How to REALLY Understand Your LENS
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- čas přidán 5. 09. 2024
- This week I thought we would talk about the common statement that you should really get to know your camera or lens. But what does that actually mean for a professional photographer in 2022
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Which is that hood on your mamiya cambo lens?
I use 3 rulers, 1 across the center and 1 each going up and down from the center ruler. It allows me to see sharpness in the center and the edges. Add 2 more and you can do all the corners along with the middle plane. No photoshop needed. I use wood rulers as they are easier to see.
YES, I get it, esp. as I shoot nikons, the 105 is a case in point, the z mount lens CANT be hand-held, it is way to unstable, but the afs one CAN, and does work effectively off a tripod,; Also when I shot my 80 and 180 hasselblad Cf lenses, these are both prone to flare, I shot by my local river, architecture mainly, but there is a point, when reading and watching other photographers use them, ALWAYS use a lens hood, you will get highlights, but not bad unusable flared images( I was using asa 400 at the time, with EV 15-17 on the light meter).
Thank you for the wonderful advice. I will start trying each lens for the best F stop and edge softness for each type of use.
Super, well said.
Many think 'focal length' or FOV when we talk about getting to know a lens or mastering it (seeing in 28mm or 50mm etc), but there is so much more to it. It's genre and intent specific as well. I don't really need my Pentax FA43/1.9 anymore but I hold onto it because I think it starbursts better than any other lens out there (or at least on my system). And it's about getting to know the weaknesses of an optic as well. Many lenses I love also PF badly, and so I often accept that a monochrome conversion of the image is an easy way around that issue, but I need to weigh up if that is an acceptable tradeoff or if colour really is critical to the success of the image. Taking a hit on the aperture (stopping down) to remove CA and what figure that actually substantially helps is good info to know as well.
The biggest problem is remembering it all, all of these optical traits across a wide variety of glass. So I can understand why some reduce their kit to just 1-3 lenses because then the memory issue is not so hard.
Great vid.
The focus when backlit and that sort of thing made me laugh and reminisce. I remember learning that about my 85mm in the moment then switching to the 135 to solve it. I do wedding photography so I can't waste time not knowing how situational each lens in my kit is. For me I always found photography enjoyable as a form of preparation, problem solving and of course creativity
Every though I am as much of a newb as a newb can be, I always find something I can understand and learn from in your videos. Thank you. 😊
Not gonna lie, as an amateur and most importantly a videographer using dslrs, it's kinda weird hearing all the shooting being done at such high aperatures. I do understand why, but it's given me something to think about when practicing photography. Gonna need way more light
totally can relate. Old telephotos for example have lots of weak points, but you can always find which conditions they suit best and you can achieve really good results if you play them well. And that explanation you gave with the 35 1.8, same as with my old 50 1.4
Oh yeah I had the 50mm 1.4 I think I went through 3 focus motors as they kept burning out.
Really interesting video Scott. Especially the bit at the end about the edge to edge sharpness. Definitely going to have to try that.
Glad it was helpful!
I have 2 Mamiya RZ lenses adapted to fit a Sony and love them. Thank you for some great videos. I have subscribed and now slowly working my way through your back catalogue.
"the zooms are not for creative decision making" Surely, what you put in front of the camera is what makes the photos creative?
100%, but with spending the time choosing what to put there, I would always then chose the best lens for the job, which in my field of work is never a zoom. They are more what I use as get me out of trouble if I am doing a run and gun job.
@@TinHouseStudioUK I'm sure people took that comment with a bit of salt. I think you mean it takes less creative solutions or decisions to be made. I have let go all my zoom lenses maybe 8 years ago. Haven't bought one sense. I'm a very active photographer so I'm moving a lot leaning, lying on the ground, hanging off edges etc to get the added reach so it requires more creativity in the moment due to limitations of the focal length. With a zoom lens you have less limitations with focal length therefore less creativity required. I hope that makes sense. Nothing personal against zoom for me I rather not own too many lenses and I feel you get better glass, sharpness etc with fixed over zoom for less money
Great video!
Simple tricks for testing lenses are always welcome. I also found the part about Sigma lenses on canon bodies really interesting.
This was really great information. Thanks for sharing.
"Canon cameras like Sigma lenses." INTERESTING, because I wanted faster glass than the Canon lenses can provide short of dropping several grand on L series lenses and even then they don't have everything I want. So I got the Art series 35mm f/1.4, the 50mm f/1.4, and a Samyang MF 85mm f/1.4 as my go-to lenses. Eventually I want to get the Art series 18-35 f/1.8 and the 24-70 f/2.8 zoom lenses, but they're even bigger than the 50mm prime so they don't really make for great walking-around lenses for those of us that do a lot of documentary photography. I've got a Tamron 17-50mm f/2.8 that's remarkably sharp even wide open and in low light which serves me well when I need a variable focal length. You just saved me a lot of angst with your description of the 35mm by the way, I thought it was just user error when I ran into these problems with that lens. Turns out it wasn't just me.
Underrated episode.
I agree with everything in this video.
This is such a good topic! Love your videos
I loved the Mamiya 110mm when I shot the RZProII, you might want to check it out. There is also a 140mmMacro for the system.
Yes it is a beautiful lens, although I have always feared the price tag haha
Great points. I test my lenses a lot but you brought up a few points I didn’t think of. Thanks!
A couple of other points I value a lot.
The focus plane of a lens is often curved and not flat especially wide angle lenses, so setting the focus point in the middle might get you less sharp shots.
All lenses bokeh perform different at certain distances, at some distances it can look crap but closer acceptable or very good.
Thank you! will start testing my lenses
46s & 52s "Mama Mia"!!!!
This was really helpful. Thank you
Compression depends entirely on camera placement, not at all on the lens. When you adjust camera to subject distance, you also zoom the lens (or choose another one) to get similar framing.
The focal length of a lens is an innate quality of the lens. It has nothing to do with the camera or the size of the film or sensor. What does change is the angle of view of the camera system, and field of view on the subject. You can get exactly the same effect by shooting 120 film on the Mamiya 6x7 and then cropping a 35mm fragment from the centre. You can,, of course, crop the 35mm fragment from anywhere in the image for a shift effect. Additionally, you can crop to different shapes/sizes your Canon can't do in one shot.
The so-called wide angle distortion you alluded to is caused by the photographer. Essentially, photographers generally but more so landscape photographers are photographing a region from the inside of a tennis ball and then presenting it as a flat surface. A narrow lens, the effect isn't so noticeable. You see it in video, when the cameraman pans the camera.
Some excellent suggestions; I would appreciate to hear about your experience with the Cambo system.
Hey, ive got lots of videos on this channel about it.
@@TinHouseStudioUK Great, I am going to dive deeper!
Do you prefer film or digital. I still shoot film for important things with very old canon slrs whot many different lenses.
I do have one digital camera but i only use it for snaps as its only 7 megapixel. Cant change the lenses, and no hot shoe for speedlight. But does take nice images. But not a true slr its image generated finepix fujifilm s6500 fd.
Handy for travel etc
Hello, wonderful video thanks. What camera are you using a Canon 5DsR or 5DS? Thank you.
Interesting, thanks! You talked about f22 on your 90mm Mamiya lens...would you say diffraction is a bit better than on the Zeiss 100mm at f22, or a lot better please?
Thank you ⭐️
How did you find tours?
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Hi I am a bit confused about the lenses you mentioned. Are they older? Mamiya doesn't bring up much. Are they related to Schneider Kreuznach?
Yeah they are old ones, from the 1970s. I THINK Schneider make the modern versions of the lenses and then Phase One make the modern cameras for them
Kinda wish I could afford a decent lens. My camera costs 10x more than my lens. And I think a better lens would make a massive difference.
Canon RF lenses cost 2500, 3000.
What adaptor should i use to directly attach the Mamiya sekor z 90mm onto the 5dsr?
Hello Scott, I wanted to ask, if I had some money and I wanted to start ussing a tilt shift lens, do you have any recomendations on a tilt shift lens?
I''m confused about medium format lens focal lengths when used on the Cambo/35mm camera. A 6x7 50mm has a certain angle of view. Doesn't that angle remain the same no matter which camera is behind it? When you say it comes out to being roughly the same as a Canon 50mm is it because you only use the center of the Mamiya lens? Thanks again for the useful info.
Hi.
Sorry for replying after more than a year.
And I hope you already found your answer, but in case anyone comes with the same....
The lenses have the focal length they have. So, a 90mm is a 90mm.
What changes that is the size of the sensor compared to a 35mm film image area.
So, the 90mm will be a 90mm on a full-frame DSLR.
But if you use it on a medium format, as the sensor is larger, then it would be closer to a 45mm equivalent.
Conversely, on a canon cut sensor, you'd get 90 x 1.6 = 144mm equivalent.
What on earth had happened to your Zeiss lens for then to charge you £900 to fix it?