Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP
Posting-Version: version B 2.10.2 9/18/84; site sfmag.UUCP
Path: utzoo!watmath!clyde!burl!ulysses!mhuxr!mhuxn!mhuxm!sftig!sftri!sfmag!howard
From: howard@sfmag.UUCP (H.M.Moskovitz)
Newsgroups: net.rec.photo
Subject: Re: My first lens(es)
Message-ID: <579@sfmag.UUCP>
Date: Wed, 22-May-85 13:39:38 EDT
Article-I.D.: sfmag.579
Posted: Wed May 22 13:39:38 1985
Date-Received: Fri, 24-May-85 02:12:25 EDT
References: <1015@ihuxb.UUCP> <1366@watdcsu.UUCP> <929@peora.UUCP>
Organization: AT&T Information Systems, Summit, NJ
Lines: 41

> I would like to ask a related question.
> 
> I am presently seriously considering buying a Canon 50mm 1.2L lens.  I have
> recently switched to Canon (the T70) after many years with a Nikon F
> (remember those? no through-the-lens anything!), and am not that familiar
> with Canon lenses.  However, I presently have the plain old Canon 50mm 1.8
> lens that comes with the camera, and am generally disappointed with the
> lack of sharpness of it.
> 
> My question is... is the "L" lens worth the $100 difference compared to the
> plain 50mm 1.2 lens?  By "worth", I mean this: suppose I make landscape-type
> photographs, using extremely fine-grain film, and want very high resolution.
> Is there a visible difference between the L and non-L lens?  Or is the L
> only better in unusual situations (low light with wide apertures, etc.)?
> 
> I do want the sharpest lens I can get, so if there is a visible difference
> under normal circumstances, I would rather buy the "L".

Yes, the L series lenses have better quality optics and give a flatter
edge-to-edge sharpness, BUT... the inherent problem of outer-edge
distortion that occurs at f-stops bigger than 1.4 seems to negate that
advantage. If you want to improve the quality of your landscapes I would
reccomend you try the following first before buying a new lens:

	Use the best film possible: Kodachrome Professional 25 or 64.
	This film has practically no grain and is unsurpassed for
	sharpness and color saturation. If you shoot B&W use Ilford
	XP-1 or Kodak Technical Pan 25. Use a very sturdy tripod,
	stop down your lens as far as possible to maximize depth of 
	field and edge-to-edge sharpness (the slower shutter speed is
	okay because your on a tripod). Use a cable release and a good
	lens hood to minimize lens flare.
I'm willing to bet that you'll find a new sharpness to your images. I have
an A-1 and an F-1 and use both the standard 1.8 50mm and the 1.4 50mm in
my studio and get wonderfully sharp images with  them. I used the 1.2L
once on my F-1 and could not see an appreciable difference.

						Howard Moskovitz
						AT&T Info. Systems
						(& Phantasm Studios)
						attunix!howard