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'Bad' copy of PL 12mm f1.4 'fixed'.BadCopy Pro is the leading data recovery software for floppy disk, CD, DVD, memory card, Zip disk, USB flash drive and other storage media. Is the 60mm f2.8 the best Olympus macro or is it really the ZD 50mm f2 with mmf3? Killer combo: MC-20+Pixco16mm tube+60mm OLY Macro+Raynox505 Using your MC-20 Teleconverter with your OLY 60mm Macro lens The truth about the focus stacking feature of the EM-1 ii Macro Photography and the EM1 mark 2 / 60mm macro combo Hint for (some) owners of the E-M5 Mark III re AF points Photographing Hummingbirds Feeding From Flowers: Setup and Camera Settings.

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Manual focus tele lens techniques with m4/3 for birds and BIF's \What most folk identify as flawed lenses are not flawed at all (-: One of my favorite bloggers just weighed in on this topic:Д«ottom line, proceed carefully and don't jump to conclusions. I find this gives me a consistent result rather than normal shooting where atmospheric, varying object distances and camera motions can give false results.

It is important that the camera sensor is lined up parallel to the surface of the chart or the shallow DOF at wide apertures can make the lens appear soft on one side. The chart is illuminated by two bright white LED bulbs. I use a two second self timer to avoid shutter button shake (necessary for longer tele lenses).

Of course, I use a tripod, turn off IS, use e-shutter and set ISO as low as possible. The larger size of the chart ensures I'm testing a more typical focusing distance (closer to infinity). If the lens zooms, I test a widest, mid and longest range.

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I hang it on the wall and test every new lens I buy at full aperture and a stop or two down. I then printed and taped some lens test charts to it and other fine but crisp printing. I got a piece of foam core board and cut it to 36x24 inches (or to a 4x3 ratio if you only use u4/3rds). Then in image editor rotate the photos to be on same way and swap between the layers and you will see if the other side is softer or otherwise different and that effect change its size from left to right depending layer change.ДЄnd then just go out and shoot with normal settings etc, visually just look the photo is there suddenly something that doesn't look good or not? Then is the pixel peeping technique, take a photo from a brick wall (any wall with flat plane and fine texture so you can see if some edge becomes soft or other way optically not sharp and contrasty etc) and then rotate the camera 180 degree (upside down or other way around) and take a other photo. Do the photos for the final forms and then judge the photo does it look a soft someway or not? Every lens has some variation and only way to get a 'good one' is either lower requirement or get something that is above requirement.Д«asic test is, use your Mk 1 eye balls. Question is about context and option what is 'bad' and what is 'good'.

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So if you could please give me some guidance on how to test lenses like this, obviously within the means of an amateur/prosumer/enthusiast photographer, I would be grateful. but nevertheless, I am interested in developing this new skill and now seems like a good time to put it in to practise, while I am within my rights to return the lenses if they are 'bad' copies. As i understand it, variance in the Olympus PRO lineup is reportedly very low. and always assumed that whatever lens I ended up with was uniformly the same as everyone else's, so how it performed was simply how it performed.ДЄnyway, after pumping a couple of grand into two of the Olympus PRO primes, I am interested in how I might test these lenses to determine if I have received a 'bad' copy. Perhaps in my naivety, I had never considered variance in lenses until fairly recently. I regularly see seasoned photographers, amateurs and pros alike, talking about 'good' and 'bad' copies of lenses they aquired, and how they might have returned a couple 'bad' copies of a lens until they got a 'good' one.

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