This post will quickly discuss why you might choose a zoom lens or a prime lens for you photography.

- What is a Prime Lens?

• Prime Lenses have only one focal length.
• They come in many many different focal lengths (i.e. 20mm, 50mm, 100mm and so on.)
• You cannot zoom in and out.
• Usually cheaper in relation to quality.

- What is a Zoom Lens?

• A Zoom Lens has a range of focal lengths.
• This means that as you turn the zoom ring it moves through 20mm-100mm (for example).
• This is zooming.
• Zoom Lenses are convenient.
• Its like having many lenses all in one.
• They are a wide angle and telephoto at the same time.

The focal length specification of a prime lens will describe itself as 50mm (one number). A zoom lens will describe it’s focal length as 20mm-100mm (two numbers). In other words, the zoom lens is like many prime lenses in one.

So why would you bother with a prime lens? It sounds restricting.

Zoom lenses are said to be improving in quality but are still regarded as not as good a primes.

Prime Lenses are considered to assist in better quality, sharper and cleaner photographs.

One is designed for a sole purpose and one is multi-tasking.

At university we were all required to use prime lenses and not zoom lenses. There are many reasons for this other than quality. It also makes you think much harder about what you are doing.

Thinking Harder:

Prime Lenses make you think harder. Rather than being able to control your environment by bringing it closer to you or farther away whenever you desire, you are forced to concentrate you energy on a common mode. You have to think harder to plan how you will photography the subject given the circumstances. You choose a certain prime with a certain focal length for a certain purpose and then stick to it.

It also takes  a lot of pressure off you – you do not need to photography everything in sight in 20 different focal lengths. As you cannot zoom in, you don’t!

Thinking more about the process will also get you more in touch with photography as a medium as you learn not to take the photograph for granted. Your input is increased and you final shot is achieved through higher levels of creativity and understanding of how the camera works in relation to your viewpoint, the world and the science of the lens.

There a benefits to zoom lenses of course. Freedom to take one lens with you means you needn’t worry about photographing all sorts of moments and subjects.

Thanks for Reading,

Dan

]]> http://how2photo.wordpress.com/2009/08/22/zoom-or-prime-lenses/feed/ 0 bloglabyrinth http://how2photo.wordpress.com/2009/07/26/focal-length-quick-lowdown-on-lenses/ http://how2photo.wordpress.com/2009/07/26/focal-length-quick-lowdown-on-lenses/#comments Sun, 26 Jul 2009 13:02:35 +0000 bloglabyrinth http://how2photo.wordpress.com/?p=73 ]]> Focal Length (mm) is about how wide or narrow the field of view is and how close the subject appears through the lens.

The shorter the focal length, the wider the angle of view (wide angle). The longer the focal length, the narrower the angle of view (telephoto). That also corresponds with how “zoomed in” the image appears to you. A wide angle appears to be “zoomed out”, and the a telephoto appears “zoomed in”. Simple.

Wide lenses are low in millimeters, i.e. 20(mm). Narrow lenses are high in millimeters, i.e. 200(mm). The range is enormous. 50mm is considered standard and similar to the way the human eye sees.

Physically, Wide angle lenses are short and telephoto lenses are long.  i.e. photographers you see at the side of a football match have massive lens as there are getting close shots of the action from far away. A wide angle lens is very short.

Wide angle lens allow you to stand close to the subject and still maintain a wide view. Telephoto lens bring things closer to you.

Macro Lenses:

Macro Lenses are for close ups. They have a long barrel and can focus on subjects that are extremely close to the lens. They are designed to focus on a small area and capture the object the same size as it appears in real life (ratio 1:1). Macro Lenses are designed for the above so are not so good to use for other photography.

If you are on a budget, you can get lenses that claim to be good at macro photography too! Comparable to most things in life, equipment that is multifunctional is not as good as something specific to one purpose. But thats up to you to decide. Here is an example of a lens with macro capabilities which is also a wide angle lens.

You can also set your compact digital cameras to a macro setting. Turn the dial to the picture of a “flower”. Use it for close ups. Wahey!

Macro lens range from 50mm-200mm. Apply the same theories as explained earlier.

Prime & Zoom Lens:

Just a quick note – Prime lenses are one fixed focal length (i.e. 50mm, 80mm or 100mm for example) which means you cannot zoom in and out. Zoom lenses can adjust to many focal lengths, as it can zoom in and out.

Prices of Lenses:

Range from £70 – £10,000+

I have bought a wide angle lens that cost £200 and I use for everyday photography. When I was a student I never paid more than £380 for a lens.

Telephoto lenses that are the very expensive ones.

“Prime lenses” are better quality. You have to pay much more to get better quality out of “zoom lenses”. There will be a post on Prime and Zooms another time!

When you have considered the above you can apply the rule that in general, the more you pay the better the lens. But in the end, you can make great photos with cheap lens too if you are clever and creative.

Lens are tools, like paint brushes. You choose what kind of brush stroke to use, before you apply the paint. You have a rough idea of what you are aiming for and the intent of the brush stroke. Its part of the process for designing the photograph – the perspective. It also has practical uses, so you choose based on physical variables too. Such as, will you be far away from your subject? If you use a zoom lens, you centainly won’t need to think that much… is that a good thing or a bad thing?

Thanks for reading,

Dan Larsson

Slow films have lower ISO numbers such as 50, 125, 160 are all slow or relatively slow. Fast films have higher ISO numbers such as 3200, 1600, 800.  ISO 400 is considered “everyday”. Read on to know more…

Fast film means that you can keep using faster shutter speeds as the light fades. Thats because its more sensative to light, its fast. It takes less time for it to record the image.

Slow film is the opposite. When the light fades the film will need a slower shutter speed than a fast film in the same light. Simple as that.

A good way to realise this is with a light meter. If you press the button to take a recording and then rather than alter the Aperture/Shutter Speed, alter the ISO and you will see that the Aperture/Shutter Speed change accordingly.

So what’s the point to all this anyway?

You need to consider the “grain” and “quality” of the film.

Slow film is of better quality because there is finer grain (you can’t see the grain). The compromise is slower shutter speeds, i.e. you have to use it in stronger light.

Fast film is of worse quality as the grain is more visible. Its grainy. But you can hold the camera in your hands and photo in low light.

TIP: its all made redundant somewhat if you use a tripod. You can use a slow film (e.g. ISO 125) in total darkness if you like, it doesn’t matter.

You would use a slow film in a studio and when you want top notch images. You would use fast film if you photograph in low light conditions, holding the camera in your hands. Fast film is for variable and unknown light conditions. Slow film is for controlled light conditions and when you have a tripod.

Sometimes I will use a fast film even if the light is strong enough for a slow film, for arty reasons. It can look very cool to have grainy images. Much in the same way you use contrasty film. Contrasty film is cool too.

So, in conclusion, mix and match and think aesthetically as well as practically. What look do you want, what quality and how are you going to use it.

EXAMPLES (120 and 35mm)

SLOW

• Ilford FP4+ 125 (B&W – medium contrast)
• FujiColor Pro 160 S or C (Colour - more contrast than kodak in general, “S” for Skin and “C” for Contrasty)
• Ilford Delta 100 (B&W – low contrast)

FAST

• Fuji Neopan 1600 (mega contrast and grain)
• Kodak Portra 400 (Colour)

Hope this helps,

Dan

Anyway, First there is a tip that will help you pack in the first place.

Its not always possible, but could you choose only one lens to take with you?  Sometimes it pays to keep things simple. If you are going out to shoot landscapes you don’t need a telescopic/telephoto lens. If you are shooting wildlife, then you won’t want a wide angle lens.

If you packed a wide angle lens and then a parrot arrives and sits on a branch near you, you may just have to let that moment pass and enjoy it with your eyes instead. Sometimes it helps you to focus your skills if you don’t bring a whole arsenal of lenses with you. Its up to you.

So what’s in your bag?

1. Blower (if dust or fluff gets on your lens you can blow it off).
2. Spare Film (in case you need more or bugger up some).
3. Film Containers (to protect the finished films).
4. Cable Release (if shooting in low light)
5. Lens Hood
6. Do you need a Tripod?

That may be all you need. In a well padded bag. Buy one with sections. There are even nice rucksacks now, expensive in some places. Shop around or buy one second hand, its only a bag not your duvet covers.

I was going to put cloth on the list. You need a cloth or piece of kitchen roll too. Its not on the list because I do not want to influence the way in which you clean your lens, that is another matter. I don’t clean lenses out on the field.

I use UV filters (see my UV filter post). This protects the lens. But if rain gets on my filter, I wipe off the droplets and blow any fluff off. That’s safe enough – but lens cleaning is a much more sensitive issue. DO NOT clean lenses with kitchen roll – use a brillo pad (that’s obviously a joke, but you can’t be too careful, so I should state that it is a joke to use brillo pads or kitchen roll to clean lenses.)

When you’re out you might ruin a film or two just by making mistakes. It happened to me a lot during my university course. So take plenty of film.

I used to forget to take the lens cap off when using my rangefinder. You wouldn’t make that mistake with an SLR. See my post on rangefinders.

To stop this I sellotaped a card on the back of my camera saying to TAKE THE LENS CAP OFF! You can do the same for other procedures you are not familiar of. An example for digital users, what about a note that says, “Am I Charged?”

Remember to tear off the flap of the cardboard box the film came in. The flap that has the name of the film and therefore the film speed. On some cameras you can slip it in a neat holder on the back of the camera or “film back”. Then you are reminded what speed to set both: your camera and “light meter” to.

Which brings me to another point. Remember to set the film speed on your light meter. It is easy to forget (if you are forgetful). If you have made this mistake and taken a whole roll of film based on incorrect settings on the light meter, take note of the ISO (film speed) you set it to. There is a way to save that film… potentially. For now I will just give you a link – “PUSH OR PULL” its very complicated.

Don’t forget, if you are bringing a tripod, where is the screw piece? It might be on another camera still and you may end up carrying a heavy tripod out for nothing.

I tend to set up my camera a little before I go out to. Whether that be setting the ISO on my digital camera (and choosing RAW or JPEG), or loading the first film at home. Screw the piece for your tripod into your camera before you leave. I think you do more prep work in Winter!

Good Luck out there.

Thanks for reading,

Dan Larsson.

The Strengths of Black and White:

Black and White is great for emphasising form, shape and texture. Its well known that to describe elegence of form or interesting textures, black and white does a superb job.

Sometimes you have to make the descion based on the concept and emotion, rather than just the subject. Is it moody, miserbale or timeless and still?

Another good example is architecture. Here you are concentrating on the shape of the building, and it will probably be more powerful in black and white. Removing the colour means that the viewer is concentrating on the form and detail, and that is all.  The same goes for portraiture.

The Strenghts of Colour/Color:

Colour photography is like another subject. We see the world in colour so you could argue  that we can relate better with colour photography and that black and white photograph puts us at a distance in which the photograph becomes a relic. for exmaple, modern snapshot style photography is in colour.

You may photograph something ordinary and banal and decide not to give it black and white status. Black and White is now old fashioned – you have to choose to use black and white now. Some photo shops won’t do your black and white films now. More people are using colour now.

I tend to only use colour when I am photographing something colourful. Sounds a little odd perhaps? It is as if, by photographing something, I am saying that the subject is of importance, or worth telling the world about. It doesn’t have to be St Pauls Cathedral, it can be a chair. However, you decide the method which best to emphasis the particular qualities of that subject.

It may be worth asking youself why you are choosing that method and then it will become clearer. Or, shoot it with both and decide later!

Heres an example of some photographers that only use black and white, and to make it interesting, Two are incredibly famous and that you would find in your text book and two are people I’ve never heard of that I came across randomly.

Paul Politis

Benjamin Herbert

Bernd and Hilla Beche (very well known and historical)

Ansel Adams (likewise)

All the best,

Dan Larsson

• Take you time. You have already decided its worth photographing. Stay and take photographs from many different angles – a tiny adjustment to the left or right could make all the difference.

• Use Brackets. On a Digital camera there will be a BKT (brackets setting) or with a fully manual camera, you can do it yourself. Brackets means that you take 3 photographs at once. One will be underexposed, one will be normal and one will be overexposed. It means you are playing a safer bet by ensuring you have a decent exposure to choose from. Also, in photoshop you can combine elements of each.

• Don’t zoom. Move closer. Certainly never use digital zoom (as oppose to optical zoom). It is argued that zoom lenses are best when you are zoomed in half way. You’ll have to see for yourself. If you are buying a new lens soon, buy a prime lens instead of a zoom lens. I will make a post about this choice soon.

• If you are feeling that you image is boring but the subject is exciting, here’s a tip! Don’t stand up straight like your mum taught you. Try and crouch, lay down, bend your knees a little. You will eliminate the photographer from the image – its harder to relate to the human behind the camera. (unless that was what you were trying to do. That’s for another day.) It also just gives the viewer a more interesting perspective of the world.

• You don’t need to include the sky. In fact stop it for a day. Don’t have the sky in your shots today.

If you would like me to help you with your photographs, you can email it to me and I can make a comment or two.

dan.how2photo@googlemail.com

Thanks for reading,

Dan

Dana Popa – Not Natasha

24th July – 18th Sep 2009

V&A, London, UK

Reg Wilson – Capturing the Moment

18th March – 10th Jan 2010

Michael Hoppen Gallery, London, UK

Ofer Wolberger

Until Sat Jul 25th 2009

Brighton Museum, Brighton, UK

The American Scene

Until 31st Aug 2009

Naked Eye Gallery, Brighton, UK

Kiya Uncovered

Until 21st Aug 2009

Pride, Brighton, UK

August 2009

Dan Larsson

The exciting thing about 120 film is that it is 6cm wide but the camera decides the length. Your decision on the length is up to you but this post will outline them briefly to help you decide.

Ultimately, you can crop a photograph so why care what shape the negative is. Well that’s not all there is to the size.

6×45

• 6×4.5 is 2 times bigger than 35mm
• 16 photos per roll of film.
• Camera example: Mamiya 645

6×6

• 6×6 is almost 4 times bigger than 35mm.
• 12 photos per roll of film
• Camera Example: Hasselblad 500

6×7

• 6×7 is 4 times bigger than 35mm.
• 10 photos per roll of film
• Camera Example: Mamiya 7, Mamiya RZ67, Pentax 67

6×9

• 6×9 is twice as big as 6×45, and about 5 times bigger than 35mm.
• 8 photos per roll of film
• Camera Example: Fujica GW690

Where size is compromised the amount of shots you get per roll is increased. Think of the cost here. There is a balance. Should you go for quality or cost? I suggest you choose quality and choose your shots more wisely, and try not to make simple mistakes. Bring lots of film with you. Or, go out with a 645 camera first and then you can do your final shots in a larger format.

The bigger the negative the better the quality, its not that different from digital images. More pixels more quality.

I have had trouble with 6×9 in the past and do not recommend it. Its out of date and many photo shops do not cater for it and will charge extra to do things by hand. Also in darkrooms you need an adaptor that is hidden somewhere. Nobody else will be using it – that may be a good thing if you like to be different, but it means you wont find equipment set up and ready for you. The nice thing about 6×9 is the shape, its nice and long and if you like landscapes, then you’ll like this shape.

6×6 is interesting because it is square. Some argue it makes you think harder about forming a composition, some say it removes the hard work. You loose the landscape/portrait decision altogether.

6×7 is a nice standard, you can’t really go wrong here.

645, there a two sides to this coin.

Negative -

• almost as big and heavy as a larger camera.
• Much less quality than 6×7
• not much better than 35mm

Positive -

• 16 shots rather than 12 or 10
• smaller
• that’s it really…

For those of you who came here for a quick answer = 6×7.

Thanks for reading,

Dan

Apparently it brings out details that the haze of the sun stops. Its a bit like wearing polarised sun glasses.

Do I need one?

Use them to protect your lens. Once you’ve scratched your lens, you’re buggered. So why take the risk?

The argument is that it will reduce the quality of the final image in some cases. Its true, that if you are going to go to the bother of buying a lens in the first place then spending £30 on a very good B+H UV filter is worth it.

Look at it this way: you buy a nice lens and then stick a crap piece of glass in front of it. Why? Cos you don’t know any better you silly plonker!

If you don’t want to buy a filter the alternative is a lens hood. This is meant to protect from wind, dust, rain and light. It therefore protects the lens, and stops your fingers getting near it too.

If you scratch the filter, you buy another, your down £30, not £300. Sounds good to me.

Remember, before buying, check the size you need (in mm) if you don’t know, google your lens and check the specs.

Thanks for reading,

Dan Larsson

Whether it be a rangefinder or an SLR here is a tip:

• Bring a torch, or use your flash on your camera phone.
• Get someone to stand in line with where you want to focus on.
• Have them shine the light at you.
• TURN OFF AUTO FOCUS, which you shouldn’t have on anyway, naughty naughty!
• focus on the light.
• If you use a rangefinder it is easier as you just make the two lights come together as one.
• If you really want to play it safe, stay higher than f16 to assist in focusing (i.e. f32).

Obvious really, but I didn’t realise until I was told, so now you know too. What are you doing out in the dark anyway?

Best,

Dan