Tag: photography 101

Zooming In on Flexibility Part II

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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!

Zooming In on Flexibility Part I

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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..

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?”  Conventional 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!

The Photographer Behind the Lens

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Embarking on a photography outing is filled with anticipation, decision-making, and a blend of personal passion and professional discipline. Anything can go wrong, but maybe that’s not the right way to put it. Perhaps I should rather say, expect the unexpected and be ready to adapt. As I prepare for each little jaunt, I face a range of choices that shape the outcome of my photographic endeavours.

Selecting the Right Gear:

The first step in my preparation involves choosing the right camera for the occasion. Factors such as, “Does it still work?” for my film cameras, or “have I charged enough batteries?” for my digital cameras, enter into consideration. My energy levels and the allure of film versus digital play a crucial role in this decision-making process. For example, “Do I have the energy to develop and scan my negatives, or can I face hours of photo editing?” For me at least, it’s not just about the gear, but about the experience it brings. Those of you who have used film will know exactly what I mean. It is a totally different experience to using digital cameras. The words “faffing” and “about” spring to mind. What is my goal in going out today? Is it just to see what happens, or do I “have” to get results?

Navigating Weather and Mental Health:

Weather forecasts and mental well-being become significant considerations as I plan my outing. I, like most people, have an aversion to being rained upon. Even though I might not melt, I don’t want rain getting into the electronics in modern cameras. The allure of capturing the perfect shot often outweighs the discomfort. Yet, there are moments when self-care takes precedence, telling me to just stay in. Sometimes, staying in and getting my ironing done provides as much satisfaction as going out, allowing me to look so dapper on my next outing. The joy of unlimited cups of tea might just make staying in on a rainy day all the more appealing.

Packing the Essentials:

A well-equipped photography bag is essential for any outing. From spare batteries to a flask of tea for comfort, each item serves a purpose in ensuring a successful day of shooting. The contents of my bag reflect not only my photographic needs but also my personal preferences and creature comforts. However, the weight of the equipment is a crucial consideration, especially for street photography where mobility is key. As a more rotund gentleman of 52 years, this has become more and more important. Basically, you can take it with you, but you have to carry it. The X100F and a couple of spare batteries weigh next to nothing, but a Mamiya, or DSLR with a couple of nice zoom lenses suddenly makes you feel less young and daring. Don’t get me started on tripods. Yes, you might need one (in fact, you do) if you want to be doing long exposure photography, but imagine lugging one up a mountain. Okay, don’t. It’s not worth it. So ask yourself what do you really need, and will one of your children carry it for you? And how much will it cost you to make it worth their while?

The Lens Palette:

Crafting Perspectives: Different lenses allow me to achieve different results. If I use my 16-35 lens, I will get wide vistas in town and have a certain level of “artistic distortion.” If I use the 24-70, I have quite a good range of focal lengths, and also a macro feature on the lens. If I use my fisheye lens, I can get all “arty farty.” With a 35mm lens, I am perfect for street photography, and it’s the lens I use the most. The nifty fifty allows me to have a more human-eye view of the world.

The Digital Dilemma:

When it comes to the choice between film and digital photography, authenticity often clashes with practicality. While the allure of film photography appeals to my desire for authenticity, and it does look exceptionally cool, and you can enter “smug mode” knowing that you are arguably better than those who only know about digital photography (yes, snob value does exist!), the energy and time required for development and scanning can be daunting. On the other hand, digital photography offers convenience, allowing for instant image transfer and easy post-processing in software like Lightroom. The decision ultimately hinges on the balance between artistic vision and practical considerations, and can I really be bothered? I know, you have just lost respect for me as an artist, but the struggle is real.

Professionalism Meets Passion:

For professional assignments, meticulous preparation is paramount. From checking equipment to selecting the perfect lenses for the job, every detail contributes to achieving the desired outcome. I noticed this during my musical studies when the goal is to get a paying gig and deserving the pay. You have to get results and your reputation depends on those results. But, even in the midst of professional obligations, the passion for photography remains at the heart of every endeavor. Top tip of the the day. Always have a back-up plan. No planning survives initial contact with the enemy. You’re on your own and have to improvise. What can go wrong, will go wrong, so prepare for this.

Mapping Out the Journey:

Finally, planning the route to my destination adds an element of anticipation to the journey. Do I have to drive for miles, and will there be a loo somewhere on the way? How will I be able to acquire snacks? Are there any small producers that might need a client? I mean I don’t always think about food, but when you live in a country known for the quality of its produce, and where it is almost a duty to consume on the good stuff, it kind of is… Anyway, make sure you look at where you’re going on a map. And if you’re visiting a historic site or attraction then check the opening times. It has happened before. You turn up to a place and it’s closed, so I went a saw my plan B… The path ahead is filled with possibilities and opportunities for creative exploration.

In conclusion

The art of preparation is an integral part of the photographer’s journey. Balancing personal passion with professional commitment, each outing offers a chance to immerse yourself in the beauty of the world through the lens of a camera, whether it’s under the open sky or amidst the comforting hum of domesticity.