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Sigma 600 mirror
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PostPosted: Wed May 13, 2015 10:53 am    Post subject: Reply with quote

tb_a wrote:
Michael,

Would you do me a favor and post some 100% crops from this shots?
I could then compare it better to my Minolta mirror lens also taken with a NEX.
I am really curious now as to how the "real" pictures look in comparison.
In your posted size my pictures also look more than sharp.....
However, rather heavy purple fringing is already visible in your pictures already in this size.


I don't understand your question -- I posted a 100% crop included with that most recent pic, and the one I posted before in this thread, showing the ghosting -- I also posted a 100% crop. So I don't understand what you want.

I don't see this purple fringing you mention. There appears to be a slight purple tint that I didn't bother to correct for, but I don't see any evidence of purple fringing in either the original or the crop.


PostPosted: Wed May 13, 2015 11:51 am    Post subject: Reply with quote

cooltouch wrote:
tb_a wrote:
Michael,

Would you do me a favor and post some 100% crops from this shots?
I could then compare it better to my Minolta mirror lens also taken with a NEX.
I am really curious now as to how the "real" pictures look in comparison.
In your posted size my pictures also look more than sharp.....
However, rather heavy purple fringing is already visible in your pictures already in this size.


I don't understand your question -- I posted a 100% crop included with that most recent pic, and the one I posted before in this thread, showing the ghosting -- I also posted a 100% crop. So I don't understand what you want.

I don't see this purple fringing you mention. There appears to be a slight purple tint that I didn't bother to correct for, but I don't see any evidence of purple fringing in either the original or the crop.


Sorry for confusion. I simply overlooked, that your second picture is already a crop of the first one. Obviously because of the same width. Where the background sky is visible there is some purple fringing besides the general slight purple tint. At least I would interpret it like that. Maybe I am wrong. Normally you see (if at all) this phenomena at the edge of very high contrast and that is clear visible in the crop. The question is also where the purple tint is coming from. However, we are pixel peeping here. That's clear anyway.


PostPosted: Wed May 13, 2015 12:01 pm    Post subject: Reply with quote

Nice photo cooltouch!
the focusing is a bugger but when you get it it's very pleasing.
I have a few images with the same ghosting and found underexposing a little seems to eliminate this.
As i mentioned the use of focus peeking is a great help too if its a feature on your camera.
I had a bunch of not focused images but it just makes me want to try harder as there is potential for sharp photos with the sigma.
I've not used any other mirror so cannot compare but am very pleased with the results from this lens.
I only cleaned and reassembled mine as i don't have the know or the how for any type of adjustments and didn't want to go back together out of alignment.


PostPosted: Wed May 13, 2015 1:15 pm    Post subject: Reply with quote

My experiences with most lenses I've had to dismantle and reassemble is that they only go back together one way. And when reassembled, they are fine, optically. In other words, no recollimation is required. That was true for the Tamron 55B I dismantled as well. The glass fits into its pocket or socket or groove or what have you and once it's in place, it's good.

I don't have any reason for dismantling my Sigma -- it's perfectly clean inside with no fungus -- and I'm afraid that if I did, it wouldn't matter anyway.

I'd rather just learn to use it, hopefully increasing my percentage of keeper shots.

My NEX 7 has focus peaking, but I have learned that it isn't precise enough for nailing exact focus with a lens like this Sigma or the Tamron 500/8. There is still a fair amount of movement I can make with the focusing collar and I'll still see the peaking showing on the specific area I'm focusing on, and I know from experience that to nail precise focus, there isn't nearly this much play allowed. So I'll get close using peaking, then I use either the 5.9x or 11x image enlargements to get as close as I can.

I'll try underexposure again, but that photo of the lily I showed before, with the ghosting around it? I had reduced the EV on that shot by -1.0. It didn't seem to make a difference with that subject.


PostPosted: Wed May 13, 2015 9:57 pm    Post subject: Reply with quote

Apologies i should have mentioned the camera (A7) has a digital zooming that i use to focus which i like to call peeking as you kind of zoom in and have a peek at what you are focusing on.
The actual peeking thing that colors the focal plane i've found to be only good with fast lenses and have it turned it off most of the time.
Definately keep trying tho.
Smile

Beard.


PostPosted: Wed May 13, 2015 10:05 pm    Post subject: Reply with quote

[cooltouch]

Hmmm, that does look a lot better.

Had me wondering if temperature might be a factor...given my first try was immediately after UPS handed it to me. It was quite warm to the touch from sitting in the truck, in the desert.

Took two shots on a tripod, no joy. Same results even at room temp. So, mine certainly has something bumped out of alignment.


PostPosted: Thu May 14, 2015 12:38 am    Post subject: Reply with quote

With the Sigma and many other long telephotos, temperature differences have been taken into account. This is evident in the focusing range, where you see you can focus well past infinity. Expansion of the lens due to heat can be adjusted out because of this extra room in the focusing range.

I've decided that I'm gonna give my Sigma a try with a film camera. I've loaded up an expired but frozen roll of Fuji 100 print film into my EOS Elan IIe and all I need now are some likely subjects. It was overcast and rainy all day today so I wasn't able to get any work done with it. I guess I could shoot some indoor stuff, far as that goes. The lens does focus close. My wife has cut some fresh flowers and placed them in a vase. Maybe I'll go take some shots of those. It's a start, at any rate.

Only problem with using this EOS is I don't have any focusing aids. And the camera's little dot in the viewfinder meaning "in focus" doesn't light up with this lens either. Back in the day when I was using my C/FD Sigma, I had a Canon eyepiece magnifier that I would often use with this lens. It helped quite a bit until I finally got pretty good at nailing focus. I'll have to check my accessories inventory -- I might still have a Canon magnifier "S" that I've forgotten about, which might just work with that EOS.

Here are some pics I took with my C/FD version, taken back during the mid-1980s. I've probably posted them at the forum before, but I don't recall when or in which subforum. Besides, this is the first time I've brought them altogether into a single posting.

Canon F-1, Sigma 600mm f/8, Fujichrome 100


Canon F-1, Sigma 600mm f/8, Fujichrome 100


100% crop of above:


Canon FTb, Sigma 600mm f/8, Kodachrome 64


Canon FTb, Sigma 600mm f/8, Kodachrome 64


100% crop of the tall ship, Windjammer


Canon A-1, Sigma 600mm f/8, Kodachrome 64


100% crop of above:


PostPosted: Thu May 14, 2015 3:50 am    Post subject: Reply with quote

cooltouch wrote:
With the Sigma and many other long telephotos, temperature differences have been taken into account. This is evident in the focusing range, where you see you can focus well past infinity. Expansion of the lens due to heat can be adjusted out because of this extra room in the focusing range.


It is generally widely underestimated what problems may occur when shooting with very long focus lengths, irrespective of their make or design. Especially when shooting over rather long distances also the time of the day may play an important role. Usually the air is for instance around noon not as clear as in the morning which leads automatically to a total different picture and appears to be somehow foggy or dusty at noon compared to the morning picture. Of course additionally the rather difficult focusing because of the narrow DOF could eventually add additional problems, especially when focusing is done manually and no additional focus aids are available.
Finally the lens plays also a not really unimportant role as some lenses deliver more contrasty pictures as others. The use of a lens shade is mandatory. If the lens is not faulty, then the "sharpness" of the lens play the least important role to get a good result. In the "old times" the use of special filters was more common to reduce the risk of getting "soft" pictures due to weather conditions, especially for B&W there have been more options do optimize the quality already during shooting by using various different filters, compared to color shooting. Also PP was not available to the extent it is available today. But even PP cannot help you if the original is below a certain standard. But you will know all this anyway. Wink


PostPosted: Thu May 14, 2015 5:02 pm    Post subject: Reply with quote

tb_a wrote:
If the lens is not faulty, then the "sharpness" of the lens play the least important role to get a good result. In the "old times" the use of special filters was more common to reduce the risk of getting "soft" pictures due to weather conditions, especially for B&W there have been more options do optimize the quality already during shooting by using various different filters, compared to color shooting.


I have to disagree here. But first, I guess I must define what I mean by "sharpness." To me, an image is "sharp" when it is maximally in focus. Period. Now, to say that this is of least importance flies in the face of reason to me. To me, the most important factor in any image, unless it is some sort of abstract image where it is deliberately left unsharp, is to have the subject in sharp focus. That is, for the subject to be maximally in focus. Of course, this will vary from lens to lens, because each lens will have its maximally sharp focal point at any given range and at any given f/stop. The challenge for the photographer is to find this maximally sharp focal point. Now, of course things like lens hoods and perhaps even filters are important, but they are important because they improve the photographer's odds of finding this maximally sharp focal point.

The use of filters back in the heyday of black and white photography was not to improve sharpness, but to increase contrast so that this maximally sharp focal point could be found more easily. A red filter against a blue sky with clouds will really make those clouds pop out of a dark sky. That is all about contrast and has nothing to do with sharpness intrinsically, although it will make the process of finding the maximally sharp focal point of the clouds easier.


PostPosted: Thu May 14, 2015 5:46 pm    Post subject: Reply with quote

cooltouch wrote:

I have to disagree here. But first, I guess I must define what I mean by "sharpness." To me, an image is "sharp" when it is maximally in focus. Period. Now, to say that this is of least importance flies in the face of reason to me. To me, the most important factor in any image, unless it is some sort of abstract image where it is deliberately left unsharp, is to have the subject in sharp focus. That is, for the subject to be maximally in focus. Of course, this will vary from lens to lens, because each lens will have its maximally sharp focal point at any given range and at any given f/stop. The challenge for the photographer is to find this maximally sharp focal point. Now, of course things like lens hoods and perhaps even filters are important, but they are important because they improve the photographer's odds of finding this maximally sharp focal point.

The use of filters back in the heyday of black and white photography was not to improve sharpness, but to increase contrast so that this maximally sharp focal point could be found more easily. A red filter against a blue sky with clouds will really make those clouds pop out of a dark sky. That is all about contrast and has nothing to do with sharpness intrinsically, although it will make the process of finding the maximally sharp focal point of the clouds easier.


Maybe we are talking about the same story just in other words. It's always funny how the sharpness is interpreted by different humans and that was indeed the reason why I stated "sharpness" between the apostrophes. Wink
It goes without saying that a subject or at lest the most important part of it MUST be in focus and sharp. What I was referring to was the slightly different (measurable) resolution of a lens, which is the one and only factor optically speaking for the real sharpness of a lens (if it is not faulty as such) and that is compared to the other factors the least important one (within certain limits as stated). The other story is the contrast which leads subjectively to a sharper picture, but has nothing to do with sharpness as such. Many people are interpreting a more contrasty picture subjectively as a sharper one. Finally the use of filters was of course meant in this context as very long focus lengths in combination with far distance shooting are prone to soft and lesser contrasty pictures. I think we can find some agreement on that.

You are definitely in the better position. If we could have our discussion in German most probably I would win at least in the "nitpicker's delight" contest. Wink

Sorry again for my "not better" English which might be the cause for some misunderstandings between us.


PostPosted: Thu May 14, 2015 6:17 pm    Post subject: Reply with quote

Would a Canon Speedfinder help?


PostPosted: Thu May 14, 2015 6:45 pm    Post subject: Reply with quote

Yes, Thomas, it could very well be we're talking about the same thing. The whole concept of contrast, resolution, and sharpness is misunderstood by many, which is why I tried to present a precise definition. Mine is independent of resolution as well, because it is the maximum sharpness available at a given resolution, in other words, resolution is a given part of the equation, if you will.

Here is a great article by Erich Heynacher and Fritz Kober of Zeiss, that goes into some detail explaining the differences between contrast, resolution, and sharpness, and how they interact with each other, and the results they have in terms of perception. I've always felt the article to be very informative and indeed helpful in understanding this topic, and relieving confusion.

http://www.forums.camera-info.com/contaxinfo/pdf_files/Zeiss-Resolving_power_and_contrast.pdf


PostPosted: Thu May 14, 2015 7:03 pm    Post subject: Reply with quote

Michael,

I want to pass along my findings from venturing inside the Sigma 600 last night.

As it turns out, it was not necessary to attempt to unscrew everything (like in the above link) to gain access to discover my fault. Although, further disassembly may be required for a permanent fix.

As BeardsAreBest mentioned, the focus barrel and stop is held together by TAPE. Just pull off the rubber grip, remove the tape and the front outer half unscrews from the helicoid. Just don't do what I did. I forgot to mark the two pieces with a sharpie marker for reassembly. So, I now must realign for infinity.

Once the front was removed, I found haze on the smaller front mirror. Unfortunately cleaning had no effect as it was on the back side of the glass. This probably hurts the contrast some. Since it's glued on, no further could be done.

Inspecting the rear half... the central column and rear mirror seems attached together, and screwed onto the back end somehow. I found that it was loose and I could move it laterally. I had found the cause of my ghosting. Turning it clockwise didn't tighten it nor center it. After several tries and tests on a tripod, I pulled on the column forward which seemed to have centered the whole assembly and the mirror.
It removed the play too, but how permanent without further overhauling, I don't know. The rear half is not obvious as to how it was assembled.

Test photo shows the ghosting is gone. But the image is still not sharp enough no matter how much effort focusing. So, it's another issue, maybe the haze. Or the column assembly is too far forward by a fraction of a millimeter. I would assume this longitudinal tolerance to not be a factor (since the focusing portion compensates for it.) But this assumes the rear element(s) are also fixed to the column.

If I can't get it to focus better to at least resemble BeardsAreBest's samples, then the lens is useless. Not sure if I should put in the effort to try to completely disassemble the rear portion or simply return it for a refund.

Should you decide to try a go at it yourself, just make sure to mark the focus rings with a marker, and not disturb the lube on the threads. I wiped a little bit off and the focusing got heavy. I don't know what magic grease lens makers use, but it's slippery and not viscous. I had to dab some grease on the first few threads to get it to turn again. But it's now heavier than before.









Last edited by WNG555 on Thu May 14, 2015 7:46 pm; edited 1 time in total


PostPosted: Thu May 14, 2015 7:26 pm    Post subject: Reply with quote

Well, I dunno if I feel like tearing into my lens that far, but it might be worth it.

Actually, I found it sort of hard to tell about sharpness in your shots of the long leaves. The first one looks like some of the leaves were moving during exposure, in fact. The pic of the palm tree's trunk is soft but I suspect that might be to the cloudy element in your lens. Tough break that.

I know how you feel. Some time back, I bought a Tamron 55B, which has a design in which a secondary mirror is glued to the front element. This secondary mirror had begun to separate from the glass it was glued down to. No way to remove it, so no way to get to the separation so I could reglue the element. I ended up selling it "as is" on eBay. Somebody gave me $50 for it; I was surprised.


PostPosted: Thu May 14, 2015 7:43 pm    Post subject: Reply with quote

I understand you. Same here, do I continue down the rabbit hole? Smile

The 'after' shots and their crops show what a big improvement over the the first post. Both of the tree trunk. I have other test shots that show major difference. But pixel peeping and one can still find a bit of ghosting very minute though. The hairs off the palm leaves, at 100% crop, shows a hair ghost.

The first shot was blowing in the wind. But shutter speed was high.

You may have decided it for me, I can't do much more about the haze. Ultimately it will prevent me from getting this lens acceptable.
Return this defective one and wait for another down the line.


PostPosted: Sat May 16, 2015 9:43 am    Post subject: Reply with quote

I think this lens was made for bird photography.
I love it.
Resize only.



100% crop



PostPosted: Sat May 16, 2015 10:53 am    Post subject: Reply with quote

Excellent! Envious. Wink


PostPosted: Sat May 16, 2015 5:03 pm    Post subject: Reply with quote

Very nice. I've been looking for birds too, but no luck so far. I suspect that my Sigma isn't as sharp as yours, though.


PostPosted: Mon May 18, 2015 8:53 pm    Post subject: Reply with quote

I've been giving this Sigma 600 a lot of thought lately. And part of this process has been going through all the listings I could find on eBay. I'll probably also do a Google image search too, which will help some.

You know, I know of no other lens that has been available in so many different color schemes. It appears that the earliest Sigma 600 was available in black only and it was a gloss or semi-gloss finish. But by the mid-80s or so, the different variants began to appear. So far, I've seen the Sigma 600 in the early gloss black, a later textured black, a shiny silver metallic enamel, textured white, textured gray, and a drab green color (good for camouflage, perhaps?). That's at least six different colors! I don't know exactly how long this lens was made, but I suspect it was something less than 10 years -- perhaps 8 or so. Does that seem about right to you?

I've also noticed that they redid the text on the lens. On the very early ones the script engraved on the outside of the front filter ring was very large, perhaps almost 1cm in height. With the redesign, the text shrank to maybe 3mm or 4mm. I've also noticed that on some of the earlier designs the filter holder is metal with a longish handle protruding, whereas the later ones use a plastic holder with a much smaller handle. Plus, with the Canon FD mount, they used an early breech-lock design and later a breechlock design that waas a close imitation of the New FD mount. The one I bought had the later "New FD looking" mount. But there's one on eBay right now that has the breechlock and the long metal handle for the filter holder. You will also see two basic designs to the textured ribbing on the rubber focusing collar. Either a bunch of rectangles or parallelograms, where they're slanted across the collar's surface. At first I thought this slant style was indicative of early lenses, because the one I bought in 1984 had the slanted ribbing. Yet the earliest ones I found on eBay didn't have this. And some of the later ones, with s/n's above 1 million had the slant. So I don't know what was going on there.

I've also been keeping my eye on serial numbers. The early gloss black lenses I've found have serial numbers in the 2xxxxx and 3xxxxx range. But all the later finishes that I've been able to see serial numbers on have been over 1xxxxxx, except for one, and it was 9xxxxx. Typically the ones over 1xxxxxx are 101xxxx, 102xxxx, and I saw one that was 103xxxx. My own Sigma, which has an EOS mount, which means it was built in 1987 or later (probably later), is 102xxxx. Now it seems highly improbable to me that Sigma built over 1 million of these mirrors, but if the serial numbers are sequential with no skips, that's what this means. No, I was originally more inclined to believe that they bumped the s/n to over 1 million when they came out with the new, more modern, textured look. But then I found a lens with a 9xxxxx s/n, so that sort of blew that notion out of the water. But so far, I haven't found any Sigma 600 mirrors with a s/n in the 4 to 8 hundred thousand range. I wonder about this. I must have examined twenty lenses last night and not one was found in that range. They were bunched up in the 2xxxxx-3xxxxx range or 101xxxx to103xxxxx range, with the one 9xxxxx outlier.

I've been examining the serial numbers so I could get a feel for the ages of the lenses because I have a theory that has to do with the manufacturing process. My brother in law is the chief engineer at igloo Corporation -- you know, the people who build coolers and ice chests? And one of his jobs is overseeing the production and use of molds for their products. These molds are very expensive to make, but they also have to last a long time and they're subject to rather harsh environments, being injected wth molten plastic and all. But he will tell you that these molds wear out after a while and they have to be replaced. And its toward the end of a mold's life where its dimensions may begin to wander a bit. This same sort of problem is faced by the automotive industry and any other industry involved in producing heavy products. Just because a new car rolling off the assembly line is new, it doesn't mean it's good. If that car was made on machinery that is worn out, where tolerances are no longer being held to their required minimums, then even though it's new, it could be a piece of junk. I know for a fact that this happened in the US auto industry when Chrysler absorbed AMC-Jeep. AMC was building its cars on worn-out machinery that was overdue for replacement, but AMC wasn't generating enough capital where they could afford to do so. So when Chrysler bought out AMC-Jeep, they were hoping for all the increased production capacity but instead what they bought was a bunch of production space with worn out machines. And the Chrysler products that were being made shortly after the merger reflected this, especially the engines that were being machined on machines that weren't holding factory spec tolerances anymore.

So this got me to thinking about this Sigma 600. I'm asking myself, what if the later Sigma 600s -- like mine -- were being produced on machinery that was getting worn out and the tolerances just weren't there anymore? My first Sigma in Canon FD mount, I bought in early 1984, so it was probably built in 1983 or earlier. My current Sigma was probably built in 1988 or later. That first Sigma I owned was a very sharp lens, whereas this current one is just so-so. And I can't help but wonder if maybe the reason for the difference is the age of the manufacturing machinery.

What do you think? Does this make sense to you? One quick way to see if my theory has any truth to it is to find out what BeardsareBest's Sigma 600's serial number is. So, how about it, BaB? Care to tell us what the s/n of your lens is?

[Edit] Well, hell! I just constructed what seemed to me to be a reasonable argument and I scroll up only to see WNG555's Sigma 600 and I immediately notice that it is an early version. S/N on that lens is probably in the 2 to 3 hundred thousand range. Yet he's having problems with his, as we've seen. So either his is an exception to my carefully crafter argument, or my carefully crafted argument is worthless. Oh well. I need more data!


Last edited by cooltouch on Mon May 18, 2015 9:18 pm; edited 1 time in total


PostPosted: Mon May 18, 2015 9:35 pm    Post subject: Reply with quote

When focused properly it does seem to be a pretty decent lens. I've got an OM fit version that I used with my canon. Now I've moved to nikon I can't fit it. This is one of the best images I got with it, a bit noisy.



PostPosted: Mon May 18, 2015 11:11 pm    Post subject: Reply with quote

Good detail, nonetheless. Were you able to get that close to the squirrel, or is that a crop? Oh, and can you give me the first couple of digits of your Sigma's serial number?


PostPosted: Tue May 19, 2015 5:15 am    Post subject: Reply with quote

FYI, My defective one is: 900928, and yes, it's an older model, with the chromed steel handle for the filter holder, straight focus rubber pattern, and a push button release to select portrait or landscape for the tripod collar.
Too bad, mine is going back tomorrow.

Don't forget, there was also an XQ version offered. I missed out on one of those on ebay. Perhaps that's where the Ser. # hole goes.


PostPosted: Tue May 19, 2015 8:00 am    Post subject: Reply with quote

I'm not familiar with the XQ version. What was the difference? Have you ever used one?

Your 9 hundred thousand one seems as if it's more like the ones I saw that had s/n's in the 2 to 3 hundred thousand range. Huh, curious. I have a line on an early one in Canon FD mount that I'm thinking about picking up that resembles yours, but now that I read your problematic one sounds as if it's from the same generation, I don't know.


PostPosted: Tue May 19, 2015 8:22 am    Post subject: Reply with quote

Serial on mine is 219553.
straight rubber grip
plastic filter mount.
hope this helps Smile


PostPosted: Tue May 19, 2015 8:29 am    Post subject: Reply with quote

cooltouch wrote:
Good detail, nonetheless. Were you able to get that close to the squirrel, or is that a crop? Oh, and can you give me the first couple of digits of your Sigma's serial number?

I was able to get that close, that image is the full 8mp off the 20D. Serial no off mine is 202739