I would like to think so, I'm still dreaming tho', I would still need about ten people to sign up before I could afford a DA*300mmmMMMmmm

B*****d estate agents in Somerset - PAY ME what you owe me. scumbags....

John, that would clearly be an obstacle at times, but I find that I often go out knowing exactly what I want to do, we still have our standard kit for those spontaneous moments.
I'm pretty easy going and have no need to own a lens and look at it on a shelf, all I need to do is find other people nearby who are the same.

Anyone have any experience of sharing lenses?
I reckon there are two or three people within 3 miles of me who would like access to a couple of specialist lenses like a macro, DA*300, and maybe a fisheye. But can't justify the expense.

A lot of the time they languish in a bag doing nothing. Personally I wouldn't have a problem with availability - if one of them was unavailable I would always be able to improvise, like I do already.

Speak for yourself Stefan - I think I'm the opposite.

I think I would have to have some sort of superwide (probably fisheye for that creative edge),
the FA 50 and a DA*300
I never do anything in the mid telephoto range.

That's a great shot - well seen (as usual :wink
I feel I want to see more train at the bottom, is there anything left to play with?

My immediate impression was - too contrasty and over-sharpened, particularly the background which shouldn't be sharpened at all. For print the sharpening might be OK, but on screen it is quite noisy and hard on the eyes.

He clearly isn't doing 200mph here, or anywhere nearby, so I'm not sure what the argument is there. If I was being paid to get lots of crisp shots of the riders, I would have a fast shutter, but for a competition or portfolio I would definitely go for more motion blur (and bin most of them )

I like it tho', if I was the rider I would be pleased.

Exactly. I will still keep the tubes and 50 combo, because if you can get close the quality is superb. (maybe a 50mm macro instead would be the ideal way)
But I am getting really frustrated with creatures flying off the exact moment I get them in focus (they seem to know!), because I am virtually leaning on them.

oh yes
I did wonder why you had two very similar lenses

Snootchiepoop! Snootchies has beaten me to it... and with a better picture

Here's my take on the same sun a few minutes later outside my office in Devon.



Got 10 days or so to do better now...

Believe me, if I buy a lens and it's not what it's cracked up to be, I will say so. But slow focusing aside, the 50 1:4 is an absolute gem. The 'quality' (lots of things) for portraits is just sublime IMO.

Maybe I should just say it suits my style, but that's not very helpful.
I think, objectively, it is the best value lens out there - by factor of about 10 in some cases.

Did I say I like this lens?