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Marco Palomar www.juzaphoto.com/p/MarcoPalomar  |
The following opinions have been automatically translated with Microsoft Translator. | Canon EF 50mm f/1.8 STM Pros: price, lightness, yield Cons: none for the price range Opinion: I had this lens for almost a year, only to resell it due to the failure of the adapter with which I used it on sony FF. The focus is sufficiently fast and quiet, taking into account the price. It is sharp even at full aperture, but improves slightly by diaphragm of 1 stop or so. Compared to many other 50 of the same price range has two great advantages: a blurred for me very pleasant and an overall yield also very pleasant and rather recognizable. It is a lens that I always carried with me precisely for the surrender, while another 50 I left at home. Compared to 50 1.8 more modern and with more complex schemes has a less analytical character, but has a pleasant warm color rendering and contrasts not exaggerated, very appreciable according to my personal taste, especially in portraiture and landscape photos. Probably a role in the character of this objective has the correction of chromatic aberration, not pushed to the extreme. sent on October 03, 2023 |
 | Tamron 35mm f/2.8 Di III OSD M1:2 Pros: sharpness, lightness, colors, reliability, ac correction, cost, modern rendering Cons: focus by wire and therefore AF, larger footprint than competitors, modern rendering Opinion: I have been using this tamron with satisfaction for three weeks, alongside the older brother tamron 35 SP 1.8 in sony A frame with adapter. It is clearly a modern setting lens, for my needs very sharp from edge to edge even at full aperture; it has a very high microcontrast that on the one hand facilitates sharpness, on the other it slightly compresses the tonal passages compared to a classic lens. However, it has a pleasant yield, with clean and natural colors, better than the samyang counterpart that you resell for this reason, and it is reliable. It is also a very correct lens both from the point of view of distortion and chromatic aberration, it has no other obvious optical defects and holds the backlight very well. The flaws: first of all the electronic focusing, to which I just can not get used to and which in any case slows down the operations, in the sense that if I slightly change the frame the autofocus, which is also fast, before stopping it returns to the starting point making me lose that tenth of a second. Another defect, very bearable, is the footprint that is very different from the 35mm zeiss and samyang, which are almost pancakes. The construction is of light materials but well finished and seemingly solid. The semi-macro capabilities make it suitable for creative close-ups. Comparisons: compared to the tamron 35 1.8 sp clutters and weighs a third, it is just as sharp, has a few shades less and has much, much less chromatic aberration. Compared to the samyang 35 2.8 it is slightly sharper, built better, more comfortable in use and does not suffer from yellowish-magenta cast color; it is built better and is much bulkier. Compared to the zeiss 35 2.8 costs a third, has a more or less equivalent sharpness, has more microcontrast and less general contrast, for a less characterized yield, is built worse and is much more bulky. Compared to the voigtlander 40 1.4 it does not have the same completeness in tonal restitution and has much more microcontrast. sent on December 24, 2021 |
 | Nikon AF 180mm f/2.8 D ED IF Pros: yield, sharpness, blurry, robust construction Cons: autofocus in power Opinion: I tried for fun this "old" lens, belonging to my brother, on a sony a7r2 with adapter. It's a great lens that maintains excellent sharpness from the whole opening, but without that hardness typical of the most recent lenses. In the portrait, even in the foreground, the skin defects remain all, but they are not emphasized by an exaggerated contrast as in modern lenses (those who appreciate it can always add it in the post). In addition, the color rendering, "transparency" and general contrast are excellent, as are the blurred, very creamy and pleasant. It's good for infinity, too. To some extent its yield resembles another af-d in my possession, the 85 f/1.8, against which it has a better yield and a decidedly pro construction. In short, a professional lens that, when used for portraiture, still allows you to get beautiful images right away, without long and complicated post sessions. In general use and in the landscape remains a fabulous goal. sent on March 07, 2020 |
 | Nikon 28mm f/3.5 PC Ai-S Pros: excellent construction, general yield, shift, colors Cons: more macrocontrast (in some situations a little too much) than microcontrast, chromatic aberration, mild distortion, but hat. It doesn't have the tilt (but I don't care) Opinion: It's a fantastic lens to go out and take architectural photos: small, light and mechanically built very well, all pure metal and glass. It is very easy to use and, compared to straightening in postproduction, has the huge advantage of seeing and managing straight lines directly to the crosshairs and not after on a monitor. For these undoubted advantages there are some small prices to pay. The most important is that the lens has a very slight but non-linear distortion, which is more difficult to delete in post also because it changes depending on the millimeters of shift. The second is that it has a bit of a chromatic aberration, easier to delete in posts. The third defect, very relative, is that it was designed 40 years ago and on the so-called dense sensors it trudges a little, although it always comes out worthy thanks to the general contrast that makes the images still enjoyable. Obviously it should be used from f/8 onwards, but it is not a problem for the specific use of the lens. Here is a picture example on a7rII, processed by jpg for reasons of time. https://www.juzaphoto.com/galleria.php?l=it&t=3404205 sent on December 09, 2019 |
 | Tamron SP 35mm f/1.8 Di VC USD Pros: Sharpness, chromatic rendering, reduced distortion, minimal focus for those who like selective blurring Cons: Not indifferent footprint, sensitive chromatic aberration Opinion: I have been using the Tamron with attack A on my Sony (a7 before and a7rII now) thanks to the la-ea4 adapter that I already owned: practically I no longer detach it, given my fondness for focals between 35 and 40. The overall performance is very good, with a sharp enough sharpness even in landscape photos with 42 megapixel sensor; there is a bit of a chromatic aberration visible in the backlights, with which to live. The chromatic rendering is vivid but at the same time delicate, without abrupt and dominant tonal passages. The distortion is almost imperceptible and, architecture aside, there is almost no need to correct it. The focus is quick and precise, but in my case with the limitations due to the use of the adapter that make the lens-adapter-machine set less performing in the choice of the right subject; The af/mf selector is very comfortable and functional, as is the dial. It's a well-built lens, although a bit big and heavy to be a 1.8, which gives the best of itself in the set portrait, but that is also good for the landscape, given the sharpness. sent on December 07, 2019 |
 | Samyang FE 35mm f/2.8 AF Pros: Very small and light, clear at all aperses, satisfying from an aesthetic, economical point of view Cons: Motorized manual focus, lightweight construction, distortion to be corrected in the room or via software Opinion: After two weeks of use I can express a reasoned opinion. The small 35 Samyang works very well and is equipped with very good sharpness, which also expresses at full aperture both at reduced focusing distances, from portrait, and at long distances: overall it holds the comparison with more emblazoned optics, even if I have not Could compare with the direct rival Zeiss. It has good colors, natural tones and all in all if it is in backlight, in which of course loses a little ' contrast. It has a barrel distortion well visible in the raw, automatically canceled in the JPG in the room or in Capture One. The autofocus is not the strong point of this lens: the focus generates a "robotic" noise that is barely perceptible, but unpleasant; The autofocus sometimes wavers and it is difficult to see if it has hooked the foreground or the background; The motorized manual focus for my personal judgement is neither practical nor particularly precise. The lens is equipped with an elegant removable front plastic ring, which allows the use of filters and plugs of both 40.5 diameter and 49mm diameter. It is highly recommended for full-frame sonists who like the 35 focal length and who need to work light and discreetly, maintaining a high quality in street situations, landscape or portrait set. My Rating: 9 sent on December 16, 2018 |
 | Minolta AF 24-85mm f/3.5-4.5 Pros: Very nice classic Minolta colors, good sharpness if diaphragmed, distortion relatively limited even at 24mm, handyman Cons: For best results it is used with abundant light and slightly diaphragmed. Fears the backlight. Opinion: Lens handyman Minolta End of years ' 80, I use it often on the Sony A7 with the adaptor la-ea4 prefering it in some cases to the Zeiss 24-70, sharper in almost all shooting situations, but with less personality. The lens is sufficiently compact, even with the hood inserted; The construction is solid despite the use of plastic. The focal 85 has ample use to the extemporaneous portrait, allowing to achieve good results (obviously without the quality of a specific objective). It gives its best if it is diaphragmed at least one stop and when used in abundant light situations; It is ideal for travel photography, in which it guarantees to bring home the result by adding that touch of personality. sent on September 24, 2018 |
 | Samyang 135mm f/2 ED UMC Pros: Almost everything Cons: Heavy weight, footprint, has no autofocus Opinion: A splendid lens, with a striking and superabundant sharpness already at full aperture, perhaps even an excessive hair in the portrait. With the magnification and contour effect of Sony focuses with extreme precision in a moment; The focus ring is activated with great precision and offers the right resistance, as well as the diaphragm ring. The tone and colour rendition is extremely faithful, especially for the skin, the fuzzy is very creamy and pleasant to all the openings in which it is visible. Cons are the lack of autofocus, its being cumbersome and heavy, the focal perhaps slightly too long for portraits that forces you to do two or three steps back for those accustomed to medium tele under 100mm. Attention to flare: Use the hood supplied and do not directly frame light sources. Ultimately it is a great lens for laid and landscapes, less obviously for photos on the fly. The price is ridiculous compared to the performance offered. sent on August 22, 2018 |
 | Minolta AF 70-210mm f/4 Pros: General quality, colors, blurred, AF quite reactive, rather light, construction in good quality plastics Cons: Footprint, sharpness not at the level of current standards, especially TA. Visible chromatic aberration. Backlighting to avoid. Opinion: I bought the Bercaan really for nonsense and I used it, with the adaptor la-EA4, on the Sony A7. It has a very pleasant rendering of tones and colors that, contrary to any other zoom of equal excursion possessed, remains constant up to the edges, without phenomena of lowering of the macrocontrast and of chromatic desaturation. The cons is that the sharpness is good, but there is no microcontrast of the modern lenses. It goes very well then for a certain type of portrait photos and landscape that require more than the definition of the pore of the skin or the cracks in the wall far away maintaining a certain chromatic liveliness all over the frame. It still has some typical defects of the lenses of its era, like a certain amount of chromatic aberration and the lowering of the contrast in the backlight, the need to diaphragm a bit. sent on August 22, 2018 |
 | Tamron SP 90mm f/2.8 Di Macro Pros: Very sharp, excellent value for money, tonal and color "macro" magnification ratio 1:1, resistance to flare due to the recessed front lens is very light and well built. Cons: autofocus noisy (version with spindle) and sometimes hesitant, tonal and color "macros" that is very vivid and contrasty Opinion: I bought this lens adapter for use with the SEL in attack-ea4 on sony A7 to replace the manual focus, the tamron 90 model 52bb. First impressions are those of a very sharp and contrasty lens, even at the edges and wide open, very suitable to use macros and naturalistic. For general use, covering the landscape and portrait, still consider preferable to the older brother that I will maintain, that has a more natural rendition of the chromatic tonal passages and even without recourse to postproduction. The autofocus has its raison d'etre at normal distances, where it is reasonably fast is accurate; in purely macro is not exploitable, as I believe will happen to any object of this type and focal. sent on April 18, 2018 |
 | Nikon AF 85mm f/1.8 D Pros: Clarity, blur, yield, size and limited weight Cons: nobody Opinion: It is a very clear lens and in my opinion very valid. Opening 1.8 is a good compromise between brightness and usability. At full opening the yield is already very good, even at the edges, and it is great to close one stop, keeping it on consistently high values ??up to 8/11. Distortion is negligible; The color rendition is very good and tendentially natural, although in some situations may appear a magenta dominant. Unsurprising contrast makes it suitable for portraits, while at sharpness level is an extremely analytic, even infinite goal. The blur is very enjoyable. It's a lens of 1994, so do not expect monstrous performances at TA and edges as some of today's goals; However, has a very nice character and the portraits are fine. sent on August 23, 2017 |
 | Tamron SP 90mm f/2.5 Macro Pros: sharpness, color, focus, macro Cons: No one ... to be a little picky there is a predisposition to flare, but it is even useful in the field of portraiture. Opinion: Historic and well-known lens of Tamron. Very sharp to the edge even at full aperture, which can be used as a portrait lens. By cutting a little becomes extremely sharp and slightly too contrasty for portrait. Infinity maintains excellent performance, so it can be used also as optical for landscape; elective in his field, macro, demonstrates an excellent edge-to-edge sharpness from CT until the smaller apertures, which does not suffer too much of diffraction. Maximum reproduction ratio is "just" 1:2, but this design helps to save space. Compared to other macro has a very natural colour rendition, which makes it suitable for use in portraiture, as well as the relatively large opening. The lens was produced in two versions, the metal ring with vertical microscalanature whole 52b, and 52bb with increased use of plastics and plastic-coated knurled nut. Optically are equivalent, perhaps the first version gives an impression of strength. sent on August 20, 2017 |
 | Sony FE 24-70mm f/4 ZA OSS Vario Tessar T* Pros: Construction, lightness, sharpness, AF, stabilization, minimum focusing distance, constant opening Cons: Made good, but not good; price Opinion: A handy all-rounder of quality rather than good, but not comparable as a result either to a fixed or to a professional zoom. Works best at af / 4 and lower focal points. Good color yield, but not in all lighting conditions. The price is high in relation to performance. Distortion visible to 24mm, to be canceled or in room (jpg) or post-production. sent on August 20, 2017 |
 | Voigtlander VM Nokton 40mm f/1.4 SC Pros: High sharpness from f / 2.3 onwards, blurred, colors, atmosphere; Very compact Cons: Wanting to rush there is a TA too little vignetting and a bit too soft. Minimal focus a bit long. Opinion: Beautiful voigtlander lens I bought when I also had summicron-c 40, then resold because the f / 2 performance is almost indistinguishable. It has a particular rendering, its character that gives the atmosphere to the photos. Natural colors but saturated, no excessive contrast with shadows that are not closed as in standard lenses. The photos are very "plastic", both on film and on the sensor. The transition between fire zones is not sweet and progressive. sent on August 20, 2017 |
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