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The following opinions have been automatically translated with Google Translate.
Cons:contrast and sharpness, in practice everything
Opinion:It was only temporarily my basic lens when I made the switch from Olympus to Nikon AF. It was winter and the lights of the Po Valley at that time are not the best to see how it goes, because they already lack contrast for natural weather conditions. The fact is that the comparison with my old fixed optics OM, moreover selected for their quality, was disastrous (and we would miss ...); the funny aspect is that, due to known psychological mechanisms, infatuated by the novelty of autofocus I spoke with full satisfaction and absolute lack of objectivity. Actually, not long afterwards, I was able to re-establish myself and realized how the images were generally flat and dull; then I was handed the 35-70 f2.8 that I had ordered and life changed immediately. Of course, as a comparison it was not correct, but the differences were abysmal. Wasted pictures and film; an experience to forget, finally I defined an expensive cap for the camera body. The ridiculous thing & eserious; that was the optics supplied for those who then bought a Nikon AF (F801), as if it were possible to retain a photo amateur by proposing optics of this kind is still a mystery hidden in the head of the marketing staff of Nikon. Rating 4
Pros:Compact, it looks like a 50mm, af precise, little vignetting, 52mm filters, all in metal. Very low price.
Cons:Reduced focal excursion, not excellent sharpness, built by Cosina and Nikon license plate, discrete but not sublime boken at full aperture.
Opinion:Purchased for very little out of curiosity, I wanted to have at least one of the ten worst Nikons of all time according to the personal ranking of Ken Rockwell. It does not deserve to end there, but the 43-86 that I used thirty years ago was infinitely worse, at least this is well built. Does not suffer from vignetting from f4.5 onwards, on Fx. RnMontato on the right becomes a portrait optics, a 50-105 that covers all normal focal lengths for portraits. With the D500 does not lose a focus, with the D610 every so often you "svaga" ie turn empty before finding the focus. In exchange it is fast enough, better than 35-105 but less than 28-200 which is more or less the same period. I will post a gallery of portraits dedicated to this view. The colors are not fired, the shadows do not close them, in full line with 28-105 and the 50 D is 1.8 and 1.4. It was no coincidence that they were considered optical save-errors, keep one in the pocket in the event of strong contrasts - internal, behind the theatrical scenes, the dressing rooms and the like - saves situations where you can not use flash for asoften and lighten.
The following opinions have been automatically translated with Google Translate.
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