CameraTalk » lens

In: Series – Emily R

Kenny Smith — Sun, 28 Feb 2010 11:53:04 +0000

Worked with model Emily updating her portfolio. In this shoot we really went for lively natural poses, and focused on the overall colour palette.
Emily naturally has a real outgoing personality and turned out to be real athletic. I don’t know many models would just do a handstand on a whim, but it went real well with what we were doing.
Styling, hair and Make Up by Mel Grafton.
View the whole series

Tech Info: Canon 1Ds MkIII, 17 – 40mmL, 50mm 1.4, 20mm 2.8, Available light and a large reflector

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www.kennysmithphotography.com

How to Model – the Simple Truth

Peter Ching — Fri, 19 Feb 2010 06:51:35 +0000

There are times in a man’s life when he must face the camera. No doubt there are even more time’s in a woman’s life where she’ll be asked to do the same.

These are not moments to shy away. A reluctant model’s most likely reward is further torture when viewing the results. Aversion pays no positive dividends.

If you’ve had the benefit of being on the other side of the lens, you’ll especially know the frustration when someone tries to ignore the challenge and offers only the most sheepish of efforts.

The advice here, not directed at serious models, but at mere mortals, is: Go with the flow.

The mindset you need to adopt is to commit to your expression. If you’re happy, throw your head back, gesticulate, smile down the barrel of the lens. The camera is your friend.

If you’re angry, get mad, grit your teeth, clench your fists. Glare down the lens. The camera is your enemy.
Likewise, if it’s a serious shot, be present. Meet that camera with your eyes and have meaningful dialogue with it.

Speaking of dialogue, a prop can be useful to interact with. This works to direct your energies and creates a certain intent in the body as well as the facial expressions.

Remember, it’s your moment. Make it yours. Don’t hold back. At worst, the result will be memorable.

Thoughts on Buying New Camera Gear

Peter Ching — Mon, 08 Feb 2010 03:47:23 +0000

When it comes to buying, some cameras would have me on the rocks after the fashion of the fictional mermaid who lured sailors to their deaths.

Lenses? Well I wouldn’t mind owning, oh one or two of pretty much every last one of them. But fiscal reality dawns… must resist. This doesn’t mean, though, that I am without ambition.

I have some experience and equipment knowledge that, translated to advice here, you may find useful if you are planning a purchase. This advice is aimed at getting the best gear for the job while avoiding costly stops along the way.

First Things First
Make some decisions about the kind of photography you’re planning to pursue. Check sites such as pbase and flickr where you can view photos of all kinds. Do whatever it takes.
The aim is not to try to realise ALL your ambitions from the outset. Better is to make flower just one, perhaps two, aspects of your photographic vision.

The Camera
The camera is a recording device. But not all cameras are created equal. Refuse to get caught up in the bells and whistles of megapixels and pre-set “Picture Styles”. These are hardly prerequisites.

More important considerations follow:
High ISO performance – this refers to the camera’s ability to rise to the challenge of recording detail in low light. This will concern most photographers although, if you’ll always be using flash equipment, high ISO performance will be of little consequence. Similarly, if landscape photography is your thing, a good stable tripod will be more important to you.

Frame rate is for the birds, wildlife, action and sports. These subjects demand speed in focussing and the ability to capture frame after frame bursts. A camera that can capture 6 or more frames a second offers you a selection of shots from which to choose the perfect moment.

Sensor size is another decision. Full frame sensors are equivalent to 35mm film. A crop frame sensor is smaller than full frame by a factor of about 2/3. Full frame sensors allow a 50mm lens, for example, to view as it was designed. In the case of a crop sensor, a 50mm lens imitates the view through a 75mm or 80mm lens. The difference with the crop frame camera becomes an issue when you find yourself needing to stand further back to fit your subject in frame.

User-friendliness is another deciding factor. The least user-friendly model is one you can not afford. Other aspects might concern the camera’s menu system, the availability of “Live View” functionality, or perhaps the sheer weight or size of the camera. A camera that weighs more than a kilogram might not be your preferred option if you’re travelling. Likewise if hiking is high on your agenda.

Not the least to be considered is that camera models are superseded every year or two these days. Lenses may not be redesigned for decades. Most of the mojo is in the lens when it comes to the actual photographs. Think of the camera body as the bread, the lens as the filling.

Casting an eye to your budget, it would be better to apportion more funds to quality optics than deciding on a more costly body option at the expense of lesser lenses.

In the next instalment of this short series, I’ll be discussing the pros and cons of various lens options.

What Really Matters in Photography

Gabriela Sousa Rocha — Tue, 19 Jan 2010 05:40:36 +0000

Many may disagree but when it comes to photographic equipment, the thing that matters above all else is the quality of the images it produces.

I hear concerns about the noise produced by the lens focusing system. I hear people worried about the physical weight of a camera or lens. And I hear concerns about how easy it might be to operate a particular camera.

The last thing I’m concerned about is the noise a lens makes when it focuses. Lenses are made to take photos, not to play music. Some lenses have no USM (ultra-sonic motor) yet take beautiful pictures. To me that’s what really matters in photography.

Good glass takes good pictures. But good glass is usually big and heavy.

I know how comfortable and appealing having a tiny camera with lenses that take great pics but are light as a feather. It’s not realistic though.

Last but not least, the easier the camera is to operate, the more automatic it is and the less input you have. Photography is an art and, for you to fully express yourself, you need to bring your point of view across. If the camera does the thinking for you, you are merely translating the camera’s point of view.

If your true desire is to pursue and reap the rewards of photography, keep in mind what’s really important: quality images.

Canon’s new 70-200mm f/2.8L IS II USM Lens is finally here

Janaka Rodrigue — Tue, 05 Jan 2010 22:15:51 +0000

Quite some time ago we predicted that Canon would be releasing an update to one of the best lenses they ever produced – the 70-200mm f/2.8L IS USM lens. They’ve finally come to the board with the goods. Nikon recently released their VR (Nikon’s version of IS) II version of their 70-200mm f/2.8 lens which is prooving so far to be an extremely sought after product.

So what new features and designs does Canon bring with the new 70-200mm f/2.8L IS II USM Lens? Read the press release below to find out all the specs and improvements.

5th January 2010 – Canon today adds to its acclaimed L-series with the launch of the new EF 70-200mm f/2.8L IS II USM telephoto zoom lens. The lens launches as the successor to the immensely popular EF 70-200mm f/2.8L IS USM, offering improved performance in every area.

True to the L-series’ heritage, the EF 70-200mm f/2.8L IS II USM delivers optical excellence in the most challenging situations. As well as a revamp of the internal optical system, the lens has also been structurally re-developed as a direct result of user feedback, making it as robust and reliable as it is optically advanced.

“Reuters’ photographers have used the EF 70-200mm f/2.8L IS USM for a number of years and it allows photographers a great level of flexibility,” said Reuters Production Editor Kevin Coombs. “The focal length, fast aperture and Image Stabilizer all contribute to it being a workhorse lens and you’ll find it in many professional photographers’ camera bags. I’m very much looking forward to seeing the improvements offered by the EF 70-200mm f/2.8L IS II USM.”

Premium quality, premium performance

The EF 70-200mm f/2.8L IS II USM features a re-designed optical system, consisting of 23 elements in 19 groups to deliver truly impressive results. A high-performance fluorite element is used at the heart of the lens path, coupled with no fewer than five ultra-low dispersion (UD) elements, drastically reducing chromatic aberration throughout the zoom range to produce high contrast images with edge-to-edge definition.

A high-speed Auto Focus (AF) system perfectly matches the abilities of the recently-launched EOS-1D Mark IV and EOS 7D Digital SLR (DSLR) cameras. The new model also features a ring-type USM AF motor, which combines with a new high-speed CPU and an optimised AF algorithm to make auto focusing both faster and quieter.

A reduced minimum focusing distance of 1.2 metres (3.9 ft) and improved 0.21x magnification will allow photographers to get closer to subjects without needing to swap lenses – greatly benefitting time-pressured news and events photographers who require flexibility. An updated Image Stabilizer mechanism also offers a shutter speed advantage equivalent to four-stops, reducing the effect of image blur resulting from camera shake in busy shooting environments.

Enhanced design, exceptional ease of use

As well as an update to the internal construction, the EF 70-200mm f/2.8L IS II USM features an enhanced external appearance to improve lens operation. The thickness of protruding exterior parts and switches has been significantly reduced, guarding against accidental switching and creating an improved overall look. The rubber focusing grip has also been redesigned and widened; with finely-patterned grooves making it easier to manually focus.

Being an L-series lens, the EF 70-200mm f/2.8L IS II USM is fully weatherproof, making it ideal for use in all weather conditions. The mount, focus mode switch and focusing ring all feature a completely dust and drip-proof structure, preventing dust or water from getting inside the camera and lens when used with accompanying weatherproof EOS bodies. The lens has been designed to stand up to the daily wear and tear of professional usage, making it a highly durable, reliable lens for use day-to-day by professional photographers.

High quality L-series accessories

The EF 70-200mm f/2.8L IS II USM is supplied with several accessories, including the new ET-87 Lens Hood and the Ring-Type Tripod Collar B (W). A brand new Lens Case LZ1326 is also included as standard, offering quick and easy access when users need to switch lenses in time-pressured situations.

Compatibility with a range of optional Canon accessories also allows users to pair the EF 70-200mm f/2.8L IS II USM with the Lens Extender EF 1.4x II, Lens Extender EF 2x II, Extension Tube EF 12 II, Extension Tube EF 25 II, and 77mm filters.

Apertures… Open Wide And Say Aaah!

Gabriela Sousa Rocha — Sun, 01 Nov 2009 08:44:13 +0000

Everybody is aware of what it means to have a 70-200mm lens, or a 18-105mm. These days, the emphasis always seems to turn to the zoom range when it comes to buying a lens.

But how about that other set of numbers… the ones after the “F”?

Those numbers refer to aperture. They measure the diameter of the opening inside the lens that allows light into the camera. The “f stop”, as it’s called, can enable you to use faster shutter speeds, help you take great pictures in low light conditions without using a flash, and achieve beautiful depth of field.

Depth of field (DOF) refers to how much of the image from the foreground to background will be in focus. Wide apertures (represented by small f.stops) will give you shallower DOF. I’m sure you’ve seen portraits where the subject is sharply in focus and the background is out of focus.

Wide apertures combined with flattering light will likely lead to amazing photographs.

On another note, to properly freeze the movement when shooting sports or birds, for example, you’ll need fast shutter speeds. How fast your shutter speeds will need to be, will depend on the subject. In good daylight, fast shutter speeds can be achieved even without a wide aperture. But, in lower light, a wide, or “fast”, aperture will be essential.

Taking pictures in low light can be challenging, especially without a flash (in churches and museums, for instance, the use of flashes is often not possible). Consequently, slow shutter speeds are needed for sufficient light to enter the lens.

However, even when using high ISO settings, shutter speed limitations can result in blurred images. In low light, lenses with wide apertures guarantee faster shutter speeds for sharper images.

Wide apertures give you the option of shooting in the available light, even when use of a flash is possible. You can, with faster apertures, photograph in candlelight, which can be very flattering and create fantastic effects.

So when you consider your next lens, think about making it a fast one ─ it will take your photography to the next level.

Zoom Boom Doom

Peter Ching — Sat, 03 Oct 2009 06:37:46 +0000

Lenses? Everybody seems to want zooms.

Challenging the status quo, I put to you the following proposition:
you will get more joy from PRIME LENSES.

Despite the sad fact that nowadays some people are unaware of them, primes are simply the essence of really good photography. All those legendary photographs throughout the years, most of them in black and white? Yep, prime lenses.

Lens manufacturers achieve the finest expression of their craft in lenses of single focal lengths.

Achieving high quality performance over a zoom lens’s focal range, calls for a feat of precision optical engineering involving a complex array of glass elements. Zooming is a game of compromise with all that that entails — distortion, loss of sharpness at the perimeter of the frame, and chromatic aberration.

As a rule of thumb, the more affordable the zoom lens, the less likely will its performance satisfy. And although affordability is perhaps the central argument in favour of zoom lenses, the fact is you won’t see sparkling results from any but the most expensive of them.

On the other hand, a fixed focal length lens is a relatively straightforward piece of work.

Certain prime lenses lend themselves to specific photographic tasks. There are primes suited to portraits, some to landscape shots, and others are specialists macro lenses.

Understand that users of prime lens are not opposed to zooming. They forever talk about “foot zoom“. When they want the subject larger or smaller in the frame, they just use their feet. Apparently, this is quite a revolutionary idea to some zoom shooters.

Prime lens challenge you to find a perspective that will offer a pleasing result. To compose your image, there’s some old advice that suggests you move in close enough, then take an extra step closer. Alternatively, from up close, you might see an angle that presents an unusual view.

Prime lens: Canon EF 50mm f/1.2

Whichever way using a prime lens takes you, it definitely won’t lead you to becoming a less creative photographer. Rather the lack of zoom ability will cause you to think more astutely about the shot you’re about to capture. You will gain mastery over your equipment and avoid the trap of letting a zoom lens dictate your view.

So pay attention:
If your kit does not yet include a fixed focal length lens, it’s prime time you got one.

Above: What zoom lenses do best (this effect achieved by zooming while shooting)

Why Buy ‘Name Brand’ Lenses?

David Richardson — Tue, 08 Sep 2009 23:39:05 +0000

Working in the photographic retail industry, I do get some interesting insights into customer trends and, more importantly, product performance.

I spend a lot of time talking with our customers. I get a very good feel for their needs and also how consumers interpret the oooodles of information that is available online.

From the multi-page reviews at DPReview through to local forums and ecommerce sites, there is a lot of information to digest.

We can see from our statistics that an online buyer can spend 1 month researching before buying. Armed with all this information, consumers then have to choose the product that is right for them. This means they often need a helping hand deciphering this information and making a decision.

Let me help you…

LENSES

As a photographer, you know already that it is the LENS that has the biggest influence on the quality of your images – GOOD GLASS is what we all seek.

So which lenses should you buy? Or more importantly, which brand?

Now I must qualify my comments at this point — they are my thoughts only. Though I believe them to be correct, they are by no means gospel.

If you use Nikon DSLR bodies – then buy Nikon lenses.
If you use Canon DSLR bodies – then buy Canon lenses.

That’s it! Simple really.

OK, I’ll give you my reasoning.

Nikon and Canon are lens specialists. They make stuff we don’t even know about for NASA, the Military, and Medical Industries. They are, without doubt, at the cutting edge of lens technology.

Canon and Nikon also make their own DSLR bodies. They make them to work perfectly with their lenses.

Third party manufacturers like Sigma, Tamron and Tokina DO NOT pop over to Nikon and Canon for tea everyday and share their blueprints. They simply take the technology and backward engineer it.

Note: There is rarely a quality benefit in buying a 3rd party lens, there is only ever a monetary saving.

Now before you jump on my back saying, “Hang on, I have a Sigma 10-20mm on my Nikon and it’s simply great”, I say that this simply highlights a bigger issue — inconsistency.

Nikon and Canon can repeatedly make a lens to the same specification (of course, there are the odd duds but, considering the huge volumes they produce, the % is minuscule).

Third party manufacturers have varying grades — they can be great, pretty good, average, pretty poor, and really bad.

So when you are out in Web Land, reading reviews, keep this info in the back of your mind.

To translate this in commercial terms, I would simply say to you: “If your photography is commercial — i.e. if you make money from it, then insist on Canon on Canon, or Nikon on Nikon.

Hope this helps