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Author Topic: Quality vs Value  (Read 68039 times)

springtide

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Quality vs Value
« Reply #140 on: February 04, 2009, 05:19:24 am »

Quote from: Ray
Not quite true. The Sigma 15-30 has a slot for a filter on the other end of the lens where the lens fits to the camera. It accepts specialised rectangular filters a bit smaller than 24x36mm. The Sigma 15-30 also has a holder that slides over the lens hood, much like the Nikkor 14-24. However, the Sigma slide-on cover is threaded and accepts conventional filters. Unfortunately, there's too much vignetting with full frame, so this is only a viable option with the cropped format DSLR.


Yes, I suppose I do consider the scientific method as equivalent to the second coming. In fact, much better and a cause for greater hope. I consider the prosperity and well-being of the civilised world to be founded upon that same scientific method and scientific attitude that produced those MTF charts.

My statement regarding filters for both the Sigma's and the 14-24 is true.  You obviously didn't bother to read my post as I was clearly talking about 'Lee filters' specifically for Landscapes -  although I'd be very interested in watching you stuff a 150mmx100mm Lee Grad filter into the back of one of those Sigma lenses - in the place where gel filters should be located. LOL
You can attach filters to the lens hood of the Sigma's (82mm thread I believe) - but this is ONLY for APS-C due to vignetting.

I'm very sorry if you don't agree with my statement, but the Nikon equiv of the Canon 16-35 f2.8 was the Nikon 17-35 f2.8 (and not the 14-24). You can't just pick a lens just because it has great MTF figures if it's not able to do the job of the lens it's being compared too.  I assume (only assume) that maybe the MTF figures of the 17-35 f2.8 aren't 'as good' otherwise why was the 14-24 picked in preference to the N17-35?  It's not for me to reason why, all I know is that my Nikon friends (which I have a many) who do a lot of Landscape work have all purchased the Nikon 17-35 f2.8 over the 14-24 for the very reason for the ability for attaching Grads.

I'm not going to even go into the area MTF figures -  that would end in another 20 pages of posts comparing apples with oranges with the occational pear added to the mix for good measure. I would be interested if people know of review sites that post MTF figures for FF (only DPR I'm aware do this, and the lens reviews are limited)


And for the person who stated the D3x is the best value Landscape camera LOL.  You are so funny and I'm sure my Nikon friends would love to meet you.  What would be the best Landscape camera (better than my a900) would be a D700x with the same resolution, IQ, FPS etc as the D3x, but at the same cost as the current D700.  The problem is that it looks like if a D700x is launched it will cost a lot more than the D700 (based on D3 vs D3x prices).  If you want a high resolution FF DSLR on a budget, Nikon can't offer this at the moment (just like Sony can't offer a 600mm f4 at the moment).  If you want a lower resolution FF DSLR with amazing low light performance, only Nikon can really offer this now.  The A900 has better AF and DR than the 5D2 (and weathersealing by the look of it).  The 5D2 has better high ISO performance than the a900, and you can get weathersealed lenses.  The D3x has the best of both, but for 3x the price.
« Last Edit: February 04, 2009, 05:36:01 am by springtide »
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springtide

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« Reply #141 on: February 04, 2009, 05:42:49 am »

Quote from: frugal
I think the bigger point of Michael's article is to simply point out a consideration that DxO doesn't reflect, or at least not very well (for instance, by ignoring resolution). For Michael, the A900 represents a good value, for someone else under different circumstances it might not.

I feel that his article was very timely for me because I'm going through the buying decision right now (pending the sale of my 4x5 gear to supply some of the funds). I have no digital system and my 35mm gear is old Olympus OM gear that I bought used so I know whatever the choice I go for I'm giving up the use of my existing lenses (well okay, I could use them on a Canon body but only with stopdown metering). Since I bought them used that's not a significant loss of investment and they've given me several years of service.

So having decided to bite the bullet and go for a full-frame DSLR I'm finding myself asking a lot of the questions of value and what I'm looking for. If I'm going for a current body it's down to the A900, 5DmkII or D700, all of which are around the same price. This leaves me with a number of questions that I'm struggling to answer in terms of what "value" means to me:

- How important is 20+mp resolution to me? (If that's a major factor then the D700 is out right there)
- How do the bodies handle? (I've only had the chance to briefly handle the D700 and haven't tried the other 2 yet)
- How important is high ISO to me? (If that's a major factor then the A900 is eliminated)
- How attached am I to using Lightroom as my workflow? Given reports that Aperture or C1 provide better output from the A900 does this rule out that body or am I willing to live with the additional step?
- Will I want to still shoot some film and acquire a film body? (All 3 would allow this in some way, but the features of that body could affect the decision as well)
- What specialty lenses (if any) do I want to use?
- How much of an issue is the non-standard hotshoe on the A900?

Note that none of these talk about the actual quality of the cameras in question. These are all questions regarding what my priorities are and what tradeoffs I'm prepared to make. I have no doubt that all 3 cameras are capable of producing excellent images when one takes the time to learn the strengths and weaknesses of that camera and how to squeeze the best quality from them. This is a question of "what provides the best value to me?"


You know the questions, all you now need to do is to find some answers and you'll be able to pick the right system for you.

As a suggestion, if you want detailed Sony questions answered (hotshoe etc) - probably best to create a seperate thread   Personally I find Lightroom fine for a900 files and use Lightroom as my main workflow.  I also use the a900 with studio and hotshoe flashes, fired either using Skyports (like PQ) or using the Sony wireless system.

FYI, if you output your photos at Jpegs with the EXIF data, then Exposure Plot (http://www.cpr.demon.nl/prog_plotf.html) can be pretty useful for looking at the data within your images.
« Last Edit: February 04, 2009, 05:49:54 am by springtide »
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Gary Ferguson

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« Reply #142 on: February 04, 2009, 07:40:38 am »

Quote from: Rob C
given the invective, time and passion spent by some on this topic, there can be no way that a normal, non-obsessed person will ever buy the correct equipment. He might be happy in his own ignorance, just as I have been over the years buyng silly Hasselblads and ludicrous Nikons, he might be able to produce great photography with that stuff, but ultimately, someone will pop down from the stratosphere and point out where he has gone wrong, where he has overspent by twenty bucks or cherished the wrong bokeh.

     

Well said!
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JohnKoerner

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« Reply #143 on: February 04, 2009, 01:36:51 pm »

Quote from: Rob C
Well, as an adventure in self-chastisement, much needed after neglecting numerous pressing household chores that scream silently for my attention, I decided to read the entire thread from start to finish (for me, that´s here).
And what did I learn? Simply, that given the invective, time and passion spent by some on this topic, there can be no way that a normal, non-obsessed person will ever buy the correct equipment. He might be happy in his own ignorance, just as I have been over the years buyng silly Hasselblads and ludicrous Nikons, he might be able to produce great photography with that stuff, but ultimately, someone will pop down from the stratosphere and point out where he has gone wrong, where he has overspent by twenty bucks or cherished the wrong bokeh.
Circular thread? Not quite. Linear, then? Can´t say that either, probaly leans more towards the circular but let´s consider that it might bend even more so in the direction of the loopy?
Holy Batman! Is this what the adults do? Thank God for my second childhood.
Rob C


Rob C., it's clear by the tone of your posts that you have an extreme amount of self-love and that you have a very high opinion of yourself. Funny though, wasn't it you I saw sobbing on another thread (in the "About This Site" forum) trying to make a case for "civility?" I seem to remember you taking the pulpit, and giving a great emotional speech about how we should all treat other people with respect. Yes, I could swear that was you Rob, lamenting with quivering lip, that we members here should all be more respectful of each other ... and yet here you are running your mouth with sarcasm. Hypocrites are like that ...

Anyway, Rob, as a matter of real-world fact, your sarcasm here not only is hypocritical it is also wrong. The mathematical fact of the matter is, the difference in whole system monetary investment between brand names is quite a bit more than a mere "twenty bucks"; it can actually be several thousand bucks, which not only makes you out to be a bit of an ass for your comments, but it shows your entire premise is also founded upon a lie, making you a dishonest ass. To refresh your memory:


Nikon D300 = $1,500
MicroNikkor 100 mm = $800
Nikkor 600mm = $9,700
TOTAL PRICE = $12,000



By Contrast:

Canon 50D = $1,167
Canon 100 mm macro = $490
Canon 600mm = $7,600
TOTAL PRICE = $9,257



Now then, this is with just 3 pieces of naturalist field equipment, showing the contrast of value offered by these two competitors. In point of fact, the difference is $2,743, not $20. That is close to a 3-grand difference, in just 3 pieces of commonly-purchased top-end field equipment, which means it is 137x more costly than your silly attempt at underming this thread admitted to. In the real world, this is a very large difference.

When one considers the fact that one must get a top-notch tripod, and a topnotch ballhead, just to make a 600 mm lens functional at its full potential, the fact that one can spend $12,000 with Nikon and still face another $1-$2K expense on top of what he's already put out there, should be daunting to all but the wealthy.

The fact that a Canon user still has over $2,700 in spending money that would allow him to purchase an $800 Gitzo tripod, a $600 Wimberly ballhead, a $400 top-shelf backpack, two $150 polarizing filters for both lenses, and a $685 macro ringlight flash for his macro lens ... and still not have spent as much as the Nikon user ... and yet has BY FAR the greater amount of equipment for his money ... ought to make anyone but a dullard stand up and take notice.

Now, as has been pointed out by other members who live in other countries, in some areas these wide ranges of disparity in pricing might not be so great---but they remain in some degree nonetheless. I do believe B&H photo is sponsored by this website, and if anyone wants to check my numbers they will see I am correct and not exaggerating here.

And if I am not mistaking here, the topic of this thread (and of the forum owner's own most recent written work) is "Quality versus Value," and yet a man can't come here and discuss this very topic without a bunch of highfalutin' jackoffs running their mouths. So, please, allow people the right to discuss these topics. This is a very real subject that affects many people, and far too many people don't think of these things before they make their own personal purchase decisions.

It's a serious enough topic that the moderator is writing a multi-piece body of work on the subject, and there are at least 5 different threads here discussing the matter. I am sorry if my numbers show that the system you chose does NOT offer the most value for the money. In certain contexts (perhaps your own context) it does. But in other applications, most notably macro, and especially telephoto, the Nikon system is a terrible buy for the money, and wastes a person thousands of dollars in needless expense. This might not be relevant to your particular photography, but it is most definitely relevant to other people's photography.

So kindly sit your @$$ down and spare us your sarcasm, which is all based on a lie anyway. Show us all that "civility" you cried so much about the other month. If you can't do this, then I will have offer this as my commentary, the next time you get all misty about civility




The simple fact is, some systems may offer tremendous products, but their value compared to other systems is much less, precisely because of over-pricing. This is a relevant topic to everyone, so I do believe a person who can show how one system offers BY FAR more options, outstanding options, and yet is priced thousands of dollars below their competitors ought to be spared being called a "fanboy" --- when the truth is, he is just being a realistic person with some hard facts and numbers. I don't see why some of you "rational, intelligent" folks are blinded by these numbers. They are real numbers. So perhaps it's a little bit of your own fanboyism that makes you want to bury your heads in the sand as to what these numbers, in fact, pan-out to regarding which brand offers true value.

Jack


.
« Last Edit: February 04, 2009, 01:40:06 pm by JohnKoerner »
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douglasf13

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« Reply #144 on: February 04, 2009, 01:41:33 pm »

Quote from: JohnKoerner
This is very true. The value of a system for you is what is most important. I think that discussions like these (while some idiots like to trivialize them) are actually important for some to clarify what their values in fact are, and choose the system whose strengths (in both purchase price and options) lie with their needs. For instance, if I were a landscape photographer looking to upgrade right now, I would probably go with the Nikon D3x and 14 mm.

Well, very true again. I would say for any shooter looking for reach, in either macro or (really, most especially) super telephoto the Canon system is by far the better value with by far the greater options. As an overall system it has to be viewed as the same. For the dedicated landscape photographer doing very large prints, none of this matters, and the Nikon D3x and 14-24 mm and 24-70 mm would be the best value for even money.


Jack

  It seems you're forgetting about the A900 + Zeiss 16-35 and 24-70
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ErikKaffehr

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« Reply #145 on: February 04, 2009, 02:01:46 pm »

Hi,

What is so special about the 24-70/2.8? I own it myself and it is a good lens, but I don't know if it is better than any other lens.

Have you actually used the 16-35?

Best regards
Erik


Quote from: douglasf13
It seems you're forgetting about the A900 + Zeiss 16-35 and 24-70
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JohnKoerner

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« Reply #146 on: February 04, 2009, 02:02:00 pm »

Quote from: douglasf13
It seems you're forgetting about the A900 + Zeiss 16-35 and 24-70


I am sure there are many particular brand-combinationa that offer great value. My comments were on whole system value. My own particular interests involve macro and (eventually) telephoto, and in getting a complete system. Canon really shines in macro options/price as well as telephoto options/price, as well as overall system value for the money.

If I were strictly a landscape photographer, however, I very well may have gone a different direction.

Comments like yours I think are valuable to this discussion, as what is a good value for me (or you) might not fit another person's particular desires. How does the A900 compare to the 5DMkII plus 16-35 MkII and 24-70? To be honest, I haven't even looked, because this type of photography does not interest me.

Jack
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Deepsouth

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« Reply #147 on: February 04, 2009, 02:09:26 pm »

With regard to the "audiophile" analogy about price and value in the current articles:

What if I tried to sell you a pair of eyeglasses that have smudges and smears, and clearly not the correct prescription for your eyes? What if I swore these glasses would make your very best prints look even better, and further more, abandoned optical science, saying that "optics" cannot explain these breakthrough results. Along the way, I create a pseudoscience that derives its righteousness from its very rejection by classically trained scientists. And, oh by the way, these miracle specs cost 10-50X more than regular eyeglasses from a mainstream optician.

You'd say I was nuts.

Well, that's what you are getting with most tube gear marketed to "audiophiles". A complex mix of nostalgia, failing hearing, rising disposable income, status seeking  and peer pressure has created a market not just for tube gear (which has its legitmate place in audio) but all kinds of "esoteric" gizmos that are marketed as "too advanced to be explained by measurements".  As an audiophile-designer and builder, not just consumer-for 30+ years, I can assure you that the subjectivist rabble is not ruling the roost in audiophilia. If you want a bloated, juke-box sound, buy a tube power amplifier. There are very few speakers that will work well with them, in particular all-horn systems.

One tube gear manufacturer said that the performance of its equipment could not be measured by "conventional means" but had more in common with fine wines and expensive cigars. Other sellers have made similar claims about "magic rocks", "cryogenically treated cables", and wooden trestles to elevate speaker cables off the floor.

If I could graph this quackery, the graph would plot declining hearing vs. disposable income. There is point where the two overlap, roughly for ages 35-60, and that is the sweet spot that these snake oil peddlers target. it is known that almost all the adherents of this cult system are men.

I'm much more of an audiophile than a photographer, but I had to raise my hand about a faulty analogy.
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lattiboy

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« Reply #148 on: February 04, 2009, 02:25:28 pm »

Quote from: Deepsouth
One tube gear manufacturer said that the performance of its equipment could not be measured by "conventional means" but had more in common with fine wines and expensive cigars. Other sellers have made similar claims about "magic rocks", "cryogenically treated cables", and wooden trestles to elevate speaker cables off the floor.

Ha! That reminds me of Pear and how "danceable" their $7250 speaker cables were.
« Last Edit: February 04, 2009, 02:25:53 pm by lattiboy »
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Plekto

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« Reply #149 on: February 04, 2009, 04:36:57 pm »

Quote from: Deepsouth
Well, that's what you are getting with most tube gear marketed to "audiophiles". A complex mix of nostalgia, failing hearing, rising disposable income, status seeking  and peer pressure has created a market not just for tube gear (which has its legitmate place in audio) but all kinds of "esoteric" gizmos that are marketed as "too advanced to be explained by measurements".  As an audiophile-designer and builder, not just consumer-for 30+ years, I can assure you that the subjectivist rabble is not ruling the roost in audiophilia. If you want a bloated, juke-box sound, buy a tube power amplifier. There are very few speakers that will work well with them, in particular all-horn systems.

OTOH, there are good points to tubes as well, if the systems are properly designed.  the advantages is that they handle heat, distortion, and clipping far better than modern electronics.  But that's only if you're pushing the thing too hard.  Otherwise, the sound is virtually identical.  Of course, that gets into the whole problem of 95% of people having woefully inadequate systems that DO distort, clip, and get too hot.  Good transistor amps aren't terribly cheap, either.

But yeah, I see that snake oil all the time.  Just look at them and then more reasonable makers like Outlaw Audio, Jolida, Norh, Bryston, and so on.  Or check out amplifier kits.  Same thing as the 10,000+ systems for a few hundred dollars.  Heh.  It also extends into photography as well.  To be honest, I like the Fuji S5 Pro a lot more than most of these new toys due to the dynamic range and cleaner images it produces.  It looks a bit closer to film, despite having less resolution or toys/modes to play with.

Now that would be my personal choice.  Nikon lenses and $2135 for the camera fresh from hotrod visible.  http://www.maxmax.com/hot_rod_visible.htm

Of course, I'm not printing wall sized photos, either... heh.
« Last Edit: February 04, 2009, 04:37:45 pm by Plekto »
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aaykay

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« Reply #150 on: February 04, 2009, 04:37:41 pm »

Quote from: ErikKaffehr
Have you actually used the 16-35?.

There was a test between the 16-35 f/2.8 Zeiss and the earlier 17-35 G lens on the A900 (the person who did the test, posted the below link on Dyxum), as below:

http://www.photohobby.net/webboard/detail.php?topicid=10867

Obviously, beside the Zeiss, the "G" lens appears a bit out-classed, especially when one goes to the corners and edges.

One has to be aware that this was done on a 24.6MP FF sensor.  On a lower pixel density sensor (even a full-frame), the lens would not have been challenged as much.....and the "G" would have looked a lot better than the appearance in these test images.
« Last Edit: February 04, 2009, 04:51:43 pm by aaykay »
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aaykay

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« Reply #151 on: February 04, 2009, 05:05:27 pm »

Quote from: JohnKoerner
Zeiss isn't Sony, however, and they are more expensive lenses.

The "ZA" range are Zeiss lenses, exclusively made for the Sony mount.  The difference here is that these Zeiss lenses, have full Auto-focus (SSM or ring-USM in Canon-speak) and native mount compatibility on Sony, since these are designed expressly by Zeiss, under Sony's directive, for Sony.

Thus the upcoming Carl Zeiss 200mm f/3.5 ZA SSM Makro, is a highly anticipated optic.
« Last Edit: February 04, 2009, 05:06:42 pm by aaykay »
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Slough

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« Reply #152 on: February 04, 2009, 05:18:29 pm »

Quote from: JohnKoerner
Canon really shines in macro options/price


Nikon shines more brightly:

85mm F2.8 PC micro: superb with no direct Canon equivalent.
45mm F2.8 PCE micro: superb with no direct Canon equivalent.
60mm F2.8 AFS micro: superb, beats the Canon.
105mm F2.8 VR AFS : no Canon equivalent.
200mm F4 AFS micro: superb. I have seen numerous reviews of the Canon lens which indicate that it is not as good.

Now the one big advantage of many Nikon micro lenses is that you can set the true aperture on the lens. The older 105mm lenses have aperture rings, are available used, and are excellent. I don't think you can do that with Canon. And it is easy to reverse a Nikon wide angle lens to get > 1:1. You can't do that with Canon, without buying an expensive contraption.

Nikon flash is superb and easy to use. The R1 macro flash works really well. You can use the built in flash as a commander to control off camera flashes wirelessly. I don't think Canon can do that. If you want to set up a flash system to capture a fox, and not have wires all over the place, it's easier with Nikon.

Canon equipment is by all accounts top class and it will take you a long while to discover the strengths and weaknesses of a system. I am sure Canon have strengths I know nothing about. The truth is that whichever system you use, you will find weak points, and what will make your photos will be your skill in using what you have got. You will find that it takes quite a while to discover new techniques and workarounds for issues.

May I suggest you wait until you have more experience with a system before you engage in brand wars? I have used Nikon for decades, but do not feel able to engage in a brand war, as I have never used Canon EOS.

Now when it comes to Sony, it is a new system, and it is not yet as strong as Canon and Nikon. It looks like it will be one of the big names on a par with Canon and Nikon, in a year or two. For many it is already on a par, if not ahead. For others it is not yet there.
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douglasf13

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« Reply #153 on: February 04, 2009, 05:43:31 pm »

Quote from: JohnKoerner
I am sure there are many particular brand-combinationa that offer great value. My comments were on whole system value. My own particular interests involve macro and (eventually) telephoto, and in getting a complete system. Canon really shines in macro options/price as well as telephoto options/price, as well as overall system value for the money.

If I were strictly a landscape photographer, however, I very well may have gone a different direction.

Comments like yours I think are valuable to this discussion, as what is a good value for me (or you) might not fit another person's particular desires. How does the A900 compare to the 5DMkII plus 16-35 MkII and 24-70? To be honest, I haven't even looked, because this type of photography does not interest me.

Jack

  Whoops, sorry if I was unclear.  I wasn't responding to your macro needs.  I was responding to your statement, "For the dedicated landscape photographer doing very large prints, none of this matters, and the Nikon D3x and 14-24 mm and 24-70 mm would be the best value for even money."  The A900 with the two ZA zooms I mentioned costs around $5000 less than that Nikon setup, and I believe that is a major point of MR's article, seeing as how he is a landscape shooter.  Now, there is definitely room for discussion about which will provide the best IQ (it could go either way,) but it's splitting hairs.  Preliminarily, it seems the 14-24 Nikon is a bit better than the ZA 16-35, and the ZA 24-70 is a bit better than the Nikon.  Nikon does have t/s, but Sony has a Zeiss WA prime coming and expensive 3rd party t/s, so...splitting hairs.

  Personally, I'm a studio portrait shooter, and I wouldn't trade the A900 and ZA lenses for any other 35mm system, regardless of price, and that mostly has to do with preferring the way Zeiss draws a scene, and still wanting autofocus. Also, the A900 has the best vertical grip ever made with every control doubled, and the best viewfinder. Different shooters, different needs

  As far as the A900 vs. 5Dii with 16-35 and 24-70, that depends on the shooter.  I never shoot beyond ISO 1600 (rarely even ISO 800,) so the A900 is the no-brainer, as it's better at low ISO and has the Zeiss'.  For one that spends most of his/her time over ISO 1600, then I'd say 5dii (I should say that both of those Canon zoom lenses are known to be just a little soft.)

  As far as Macro, Sony doesn't have that sweet 1X5 macro, but there is a great Minolta 1x3, so advantage Canon.  As far as regular macro lenses, the Sony 50 and 100 are as good as any Canon.

  Telephoto with Sony will be interesting.  Their new 70-400 looks to be the best of it's kind, but we'll see.  Sony has been previewing long, expensive tele primes, but we don't know when they are coming, so I'd agree Canon seems the way to go.  Outside of 300 2.8, one has to go with used Minolta primes, which are great, but hard to find.

 
  Sorry for such a lengthy, yet generic rundown of my opinions.  These forums become so Canon/Nikon-centric that I feel like I need to interject a little Sony love in here sometimes   If anything, it's good for people to see what Sony has, because many don't realize that, whilst still not coming close in numbers to Canon, Sony has some 26 or so lenses, with more coming, and that's not to mention many of the great legacy Minolta autofocus lenses.





 

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douglasf13

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« Reply #154 on: February 04, 2009, 05:50:05 pm »

Quote from: ErikKaffehr
Hi,

What is so special about the 24-70/2.8? I own it myself and it is a good lens, but I don't know if it is better than any other lens.

Have you actually used the 16-35?

Best regards
Erik

  I wasn't meaning to imply that the ZA's were much better or worse than the Nikkors.  I was simply saying comparable at a lower system cost, due to the D3x body price, because value was mentioned.  I will say that the ZA 24-70 at around f4 or so and at the ~30-55mm focal length is very good and prime worthy. 70mm seems to be the lens at it's worst, albeit still very good for a zoom.
« Last Edit: February 04, 2009, 05:52:06 pm by douglasf13 »
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inissila

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« Reply #155 on: February 04, 2009, 05:54:54 pm »

Quote from: JohnKoerner
The simple fact is, some systems may offer tremendous products, but their value compared to other systems is much less, precisely because of over-pricing.

John, have you considered the fact that the build quality, viewfinder, and reliability of the Canon prosumer bodies vs. a D300 are not in the same class.

Michael just reported in another thread that his 5D Mk II died on the second day in the Antarctic trip. Read here: http://luminous-landscape.com/forum/index....31747&st=20

Here:

http://photo.net/canon-eos-digital-camera-forum/00RuaW

someone reports having left his 5D in the car overnight in sub-freezing temperatures - doesn't work the next morning. What's up with that?!

Where I live, the mean temperature outdoors is below freezing for five months every year! Do you think I would get a Canon prosumer camera after these reports? I have never, ever had a Nikon DSLR fail due to cold weather. I have had film SLRs run out of batteries in the cold but they worked fine after replacement with new ones. Total camera failure? Unbelievable. I sometimes need to shoot close to -30 C.

In this report,

http://photo.net/wedding-photography-forum/00NxQL

a mirror falls of the 5D in normal use. I have read several such reports of this particular camera model, never others.

Viewfinder quality: I can't see more than 75% of the viewfinder image in the case of the 5D without taking off my glasses. I think the Canon 50D/5D Mk II viewfinders aren't comparable with the Sony or Nikon prosumer viewfinders.  To me, shooting 25% blind isn't an option.  

These factors seriously affect my perception of the value of e.g. the Canon 5D (Mk II).

I would appreciate if people would take home one message: value is completely dependent on the intended uses and preferences of the user. Categorical statements like "Canon offers more value, period" should not be made since they don't have general validity. If I can't see through the viewfinder properly, or if the camera can only be used in the summer and mirrors fall off it, it just isn't the camera for me no matter how much less expensive their supertelephotos are.

Before anyone notes, I am perfectly aware that people successfully use Canon 1 series camera bodies throughout the winter in extreme conditions. That's not my point - then, for full-frame we get back to the 6-8k price category so much criticized for the value aspect.
« Last Edit: February 04, 2009, 05:57:50 pm by inissila »
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Plekto

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Quality vs Value
« Reply #156 on: February 04, 2009, 08:31:28 pm »

Quote from: Slough
Now when it comes to Sony, it is a new system, and it is not yet as strong as Canon and Nikon. It looks like it will be one of the big names on a par with Canon and Nikon, in a year or two. For many it is already on a par, if not ahead. For others it is not yet there.

No, Sony/Minolta is a very OLD system.  The problem was that without a full-frame sensor to negate the conversion factor, nobody was buying into it.  Now that they have a full frame body to go with the last decade or two of Minolta lenses, it is suddenly a proper player again.   I like to think of it as Sony took over and blew it and the market went into a few year long coma.  But it's awake again and continuing where it left off.

Was Minolta viable 4-5 years ago?  Sure, though it wasn't really entering the pro DSLR market yet.  Now it's taking off again from where it left off, with a proper DSLR.  Will it be enough to save it, considering that it's late to the game?  I don't know.  But a lot of people seem to think so.  (I see the previous Sony DSLRs as half-baked mistakes.  Kind of like Beta versions)
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ErikKaffehr

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Quality vs Value
« Reply #157 on: February 04, 2009, 08:44:45 pm »

Hi,

Thanks for comment! Your evaluation of the ZA is 24-70/2.8 is essentially like mine. With the addition that it is better at real life shots than tests.

Best regards
Erik


Quote from: douglasf13
I wasn't meaning to imply that the ZA's were much better or worse than the Nikkors.  I was simply saying comparable at a lower system cost, due to the D3x body price, because value was mentioned.  I will say that the ZA 24-70 at around f4 or so and at the ~30-55mm focal length is very good and prime worthy. 70mm seems to be the lens at it's worst, albeit still very good for a zoom.
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Erik Kaffehr
 

douglasf13

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« Reply #158 on: February 04, 2009, 08:56:42 pm »

Yeah, although the Zeiss lenses test well usually, there is something to be said about their rendering and microcontrast, which I've yet to see from other makes.

Plekto, great post, although I'd argue that the A700 was the first great camera Sony produced, and, although the A100 was a warmed over Minolta, I could also argue that it has wonderful IQ at low ISO...possibly better than the current CMOS offerings from all the makes, but it's hard to quantify it.
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Plekto

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« Reply #159 on: February 04, 2009, 10:37:09 pm »

True, but without proper lens support/Sony sticking to the old Maxxum type lens geometry, it was hampered greatly.  Canon, for instance, has tons of converted ratio lenses out now for the new bodies.  But still selling the same 28mm 2.8 on a 1.5x conversion factor a700...  yeah, that was a deal killer for a lot of people.  Either they didn't want to buy in or they had old lenses which worked less than optimally and were forced to wait for a full-frame Sony to come out.

Of course, the problem is that a LOT of these people finally gave up and moved from film a year or two ago.  Sony/Minolta got its game back on again, but it's way late in the game.   Of course, for a new buyer, that means tons of perfectly good used Maxxum lenses are floating around...

EDIT: One thing Sony needs to do, IMO, is to take the same full frame body and put cheaper sensors in it.  that way they can have a couple of entry-level $1000-$1500 12 or 16MP full frame cameras and start a proper series.  Because not everyone really needs 24.6MP.
« Last Edit: February 04, 2009, 10:43:41 pm by Plekto »
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