The goshawk's diary is nearing the end in the second half, so I will talk about old tales here.
When I tried to write the continuation of the blog "In Search of the Starry Sky ..." that I uploaded a long time ago, it turned out to be a lens review.
Introducing the new Tamron 15-30mm f / 2.8 DI VC USD G2 lens at the time.
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Before my memory fades and disappears
Continuation of the previous star viewing.
An article that I started writing in November of the year before last.
It's a long time ago.
I introduced in my blog before that all the old men, including some young people, went to see the stars in the dark sky of Gunma prefecture.
It is also a forced march in heavy rain.
On the day of the event, the clouds did not clear at all as it rained and stopped until after midnight, but I wondered if the old men's "Halelow!" Clouds began to break around 2:30 in the middle of the night, and the starry sky began to appear. After that, the clouds disappeared completely and the sky became clear, and the starry sky spread out in the night sky.
Below is a time-lapse movie of the starry sky taken at that time (3: 19-3: 46).
During this time, all the old men crazy about the shutter of the camera with the lens pointing toward the starry sky until the sky became bright.
Shooting with Tamron's new lens, 15mm on the widest angle side, and f / 2.8 aperture.
Mt. Asama, which caused a large eruption in 1783, can be seen in the lower right of the Winter Triangle.
I've been writing an article for a long time.
From here on, I decided to write about the usability of Tamron's new lenses.
I hope that only those who like cameras can read it. If you are not, please proceed to the next article.
It will be a dry evaluation of the caretaker's own judgment and prejudice.
An ultra-wide-angle lens that was just released from Tamron at that time, 15-30mm f / 2.8 DI VC USD G2. This focal length lens is Tamron's second generation lens. The Nikon lens was released in September 2018, a lens that was just released two months ago.
I used to use the first lens for a while. It was a lens that formed a sharp and beautiful image, but with autofocus, it became a front focus or a rear focus, so it was hard to decide on a gachi pin, and it is better to turn off the image stabilization for less blurring and sharp image quality. I was skeptical about the effect of image stabilization that it could be obtained. So I didn't have a very good impression of the previous model. Perhaps the lens I lent at that time was simply a detached lens.
I realized that this second-generation lens has evolved so much that it cannot be compared with the first-generation lens by using it.
At first, I heard that the coating was changed and the optical system was the same as the first generation, so the market price of the first generation lens had dropped considerably, so I thought that the first generation model would be fine, but when I actually used it, that The impression changed a lot.
First of all, the accuracy of autofocus, wide-angle lens that I am not good at with a single eye, autofocus at super wide-angle lens, there is no sound and it is decided at high speed. It has a higher probability of focusing than the genuine Nikon 24-70mm that I usually use, and it covers the entire area of 15-30mm. The Nikon 24-70mm I'm using is a type without image stabilization a generation ago, even though I just had it inspected and adjusted at the Nikon Service Center in Shinjuku. When Nikon released the new 24-70mm, it claimed that the focus accuracy had improved, but turning it over, it means that the previous generation model admitted that the focus accuracy was poor. Is that so.
In addition, the image stabilization is also decided! Even with a high probability, even 1/4 second, which is impossible to hold on hand, will be decided.
I thought, "Wide-angle lens, you don't need image stabilization!", But the story is different when you can hold it with a slow shutter so far.
As for the texture, the cheapness of the first generation has disappeared at all. The metal surface was covered with high-grade paint, which fully created the aura of a high-end lens. However, this high-class paint had some drawbacks, which will be described later.
The focal length scale of the zoom is not dug, it is just printed on the surface. With this, if you use it hard, it will be rubbed off within a few years. If you don't use it up and want to sell it as soon as you get tired of it, you may want to cover it with permacel tape and put a memory on it.
If you want to sell the lens to a second-hand shop, you have to be careful because if you peel off the tape and the print is also peeled off when you peel off the sticky lens, you will end up falling over. However, I wonder if there is no problem with the amount that ordinary people use normally. The caretaker inevitably uses it hard in the savanna or jungle as a guide. The image of the vibration of the car and the constant kneading in the bag carried on the back every day in the camera bag. This is the paint that can be peeled off.
However, the manual lens of several decades ago is used under such circumstances, and even if it is used for several decades, it does not frighten, and the distance scale as well as the serial number are dug down. Most modern models have serial numbers printed on them, but some models just have a sticker on them. Also, the durability of the rubber part of the focus ring of old lenses is remarkable, while recent lenses become fluffy in a few years and need to be replaced, decades later. It's just a little hard and it's okay. Did you use something bad that you can't use now?
I am very grateful that this 15-30mm lens and the distance scale are not omitted. I like the current lens, whether it's for cost reduction or design, because there are quite a few models that omit the distance scale and rotate the focus ring infinitely.
The advantage is that the ultra-wide-angle lens has a wide range of focus, so it is often much safer to shoot with pan focus without using autofocus, and there are fewer mistakes. Even under such circumstances, you can shoot with pan focus with confidence.
In addition, there is a distance scale, so when shooting with a tripod fixed, you can immediately grasp the current focus status of the lens just by looking at the scale from above, so the sense of security when shooting is completely different. This scale is quite useful even in starry sky photography.
In addition, the distance scale is covered with a transparent cover, so you can rest assured that it will not wear out and disappear.
However, there is a drawback of the method of covering with this transparent cover. Since there is a slight distance between the mark on the outside and the distance scale, the value changes slightly depending on the viewing angle and cannot be used for strict distance setting. There are quite a few memories that just have stickers attached.
Nikon's manual lens 50mm f / 1.2, which I still love, has a finely digged distance scale, which is very useful when shooting. Anyway, the image is different from the current lens, and it is one of my favorite lenses that spits out a heavy and astringent picture.
The story is off, but if you change the zoom lens and focal length, you will have to readjust the focus, so you don't need that rigor at all.
Now that everything is automated and even video is autofocusing faster and more accurate than the manual, only a handful of people care about it. Therefore, such human beings will be treated as strangers and will be excluded. It's a common way to promote sales.
Well, after a few years, I sometimes use it as a selling phrase when it has a distance scale. The aperture ring is one example.
Despite the ultra-wide angle of 15mm on the wide-angle side, the focal length range is 30mm at the telephoto end, which is a 2x zoom ratio. If it becomes 30mm, it can be used as a standard lens, and you can shoot pretty much anything with just this one. Twice the wide-angle side is completely different from twice the telephoto side, and the visual change feels very large.
By using it this time, I was able to fully feel its charm.
It's been a long story, but for the time being, let's look at the live-action performance.
One of the 26 tunnels on the former Shin-Etsu Main Line
Let's look at the occurrence of ghosts with the sun in sight.
It's a terrible bad condition of brightness difference, a condition that teases the lens.
When I took this picture, the beautiful reflection of the lens group formed an image.
The colors of the ghosts are all green.
It would be more beautiful if it was divided into red, blue, and yellow. ??
In the above example, the aperture uses f / 5.
It is a ghost that seems to appear in the lens effect preset of the video editing application such as how this ghost appears and after effects.
It's a typical excellent ghost. (smile)
This lens focuses beautifully from the open to the peripheral edge, but when a high-brightness subject such as the sun comes into view, the screen is ghostly and festive. However, it doesn't seem to stand out unless the back is in such a terrible bad condition that it turns black like this. Looking at the photo above, under this circumstance, the high-intensity overexposure around the sun, which gives a good tone to the inside of the tunnel, is not so large, there is little flare, and the omission and contrast are moderate. It can be seen that it is an excellent lens.
However, if ghosts appear so far, it may be a little unsuitable for shooting with the sun in.
Place the sun just outside the screen and shoot the same tunnel at 15mm
This time I took a picture with the sun outside the screen.
15mm, same as the previous photo, the aperture was f / 5. But after all ghosts come out. I wonder if it is not very suitable for backlit conditions where the difference in brightness is large. This photo also uses f / 5 for the aperture. A ghost flower field appeared at the bottom right of the screen on the diagonal line where the sun was. The lens hood is a built-in type. The sun's rays may be shining on the lens that protrudes forward. It's a super wide-angle lens to cut off, so it's very difficult to hold it because it's easily exposed.
If you squeeze more, the shape of the ghost will be squeezed smaller.
If this lens is in front light, it will look very good, and since there is no need to compare the shots, there are only examples of back light that clearly shows the roughness and taste of the lens.
When the conditions changed and the brightness difference became smaller, the ghost became almost inconspicuous. 20mm f / 8
In the photo above, the focal length is 20 mm, and when the brightness difference is small, the occurrence of ghosts becomes almost inconspicuous. The leaves of the autumn leaves are shining in the sunlight, so they are brighter than the ghosts that are occurring, and the ghosts are no longer visible.
The same principle that ghosts are often seen in the dark and rarely seen in the daytime. The name is also a ghost, a ghost, and it means that you can't see it in the daytime.
Perhaps because of the slight distortion of the circular diaphragm inside the lens, a wide beam of light like the Japanese flag spread around the sun.
Finally, check the bokeh.
I photographed the fallen leaves of maple with a focal length of 15 mm and an aperture of f / 6.3. The focus is on the maple in the foreground.
Please see the part where the focus gradually defocuses from the part that is in focus.
As you go to the back, it gradually blurs and the trees in the forest are at the back.
Out of focus At first, it feels natural, but the surrounding area is greatly out of focus. You can see that the blur is elongated in a radial pattern.
It's been long for the time being, so I'll summarize it here.
Impressions of using this lens this time,
The shadow tone is not crushed and it gives a subtle tone. The contrast is not moderately crisp, and the lens is sharp and not very sharp. It's long.
It has a super wide angle and is bright at f2.8, so it can be used sufficiently from the open, so it is a strong weapon in Hoshino photography and starscape photography.
You need to be careful when shooting against the sun.
The autofocus is also very good, and even if you leave it to the autofocus, there is almost no failure in focusing.
The image stabilization is also very good, making it possible to shoot with a slow shutter, which was not possible with handheld until now.
Overall, it is a good lens that anyone can easily take sharp pictures in focus.
The most important point to improve this lens is to give the lens a grip.
The high-grade paint on the surface is slippery and slippery, and there are almost no protrusions in the design, so the lens itself is almost elusive. In addition to that, along with the rubber knurled zoom ring and focus ring, there are only vertical lines to prevent slipping, and if you hold the lens vertically, it will slip off.
It may be nice to look at it in terms of design, but when you change lenses, there is always a sense of fear that you might drop it.
By using this smooth lens, I could understand the reason why Nikon and Canon lenses, especially high-end lenses, are satin finished.
A single-lens lens is called an interchangeable lens and can be replaced, and the ease of replacement is one of its performance.
The other is two switches, image stabilization and autofocus.
When I take out the lens from the camera bag, it often gets caught and the switch switches to an unexpected setting.
Even if you are using it, it will easily switch to something.
The shape of each switch is the same, so if you are told to get used to it, it will be until then, but I would be grateful if you could find out which switch is which.
Improvements in shape and hardness are desired for switches that switch easily.
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I wrote a lot of things without permission due to my own judgment and prejudice, but please forgive me for the blog name "Freedom".
In the future, I'm thinking of taking up other lenses like this.
I will post the story of the tunnel tour on the next blog, so thank you.
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Former Shin-Etsu Main Line, discontinued line walk, followed a steep slope of 66.7 ‰
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