[absynthguzzler]

Originally Posted by it_inspector

Well so far every 300mm f2.8vr i have used is a bit soft in the corners at f2.8, at f4 its sharp all around. Then again there are around 10 different versions with 2 different VR versions. I have the AFS VR 300mm f2.8G IF ED and it shines from f4.Cheers

hmmm , so would that mean buying a tele with f2.8 would not have an advantage ( sharpness wise ) compared to the less expensive teles(ones starting at f4/5.6 and above)?

This could prove a very important point to all budget buyers yearning to spend extra just to have the best equipment.

[SPARKled]

Originally Posted by it_inspector

I am talking aboud 50mm f1.8 on D3X/D3 and 70-300mm on D200.
As far as i know every FX lens is designed to outresolve upto the level of D3x except 50mm f1.8

The 50 1.8 is very well usable with the D3X and the high res sensor is absolutely no problem for it. It is one of the shrpest lenses Nikon makes at F5.6 and above and gives many other lenses a run for its money
Nikon Pro Normal Zoom Comparison - Part 2

Also the 70-300 VR is 'scratching the resolution limits of the D200 sensor'. So unless you are talking of the older 70-300 G which is a crap lens even on 6 MP DSLRs forget about the D200 or the 70-300 D which is only slightly better.

Originally Posted by it_inspector

No D200 doesnt have AF Fine tune but there are alternative ways to do it, extreme being opening up the DSLR body and Lens rear element adjustment.

Can you provide some more info on this? Is this worth the effort? Coz if it is, then this will enable people to just do this simple procedure at home and do away with sending lenses to authorized service centres to fix back-front issues with cameras and lenses. This would then probably make the AF fine tune adjust redundant, a feature that many pros have hailed so far.

Originally Posted by it_inspector

Well so far every 300mm f2.8vr i have used is a bit soft in the corners at f2.8, at f4 its sharp all around. Then again there are around 10 different versions with 2 different VR versions. I have the AFS VR 300mm f2.8G IF ED and it shines from f4.

Every lens is a bit better stopped down than wide open, so your sample being better at F4 than 2.8 does not mean a lens was not designed to be used at 2.8.

[kkr2k2]

Originally Posted by rkbharat

One more issue to solve:

How do we take care of Cam and Lens in cold freezing conditions and snow?

What should I do if moving in and out of the car/Train/Hotel with freezing outside and hot inside.

Similarly How do the avoid dew/frost on lens and cam while entering from cold to hot region like hotel.

This technique I got to know from another forum:
While moving between two different environments, I hold my camera under my jacket or shirt for some time. But my camera is a P&S camera not a DSLR.

I have heard people carrying zip loc bags and while entering hot region from cold, they lock it in bag till the cam/lens come to normal temp.

I too use a Zip lock, but to protect my camera from water. Now this sounds a good idea. I shall try this too.

.....
And how do take care of battery power in cold conditions, carrying extra batteries and battry Grip ?

Yes, extra battery grip would be a good option. But I 'heard' in cold conditions, the battery performance falls down. I would suggest a manual film camera for such conditions!! Though I have never been in such situations. But when I do, I would take my canonet. Infact, I always carry it when going for photo-shoots as a back-up camera!!! It has a small battery which does the metering. This battery need not be changed for long time, even if drains off, the camera can still be used in manual mode. You can try the Canonet QL17 and a good 400 ISO film. It would be a good option when it is over-cast.

[tsk1979]

I have a spare battery, and I carry the charger in the car(110V supply). So when one battery runs down, other battery goes in camera, and the run down battery gets charged!

[it_inspector]

Originally Posted by absynthguzzler

hmmm , so would that mean buying a tele with f2.8 would not have an advantage ( sharpness wise ) compared to the less expensive teles(ones starting at f4/5.6 and above)?

This could prove a very important point to all budget buyers yearning to spend extra just to have the best equipment.

No, each lens is different. Even a 300mm f2.8vr will be different to another 300mm f2.8 vr so sharpness could be due to that factor. Ideally each lens is a COPY of the original and being a COPY it will be good or bad. Since my reasons for purchase were completely different to others and i only needed the lens working at f4 and it delivers fine at f4, i didn`t bother to check another COPY, one might get a COPY which sharp all the way to f2.8, similarily one might get a bad COPY which will either get calibrated before delivery or might need to calibrate after delivery or in case of sigma it will certainly be missed during quality control.


During film times Primes had 3 major benefits:-
- Less weight and easier to manufacture
- Faster (or easier) to focus due to less weight
- Sharper than zooms

During the film age, Metal has been replaced by plastic which helps in weight reduction and ease of manufacturing. Also with computer aided designs, zooms are almost as good as primes and difference becomes apparent at extreme levels.

One major fact that still holds true for Primes is Faster focusing or Auto Focusing and Nikon 300mm f2.8 VR is lightning quick (one of the reasons i NEEDED it).

I havn`t seen any zoom even matching the speed of Nikon 300mm f2.8 VR

Problem is since these are not sold in high numbers, these will always be out of reach of budget shooters.

Originally Posted by SPARKled

The 50 1.8 is very well usable with the D3X and the high res sensor is absolutely no problem for it. It is one of the shrpest lenses Nikon makes at F5.6 and above and gives many other lenses a run for its money
Nikon Pro Normal Zoom Comparison - Part 2

Also the 70-300 VR is 'scratching the resolution limits of the D200 sensor'. So unless you are talking of the older 70-300 G which is a crap lens even on 6 MP DSLRs forget about the D200 or the 70-300 D which is only slightly better.

I still disagree with 50mm f1.8 on a FX body, it was designed for Film bodies and if you talk to a Nikon Engineer, they will make it clear that it gets outresolved even by D300 the biggest feature 50mm f1.8 has is the price, since its affordable by pretty much everyone. Its still one of my favourite lens.

Sorry but we were taking about Sigma 70-300mm APO and NON-APO versions here. New Nikon 70-300mm VR is a completely different lens and is quite good. Even the older 70-300mm D or commonly known as beer can was also quite good and i have used it on D300, unfortunately D300 outresolves it but newer 70-300mm VR almost matches D300`s Sensor but i would never use it on FX bodies.

Originally Posted by SPARKled

Can you provide some more info on this? Is this worth the effort? Coz if it is, then this will enable people to just do this simple procedure at home and do away with sending lenses to authorized service centres to fix back-front issues with cameras and lenses. This would then probably make the AF fine tune adjust redundant, a feature that many pros have hailed so far.

Its quite simple but not that easy, one needs steady hands. Pros asked for AF Fine tune because they don`t have time to do it or time to send the lens back for repair. As you are aware a pro always keeps a back of every body and lens. If one lens is gone for repair/calibration for 4-10 weeks then they are stuck with only one lens and Redundancy goes down the drain. Hence NPS and CPS services but still they are not that fast with lenses. With canon CPS, studio sent 1dmk3 for sensor+prism clean, came with more dust in the prism (Sydney CPS).

Focusing element slides in out of the lens barrel and can be adjusted, usually quite easily but needs experimenting and patience. Pros don`t want to spend 1-4hrs calibrating and wanted AF finetune feature built in. This is not advertised and is quite old process but even now, not even a single lens has a sticker/seal at the back of the lens or on the screws except ofcourse Leica who puts it inside the rear mount.

Originally Posted by SPARKled

Every lens is a bit better stopped down than wide open, so your sample being better at F4 than 2.8 does not mean a lens was not designed to be used at 2.8.

I agree and i never said otherwise. I just use my 300mm at f4 because that is what i require and many f2.8`s start getting sharp at f4.

Here we come back to same comparison of f2.8 vs f4 lenses and f4 being consumer lenses. The reason i called Lens resolution pandora`s box was beacause of this fact. For exmaple Canon F4`s are designed to be used at f4 and canon f2.8`s despite being f2.8 are also designed to achieve maximum performance at f4, then why pay almost double price(i could be wrong about price)???

f4`s have lower lens resolution while f2.8`s have higher lens resolution. Now f4 lenses are perfect for upto Semi-pro bodies but these f4 lenses get outresolved by 1D bodies. 1D bodies require lenses with higher lens resolution, the kind provided by f2.8`s

This is why f4 lenses are considered suitable advanced lenses for pro-sumers and nikon gets blamed for not having these and hence loosing all of the pro-sumer category. But that is a different topic.

Originally Posted by kkr2k2

This technique I got to know from another forum:
While moving between two different environments, I hold my camera under my jacket or shirt for some time. But my camera is a P&S camera not a DSLR.

This is actually correct and incorrect technique, idea is to use body heat to heat up the camera and match temperature outside. So ideally this technique works when you go from lower temp to higher but if you are going from higher to lower it actually does nothing.

Originally Posted by kkr2k2

I too use a Zip lock, but to protect my camera from water. Now this sounds a good idea. I shall try this too.

A small torch, Zip lock bags, rubber bands, ducktape (or apollo-gaffer tape if you can afford), aluminium foil and cling wrap should be part of every single kit.

Originally Posted by kkr2k2

Yes, extra battery grip would be a good option. But I 'heard' in cold conditions, the battery performance falls down. I would suggest a manual film camera for such conditions!! Though I have never been in such situations.

Nicd, Nimh and Li-ion batteries all loose charge at lower temps. For example photographers going to antartica take external battery packs highly insulated for backups.

I take normal chargers and spare batteries with me wherever i go and also keep a small 300W 220v inverter in the car for emergency charging.

Still looking for insurance suggestions for DSLR kit in india.

Cheers

[SPARKled]

Originally Posted by it_inspector

One major fact that still holds true for Primes is Faster focusing or Auto Focusing and Nikon 300mm f2.8 VR is lightning quick (one of the reasons i NEEDED it).

From your earlier posts I have concluded that you shoot landscapes with your 300 2.8 right? So why is fast AF absolutely critical to you.

Originally Posted by it_inspector

I still disagree with 50mm f1.8 on a FX body, it was designed for Film bodies and if you talk to a Nikon Engineer, they will make it clear that it gets outresolved even by D300 the biggest feature 50mm f1.8 has is the price, since its affordable by pretty much everyone. Its still one of my favourite lens.

Going by this logic most of the pro lenses especially the primes were designed during the film days and so are unsuitable for DSLRs. If you see the MTF charts of the 50 1.8, it is able to outresolve all 35 mm DSLRs available today irrespective of mega pixels. So I am not sure what the Nikon engineer you talked to was talking about.

Originally Posted by it_inspector

Its quite simple but not that easy, one needs steady hands. Pros asked for AF Fine tune because they don`t have time to do it or time to send the lens back for repair. As you are aware a pro always keeps a back of every body and lens. If one lens is gone for repair/calibration for 4-10 weeks then they are stuck with only one lens and Redundancy goes down the drain. Hence NPS and CPS services but still they are not that fast with lenses. With canon CPS, studio sent 1dmk3 for sensor+prism clean, came with more dust in the prism (Sydney CPS).

Focusing element slides in out of the lens barrel and can be adjusted, usually quite easily but needs experimenting and patience. Pros don`t want to spend 1-4hrs calibrating and wanted AF finetune feature built in. This is not advertised and is quite old process but even now, not even a single lens has a sticker/seal at the back of the lens or on the screws except ofcourse Leica who puts it inside the rear mount.

So basically one cannot fix these back/Front focussing issues on a D200 or any body lacking the AF fine tune adjustment. Dismantling a lens to adjust focussing issues is not an easy job and not something most mere mortals would try doing by themselves including the 99.9 % of pros who are eligible for CPS or NPS memberships.

Originally Posted by it_inspector

Here we come back to same comparison of f2.8 vs f4 lenses and f4 being consumer lenses. The reason i called Lens resolution pandora`s box was beacause of this fact. For exmaple Canon F4`s are designed to be used at f4 and canon f2.8`s despite being f2.8 are also designed to achieve maximum performance at f4, then why pay almost double price(i could be wrong about price)???

f4`s have lower lens resolution while f2.8`s have higher lens resolution. Now f4 lenses are perfect for upto Semi-pro bodies but these f4 lenses get outresolved by 1D bodies. 1D bodies require lenses with higher lens resolution, the kind provided by f2.8`s

This is why f4 lenses are considered suitable advanced lenses for pro-sumers and nikon gets blamed for not having these and hence loosing all of the pro-sumer category. But that is a different topic.
Cheers

I imagine the lower resolution is attributed to the lesser front element area translating to lower light gathering ability of F4 lenses compared to F2.8 lenses. But at similar apertures how can the the F4 lens have a lower resolution than the 2.8 lens? F4 lenses are useful in good light and are used by pros all over the world for their light weight and handling capabilities over their 2.8 counterparts.

[it_inspector]

Originally Posted by SPARKled

From your earlier posts I have concluded that you shoot landscapes with your 300 2.8 right? So why is fast AF absolutely critical to you.

Landscapes is my passion but i also do studio, fashion, court and sometimes VIP exclusives. VIP exclusives are not like run-of-the-mill event capturing. For example XYZ person giving a speech at a certain government place, no photographer is allowed to go even 50 metres to the person. So all the shots get done from balcony/crane or from the back of the audience. I needed 300mm for this purpose and AF was quite important since i was using Monopod and had to get out of the way of everyone very quickly. I also have 80-400mm which will soon be replaced by 200-400mm f4. Due to nature of the work it puts me in awkard situation, i cannot even openly discuss the matter let alone put any of my images online without permission but the way internet works, if one doesnt make it clear it looks doubtful.

Originally Posted by SPARKled

Going by this logic most of the pro lenses especially the primes were designed during the film days and so are unsuitable for DSLRs. If you see the MTF charts of the 50 1.8, it is able to outresolve all 35 mm DSLRs available today irrespective of mega pixels. So I am not sure what the Nikon engineer you talked to was talking about.

Thing is what is the definition of a PRO lens ??? NPS classifies all FX lenses as PRO lenses but they don`t specify whether old 35mm lenses designed for film are FX or not.

No company will ever put a PRO stamp on a lens, they will even promote 18-55mm kit lens as pro lens depending on the market.

I am not trying to suggest that film primes are not good design. The logic i am trying to put forward is Lens resolution and when you bring this subject forward, a lot of things start hitting the fan.

Yes many pros choose this or that but they do it because it fills there required NEED and i suggest the same, use what fills your NEED.

Originally Posted by SPARKled

So basically one cannot fix these back/Front focussing issues on a D200 or any body lacking the AF fine tune adjustment. Dismantling a lens to adjust focussing issues is not an easy job and not something most mere mortals would try doing by themselves including the 99.9 % of pros who are eligible for CPS or NPS memberships.

Actually its quite easy. Most of the pro lenses are twin barrell design, specially weather resistant ones and are very easy to dismantle and adjust.

A lot of hobbyists do alot more than these simple focus adjustments. Hobbyists go as far to permanently converting Leica lenses to Nikon/Canon/Pentax and interchanging other lenses for different mounts. And not to mention developing electronic circuits for functions not available anywhere. I myself spend time searching for lemons online and then convert and sell them for hefty profit.

100% NPS/CPS members wont do it, because they will send it for calibration and get the second lens for hire without any cost from NPS/CPS on the spot.

Originally Posted by SPARKled

I imagine the lower resolution is attributed to the lesser front element area translating to lower light gathering ability of F4 lenses compared to F2.8 lenses. But at similar apertures how can the the F4 lens have a lower resolution than the 2.8 lens? F4 lenses are useful in good light and are used by pros all over the world for their light weight and handling capabilities over their 2.8 counterparts.

Lower resolution is attributed to alot of factors and not only the aperture. Aperture cannot do much if rear element is made of lower quality glass.

Each element needs not only specific mixture, it also needs specific grinding and shaping. I suggest watching Canon lens making process on youtube, it takes some time but its well worth it.

Cheers

[amitk26]

Originally Posted by it_inspector

Landscapes is my passion but i also do studio, fashion, court and sometimes VIP exclusives. VIP exclusives are

Your encyclopedic knowledge and aforementioned statement seems to suggest that you do photography as full time profession is that correct ?

A lot OT but what your handle IT_inspector signifies ? you don't seem to be Information Technology Quality Inspector . Well that is what comes to my mind when I see IT_inspector

[it_inspector]

Originally Posted by amitk26

Your encyclopedic knowledge and aforementioned statement seems to suggest that you do photography as full time profession is that correct ?

A lot OT but what your handle IT_inspector signifies ? you don't seem to be Information Technology Quality Inspector . Well that is what comes to my mind when I see IT_inspector

Please Check ur PM.

Thanks

[SamtheLeo]

Dear BHPians,

Need help. Experts please suggest

I have a Nikon D 60 with 18 - 55 AF VR & 55 -200 AF VR

Need to buy a wide angle lens as i have a passion for landscape photogrphy. Please suggest :

1. Which lens to buy (needs to be AF)
2. What would be the expected price (India INR & US $)

Would be excellent if I can get US$ as some body is coming from US , can get it for me )

[it_inspector]

Originally Posted by SamtheLeo

Dear BHPians,

Need help. Experts please suggest

I have a Nikon D 60 with 18 - 55 AF VR & 55 -200 AF VR

Need to buy a wide angle lens as i have a passion for landscape photogrphy. Please suggest :

1. Which lens to buy (needs to be AF)
2. What would be the expected price (India INR & US $)

Would be excellent if I can get US$ as some body is coming from US , can get it for me )

Nikon 12-24mm f4
Tokina 12-24mm f4
Sigma 10-20mm f4-5.6
Tamron 11-18mm f4.5-5.6
Nikon 14-24mm f2.8

Efective ranges on 1.5x crop will be:

Nikon 18-36mm f4
Tokina 18-36mm f4
Sigma 15-33mm f4-5.6
Tamron 16.5-27mm f4-5.6
Nikon 21-36mm f2.8

Nikon 14-24mm f2.8 being sharpest all around.

As far as i know, only Nikon and Sigma will AF on D60 as they use USM/SWM/HSM motors but then again its been a while since i used anything other than 14-24mm f2.8 and i am completely satisfied with it.

I have heard good things about Sigma 10-20mm and same for Nikon 12-24mm. But Sigma has the most useful range otherwise it just overlaps with 18-55mm you already have.

Or if you are really serious go for a Fisheye lens.

Cheers

[proton]

Originally Posted by it_inspector

Still looking for insurance suggestions for DSLR kit in india.
Cheers

I used to have a very profitable sideline assembling gaming rigs for clients. One time, a German girl lost her rig because she moved house and plugged her machine into an unearthed source. German efficiency being what it is, she was actually covered for it (householders policy)!

The insurer contacted me and got me to source a used Barracuda HDD for her. So in India, the fine print on the policy will tell you that the cover is only for the depreciated value of the damaged machine. As she found out when she wrapped her Merc around a tree and collected only 60 percent of the cost of repair. Screamed bl**dy murder about it not being like that in Germany, where the insurers pay full replacement cost.

Why don't you try for extended travel insurance coverage from your present insurer instead?

Cheers.

[Sankar]

I did a quick search for photgraphy equipment insurance and browsed all of the major insurance provider's websites. None of them have any photo equipment insurance as asuch listed intheir websites. But some do have electronic equipment insurance combined with and without home insurance. But the extent of cover etc are not very clear especially when you are travelling with your equipment. The best thing to do will be to discuss it with a knowledgeable agent. Oriental Insurance provides an Electronic Equipment policy and IFFCO-TOKIO provides an All Risk Insurance.
---

How good are Tamron lenses compared to Sigma? How good are these two Tamron lenses:-
Tamron Zoom Super Wide Angle SP 11-18mm f/4.5
Tamron 17-50mm f/2.8 XR

[it_inspector]

Originally Posted by proton

Why don't you try for extended travel insurance coverage from your present insurer instead?

Cheers.

There is no point getting insurance from here or even getting a quote.

At the moment i am running 2 companies and a plethora of policies were tied together for both (professional indemnity, personal liability, etc.) otherwise i would never be allowed to visit a site and take a single shot. I am selling both of the companies including the kits soon. I am only going to keep my selection of the gear i specifically NEED or i might just buy it if it works better than way.

So no point finishing insurance here and then getting it again and going overseas.

I can add it to my home insurance back in India if companies do that.

With depreciated market value, well every single insurance company does that, so the trick is to get AGREED value rather than market value.

Thanks for the help

Originally Posted by Sankar

But the extent of cover etc are not very clear especially when you are travelling with your equipment. The best thing to do will be to discuss it with a knowledgeable agent. Oriental Insurance provides an Electronic Equipment policy and IFFCO-TOKIO provides an All Risk Insurance.
---

How good are Tamron lenses compared to Sigma? How good are these two Tamron lenses:-
Tamron Zoom Super Wide Angle SP 11-18mm f/4.5
Tamron 17-50mm f/2.8 XR

I will check there website, ideally i would like a tailored insurance but not sure if someone does that in India.

Both are completely different and are intended for different purposes. If you want to do landscapes and your style is going right next to the subject then 11-18mm will be better. As a walkaround or general purpose lens 17-50mm should be suffice and its quite fast. But tamron lenses get replaced very quickly and i believe these are both old lenses.

I would rather suggest Sigma 10-20mm or Sigma 17-70mm as its designed for crop bodies and is also quite good and has added benefit of Macro.

Cheers

[Sankar]

Originally Posted by it_inspector

Both are completely different and are intended for different purposes. If you want to do landscapes and your style is going right next to the subject then 11-18mm will be better. As a walkaround or general purpose lens 17-50mm should be suffice and its quite fast. But tamron lenses get replaced very quickly and i believe these are both old lenses.

I would rather suggest Sigma 10-20mm or Sigma 17-70mm as its designed for crop bodies and is also quite good and has added benefit of Macro.

Cheers

Yes they're for different purposes to fill wide angle needs and walkaround gp needs. I did not know they were old gen lenses, but are they good enough? Pricing seems to be good on those two lenses thus the interest. Are similar Sigmas better than these two?


Here are the pages from Oriental and IFFCO-Tokio websites.

Oriental Insurance

IFFCO-TOKIO | Profile