On Tuesday, October 30, 2001, at 07:19  PM, tom wrote:

> David Hatfield wrote:
>>
>> I still say, though, that what you're doing with five lenses I can do 
>> with
>> two.  Since I don't own any of the lenses you mention I can't speak 
>> from
>> first hand experience, but I still contend that with proper 
>> photographic
>> technique in place we can take comparable shots, enlarge to 11x14 or 
>> 16x20
>> and there won't be any discernible difference in quality, contrast or
>> sharpness even to the most critical eye from a normal viewing distance.
>
> Have you ever actually done this?

When I was at Sterling, we ran a 200mm shootout.  The contestants were 
mostly in Pentax mount, since the person who wanted to know which lens 
was best at 200mm was looking for a tele for their MZ-10.

The lenses were:

Sigma 70-210 AF (the cheap one)
Pentax 80-200 AF (not the 2.8...forget what the aperture is)
Pentax 80-320 AF
Sigma 70-300 AF (the Super one, as I recall)
Pentax A* 200mm f2.8 (mine)
Tokina 80-200(ish) f2.8 (the boss')

Those last two were in there for a bit of friendly rivalry.

So, the camera (an MZ-5, I believe, except for the Tokina, which was in 
Nikon mount on an F90) was on a tripod, shutter tripped via self timer 
to avoid shake.  We shot each lens wide open, f8 and f22.  The resulting 
images were printed 4x6, marked on the back as to which lens they were 
from, separated into aperture groupings (i.e. all the wide opens 
together) and then those piles were shuffled.  Then we asked customers 
all week long which looked to be the sharpest pictures.

Well, the Tokina and the A* were hard to tell apart, but were the clear 
winners.  The Sigmas were in the middle of the pack, with the Pentax 
80-200 above them and the 80-320 below.  None stank at 4x6, though the 
Sigma 70-210 showed a decided lack of contrast.  But the only zoom that 
wasn't easily identifiable as definitely less sharp on a 4x6 print than 
the A* prime was the expensive Tokina.

-Aaron
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