LENSES...LENSES...LENSES! Zoom, kit, tilt-shift, vintage, prime... get the most from any lens.
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- čas přidán 25. 06. 2022
- This special episode of Photography Online is all about lenses. We show you how to control flare when shooting into the light. We explain how to get the very best performance out of any lens. We look at the amazing control tilt-shift lenses offer, and we go back over 50 years to see how far lens technology has come.
#lenses #photography #depthoffield
* Our July Part 2 show will be released Sunday 10th July 2022
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Your article on tilt shift lenses really was superb. I got inspired so much I ended up buying a Nikon 45mm PC-E which does 2:1 macro (including the movements if you want them). I took a tabletop shot of a mobile phone and a bunch of keys and it was totallly sharp, in focus and frankly frightening, it was so good, and all at f8 off a tripod. If it stops raining I'll be doing some outdoor shooting soon with this beauty. I am already saving up for the Nikon 24mm, thanks for the article, I was thinking of hiring a lens but found one on Ebay in pristine condition at a price I can recoup if I needed to but, I think this lens is going to be my favourite from now on. Thanks again. You cost me hundreds, but I am still happy!
Great to hear Ross. Hope you have fun getting to know your T/S. all the best.
I am still flabbergasted that you are practically the only photography oriented channel that unapologetically advocate the removal of protective filters in favour of lens hoods. I have always done so - even in the books I was co-author of - and I have received a lot of vitriol for it...
This she is soooo awesome....Top notch production value!! Like broadcast TV not CZcams...Bravo!
The Minolta lens was from 1960’s and Marcus looked like he had just come off the set from a 60’s spaghetti western. Great show as always.
Thanks for watching as always Steven.
I knew the answer right away. On a sunny day with dark shadows using an ISO of 100., the rule of thumb is 1/100 or 1/125 @ f/16. If I move to 1/250, I am cutting the length of time in half, so I must increase the AMOUNT of light striking the film by 2X...so I set my f/stop to f/11. Now if I move to 1/500 shutter speed, again I am cutting the length of time in half, so I must move the f/stop to f/8. But if I keep my shutter speed at 1/500 and move to f/1.4, then i am overexposing the shot by 32X. Every f/sop wider doubles the amount of light, while every f/stop smaller cuts the amount of light in half. The same with the shutter speeds. Every shutter speed faster cuts the length of time in half. So why would I want to change settings? The shutter speeds controls not only exposure (the length of time the light strikes the film) it also controls motion. So if I'm photoing a fast moving subject, I want a fast shutter speed to freeze the motion. But on the other hand, I can use a slower shutter speed, not only for the correct exposure, but to blur the motion somewhat, to give a feeling of movement. Or like for water, to blur the movement and have it look soft, but not blurred. Then there's the f/stops that control the depth-of-field. How much background and foreground is in or out of focus from the main point of focus. A wide f/stop gives less dof. so when you change one setting, you need to change the other to keep the exposure the same.........finished!!!!!!!
Superb episode. The tilt and shift guide was the clearest I’ve seen. And Marcus should grow the tache for real…..
Thanks Howard. Glad you found it useful.
Marcus' explanation of the shift element of the T/S lens is the easiest I have ever seen. Thank you so much.
Thanks Ben.
I thought this episode was up there with one of the best so far for content and explanation, nice one.
Thanks Alan
Damn that model was gorgeous 😮😊
One of the best a around shows
Thanks
Marcus is a scream. Where did he get that shirt? 😂😂😂😂😂. Thanks for a great show.
Cheers Chris
Love your channel. So well done.
Fab, thank you!
Really entertaining - and some good photographic advice too ....
Another great show everyone.
A great feature on the Tilt shift Lens.
Look forward to seeing the next show.
Good to see Harry chucking stuff about again 😆 excellent show as ever. I just spent the week in Skye and your channel has been invaluable in both providing locations and also just improving my photography, so thank you! Still feel like I only scratched the surface of the Isle in a week.
Had always thought tilt shift lenses were a gimmick as the images I have seen give landscapes a "model village" look. Now I understand why you would use one. Very well explained.
You can get the model village look by tilting the opposite direction to get minimum depth of field. But as you say - that's a bit of a gimmick. We prefer to stick the real stuff!
@@PhotographyOnline Ah, that makes sense. Thanks for the explanation.
thank you for another awesome show, love the bloopers
Glad you enjoyed it
Scheimpflug!
Movements on a large format camera are brilliant. If I was into photographing architecture seriously I would purchase a pre loved large format camera rather than an overpriced shift lens.
Yet another great episode guys!
Cheers Lee. Thanks for watching as always.
Marcus back in the seventies with mustache - you save my Sunday! Just lovely to watch you guys....
Glad we made your day Roland!
Great episode, one of your best. Thanks.
Thanks Thomas
Brilliant show all.
Loving the Tash Marcus. 🤣 I knew there would be a laugh in the out takes.. lol 😆
I "really, really" enjoyed this episode. A brilliant explanation of a Tilt-Shift lens that I was unaware of. Loved the Special feature. Bokah beast!!
Glad you enjoyed it. Thanks for watching
Absolutely LOVED all segments of this show. Re flare, Lensbaby with their wide angle fisheye lens, have chosen to 'embrace' the flare. With more that a 180 degree view, hoods are not an option so they chose to polish the inside of the lens barrel which allows for some creative 'use' of flare. When combined with the resulting circular images, the results can be quite striking. It's one of my favorite lenses and really gets the creative juices flowing. Love all of your enthusiasm, knowledge and the outtakes. Thank you, thank you!
Thanks for taking the time to watch and comment Keith.
Great educational piece, Marcus!
Thanks for watching Jeffrey
This episode has unquestionably been the greatest answer to tilt-shift lenses that I have had since the beginning. I am grateful to you for explaining their use and wish I had such a lens. In the meantime, I'm still wearing your PO beanie.....thats Scotland for ya! Love your show and love your content! I wish I could afford to sign up ....someday...fingers crossed! But a BIG thank you for now!
Follow up......do Canon do a TS lens for the Canon R5??
Not that we know of, but you can just use the EF one with an adapter until they release the RF versions.
Another great show. Keep up the great work ladies and gents.
Thank you! Will do!
This was great work! Start to finish packed with good info, thanks P.O.
Thanks for watching
Great show as usual Thanks
Thanks as always Eugene
Really "really" enjoyed this episode! Love that you do such a nice deep dive on your subjects. Gives us an opportunity to actually learn something! Look forward to the new show as well! Thanks for the continued good works!
Agree.
Thank you for watching Donna. Glad to hear it was useful.
Great one!
Thank you! Cheers!
Really good episode. Well done.
Cheers Rob
One of your best episodes. Informative and funny. I could watch 30 mins of outtakes 😂👍🏻👍🏻
Fantastic show, very informative, well done team.
Thanks John
Great show. Enjoyed learning about the tilt shift and the vintage lens.
Thanks Darin
As always very well explained and detailed way of doing things this channel gets better and better.
Thanks Harry
Always my favorite show on the interwebz. Brilliant, as always.
Thanks very much Gary
Great show as usual. The old new lens feature was excellent as I have a few vintage lenses that often get pressed into service with great results.
Thanks for sharing
Great episode.
Thanks Warrick
Love the stash! (26.14)
It put the smile of the day on my face!
Simply the best photo magazine show on CZcams. Thanks!
Wow, thank you!
Great episode as usual, loved the 70's element!!!! a general request ..... I've started to explore some aspects of street photography and would love for you guys to occasionally give is your perspective.
Stoked to have discovered your channel. TV episode quality on CZcams. Excellent in depth segments very professionally presented by very talented photographers. The production level and images that you provide are top notch and very inspirational. Subscribed, reviewing the back catalogue and looking forward to future episodes. Thanks 👍🏻
Welcome to our channel Rufus.
Great show. As new to photography I have learned a lot about the art. Thanks and great stash.
Great to hear. Thanks for watching
Well done! The most pleasant photographers on CZcams
Thanks for watching
Hello everyone. I just found your channel and I love it. You guys are brilliant. I look forward to watching all of your content.
Welcome to our channel Bruce. Thanks for watching
Okay, this is some of the best photographic information I've found in a while. I'm subscribing. Thank you all so much! I may just have to buy a tilt shift lens now!
Thanks for watching Sydney. We hope you continue to enjoy our future content
Another superb episode although I’m still recovering from the shock of seeing Marcus dressed up 😂 great tip regarding using a focal length that sits somewhere in the middle of a zoom range rather than the extremes (like your example of 105mm on a 70-200 instead of 105 on a 24-105). Never considered that.
Extremely informative episode. Been looking at tilt shift lenses but I often read they are for professional only. So this gives me some confidence that you can explore further.
Good to know. Thanks for watching
Wonderful show! You answered 2 questions that I couldn't otherwise find an answer to. I had wondered how a tilt-shift lens would work and how good retro glass would do on a modern camera. Thanks so much!
Good to know we are on your wavelength Jon
Just brilliant! (…as always). You guys (…and gal) simply Rule! 😄💪
Thanks Olav
Harry's section was very helpful for me as I'm mostly shooting with my 70mm-300mm kit lens. Thanks for another SUPER SHOW guys ❤️❤️
Thanks Marc. Glad it was useful.
Great show, capped off with a radioactive Marcus. What a stache!
Thanks for watching Ernie
Crivvens, I laughed so much I spat out my cornflakes when Marcus turned round in that chair! That alone has convinced me to sign-up. The T-S lens feature was very very useful, I have owned the Canon 24mm TS-E lens for a few years now but it doesn't get out much as I struggled to master the focus method to get that amazing DoF. Its going out today though..so, thank you for the inspiration.
Great to hear Keith. Good luck with the tilt-shift
Great show - lots of detailed and useful info regarding lenses. I was unaware of the tilt-shift lens...very interesting information...ya never stop learning in photography do you???
Glad it was helpful!
Vintage lenses - I recently bought an adapter so I can try early 1950s lenses made for the Exakta on my Nikon. I inherited two early Exakta bodies, six lenses, extension tubes and bellows. Just before I went digital, I was using the Exakta with extension tubes and a 135 mm lens to take close-up photos of jewelry for advertising. The results were very good - sharp and with enough depth of field to make the jewelry stand out well in the newspaper ads.
Thanks Francis.
Love the section on the tilt-shift lens. I’d really like to see how you can use it in a city setting to correct the tilt or leaning of tall buildings.
The taller the building, the wider angle lens is needed. Canon do a 17mm version which is ideal for tall buildings.
Great video, liked to segment on tilt/shift. I have a tilt/shift adaptor on an old bronica lens, so combine two of your segments.
Does your camera not have focus peaking? Its such an easy way to use manual focus, look for the peaking colour in the eyes and you are in focus.
I love these programs, always learn more than enough to be worth watching them more than once. I appreciate having the closed caption be spot on as it is so helpful at times. But, honestly, it is a little bit of a stretch to say they are commercial free. They are CZcams commercial free, but they are loaded with pitches for PO material plugs. Granted they aren't 1/1000 as annoying as whatever google decides to through at us, but lets be honest and not say they are commercial free. That said, do whatever you need to to keep the great content coming.
Commercial = paid content. We don’t accept paid commercials. We do accept sponsorship when appropriate, but these are not commercials
Enjoy watching your channel, I live in SE AZ.(Favorite time of year here is monsoon season, love photographing storms & lightning, I use prime lenses 85mm & 50mm). It would be cool to go to Scotland(looks like beautiful country, like your accents). My dad & brother-in-law passed through there when they were in the Navy on submarines.
Thanks for watching and for sharing your story.
Haha really enjoyed the added humour in this edition 😀👍
Good to hear Kevin
The lens feature with the tower looks like the one just before the road down into Uig and the ferry terminal? The number of times I've passed that when going to or from the ferry or for work and thought I really should go there one day and get some photos of that......
First for me on TS lenses, some used ones are not too expensive if someone wants to try out, great job as usual. Thank you
Thanks for watching
Great stuff, as always. Regarding focusing with older lenses, while most of what I use is Canon or Sigma glass, I have some MF Mamiya lenses and I use focus peaking on my R5. It really works remarkably well.
Thanks for watching Brent
Amazing show as usual, no y'all have me wanting a tilt shift lens ...
Go for it!
It is worth mentioning the coverage supplied by the lens
Not for digital, as they should all have sufficient coverage. Obviously for LF then this is something to consider when buying lenses though.
As always, a great show. Tilt and shift was interesting as was the lens comparison. Any reflections on what gear you you could have done with / without in Spain?
We had everything we needed for Spain. There's always more you could have, but as we were flying and needed to take video and stills gear, we had to travel light.
Shooting XT3 with 3 Fuji lenses and a whole table top full of various Vintage Glass. I absolutely love them for their quirks and the requirement to just slow down and think. For me the only down side is that none have image stabilisation nor does the camera, so perhaps one day will upgrade my fuji to one with stabilisation. 📷😎✌👍👋
Hello All- The only thing Marcus is missing is the love beads :) I like primes at 56, 57, or 58 mm over 50mm- Also purchasing these at F 1.4, saves viewers money over the 1.2.. Also viewers can save money by purchasing retros in M42mm mount, along with only one M42 adapter, matched to ones camera- avoiding buying numerous adapters for each retro (e.g. one size mount fits all). Find original brand lens hoods for retros can be pricey. However, I have had a bit of luck with the Chinese metal lens hoods- sometimes as little as $4.00 US. Some of the sought out retros include the Carl Zeiss Jenny 50mm 2.8 (great skin tones) , Pentax 50 1.4, the Konica 57 1.4 , and the Mamiya Sekor 55 1.4 The latter, when used for B and W on a Fuji 100s. gives great results. Always avoid retros with any fungus, which is the drawback of these lens. Most important, have fun with these.
Thanks for your input and for watching the show.
One of the best episodes so far, have thought the content recently had become a wee bit stale, (sorry) but this episode recovered my confidence and enjoyment in the program, thanks!
Cheers Bob
That tilt shift lens was great,why don't more landscape photographers use it and save on photo stacking or can you still stack with that lens ? Great channel 👍
Great film as always, and 70's Marcus (I thought I was looking at the album cover of "Disraeli Gears"!!), and the out-takes are highly amusing! In Nick's piece on flare, I was surprised he did not include the technique to control flare when the sun is in the frame. This uses two photos of the same scene, one as normal including flare, and the other using a thumb to obscure the sun and therefore the flare. The two photos are then blended, only using the sun part of the first photo to fill in the part covered by the thumb in the second. Maybe you don't recommend this method which is why it was not included??
Are tilt-shift lenses common in macro ? Seems like the natural answer to focus bracketing and pesky subject movement. Great show, I loved the comparison with the old Minolta glass.
Not sure if there are any T/S macro lenses out there, as the shift element would be fairly redundant. Take a look to see what’s available for your brand of camera. Thanks for watching.
Recently discovered your channel on CZcams and have enjoyed every episode. Particularly interested in the tilt shift section by Marcus and left wondering why this is not more commonly used by landscape photographers? I know they are quite pricey but then so are most tele lenses! I had come across a company in America called Fotodiox advertising a tilt and shift adapter that would allow me to use an old Canon 24mm FD lens on my Fuji XT4 mirror less body. Sounds like a cost effective option but I wondered if any of your experts would be willing to offer their opinion on this alternative? Keep up the good work.
A great edition! With reference to the final section I have always felt that if you use lenses at f8-11 then apart from resistance to flare there has been little improvement in the performance of prime lenses by major manufacturers since the 1960's. Wide aperture lenses and long telephotos show improvement but the big improvements were made post war with computer aided design from about 1955, rare earth glasses and multicoating from about 1960 and apo design from about 1974-5. Aspheric elements helped a bit with superwide primes but the real improvement in primes has been marginal as far as most photographers will experience. Could one really tell the difference between a shot at f8 using a Leica Summicron from 1965 from one taken with the latest asphericversion printed to A3 and viewed at a sensible distance (1.5 times the diagonal)? I think not.
Thanks for your input and for watching Gareth.
You may be evaluating your photos on your 4K resolution display of 27"diameter and that's 33% more than the diagonal of A3, from a distance of 300mm (30cm or ~12") and that's 44% of the display diagonal.
Old school taught to assume a viewing distance of prints of 6 times the image diagonal and this was also used as rule of thumb in Depth of Field (DoF) calculations.
I shot 4"*5", 8"*10"and Hasselblad 500 series - with Zeiss glass of course and next to that Nikon for small format. Leica was really very good but not practical with a 300mm and a Visoflex mirror cage. CAD in lens design started by replacing the couple dozen physics or mathematics Ph.D. that made calculations with lens designs, by doing the same in the computer. Modern models simulate taking photos with ray tracing and that's a completely different ballgame.
Yes, you are right that shooting at f/8..f/11 softens to such great extent that deciding which lens is better is difficult and it becomes a matter of "feeling" and how pleasant unsharpness is, maybe.
In the past decades, Leica has tried to come up with a full frame camera that would be backwards compatible with their old lens designs as that would support brand value by a lot. As a sensor (colorblind and analog) needs a lot of help to get (color) photographs, one thing over the sensor is the Bayer filter grid that limits each photosite in the sensor so it sees only one color band (mono) instead of all (pan) humanly visible color bands. In old B&W terms, the sensor is panchromatic but the data elements in the raw file are monochromatic (yet in either R or G or B). The data elements in the raw file being monochromatic, this is where you have 14 bits depth - raw processing must invent missing colors and you end up with 9R, 9G and 9B bits - 27 bits color space at best says DxO Mark.
So your photos on your display are the result of "raw processing" - mathematically precise and repeatable wild-assed guesses and this process must also make decisions on how to depict edges or lines that are not parallel to the grid of squares that is your sensor and your display. Think anti-aliasing (AA) here. Up to about 30MP, at full frame, digital cameras will have an AA filter layer that takes care of the AA physically - by introducing a bit of blur, reducing light a bit by dispersion, reducing dynamic range and color space a bit.
That's my old 24MP Nikon and your Leica Mx - calling a Leica Monochrom that is a misnomer, by the way, and it should have been Panchromatic.
So, a digital camera has a fuzzy filter and then you hope Lightroom (LrC) makes the best of it. Well, blow up an image in LrC and then in Topaz Gigapixel AI (GPAI) and you'll see that LrC is not the best here. (And I still need it.)
As these filter grids lie over the sensor, they present tiny tunnels and these are a problem for old lens designs. This is why we first saw crop sensors then "digital" lenses that project differently from their rear end in order to defeat sensor overlay caused vignetting. Here, Leica had a problem, more so than SLR brands. The strong fan-out projection of shorter lenses that causes problems with a full frame sensor is less with SLR cameras because they already had a retro-focus design to bring a wide angle lens away from the film in order to allow space for the mirror to flip up and down. Wider Leica lenses are more like double Gaussians with a very wide angle backend and close distance to the film.
I once naively hoped that mirrorless would bring back the double Gaussian, but it can't.
So Leica has been R&Ding a lot to make full frame work and took a long time. In the end, they developed an adapted filter grid that you could compare with a Fresnel lens that replaces the rings by tiny light fiber staves of changing angle in order to guide the light to the photosites in the sensor. This is very expensive, does not scale well beyond 24MP and is a compromise between different lens back-ends. But it works for your old Summicron. And, 24MP is not bad at all [2]. Run these 24MP shots through GPAI and you'll be amazed, even at A2 and larger.
So, the digital era has brought deep changes in this respect. Also, old lenses, especially retrofocus ones, had limitations in the maximum number of elements that would still work - just because of glare and flare. Well, incredible innovation in coatings allows for more than 20 elements, so a prime can easily be made that has no aperture breathing (so it is a zoomlens that compensates focal length changes following from focusing and consequently aperture changes - as the number in f/number represents aperture diameter as fraction of focal length). And more elements can be used to correct optical flaws like chromatic aberration - my recurring rant about Nikon for most of the past 45 years. So now a Nikon Z 50mm/1.8S is so good that the biggest Leica snob [1] in the world in his YT video uttered that Nikon san should make it in Leica M mount too.
And lens design has improved so much that my prejudice about the reduced sharpness of zoomlenses has been falsified. I still shoot primes only, but that's because I do not need every mm of focal length and I need to "use it or lose it" maintain my feeling for focal length versus viewpoint and angle and perspective - a zoom will ruin that quickly at least to some extent. And, with so many elements to compensate aperture breathing [3] as well as have internal focusing and potentially image angle zoom combined with loads of optical correction altogether are so good now that people start complaining about the absence of flare and how difficult it is to get aperture trails from shooting into the sun.
That, to me, constitutes a lot of progress.
[1] Hugh Brownstone - of Three Blind Men and An Elephant Productions
[2] human perception of sharpness - detail resolution - follows linear lines when MP are an area number. As your sensor has X * Y photosites the product gives MP after division by 1,000,000 (for the M). To compare resolution potential, we should not compare MP but the X of two cameras. If we want 2x resolution potential, we need 2X and 2Y, thus giving 4MP. Which explains why your old digital 12 MP Leica, or my 12 MP Nikon, images are still surprisingly good compared to the 24MP and also why 36 or 46 is not a heck of a lot better than 24MP - we need 96MP to get 2x better than 24MP
[3] for a DP, the f/number change associated with focus pulling is worse than a bit of focus breathing - you ~never shoot movie on auto exposure
uv filters are also part of the moisture sealing
Depends on the lens.
Loved the item on Tilt Shift lenses. Definitely on the Santa list. now. A question I've always wondered. And pretty sure there's a logical answer. When the lens is level and 'shifting up'. Can the same effect be achieved by lengthening the tripod?
no, because that changes the viewpoint, whereas shifting the lens doesn't. Hope that makes sense.
@@PhotographyOnline Thanks for that.
Never before has a tilt shift lens been explained in detail, thank you so can you tell me does this eliminate the need to photo stack to achieve front to back sharp image.
Hi Clive. Thanks for your kind comments. The use of lens tilt can eliminate the need to focus stack but only if the scene allows the plane of focus to fall over it. If you have an object in the foreground which goes all the way up the image (let’s say a tree), then tilting the lens doesn’t work because you end up with the bottom of the tree sharp but the top way out of focus. So in this instance you would need to focus stack - something which we’ll be covering in our next show
Isn´t that Minolta lens one of those macro photographers like to get hand on at the resale market
to mount it reversed (with a special adapter ring) to turn it to a cheap but good 1:1 macro lens?! 😏
Recently bought a vintage Minolta 28mm len,s for my Olympus EM2, that,s 56mm eqiv in full frame, the intention was to create a non digi look, be differant. Now youv,e broadcast this everyone will be at it, modern digi glass is to sharp, hence wanting a vintage look with the Minolta. Marcus has proved my theory, a better look.
Good to know you're on the right track Steve.
Wouldn’t be without my Canon TS-E 17mm L
Great bit on Tilt-Shift lenses, but those diagrams need to be corrected. The Sensor plane pivot point is not in front of the camera. Would also be good to show how the focus pivot point affects the angle of the focus plane. The current diagrams are wrong and misleading.
Hi Robert. The diagrams are not misleading and represent the Scheimpflug principle pretty closely. Thanks for watching.
@@PhotographyOnline not sure why my reply is not showing, but the Scheimpflug point is along the image plane, not at an arbitrary point in front of the camera lens as your diagram shows.
I haven't seen any of the landscape youtube photographers use a tilt lens. why do you think that is?
Probably because they all prefer to focus stack.
Great as always - I use MF lenas with adapters to get the tilt effect. True that for the older lenses - but they do suffer from poorer contrast too - shows up in high dynamic range situations.
Thanks for watching Amit
Yee yee
Another good show, and many thanks again. A quick question if you had a choice between a 24mm;90mm; or 135mm tilt shift lens, all canon, and a Samyang 24mm lens which would you recommend At the New Zealand prices, only one is possible unless I win the lottery. As for Marcus' '70s look, it reminded me of another hobby of mine... czcams.com/video/csX9n2KpjPc/video.html 😄
Hi Paul. The answer to your question would be entirely dependent on what you wanted to shoot. Canon also make a 17mm TS-E which is ideal for close up architecture or interior shots. The longer the focal length, the further you would need to be from your subject, so it’s a difficult question to answer. If it’s for landscapes, then 24mm is good. I am not sure if the Samyang offers all the independent controls over the various planes of movement, so I can’t say if it’s as useful as the Canon or not. The Canon is a great lens which will hold its value. If you can find a good used one, then you shouldn’t lose any money on it. So if you decide it’s not for you after trying it, you should easily get what you paid for it. Hope this helps.
Surprised you don't like skylight/UV filters and say a lens hood gives more protection. If I spend £1k on a lens I want my front element not exposed to the elements, much easier to clean a filter than the glass.
It’s been proved many times that a Skylight or UV will potentially cause far more damage to a lens than not having them at all. Stop listening to salesmen who try to sell you more gadgets!
@@PhotographyOnline I don't listen to salesmen but having been in the photo trade for 20 years and my own personal experience of dropping or hitting a lens they do the job. Each to their own I suppose.
@@davidcolman3649 we’ve seen a few lenses written off due to unnecessary UV filters being out in the front to “protect” the lens. We don’t do it and advise all our customers not to do it.
Another way to reduce flare: use a prime lens. They have less glass inside, so the same reasons apply as for removing filters.
Hi! Love your videos. I did just want to mention that "Utah" is not pronounced "YOU-tuh" even in Scotland. It's "YOU-tah". Do not ask me why. Native American names are their own thing. "Teec Nos Pos" doesn't sound a thing like how it's spelled. Great place, though!
That focal bracketing was, photographically, one of the laziest things I have seen.