tamron sp adaptall-2 系列中，這支Tamron SP 350mm f5.6 Model 06B 的反射鏡，是騰龍成名之作，主因是用來和minolta 250mm f5.6 打對台，和你差不多大小，比你長100mm，有更強的離軸光學表現。但對於我個人來說，入手了很多反射鏡頭，其實都未一一放上gfx 50r 中片幅機上試試shot。很可惜，今次就先找tamron來開個頭。
此鏡真心小巧，以577g 重量就可以享受350mm的世界，值回票價。
光學也不複雜，但頭組是膠合，七片四組的結構，也造成巿面上，很多tamron 350mm f5.6都是離膠的。找一支好品相，不易。不過價錢就和被炒貴的minolta 250mm f5.6 便宜幾倍。minolta 250mm f5.6是不是如此優秀? 再強，也不過是一支不能收光圈的反射鏡，能有多強???
看看tamron是怎讚美自己這支鏡:
「The SP 350mm delivers excellent optical performance, is the same diameter as the SP 500mm F/8, but is somewhat shorter in overall length. Its surprising that other manufacturers, after introducing their 500mm F/8 mirror lenses, didn't think of the idea of producing a similarly sized lens which is 1 F/stop faster. Thus the 350mm F/5.6 by Tamron was born! Most importantly, Tamron did an excellent job of minimizing off-axis vignetting (light fall-off) and in obtaining very good off-axis optical performance. Minolta, for example, produced their very compact 250mm F/5.6 mirror lens, but the Minolta 250mm had somewhat noticeable off-axis vignetting. Note that the Minolta 250mm F/5.6 mirror lens is, nevertheless, an excellent performer. Tamron, however, realized that compactness wasn't the most desirable design attribute if off-axis vignetting was not minimized and if off-axis performance was not optimized. Tamron correctly realized that, due to the fixed the dimensions of the 35mm film format, that 350mm is approximately the minimal focal length for which a high performance mirror lens can be designed which has minimal off-axis vignetting. Thus the SP 350mm F/5.6 is the same diameter as the SP 500mm F/8 mirror lens, yet has minimal vignetting and, amazingly, also has excellent off-axis optical performance. Accurate focusing is critical since the secondary mirror obstruction diameter is around 50%. The SP 350mm focuses down to 43.3 inches (1.1 meters) for a 1:2.5 macro reproduction ratio. Always use the included lens hood for maximum contrast. This is one of very few mirror telephoto lenses which actually can be hand held without using either a monopod or a tripod.」
我個人覺得單是1:2.5 macro 攝力快感，就比minolta 250mm 好。
老騰龍反射鏡，轉接5000萬像素的富士中片幅機身，解像力到底有沒有問題，黑角暗角呢???
上得中片幅，邊位的甜甜圈自然會變成街霸軍佬的阿力cool。
而發色方面，就很清淡，f5.6光圈下的散景就已很亂很暴力，大半身人像，背景都已足夠亂糟糟。
因為是中片幅的關係還是因為是反射鏡關係? 散景亂得來，有一種奶油味。或者是因為fujifilm 50r的關係。
Tamron SP 350mm f5.6 Model 06B x fujifilm gfx 50r的中心解像力不差，算叫清楚。但因為逆片幅上大sensor，不能用回原廠遮光罩，會造成成像圈。問題來了，不用遮光罩會點?
就是一吃中太陽側光，就會又白霧，又紫，中了曰光，自然就曰系了。
反射鏡上中片幅數碼相機好玩嗎? 散景過癮嗎? 另一個角度看，也算是很有特色，因為反射鏡的甜甜圈散景，完全崩潰，出現另一種味道。
和玩petzval鏡一樣，Tamron SP 350mm f5.6 Model 06B 應該只適合拍拍人像用。因為邊位成像基本上是崩壞的。就算是中焦，但成像效果都沒有中心好。
最後，又玩玩petzval 宮崎光學57mm f2，把鏡頭後的散景功能全開，扭到最強的枕變散景，試了幾張在gfx 的效果。
居然出現了柔焦聖光，不過petzval 就是要玩柔焦吧。
宮崎光學 ms optics 57mm f2 調了玻璃結構後，畫質柔了，散景也多了點味道，波波的光邊加強了效果，反而有種反射鏡味。
當然，紫邊也不弱。
旋轉散加放射散混成一體。
宮崎此鏡的五斷型態，其實我真沒有好好試一次。找天吧，找個公仔試拍一下。
為何不少美女??
歡迎大家提供美女。
