I'm looking to get a wide lens for interiors and architecture and I'm not sure which one would be the best choice, the 35mm, 45mm, or 55mm? I'm using a P25, so the crop factor is 1.1.
Grateful for any input, thanks.
Full Version: Mamiya 645AF WA-lens for interiors?
I just did a full day of interiors with an AFD and Aptus 22.
I used the 35mm AF for 20 out of 22 shots. The other two shots I used the 55 end of the 55-110.
The 35mm is okay, not as sharp as the other lenses I use, but more than acceptable for interiors. It does have some barrel distortion that is easy to correct. I saw the 28mm at Photoplus, that is one sweet lens, but not in the cards for me at $5K.
Shooting architecture is a funny thing, wide and super wide gets used alot with 4x5 cameras when youhave movements, but on a AFD type body, you really limit what kind of shot you can do without having to do major convergence corrections later in PS. It all depends on your style of shooting. How wide do you like to shoot?
You can find the 35mm on ebay for a reasonable price, maybe $750+.
If you want to see an interior shot with the 35mm, then email me and I'll send you a link to a full res tiff.
I used the 35mm AF for 20 out of 22 shots. The other two shots I used the 55 end of the 55-110.
The 35mm is okay, not as sharp as the other lenses I use, but more than acceptable for interiors. It does have some barrel distortion that is easy to correct. I saw the 28mm at Photoplus, that is one sweet lens, but not in the cards for me at $5K.
Shooting architecture is a funny thing, wide and super wide gets used alot with 4x5 cameras when youhave movements, but on a AFD type body, you really limit what kind of shot you can do without having to do major convergence corrections later in PS. It all depends on your style of shooting. How wide do you like to shoot?
You can find the 35mm on ebay for a reasonable price, maybe $750+.
If you want to see an interior shot with the 35mm, then email me and I'll send you a link to a full res tiff.
QUOTE (amsp @ Nov 8 2007, 05:49 PM)
I'm looking to get a wide lens for interiors and architecture and I'm not sure which one would be the best choice, the 35mm, 45mm, or 55mm? I'm using a P25, so the crop factor is 1.1.
Grateful for any input, thanks.
Grateful for any input, thanks.
Thanks, I sent you a PM.
I have the 28 mm and love it - much sharper than the 35 mm. I am primarily a landscape/wildlife shooter, not an indoor type. However, I did test this lens around my own house and find it pretty rectilinear with no barrel or pincushion distortion of note.
In fact I'll probably not use the 35 mm much in future - on P45+ back I can use the 28 mm and then crop; obviously not ideal, but weight is an issue when hiking/traveling and I shall try to avoid carrying both.
It IS a big investment but it is arguably Mamiya's sharpest lens - the new 75-150 is the other contender.
Bill
In fact I'll probably not use the 35 mm much in future - on P45+ back I can use the 28 mm and then crop; obviously not ideal, but weight is an issue when hiking/traveling and I shall try to avoid carrying both.
It IS a big investment but it is arguably Mamiya's sharpest lens - the new 75-150 is the other contender.
Bill
QUOTE (amsp @ Nov 8 2007, 06:49 PM)
I'm looking to get a wide lens for interiors and architecture and I'm not sure which one would be the best choice, the 35mm, 45mm, or 55mm? I'm using a P25, so the crop factor is 1.1.
Grateful for any input, thanks.
Grateful for any input, thanks.
I'll second the choice of the 28mm. I use it almost exclusively on my interiors. It is incredibly sharp and as mentioned in the previous post, exhibits very little barrel distortion. I used to use my 24mm and correct in Image Align or my 35mm, which also has a lot of barrel distortion. Now the 28 has replaced both lenses. I'll try to attach an example. Jim Click to view attachmentClick to view attachment
Bill:
Do you miss not being able to use a polarizer with this lens (not for photos with sky obviously since it would be too wide anyway, but rather for use on misty and other days in a deep forest where a polarizer helps a lot)? I use a polarizer quite a bit for wilderness work and wondered if I could live without it with this lens...
Tim Ernst in Arkansas
www.Cloudland.net
Do you miss not being able to use a polarizer with this lens (not for photos with sky obviously since it would be too wide anyway, but rather for use on misty and other days in a deep forest where a polarizer helps a lot)? I use a polarizer quite a bit for wilderness work and wondered if I could live without it with this lens...
Tim Ernst in Arkansas
www.Cloudland.net
I have the 35mm. With film back. Good WA for interior. You need at least that. But to me it's a little bit too wide. It's a 22mm in 35mm format (with film back but perfect with a DB).
Then 45mm (30mm in 35mm format with your crop) or 55 (37mm in 35mm format with your crop)
For my taste I would go with the 45mm it's close to the Pentax 75mm in 6x7.
But I don't know the lens yet.
Again just my taste. Actually a 50mm would be really perfect to me.
The 28mm could be good but I think it would give a kind of "pot luck" image for interior. Again to my taste. For landscape I would have no pb.
my 2c.
update : looking at haefnerphoto sample the 28 looks really good in term of sharpeness but it wouldn't fit my need in 90% of my frames... Though haefner I think you have a good control of that lens. On the living/kitchen shot, on the left on the column is a good example of where you can mess up with the line and proportion. but again really good control.
Then 45mm (30mm in 35mm format with your crop) or 55 (37mm in 35mm format with your crop)
For my taste I would go with the 45mm it's close to the Pentax 75mm in 6x7.
But I don't know the lens yet.
Again just my taste. Actually a 50mm would be really perfect to me.
The 28mm could be good but I think it would give a kind of "pot luck" image for interior. Again to my taste. For landscape I would have no pb.
my 2c.
update : looking at haefnerphoto sample the 28 looks really good in term of sharpeness but it wouldn't fit my need in 90% of my frames... Though haefner I think you have a good control of that lens. On the living/kitchen shot, on the left on the column is a good example of where you can mess up with the line and proportion. but again really good control.
Tim, no, I really haven't missed a polarizer. As you say, the sky is not an issue. I have been using the lens for Fall colors where admittedly one would be useful, but I'm usually doing "intimate" landscapes and boost the saturation/punch in LR. Not the same, of course - but pretty close.
Bill
Bill
QUOTE (ternst @ Nov 8 2007, 10:52 PM)
Bill:
Do you miss not being able to use a polarizer with this lens (not for photos with sky obviously since it would be too wide anyway, but rather for use on misty and other days in a deep forest where a polarizer helps a lot)? I use a polarizer quite a bit for wilderness work and wondered if I could live without it with this lens...
Tim Ernst in Arkansas
www.Cloudland.net
Do you miss not being able to use a polarizer with this lens (not for photos with sky obviously since it would be too wide anyway, but rather for use on misty and other days in a deep forest where a polarizer helps a lot)? I use a polarizer quite a bit for wilderness work and wondered if I could live without it with this lens...
Tim Ernst in Arkansas
www.Cloudland.net
QUOTE (amsp @ Nov 8 2007, 10:49 PM)
I'm looking to get a wide lens for interiors and architecture and I'm not sure which one would be the best choice, the 35mm, 45mm, or 55mm? I'm using a P25, so the crop factor is 1.1.
Grateful for any input, thanks.
Grateful for any input, thanks.
No one has mentioned the 55 shift manual lens
I havnet tried it but that would def be on my list if I used mamiya
I would want also the 35 or 28 dependant on my budget
also arent there some russian shift lenses to consider ?
S
I'm afraid the 28 is not within my budget, and as much as a tilt/shift lens would be nice the russian "super rotator" just doesn't seem to deliver the quality needed for commercial work. Thanks for the thoughts so far.
QUOTE (amsp @ Nov 9 2007, 12:07 PM)
I'm afraid the 28 is not within my budget, and as much as a tilt/shift lens would be nice the russian "super rotator" just doesn't seem to deliver the quality needed for commercial work. Thanks for the thoughts so far.
There is also a mamiya manual lens
S
QUOTE (amsp @ Nov 9 2007, 08:07 AM)
I'm afraid the 28 is not within my budget, and as much as a tilt/shift lens would be nice the russian "super rotator" just doesn't seem to deliver the quality needed for commercial work. Thanks for the thoughts so far.
mamiya does make a shift lens for the 645 manual cameras which can be used on the afd/afd2. the mamiya shift lens is actually 50mm not 55mm. the lens can be found in great condition in the $600-700 range. you might try keh and/or adorama if you are interested in one.
QUOTE (canmiya @ Nov 9 2007, 02:53 PM)
mamiya does make a shift lens for the 645 manual cameras which can be used on the afd/afd2. the mamiya shift lens is actually 50mm not 55mm. the lens can be found in great condition in the $600-700 range. you might try keh and/or adorama if you are interested in one.
I have it, and am not stunned by it. It's slightly better than the Hartblei, not as soft when shifted, as far as I can see, but I'm trying to decide between the 28mm lens, and whether there would be some advantage in the longer term to something like a Silvestri / Schneider 24XL, which would just require the adaptor plate for the P45 back I have (or indeed any P back). The cost of the 28mm lens makes this alternative financially possible, and might give better movement.
If anybody has insights on that idea, please share.
My other thought is that neither the Hartblei or the Mamiya Shift 50 has as much movement as is desirable at that focal length, especially for interior work.
Personally go for the 24xl, Its a great sharp lens.
you guys probably have huge homes over there, over here in asia, you'll need wider lenses, it is not uncommon to see shots with the 12-24 sigma being plastered over the magazines.
QUOTE (rueyloon @ Nov 10 2007, 04:30 AM)
you guys probably have huge homes over there, over here in asia, you'll need wider lenses, it is not uncommon to see shots with the 12-24 sigma being plastered over the magazines.
That's the problem here in Northern Ireland as well. Many of the houses I would shoot (for example, staircases) in are very small compared with a lot of what I have seen from the very good shooters in the US. Yes, there are bigger houses here, but much of the time space is very restricted, hence the need for a very wide lens and a reasonable amount of movement. This is why I'm thinking of the Silvestri, or similar solution (sorry, that's a bit OT)
I have the Mamiya 35, and it's wide, but requires correction! (I have the 24 Fisheye as well, and if you're going to have to do correction, I wonder might it correct better using software than the 35? (Sorry, I don't yet know enough of the fine detail about these lenses to give an opinion on that - no time atm!))
Is there a cost-effective option for a large format solution with full movements? The Silvestri are really expensive if I'm not mistaken?
I'm currently using an aptus with the 69 arca swiss and the 35mm digitar.
cheers
cheers
What kind of money are we talking for that setup?
QUOTE (amsp @ Nov 10 2007, 02:27 PM)
Is there a cost-effective option for a large format solution with full movements? The Silvestri are really expensive if I'm not mistaken?
I suspect the Silvestri is one of the cheaper solutions... hope I'm wrong.
Silvestri is hardly cheap, we are talking something like at least 5000 euro for a complete kit w. lens.
QUOTE (amsp @ Nov 10 2007, 06:17 PM)
Silvestri is hardly cheap, we are talking something like at least 5000 euro for a complete kit w. lens.
I didn't say 'cheap' I said 'cheaper'.
My point is simple: How much difference is there in price (in whatever currency) between the Mamiya 28mm, and a setup *like* the Silvestri / Schneider which should give as good quality (if not better; I haven't used either, so can't express a direct opinion on any such comparison), but a lot more flexibility as regards movements, when working in 'tight' interior quarters.
At a given price point, and for the likely duration in life, is there a big difference in cost / benefit? I think the answer to this is different for each of us, but the same answer may be true for a few.
QUOTE (jonstewart @ Nov 10 2007, 10:15 PM)
I didn't say 'cheap' I said 'cheaper'.
My point is simple: How much difference is there in price (in whatever currency) between the Mamiya 28mm, and a setup *like* the Silvestri / Schneider which should give as good quality (if not better; I haven't used either, so can't express a direct opinion on any such comparison), but a lot more flexibility as regards movements, when working in 'tight' interior quarters.
At a given price point, and for the likely duration in life, is there a big difference in cost / benefit? I think the answer to this is different for each of us, but the same answer may be true for a few.
My point is simple: How much difference is there in price (in whatever currency) between the Mamiya 28mm, and a setup *like* the Silvestri / Schneider which should give as good quality (if not better; I haven't used either, so can't express a direct opinion on any such comparison), but a lot more flexibility as regards movements, when working in 'tight' interior quarters.
At a given price point, and for the likely duration in life, is there a big difference in cost / benefit? I think the answer to this is different for each of us, but the same answer may be true for a few.
Oh, for sure. If I was going to spend that kind of money on WA I would def. compare the two. But interiors is not exactly my main field of work and think either two would probably be overkill. I can always rent if a client wants to pay for it.
QUOTE (amsp @ Nov 10 2007, 09:36 PM)
Oh, for sure. If I was going to spend that kind of money on WA I would def. compare the two. But interiors is not exactly my main field of work and think either two would probably be overkill. I can always rent if a client wants to pay for it.
Agree, but renting a type of equipment that I'd never used before scares me rather a lot!
Hehe.. so true.. that's why you rent it a couple of days before the shoot and play around with it 
As others have said, especially here in europe, medium format was never really the gear of choice in film days for interiors, with of course the exception of the hasselblad swc cameras.
I think today it is not that different with the best two solutions being at one end a full frame dslr with wide (16mm etc) and wide shift lenses and for work where a higher image quality is required, or simply greater movements, then a view camera with either film or one of the digital backs on it using lenses as wide as the 24mm etc...as wide as you need, movements (some!) as well as less distortion.
With the price of the mamiya 28mm wide the shift camera set up are not that much more..for all the extra you get...strictly for particular use of interiors, etc of course.
Marc
I think today it is not that different with the best two solutions being at one end a full frame dslr with wide (16mm etc) and wide shift lenses and for work where a higher image quality is required, or simply greater movements, then a view camera with either film or one of the digital backs on it using lenses as wide as the 24mm etc...as wide as you need, movements (some!) as well as less distortion.
With the price of the mamiya 28mm wide the shift camera set up are not that much more..for all the extra you get...strictly for particular use of interiors, etc of course.
Marc
QUOTE (marcwilson @ Nov 11 2007, 11:17 AM)
As others have said, especially here in europe, medium format was never really the gear of choice in film days for interiors, with of course the exception of the hasselblad swc cameras.
I think today it is not that different with the best two solutions being at one end a full frame dslr with wide (16mm etc) and wide shift lenses and for work where a higher image quality is required, or simply greater movements, then a view camera with either film or one of the digital backs on it using lenses as wide as the 24mm etc...as wide as you need, movements (some!) as well as less distortion.
With the price of the mamiya 28mm wide the shift camera set up are not that much more..for all the extra you get...strictly for particular use of interiors, etc of course.
Marc
I think today it is not that different with the best two solutions being at one end a full frame dslr with wide (16mm etc) and wide shift lenses and for work where a higher image quality is required, or simply greater movements, then a view camera with either film or one of the digital backs on it using lenses as wide as the 24mm etc...as wide as you need, movements (some!) as well as less distortion.
With the price of the mamiya 28mm wide the shift camera set up are not that much more..for all the extra you get...strictly for particular use of interiors, etc of course.
Marc
This is the first time I have written on a forum so here goes.
Firstly before I got my Mamiya 28mm lens which I am not very happy with.
If I needed to go ultra wide I would use my MF Mamiya 24mm fisheye and correct it with a plug in from Proxel called Lens Corrector
http://www.proxel.se/lens.html
This plug in is vastly superior than Image line which unfortunately is no longer available when it comes to correcting barrel distortion.
Also I pick up a MF Mamiya 645 75-150mm lens from www.keh.com for $310.00 US dollars and can't believe how sharp it is with my Leaf Aptus 75.
I have been using it to shot cars in my studio (the best $310 bucks I've spent in years).
I have a question about the Mamiya 28mm. Does anyone know what the two extra terminals on the rear of the lens are for?
Finally I would like to say I am looking very much forward to all the new Mamiya lenses and camera body coming out in 2008.
Simon Harper
Harper Photographics Limited
Firstly before I got my Mamiya 28mm lens which I am not very happy with.
If I needed to go ultra wide I would use my MF Mamiya 24mm fisheye and correct it with a plug in from Proxel called Lens Corrector
http://www.proxel.se/lens.html
This plug in is vastly superior than Image line which unfortunately is no longer available when it comes to correcting barrel distortion.
Also I pick up a MF Mamiya 645 75-150mm lens from www.keh.com for $310.00 US dollars and can't believe how sharp it is with my Leaf Aptus 75.
I have been using it to shot cars in my studio (the best $310 bucks I've spent in years).
I have a question about the Mamiya 28mm. Does anyone know what the two extra terminals on the rear of the lens are for?
Finally I would like to say I am looking very much forward to all the new Mamiya lenses and camera body coming out in 2008.
Simon Harper
Harper Photographics Limited
QUOTE (HarperPhotos @ Dec 25 2007, 09:43 PM)
This is the first time I have written on a forum so here goes.
Firstly before I got my Mamiya 28mm lens which optical is fantastic.
If I needed to go ultra wide I would use my MF Mamiya 24mm fisheye and correct it with a plug in from Proxel called Lens Corrector
http://www.proxel.se/lens.html
This plug in is vastly superior than Image line which unfortunately is no longer available when it comes to correcting barrel distortion.
Also I pick up a MF Mamiya 645 75-150mm lens from www.keh.com for $310.00 US dollars and can't believe how sharp it is with my Leaf Aptus 75.
I have been using it to shot cars in my studio (the best $310 bucks I've spent in years).
I have a question about the Mamiya 28mm. Does anyone know what the two extra terminals on the rear of the lens are for?
Finally I would like to say I am looking very much forward to all the new Mamiya lenses and camera body coming out in 2008.
Simon Harper
Harper Photographics Limited
Email : simon@harperphoto.co.nz
Website: http://www.harperphoto.com
Phone : +64 9 444 1148
Fax : +64 9 444 1148
Mobile : +64 29 444 1148
Firstly before I got my Mamiya 28mm lens which optical is fantastic.
If I needed to go ultra wide I would use my MF Mamiya 24mm fisheye and correct it with a plug in from Proxel called Lens Corrector
http://www.proxel.se/lens.html
This plug in is vastly superior than Image line which unfortunately is no longer available when it comes to correcting barrel distortion.
Also I pick up a MF Mamiya 645 75-150mm lens from www.keh.com for $310.00 US dollars and can't believe how sharp it is with my Leaf Aptus 75.
I have been using it to shot cars in my studio (the best $310 bucks I've spent in years).
I have a question about the Mamiya 28mm. Does anyone know what the two extra terminals on the rear of the lens are for?
Finally I would like to say I am looking very much forward to all the new Mamiya lenses and camera body coming out in 2008.
Simon Harper
Harper Photographics Limited
Email : simon@harperphoto.co.nz
Website: http://www.harperphoto.com
Phone : +64 9 444 1148
Fax : +64 9 444 1148
Mobile : +64 29 444 1148
I too cannot wait to see what mamiya comes out with...:+]
Isn't that MF 75-150 a pain in the butt to use??
I have a ton of Manual Focusing lens but they are a pain to focus.
Especially with people..:+}
I have the 35mm and the 55-110.
but just in playing around I discovered the 55-110 does not focus really close at all. In fact I find it will probably be not very usable?
Does any body have any good suggestions.
Is the 80mm just junk?
Please let me know
Thanks
Snook
Gidday Snook,
I've only used the MF Mamiya 75-150mm on cars so all I've had to do is get the angle right focus and lock down the aperture manually and that's about the last time I needed to go near the camera.
Normal I wound use my Mamiya RZ IID camera or my Sinar P2 but cause the length of my studio is only 15 meters long I would some times find the RZ 110mm to short and the RZ140mm macro to long.
So for 300 odd bucks I thought what the hell. Optically I cant tell the difference with the 654 MF 75-150mm and the RZ lenses.
Yes you are right when it comes to really close up shots, not a problem with a RZ just love bellows focusing. To solve the problem with the 645 I bought a extension tube and use it with the AF 80mm that did the trick.
Again if any one can tell me what the extra 2 terminals on the new Mamiya 645AFD 28mm lens are for I would very much appreciate a email.I think it might be there for the new Mamiya/Phase camera body which is out in 2008?
Regards
Simon Harper
Harper Photographics Limited
I've only used the MF Mamiya 75-150mm on cars so all I've had to do is get the angle right focus and lock down the aperture manually and that's about the last time I needed to go near the camera.
Normal I wound use my Mamiya RZ IID camera or my Sinar P2 but cause the length of my studio is only 15 meters long I would some times find the RZ 110mm to short and the RZ140mm macro to long.
So for 300 odd bucks I thought what the hell. Optically I cant tell the difference with the 654 MF 75-150mm and the RZ lenses.
Yes you are right when it comes to really close up shots, not a problem with a RZ just love bellows focusing. To solve the problem with the 645 I bought a extension tube and use it with the AF 80mm that did the trick.
Again if any one can tell me what the extra 2 terminals on the new Mamiya 645AFD 28mm lens are for I would very much appreciate a email.I think it might be there for the new Mamiya/Phase camera body which is out in 2008?
Regards
Simon Harper
Harper Photographics Limited
QUOTE (HarperPhotos @ Dec 26 2007, 04:54 PM)
Gidday Snook,
I've only used the MF Mamiya 75-150mm on cars so all I've had to do is get the angle right focus and lock down the aperture manually and that's about the last time I needed to go near the camera.
Normal I wound use my Mamiya RZ IID camera or my Sinar P2 but cause the length of my studio is only 15 meters long I would some times find the RZ 110mm to short and the RZ140mm macro to long.
So for 300 odd bucks I thought what the hell. Optically I cant tell the difference with the 654 MF 75-150mm and the RZ lenses.
Yes you are right when it comes to really close up shots, not a problem with a RZ just love bellows focusing. To solve the problem with the 645 I bought a extension tube and use it with the AF 80mm that did the trick.
Again if any one can tell me what the extra 2 terminals on the new Mamiya 645AFD 28mm lens are for I would very much appreciate a email.I think it might be there for the new Mamiya/Phase camera body which is out in 2008?
Regards
Simon Harper
Harper Photographics Limited
Email : simon@harperphoto.co.nz
Website: http://www.harperphoto.com
Phone : +64 9 444 1148
Fax : +64 9 444 1148
Mobile : +64 29 444 1148
I've only used the MF Mamiya 75-150mm on cars so all I've had to do is get the angle right focus and lock down the aperture manually and that's about the last time I needed to go near the camera.
Normal I wound use my Mamiya RZ IID camera or my Sinar P2 but cause the length of my studio is only 15 meters long I would some times find the RZ 110mm to short and the RZ140mm macro to long.
So for 300 odd bucks I thought what the hell. Optically I cant tell the difference with the 654 MF 75-150mm and the RZ lenses.
Yes you are right when it comes to really close up shots, not a problem with a RZ just love bellows focusing. To solve the problem with the 645 I bought a extension tube and use it with the AF 80mm that did the trick.
Again if any one can tell me what the extra 2 terminals on the new Mamiya 645AFD 28mm lens are for I would very much appreciate a email.I think it might be there for the new Mamiya/Phase camera body which is out in 2008?
Regards
Simon Harper
Harper Photographics Limited
Email : simon@harperphoto.co.nz
Website: http://www.harperphoto.com
Phone : +64 9 444 1148
Fax : +64 9 444 1148
Mobile : +64 29 444 1148
The 28, the new AF 75-150 and the new 120 Macro D all have the extra two terminals. I was given to understand that this was to enable more EXIF data when used with the P45+ backs - but I don't see any more info than the older lenses give.
There must be a relationship with the "+" back, because my 28 mm, which worked fine with the P45, would not work with the "+" until the camera/lens firmware was upgraded by my dealer. The same applied when I got the 75-150, though I never knew if that would have worked with the older back as I got it after I moved to the "+".
On the other hand, the macro did not require any attention - it just works!
All of which is to say - I'm as mystified as you are!
Bill
QUOTE (billcb @ Jan 2 2008, 04:25 PM)
The 28, the new AF 75-150 and the new 120 Macro D all have the extra two terminals. I was given to understand that this was to enable more EXIF data when used with the P45+ backs - but I don't see any more info than the older lenses give.
There must be a relationship with the "+" back, because my 28 mm, which worked fine with the P45, would not work with the "+" until the camera/lens firmware was upgraded by my dealer. The same applied when I got the 75-150, though I never knew if that would have worked with the older back as I got it after I moved to the "+".
On the other hand, the macro did not require any attention - it just works!
All of which is to say - I'm as mystified as you are!
Bill
There must be a relationship with the "+" back, because my 28 mm, which worked fine with the P45, would not work with the "+" until the camera/lens firmware was upgraded by my dealer. The same applied when I got the 75-150, though I never knew if that would have worked with the older back as I got it after I moved to the "+".
On the other hand, the macro did not require any attention - it just works!
All of which is to say - I'm as mystified as you are!
Bill
Hi Bill,
Thanks for your reply.
I'm using a Aptus 75 and it works fine.
Having a look at the interior images it is clear to me that your 28mm lens is definitely sharper in the corners than the 28mm I have.
Regards
Simon
I thought I'd send this image along. It was shot with the 28mm @F16, I notice a sharpness falloff in the bottom corners, although not as pronounced as the previous example. I shoot at F16 or 22 regularly and get great results, hopefully Mamyia will be able to resolve your problem. By the way, I also own the 24mm and the difference in sharpness between the two lenses is huge, especially when you have to correct for the fisheye's barrel distortion. I would say that 90% of the interiors I shoot are now shot with the 28mm. Click to view attachment Jim
QUOTE (haefnerphoto @ Jan 3 2008, 02:48 PM)
I thought I'd send this image along. It was shot with the 28mm @F16, I notice a sharpness falloff in the bottom corners, although not as pronounced as the previous example. I shoot at F16 or 22 regularly and get great results, hopefully Mamyia will be able to resolve your problem. By the way, I also own the 24mm and the difference in sharpness between the two lenses is huge, especially when you have to correct for the fisheye's barrel distortion. I would say that 90% of the interiors I shoot are now shot with the 28mm. Click to view attachment Jim
Hi Jim,
Thanks for your image.
Your lens is definitely sharper than mine. I to have a 24mm lens and have had great results with the Proxel plug in to correct the barrel distortion.
Also had a look at your website, fantastic work and a great studio.
Regards
Simon
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