expecting them to be you start to notice the unique, beautiful character many of them have, and you appreciate each one for what it is. When I choose a lens I want to use for a particular situation, its character can be just as important as the actual focal length (which I can often work around).
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