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test / review of four thirds lenses presented in issue 05-2007 of German ColorFoto magazine.

德國 Color Foto雜誌2007 5月號的測試
Digital test to the Olympus E-400

用E-400測試19只 Olympus及Sigma的4/3鏡頭,雖可付費下載但想到徳文還是看網路上的討論省些錢
Colot Foto 相關link (用altavista線上翻譯)

http://world.altavista.com/babelfish/trurl_pagecontent?lp=de_en&trurl=http%3a%2f%2fwww.colorfoto.de%2fobjektive%2ftestberichte%2fdigitaltest_an_der_olympus_e_400.150737.htm

L-camera 討論
http://www.l-camera-forum.com/leica-forum/digital-forum/22040-four-thirds-lens-review-german-colorfoto.html

Olympus Zuiko Digital 2/150
92 – recommended

Olympus Zuiko Digital 4/7-14
87 – recommended

Olympus Zuiko Digital 2/35-100
87 – recommended

Sigma EX 2.8/105
87 – recommended

Olympus Zuiko Digital 3.5/35 Macro
86.5 of 150 points – recommended

Olympus Zuiko Digital 2.8/300
86 – recommended

Olympus Zuiko Digital 2/50 Macro
85.5 – recommended

Olympus Zuiko Digital 3.5-5.6/14-42
85.5 – recommended

Sigma EX 2.8/18-50 Macro
85.5 – recommended

Olympus Zuiko Digital 2.8/90-250
83 – recommended

Sigma EX 2.8/150 Macro
82.5 – recommended

 

Color Foto 雜誌測試 40 只 望遠鏡頭 (2007 9月號)                                          
Color Foto 2007年9月號測試40只望遠鏡頭,DSLR用Canon 20D, Nikon D200, Olympus E-400, Pentax 10D 及Sony A100                          
40 telephotos in the test (用altavista線上翻譯)                                                                          http://world.altavista.com/babelfish/trurl_pagecontent?lp=de_en&trurl=http%3a%2f%2fwww.colorfoto.de%2fobjektive%2ftestberichte%2f40_teleobjektive_im_test.153336.htm                                                                                                                                                                                     
dpreview相關討論                                                                                
http://forums.dpreview.com/forums/read.asp?forum=1022&message=24681211                   
http://forums.dpreview.com/forums/read.asp?forum=1022&message=24681921   

定焦鏡最佳5只鏡頭:                                                                           
92 pts Olympus ZD 2/150 ED 2,350 €                                                             
86 pts Olympus ZD 2.8/300 ED 6,900 €                                                          
80 pts Zeiss SAL Sonnar 1.8/135 ZA 1,400 €                                             
80 pts AF-S Nikkor 2/200 VR G IF-ED 4,000 €                                           
79.5 pts Sony SAL 2.8/100 Macro 840 €  

                                                       
變焦鏡最佳5只鏡頭:                                                                          
83 pts Olympus ZD 2.8/90-250 ED 5.600 €                                                   
83 pts Olympus ZD 2.8-3.5/50-200 ED 970 €                                               
76.5 pts Sigma EX 4/100-300 DG APO HSM IF (Nikon Mount) 1,180 €                               
76.5 pts Nikkor AF-S 2.8/70-200 VR G IF-ED 1,850 €                                                           
75.0 pts Nikkor AF-S 4,5-5,6/70-300 VR G IF-ED 520 € 

Here’s a quick synopsis of a rather thorough and comprehensive test / review of four thirds lenses presented in issue 05-2007 of German ColorFoto magazine.

Sigma EX 1.4/30
69.5 of 150 points
"The Sigma lens is intended as a normal lens for APS sized sensors, and has shown to work quite well in that realm. For the smaller 4/3 sensor, results are less encouraging. Contrast wide open is moderate at best, with a notable decrease towards the corners. Stopping down improves the overall impression notably, and still makes a rather fast lens at 2.8".

Olympus Zuiko Digital 3.5/35 Macro
86.5 of 150 points – recommended
"This macro lens performs convincingly wide open, and stopping down will further improve contrast. Its moderate speed notwithstanding, this lens is recommended, especially considering its price point at 250 euros".

Olympus Zuiko Digital 2/50 Macro
85.5 of 150 points – recommended
"A classic macro telephoto lens with a high usability factor; contrast and resolution are spot on even wide open. Recommended. Works down to 1:1."

Sigma EX 2.8/105
87 – recommended

"Actually a 24×36 lens, this lens is very sharp over the full area of the smaller 4/3 sensor (as can be expected). Stopping down will further increase sharpness. This helps both in scoring and in getting a clear recommendation."

Olympus Zuiko Digital 2/150
92 – recommended
"A nearly perfect lens, and certainly worth a recommendation. Center or corner, f/2 or f/4: the 150 is crisp and sharp. Vignetting and distortion are virtually non-existent; consequently, the score counter goes all the way up to 92. Fast and very good – this makes even the 1,600 g weight and the 2,300 euros price seem appropriate."

Sigma EX 2.8/150 Macro
82.5 – recommended
"In direct comparison with the Oly 150, the Sigma is one stop slower and falls nearly 10 points short of the Oly’s record score. While the Oly’s performance is nearly independent of f stop, stoppind down the Sigma will improve contrast quite notably. Of course, price should be factored into the comparison: the Sigma will set you back only one quarter!"

Olympus Zuiko Digital 2.8/300
86 – recommended

"2.8 speed at a focal length corresponding to 600 mm in 24×36 – this is a specialist lens. And a specialist will happily shell out the 6,600 euros asking price, and lug the 3 kg around."

Olympus Zuiko Digital 4/7-14
87 – recommended
"An extreme wide angle zoom. At 7 mm, diagonal angle is close to 180 degrees. Still, contrast is quite good with some decay towards the corners when shot wide open. Vignetting and distortion are quite limited. This excellent super wide zoom receives our recommendation."

Olympus Zuiko Digital 2.8-3.5/11-22
85
"A less extreme wide angle zoom. At 11 mm, sharpness is limited to the center. Stopping down will not do a lot towards improving the edges. Quite good from center focal length upwards. Price is fair considering the 11-22 focal length range; on account of the problems at 11 mm, still no recommendation."

Olympus Zuiko Digital 3.5-5.6/14-42
85.5 – recommended

"Super compact standard zoom lens (with slow speed limiting its usability). Stopping down will not improve much on the already solid image quality. More than 1% distortion on the wide end may turn out to be a nuisance – but considering the attractive price of 260 euros and an overall reasonable level of performance: recommended."

Olympus Zuiko Digital 2.8-3.5/14-54
84.5
"The faster version of the standard zoom lens. In the tele range, good performance requires stopping down, thus partially obliterating the theoretical advantages. At 54 mm it reaches a mediocre 80.5 score – not recommended."

Sigma EX 2.8/18-50 Macro
85.5 – recommended

"This universal zoom lens with macro down to 20 cm and 2.8 speed is an attractive offer at 420 euros. Overall, a solid performer. Wide open, the corners leave a bit to be desired, and sharpness decreases towards the long end. Still, recommended."

Sigma 3.5-5.6/18-125
84
"At short focal length and wide open, the corners are significantly worse than the center. Considering the already slow speed, stopping down does not seem a very practical proposition. Add to that the loss of contrast towards the tele end – not recommended."

Olympus Zuiko Digital 3.5-6.3/18-180
74.5
"A tenfold zoom lens at the expense of optical compromises. The 18-180 fails to convince at any focal length, with the additional problem of low contrast at long lengths. In comparison, the 18-125 sigma is a better choice, offering better optical quality at half the price, even if it ends at 125 mm. At 180 mm, contrast loss when stopped down to f/12.5 is striking. This is probably due to diffraction which, owing to the comparatively small sensor size, limits resolution already at f/8."

Olympus Zuiko Digital 2/35-100
87 – recommended

"Fast and expensive, but also very good. This is a convincing tele zoom lens with reasonable sharpness even at 100mm (provided you stop down a little bit – superb results at f/4 whereas at f/2, contrast is visibly weaker). So in fact one should consider f/2 to be an extra option for an overall very good 4/35-100 zoom. When shot wide open, center contrast is lower than corner contrast in the tele range for some frequencies which appears to be a problem of stray light. Still, a clear recommendation for this one."

Olympus Zuiko Digital 3.5-4.5/40-150
83
"This economically priced tele zoom works well at the short end, but performance decreases significantly towards the tele end. At 150mm, contrast and resolution are visibly worse which precludes a recommendation. Stopping down drastically will improve performance, but using f/9 at 150mm makes precious little sense."

Olympus Zuiko Digital 2.8-3.5/50-200
83
"Tele zoom with reasonable speed and good performance up to medium lengths, even better when stopped down. At 200mm, contrast will break down pretty strongly, leading to a weak 73 points score at that length. Hence, no recommendation."

Sigma 4-5.6/55-200
81.5
"The Sigma lens is the cheapest lens in today’s roster. Also, it is the only lens that has visible lens centering problems. A second copy exhibited even worse centering problems, hinting towards a general problem in manufacturing. On the other hand, 150 euros is a super bargain price. Apart from the off-center lens problems, performance is satisfactory."

Olympus Zuiko Digital 2.8/90-250
83 – recommended
"This fast super tele lens scores well even at full tele – an exception to the rule among tele zoom lenses. Its 105 mm filter thread diameter is bound to break a few records, as is the price at 5,900 euros."

Caption to enclosed images:
"The difference between 72 and 92 points. While the excellent Oly 2/150 resolves the tree branches even at f/2, the 10x zoom Oly 18-180 exhibits noticeable color fringes and poor contrast in the fine structures."

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25 PHOTOGRAPHIC TRUTHS

 From http://www.a1.nl/phomepag/markerink/25truths.htm

1. The best scenic views are clearly designated by highway signs reading NO STOPPING ANYTIME.

2. Edward Steichen owned a three-legged dog, which he named Tripod.

3. The Post Office folds all parcels containing photographs.

4. Camera straps never fail above soft surfaces.

5. Lens caps and cable releases can become invisible at will.

6. Spotone bottles are designed to tip over when the cap is removed.

7. Financial success in photography is directly related to proper choice of subject matter. Falling airplanes, exploding volcanoes, and certain Presidential motorcades work best.

8. No two light meters agree.

9. The work "Daguerreotype" cannot be spelled correctly.

10. A new Hasselblad would take better pictures than your present camera.

11. 1/60 at f/8 is the correct exposure for all photographs.

12. When your friends finally realize that you are a true artist, committed to making sensitive and meaningful images, they will ask you to photograph their wedding.

13. Color slide viewing cures insomnia.

14. On any tripod, only two legs work properly.

15. Dust spot are attracted to sky areas.

16. YES, PHOTOGRAPHERS DO IT IN THE DARK… but they have to stop every thirty seconds to agitate.

17. There’s nothing wrong with a 35mm that a 4×5 can’t cure.

18. Ansel Adams has three Secret Zones known only to him.

20. Fast films compensate for slow photographers.

21. Mounting a photograph is a misdemeanor in Arkansas.

22. Owning more than one lens assures that you will always have the wrong lens on the camera for any given picture.

23. A camera store will charge $75 to repair a camera that has been adjusted with a butter knife.

24. Falling lenses are attracted to rocks.

25. Into every life a little grain must fall.

 

OM4 T/Ti crash test

http://brashear.phys.appstate.edu/lhawkins/photo/crash-test.txt

 
 Translated by Wiliam Wagenaar from Camera magazine 4/'89
 Postbus 2117, 3700 CC Zeist, The Netherlands

 Camera Magazine Pro test
 Olympus OM4Ti-Black

 Is the Olympus OM4Ti-black resistant to professional abuse?

 Our last CM-PRO-test with the Leica R6 has raised a good
 deal of dust.  In Germany they call it "The camera magazine
 crash test", which is, all things considered, a better name
 for our spectacular test.  Our last guinea pig, the Leica R6,
 received 88 points.  This time, we tested the new Olympus
 OM4Ti-black.  Our expectations were high for the "poor man's
 Nikon" as Olympus is called in the USA.

 The OM4Ti came straight off the shelves of the importer to
 our shutter speed testing bench.  Here we found
 a deviation of 15% to fast for the slow speeds (1/15 sec and 
 slower).  Not a huge deviation, but still a flaw since the meter 
 of the OM4Ti can be influenced in increments of 1/3 stop.
 We shot a roll of Ektachrome 64 slide film with is and it looked
 well exposed.  The auto exposure works well but as a brand
 new OM4Ti user you have to get used to the spot meter.  The
 measuring area of the spot meter is so small that it is easy
 to measure a to high value (with slides) which leaves the
 rest of the frame slightly underexposed.  Of course it is nice 
 to have a spot meter in the camera. In cooperation with the
 spot meter two other exposure settings come in to play:
 Highlight and Shadow.  It works like this: Spot meter your
 subject and afterwards press the Highlight button when you
 measure a very bright subject (e.g. a white wall) or on the
 shadow button when measuring a very dark subject (e.g.
 person on black couch).  The camera automatically compensates
 to over- or under-expose by two stops, assuming you really
 need those two stops!  This system is terribly beautiful 
 and in most cases it is satisfying as long as you spot meter 
 the correct areas and really need the two stops.  By the way, 
 the meter can make a combination of a large number of spot
 readings and automatically calculates the average for a
 correct exposure.

 Olympus is also famous for its off the frame metering.
 Following is a description of how it works.  The shutter-
 curtain contains a complex, computer-calculated field of
 white dots.  This field stands for an average exposure value
 for your subject.  The field is measured by the meter of the
 camera the moment the mirror flips up, just before the
 shutter opens.  By means of this, the camera meter can adjust
 to a change in lighting of your subject in the very last
 instant and thus expose correctly.  With this system it is
 also possible to measure and control flash light from the
 film plane.  Another advantage of the OM4Ti is that you can
 use the Olympus F280 "Full Synchro Flash" on all shutter 
 speeds from B up to 1/2000 second.  Of course this is
 ideal for fill-in flash in daytime when shooting against
 the light or flash of fast moving objects.  There also is
 the Super FP flash mode in which the flash exposes the
 subject longer (1/25 sec.) than would normally be the case.
 With this you can accentuate movement when using flash,
 which is impossible with conventional flashes due to
 their short flash duration.

 The Olympus OM4Ti can be set completely manual and can be
 corrected in 1/3 stop increments, with a warning in the 
 viewfinder.  The camera has the shutter-speed ring mounted 
 around the bayonet mount, which takes some getting used to 
 if you are used to other cameras. Also this shutter speed 
 ring cannot be set well when a motor-drive is attached. 
 Assuming you mostly use the excellent aperture priority 
 auto exposure instead of the manual setting, this is not a 
 big problem.  As for the rest, nothing but praise for the the 
 compactness of this advanced reflex, but sometimes we had to 
 fumble to adjust the camera. Of course the camera has an 
 AE-lock, with which an exposure value can be kept in memory 
 for a series of exposures, up to one hour.  The camera is 
 completely made of titanium, the indestructible pro material. 
 The shutter however is made of rubber-cloth, which has the 
 advantage of being easily replaceable when damaged.

 For those who don't know our testing methods, we will repeat
 what's on the program for the Camera Magazine Pro test:

 1.  The OM4Ti is stored in the freezer overnight at -20C
 for 8 hours.

 2.  The OM4Ti goes into the oven for one hour at a
 temperature of 75C (Only 50C allowed according to the
 manual)

 3.  The OM4Ti is hung in the grid of the air outlet of a
 sand blasting company for 2 hours, so that dust, dirt and
 sand can intrude deep into the mechanics.

 4.  The OM4Ti goes into a steaming hot shower cabin for on
 hour.

 5.  The OM4Ti goes into the shaking machine for a certain
 time.

 6.  The shutter is operated about 15.000 times while the
 aperture is set at f8.

 After each of the point stated above a complete shutter
 speed test was conducted.  Deviations up to 1/3 stop were
 tolerated by us.  After the test the OM4Ti was disassembled
 completely by the Olympus Technical Department and the
 internal condition established.  A quality judgement was
 given for this too.  In the following paragraphs we present
 you the results.  What do you think, will the OM4Ti pass this
 test?

 Under a thick layer of ice and with the 1.8/50mm Zuiko
 completely dimmed and frozen we take the guinea-pig out of
 the freezer.  The Motor drive only says "bwzzzstt".  With a
 different lens attached we check the shutter speeds and
 advance manually.  At once the motor drive comes to life
 again, but a bit slowly.  The shutter speeds are OK, only the
 fast times are a bit slow, but after a few exposures return
 to normal.  Yet there are situations when a pro may need his
 camera at -50C.  The biggest problem then is to keep the
 lenses without dim and to keep the film in one piece.  In our
 case we also found condensation in the lens, so we
 cannot make photographs.  After one hour the condensation is gone
 and we can shoot our first pictures.

 The oven temperature is set at 75.  The OM4Ti stays
 simmering in the oven for one hour with its back opened.
 The OM4Ti is filled to the top with electronics, circuit
 boards, and plastic seals.  Will these hold? The camera is 
 taken out of the oven with kitchen gloves and we try the 
 shutter speed tests.  The tester does not function because 
 of the high temperature. After cooling down for a few minutes 
 the tester functions again and we ascertain that heat has 
 no effect at all on the camera. All shutter speeds stay 
 within their tolerances.

 The sandblaster asks us if this is another expensive one and
 hangs it by its straps in the air outlet of the blasting
 room, where it stays for two hours.  At Olympus TD they say
 that the Dutch are sloppy with their cameras.  Many impact
 and water damages are reported, more than in other
 countries: "In Japan they are always surprised by the
 number of camera housings and top covers we need. The number
 seems to be a lot higher than in any other country." 
 We deliberately abused our 4Ti with dust to check if
 the camera is sealed well against dust and water.  It is,
 because after the sand, dust, and dirt test the OM4Ti still
 functions well.  There is only a little bit of dust in the
 helicoid of the lens, which is not noticeable after turning 
 the focusing ring a few times! The lens is clean inside, 
 which is striking after the visible condensation in the 
 freezing test. Also the viewfinder is completely
 clean, quite an achievement. After opening the back
 absolutely no dust seems to have penetrated. Only on the
 mirror and between the body and the lens there is a little
 bit of dust. This is a sign that there is still some room 
 between the bayonet and the lens, which is remarkable. 
 The shutter mechanism is mounted in the bottom plate of the 
 camera and there too, we find no dust or sand worth mentioning.

 The camera had a advance lever which did not operate
 smoothly.  First you have to overcome some sort of barrier
 before the lever operates smoothly. Later it appeared that 
 a blocking-cam, which keeps the shutter curtain shut after 
 releasing, operates stiffly.  After a little drop of oil at 
 the TD the problem seems to be resolved but after about fifty 
 advances it comes back slowly. Probably an isolated symptom, 
 because we did not find this with other 4Ti's.  That's what 
 the warranty is for!  We also have no problem with the moisture 
 test on this electronic camera.  Dripping wet with moisture, 
 which was also present under the shutter release button and 
 between the knob of the ocular correction, we place the OM4Ti 
 in front of the tester and here too: no problems.  Striking however
 is that the slow speeds are a little bit longer now, the
 combination of sand and moisture seems to slow down the
 shutter.  We drop the OM4Ti firmly after it is completely
 dried up, just as we did with the Leica set.  The damage done
 is of course dependant completely on how the camera falls,
 but we do it neatly, assuming a camera drops straight down,
 as if someone drops it out of their hands. The motor drive
 takes the biggest bashing and starts to advance at 4 frames
 per second.  That was not supposed to happen!  After a little
 fiddling with the control buttons the thing stops and
 afterwards works as it should.  The shaking machine does not
 bring any difficulties.

 Then the shutter test.  With fully charged battery pack you
 can make about 2760 film advances and exposures at 1/60 sec.
 (without film).  We did this 5 times, plus the vast amount of
 times the shutter was released for the shutter speed test,
 which totals to about 15,000 exposures.  Mind you: Including
 all moisture, sand, dirt and other mess the camera had been in
 contact with, in the mechanism. Before the shutter speed
 tester the fast times are still fine, but the slow times are
 still about 15% slow.

 At the Olympus TD the Ti was completely disassembled.  A fine
 haze of (non harmful) dust was found to be attached to the
 inner parts of the camera.  There was no trace however of
 moisture or bigger sand particles, which means that Olympus has
 made this camera very tightly sealed.

 The camera is built pretty, it is a sign of good symbiosis
 between electronics and pure mechanical technique.  The
 spot meter showed a slight error but the auto exposure system
 was accurate almost up to one hundredth, nice!  Also the
 electronic self timer does not yield. Top and bottom plate
 are made of tough titanium and no plastics are used at all
 for the assembly.  The advance lever which runs on balls is
 fitted nice and firmly and with the motor attached the
 OM4Ti-black is an instrument which will serve you as a lover
 for many years. The Olympus Zuiko lens assortment offers
 enough possibilities for the creative photographer, with
 which we have to say that the Zuiko's with wide apertures
 are a bit expensive in comparison to the rest. The creative
 possibilities this camera offers and the quality supplied by
 Olympus (just proven) make the OM4Ti one of the last
 (regretfully) big ones among the smallest of the mechanical
 cameras.

 Shutter speed  error:    + 15% for the long times from 1/15
 Meter error:            None (< 0.1 EV)
 Spot meter:              deviation of 0.5 EV
 Defects during test:    None, except jerky manual film advance
 Battery use of camera and drive:        Normal.

 Positive Points:
 Very efficient flash system which can be used at all
 shutter speeds, handles well, Very completely equipped, large
 choice of lenses and accessories, robust camera, fast motor
 drive with second shutter release button and lit LCD, neat
 viewfinder, very reliable automatic exposure, diopter
 correction in viewfinder, good price/quality balance.

 Negative Points:
 jerky manual film advance (only on this one?), shutter speed
 dial difficult to adjust when motor is attached, aperture
 not visible in viewfinder, bright lenses very expensive.

 Maximum points for each item : 10.
 A total of 70 points gives the qualification of  "CAMERA
 MAGAZINE PRO-CAMERA"
 Item:   Points:
 1.  cold test   7
 2.  heat test   10
 3.  dust test   9
 4.  moist test  10
 5.  shock test  10
 6.  internals   8
 7.  price quality       9
 8.  ease of use 8
 9.  design      8
 10.  equipment  8
 Total :         87

 Olympus OM4Ti: "CAMERA MAGAZINE PRO-CAMERA"

 ----------------------------------------------------------------
 Wiliam Wagenaar, EDS KSG Account,     Vlissingen the Netherlands
 ----------------------------------------------------------------

Modern Photography Zuiko Lens Tests

		Modern Photography Zuiko Lens Tests

Mon Apr 27 16:26:24 EDT 1998 version

I have included the correlation tables between the numeric ratings and
the qualitative ratings at the end.  Note, however, that MP doesn't seem
to follow these tables very closely themselves!  Thus, the best method
to use when comparing two lenses of the same focal length is to compare
their numeric ratings only, ignoring the qualitative rating.  As far as
I know, lenses without a reference were never reviewed by Modern
Photography.  Lenses with a reference but no data will be added as I get
the articles.

I. Fixed Lenses for OM System

8/2.8 


16/3.5 SC? (10/75 pp. 98-99): 
Actual: 15.7/3.43, Distortion: Barrel? Tons!, Falloff: not provided.
	3.5	5.6	8	11	16	22
Resolution (lines/mm) at 1:50x
Center:	Ex 63	Ex 70	Ex 63	Ex 63	Ex 56 	Gd 50
Corner: VG 32	VF 35	Ex 45	Ex 50	Ex 40	Ex 35

Contrast (%) at 30 lines/mm
Center: Hi 59	Hi 63	Med 69	Hi 68	Hi 65	Med 57
Corner:	Low 22	Hi 32	HI 35	Med 35	Med 34	Low 27


18/3.5 (9/84 p. 86): 
Actual: 18.76/3.51, Distortion: <1% Pincushion, Falloff: 3.4 stops at f5.6
	3.5	5.6	8	11	16
Resolution (lines/mm) at 1:49
Center: Ex 55   Ex 62   VG 55   VG 55   VG 55
Corner: Ex 44   Ex 44   Ex 49   Ex 44   Ex 44

Contrast(%) at 30 lines/mm
Center: Hi 57   Hi 67   Hi 72   Hi 74   Hi 66
Corner: Hi 40   Hi 41   Hi 48   Hi 49   Hi 50


21/2 MC (5/81 pp. 104-105): 
Actual: 20.15/1.91, Distortion: 0.9% barrel, Falloff: 1.12 stops at f/5.6
	2	2.8	4	5.6	8	11	16
Resolution (lines/mm) at 1:49x
Center:	VG 49	Ex 62	Ex 87	Ex 87	Ex 78	Ex 69	Ex 62
Corner:	VG 31	VG 35	VG 39	VG 39	Ex 44	Ex 44	Ex 49

Contrast (%) at 30 lines/mm
Center:	Low 40	Low 46	Low 48	Low 56	Low 58	Low 51	Low 46
Corner:	Low 18	Low 20	Low 30	Low 40	Med 42	Low 42	Low 42


21/3.5 SC (1/75 p. 173): 
Actual: 21.5/3.58, Distortion: 2% barrel, Falloff: not provided.
	3.5	5.6	8	11	16
Resolution (lines/mm) at 1:50x
Center:	VG 50	Ex 56	VG 56	Ex 56	Ex 63
Corner:	Gd 28	VG 35	Ex 40	Ex 40	VG 35

Contrast (%) at 30 lines/mm
Center:	Low 42	Med 58	Med 64	Hi 67	Hi 67
Corner:	Hi 60	Hi 62	Hi 63	Hi 64	Hi 64


24/2.0


24/2.8 SC (6/75 p. 102): 
Actual: 25.1/2.93, Distortion: not provided, Falloff: not provided.
	2.8	4	5.6	8	11	16
Resolution (lines/mm) at 1:50x
Center:	VG 50	Ex 70	Ex 80	Ex 70	Ex 70	Ex 63
Corner:	Ex 45	Ex 50	Ex50	Ex 50	Ex 50	Ex 50

Contrast (%) at 30 lines/mm
Center:	Hi 65	Hi 65	Med 71	Med 74	Hi 68	Hi 66
Corner:	Hi 50	Hi 57	Hi 68	Hi 70	Hi 64	Hi 62


28/2.0


28/2.8


28/3.5 SC (4/73 p. 99 (w/OM-1 test pp. 98-100)):
Actual: 28.0/3.50, Distortion: not provided, Falloff: not provided.
	3.5	5.6	8	11	16
Resolution at 1:50x
Center:	Ex 72	VG 50	Gd 45	Ex 56	Ex 64
Corner:	Ex 40	Ex 56	Ex 44	Ex 56	Ex 50

Contrast (%) at 30 lines/mm
Center: No Data
Corner:	No Data	


35/2.0 SC (6/74 p. 126):
Actual: 35.0/2.00, Distortion: not provided, Falloff: not provided.
	2	2.8	4 	5.6	8	11	16
Resolution at 1:48x
Center:	Ex 54	Ex 54	VG 60	VG 60	Gd 54	VG 54	Ex 68	
Corner:	VG 30	Ex 34	Ex 48	Ex 54	Ex 48	Ex 48	VG 38

Contrast (%) at 30 lines/mm
Center:	Low 44	Low 51	Low 60	Med 72	Med 74	Hi 65	Hi 62
Corner:	Med 30	Med 30	Low 36	Med 45	Med 50	Hi 53	Hi 51


35/2.8 SC (4/73 p. 99 (w/OM-1 test pp. 98-100))
Actual: 35.1/2.81, Distortion: not provided, Falloff: not provided.
	2.8	4 	5.6	8	11	16
Resolution at 1:50x
Center:	Ex 56	VG 50	VG 50	VG 50	Ex 64	Ex 64
Corner:	Ex 44 	Ex 44	Ex 50	Ex 56	Ex 64	Ex 50

Contrast (%) at 30 lines/mm
Center: No Data
Corner:	No Data	


40/2.0 MC (8/84 pp. 70-71, 130):
Actual: 41.33/2.03, Distortion: 1.5% barrel, Falloff: 0.906 stops at f/5.6
        2       2.8     4       5.6     8       11      16
Resolution (lines/mm) at 1:49x
Center:	VG 55	VG 62	VG 69	VG 69 	Gd 62	VG 62	Gd 55
Corner:	Ex 39	VG 44	Gd 44	Gd 49	Gd 49	VG 49	Gd 44

Contrast (%) at 30 lines/mm
Center:	Hi 46	Hi 54	Hi 64	Hi 63	Hi 63	Hi 60	Hi 53
Corner:	Med 28	Med 30	Med 34	Med 38	Med 44	Hi 48	Hi 43


50/1.2 MC (11/83 p. 131):
Actual: 52.48/1.26, Distortion: <1% barrel, Falloff: 0.3 stops at f/5.6
        1.2     2       2.8     4       5.6     8       11      16
Resolution (lines/mm) at 1:50x
Center: VG 45   Gd 50   Gd 56   VG 63   VG 63   VG 63   VG 56   VG 56
Corner: Ex 35   Ex 40   Ex 45   Ex 50   Ex 56   Ex 56   Ex 50   VG 45

Contrast (%) at 30 lines/mm
Center: Hi  58  Hi  60  Hi  64  Hi  68  Hi  76  Hi  78  Hi  75  Hi  67
Corner: Med 26  Med 30  Hi  44  Hi  60  Hi  73  Hi  74  Hi  66  Hi  61


50/1.4 SC (5/76 pp. 105, 108 (w/OM-2 test, pp. 104-108)):
Actual: 51.7/1.37, Distortion: less than 1%, Falloff: -0.5 stop at f/5.6
	1.4	2	2.8	4 	5.6	8	11	16
Resolution at 1:50x
Center:	VG 50	VG 56	Gd 64	Acc 56	Acc 56	Acc 56	Ex 64	Ex 64	
Corner:	Ex 36	Gd 36	Gd 45	Gd 50	VG 56	VG 56	Ex 56	VG 50	

Contrast (%) at 30 lines/mm
Center:	Low 41	Med 56	Med 64	Med 66	Med 66	Med 64	Med 60 	Med 59
Corner:	Med 30	Low 32	Med 49	Hi 64	Hi 67	Hi 66	Hi 64	Hi 58


50/1.4 MC (5/84 p. 86 (w/OM-4 test, pp. 78-86)): 
Actual: 50.94/1.44, Distortion: 1.35% Barrel, Falloff: 1.0 stops at f/5.6
        1.4     2       2.8     4       5.6     8       11      16
Resolution (lines/mm) at 1:49x
Center: Gd 49   Gd 55   Gd 62   Gd 62   Gd 63   Gd 62   Gd 55   Gd 55
Corner: Ex 44   Ex 46   Gd 49   VG 55   Ex 62   Ex 62   Ex 55   VG 49

Contrast (%) at 30 lines/mm
Center: Low 32  Low 36  Low 43  Med 46  Med 55  Hi 60   Hi 51   Med 48
Corner: Med 30  Med 31  Med 36  Med 42  Hi 45   Hi 50   Hi 46   Hi 41



50/1.4 MC (11/85 pp. 72-73 (w/OM-3 test, pp. 68-73)):


50/1.4 MC (6/87 pp. 58,78 (w/OM-4T test, pp. 46-50, 78)):
Actual: 50.94/1.45, Distortion: 0.9% Barrel, Falloff: 0.9 stops at f/5.6
        1.4     2       2.8     4       5.6     8       11      16
Resolution (lines/mm) at 1:49x
Center: VG 55   VG 62   Gd 62   VG 69   VG 69   VG 69   VG 62   VG 62
Corner: Ex 49   Ex 55   VG 55   Ex 62   Ex 62   Ex 62   Ex 55   Ex 55

Contrast (%) at 30 lines/mm
Center: Med 41  Med 45  Med 47  Med 56  Hi 59   Med 57  Hi 55   Med 48
Corner: Med 30  Med 35  Med 40  Hi 45   Hi 48   Med 42  Hi 41   Med 33


50/1.8 SC (4/73 p. 99 (w/OM-1 test pp. 98-100)): 
Actual: 51.6/1.86, Distortion: not provided, Falloff: not provided.
	1.8	2.8	4 	5.6	8	11	16
Resolution at 1:45x
Center:	VG 57	Ex 63	VG 80	Ex 90	Gd 72	VG 80	Gd 63
Corner:	Ex 40	Ex 40	Gd 36	VG 40	VG 40	VG 45	Ex 50

Contrast (%) at 30 lines/mm
Center:	No Data
Corner:	No Data


50/1.8 MC? (9/79 pp. 111, 113 (w/OM-10 test, pp. 110-113)): 
Actual: 51.32/1.87, Distortion: 0.68% Barrel, Falloff: 0.5 stops at f/5.6 
	1.8	2.8	4 	5.6	8	11	16
Resolution at 1:49x
Center:	VG 55	VG 69	VG 69	Ex 78	Ex 78	VG 61	VG 61
Corner:	Ex 44	VG 49	VG 55	Ex 69	Ex 69	Ex 61	VG 49

Contrast (%) at 30 lines/mm
Center:	Med 52	Med 68	Med 74	Med 72	Med 70	Hi 65	Med 60
Corner:	Low 30	Low 32	Low 44	Hi 60	Hi 64	Hi 60	Hi 52


50/1.8 MC (5/83 p. 94 (w/OM-G test, pp. 90-94)): 
Actual: 51.87/1.86, Distortion: <1% barrel, Falloff: 0.5 stops at f/5.6
(the modern 6 element in 4 group design)
        1.8     2.8     4       5.6     8       11      16
Resolution (lines/mm) at 1:50x
Center: Gd 50   Gd 50   Gd 56   VG 63   Ex 71   Ex 63   VG 56
Corner: Ex 40   Ex 45   VG 50   Ex 63   Ex 63   Ex 63   Ex 50

Contrast (%) at 30 lines/mm
Center: Hi 48   Hi 60   Hi 67   Hi 60   Med 57  Hi 54   Hi 50
Corner: Low 24  Hi 39   Hi 56   Hi 62   Hi 63   Hi 60   Hi 56


50/1.8 MC (7/85 pp. 65, 67 (w/OM-2S test, pp. 62-67):


50/1.8 MC (4/86 pp. 53, 56 (w/OM-PC test, pp. 50-56):


55/1.2


85/2.0


100/2.0 (6/86 pp. 59,70): 
Actual: 100.65/2.05, Distortion: 0.45% Pincush, Falloff: 0.5 stops at f/5.6
	2	2.8	4	5.6	8	11	16	22
Resolution (lines/mm) at 1:49x
Center: Ex 55   Ex 62   VG 62   Ex 69   Ex 69   Ex 62   VG 55   VG 55
Corner: Ex 49   Ex 55   Ex 55   Ex 62   Ex 62   Ex 55   Ex 49   Ex 49

Contrast(%) at 30 lines/mm
Center: Hi 54   Hi 62   Hi 62   Hi 65   Hi 68   Hi 60	 Hi 50 	Hi 47
Corner: Hi 42   Hi 50   Hi 54   Hi 56   Hi 58   Hi 49    Hi 41 	Hi 39


100/2.8 SC (4/73 p. 99 (w/OM-1 test pp. 98-100)): 
Actual: 100.3/2.81, Distortion: not provided, Falloff: not provided.
	2.8	4 	5.6	8	11	16	22
Resolution at 1:49x
Center:	Ex 55	Ex 62	Ex 55	VG 49	Ex 55	Ex 62	Gd 44
Corner:	Ex 49	Ex 44	Ex 44	Ex 49	Ex 49	Ex 44	Ex 35

Contrast (%) at 30 lines/mm
Center:	No Data
Corner:	No Data


135/2.8 SC (6/75 p. 102): 
Actual: 134.3/2.79, Distortion: not provided, Falloff: not provided.
	2.8	4	5.6	8	11	16	22
Resolution (lines/mm) at 1:50x
Center:	Ex 50	Ex 50	VG 50	Ex 56	Ex 56	Ex 56	VG 45	
Corner:	VG 32	VG 32	Gd 35	Gd 35	Ex 45	Ex 45	VG 35

Contrast (%) at 30 lines/mm
Center:	Med 44	Med 58	Med 66	Hi 69	Hi 71	Hi 67	Hi 66	
Corner:	Hi 46	Hi 50	Hi 55	Hi 54	Hi 53	Hi 49	Hi 46


135/3.5


180/2.0 MC (10/86 p. 54):
Actual: 180.57/2.01, Distortion: <1% pincush, Falloff: 0.2 stops at f/5.6
	2	2.8	4	5.6	8	11	16	22
Resolution (lines/mm) at 1:49
Center: Ex 55 	Ex 62 	Ex 69 	Ex 69 	Ex 69 	Ex 62 	Ex 62  	Ex 55
Corner: Ex 49 	Ex 55 	Ex 62 	Ex 62 	Ex 62 	Ex 55 	Ex 55 	Ex 49

Contrast (%) at 30 lines/mm
Center: Hi 51 	Hi 58  	Hi 60 	Hi 63   Hi 67 	Hi 58   Hi 50  	Hi 47
Corner: Hi 40 	Hi 43  	Hi 48 	Hi 53   Hi 55 	Hi 50  	Hi 41  	Hi 39


180/2.8	MC (9/79 p. 114): 
Actual: 183.20/2.90, Distortion: 0.45% Pincush, Falloff: 0.48 stops at f/5.6
	2.8	4 	5.6	8	11	16	22	32
Resolution (lines/mm) at 1:49x
Center:	VG 44	Ex 49	Ex 55	Ex 55	Ex 62	Ex 55	VG 49	Gd 39
Corner:	Ex 39	Ex 44	Ex 49	Ex 49	Ex 49	Ex 44	VG 39	VG 35

Contrast (%) at 30 lines/mm
Center:	Low 28	Low 46	Low 50	Med 53	Med 52	Med 52	Med 50 	Med 48
Corner:	Low 30	VL 25	VL 22	VL 21	VL 21	VL 20	VL 20	VL 20


200/4.0 SC (4/73 p.99 (w/OM-1 test pp. 98-100)):
Actual: 200.7/4.01, Distortion: not provided, Falloff: not provided.
	4 	5.6	8	11	16	22	32
Resolution at 1:24x
Center:	VG 42	Gd 37	Acc 37	Gd 42	Gd 42	Acc 37	Acc 37
Corner:	Ex 37	Ex 37	VG 30	Ex 37	Ex 37	Ex 37	Ex 33

Contrast (%) at 30 lines/mm
Center:	No Data
Corner:	No Data


200/5.0


250/2.0


300/4.5


350/2.8


400/6.3


500/8.0 Mirror (8/84 pp. 70-71, 130):
Actual: 498.39/8.27, Distortion: 1.04% pincush, Falloff: 0.8 stops at f/8
	8
Resolution (lines/mm) at ???x
Center: Gd 45
Corner: Ex 40

Contrast (%) at 30 lines/mm:
Center:	Hi 58
Corner: Hi 55


600/6.5


1000/11.0


II.  Zoom Lenses

28-48/4.0


35-70/3.6 MC (MP 1/80 p. 119): 
35: Actual: 36.26/3.63, Distortion: 1.34% barrel, Falloff: 0.75 stops at f/5.6
70: Actual: 68.57/3.66, Distortion: 1.78% barrel, Falloff: 0.5 stops at f/5.6
	3.6 	5.6	8	11	16	22
Resolution (lines/mm) at 35mm at 1:48x
Center:	Ex 54	Ex 60	Ex 68	Ex 68	Ex 60	VG 48	
Corner:	Ex 34	Ex 43	Ex 48	Ex 48	Ex 43	VG 38

Contrast (%) at 35mm at 30 lines/mm
Center:	Hi 50	Hi 52	Med 52	Med 49	Low 45	VL 39
Corner:	Med 24	Med 32	Med 41	Med 41	Med 38	Low 30

Resolution (lines/mm) at 50mm at 1:48x
Center:	Ex 60	Ex 68	Ex 68	Ex 68	Ex 60	VG 48
Corner:	Ex 34	Ex 43	Ex 43	Ex 48	Ex 43	VG 38

Contrast (%) at 50mm at 30 lines/mm
Center:	Med 49	Med 51	Med 53	Med 53	Low 45	VL 39
Corner:	Low 20	Low 22	Low 29	Low 29	Low 27	VL 23

Resolution (lines/mm) at 70mm at 1:52x
Center:	Ex 66	Ex 66	Ex 73	Ex 73	Ex 58	Ex 52
Corner:	Ex 41	Ex 46	Ex 46	Ex 41	VG 37	Ex 41

Contrast (%) at 70mm at 30 lines/mm
Center:	Med 42	Med 49	Med 52	Med 52	Low 46	VL 40
Corner:	Low 17	Low 18	Low 29	Low 30	Low 27	VL 22


35-70/4.0 MC (MP 5/81 pp. 103-104): 
35: Actual: 35.39/4.06, Distortion: 2.5% barrel, Falloff: 0.80 stops at f/5.6
70: Actual: 66.82/4.09, Distortion: < 1% barrel, Falloff: 0.5 stops at f/5.6
	4 	5.6	8	11	16	22
Resolution (lines/mm) at 35mm at 1:49x
Center:	Ex 62	Ex 62	Ex 55	Ex 62	Ex 55	Ex 49
Corner:	Ex 44	Ex 49	Ex 55	Ex 55	Ex 49	Ex 44

Contrast (%) at 35mm at 30 lines/mm
Center:	Hi 67	Hi 69	Hi 69	Hi 65	Hi 59	Med 49
Corner:	Med 31	Hi 47	Hi 52	Hi 56	Hi 52	Hi 43

Resolution (lines/mm) at 50mm at 1:51x
Center:	Ex 64	Ex 64	Ex 57	Ex 57	Ex 57	VG 51
Corner:	Ex 45	Ex 51	Ex 51	Ex 57	Ex 51	Ex 45

Contrast (%) at 50mm at 30 lines/mm
Center:	Hi 67	Hi 71	Hi 73	Hi 68	Hi 60	Med 48
Corner:	Hi 36	Hi 50	Hi 56	Hi 52	Hi 48	Hi 44

Resolution (lines/mm) at 70mm at 1:51x
Center:	Ex 51	Ex 57	Ex 51	Ex 57	VG 51	Gd 45
Corner:	Ex 45	Ex 45	Ex 51	Ex 51	Ex 45	Ex 40

Contrast (%) at 70mm at 30 lines/mm
Center:	Hi 68	Hi 72	Hi 72	Hi 69	Hi 60	Low 47
Corner:	Hi 48	Hi 56	Hi 59	Hi 56	Hi 50	Hi 46


35-70/4.0 PF


35-70/3.5-4.5 (6/86 pp. 59,70): 
35: Actual: 36.45/3.34, Distortion: 0.45% Barrel, Falloff: ????
70: Actual: 67.88/4.69, Distortion: 0.96% Pincushion
	3.5	5.6	8	11	16	22
Resolution (lines/mm) at 35mm at 1:50x
Center: Ex 56   Ex 63   Ex 63   Ex 56   Ex 56   Ex 50
Corner: Ex 50   Ex 56   Ex 56   Ex 50   Ex 50   Ex 45

Contrast(%) at 35mm at 30 lines/mm
Center: Hi 45   Hi 58   Hi 65   Hi 60   Hi 56   Hi 44
Corner: Hi 35   Hi 47   Hi 56   Hi 52   Hi 44   Med 33

	4	5.6	8	11	16	22

Resolution (lines/mm) at 50mm at 1:50x
Center: Ex 56   Ex 56   Ex 63   Ex 63   Ex 56   VG 50
Corner: Ex 50   Ex 50   Ex 56   Ex 56   Ex 50   Ex 45

Contrast(%) at 50mm at 30 lines/mm
Center: Hi 46   Hi 60   Hi 66   Hi 61   Hi 57   Med 44
Corner: Hi 36   Hi 49   Hi 55   Hi 50   Hi 45   Med 34

	4.5	5.6	8	11	16	22
Resolution (lines/mm) at 70mm at 1:50
Center: Ex 57   Ex 57   Ex 64   Ex 64   Ex 57   VG 51
Corner: Ex 51   Ex 51   Ex 57   Ex 57   Ex 50   Ex 45

Contrast(%) at 70mm at 30 lines/mm
Center: Hi 47   Hi 62   Hi 67   Hi 62   Hi 56   Hi 44
Corner: Hi 37   Hi 50   Hi 57   Hi 51   Hi 45   Hi 36


35-80/2.8


35-105/3.5-4.5 MC (2/86 pp 56-57)
35: Actual 36.3/3.50, Distortion: 0.7% barrel, Falloff 0.9 stops at f/5.6
105: Actual 105.06/4.73, Distortion 1.37% pincush, Falloff 0.6 stops at f/5.6
	3.5	5.6	8	11	16	22
Resolution at 35mm at 1:50x
Center: Ex 63  	Ex 70  	Ex 70 	Ex 63 	Ex 63 	Ex 56
Corner: Ex 50  	Ex 56  	Ex 63 	Ex 56 	Ex 50 	Ex 45

Contrast (%) at 35mm at 30 lines/mm
Center: Hi 51   Hi 64   Hi 67  	Hi 58  	Hi 58   Med 40
Corner: Hi 40   Hi 44   Hi 51  	Hi 48  	Hi 42   Med 32

Resolution at 70mm at 1:51x
Center: Ex 64 	Ex 72 	Ex 72 	Ex 64 	Ex 64 	Ex 57
Corner: Ex 51 	Ex 57 	Ex 64 	Ex 57 	Ex 51 	Ex 45

Contrast (%) at 70mm at 30 lines/mm
Center: Hi 55   Hi 68 	Hi 69  	Hi 51  	Hi 45  	Low 32
Corner: Hi 37   Hi 40  	Hi 52  	Hi 45 	Med 35  Low 26

Resolution at 105mm at 1:50x
Center: Ex 63   Ex 70 	Ex 70 	Ex 63 	Ex 56  	VG 50
Corner: Ex 56   Ex 56 	Ex 63 	Ex 56 	Ex 50  	Ex 45

Contrast (%) at 105mm at 30 lines/mm
Center: Hi 55   Hi 59   Hi 62  	Hi 51  	Hi 40 	Low 32
Corner: Hi 36   Hi 42 	Hi 51  	Hi 45  	Hi 36 	Low 28


50-250/5.0


65-200/4.0


75-150/4.0 (6/74 p. 125-126): 
75: Actual: 76.7/4.09, Distortion: not provided, Falloff: not provided
150: Actual: 154.4/4.12, Distortion: not provided, Falloff: not provided
	4 	5.6	8	11	16	22
Resolution (lines/mm) at 75mm at 1:46x
Center:	Ex 58	Ex 58	Ex 65	Ex 65	Ex 56	VG 46
Corner:	VG 32	Ex 41	VG 41	Ex 46	Ex 46	Ex 41

Contrast (%) at 75mm at 30 lines/mm
Center:	Med 49	Hi 76	Hi 66	Hi 64	Hi 76	Med 51
Corner:	Low 12	Low 16	Low 26	Med 40	Hi 49	Med 37

Resolution (lines/mm) at 100mm at 1:48x
Center:	Ex 54	Ex 60	Ex 60	Ex 60	Ex 60	VG 48
Corner:	Ex 34	Ex 38	VG 38	Ex 43	Ex 43	VG 38

Contrast (%) at 100mm at 30 lines/mm
Center:	Med 40	Med 48	Med 57	Hi 63	Hi 58	Med 54
Corner:	Low 12	Low 17	Low 24	Med 37	Hi 45	Hi 43

Resolution (lines/mm) at 150mm at 1:48x
Center:	Ex 48	Ex 54	Ex 60	Ex 60	Ex 54	Ex 48
Corner:	Gd 30	Gd 30	VG 38	Ex 43	VG 38	VG 38

Contrast (%) at 150mm at 30 lines/mm
Center:	Low 32	Low 41	Low 51	Hi 57	Hi 57	Med 49
Corner:	Low 12	Low 12	Low 18	Low 26	Low 29	Low 29


85-250/5.0 (5/81 pp. 103-104): 
85: Actual: 86.81/5.03, Distortion: <1% barrel, Falloff: 0.15 stops at f/5.6
250: Actual: 251.88/5.05, Distortion: <1% pincush, Falloff: 0.30 stops at f/5.6
	5 	8	11	16	22	32
Resolution (lines/mm) at 85mm at 1:49x
Center:	Ex 49	VG 49	Ex 55	Ex 55	Gd 44	VG 39
Corner:	Ex 49	Ex 49	Ex 49	Ex 49	Ex 44	Ex 35

Contrast (%) at 85mm at 30 lines/mm
Center:	Hi 58	Hi 75	Hi 75	Hi 66	Med 54	Low 38
Corner:	Hi 38	Hi 43	Hi 43	Med 40	Med 34	Med 28

Resolution (lines/mm) at 150mm at 1:51x
Center:	Ex 51	VG 51	Ex 57	Ex 51	VG 45	Gd 36
Corner:	Ex 45	Ex 51	Ex 57	Ex 57	Ex 45	Ex 36

Contrast (%) at 150mm at 30 lines/mm
Center:	Hi 57	Hi 64	Hi 66	Hi 60	Med 52	Low 38
Corner:	Hi 50	Hi 56	Hi 54	Hi 51	Hi 42	Hi 34

Resolution (lines/mm) at 250mm at 1:51x
Center:	VG 45	Gd 40	VG 45	Ex 51	VG 45	VG 40
Corner:	Ex 45	Ex 40	Ex 45	Ex 45	Ex 45	Ex 36

Contrast (%) at 250mm at 30 lines/mm
Center:	Low 34	Low 40	Low 49	Low 46	Low 42	Low 32
Corner:	Low 25	Low 26	Low 26	Low 26	Low 25	Low 27


100-200/5.0 (11/83 pp. 130-131):
100: Actual: 104.66/5.24, Distortion: 1.13% barrel, Falloff 0.1 stop at f/8
200: Actual: 194.36/5.25, Distortion <1.0% pincush, Falloff 0.4 stop at f/8
	5	8	11	16	22	32
Resolution (lines/mm) at 100mm at 1:49x
Center: Ex 55  	Ex 62  	VG 55 	Gd 49  	Acc 44  Acc 35
Corner: Ex 55  	Ex 55  	Ex 55  	Ex 44   Ex 44   Ex 35

Contrast (%) at 100mm at 30 lines/mm
Center: Hi 53  	Hi 62  	Hi 63  	Hi 54  	Hi 54  	Hi 44
Corner: Hi 32  	Hi 52  	Hi 50 	Hi 42  	Hi 38  	Hi 36

Resolution (lines/mm) at 150mm at 1:49x
Center: Ex 55  	Ex 62  	Ex 49  	VG 44  	VG 44  	Ex 39
Corner: Ex 44  	Ex 49  	Ex 55  	Ex 44   Ex 44   Ex 39

Contrast (%) at 150mm at 30 lines/mm
Center: Hi 52  	Hi 57   Hi 60   Hi 54   Hi 50   Hi 46
Corner: Med 24 	Hi 34 	Hi 42   Hi 44   Hi 36   Hi 33

Resolution (lines/mm) at 200mm at 1:50x
Center: Ex 56 	Ex 50   Ex 50  	Ex 45  	Ex 45   Ex 40
Corner: Ex 50 	Ex 50   Ex 50  	Ex 45  	Ex 45   Ex 40

Contrast (%) at 200mm at 30 lines/mm
Center: Hi 68  	Hi 73   Hi 78   Hi 70  	Hi 68   Hi 48
Corner: Med 22 	Med 24 	Med 32 	Med 34 	Med 35 	Hi 36


III.  Macro Lenses

20/2.0


20/3.5


38/2.8


38/3.5


50/2.0


50/3.5 SC (6/74 p. 126): 
Actual: 52.0/3.64, Distortion: slight barrel, Falloff: not provided
	3.5 	5.6	8	11	16	22
Resolution (lines/mm) at 1:48x
Center:	Ex 60	VG 60	Ex 76	Ex 76	VG 60	Acc 48
Corner:	Ex 43	Ex 54	Ex 68	Ex 60	Ex 60	Acc 38

Contrast (%) at 30 lines/mm
Center:	Low 42	Low 52	Med 68	Low 62	Med 58	Low 53
Corner:	Med 40	Hi 56	Hi 65	Hi 65	Hi 56	Med 47

Resolution (lines/mm) at 1:4x
Center:	Ex 70	Ex 79	VG 70	Ex 70 	Gd 56	Acc 50
Corner:	Ex 50	Ex 56	VG 63	Ex 63	VG 50	Acc 39

Contrast (%) at 30 lines/mm, 1:4x 
Center: No data
Corner:	No data


80/4.0


90/2.0 MC (8/87 p. 62):
Actual: 90.44/2.04, Distortion: 0.47% pincush, Falloff: 0.3 stops at f/5.6
	2	2.8	4	5.6	8	11	16	22
Resolution (lines/mm) at 1:50x
Center: Ex 56 	Ex 56 	Ex 63 	Ex 70 	Ex 70 	Ex 63 	Ex 56 	VG 50
Corner: Ex 50 	Ex 50 	Ex 50 	Ex 56 	Ex 63 	Ex 56 	Ex 50  	Ex 45

Contrast (%) at 30 lines/mm
Center: Low 30 	Med 47 	Hi 69  	Hi 68 	Hi 60  	Hi 54  	Hi 48  	Low 33
Corner: Low 25 	Med 30 	Med 43 	Hi 45 	Hi 50  	Hi 42  	Hi 40  	Low 27

Resolution (lines/mm) at 1:4x
Center: Acc 40 	Gd 45 	Gd 45   VG 51 	Gd 45 	Acc 40 	Acc 40 	Acc 40
Corner: VG 32  	VG 32 	Acc 36 	Gd 40 	Gd 40 	Acc 36 	Acc 36  Acc 36

Resolution (lines/mm) at 1:2x
Center: Acc 40 	Gd 45 	Gd 45  	Gd 45 	VG 51 	Gd 45  	Acc 40 	Acc 40
Corner: Ex 36   VG 36 	VG 36 	Gd 40 	Gd 40  	Gd 40 	Acc 36 	Acc 36


135/4.5



IV.  Shift Lenses

24/3.5 MC (1/85 pp. 67-68):
Actual: 24.06/3.43, Distortion: 1.09% Barrel, Falloff: 2.3 stops at f/5.6
	3.5	5.6	8	11	16	22
Resolution (lines/mm) at 1:49x
Center: Ex 55   Ex 62   Ex 69   Ex 69    Ex 62   VG 55
Corner: Ex 44   Ex 49   Ex 49   Ex 49    Ex 49   Ex 44

Contrast(%) at 30 lines/mm
Center: Hi 48   Hi 58   Hi 58   Hi 56    Hi 51   Med 37
Corner: Hi 30   Hi 34   Med 39  Med 37   Med 35  Low 28


35/2.8 MC? (9/79 pp. 113-114): 
Actual: 36.23/2.86
No offset: Distortion: 0.89% barrel, Falloff: 0.63 stops at f/5.6
11 mm offset: Distortion: 0.20% pincush, Falloff: 1.50 stops at f/5.6
	2.8	4 	5.6	8	11	16	22
Resolution (lines/mm) at 1:48x, no offset
Center:	Ex 60	Ex 67	Ex 67	Ex 67	Ex 67	Ex 60	Gd 48
Corner:	Ex 30	Ex 30	Ex 38	Ex 43	Ex 48	Ex 43	Gd 43

Contrast (%) at 30 lines/mm, no offset
Center:	Med 54	Hi 70	Med 72	Med 70	Hi 62	Med 58	Low 54
Corner:	Med 30	Med 30	Low 36	Low 40	Med 38	Med 36	Low 34

Resolution (lines/mm) at 1:47x, 11 mm offset
Center:	Gd 47	VG 53	VG 60	VG 60	Ex 60	VG 53	VG 53
Corner:	Ex 37	Ex 37	VG 37	Ex 42	Ex 42	Ex 47	Ex 42

Contrast (%) at 30 lines/mm, 11 mm offset
Center:	Med 54	Hi 70	Med 72	Med 70	Hi 62	Med 58	Low 54
Corner:	Hi 38	Hi 40	Med 43	Med 48	Med 36	Low 30	Med 38
[It seems fishy to me that the center contrasts with and without
offset are the same for all f/stops, but that's what it says :]

V. XA/Rangefinder/ZLR/Other Lenses:

XA 35/2.8 (11/79 pp. 117, 120 (w/XA test, pp. 116-120))
Actual: 34.65/2.86, Distortion: 0.97% pincush, Falloff: 1.5 stops at f/5.6
	2.8	4	5.6	8	11	16	22
Resolution (lines/mm) at 1:53x
Center:	Acc 42	Gd 47	VG 59	Ex 67	Ex 67	Ex 59	Gd 47
Corner:	Gd 30	Gd 32	VG 42	Ex 47	Ex 53	Ex 47	VG 37

Contrast (%) at 30 lines/mm
Center:	Low 38	Low 52	Low 56	Low 60	Med 58	Med 56	Med 60
Corner:	Med 29	Med 34	Low 42	Low 42	Med 38	VL 24	VL 24


	Pre-Feb 1974 Modern Photography Resolution Standards

			21 to 40mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	35-39	40-44	45-54	55+	30	30-34	35+	35+
Rest:	40-44	45-49	51-59	60+	30	30-34	35+	35+

			45 to 58mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	40-44	45-54	55-59	60+	25	25-29	30+	30+
Rest:	55-64	65-79	80-84	85+	35	35-39	40-49	50+

			59mm and up
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	30-34	35-39	40-44	45+	25	25-29	30+	30+
Rest:	35-39	40-44	45-49	50+	25	25-29	30+	30+


	Post-Feb 1974 Modern Photography Resolution Standards

			Fisheye to 16mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	36-39	40-44	45-51	52+	24-26	27-29	30-32	33+
Med:	40-46	47-52	53-59	60+	26-28	29-32	33-35	36+
11 up:	40-44	45-50	51-55	56+	25-27	28-30	31-33	34+	

			17 to 23mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	38-42	43-49	50-55	56+	25-27	28-31	32-35	36+
Med:	42-47	48-53	54-59	60+	28-30	31-33	34-37	38+	
11 up:	40-44	45-49	50-55	56+	26-28	29-31	32-35	36+

			24 to 44mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	38-42	43-49	50-55	56+	26-28	29-32	33-35	36+
Med:	43-50	51-56	57-63	64+	28-31	32-35	36-39	40+
11 up:	40-44	45-49	50-55	56+	28-31	32-35	36-39	40+

			Wide Angles f/2 and Faster
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
2 Max:	36-39	40-43	44-47	48+	24-26	27-30	31-33	34+
Med:	42-49	50-55	56-62	63+	28-31	32-35	36-39	40+
11 up:	40-44	45-49	50-55	56+	28-31	32-35	36-39	40+

			61 to 105mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	32-37	38-42	43-47	48+	26-28	29-31	32-34	35+
Next:	34-40	41-46	47-51	52+	28-30	31-33	34-36	37+
Med:	36-42	43-49	50-55	56+	30-33	34-37	38-41	42+
11 up:	36-41	42-47	48-53	54+	32-34	35-37	38-40	41+

			106 to 250mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	30-35	36-41	42-47	48+	26-28	28-31	32-34	35+
Next:	30-35	36-41	42-47	48+	26-28	28-31	32-34	35+
Med:	32-38	39-45	46-53	54+	28-31	32-35	36-39	40+
11 up:	30-35	36-42	43-49	50+	26-30	31-34	35-39	40+

			251 to 2000mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	30-34	35-39	40-43	44+	24-26	27-29	30-32	33+
Med:	36-40	41-45	46-49	50+	28-31	32-35	36-39	40+
16 up:	30-34	35-39	40-43	44+	26-29	30-33	34-37	38+

			Zoom: Wide Angle to 150mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	30-35	36-41	42-47	48+	24-27	28-30	31-33	34+
Next:	32-37	38-43	44-49	50+	26-29	30-33	34-36	37+
Med:	36-42	43-47	48-53	54+	30-33	34-37	38-41	42+
11 up:	36-40	41-45	46-51	52+	32-34	35-37	38-40	41+

			Zoom: 70 to 250mm
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	30-34	35-39	40-45	46+	25-27	28-30	31-33	34+
Next:	32-37	38-44	45-51	52+	26-28	29-31	32-34	35+
Med:	33-39	40-45	46-53	54+	28-31	32-35	36-39	40+
11 up:	32-37	38-44	45-49	50+	36-30	31-34	35-38	39+

			Zoom: Tele to 600mm and Beyond
		Center				Corner
	Acc	Gd	VG	Ex	Acc	Gd	VG 	Ex
Max:	30-33	34-37	38-41	42+	24-26	27-29	30-32	33+
Med:	35-39	40-44	45-48	49+	27-30	31-34	35-38	39+
16 up:	30-34	35-39	40-43	44+	26-29	30-33	34-37	38+


		Modern Photography Contrast Standards

		Fisheye to 16mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
2 Max:	32-45	46-56	57+	15-24	25-30	31+
Med:	38-58	59-69	70+	18-26	27-34	35+
11 up:	40-50	50-57	58+	20-27	28-35	36+

		17 to 23mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
2 Max:	28-45	46-57	58+	16-25	26-31	32+
Med:	44-62	63-71	72+	24-42	43-49	50+
11 up:	44-53	54-59	60+	24-34	35-39	40+

		24 to 44mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
2 Max:	34-53	54-63	64+	18-28	29-33	34+
Med:	45-64	65-74	75+	32-44	45-50	51+
11 up:	45-55	56-61	62+	25-35	36-40	41+

		Wide Angles f/2 and Faster
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
2 Max:	28-48	49-60	61+	16-26	27-31	32+
Med:	44-63	64-71	72+	30-42	43-49	50+
11 up:	44-55	56-61	62+	25-35	36-40	41+

		61 to 105mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	30-46	47-54	55+	24-35	36-41	42+
Next:	32-48	49-64	65+	28-38	39-43	44+
Med:	40-53	54-69	70+	32-41	42-51	52+
11 up:	40-51	52-64	65+	36-44	45-53	54+

		106 to 250mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	28-43	44-57	58+	22-30	31-37	38+
Next:	30-47	48-63	64+	26-35	36-41	42+
Med:	38-52	53-69	70+	30-39	40-49	50+
11 up:	40-47	48-59	60+	34-41	42-51	52+

		251 to 2000mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	24-40	41-51	52+	20-27	28-35	36+
Next:	28-46	47-61	62+	24-32	33-39	40+
Med:	36-50	51-67	68+	28-38	39-47	48+
11 up:	38-46	47-57	58+	32-40	41-47	48+

		Zoom: Wide Angle to 150mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	32-40	41-49	50+	12-23	24-32	33+
Next:	35-41	42-51	52+	16-26	27-34	35+
Med:	42-51	52-59	60+	24-34	35-42	43+
11 up:	40-47	48-55	56+	26-35	36-42	43+

		Zoom: 70 to 250mm
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	30-39	40-49	50+	12-23	24-32	33+
Next:	35-41	42-53	54+	16-27	28-34	35+
Med:	40-51	52-59	60+	22-32	33-41	42+
11 up:	38-47	48-55	56+	24-33	34-41	42+

		Zoom: Tele to 600mm and Beyond
		Center			Corner
	Low	Med	Hi	Low	Med	Hi
Max:	28-37	38-45	46+	12-20	21-29	30+
Next:	33-40	41-49	50+	15-25	26-33	34+
Med:	38-47	48-53	54+	20-30	31-39	40+
11 up:	38-46	47-53	54+	24-32	33-39	40+


Finally, here are the folks that helped with this list:

	WKato <WKato@aol.com>
	"Dr. Matthew J. Cordery" <cordery1@llnl.gov>

Thanks, all!

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