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No.6 x 2.75 (3.5mm x 70mm) TX Countersunk Self-Tapping Screw - Stainless Steel (A2) (Pack of 20)

£4.475£8.95Clearance
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Sure, it has some caveats in the image quality department. Most notably, corner sharpness isn't stellar at telephoto while wide-open; close-up telephoto shots wide open can have a soft dreamy look , and it's also quite prone to cat's eye bokeh effect. But honestly, depending on your subjects, those may not be major concerns for you. And image quality is otherwise solid, with very good sharpness across much of the focal range, pleasing bokeh, and good resistance to aberrations and ghosting. It's aimed at photographers and videographers who want a bright walkaround zoom and the bokeh possibilities that a wide aperture brings but who don't want the size, weight and cost typical of many F2.8 zooms. Travel and landscape photographers in particular will find its modest size and weight appealing, and it also offers potential as a portrait lens or for video capture. Focal Length: 35-70mm. Used on a DX camera it gives angles of view similar to what a 50-105mm lens would give on an FX or 35mm film camera. See also Crop Factor. And since it is so lightweight, balance is very good. Regardless of the mount variant you choose, it shouldn't feel front-heavy on any body you might want to pair it with. Up front, you'll find 67mm filter threads. That's the same size as used by its Tamron rival, while the Sigma 24-70mm F2.8 opts instead for a larger 82mm filter thread.

Life is all about compromises. With a bright, continuous aperture and minimal size and weight being the key elements of its design, it's not surprising at all that the Sigma 28-70mm F2.8 DG DN's image quality can't quite compete with larger, more expensive alternatives like Sigma's own 24-70mm F2.8 DG DN Art. On the telephoto end the maximum magnification ratio is 0.22x. Close-up subjects shot at 70mm can appear soft and dreamy. Sharpness drops off a little at the corners on the wide end at F2.8, but stopping down to F5.6 gives a relatively flat field of focus and improved corner sharpness. That said, focusing in the corner yields higher corner sharpness than focusing in the center and stopping down, indicating a curved field of focus. Focusing in the corner and stopping down yields even better corner sharpness, as expected. The not-so-flat field of focus, at least in part, contributes to the peripheral softness when focusing centrally. Distortion isn't an issue for the L-mount version thanks to automatic correction, but the Sony E-mount variant shows some barrel distortion at wide-angle and quite prominent pincushion at telephoto. Proper fraction button and Improper fraction button work as pair. When you choose the one the other is switched off.Proper fraction button is used to change a number of the form of 9/5 to the form of 1 4/5. A proper fraction is a fraction where the numerator (top number) is less than the denominator (bottom number). Sunstars are relatively pleasing, with 18 rays thanks to the nine aperture blades. They're not as tight as they could be – each ray splits and diverges into two rays – and as expected stars on the wide end look better than those on the telephoto end where they can appear a bit 'messy'. This lens is a joy to use. It just works, never gets in the way, and yields great results. Just be careful not to let the sun shine into it for fear of veiling flare. It doesn't hurt that it's also among the most affordable F2.8 full-frame standard zoom options for the E- or L-mounts. For the size, weight and cost-conscious, it's definitely worthy of consideration. The 35-70mm f/3.5 AI is a masterpiece of precision. You have to feel one to appreciate it. The focus flips with a fingertip from 3 feet (1m) to infinity. All the zoom action happens inside the barrel: the front and rear groups move around inside the barrel while the exterior doesn't move at all.

So when does a zoom make sense? When it covers more than one easily discernable FL. But 28-70 doesn't do that. It has a single useful perspective for me. A "normal" perspective. I would need to augment it on both sides with a lens that is wider and a lens that is more tele.

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If you prioritize outright image quality and durability over size, weight and cost, we'd recommend the fully weather-sealed Sigma 24-70mm F2.8 DG DN Art. And for E-mount shooters who are more size, weight and cost-conscious but who need to shoot regardless of the elements, the Tamron 28–75mm F/2.8 Di III RXD also offers a compelling alternative if you can live with its more distracting bokeh. NIkon made a 43-86mm f/3.5 zoom before this, but since it is neither a normal zoom (43-86mm is normal to tele), and since it was never pitched as a professional zoom, I'm not counting it as Nikon's first pro normal zoom. The 43-86mm was a convenience zoom, not a zoom with which to earn one's living. Production History: The 35-70mm f/3.5 AI was introduced in 1977 and built until it was replaced by the 35-70mm f/3.5 AI-s in 1981. Nikon made about 50,000 of these AI versions.

So if I have to augment the 28-70 with two additional lenses, I might as well save weight/space and gain capability with a single prime.

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It holds focus while zoomed. Of course if you focus at 35mm you don't have enough precision to ensure focus at 70mm. Focus at 70mm and the focus holds as you zoom wider.

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