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le0918兄：數位機身當然是17-55速配!
28-70可以讓給還有在用F100小弟啦~^^ |
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17-55和28-70哪個好?
我想焦段上就已不同了.
依自己使用習慣來選擇最好. |
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這兩張是N124的原圖縮圖,單單以抗耀光來說是我用過覺得最好的鏡頭了. 夜景燈泡  和太陽對幹  |
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~~但它也有些地方不普通：SWM作動的速度和品質（流暢/神不知鬼不覺）已達Canon的水平~~~~~~~
看來大哥你沒用過 Canon 的鏡頭，小弟從 N 轉到 C ，回頭再用 17-55 ---> 感覺像烏龜!!!1 |
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久聞CANON對焦又快又狠,不過好像不太準?XD 之前和兩位朋友一起參加外拍還有遇過350D和20D在昏暗場所對焦都比我當時手上的D50+17-35差(對不到或是失焦). 不過也許那兩位朋友都是個案吧? 畢竟我自己沒用過CANON所以我也不知道. hsu4886修改於2006年10月01日22:55 |
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拍人像AF-S 28-70!
多用途, AF-S DX 17-55! |
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>>看來大哥你沒用過 Canon 的鏡頭，小弟從 N 轉到 C ，回頭再用 17-55 ---> 感覺像烏龜!!!1
你Canon用什麼机身? Nikon又用那個機身來比?
我是憑D2X+17-55 vs EOS1D MII + 24-70 講的. |
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>>看來大哥你沒用過 Canon 的鏡頭，小弟從 N 轉到 C ，回頭再用 17-55 ---> 感覺像烏龜!!!1
mdhsung兄,自从Nikon 1996年发展SWM之后,再加上F5的神经质粗暴对焦速度,已经与Canon USM平起平坐,甚至某些镜头对焦速度还比Canon快!! 但是Continue servo方面,Nikon还是不如Canon.....又但是Nikon D2 series的 37ms shutter time lag与半按快门敏捷动作反应,目前Canon还是无法超越!!!
YAP
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补充一下....EOS 1vHS+ EF 70-200 IS L在光线不足情况之下会拉风琴,F5+AFS 80-200可以成功对焦,而且对焦速度只比光线充足下慢一点,不呆!!!!
YAP |
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有哪位大大有這兩支鏡頭?可以簡單的描述一下對兩支鏡頭的看法? |
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哪兩支呢?
70-200L? |
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再來一張18mm的  |
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那麼請問，如果已經有了17-55mm之後，第二支鏡頭推薦哪一支呢？謝謝！ |
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有了AF-S DX 17-55mm F2.8G, 推薦再購入AF-S VR 70-200mm F2.8G! |
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12-24 85/1.4 70-200VR依用途擇一都不錯^^ |
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嗯嗯～謝謝推薦，心裡有譜了！ |
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投一票! |
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hsu4886 大大拍的真好!
最近也想入手17-55，希望能拍出好照片! |
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這是小弟準備個人網頁所寫的，希望大家不要嫌棄是英文的。 I would not go for DSLR with APS-C sized sensor (DX format) if there is no such lens ever exist! Background Once upon a time, I was a die-hard for full frame (24 x 36 mm) DSLR. It is mainly due to the focal lengths (or more accurately the angle of view) that offered with my lenses that I used to. With the film SLR, there are mainly 3 lenses serve me: 18-35 mm (wide angle zoom), 28-70 mm (standard zoom) and the 70-200 mm (tele-photo zoom). Among these lenses, almost 65% of my photos were captured within the range of 28-70 mm, while 25% of photos were within 70-200 mm and only 10% of photos were with 18-35 mm. So you can see how often the standard zoom lens I used and how important it is to me. If I switched to DX format DSLR before the introduction of the AF-S DX Zoom Nikkor 17-55 mm f:2.8G IF-ED, there were 2 major problems came out to me: 1. the lost of wide angle shooting capability (so as to many photographers), and: 2. no suitable standard zoom replacement available to me. The problem 1 didn't truly affect me because I only shoot only a few photos among this range. But the problem 2 is really a big problem to me. As I mentioned, the view angle of 135-format equivalent 28-70 mm is so important to me. Nonetheless, I use both ends very often too! If I use 17/18/19/20-35/40 mm as the replacement, what about the range of 50-70mm (135 equiv.)? If I use 24-70/80/85 mm as the replacement, what about the range of 28-36mm (135 equiv.)? No appropriate resolution, until... Yes! Nikon gives me the best solution eventually: the introduction of the AF-S DX Zoom Nikkor 17-55 mm f:2.8G IF-ED. It is the only true standard zoom for the DX format DSLR in that time and it is the lens that made me go ahead for the D2H! Reviews: Unlike other reviews, I will go to the worst thing about my gears in my reviews first, as I'm a very critized and a negatively-thought person, hum... hum... hum... Flare and "ghost” control One thing that I appreciate of Nikon is usually the flare and "ghost" control of Nikkors surpass its counterparts. The performance of the DX 17-55 mm, however, is controversial in this aspect. It could just fairy suppress flare (with some reduction of image contrast) and a number of "ghost" colour spots is visible if strong light emitted into the lens. Luckily, it won't turn the whole frame into a dead-white but that's it. Look at the optical structure, there are more than 60% of its design similar to the AF-S Zoom Nikkor 28-70 mm f:2.8D IF-ED, which is a sure winner in flare issue among its class. AF-S Zoom Nikkor 17-35 mm f:2.8D IF-ED is also a leading lens of flare control in this range. But it is another story of the DX 17-55 mm. If you evaluate its flare performance issue with a standard of ordinary zoom, it's okay. But as a top-of-the-line Nikkor, it fails, according to my standard. Chromic Aberration It is a DX lens, right? DX lens is specially designed to suit the demand of the image sensor, right? But why purple fringe shows up with this lens? It is not only appears at the wide-end but also the whole focal range and all aperture setting as well! With my 4.1 Mega pixels D2H, the purple fringe can occupy, in average, 2-3 pixels in width. What about those ED glasses? Where they gone? Okay, I admitted that the purple fringe matter can be corrected during post-processing. But don't you agree that it is ridiculous if we have to put in effort to correct this matter generated by a so-called "DX" lens? Bus Fan修改於2006年10月25日16:49 |
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Distortion There are 2 types of distortions: spherical distortion (don't mix-up with "spherical aberration"), and perspective distortion. Put it simple. For spherical distortions, there is obvious barrel distortion at wide-end, and slightly detectable but neglectable pin-cushion distortion at tele-end. No distortion at 35 mm setting. Usually, Nikon does not put particular effort on distortion control with their zoom Nikkors. So personally I don't expect it too much. If spherical distortions really bother you, go ahead with Sigma EX series! For perspective distortion, I just want to say it is not a fraud at all. Don't forget the actual focal length of this lens is 17-55 mm! The actual perspective won't change with the 1.5x crop factor - only the view angle will. So I have no comment on this issue. "G" lens No aperture ring with this lens. Traditionally the aperture ring is a symbol of Nikkor. Omitting the aperture ring on a DX lens won't cause any problem (there is no manual DSLR) but a just a matter of "crisis of identity" of whether it is a Nikkor or not. From now on, the review will start to mention the positive side of this lens. Out-of-focus Blur (Bokeh) I'm not very often shooting portrait. So I don't have any lens specialized for portrait shot. If I need to shoot such subject, it is definitely the job of this all-around lens should do. Ordinary Nikkor is sharp, not only sharp for subjects that is in-focus, but also "sharp" for those background as well! With the exception of several portrait specialized lens (such as 85 mm f:1.4, DC 105 mm f:2.0 and DC 135 mm f:2.0), Nikkor always express the out-of-focus background in a very "hard" way. According to such philosophy, I don't expect I could get beautiful, or even natural bokeh out of this lens at first. But the result turns out that it is okay. Not particularly good but acceptable (I'll call it "natural" at least). If AF Nikkor 85 mm f:1.4D score 100 in such issue, then the DX 17-55 mm would score 70 in my opinion. Its 9 bladed-round diaphragms really does its job well. Build Quality Good! Solid and robust! The lens barrel is made of metal. Although the front lens elements will extent when zoom towards both ends, the huge flower-pedal shaped lens hood can cover and provide adequate protection to those extensions. Environmental seals are useful and effective. Only very minimal dust particles get inside the lens after a year of use compared with my other zoom lenses. Both the focus and zoom rings are smooth and good damping. However, I do agree with many other people's opinion that the zoom ring is get too close towards the camera body when mounted. Personally I can't say the surface finishing is bad but I do miss those textures of AF-S Zoom Nikkor 28-70mm f:2.8D IF-ED. Focus Performance With the Silence Wave Motor, or AF-S, this lens focus fast and quiet. No focus shift ever experienced. Full time manual focus add features to lens. Afterwards, I have no complaint at all. Light Fall-off At wide-end, there are about no more than 1/2 EV light fall-off at wide-open setting. Much improved at f:4 and equipment-detectable-only but visually unnoticeable after f:5.6. There is no visible light fall-off with medium to tele focal length at any aperture setting. Bus Fan修改於2006年10月25日16:37 |
