Everyone I know in the business have their preferences regarding focal lengths for different applications. I tend to work quite a bit shorter than most when it comes to working in closed quarters in a studio environment. I specify this for a reason. Studio work is a fixed space that you set up lights in and know what those dimensions are for the whole day of the shoot. Unlike interior location shoots where you often have to change settings and adapt your focal lengths to the circumstances.
It is for this reason, that I often find myself using a wide angle zoom in non studio environments. My focal length of choice in 75% of my studio shoots is around 60-75mm i.e. 40-50mm in the 1.5 ratio APS-C sensor cameras. But I tend to shoot closer to the former. I have read on several forums that the majority of shooters tend to shoot quite a bit longer i.e. 90-120mm i.e. 60-80mm 1.5 ration APS-C sensor cameras. I find that getting in closer to the model, allows you to communicate on a different level which in my opinion is more immediate. I am also not that fond of (at least at this juncture in time) of that compressed long focal length look. All of the major brands have focal lengths that fill this criteria.
“Because the image sensors on digital cameras are usually smaller than a frame of traditional 35-mm film, when a lens is used with a DSRL, you need to account for that difference by figuring its effective focal length. For example, a 50-mm lens on a Canon Digital Rebel would have an effective (or “equivalent”) focal length of 80-mm lens when taking into account the camera’s 1.6x magnification. Such magnification factors vary from one brand of camera to another, and sometimes even among models within the same brand.” from Consumer Reports.
I find that getting in closer to the model, allows you to communicate on a different level which in my opinion is more immediate. I am also so that fond (at least at this juncture in time) with that compressed long focal length look.
I have on occasion shot shorter than the above at around 30mm (45mm) APS-C, with very pleasing results, but for this focal length I need to work in studio’s with very high ceilings, as I more often than not am sitting or lying on the floor when shooting. I also need the much larger seamless when using this wider focal length or just work off of a bare studio cyclo wall.
Shooting at these shorter focal lengths most certainly have a distinctively modern edgy look about them (at least for now)… So don’t be afraid to experiment with shorter than the recommended norm for fashion work. It may give you a bit of the edge to stand out from the rest of the very highly populated crowd.
Several years ago, I would pick up my camera, put on a lens, start taking photos and not think twice about the outcome.
The responsibility was mine to produce the goods and if I didn’t it was usually my fault. Well, more and more, those days are over. I am so overwhelmed with complaints by users of camera gear around the world expressing their dissatisfaction with the quality of their lenses and camera’s that a new phenomena is occurring called the “Fear of Fotography” syndrome.
In the past I never feared using my gear. But that has also changed. I have had several QC problems that have effected me in a way I never thought possible and that is the “Fear of Fotography” syndrome. Will my images be in focus? Will my lens auto focus mechanism fail? Will my camera die? etc.
There is nothing more frustrating then having your assistant say to you while shooting, “what is wrong with the lens, it is making strange noises…” and I respond “Frigging thing isn’t focussing…” or “It is taking too long to focus!”
I’ll keep this short and sweet. Manufacturers of camera gear, get your shit together and make the stuff work before loading it on the public and us professionals who depend on your gear for our livelihood.
I have a very simple philosophy. When I do a shoot, I want to forget that I am holding camera gear. I want the gear to become transparent, where I forget I am using it. I don’t want the gear screaming, “Look at me, look at me, I am “F’ing” up your shoot!”
I never thought I would ever own a white camera. Well those lovely people at Pentax France have decided to send me aPentax K-xand I decided to get it in white which incidentally matches my iPhone. I should have it in about 5 days from now and when I get it up and running, I will do a review on it… My Way.
Won’t be as technical as what you are used to, but, you know me, I’ve never been a technical junkie. I will look at it from my perspective as a working professional. I am extremely excited about the 16-9 aspect ratio HD video mode which I plan on using to catalogue my photo shoots. From everything I have seen and heard, the image quality is more than good enough for shooting double page spreads for magazine layouts, which for me is a very important factor. Oh…and not having to up size (interpolate) is a major plus for me.
Well until then, stay tuned…In the meantime, have a look at those incredibly cool, eye popping colors. What a refreshing change and So Psychedelic…Peace and Check out this Review as well. Ben.
UPDATE: Just got the camera yesterday and am just getting acclimatized to using it. Love the high iso rendition and the video quality. Will post my review when I am ready…
PS…one more thing and it is purely cosmetic. The photo does not do this gorgeous camera justice. In reality, it is more pf a matte off white, which I much prefer and it is a lot smaller than I imagined.
I like to look at lighting in two ways. As sculpture or as painting. As sculpture when you start with an overall wash of light and like painting when you commence in complete darkness. It is for this reason that I would like to suggest lighting systems and accessories that may assist you in attaining your final goals in lighting your subject or scenario. These examples relate more so to interior lighting situations, but can also apply to close quarter outdoor scenarios. If shooting out doors, you will need a much more powerful lighting set up to compete with the light already surrounding you.
There are several lighting systems out there and most of them provide a vast panoply of lighting accessories and add ons. If they don’t have what you want, you can often use other manufacturers accessories and adapt them to your systems mounting hardware. However, I would suggest that you find a brand that have the modifiers available to achieve your present and future lighting goals. I have designed my own system for one of my lighting techniques and this system does not exist in the market place.
You may wish to consider either getting the power pack system and flash heads with modelling lights that plug in to the power unit or several independent mono block flash heads with modelling lights. I would recommend getting at least two heads or mono blocks. Three would be better. As to which brand, again that depends on your budget. You can have a complete system for around 2000 dollars or euros. It also depends on the size of space you will be working in which will determine the output required for the job. My own personal kit which I use when not doing a job (for testing or personal projects) are the following. Two MultiblitzProfilux 600 ws monoblocsand two Multiblitz Compact Lite 200 ws monobloc units. I have 6 Honey Comb Grids, 2 snoots, 2 barn door modifiers, four 7 inch silver bowls as well as 4 Multiblitz umbrellas and a Multiblitz 60 cm soft box which I have used only once. I have a multitude of black scrims which can cover any part of the umbrella or softbox, I wish to obscure, made of black material and Velcro or gaffers tape to attach to the umbrella or soft box. I have several home made scrims anywhere from 30 cm to 1 meter square as well as home made cones and black card mini scrim modifiers. A scrim is a panel that can be used to either redirect (white) or block (black) light from hitting an object.
In almost every discussion I have had with photographers, the greatest frustration expressed is the lack of control over their light source. There is just too much light going everywhere. It is for this reason that I often opt for the paint with light rather than the sculpt with light approach. It is more akin to a half empty or half full approach to lighting. I prefer to build my scenario from complete darkness than to sculpt out the light from an existing light source. Umbrellas are akin to sculpting where highly focused snoots and honeycomb grids are more akin to painting. However, even those tools may not give you the desired effect, as they cast a very definitive circle on to the photo landscape. That is where the art of dodging with scrims come in to play. Scrims can be shaped in anyway you desire and can be done so using wire hangers or wires to construct the shape of the modifier you wish to employ. Of course, the distance from the light source will have a major effect on how soft or sharp the gradation from dark to light will appear in your image. That is where experimentation comes in to play. You may also wish to use another technique that I have used called “Controlled Vignetting” mixed with scrims to add further dimension to your image. By moving an opaque object near your lens you can add a further dimension to your photo. I often use my hands to do so, or plants, vases, glasses etc. I have also used semi opaque scrims to effect the softness and hardness of my light source.
One of the problems with the use of scrims, is the need for stands to support them. So be prepared to buy several. You can purchase clips at most hardware stores.
In my next instalment, I will discuss the use of flags, scrims on umbrellas and soft boxes as well as other types of modifiers available to shoot with.
As I have worked with many of the SLR’s and Medium Format camera’s out there, I want to share with you some of my favorites. In my career I used Nikon, Canon, Pentax SLR’s and all of the Medium Format stuff out there.
My choices are based on my most frequent go for lenses when doing actual projects in the past and present.
Pentax: smc Pentax DA 40mm f/2.8 Limited
Pentax: smc Pentax FA 31mm f/1.8 Limited
Pentax: smc Pentax DA Star 16-50mm f/2.8 ED AL (IF) SDM
Pentax: smc Pentax FA 50mm f/1.4
Pentax: smc Pentax DA 12-24 f/4.0 ED AL (IF)
Canon: EF 17-40mm f/4.0 L USM
Canon: EF 35mm f/2.0
Canon: EF 28mm f/2.8
Canon: TS-E 45mm f/2.8
Canon: TS-E 90mm f/2.8
And of course, not to forget two of my favorite 3rd party lenses,
Tamron: SP AF 28-75 f/2.8 XR Di LD (IF)
Tamron: SP AF 90mm f/2.8 Di 1:1 Macro
Well, there you have it.
Ben
Here are 2 instructional videos discussing the attributes and rendering of different focal lengths.
As I always say, I was born with a camera under my arm (maybe you know the Latin expression “he was born with bread under his arm”). My dad is a photographer, and like any son in the world, I admire his work. My first steps with photography were with a P&S Canon camera, but I always wanted to play with the big boys toys, the SLR´s. I learned the basics in lighting, aperture, speed, ISO (in the past we called it ASA), and something about the printing of photos… I love the moment of the shooting. The tension of having it all in the right place, the feeling when you press the shutter. I love how I could capture something or someone on a piece of film, and then print it and keep it for the ages to come… Film photography is beautiful, as digital is. I learned with Canon, Hasselblad, Contax (my first personally owned camera). It was something incredible, because you know that you couldn´t take gazillions of pics like today. Film was expensive, and you only had 36 to 39 pics in the camera each time as a maximum. At that time you planned the photo, so much more than you do now. Maybe that´s why I keep doing that with digital photography. I don´t take 1000 pics a day with my camera, even when I know I could. I love the art of thinking about the photo before taking it, and that´s why I´m here writing. I´m trying to spread the word… I am always in the process of learning and I think I found some people who are helping me… sometimes with advice, sometimes just with photos that inspire me. I´m not a professional photographer (maybe in the future), but I´m glad I know some of them, and I try to learn from them. I agree with Benjamin on one basic thing: it´s not the brand of the camera, it is the photographer and the love he puts in to the photo. I love photography and I hope I can transmit that in to my work. I own a digital SLR, and I try to do my best… Keep doing what you´re doing, pretend I´m not here… Click!
Thanks to Gerardo for his contribution to this blog.
Does the Gear You have Really Matter? Or How I learned to take a “Pitcher…” or is that a “Picture?”… I’ll take both, just in case the Picture doesn’t turn out!
Well, I will commence with a simple answer “NO”… Whether it is a Nikon, Sony, Pentax, Canon, Panasonic, Olympus, Samsung or any Medium format camera and digital back out there, it really is of no great consequence which brand you own! You want to know why? Based on a recent survey, 90 percent of all DSLR camera owners rarely print their images larger than A4 (8×10″) format. In other words and in most cases, a good 5 mega pixel camera with good noise specifications would be more than sufficient to do the job and do it very well.
Now, if what you spend most of your time doing is pixel peeping your images at 100 percent on your screen to see if you can notice any anomaly of any sort, than yes, do go out and purchase a $40,000.00, 50 mega pixel back for your Hasselblad. However, if you do so, you will find that you might notice some interesting phenomena, like high chroma noise issues at anything above 400 iso.
Another interesting problem is that when you go to press, the tram noise or pattern will destroy most of those fine pixels that you observed on the screen, a kind of natural grain producer of sorts.
Of course the quality of the sensor is very important, but I believe that any of the 10 mega pixel plus camera’s out there could do an admirable job.
I have watched with bemusement the wars that are ongoing on the forums between this and that brand and usually come away thinking that unless you know why you have purchased a brand and to what purpose, than you might as well close your eyes and do a “eenee, meenee, mynee, mo” exercise to determine your choice.
So, if you have no plans to produce an image larger than 12 x19″ and have a limited budget, feel confident that no matter what you buy, it will be overkill for that format.
Just be happy that the technology provided for the photographer today has easily out specified the top end camera that existed just 3 years ago.
