Road Train !!!!!!!!!!

by Russell McMahon

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8

For up-close portraiture, I would really look into one or more prime lenses, rather than a zoom lens. Zoom lenses are more complex, optically, and the widest aperture you can usually find for a zoom lens is f/2.8, maybe f/2. The quality you get from a zoom lens will usually be lower than what you can get from a prime, and often for a higher cost. Prime ...


7

The 200-400 gives you a lot more flexibility. But it might not be short enough depending on what you want to do and how far away you're going to be. When shooting airshows I usually use a 70-200 f/2.8 with 2x teleconverter, and a second camera with a 28-70 f/2.8. For takeoff/landing shots, depending on aircraft and location, even 140mm can be too long ...


7

The Nikkor 24-70mm f2.8 G AF-S ED is a superb piece of kit, and priced accordingly. If your livelihood isn't dependant on getting absolutely optimal quality every time, you could consider a third-party alternative. I use a Sigma 24-70mm f/2.8 Macro lens that's good enough 99% of the time, and costs less than half the price of the Nikon version. You should ...


7

Two of the lenses I would consider would be either the EF-S 15-85mm f/3.5-5.6 IS or the EF 24-105mm f/4L IS. The 15-85 is lighter and covers a wide range of focal lengths. The 24-105 is built like a tank and covers a range of longer focal lengths. If you intend on taking mostly long range pictures, the EF 70-200mm f/4L IS is the way to go, but it is a ...


7

Here's a little context for comparing the various versions of the Canon 70-200mm "L" lens series: EF 70-200mm f/2.8L was introduced in March 1995. This design is almost 20 years old! EF 70-200mm f/4L was introduced in September 1999. The design is almost 15 years old. EF 70-200mm f/2.8L IS was introduced in September 2001, over a decade ago. EF 70-200mm ...


7

If the issues with your current setup are low constrast and looking washed out, then a new lens isn't going to help. A polarizer will help in some cases when there is some blue sky in the picture or a rainbow, but otherwise it won't make much difference either. What will matter is post processing. Clouds are all quite bright, even the "dark" ones. The ...


6

When is this "eventually" going to happen? If not in the near future (it never is...), than I think you should positively consider the EF-S10-22mm. It is an amazing lens and when time to upgrade comes, you can resell it with a relatively limited loss. Think about bundling it with the Rebel upon sale.


5

I personally think a flash with bounce and more power offers a lot more flexibility than an additional lens. In many situations you can make up for lack of reach by just moving your body, or fast glass by doing long exposures, but there are just a lot of scenes you can't shoot at all without a diffuse light source (e.g. when fill flash is needed, or an ...


5

The EF-S 17-55 f/2.8 isn't an "L" lens -- that's absolutely true. Before dismissing it, though, I think it's important to remember that Canon won't label any EF-S lens an "L" since it wouldn't work on their pro bodies. The performance of the lens, though, is considered to be excellent -- definitely competitive with "L" offerings, and very possibly even ...


5

Taken the crop factor into account, a good and also cheap "normal" lens is the Nikon AF-S DX Nikkor 35mm f/1.8G


4

The 75-300 III is an older lens with a design that goes back to the '80s. It typically comes in a variety of flavors (with and without USM, with and without IS), but the cheapie one you can find new these days typically sports neither USM nor IS. And the optics are relatively old. That's not to say it's a bad lens, but it's more limited than nearly any ...


4

There are many questions there but I realize you may be too confused to disentangle them. So the broad lines are: More expensive within similar lenses almost always equals higher image quality. In other words, you get what you pay for. Differences show up as softness, blurry edges, vignetting, aberrations, etc. USM supposedly focuses faster and quieter ...


4

I'm going to step around the discussion of the 17-55 EF-S lens and its comparison to an L lens as thats a loaded question that has lots of heated debate surrounding it. To address the meat of your question which I take as 'I want to upgrade to an L lens, which one?' that depends on what you're looking for in a lens. Unfortunately there isn't a single L ...


4

I've been to the Sagarmatha National Park up to ~5500 m in autumn last year. I have a Nikon D90 and brought my ultra-wide angle, because I thought I need it. I didn't. It is way much too wide for the mountains. Everything gets very very distant with an ultra-wide angle lens like this. Believe it or not: I shot 90 percent of my photos with a fixed-focal 35mm ...


4

Really depends on what you are trying to do with it. Portraits, street, landscapes? I use a 50mm 1.8 (1.4 is too soft) on my d200 and it is perfect for portraits and some street level shooting. In my mind 75-85mm is where you want to be for people shots so 50mm on a DX is about right.


4

No, there are no Fuji X native prime lenses, AFAIK, under $500, other than the 27/2.8. Zeiss Touits aren't exactly cheap, and the Samyang/Rokinon X lenses aren't exactly small and compact, as they're mostly dSLR lens designs with an X mount. And the one that isn't is a fisheye. Adapting is also probably not a good idea. The four-thirds format is smaller ...


3

A very nice upgrade is the 17-55 f2.8 Canon lens, one of the best EF-S lenes, and incredible optics. But, as you said, this is a crop lens. One thing to remember is that crop sensors can utilize much wider lens options that full frame sensors, and must in order to get similar field of view. Therefore you find many crop lenses are very wide, such as the ...


3

From my experience I can tell you that you should review your pictures and take a look at your pictures and find in which focal length you take most of the pictures (And make sure you like these images) ;) Then decide to pick prime lens... Fact no.1: In most cases primes are better then zoom lenses. What I found pictures takes with fixed lens are better ...


3

Wildlife and sports have very similar requirements. They both need long lenses. Sports also really needs a fast lens and so does wildlife except when at rest. That is one reason to avoid an 18-200mm or even 18-300mm, it gets so slow at the long end. The 300mm F/4 should be much better. If you add the teleconverter though, the aperture drops to F/5.6 which ...


3

I have a D7000 and recently bought a 300mmf4. I do have the 18-200VR as well which is probably the best all round lens, but you are correct, for wildlife and sport it just won't work. So far I have achieve some amazing results with the 300, it is super clear and fast enough for most of what I have been shooting. Depending on what wildlife you hope to shoot, ...


3

If you really want a lens with normal focal length for Nikon D7100, the Nikon 35mm f1.8G is pretty much the best you can get. However, I feel that the best lens you can get is the one you really want to use. There are considerations like focal length, aperture and things like that, but ultimately, the "best" lens in these categories will not be the best for ...


3

You don't actually say what you are trying to do with this lens. That matters. This is the domain of the bird and wildlife photographers where useful lenses start at 300MM and go out as far as your pocketbook can handle (and then some). It gets expensive fast, and the inexpensive lenses typically have tradeoffs that may strongly impact your ability ot take ...


2

You're right that you should be looking at something with a wider aperture based on your observation. As for the angle-of-view, it is a really personal thing. It has to do with the way you see the world and express yourself photographically. Some people or more comfortable wider and others longer. There is generally a preference for wider-angle for indoor ...


2

If you'd like to take pictures of people riding them then you need to read up on panning. By panning you can actually capture some sense of movement, the problem when there's no movement you can end up with either an odd sort of pose or the it'll feel a bit flat.


2

Quite a few things going on here. I'll go over a few items that will help get you images such as this, but the questions you are asking could fill a book, so I'll keep it high level. These images were created with a lens that is capable of a large aperture, such as f/1.8 that is found in the Nikon 50mm f/1.8 lens. That blurs the background, and actually ...


2

I've shot the Blues in the past and want to echo what Warren Young said: Things happen fast. If you can shoot the practice days, you should. That way, you will have less crowd to work against and ... there's always tomorrow. For the high maneuvers, you won't have enough lens, even at 400mm. But for the medium and low parts of the program, you can get some ...


2

Just a comment on the monopod - if you're using a lens of any (physical) length you may want to consider some sort of neck-based strap support instead. The reason for this is that you really won't have time to pan the camera on the monopod, and if you're surrounded by people they'll undoubtedly get in your way. You need to be able to hold the camera+lens ...


2

Things happen fast at air shows, and there are no do-overs. You already know these things, but IMHO these are the facts that most drive your selection. Everything else flows from the requirement for the fastest lens you can get. Of your two choices, the one which is faster is....hard to say. The 400/2.8 prime will: focus faster double your shutter speed ...


2

Note that the Sigma 12-24 is probably going to be updated this year, so you may want to wait. If you are not getting a full frame camera for a few years you may just want to get a very good crop lens now, and wait for full-frame wide angle lenses to improve.


2

I think you just have to bite the bullet and accept the fact that your crop camera ultra-wide zoom and normal zoom will have to be replaced when you switch to full frame. The longer lenses are fine, but these have to go. For an EF-S ultrawide you need a 10-20ish lens, which (barring the Sigma 12-24, which frankly isn't particularly good) simply does not ...



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