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FORUMS Canon Cameras, Lenses & Accessories Canon EF and EF-S Lenses 
Thread started 05 Jun 2009 (Friday) 06:43
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The beloved L versus other lenses.

 
Wilt
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Jun 08, 2009 23:04 |  #61

Mike55 wrote in post #8074717 (external link)
Nope. That's straight up. I need to see 100% crops of the flowers.

Ask and you shall receive...100% crops

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A. Canon 70-200 f/4L (to see if you can identify the L)
B. Tamron 28-75 f/2.8 (to see if you can identify the Tamron)
C. Canon 100 f/2 (to see if you can identify the prime)
D. Canon 17-55 f/2.8 (to see if you can identify the non-L zoom)
E. Tamron 28-75 white balanced to be less warm

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Mike55
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Jun 09, 2009 00:08 |  #62

Thx. I would go with #2 as the L or the 100 F2.


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Stealthy ­ Ninja
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Jun 09, 2009 00:35 |  #63
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I'm confused... now there's five. I'll just stick with what I said a few posts ago.




  
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c2thew
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Jun 09, 2009 01:09 |  #64

on the second test.... here's my guess

A. Canon 70-200 f/4L (to see if you can identify the L) 1.
B. Tamron 28-75 f/2.8 (to see if you can identify the Tamron)3.
C. Canon 100 f/2 (to see if you can identify the prime) 2.
D. Canon 17-55 f/2.8 (to see if you can identify the non-L zoom) 4.

Flower test guess

A. Canon 70-200 f/4L (to see if you can identify the L) 1
B. Tamron 28-75 f/2.8 (to see if you can identify the Tamron) 3
C. Canon 100 f/2 (to see if you can identify the prime) 2.
D. Canon 17-55 f/2.8 (to see if you can identify the non-L zoom) 4

LOL i just realized i answered the same for both tests unintentionally!

man this is a fun test! i might be mixing the tamron up in my head because i know that tamron usually shoots with darker colors (based on pass image samples of 50mm sigma vs 50mm 1.4) at least i'm consistent =]


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Stealthy ­ Ninja
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Jun 09, 2009 01:20 |  #65
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^^ Mmm I did different than you.

ME:
1 = D
2 = C (same)
3 = A
4 = B

YOU:
1 = A
2 = C
3 = B
4 = D

Really hard to tell though. :)




  
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toxic
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Jun 09, 2009 01:53 |  #66

Wilt wrote in post #8072739 (external link)
And the problem outside is that unless you have absolutely cloudless skies, the color balance changes from moment to moment, rendering comparison rather meaningless. Nonetheless, becasue I anticipated reaction like yours, here are shots presented in same sequence of lenses as in prior posts, but without the white balanced version of the warm tone lens...

...

The lenses to match Number (photo) to Letter (lens):
A. Canon 70-200 f/4L (to see if you can identify the L)
B. Tamron 28-75 f/2.8 (to see if you can identify the Tamron)
C. Canon 100 f/2 (to see if you can identify the prime)
D. Canon 17-55 f/2.8 (to see if you can identify the non-L zoom)

Based on the crappy monitor I'm looking at right now, I'm gonna say:
1 - 17-55
2 - 100
3 - 70-200
4 - 28-75




  
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Stealthy ­ Ninja
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Jun 09, 2009 02:17 |  #67
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^^ Exactly the same as me. :)




  
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AlanU
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Jun 09, 2009 02:50 |  #68

Fotoscapes,

Since it appears your subjects are not moving or slow moving a prime lens will suite your needs perfectly.

You could purchase the 50 f/1.4 (aprox 425usd) and 85 f/1.8 (aprox 400usd) and add a hood for aprox 25-30 dollars or even cheaper buying a knock off.

Straight out of camera photos seldom get printed or viewed by clients. Photoshop/lightroom/ot​her programs typically tweek raw/jpg so colours are not as crucial. I know my L zooms have beautiful colours but my Sigma 18-50EX Macro is equally as nice but maybe a tad warmer cast.

IMO using a fast prime lens will help separate the subject from the background by using a wide aperature. It is alot easier to achieve this compared to using a medium tele like a 24-70or tamron 28-75 at f/2.8.

Since theres not "time line" to purchase any lenses you can buy whatever and whenever you want. Since you have crop bodies I think a Sigma 30mm would be another focal length to look at.

The reason I like "L's" is more for build and USM. Fast and silent USM makes those lenses a joy to use. Even Non "L" canon's w/ USM or Sigma HSM are not distracting in a buzzy AF motor.


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Wilt
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Jun 09, 2009 07:56 |  #69

OK, the answers are:

1: 17-55mm
2: 100mm
3: 70-200 L
4: Tamron
5: White balanced to match Canon, version of 4

So the 3C answers correctly identified the L. But to those who got it right, can you honestly state that you did not use DOF or perspective subtleties to help you in identifying the L shot?! State your correction criteria by referring others to your identifying characteristic in the photo which led to your decision, so that they can try to see if they might be able to identify the L also, using your criteria. I know I look at these shots, and the differences between photos are subtle, but I rather doubt I could consistently find the L based on claims of 'better color'. Even though I consistently put the photos in the same sequence each time, we have one participant whose answers changed each time...and to me (any by my own efforts) 'chance' more than 'consistent identification' seems to be the rule.


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Stealthy ­ Ninja
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Jun 09, 2009 11:19 |  #70
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^^ LOL dude, we passed the test. ;)

It looked sharper, had nicer contrast and colours. It wasn't too easy to pick I must say... so I did look at the bokeh to make a guess on it. ;)

Great post though, there was less difference than I thought. Proves a very good point.




  
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Mike55
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Jun 09, 2009 12:31 |  #71

#2 popped out at me immediately. Once again a non-L prime puts down expensive L zooms and the 17-55 IS. Fun test.


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toxic
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Jun 09, 2009 13:13 |  #72

Wilt wrote in post #8076473 (external link)
OK, the answers are:

1: 17-55mm
2: 100mm
3: 70-200 L
4: Tamron
5: White balanced to match Canon, version of 4

So the 3C answers correctly identified the L. But to those who got it right, can you honestly state that you did not use DOF or perspective subtleties to help you in identifying the L shot?! State your correction criteria by referring others to your identifying characteristic in the photo which led to your decision, so that they can try to see if they might be able to identify the L also, using your criteria. I know I look at these shots, and the differences between photos are subtle, but I rather doubt I could consistently find the L based on claims of 'better color'. Even though I consistently put the photos in the same sequence each time, we have one participant whose answers changed each time...and to me (any by my own efforts) 'chance' more than 'consistent identification' seems to be the rule.

I actually guessed on the L...I thought #2 (most contrast) would be the prime or the L, but the bokeh was too smooth to be the 70-200 :rolleyes:. And the background was larger, and the 100 is the longest lens (and I assumed you'd try to get the FL about the same)....but the giveaway between the two was the bokeh.

The 17-55 had the least contrast, interestingly. Or is that just a side-effect of the "cooler" color...




  
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Fotoscapes
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Jun 09, 2009 14:24 |  #73

AlanU wrote in post #8076031 (external link)
Fotoscapes,

Since it appears your subjects are not moving or slow moving a prime lens will suite your needs perfectly.

You could purchase the 50 f/1.4 (aprox 425usd) and 85 f/1.8 (aprox 400usd) and add a hood for aprox 25-30 dollars or even cheaper buying a knock off.

Straight out of camera photos seldom get printed or viewed by clients. Photoshop/lightroom/ot​her programs typically tweek raw/jpg so colours are not as crucial. I know my L zooms have beautiful colours but my Sigma 18-50EX Macro is equally as nice but maybe a tad warmer cast.

IMO using a fast prime lens will help separate the subject from the background by using a wide aperature. It is alot easier to achieve this compared to using a medium tele like a 24-70or tamron 28-75 at f/2.8.

Since theres not "time line" to purchase any lenses you can buy whatever and whenever you want. Since you have crop bodies I think a Sigma 30mm would be another focal length to look at.

The reason I like "L's" is more for build and USM. Fast and silent USM makes those lenses a joy to use. Even Non "L" canon's w/ USM or Sigma HSM are not distracting in a buzzy AF motor.

All this information is awesome and it has proven many of my thoughts. ONE if not the likely primary reason I would want the 2.8, regardless of manufacturer, is that I do like shooting in low light...natural, low light so therefore I would be looking for a bit of speed. I do own the very inexpensive yet very nice Canon 50mm 1.8 and it does a great job. Buying a 2.8 zoom just helps have a bit more flexibility. As for WILT'S test? It's proven to me that I just may, in fact, be able to save $1100 +/- and now be able to get some strobes and other studio gear.

This forum is amazing!


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Wilt
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Jun 09, 2009 14:39 |  #74

Stealthy Ninja wrote in post #8077662 (external link)
^^ LOL dude, we passed the test. ;)

It looked sharper, had nicer contrast and colours. It wasn't too easy to pick I must say... so I did look at the bokeh to make a guess on it. ;)

Great post though, there was less difference than I thought. Proves a very good point.

I think that given the limited DOF especially notable in the 100% crops, and the perceived affects which that can have on both detail and color, that judgement of 'better' can be flawed especially when the differences are so small. My indoor shots were taken with a small aperture, while the outdoor shots were all at f/4, so there was less consistency of focus with the larger aperture outdoor shots which were used due to the complaint about the color balance from the studio lighting. I wouldn't rely upon those outdoor shots of the flowers to assess 'detail' or 'sharpness' except on those few positions where the photo is obviously well in focus. I can see stamens (or is that pistles -- gawd I hated botany!) of the flowers are not in focus in all the shots, for example.


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Wilt
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Jun 09, 2009 14:46 |  #75

toxic wrote in post #8078346 (external link)
The 17-55 had the least contrast, interestingly. Or is that just a side-effect of the "cooler" color...

Go take another look at post 40. Ignore the color balance warmth which is induced by the softbox. Look only at the contrast of each, and determine what you think of contrast where the lighting angle is constant, the light source fixed, and what do you think of relative contrast using those photos where the conditions are the most controlled?

I set the brightness of the shots to grayscale patch #3 (18%) to neutralized any light transmission differences of the lenses (vs. stated f/stop), now look at the black patch (blacker = contrastier). I see the 100mm lens as the lowest in contrast of the four samples. Now restate your opinion of the 17-55mm lens contrast.


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