Jim - there would have been no need for that second lens if you were simply wearing a good boot on one foot!
Jim - there would have been no need for that second lens if you were simply wearing a good boot on one foot!
In the fifties and early sixties we all did our photography with a single fixed focal length lens, a 50mm for the 35 and I had a 127mm on a Super Graphic. I bought the Super Graphic (plus strobe) because I was required to have a press camera to do work for the local newspaper (1958-1961 until I graduated from college).
At that time, buying another lens was an extravagant expense for most working photographers, so I am used to working with a single lens. I learned to position myself to get the best composition within its limitations. I still prefer to work this way.
While my kit now carries 90, 135, and 240 glass (not really very extreme, when I go up into the hills I usually work with a single lens, mostly the 135. However I find it useful at times to put one of the other lenses on my camera and work within that focal length for the day.
I enjoy the practice of viewing the composition within the constraints of the focal length mounted on my camera. Barring unexpected obstacles such as intervening 6000' canyons this has worked well for me. So put me down as #2.
al
hi leigh
i agree with what you are saying to a certain extant,
but there are people who believe that lenses and chemistry and cameras
are silver bullets, and they forget that without the ability to know what you are doing
all the lenses in the world, and the best of equipment, esoteric developers and alternative processes
aren't really going to fix the problem.
yes knowing how to see, and knowing how lenses see is helpful, but if one is figuratively blind it won't help ...
john
I certainly agree with that.
Back when I was teaching photography, one assignment that ran through the entire course was to go out with one camera/lens/film and shoot an entire day with only that combination. Then the next week do the same, but with a different lens.
It's amazing how people can learn to "see" the world around them through the vignette of whatever lens they're using, once they learn how to do so.
It's not possible (IM-HO) to teach artistic vision. A person has it or does not. I'm an engineer, so I should know. ;-)
However, it is possible to train individuals to integrate their equipment into their vision, so they work within its limits and use its capabilities to full advantage.
-----
In any technical discipline you must understand the equipment you're using.
When you're driving, you sometimes make small course corrections, and sometimes hard left or right turns. Those maneuvers are just like lens focal lengths. You use what's appropriate to the circumstances and desired result.
- Leigh
If you believe you can, or you believe you can't... you're right.
I find the learning curve of each lens (it's tonal characteristics, rendering, field of view, contrast, sharpness, qualities wide open vs. stopped down, etc., etc.) takes me a while to sort out, and the longer a lens sits fallow the more rusty that knowledge gets. Sometimes a lens will sit idle for over a year and when I take it out again I have to reacquaint myself with its particulars which slows me down and impedes rather than aids the creative process.
By that measure there is a practical limit to how many lenses I can keep on active duty at any given time. Unfortunately, it does not require much mental fortitude to keep buying the damn things!
Jonathan
There certainly are differences in the results from different lenses.
I've minimized that variation by standardizing on a couple of lens product lines, to the exclusion of others.
All of my lenses from 135mm through 300mm are Rodenstock Apo-Sironar-S.
Most of the others are Nikkors (SW 65, 75 & 120, M 300 & 450, and W 360).
There's also a Fuji SWD 90 and SW 105.
Limiting the variability from one manufacturer and product line to another simplifies my life.
- Leigh
If you believe you can, or you believe you can't... you're right.
For me, weight is the controlling factor. I admit that I am continually seduced by gear. I am currently on the hunt for an extension ril for my Kodak 2D.
If I let myself go, I will pack a LowePro Magnum 35 shoulder bag with a 90, 150 and 210 along with 10 film holders. This has gotten heavier with each birthday. I have now gotten a 380mm telephoto that weighs about as much as the other three lenses (well it seems like it does). I can find a way to get it into the bag by eliminating 5 film holders.
We recently planned a trip to local scenic place and I packed a smaller bag with only the 150. How liberating!
Drew Bedo
www.quietlightphoto.com
http://www.artsyhome.com/author/drew-bedo
There are only three types of mounting flanges; too big, too small and wrong thread!
The less complicated the better. Familiarity with your equip is the key, so you can work with it as spontaneously as possible. There's nothing like a view camera for
having something go wrong when you're panting for breath atop a twelve thousand foot pass, just hoping your entire camera doesn't become a kite, watching a
black lightning cloud slowly approach, trying to compose the shot on the groundglass, hoping you'll actually get two seconds without wind shake right when all the
clouds line up the way you want them, and still get out of there alive.... "another day at the office", a routine situation for me....no need to be futzing around with six different lenses trying to decide which is best. You want them to fit your personal vision like a well-worn shoe.
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