well then i might as well stick to kit lens. 18 - 135 with f3.5 - 5.6. thats why i wanna get a lower f stop
Last edited by infiniteever; 7th December 2008 at 04:40 PM.
aye. should i just cancel out the FF advantage? >.<
than you are open to options from
10-20mm f/4-5.6 EX DC HSM
12-24mm f/4.5-5.6 EX DG Aspherical HSM
10-24mm f/3.5-4.5 Di II LD SP (most zoom range)
11-18mm f/4.5-5.6 Di II LD
12-24mm f/4 AT-X 124 AF PRO DX
each with a set of pros&cons. for my Canon i went for the Tokina 12-24mm to go with my 28-135mm IS since my film days. bought before the 10-24mm was announced.
haha. then i'll just stick with the tamron 17 - 50 f2.8 then. since thats the largest aperture and most zoom so far.
good to know u have made up ur mind on the lense of ur choice.
Any camera + Lens combination can always produce sharp pictures in normal daylight.
But there will be many times when you need to shoot in low light conditions (and do not have a tripod) and therefore need a large aperature, eg dawn/dusk, museums (where no flash is allowed) -> can't use flash on glass exhibits, concerts (low light). That is the time when most people regret not getting a pro lens at aperature 2.8 or better.
As one other lens reviewer on Amazon once remarked, moving from the standard 3.5 to the pro range of 2.8 made a difference between night and day.
Camera bodies depreciate very quickly, so you will never regret making a wise investment in good lenses.
| Nikon D700; AF-S 14-24 f/2.8GED; AF 20 f/2.8D; AF 50 f/1.4D; SB400| Tamron AF 28-75 f/2.8 A09NII|