by Mike McNamee Published 01/08/2013
Note how the ferry boat is 'moved astern' by the use of distortion correction in ACR at 14mm focal length.
This lens was the 24-70mm f2.8.
Next came the un-missible bargain, a mint 70-200 f2.8 came available. This was a focal length previously owned but not in recent times after the first lens simply packed up - it owed nothing to the cause though! Next came the end-of-tax-year purchase of the 14-24mm f2.8. This was to replace an older 12-24mm DX lens which had always been an OK performer but was a pain mounted on the full-frame D700. The 14-24 thus fulfilled the same role but came with an outstanding reputation.
Any residual chromatic aberration is easily dealt with also. This time 24mm on the 24-70mm lens.
So now we have our perfect storm - 14mm to 200mm without a break and all at f2.8. This last number is important, f2.8 comes with considerable baggage in terms of both weight and cost. The up side is the brighter viewing, additional low light capabilities and shallow depth of field when required.
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