Tag: low light photography

Prime Lenses: Elevating Your Photography Beyond the Basics – Part II

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In my last article we explored the prime lenses in my collection and how and why I use them concentrating on my own experience with each one. I started ultra wide and am now going to head towards a narrower field of view. We’ll start with the nifty fifty, go through the Helios 44-2 58mm f2, on to the 85mm f1.8, and end on the Helios 135mm f2.8.

50mm f1.8 – the nifty fifty

Be it a digital lens or one for a film camera, this focal length is considered to be the “standard” to which all the others are compared to.  I have already mentioned my initial set from 1987 where the Pentacon 50mm f1.8 was fitted onto my Praktica MTL3.  It is the lens with which I learnt photography.  Why is it considered the “standard?”  Convention wisdom would suggest that the view offered by the lens is the closest to the human eye.  This explains why Robert Doisneau used it extensively in his documentary photography.  Henri Cartier-Bresson is known for his ability to capture decisive moments in street photography. The 50mm focal length, with its natural perspective and good depth of field, was perfectly suited to this approach. It is also one of the more simply constructed lenses and yet still offers a great shooting experience be that digital or film shooting.

Helios  44-2 58mm f2.0 

This is one of those lenses that one hears about and has a certain mythology.  It is known  most for its swirly bokeh which you can see in the images in the slideshow below.  I think mine must have cost around 50 Euros so in my mind I was thinking, you can’t go far wrong.  This swirliness adds interest to any photograph be it in an oriental garden, on in portraits.  Just enough to make the viewer have a closer look and fall even further in love with your capture.  It’s an old soviet lens and fairly solid as you can read in the article I wrote about the Helios and the Canon 6D mark II.  It is the first of my “portrait” lenses.

We’ve done the bokeh bit, now let’s talk about the focal length.  When in the studio I will start using my 50mm, but this is always ready in my bag.  But it’s not just a portrait studio lens, and I have used it on outings in Nantes.  As all “telephoto” lenses, it separates the background from the subject, and brings forward the subject to the fore.  I haven’t used it on my Praktica film camera yet and should probably do so very quickly.  It would be a shame not to after all.  As it stands I have to use an adapter for my Canon and another adapter for my Fuji XT2.  With the crop sensor on the Fuji it magically turns into an 85mm equivalent.

Canon 85mm f1.8

This is the most classic portrait lens and allows me to take a step back compared to using the 50mm.  Again, the bokeh on this lens is lovely and so creamy that it could give a rotund older gentleman a heart attack if it were cake.  But it’s not cake, so everything is fine.  When I’m in the studio I can concentrate on the eyes and by the time the portrait gets to the ears we’re in creamy bokeh territory.

However, some photographers will take this lens into the street for street portraits.  It’s not a huge lens, and thus less creepy, and allows the photographer to take a step back and still feel close to his subject.  This distance between photographer and subject contributes to a more natural interaction between photographer and model, reduces the feeling of being cramped or intrusive, and leads to a more natural interaction, which in turn leads to more natural posing and a more relaxing experience for everyone.

Helios 135mm f2.0

This is the largest of my “everyday” primes and back in 1987 it was in my bag to bring the world even closer than I could with the nifty fifty.  I was a beginner back then.  And didn’t realise the potential of telephoto lenses.  The approach is much the same as for the 85mm but allows even more distance, and is great for those intimate shots that can capture the alluring side look.  In landscape it can help you pick out details in the landscape that you can’t get closer to for practical reasons, and bringst that background that much closer to the foreground.  For those of you who don’t like manual focussing, you might want to give this one a miss.  This was a lens from an age before autofocus came along.   However on my Fujifilm XT2 this transforms into a rather snazzy 200mm lens due to it’s APSC sensor and 1.5 crop factor,  which would be a lot cheaper than a more modern equivalent, and with the focus peaking on mirrorless cameras, this can be a very convincing argument.

Conclusion.

Primes can generally be considered to be a higher quality option.  With their simpler constructions, they can offer sharper images   They generally have larger apertures, allowing for ease of use in lower light, and providing that creamy, sexy bokeh that everyone keeps mentioning.  By adding a limitation to the creative process they can help the photographer become a more deliberate and mindful craftsman, and concentrate more on composition.

However, even though individually lighter than most zooms, their collective mass may be more important if you constantly want to have every single option available in your bag.  You will be changing lenses more often, when having more to choose from.  Never forget that you are the person carrying them around.  So choose carefully, be deliberate, and plan ahead.   The results will be worth it! 

Prime vs Zoom Lenses: Choosing the Right Lens for Your Photography

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Good evening Dear Reader.  We’re back delving  into another series of articles where I will talk shop.  Mother, if that doesn’t interest you then consider yourself warned.  I will, as the title of this article suggests, be talking about the differences between zoom and prime lenses.  I too, many moons ago, was a beginner photographer, and just starting out with a Praktica MTL3, with a 50mm F1.8 lens, and a Helios 135mm F2.8 lens.  An SLR because in 1987 a DSLR did not exist.   This was my first lot of “gear.” That was then and this is now.  2024.  When buying a “starter” camera, “they” will try and flog you, or offer in a bundle what has become known as the ubiquitous “kit lens.”  Otherwise you will be gazing upon a “huge” array of lenses with some “huge” prices to go with them.  This will generally be included in the more “accessible” range of cameras.  It certainly was for my Fuji XT2 18-55mm zoom lens (24-70mm equivalent for full frame sensor).  Don’t get me wrong, I use my 18-55 lens on my Fuji XT2 and like using it.  BUT, when I bought that camera I bought a 24mm equivalent prime lens for it.

This raises the question about what is a prime lens and what is a zoom lens.  A prime lens is a lens that has a fixed focal length.  A zoom lens allows you to vary this focal length and “zoom” in and out.

Advantages of Prime Lenses

Superior Image Quality

You will generally find that you can obtain a “sharper” image with a prime.  Some of the older lenses and ones that we used in film photography are slightly softer, but we were fine about it then, and this quest for modern sharpness seems to have become more important.  In digital photography, this new and thoroughly modern technology will lead to less distortion, and chromatic aberration, which is indeed an aberration where you might get a blueish outline around the subjects in your shots.

Wide Aperture Capabilities

I touched on the concept of aperture in my Photography 101 article.  The aperture is the hole that allows light to expose the film or your camera sensor.  The larger aperture (indcicate by a smaller f number) allows two things.  More light to hit the film, therefore allowing us to shoot in lower light,  and the separation of the subject from the background by getting that “creamy” bokeh beloved by so many of us. 

Compactness and Portability

The “average” prime lens is more “compact” than the average zoom lens.  Effect number one of this is that you can fit more primes into your camera bag and it will probably be lighter.  Think about what I said in my street photography article.  A camera with a smaller lens is also less threatening than having a massive thing thrust in your face.  Being less threatening is always good, and makes the photographic experience more pleasant for everyone.

Creativity and Artistic Expression

When using primes every shot becomes more deliberate.  The choice of which prime to use becomes more important.  You “zoom” with your feet and not with the lens. I have talked about this mindfulness in my photography tutorial series.   

Advantages of Zoom Lenses

First of all we have to talk about what a zoom lens is.  Well, it’s a lens that allows you to zoom.  Sorry about that, I couldn’t help myself. On a more serious note, it is a lens which glides through a series of focal lengths on the same lens.  I have three zooms for my DSLR, a 16-35mm f4, a 24-70mm f4, and a 70-300 f4 – f5.6, and the 18-55mm (24-70 full frame equivalent) kit lens for my Fuji XT2. With three lenses I am covered from 16mm to 300mm, which for me is a big deal.  My 16-35mm has me covered for wide angled vistas of the Place Cambronne in Nantes, and those distorted obligatory bike shots, to general street photography.  My 24-70 f4 even has a macro function offering me even more versatility.  I would class it as my events lens and can double for street photography, and even street portraits.  It’s a veritable work horse of a lens and was what I used when I talked about spring.  My 70-300 lens is for when I can’t get near enough to my subject without spooking it, be that my children messing around next to the river, or taking shots of cormorants sunbathing on the river Erdre in Nantes.

Convenience and Ease of Use

In my previous paragraph I talked about the different focal lengths that I have with each zoom lens.  At the moment in my camera bag I have my Fuji X100F and its 35mm equivalent f2 lens and my Canon 6D Mark II and my 24-70mm f4 lens.  It means carrying less equipment and being prepared for a variety of shots when on the streets or taking photos for my work.  It also provides for less “faffing about” which is something I love to avoid in general, unless I am prepared mentally and ready for it.

All-in-one Solution

Instead of having a different lens for each situation, I have a solution in my bag that allows me to adapt.  Why buy three lenses when I can have a multitude of possibilities with just one lens?  They might seem expensive, but when you are not a professional, cost is something that has to be taken into account, otherwise you have to be very good at communication with your spouse justifying all these purchases.  Happy wife, Happy life.  Happy Husband, we’ll see about that!

Image Stabilisation

In the last paragraph, I talked about stable marital life, and on my zooms I have image stabilisation, which will allow me a more stable shooting of an image.  In the Photography 101 article I talked about having an exposition of nothing lower than the focal length.  IE with a 50mm lens I should not shoot lower than a 50th of a second to avoid camera shake and therefore a sharper image.  This stabilisation offers me about 4 stops extra to play with, be that having a longer shutter speed, or having a larger aperture and therefore getting more in focus in my image.  

Conclusion

I have talked about how this photography lark is all about give and take.  This is so true in the exposition triangle where everything is a question of balance, but also true in the case of lens choice.  Some will be more expensive but give you more control, and others will offer you more ease of use and versatility. You are the one who ultimately has to decide on what camera gear you need (more than want).  What is most important to you?  How will the lens help you?  What is your budget?  

When all these questions are answered honestly then you will be well on the way to having the kit you need, to do the type of photography that you want to do.  

What would I advise a novice for their first acquisition?  I would say the nifty fifty.  The 50mm is closest to what the eye sees.  This prime generally offers an opening of F1.8 which gives you that sexy bokeh.  

Ultimately the choice is yours alone.  But this simple guide may help you reflect and question yourself and allow you to make a deliberate well thought out decision.  The most important thing is to get out there with your camera, start making memories and training that beautiful eye of yours!

A View from the Garden

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Sometimes you know that you’re going to get a reasonable couple of shots. The conditions just fall into place. Sometimes you have to break away from your Guinness and your parents hoping that they will understand.

We were out in the garden having a drink before eating that evening. It was a Sunday evening, and the day had been wonderful, and there was me thinking that it couldn’t get any better. It could! I had my Canon 6D Mark II with the 16-35mm lens which is a favourite of mine. The previous day’s sea mist had made a comeback. Now fog always makes for some very atmospherical photography as you can see here.

This view is what decided my parents to buy this house all those years ago when they first moved further north from Newcastle. With various winters and storms, some trees have had to come down, but that view through those trees just brings peace to any beholder.

Enjoy and find your peace…

First Concert in over Twenty Years

Posted on Posted in Art, Black and White Photography, France, Music, Reportage, UncategorizedTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , 1 Comment

Dear Reader, I may have mentioned before in previous articles that for my many sins, and to curb my pride, I am a musician, and some might even go further still, and remind me I am a horn player.  As a musician, we can have a tendency to “do” concerts and play in them, rather than going along as a listener.  I mean, of course, that we listen to our fellow musicians, especially when playing that music together.  It is a team effort, after all.  But not as a spectator.

Little did I know that when I went to taste some homemade beer at my friend Hervé’s house, he would invite me to take some photos of a concert he was playing in, on the 18th of June.  I, of course, jumped at the opportunity.  An evening of taking photos and getting to listen to live music at the same time?  What a way to spend the hottest day of the year so far!

We were rehearsing together the following Friday, and he said to be at his house at such-and-such a time, and that I should just park up in the driveway.  There would also be my old and very much revered horn teacher, as in my previous horn teacher, and not my old new horn teacher, nor a teacher that is old despite his great wisdom.  But that is a story for another day.  Hervé was going to drive us to the concert.  Jérôme, my very much revered horn teacher, plays in the same ensemble as Hervé.  They are members of the Brass Quintet Arabesque, made up of instrument teachers from across my particular region of France. 

So, I got into the car, turned on the ignition, saw the temperature, and promptly melted. 44°C! For those who only work in Fahrenheit, body temperature is 37°C, and 44°C is 111°F. My point exactly. By the time I reached Hervé’s house, it was a mere 40°C. A tad warm, even for me!

I drove up, parked, saw my horn teacher in very summery attire, but always with a hat, saunter up, and Smaug, the family Labrador, who you remember from my last article, who does not know what sauntering is about, just ran around the car three times and jumped up to say hello, being as friendly as ever. Bless him! We quickly went inside into the shade and cool. I do like a bit of cool from time to time.

We eventually got all the kit together in the car, thanks again Hervé for doing all the driving, and set off. The way to Guérande isn’t very complicated, and it’s pretty plain sailing. We talked about everything and nothing, about my presence at the Wind Band next year, and what alternatives I could think of, about the photoshoot from the previous week, about the various instruments and would we change instrument, how much it might cost to change, and what newer instruments could bring to the table, or should I say rehearsal room…

Parking in Guérande was a doddle, and we headed to the Collégiale, or church inside the medieval walls. We dropped everything off in the church, and things suddenly became very serious. Where would we eat? The first place we tried, a creperie, was no longer serving food, so we headed to Plan B. Plan B was fully booked, but was able to fit us in. Five brass musicians, one organist, and yours truly. Luckily I don’t seem to take up much space. Simon said he had to go and shave and came back with blood on his face. Michel, the organist that would be playing with the quintet, told us that the organ in that building needed a makeover and was basically shite. Out of tune, and half of it didn’t work. That’s something you don’t really want to hear when you don’t have a huge amount of time to have the pre-concert setup and run through. Another thing you don’t want to hear is that you’re all going to have to tune your instruments up to 444hz. This basically means you’re all fecked because your instruments have been in slightly warm cars. After all, it’s boiling outside and you’ll just never make it. The brass expands in the heat and therefore will sound flatter, and at 444hz you really need to be on the sharper side. It’s a bit like me trying to walk past a slice of cake and a nice cup of tea; it’s just not going to happen… Luckily the food arrived, as did the beers, and the puds. We were happy. I had all my camera gear, and most importantly plenty of batteries in case the batteries inside the cameras gave up the will to live. Some lovely shots were begging to be taken outside the church.

What I didn’t have, especially inside the church, was a whole lot of light. For photography, light is quite important. Understatement of the year contender again… This was going to be interesting. I had been fed by Arabesque, and now there was bugger all light inside, so photography was going to be a tad tricky.

Luckily, somebody turned on the lights and I was saved. Who said miracles never happen in the Catholic Church? They did this evening. The only photos I could take were before the concert actually began because afterwards the church would fall into darkness as there was going to be drone footage shown on a screen behind the Quintet as they played, showing the church in which they were playing. This was the main idea behind the concert. Through music and film, show people the church they were in from a slightly different viewpoint. It was great just to sit and take in the music. And take in the music I did. I was always told the importance of concert-going to musicians and how it helps us develop musically in so many ways. I only had to make an effort to sit there, make no noise, and just listen and be captivated. And captivated I was! I thought the tuning was fine and not at all the catastrophe announced by the organist. But I was just here to listen to some quality sounds and not to be a critic from the Times

The first half finished with the Toccata by Charles Marie Widor from his Organ symphony number 5. Any pedal notes that were missing from the organ were amply covered by the bass notes of the tuba that seem to just go right through you. It’s also a piece of music that has, amongst others, the ability to make my eye become all watery with emotion. I’ll leave it here for you to listen to.

The interval arrived. I say that but it didn’t really make an entrance. It just happened. The public was invited to walk around the church and rediscover images from the film in real life. They could also purchase CDs of the Quintet. 10€ each, or 20€ for three. They could also subscribe and have a CD of the programme, as well as make a contribution to the Association Résonnance, who gave their name to the entire project. It also meant that I could take more ambience photos and not be in anybody’s way.

Up until then, I had been using the Canon 6D Mark II which makes a tremendous noise when the mirror moves up to expose the sensor. I was worried that I would disturb everyone and switched to the comparatively silent Fuji XT2 with the 18-55mm zoom lens, which is a 24-70mm full-frame equivalent, so a good all-rounder for reportage. During the second half, I could be seen trying to move silently the way Corporal McCune taught me to so as not to disturb my fellow concertgoers.

The second half started with the horn and trombone playing a one thousand-year-old tune for the Easter celebration. Unfortunately, the audience hadn’t cottoned on to the fact that the second half had just started and some were still talking! As soon as the other musicians appear and Hervé started introducing the next piece, they seemed to get the message and promptly shut up! They lead us through time through the Baroque, the Classical, and the Romantic periods. They ended up with Aaron Copland, and music from Grover’s Corner, whoever Grover was. I suspect it wasn’t the same Grover that lives on Sesame Street…

After the concert, we did the official group photo, and eventually said good night and see back at Hervé’s house. It was midnight, much cooler, windy, and felt as if a storm was on the way. Jérôme fell asleep in the back, and Hervé and I just chilled, talking about this very blog and photography, especially the differences between being a good amateur photographer, and a professional photographer and how the two are completely different, in the same way, that I quickly realised when doing my music studies here in France. You have to produce consistently good results, and the pressure is on. They were already doing the concert debrief about everything that went wrong. I tried to reassure them that it wasn’t a competition and that as an audience member, I had a great time. Basically, the same things that I had been taught by Jérôme. If the audience is happy, then the audience is happy.

On the way home, we saw the sky fill up with lightning and thunder. It felt magical, and also the temperature had halved. It was a mere 22°C. It felt wonderful. We got home first and had a beer whilst waiting for the others to arrive. The others arrived and there was still some English beer for them, and some homemade beer too. It received the seal of approval from everyone present. We ended saying what went wrong with the concert and how it was a learning experience. I still thought it was brilliant. So there!!

All I have to do is the photo editing…