Good evening Dear Reader. You may have noticed, and then again, you may not have noticed, that I have created a couple of new pages. Instead of adding article categories to my site in the menus, I have created pages with a carousel showing collections of articles in one specific category. This started with Photography Tutorials, which is a collection of, surprise surprise, photography tutorials. Another one for Travel Photography, one for Camera information, and a final one for articles featuring Film Photography. The idea behind this rather brash move on my part, was to help you find what you wanted to read or discover more easily.
This Meisterwerk of a blog is a work in constant evolution, as I think you may have gathered, especially for those of you that have been with me since the beginning. But what does this have to do with Film photography I hear you ask. Well, when creating the film photography page I realised that there are fewer articles than I first thought. This struck me as a little odd, because at one stage I had a little bit of a reputation as a film photographer, and at one stage was purely a film photographer. This was, of course, before the start of this blog lark in 2019. Between 2009 and 2019 I did a huge amount of film photography that I realised I have not shared with you. Even more so since 2016, when I started developing and scanning my negatives at home.
The beginning of the blog also tied in with the X100F and the Canon 6D Mark II coming into my photography, and since lockdown, I have done only small amounts of film photography. Time to reveal more of myself to you. At least if that’s alright… But this isn’t just about me dusting off old memories. By sharing these photos, I hope to spark a conversation, ignite a passion for film, and maybe even inspire you to dig out your old camera and give it a whirl. Who knows what treasures you might find in your own archives?
Taken on the Praktica MTL3 probably with the 50mm Pentacon F1.8 lens on HP5 Plus at box speed in the Quartier Bouffay in Nantes.
So bearing all this in mind, I have a proposal for you. Let’s open the vaults and let’s have a look at the “film archive”. This could be in the form of a series of articles complementing the weekly outpouring of anecdotes or advice, as an addition, or it could be the content for the upcoming weeks. I haven’t decided yet. Let me know in the comments which option you prefer, or if you have any other ideas for how you’d like to see the film archive content. There’ll be shots of Nantes, the UK, England, and Scotland and maybe even Spain, and Portugal. There will be colour and black and white photography too. I don’t know yet. I might not have yet taken into account the magnitude of the task ahead. Everything is open.
On the way to Otterburn in Northumberland with the Pentax ME Super using Portra 160. It was another good day out.
But whatever you decide, I hope you come along for the ride. It’ll be worth it!
I have recently tried to start learning about making videos. Somebody said that if you have an eye for creating a decent image, then your eye should be OK for filmmaking. There are of course different styles of shots because we are talking about moving pictures. Shots that move, and not just static plans as we would use in photography. We have to set a scene with establishing shots. We can combine medium framed shots and close-ups to keep the narrative going and to show the wood moving through the different machines. I therefore had to understand the manufacturing process. The composition principles that I have talked about in the past are still relevant. So my mindset was, “Why not give it a try. You know about images and how to place subjects in images. Get on to YouTube and start learning about filming . This isn’t Instagram or Tiktok, so you have more time and scope to deliver your message. And if “they” can do it then there is no reason why I can’t!” Nothing left to do but get it done! Do, don’t think…
The Kit – Use what you already have
For the moment I’m using the Canon 6D Mark II with the 24-70mm F4.0 zoom lens. For the editing I’m using CapCut and am slowly getting used to it. It just goes to show that yes, yes indeed, you can teach an old dog new tricks… I can already hear you Dear Reader asking, “But why did you use that camera, and that editing software, Ian?”
The camera
I would say, firstly why not.. But I’ll set out my reasoning. I used the Canon 6D Mark II, because I have it. It has the flippy screen that allows me to see what I’m filming, and I’m only beginning, so no exterior monitors yet. I also know how to use it and like using it. Does it have 4K video, which “they” say is a must nowadays? No it doesn’t, but I’m not in the market for a new camera, so I’ll be using what I have already thank you very much. On a tripod I could do static shots, and panning shots. The idea was to have a series of shots showing the wood in motion going through the manufacturing process.
The lens
Why the 24-70mm lens? Well think back to the articles where I talk about lenses. I said that it was a workhorse and has me covered for “quite a few” situations, and it has image stabilisation. I used my tripod, but there were a couple of handheld shots. It is also a pretty fine lens in its own right. More important to invest in the good glass, than a camera body. What matters is what the client, or audience sees. They’re not doing a mental breakdown of your kit!
CapCut
And why CapCut? Again I would argue yet again, why not! Price of the software was a consideration. As was simplicity. I had tried using Adobe Express, as it is part of my subscription for Lightroom and Photoshop, but it didn’t seem to have the capacity to give me the result that I was after. It did however, introduce me to the concept of the timeline and linking up the various sequences that I had filmed. I had also seen a lot of people waxing lyrical about CapCut, and it just seemed more “accessible” to a newbie like me. There are of course more professional tools available but for the moment seem to have more than I need. I of course went back to Youtube for various tutorials to get me started.
The Brief
So here we go with the actual video. I was told to make a video that would be shown to new employees as part of their integration into the company. Showing the total process will give them a better idea of where they feature in the “bigger picture.” Something dynamic they said. Show the wood moving through the machine they said. So I tried… Then I looked back at my brief from my boss, and realised that I was way too long and had to go back to the drawing board. Ah well. The idea is to show the process of transformation from timber to a door frame that can go to the other plant for assembly.
When you’re doing personal work you have the freedom to do what you want, but work requires sticking to the plan. So stick I did! I showed my boss the first draft, and was told that maybe cut this out, change the speed of the footage, only speed things up for the machines, but leave the shots of people at normal speed. Such and such a shot adds nothing to the story so get rid of it. It felt very much like the process I have when I get back from a shoot. You have to do a first triage of everything, and only have the strict necessary to portray your message.
The creative Process
So I had my brief. I knew the kind of film I was after. Or at least I had a couple of ideas. The basic premise was to be able to follow a piece of timber from being unloaded from a truck, following the piece of timber as it is transformed into a door frame. I had in mind those films I saw as a child showing how something is made, and how we see cans of soup moving along a conveyor belt. For each sequence, I wanted a piece of wood going into a machine, going through the machine, and coming out the other end having been transformed. Starting with an establishing shot, and following more or less closely, with close-ups and medium shots to give an idea of movement…
A short extract from the full video…
Conclusion
So you have now seen the video. All this happened in a week. I went from know very little about making a video, to having a viewable result, and one that tell the story that was asked for. Am I happy with it? I’m certainly not unhappy, and it was interesting to see the thing evolve from a series of moving pictures into something that will be used in training for future employees. Would I have done things differently? Possibly. I might have used the 16-35 F4 lens too, for even wider shots. I know have a little more familiarity with my software and will be spending less time searching for the effects and tools I wish to use. It made me aware of what kit I may be lacking, like mics for sound, but here I didn’t need to record any more sound. I would have liked wheels for my tripod to have a different panel of shots. I maybe should have used my phone and the gimbal to get more variety in my shots. I could have done some time-lapse sequences. But the primordial question would be, “What does it add to my story?” and “Do I need to acquire any kit to do it?” Money talks, and if I can get what I need without spending any more then that has to be a good idea!
What did I take away
I was introduced into a new world of storytelling. I learnt about thinking in a more linear way. Not just thinking about the shot as I would in photography , but about using these shots to make a story. Maybe I already did this with my photo series, but here it became so much more relevant. This might be the main change in my outlook. I already knew about acquiring shots for stills, and doing the same for video seemed to be a natural progression.
What next?
Am I going to get further into this film making lark? By definition yes, because work wants more videos for training people on various machines, and the HR dept have noticed my work, and are getting ideas… Do I want to make videos for me? Yes. It is certainly something I want to look further into. And the more I watch on YouTube the more I am learning, and the more I believe that I can actually do this. Am I going to become a YouTuber? I honestly have no idea, but as in photography, I have to start doing something. People will usually give feedback, and comment sections on YouTube seem to be lees harsh than on Instagram or Twitter. I remember my father making home movies with a cine camera and I can now do the same thing, and edit my footage too. Learning something is never wasted, and it does the brain good to learn new things. Who knows where this can take me? I don’t, but isn’t it interesting to find out?
The aperture talks about the hole that the light passes through to get to the film, or the sensor, and is measured in “f stops” which will be what you see on your film camera lenses, or what you will see as a value in the viewfinder or on the back of the screen on your digital camera.
On prime lenses you will generally have a value of between f1.8 going up to f16, or even f22 or f32 on your digital lenses. If you go below F1.8 to f1.4 or f1.2, you have a more expensive lens attached to your camera body. If you can afford it then why not.
The opening or closing of the aperture blades will affect how much of your photo will be in focus and how much “bokeh” you will be able to get for your image. You will hear people talking about depth of field (of view). If I use a large aperture (with a lower f stop number) I will only have a small plane of my image that will be in focus or sharp, and the background will be blurry. My subject will stand out. If I use a smaller aperture (a larger number on the f stop setting), I will have a larger plane of my image that will be.
Application
So this exposure triangle thingy. In the previous sections you have seeen the effects that each element can have on your shot. In photography, as in life, we have to learn how to prioritise. What is the most important for us? How will these settings help us get the photo “we” want and not what the camera thinks “we” want? Do we need to freeze the action? Do we need the creamy bokeh? How much light do we have to play with? What is most important to us? Modern cameras are pretty good with their automatic settings, but when talking about being mindful in photography, it might just be an idea to keep a minimum of control.
Photography with a manual film camera takes this automation away,and brings us back to basics, hence my referring back to them all the time. If you can get well exposed shots with a manual film camera, then using digital is a breeze. In the viewfinder there will be a needle that goes up and down depending on how we change our settings. As I said earlier the ISO value will be chosen by the film you use, and I explained the different values and how they work. So that’s one less thing to worry about. You can’t change your film mid shoot, well you can, but I need a new article to tell you how to do it. So you’re left with aperture and shutter speed controls. There’s no LCD screen with a preview, so you have to become an educated guesser. But if I can, then you can. This needle, or rather a snazzy modern version, will appear in the viewfinder, and you will see it move as you change your setting.
Same tool, just a different format. Or you can cheat, and look at the image preview on the LCD screen. But that’s cheating, and gets you thinking rather than doing.
Always bear in mind that as the light changes, then so will your settings to adjust for this changing light. Just keep an eye on it and be aware as Jean-Claude Van Damme would tell us.
Scenario 1
I need to take photos of little Jimmy’s football match. I need to have a relatively fast shutter speed (about 1/500th of a second with film as my minimum speed, or up to 1/4000th of a second to capture the action with a digital camera), so shutter speed is my priority. That can’t move. So I can play with either my ISO or my aperture to compensate. I would probably take a 400 ISO (or ASA) film because even in sunlight that would allow me to have everything in focus by using f8, or even f16. With digital I can really push up my ISO to around 6400 and not have too much visible noise. The very recent cameras can go even higher without digital noise becoming a problem.
Scenario 2
I want to capture my subject and make the background blurry. Basically bokeh and also low light photography. This could be in street photography, or taking a portrait of somebody where I want the eyes in focus, but not necessarily the ears or back of the head. I will want to use a large aperture (smallest f stop number, so my priority becomes my aperture setting which I don’t want to change. This will give me that creamy bokeh that everyone raves about.But, with a large aperture I’m going to have lots of light hitting my film. I will have to bump up my shutter speed, and lower my ISO by using a slower film like 100 ASA or 200 ASA to compensate.
Scenario 3.
When ambient light is lower, opening up my aperture, lowering my shutter speed I can compensate for this lack of light. I might have to use a tripod if there isn’t enough light, or add a flash to my camera to provide my own light. I could use a higher ISO value and have a film more sensitive to light, but I will get much more grain etc. Everything is about balance and weighing up what “you” want.
Conclusion
Talking about film photography and film speeds etc, was very deliberate on my part. I am convinced that if you can use a manual camera and get good results, then using a digital camera will be so much easier for you.
The exposure triangle is now something that is no longer an enigma. We have talked about the ISO value, the shutter speed, and the aperture, and how these settings will effect your photograph. The ability to master these three elements gives you creative control over your images, allowing you to expose your image the way “you” want to, and you can go back to the articles about composition with a new eye. I want you to enjoy your photography, and you now have the necessary tools and knowledge at your disposal to do so.
I would, as always, urge you to take your camera out and shoot. You can experiment, and practice, and this manual lark will become second nature. You’ve got this!
How many times have I seen grown men go to pieces at the suggestion of using manual mode? Or worse, how many times have I seen other grown men saying that to be a real photographer you have to master manual mode otherwise you’re not a real photographer? Let me assure you that it’s not as complicated as it sounds. When I took my first photography lessons in 1984, I learnt it as a child. You’ve got this, and I’m here to accompany you through the process. As the Hitchkiker’s Guide so elegantly says, in comforting letters, “Don’t Panic!”
There are some basic concepts to understand, the first of which is the exposure triangle which we were introduced to in the Photography 101 article. Those three things to consider are, ISO, or film sensitivity, shutter speed, aperture, and balancing them together.
Are you ready? We’ll go step by step telling you how each of these settings influence your shot, and how we will balance them to create the image that “you” want instead of the image that your “camera” wants to take. You are the creative boss after all. And that is the reason that people use Manual Mode.
ISO, or film sensitivity
When I started learning photography in the last century was I was a young boy, yes I was young once, we only had film as a means to capture our images. You would choose your film in function of the light available. And when using my film cameras I still work in this way. 100 ASA (which is the same as ISO on modern camera) for sunny conditions, sometimes even 50 ASA, where the film can be used in bright conditions, going through to 200 ASA when it’s cloudy, but with sun shining through, to 400 ASA when overcast, 800 ASA when inside or even 1600 ASA, to 3200 ASA for night photography.
In the film days we would talk about the presence or absence of grain and this was part of the deal. You would get less grain the lower down the ASA range you went, and more grain the further up you went. And this grain was a result of the crystals on the film emulsion, and the chemical developing process. The choice could be as much about lighting conditions as an artistic decision. Once the film you chose was in the camera however, it didn’t change until you changed your film.
Nowadays with all this modern technology palaver, you can change this ISO (because it’s digital photography) and change it for each photo. Unfortunately the higher up you go in these values, the more “noise” you will get. This digital noise is in a random pattern and totally unlike the grain of film photography.
Shutter speed
Shutter speed, as the words suggest, is about the speed of which the shutter opens and closes to expose either the film or camera’s sensor. You see, I told you that this would be simple to understand. If I can get it, then so can you. So now we’re on to speed. When changing the speed of which the light hits the film or the shutter, I can freeze motion, of get a conscious motion blur, where the photo will seem animated.
Let’s say I want to take a photo of somebody running towards me. I will use a higher shutter speed to freeze the action. Think of sports photography, of catching a pass of a ball in rugby, or a footballer stopping a ball etc. Those factors will make or break your image. Imagine a photo of a football match and you can’t see the ball because it’s going faster than your shutter. It might not work out for you. In this situation, on my film cameras I will let the shutter curtain open for just 1/1000th of a second. Depending on which digital camera I can go as quick as 1/8000 th of a second.
Let’s go to the other extreme. I’m taking photos of a landscape and I want to show the motion of trees in the wind, the movement of the clouds, or the movement of water. I will use a longer shutter speed, say anything from 1/8th of a second to one second… The subject will be moving faster than the shutter curtain, and I will get that artistic blur.
I could be somewhere very dark, so in order to get a clear photo, I will have to let more light through onto my film or sensor.There I might have to use bulb mode in order to leave the shutter curtain for longer than 2 seconds.
For shooting a subject walking I would use 1/125th to 1/250th of a second to freeze the frame. When using a flash in manual mode, I would aim to be around 1/60th of a second (which depends on your camera’s flash sync value). When talking about shutter speeds I’m thinking of my film cameras and bearing in mind that most digital cameras will have wider ranges of shutter speed. Another tip for you would be to not let your shutter speed go below the number of your focal length (the legendary reciprocal rule). Let’s say I’m using a 50mm lens, then I would not use a speed under 1/50th of a second, or even 1/60th of a second. If I have a 200mm lens I would not go under 1/200th of a second. This is to counterbalance the weight of the lens and avoid lens shake.
Conclusion
This article has a lot of information in it and I have decided to separate everything and have a Part II. In this Part I we have talked about sensitivity to light be that film, and the different ratings of films for various lighting situations. In digital photography we have a wider range of ISO settings and with the newer cameras, the noise in an ISO 3200 setting will produce a much less grainy image than with film. However this “grain” can be used as an artistic choice and I will let “you” experiment and see what each film gives you.
We have talked about shutter speed, and the ability to freeze an instant with a higher speed. And the opposite of this to create motion in our image.
Next week we will talk about Aperture and how this effects depth of field and discover the rich creaminess of bokeh. We will also explore various scenarii and give concrete examples of the effects of this triangle and how to turn it into an advantage.
We have talked about the different kinds of zooms in my last article, but now I’m going to present you with concrete examples of the different zooms in my own personal set-up, and try to concentrate on the “user experience” that each lens offers. At the end of each section there will be a slideshow to give you examples from the archives to illustrate how I have used this lens in the past.
Canon EF 16-35mm f/4 L IS USM
I remember the sheer joy of opening this, my favourite lens for my 6D Mark II and hearing it click into place on my camera’s body. It felt heavy and substantial. It has the red ring, known to Canon users as a gauge of high quality. I was onto a good thing. It bridged the gap between my desire to go wide and get that distinct distortion that comes with going wide, and a more conservative, more sensible 35mm focal length of my X100F.
And then I went out and tried it in the field. Well in my bedroom anyway, being suitably amazed by the wide angle of view that I now had at my disposal. I’d read about distortion, and had watched enough YouTube to know what I was in for. But the first time is always special. I soon learned how to take advantage of its capabilities, realising that getting down low could create leading lines in compositions that I had only dreamt about before.
If you have seen my Instagram, you will have seen this lens in use and how I have been able to adapt from an urban setting to getting my feet dirty in the countryside or getting them wet on the beach. I have nor regrets about this purchase. But it, despite its many attributes, has its limits. It is adapted to landscapes and cityscapes. It’s great for giving a different view of the world that is more “interesting” to look at. I have used it for portraits and taking full advantage of this aforementioned distortion.
It might well be a contender for the title of Ian’s favourite lens. Sorry you prime purists!
CANON EF 24-70MM F/4L IS USM
This is the lens that I actually have on my camera at the moment. Why? Because I was out at the pub taking photos for a leaving do for two of my friends. I needed something I could use to get general shots of the evening and that wouldn’t let me down. This lens is a beast and a workhorse. It gets the job done!, which is why I bought it in the first place. I was going to be photographing a wedding for a friend of mine, and I needed something that would help me throughout the day. I would be taking portraits, group photos, photos of the reception, and this was the classic lens for such a situation. It has you covered. I basically put my flash to TTL mode, and camera to program mode, and all I had to do was to get the shot. Photographically it was a great day and I managed to get some pleasing shots for my friends. It’s also my go to lens for filming video…
It was “take your camera to work day.” I was going to be taking pictures of timber at the factory where I work and it was still in my bag, and securely attached to my camera. I was able to get clear shots for my boss, and the lens didn’t let me down even if I had to be in one of the darkest areas of the factory with dubious lighting conditions. This is where image stabilisation becomes your best friend.
It was still in my car when I took my daughter and boyfriend to see their friends near Nantes. I had just written the article about Spring Springing, and wasn’t happy digging into the archive. I felt that this was being lazy, and that you, Dear Reader deserve better… The camera with the 24-700mm lens on it was just sitting there begging to be let loose! So I let it loose on the trees around the Mairie of Basse Indre, and took advantage of its “macro” function. So go and have a look at the article to see those.
CANON EF 70-300MM F/4L IS USM
I don’t have the very latest version of this article, but a more old-school version, so it’s not as super duper as the later super duper models, but it was a heck of a lot cheaper at around 150€ instead of 850€ for the newer super duper models. But I’m not here to talk about specific model types etc, but about the focal lengths of this lens and how I have used them in the field and my experience of using this lens.
As a small boy I was a member of the RSPB and loved seeing all the various birds in the garden but also in the countryside. I even learnt about how to draw them. I grew up, and now have a super duper camera with a lens that will allow me to capture these birds on camera without spooking them.
One of my favourite outings in Nantes is taking one of the electric boats out on the river, and I have this lens with me to capture the wildlife that I know I will see. I am by no means a wildlife photographer like the ones you see in the documentaries stalking their prey for weeks etc. But it doesn’t stop me from trying to see what I can get without necessarily overdoing it. And even for getting shots of birds using the various feeders in my garden it’s fine!
I have used the lens after having watched YouTube videos for landscape photography using it to seek out details in the landscape. This was definitely something new for me, and definitely a useful exercise forcing me out of my comfort zone and making me see the countryside in a different way.
It’s not the lens I gravitate to first, but I’m happy to have it as an option. It isn’t the most modern of lenses either, but it’s certainly “good enough” for what I need it to do… Do I regret this purchase? No. Is it limited in its scope? Yes. Am I bovvered, as Catherine Tate might say? Still no. Would I buy the “super duper” version of this lens? Probably not as it doesn’t correspond to the majority of photography that I do. Photographing birds is more of a hobby and not my main photography aim in life..
Conclusion
I think you have the information at your fingertips now to help you decide on your lens choices be that for primes or for zooms. Those nice people in the photography shop will be more than happy to take your money from you, but now, you have the knowledge to get past the sales pitch and make an educated purchase knowing what you’re letting yourself in for. While we’re on the subject of purchasing and investing in gear, always have the following concept at the back of your mind. Glass is more valuable than a camera body. Better glass on a less top of the range body will always get you better results. But much more than the importance of gear, is the importance you get your beautiful booty off that really comfy sofa, and get out into the world with your camera and your lens and train that beautiful eye of yours to capture some awe inspiring images!
We’ve talked about prime lenses and the difference between primes and zooms. But we haven’t touched on zooms. Yet. But we’re about to enter the dark side. They have cookies. So now that we’ve had a cookie, let’s talk about having our cake and eating it. Metaphorically speaking of course.
The ability to zoom in on a subject, be it in photography or in conversation has become such an ubiquitous saying. Zooming in on the details in a conversation. The image evoked is fair though. A zoom lens allows us to zoom in visually.
I might even go as far as to describe them as a guilty pleasure. That kind of thing that gets results but leaves you feeling a little dirty afterwards, and you feel like you have to justify why you couldn’t just use a purer prime. Well sometimes you need the versatility of a zoom. It means you have to take less kit to weigh you down.
This article started as a single piece of writing, and then going more in depth, it has morphed into a series of two articles. I have a lot of information for you, and it might be easier to digest as a two part story.
The Zoom lens work flow
A zoom lens is more than an investment, it is akin to having four lenses in one support. One going from 16mm, 24mm, 28mm to 35mm, another from 24mm, to 35mm, to 35mm, to 50mm, and onwards and upwards to 70mm. Roughly translated you’re getting more glass for your buck, which sounds very enticing.
Advantages and disadvantages
As in all photography, everything is a matter of balance though. Ok, you may have more glass, but instead of creamy f1.8, f2.0 creamy bokeh, the trade off will be f4 bokeh, while still nice isn’t as creamy. You might find f2. Bokeh but you’ll be paying many more bucks. The difference in price between the Canon EF 16-35mm f/4 L IS USM and the Canon EF 16-35mm f/2.8 L IS USM is around 1000€ which doubles the price of your lens. This basic economics speaks volumes to me.
The different focal lengths in just one place allows you to adapt more quickly to a changing situation rather than “faffing” about changing multiple lenses multiple times. Just one turn of the focal ring, and you’re good to go. So you’re more available to contemplate a scene and not miss a thing.
They are generally larger than the more subtle nifty fifty, and the general public will take you for a “pro” and wonder why you are pointing a massive obtrusion towards their face. Some zooms are of course less imposing than others, but you might have to explain more about what you are doing.
The types of Zooms
I have talked about the concept of a zoom lens as being a collection of different lenses in just one lens. In the next article I will describe the example of each zoom I use, but here I will do the introductions. We don’t want to get ahead of ourselves.
For me, there are three types of zooms, the wide angle, the general, and the telephoto. So three types of zoom tend towards three types of application.
The wide angle zoom offers you a wide angle of view, and its downfall of image distortion can be made the most important feature allowing you a means of getting creative in your images. You can go from those beautiful vistas so beloved of landscape photographers, to those of us who seem to have an obsession with taking close-up photos of bicycles and helping the audience see the world in a more non-conventional or even exciting way.
The general zoom, is as its name suggests a zoom that has you covered for general scenarii. The focal lengths are the ones most commonly used. It’s great in a street photography or documentary environment allowing you to easily glide between wider and narrower views. Even though the aperture may not be as important as in primes, the image stabilisation helps the photographer when the light becomes more challenging.
The telephoto zoom allows us to be closer to our subject whilst at the same time being a greater distance. Useful not only for wildlife photography, but also for sports photography where the players are on the pitch and not the photographer!
Conclusion
Now we are on the same page and have a greater idea of what the whole situation is and how these solutions can help you as a photographer, be that a beginner, an intermediate, or a more advanced photog. I talk about guilty pleasure, but when push comes to shove, the viewer of your photography doesn’t care. They care about the image and how it makes them feel. The fact that we used such and such a lens is just speaking to them in a foreign language. We’ve talked about the trade offs but also the benefits of zooms and in my next article I will talk about my set-ups and the experiences I have when shooting with these lenses..
IJM Photography 