Today, I thought it might be a fun video
to talk about my favorite lenses over the years.
Not necessarily best as in like, you know,
best objectively, best optical performers
because I think if that was the list,
it would all just be uber expensive cine lenses.
But instead lenses that have had
either a significant impact on my career,
lenses I've used a lot
or lenses that have some kind of sentimental value.
But I didn't wanna just do all the lenses myself.
So, we have a guest:
Terry Warfield, everybody.
(audience cheering and applauding)
- Sup?
- He's here to help with the list.
I think I'm gonna do five. Terry's gonna do five.
We also wanna hear what some of your favorite lenses are.
You'll get a better sense
of what we're talking about as we get into it.
But let us know in the comments.
A lens that means something to you and why.
- A lot of times it's about nostalgia, right?
Nostalgia, and like, sometimes it's an area,
and maybe this ties into nostalgia some.
So, some lenses remind me of something, right?
Like a situation I've been in or maybe a period of my life.
- I think you're 100% right that lenses can almost represent
a time in your life-
- Yeah. - That's when
I was using that lens. - Yep.
- And it probably means more
than how sharp it was
or whatever. - Yeah.
- And I thought this'd be a fun topic
because often on this channel
we're nitpicking longitudinal chromatic aberration
or something like that.
- Yep. - And instead it's like,
"What lens were you using and why is it special to you?"
- Yeah, the first lens on my list,
and again, this is no particular order.
50mm f/1.2 Gangsta Mode.
Okay? - Okay.
- It is um- - He means G Master.
- G Master.
- For the people that aren't familiar with Terry Warfield.
By the way, I didn't really give a proper introduction.
We operate in the same circles, but there's a chance
that some people haven't seen both channels.
- Hey, it's me.
All right, I don't like calling myself a filmmaker.
I don't like calling myself a photographer.
I don't like calling myself, what's the other word?
Influencer? - Influencer.
I fricking hate that word.
Listen, I'm just a nerdy dude who like cameras,
who like to go on videos talking about these cameras
and trying to teach skills that I know
and I've learned along the way.
So, I'm just trying to pass the torch and pass it down
so that's what I do.
I'm a 50mm snob.
- Okay. - All right?
I know some people prefer 35 and whatnot.
I love 50mm.
And actually this is my one lens
that is not tied to anything sentimental.
I purely love the 50mm f/1.2 all based on ability.
It's a crazy sharp lens.
The bokeh is really, really good.
And of course, it's the G Master and all that stuff,
but it's just an amazing image that comes out of it.
If I had to pick my thing that I don't like about it,
it's a fat lens.
- Yeah. - It's a big lens.
- And they made the 1.4 after.
- And it- - Which is more compact.
- And arguably, and I said this in my video,
probably 95, 96% just as good for what is it?
A thousand bucks less? - It's significantly cheaper.
Yeah.
For my first lens, I'm gonna go
a little bit of a different direction.
This is a Canon EF.
So, DSLR 24-105 f/4 L IS USM.
- AKA dinosaur is what I heard.
- The only reason why I'm putting that much effort
into the lettering is because Canon
makes multiple versions of every lens.
So, this is basically the Mark 1
of the 24-105 f/4 for EF with stabilization.
I don't know how it stands up to 2023 standards.
I don't know, man.
But it was for years, it was like a workhorse lens
that felt like it had no business being as sharp as it was
for a crappy kit lens, right?
It's not a crappy kit lens. That's the point.
And I think like there was probably some primes
at the time that it was competing with.
The only issue you could say is a little bit slow at f/4.
- Yeah. - That'd be my con.
That lens was a significant portion of my camera journey.
And so, I gotta give it props.
- That's fair.
And I'll say that 24 to 105 is probably one of,
it probably is the most versatile zoom range out there,
even if it's f/4.
- Although speaking of Canon in 24-105s,
have you seen, it's for RF now?
I'm pretty sure.
Well, it's gotta be 'cause they're only making RF lenses now,
right? - Yeah.
- But it's a 24-105 f/2.8.
Have you seen this thing?
- No, but it's probably the size of a submarine.
- Yeah, it's big.
I think it even has like lens supports
and stuff like that on it because it's so big.
- Yeah. - Now, it solves
that problem of people are like, "I don't like an f/4."
But you're gonna pay the price.
Both the price and the size and weight.
- Did they come out with a price for it yet?
- Probably. I don't think it...
I saw that and I was like, "That's not for me."
You know? - Yeah, yeah.
- One thing I should say
is that I was talking about the Mark 1
not because it's better than the Mark 2
or anything like that.
I just never used the Mark 2.
I think the Mark 2 came on like 2016.
I was already transitioning to mirrorless.
But I mean it's probably a better lens.
So really it would be that one.
But I only ever used the Mark 1.
- I would think it would probably be a better lens.
(Gerald laughs)
15 years plus newer, right?
I think it's probably- - We're gonna make it worse.
- Mess with you.
- That's right.
All right, it's my turn.
- Yeah, what you got?
- My number two would be like,
it's a old school Minolta, okay?
- Okay.
- Minolta. - Who's Nolta?
- Minolta. - Okay.
- It's not my Nolta?
. Oh, no, no. It's my Nolta.
The 70-210 f/4 beercan.
It's just something about the image quality.
It wasn't the sharpest lens out,
but you know how we like
to throw this character term around?
- Yeah. - When we talk about lens.
- You gonna bring on that character?
- I'm gonna bring it out.
It had freaking character.
And it gave you,
what's the lenses that have like the swirly?
- Yeah, they got the Helios. - Uh Helios.
It had like almost Helios type bokeh.
So real, real swirly bokeh.
And it was just a legendary lens for old Minolta cameras.
And honestly, it's still sitting at home on my shelf
and that's one lens I refuse to sell.
- Is that how they say it in Cleveland?
- Yeah. Minolta. - Okay.
- Now, that's the lens for me that had nostalgic value.
- I bet. Yeah. - Right?
Because we used to, my stepmother
used to have a old Minolta camera.
And I remember she would never let me touch it,
so I would wait till she left and I'd be like,
"I'm gonna touch this fricking camera," right?
But that's how I got into...
- Oh, Terry gonna touch that-
- I'm gonna touch that camera.
Tight Shirt Terry gonna touch that camera.
But so that was a lens for me that had like nostalgic value,
although it wasn't technically
the best. - No, I get it.
- Right. - That's a nice story.
For me, my number two would probably be a Sony 20mm f/1.8.
- Ooh.
- And this one is weird because I don't have
any of the other reasons for it as far as...
Like optically, I think it's darn good.
- It's good.
- It's not like the most excellent, but it's pretty good.
And I just had a lot of really great photo sessions with it
where I really liked the field of view architecture stuff.
I was like walking around New York,
I took one of my favorite pictures
of the Chrysler building with it.
And I was just like, "I like this lens."
And everything about it just...
I don't know, like there was a couple times
where I took a shot of like, sort of a pretty cliche
typical one of a New York City building
where you can see in the windows a little bit
and some of the lights are on, some of 'em are off.
But there was one down in the corner that I realized
somebody was actually creating a silhouette in the window.
And I was like, "Oh, how lucky is that?"
But it's gonna be junk down in the corner.
And I zoomed in over there.
I was like, "Oh, that's actually pretty sharp
and pretty nice."
And I think that's when they sold me on it when I was like,
that shouldn't have worked out as well as it did.
And then, you know what I started doing with it?
It became the studio tour lens.
I guess for me it's always like,
did you help me somewhere along the way
more than just sit on the shelf
and collect dust or something?
Which some lenses end up there.
This was not a dust lens.
This was a on the camera, getting it done.
- All right, third one. I'll make this one short.
Tamron 17-28mm f/2.8.
- Okay. - Fantastic lens.
- It's not the sharpest tool in the box,
but super small, super lightweight.
17-28, I used to think it will be a problem
'cause I'm like a 16-35-
- Right. - Type of dude, right?
But I'm willing to accept that trade off
to get a lens that small, right?
I might be missing out a little bit on the long end,
but I get f/2.8.
I get a barrel that doesn't extend
when I zoom in and out, right?
And the image quality is decent and it's small.
And what I love about it is back
when I did used to run gimbals,
even though I can't stand gimbals now.
- Balance. - Is the balance
doesn't change.
So, no matter if I'm at 17 or 28,
I don't have to recalibrate the gimbal
or anything. - That's good point, yeah.
- I think the only thing I didn't like about it
was it doesn't have Tamron's new design language.
So, it does feel a little cheap and plasticky.
I mean, I think they could definitely give it a refresh.
And again, it wasn't the sharpest tool.
- So it never got a Mark 2?
- It never got a Mark 2.
- A lot of the other ones, they've already
done that, right? - They have already.
So hopefully, hey, Tamron, we need a Mark 2 version, okay?
But even the Mark 1 version is real, real good.
That's probably my most used lens to be honest.
It's actually a perfect time to talk about Tamron
because Tamron is actually doing a giveaway
for a brand new 20-40mm f/2.8 zoom lens,
which I reviewed a while back.
It was that tiny little lightweight 20-40 zoom.
- [Terry] Yep.
- That speaking of gimbals, balances extremely well,
and the gimbal doesn't change too much.
Did you like that lens?
Did you review it? - I did. I did.
Yep.
- And it's got those VXD linear motors
so the autofocus is precise and fast,
whether you're shooting stills or video.
And you can customize it with Tamron's little lens utility.
I used it for the 35-150.
- Yeah. - I love it.
I don't usually like lens utilities,
but the Tamron one is actually pretty dope.
- It's really good.
- The giveaway is open to residents of USA and Canada only.
But if you're a Canon or Nikon DSLR user,
you can still enter the giveaway
because Tamron will let you substitute
for their SP 35mm 1.4 lens
since the 20-40 is only for mirrorless cameras.
So, to enter giveaway,
just use the link in the description below.
Entry starts today and closes on December 10th, 2023.
The winner will be announced by me and Tamron
on December 11th on social media.
And the winner will also be notified by email as well.
No purchase necessary.
See the link below for the complete rules.
- The question is, "Do you wanna win?"
And the answer's probably yes.
So, go get it. - Yeah.
- It's a free lens. - It's a free lens.
- Yeah. It's a great lens. - Go get it.
- I like it a lot.
Uh, my turn?
- Yeah.
- Why don't we keep it on the Tamron kick?
- All right.
- Because I mentioned the 35-150
and this would probably be my newest,
newest favorite lens if you will.
Using it right now.
Terry's lovely face is being shot.
- All of this.
- On this 35-150 right there.
- All of this. - Look at him.
We have it set to about 85mm.
Obviously the versatility is the main thing.
- Yeah.
- Let me show you guys something.
We can go all the way to 35.
Look at this.
You see this stuff? - Where did you
come from, man? (laughs)
Where did you come from?
- [Gerald] You're seeing stuff
you're not supposed to see right now.
And we wanna get real tight, intimate.
- All up in here.
- That's right.
Terry, tell me something emotional right now.
- I gotta use the bathroom.
- I see the gravitas behind needing to use the bathroom.
So, when I first got sent this lens,
I was, this sounds crazy.
35-150 and it's got a variable aperture?
I usually don't go in for variable apertures
because I always end up stopping down.
I love the Sony 100-400,
but whenever I use it for video,
I would just set it to 5.6.
I don't want my exposure changing-
- Right. - When I'm zooming, right?
- Good point.
- So, there's a lot of things about it that I thought,
"Ah, I'm not gonna like this lens."
But they've actually done something really smart,
which is that you can use it almost like a separate lens.
A 35 f/2. Use it for that purpose, right?
Or you can use it as an 85 f/2.8
in this shot, which is good for video.
Yeah.
But then we also got the rest of the zoom range if we need.
For crash zooms and stuff, it is awesome.
- [Terry] Yeah.
- You know what Taylor Jackson told me?
A big wedding guy.
- Hey, Taylor. What up?
- He said that it's like the number one,
like wedding lens now.
- Yeah. - The 35-150.
- I could see that.
I tested and reviewed the 35-150.
And I had the same sentiments at the beginning.
Like, nobody wants this focal range.
- Yeah. - Nobody caress
about a fixed, I'm sorry, a variable zoom aperture.
You know what I'm trying to say?
- Yeah. - I'm getting tongue tied.
- But come to find out,
I think that's one of the most versatile lenses out there.
- Yeah.
- It covers like such a wide gamut of focal lengths
that we traditionally use on a day-to-day basis.
For me, I prefer it,
and this might sound crazy, over 70-200, right?
- Because of the extra wide stuff.
And y'all also have to understand
that it's a lot more difficult
to get wider than it is to get longer.
- Yeah, going from 150-200
isn't gonna make as big of a difference.
- Right. - As getting an extra 35mm
on the wide side. - Right. Right.
So, I don't know, man.
That lens is just, it's really good.
And I'll say a con for you, okay?
It's fricking huge!
- It's big.
- It is a big lens. - Big and heavy.
- But at the same time I'm okay with the trade off
because I'm getting pretty much three fricking lenses.
- Yeah. - In one.
- And would it be any different
than carrying around those three lenses?
You know what I'm saying?
Versus just one huge lens, so?
- And in an application like this,
for me it just lives on my camera.
It has not left one of my bodies.
It has been permanently mounted.
That's how much I like this lens.
What do you got next for us, Terry?
- Alright, Sony 24mm f/1.4 Gangsta Mode.
- Okay.
He still means G Master.
- G Master, okay? (laughs softly)
Listen, lemme tell you something.
The only word I've been able to use
to describe how the photos or B-roll look,
'cause it's a great B-roll lens is magical.
It is a really magical look that's hard to replicate.
But there is a catch with that lens.
- What's that one?
- Breathing.
Focus Breathing. - Oh sure. Yeah.
- That thing breathes more than a runner
who just got done running five miles.
Like, it's ridiculous.
So, like as a video lens it's fantastic
and with newer cameras with breathing compensation,
obviously they combat it,
but then you get cropped in a little bit.
I think that's the major, major con is the breathing.
Otherwise, it's a beautiful lens.
- It also felt like it was a turning point for Sony
that when it came out people were gushing over it
because it was like, "Is this what we can expect now
from these new G Masters?" - It was so sharp.
- Just so sharp, so high quality, compact.
It was like it had it all.
- Yep.
- I'll throw my G Master in now.
- Okay. - Also breathes.
Might even breathe worse.
I don't wanna cheat and make it two lenses,
but I was tossing and turning
between the 35 f/1.4 G Master and the 35 f/1/.8
because I've used them both a lot for different reasons.
Because of the breathing, my video lens was the 35 f/1.8.
In fact in the studio that was previous to this one?
All the videos, pretty much all the videos there
were shot on the 35 f/1.8.
I loved it.
For the bang to buck, size, whatever, it doesn't breathe.
It's like $700.
It might be the best value sort of like
fixed 35mm video lens that you can get.
- It was tiny.
- That would be the con though is that it's a weird lens.
Like the shape
and it doesn't have many switches or anything on.
It doesn't fit the form factor of any other Sony lens.
The front filter, diameter's like 55mm or something.
- Yeah, you know, that that lens reminds me.
Have you ever went to the store
and bought like sliced olives in a can?
It looks like a sliced olives can is what it looks like.
- You got beercan lenses. - Yeah.
- You got sliced olive cans lenses.
So, love it.
That's my like, I don't know, cheating kind of tie pick.
But I went with a 35 f/1.4 G Master
because now we do have
focus breathing compensation. - Yeah.
- Which solves that problem.
And if it wasn't for the focus breathing
that lens is perfect.
It's absolutely perfect.
I recently did a video where I compared it
to the ARRI Signature Prime,
which is like an insane 35mm lens and you'd be,
it's like so good compared that like, it's not as good
but it's so close that it's a marvel
what they're able to accomplish in such compact size,
albeit a ton of focus breathing.
But the main thing for me and the reason why I said
I would come back to you on the 50mm
is that I like to close focus
and that's the reason why I choose the 35
and why I don't play with the 50.
The 50s aren't for close focusing.
Get a different lens. That's what you want, right?
- Yeah.
- But the 35, you can get so close.
And I'm the type of person that I go on a photo walk
and I'm looking down on the ground
and I see some weird like bark
and stuff doing some weird stuff.
I get right down in there.
And when I got that G Master for the first time
and I did that?
I was so up in the business, Terry.
And a lot of other 35s that I've tried
that you can get close with,
they suffer from a little spherical aberration or something.
This kind of like glisteny softness.
There's none of that on the G Master.
It is tack sharp, as close as you can get,
and you can get closer than anything else.
You create these really interesting, surreal,
it's because it's wide, it's 35 wide but you're so close
and it's so shallow that you get these like surreal,
almost like Salvador Dali kinda like scapes of like-
- [Terry] Are they of mushrooms?
- I do. I do have one of mushrooms.
- You know, so when you go on Pinterest or whatever,
you type in 4K wallpaper and it's just mushrooms?
- I took those.
- Gerald took 'em.
But seriously, I got two thoughts on this.
Okay? - Okay.
- First of all, I remember testing that lens out
and the breathing was so bad it made me not wanna use it.
Like, it's absolutely terrible.
And I get we have
breathing compensation now. - You can't overstate it.
You can't overstate it enough. - No.
- It breathes. - It's so bad.
Like, you would almost have like a focal length change.
- You might as well. - Like zooming in there.
- Your manual focus ring becomes a zoom ring.
- A zoom ring, right. (laughs)
So, there's that.
I never took up close portraits with it.
I got so turned off by it from the breathing.
- Yeah. - That I never
went back to it.
The image quality was great.
- Yeah. - I will say that.
But you know, it just, back when I did test it to be fair,
back then I was not happy with it.
But I will give it another go
based off of hearing your thoughts
and the fact that we do have breathing compensation now.
- Okay. - All right?
- Now I have one more.
- Okay.
- Sigma 18-35 f/1.8, okay?
- I would've put this on my list just so you know.
Like, I'm with you.
- It seems like every lens I throw out there,
you're like, oh I would've put that on my list too.
But okay, seriously.
The Sigma 18-35 was a mindblowing lens.
Even though it was just a crop sensor lens.
- That's the thing.
You think 1.8, and you think yeah but it's a crop lens.
You can put that thing on a full frame camera
and only like 18, 19 is off limits.
If you shoot like 20, 21 and onward?
It looks like
a full frame lens. - Full frame.
That's one of the lens I think Sigma needs to remake, okay?
Make a updated version for like E-mount.
I don't, that's when it lens out.
- Well yeah, 'cause that's an EF lens.
Yeah. - It's an EF lens.
I wouldn't even care if Sigma
just slapped a MC-11 inside of it like they do
for another lens, right? - They've done that before.
- But I really think they need a refresh.
That lens was legendary.
If I had to pick one con about it, it was a big lens.
It was a big lens. - Yeah, it was.
- You know, if I can add in 'cause it also,
was one of those periods for me where I used it a lot.
Not previous set but the set before that.
I was running a Blackmagic Pocket 4K
and I think like a lot of people
when they ran Micro Four Thirds, it was like the formula.
- Yeah. - You go Micro Four Thirds,
Metabones Speed Booster. - Yep. Yep.
- 18-35. - Yep.
- When you do all that,
yeah you're coming outta that body pretty far
and it starts to get pretty bulky
to the point that you can get supports for that.
I just left that thing bolted down basically.
I had the lens and the mount
all supported to the cage on the 4K.
It was like, that's the permanent setup.
But that's all you needed
because the focal length then gets speed boosted,
but then multiplied- - Yep.
- by Micro Four Thirds.
And you get this really versatile,
fast, beautiful lens combo.
Of course that would only work with EF though.
- Right.
- 'Cause you can't do any of that speed boost and stuff-
- Right. - If they make
a mirrorless version, right?
And maybe, maybe it just belongs where it was
as like this legendary lens.
I see what you're saying about wanting an update.
But yeah, kudos to the Sigma 18-35.
I think a lot of people would put that down
as like an important lens to their journey.
I'm gonna do a Sigma as well.
- [Terry] Alright.
- So, this is the lens that
I don't know how many people in my audience
are familiar with 'cause it's niche and it's weird,
but it's the Sigma 120-300 f/2.8.
That's a constant 2.8 all the way from 120-300.
If you're visualizing a large lens, you are correct.
I think with the hood on it, it was probably like,
like it was big and it was metal.
The hood itself was metal. You had to like bolt it on.
- [Terry] Wow.
- It was, but the funny thing is it's so rugged.
We were using it for hockey
and it took a puck strike one time,
which is why you always put your hoods
on your expensive glass.
- Put your hood on. - Yeah.
Because if that hit the front element, man, right?
But anyway, slap shot right off the hood.
The hood like had a scuff on it.
Kinda like that rubber scuff thing.
But it didn't even dent.
That's how strong this thing was.
- Wow.
- Now, I should say that there was two Sigmas
that were similar focal length,
but there was a time where Sigma transitioned
into making Art lenses and Sport lenses.
They started putting those little silver circles.
- Yeah, right.
- So this was a sport. It's the, I wrote it down.
It was the Sigma 120-300 f/2.8 DG OS Sport.
It had stabilization. That's the OS.
- JKLMNOP.
- That's right. Yeah.
- QRST. (laughs) - All that.
But not the other one.
The H whatever without stabilization.
And when Sigma was making
like black and gold lenses and stuff like that.
So this is, yeah.
- Oh, I remember that.
I remember that. - 'Cause I think
they were making it for Nikon
and stuff too, right? - Right. Yep.
- So yeah, this is the proper sport lens.
I think it's probably discontinued now.
But I recently, Sony just came with that 300mm lens.
- Mm, f/2.8.
- And I was talking about back in the day
was using a Canon 300mm.
And the Canon 300mm was more expensive.
Then Sigma came out with this one for a couple grand less
and it was a zoom.
I was like, "Well, let's give it a whirl."
But obviously, the purists were like,
"Well, the Canon one's sharper in the center
and everything else, right?"
But there was something that Sigma could do
and this is the reason why it gets on my list.
Shooting hockey, right?
You're at 300mm, you're shooting the goalie,
you're shooting somebody across the ice.
And then, there's something cool going on over the bench.
You pan a 300 Prime over to the bench, you got nothing.
It's this blurry,
you're within the focus range that you can't,
you know? - Yeah, it's a blurry mess.
- Exactly.
- With this one, as you pan, you zoom down to 120
and you get this cool shot of like the coach,
like talking to the player or something.
It's like a candid moment, right?
And then that player skates back on the ice, down to 300
or back, I guess, up to 300
and you're tracking 'em again.
For the weight,
I mean you had to put this thing on a monopod.
You could not hand hold it. It was a monstrosity.
But the fact that you could do that.
When you're the only person that gets that shot,
that tells the whole thing, right?
Other people were slinging.
So, they would have their 300 here,
they would sling up and try to do that kinda thing.
It's a different animal
when you're doing this kind of thing.
- So, I have never heard of this lens before.
- I bet you- - That sounds crazy.
- Yeah it's, I mean I don't imagine anybody
would have an interest in it unless you were probably,
well, sports probably, right?
Like, what else?
And you know, to be fair,
I don't know that it has a place anymore
because nowadays you got really good 70-200s.
- Yeah.
- Put a teleconverter on there
and you end up with like, what?
Like a 140-400 or something,
you know? - 400.
- So, you don't need it, but there was a time
and a place for it when it was this nice,
just this great little lens.
It wasn't little. I shouldn't. (chuckles)
- So, what did you do with it? You sold it?
- Yeah, and you know what's funny?
Is the people that bought it weren't putting it,
this was a Canon mount.
I think they were shooting Nikon,
but Sigma at the time and maybe they still did it,
would change mounts for you.
Because the optical formula didn't really change,
they'd have to just do a little flange work.
- Right.
- And so, you could take it into Sigma
and they would swap out the mount for you.
And so yeah, I think maybe you couldn't get 'em anymore.
And this person, there was no Nikon one left.
The person was like, "I'll just buy it.
Take it to Sigma, and get it on my Nikon thing."
'Cause it's still a sought after lens.
But man, and because we would take it to rinks
and it was metal, it was so cold.
Like, the lens. - Oh yeah, I believe it.
- Yeah. - It was just like,
felt like ice cubes, man.
Okay. You were gonna say an honorable mention?
- Yeah. I'll give an honorable mention.
- Okay.
- I got a few, right?
But I think I'll give the honorable mention
from my list to the Sony 90mm f/2.8 Macro.
- You're not gonna like this, Terry.
- What?
- I was gonna put that
on my list. - I knew it.
(both laughing)
I knew it, man.
- My lifetime fans know I love that lens.
- Man, let me tell you something.
- Okay. - Okay?
I know them lens is old and antiquated and all that stuff,
but there's reasons that this lens was fantastic.
First of all, 90mm at f/2.8, it's a good portrait lens.
- Yeah. - Right?
- It's dual purpose.
- Yeah, it's not a 85 f/1.8, but it can get real, real close
'cause you got that extra 5mm-
- Very sharp in the center.
- Super sharp, right? So, there's that.
The next thing is macro obviously.
And that for me is a big deal.
I know you talked about like macro with the 35mm.
- Well, like close focusing, but I'm not getting true macro.
- Right, so this is a true 1-to-1 macro.
- 1-to-1. - Right?
- With the focus clutch.
- With the focus clutch built into it.
And I'm not gonna lie,
I'm not gonna do the movement on camera, but-
- It's satisfying. - Yeah it is satisfying.
So, there's that.
The fact that it has stabilization built into it.
- Oh, I forgot about that.
- Yeah, it has.
- But it's noisy, isn't it?
- It is noisy and the autofocus is also
noisy too, but- - Yeah.
And not the sharp, and not the fastest autofocus anymore.
- Right, right.
But that's definitely my runner up.
- That at one point
would've been my favorite Sony lens for sure.
Terry, I wanna say thanks for coming on the show.
I appreciate it. It's always fun hanging out with you.
- I thank you for letting me come on
the Gerald Undone podcast show thingy whatever.
- It's my talk show.
- Talk show. - Its my late night talk show.
- Late night talk show.
- It is late night now too. - It is.
- Last time I was on your channel, I did my outro.
Do you wanna do your outro?
- I will do my outro.
- I remember it now. It's like a?
- Don't mess it up.
- Squeaky. The squeaky grease gets the wheel or something.
What was it?
- This guy's about to get taken hostage
if you ever try to botch my outro like that again.
- Okay. Lay it on.
- Peace and chicken grease.
Tight Shirt Terry Warfield and Gerald.
We out. Peace.
And we're done.