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Tamara's Gear: Lenses

I'll probably start with the twenty four seventy two eight this lens is the watch, like if everybody ever asked me if I only could get one lens, which is it is this one the twenty four, seventy f two eight lens for me, this would be the one I choose, and I say that with the caveat that I love the look of the prime lens is better in terms of if I were to shoot something at a twenty four millimeter here or twenty four focus prime or thirty five or thirty five focus prime, I'm going like the shot of the thirty five one four for instance, a little bit better sometimes a lot better sometimes it's closer, but what I get with the nikon twenty four seventy two eight lin's is the ability tio kind of meet any situation head on. I can really walk into anything that's happening and know that I've got my shot when I photographed weddings for seven years and shot over two hundred fifty of them. That was the one that I started when I walked in to meet the bride and I didn't you know what the size the...

room might be or what the lighting would be or anything, so I do love that lens it's also very fast to focus when I'm out in the field and I'm running around kids in there spinning around me, it's probably either going to be with a twenty four seventy f two eight lens or the thirty five one four lens, which are both very fast to focus lenses. I would never run around in a park with an eighty five one four lens on because it doesn't capture fast action very quickly. So I love the twenty four seventy lens for that. The next lindsay I would probably go to is theeighty five won for that is the one I'm using for nearly all my portrait. I'm going to step back and put on the eighty five one four and shoot with that beautiful, crisp capture where the boca is just incredible behind them, that soft background I just love the look of a if I won for most people I talked to who shoot with nikon love that wins. So that was the lens I would choose for portrait again, not for speed, but for simple, clean portrait's it's. Amazing after that, I would say the old since right next to it, the one o five. So the one o five to eight lens, I think, is probably the best bargain in the whole collection. I want to say it's about seven or eight hundred dollars, maybe somebody could check that for me, I think it's around that cost and to get such a pro lens capability you know compared to the cost, for instance of eighty five one four which has something like a couple of thousand almost being able tio shoot with that you can have the same capability as a portrait lens because it's really crispin really clean capture I would just step a little farther back in the same situation is obviously because it's a fixed focal length but the flip side of that is you have a macro lens and it's one to one ratio macro lens, which means that if I'm going to be right up on you, you will fill the frame exactly how I want the shot to be taken the closer I stand to you if I'm shooting if I just selected that I wanted to shoot an f three to for instance and I'm getting closer and closer to you the lens will auto adjust the focal capabilities so that that aperture is shifting to get the shot I want and then it'll just automatically happen for me that's actually a really nice feature of it and uh and you can have the ability to override the manual if you want our students the automatic with manual if again you're getting close and you feel like you're not grabbing the focus, you can then override it with that I don't know how many of you guys do macro shooting at all it's a really cool feature as it relates to portrait especially photographic babies a lot of people will love that vote a graph of the real tight close up of the children children's eyes things like that to able to get a really clean close shot that's sharp the one o five it's fantastic for that. Okay, uh that is three three of them. Okay, the seventy, two hundred f two eight you saw me shoot with that a few times over the last few days and as you saw, I shot with that pretty much everyone's I like tio cycle through because they all fit different situations, but it certainly makes things easier as it relates to being to being very up the look and feel of things the seventy eight to two hundred f two eight lenses, one of those lenses that if you have it in you kid, you find that you will always find a way to use it. It's heavy that is the one of the downfall slash upsides of it. But you know you've got a super quality lens but you've got to stabilize it and some of those photographs I showed you yesterday of the mom and her daughter on the chair into the tree from a distance you know, shooting between the seventy, two hundred and the three hundred four oh, you get some really very looks so that's a cool it's for that it's also very fast in terms of action shooting you're stepping back on the sidelines at a soccer game, field hockey, whatever it is that's the lens I'm using uh this is the thirty five won for the thirty five one four is a favorite for family images, especially larger family images when you want a wider scope in the shot, the photographs you took of the family on the kayak that we hijacked that's thirty five one for it's a pretty classic look for it in terms of being able to get a whole scene but be very close and why I'd want to use the thirty five one four with families with with kids especially is so I can stay close and keep the inaction going, but still get that beautiful, sharper look that I'm going to get with this prime. Andi that's another comment about seventy, two hundred that I missed one of the benefits outside of any technical capabilities of this lens is that when you are working with a subject that just needs space just from an energy perspective needs space stepping back, putting this lens on zooming in and getting the same sort of shot you'd have if you were up close to them can enable you to get a lovely shot on dh, then also let them open up more they don't feel like you're right on them that's another good reason use this lens it's quite good with toddlers for that reason too and then I think I'm rounding down here this is the three hundred four olin's from nikon you saw me shoot with this one a fixed focal lengths of three hundred it gives you that capability to again farther back blow a lot of things out gets really strong long range which is a nice advantage if you wanted a tighter closer with somebody but wanted to do it from from quite a distance and then again you're going to get that lovely shallow depth of field look so that is an overview of these lenses. The two lenses they do not have with me are the fifty one four and then the fourteen to twenty four to eight lens was a very wide lens, which is great for travel photography. I lost my first what lens on a plane ride back from ethiopia last summer it was ethiopia to rome and I got off the plane in my lens didn't and as to how exactly that occurred it's still a question, but I should be oh, thank you shout out here I applied for reimbursement with my insurance agent, which was all state they have all my business insurance and they said that since I didn't have a specific international writer about my lens equipment even though all my equipment was covered it would not be covered in that situation so they denied the claim and then so I went to p p a contacted pps professional photographers america their insurance and I've been a member with them our studios but remember with them for a decade contacted them and said, hey, I know there's insurance through our membership would this count and they said did you go to your initial provider first your initial insurance agent and we said yes and they asked us to send over the documentation to show that we applied that they denied us there's probably about a couple months of documentation going back and forth and but they came through they sent us a check for the amount of the lens that it would be today based on, you know, having had it for two years or whatever the case might be in that case but I felt it was very fair and and it could have gone either way you know what insurance feels that could go either way, but I feel like it didn't I felt like they kept the promise and a shout out to them because that was nice to be able to get lined up for your next one that help they won't lose I've lost a couple of these I lost another fifty millimeter lens in london once while staring at a cathedral s so it's a good idea to get in the habit of keeping your lens is close all right so that is the lens questions any questions about that air lines overview any carson's about that yeah tim we have questions for brown but see not just specifically on lenses but gear and but lenses anger if you are starting out what should your considerations be sort of when you're looking at what type of camera to get and another question was can you be professional with a without a full frame camera in your opinion I wass yes I shot without a full frame shot with without a full frame crop sensor and then and then moved into a full frame and then moved between the two for five years and I very much called myself a professional so yes that question about m I a professional I think is an interesting one because there's so many layers to it but certainly I would say yes and but you just have to be a little more creative about where you're standing in relation tio what you're photographing the initial question though was if you're just starting out what camera again I would invest in the if I had to put my money somewhere I would not say top of the line camera three average lenses I would say you get a pretty good camera with the noise sensitivity factor built in and you get a really great lands andi, I would have one great lens for a while if I could not afford more because these lenses just last and last and last unless you leave them on planes and the similar question to that if you could only have one lens for a family as a family photographer, what would you use? This person says personally, I don't want to be switching back and forth twenty four, seventy two, eight that's what? I would use it well, that's, what I would use because I'm really focused on the interaction piece and the exchange exchange piece and I want to be close if I were a family photographer who felt like my style was more documentary style have some breathing room go from a distance, you know, I might be choosing another lens, but with myself, I would I would say the twenty four, seventy five to eight of the cameras that you have this is from trevor kobrin, which of these has the least noise and torre in terms of noise when it clicks are noise. We know I ok? So because I say that because when the d a ten came out, I'm not actually sure, yeah, I was presuming noise your wedding photographer that's something that a lot of people will care about is the sound of the clicking a shutter, so I'll answer both thie s o the d a ten when that came out one of the first things I noticed was the smoother click sound I really like how went from picked it andi I remember thinking that are still photographing weddings that would be even a bigger deal to me because it's just a lot more subtle thie from a perspective of noise with o what was the original question is which one's got the best capabilities yeah amount of noise I'm the answer to that would be depending on what block you read and how they assess it and I know that all three of these cameras have great noise control capabilities andi I think the d eight ten of the forest are really strong but the decent yeah I think all of them have really strong capabilities on dh compared for instance tio cameras shooting with three years ago where I couldn't go over aya so sixteen hundred it was four years ago I couldn't know variety so sixteen hundred without discernible noise issues that I had a tough time controlling even if I get some noise picking up in these files I would use a great noise where program to be able to minimize it and you know faded to point where I've got sharpness but I've controlled any any clear noise awesome and just back to trevor says he meant not clicks but noise okay yeah so to that because this one had four boats from moncada photography the question is with the thirty two hundred I so how big can you print the picture and still have it looked pretty nice I know I see that question a lot, but one of the things I know there's so many factors, what are some of those factors and what I say with these cameras? I guess so the very first thing I would consider it at a nice, so thirty two hundred there's still part of what's happening in this industry and I noticed this so much I will mention something, I'll show an image during presentation and then someone will raise your hand, I'll say if you were higher than I, so one hundred youths ruin the quality of the photo on dh many people tell you that with mic on s o two hundred is a sweet spot, but there is kind of the problem isn't that people don't know what they're talking about. The problem is that the pace of technology is moving so so quickly that it's hard to reset the common knowledge about photography. The common knowledge of photography was anything that you need time you're raising your eyes so you're losing quality into some incontestable degree you are, but if I'm shooting something that s o eight hundred and s o two hundred, I'm you know back to back prince in a while you know and that wouldn't have been the case not that long ago which I think is the problem the technology is outpacing itself so quickly it's like saying well, you can't be somewhere if you're not physically there well, tony robbins just did a hologram you know, court of course you guys see that hologram course one of his programs from his place in from the palm beach I think it is look so really you can find the video online it's amazing into this huge room and these they have clapping and dancing there's the whole thing that he does as a hologram so if somebody had said six months ago you can't do that now it's true, I think that's the case with the s o s o I can and again thirty two hundred is about my max these cameras let you go significantly higher somebody probably has an answer to this but honestly, I think it's like twelve thousand eight hundred s o r sixty four thousand really is something stunning and I don't even know because I don't go to it. But I will tell you at thirty two hundred is probably about the cap of where I'm comfortable shooting at because I have so many times they will control the noise with that and present big so the answer about how big can you print it also has to do with the print lab use I have used several print lab's over time, more than several probably used about five or six print lab's in terms of testing out prince and then been aligned with them in terms of our studio printing through them. And we've been working with nations federal lab for the last two years, and we really get back what we send them on bears a few considerations you can think about when you're printing with nations. What a lab. If I am doing a if I am doing a thirty by forty print and I shot it at thirty two hundred, I will think about the way it's printed in terms of being able to control any noise that appears when it's on the wall. But I can tell you this if I have a thirty two hundred s o color image with some discernible noise that have controlled with post processing through using noise, where or something, I would not suggest the client get get it on a metal print a metallic print, for instance, because I think that that's going to show everything in pop, but I would say I would push them to getting a canvas because of the way the ink spreads, it allows you it's very forgiving, a canvas is very forgiving. So if I had something where I was, like, really pushed on a shoot similar to being in a dark interior of the couch where people are jumping, moving that and having that printed on campus is a home run, it really makes a huge even so, I'm going to be aware of that because when I want a print, I'm going to make sure print in the most friendly way possible to the file that's a great answer, tamara think I know a lot of parts to it, so this is that this is a metal print, and this is like everything shows everything, shows and pops, and when you have an image like this, so this the metallic print is it's on a medal and it's got this real shine and the super pop and it's great for something like this or in a bright green field or ah, supercool action shot that's really sharp and clear and photographed and even light for an image shot at I s o thirty two hundred. I would not suggest this not to say you probably couldn't get a great print out of it, but it wouldn't be what I'd suggest I would, I would suggest a canvas where you can have all the move around.