Son,
I'd love to hear your thoughts on the matter as in your FM thread on 'final thoughts on exotic lens tests' you speak highly of it.
http://www.fredmiranda.com/forum/topic2/237992/0#1966417
I am in 'need' (justification) of a lens in roughly the 300mm range, ideally 2.8 (for indoor as well as outdoor work) that won't break the budget and performs well with a 1.4x - and wide open. There, not asking too much ;> Camera is a 1DS2.
A used EF 300/2.8 is an obvious choice, but I am so used to the accurate color rendition of Zeiss and Leica glass, going back to EF would be tough. There is so little relative PP required using non-EF glass.
On the lower end, I shot soccer last season with a 300/4 EF (Non-IS) and it was dissapointing. Larger detail such as jersey numbers, etc were crisply rendered but fine detail such as on the faces of the players were 'fuzzy' for lack of a better description.
Looking on the screen at say 30% shots would look great, zoom into 50% or greater to better reflect the rendition on an actual print and you started to swear when you looked at the players face.
The lens performs better stopped down, but at F7.1-F8 on anything less than a brilliant day, forget about stopping any action.
On top of that, every shoot's raw conversions required having to deal with WAY over-the-top reds and lemonized greens.
I finally took the time and did the comparisons among all of the long tele-photo lens and here are the latest lists and results:
A. 180-200 mm Focal Lengths:
1. Canon 1.8/200L EF Mount (n = 14)
The sharpest lens at infinity and close up. However, it's closest focus distance is 2.5 m (8.2 feet). Thus, sometimes it is limited in style of shooting and is the only negative comments. However, if this lens is used the way it was intended which is sport there is no limitation in its optical designs. There is slight variance among the lens but a great percentage from the total of 14 lens were extremely sharp with 3D characteristic.
2. Leica Apo-Summicron-R 2.0/180 ROM (n=6) and Non ROM (n=4)
This lens along with the Leica Apo-Elmarit-R 2.8/180 ROM (n=2) came in second but not too far from the Canon EF 1.8/200L in resolution. At infinity the Leica lens is extremely close to the Canon but at close up (8.2 feet) the gap of resolution was opened up more skewed toward the Canon; visual the differences were significant but quantitatively were undetermined. Since I shoot portrait much more than sport, I ended up keeping the Leica Apo-Summicron-R 2.8/180 ROM. I also tested the old Leica Apo 3.4/180 (n=2) versus teh 2.8/180 ROM and at infinity they were identical and at close up the 2.8/180 ROM only slightly sharper but not significant enough to justify the price differences. There are two versions of the Leica Apo-Elmarit-R 2.8/180 and I used the latest versions where the Apo Tele-Converter was compatible. I did not have the opportunity to compare these two different versions of the Leica Apo-Elmarit-R 2.8/180.
3. Contax Apo-Sonnar T* 2.0/200 C/Y mount (n=2)
This lens came in third in term of resolution at wide open f stops despite it was the lens that stimulate my interest in testing out all these lens. The strength of this lens is at F5.6 as mentioned before and the symmetry of bokeh; it produces a perfect rounded bokeh of any lens. This is typical of high end Carl Zeiss lens.
4. Olympus Apo 2.0/180 (n=2)
This lens is among the top notch olympus lens with rare earth elements. The lens is a beauty it is own and the scattered literature rumored that it was this lens that Leica mimic the Leica Apo-Summicron-R 2.0/180 after. The lens is sharp and with nice IQ but at wide opened the CA is not as well corrected as the lens listed ahead of this lens. It was due to this lack of correction lead the weakness to this lens among its peers.
B. 280-300 mm Focal Length:
1. Canon EF 2.8/300L (n=1)
Simply among the sharpest lens and followed its predecessor, the EF 1.8/200L. Together, the Canon EF 1.8/200L, 2.8/300L and 2.8/400L (n=2) clearly demonstrated the strength of R&D (over $600,000,000.00) where Canon once upon a time true niche; sports photography. Since digital age 35 mm format especially with full frame sensors are used more frequently for landscape and architecture photography and thus explained the history of Canon optics and its lack of wide angle optical performance.
2. Leica Apo-Telyt-R 4.0/280 ROM (n=2)
This lens is extremely sharp and it was difficult to tell the difference when compared with the Canon 2.8/300L. However, when compared to the Canon 4.0/300L (n=1) there was no comparison in resolution and especially in colors. The Canon 4.0/300L has very dull colors and on the Canon digital sensor it was very displeasing after you have seen among the very best optics in this focal length.
3. Contax Apo-Tessar 2.8/300 C/Y mount
The image quality of this lens was pleasing but on the resolution scale against the lens listed above it was simply a class lower both at infinity and close up. Again, the bokeh was very pleasing with perfect circular bokeh.
4. Leica Apo-Elmarit-R 2.8/300 (n=2)
The resolution of this lens is a class below those tele-photo lens listed above in term of resolution at close up. But at infinity it is sharp as I mentioned before. However, I do not find using the telephoto lens at infinity often enough. I am not sure the exact manufactory number for the pistol grip but the lens normally comes with the grip. Check with Leica USA for the manufactory number.
5. Canon 4.0/300L
Forget resolution, the color was simply too flat.
Now if budget is limited and if one is willing to switch system and sacrifice certain feature of the Canon system for pure image quality at a great value, the Sony Alpha upcoming full frame 25 megapixels is an interesting one. Instead of putting a limited fund toward the Canon 4/300L, the alternative would be getting the Minolta 2.8/300 AF and currently is not too far from the Canon 4/300L in term of price. But of course few would make this transition. However, the way I see it, for color and resolution, the Sony Alpha and Minolta 2.8/300 AF is the best value. Now if one shoot sports at night and ISO speed is required this combination remains to be determined but the F2.8 make up somewhat for the ISO. Recently, the Sony Alpha showed very good color rendition in harsh light condition. The Sigma SD14 is at its best in daylight and studio strobes.
Since speed is not essential for my work I have chosen the path of medium format tele-photo lens for the medium format systems and adapting them to my 35 mm format cameras. The lifetime of the 35 mm DSLR is much shorter than the medium format sensors and having a medium format lens I can switch DSLR more easily without the need of acquiring new lens. Currently I am using the Mamiya Apo-Tele-Photo lens 2.8/300 for all system. The Hasselblad Superachromat 2.8/300 Power Pack is another alternative tele lens that can adapted to many systems including medium and 35 mm formats. I do not recommend adapting tele-photo lens with F stops 5.6 and greater to the 35 mm format system since the lack of light will make it extremely difficult for accurate manual focus.
-Son