Choosing the right lens

I think that this link is more direct to the class.

Mike

What lenses do you have from which to choose?

What camera(s) do you have?

WW

Chicken - egg? Egg -chicken?

Which comes first?

My opinion is that you get better pictures when you learn to 'see' like the lens fitted to your camera. And that can be almost any lens. (Except maybe a fisheye.... but even then.)

Start with Bill's questions, and then add one more: what types of photography do you like to do?

If you don't yet have a specific type of photography, I would second Sanford's suggestion: start with the kit lens, or another zoom that is similar in focal lengths. That will cover a fair range of types of photography. I would then say that you shouldn't buy anything else unless you find a specific need that the kit lens doesn't meet. For example, you might find that you need something longer, or you might find that you need something faster. But buying lenses in advance of having a specific need is a good way to waste money.

I just looked at the video in Sandy's link and the intro looked a bit technical for a new photographer. So a less technical intro from me

A couple of general things about (removable) lenses:

- lenses are essentially the 'eye' for the image that a camera captures. Most lenses vary - in principle - between 'wide angle' perspectives through roughly ''human eye perspectives' to 'tele-lens' zoomed-in perspectives. There are other, more specialized lenses such Macro lenses that allow us to photograph small objects or fine details from close-up. ls.

- Lenses come in 2 basic flavors: fixed focal length and variable focal length (zoom) lenses; the focal range of zoom lenses varies from very wide to more limited .

- lenses are offered by each camera brand and also by 'third-parties' (which produce lenses and not cameras). Two examples are Sigma and Tamron lenses. Third-party lenses are often cheaper that than the equivalent ''camera brand' lens

- some lenses are specifically designed for digital cameras that have a 'crop sensor' rather than a 'full-frame' sensor.

- each camera and lens have a brand-specific 'mount system' so that - in principle - the only lenses that you can mount on your camera are those that are designed to mount on it. But there are also 'convertors'' that allow - often older - lenses that were designed for a different 'lens mount system' to be be use on other cameras.

- It's not only the 'focal range' of a lens that affects the 'zoom range'; your camera sensor may do to. So-called 'crop sensors'' have 'zoom effect' of 1.5 - 2.7 times that of a 35mm or 'full-frame sensor' equivalent. The crop factor varies between brands and models. This 'extra reach' of crop sensors is often preferred by photographers who do mainly sport, wildlife a astronomy photography. The downside is that a 'wide-angle' focal length is less wide on a crop sensor than on a full frame sensor.

- lenses also have a 'maximum aperture' (for example 1.4, 2.8, 4 or 5.6); the maximum aperture may be constant across the whole zoom range or may vary across the zoom range.

- different lenses vary in terms of things like image quality across a zoom range, build quality, etc.

- consequently, the price of lenses varies considerably

.

So where to begin? First of all, decide on which genres of photography you initially want to pursue. A general 'walkabout' zoom lens has a focal length of about 24mm - 70m (or 100mm). There are of course zoom lenses that cover this range and extend well into the tele-range too.

On-line

IHMO, a good resource for getting an overview of which lenses are available for your camera is DXOMark. You can get a complete (long) list of lenses from all suppliers or you can narrow the selection down by varying the brands, price range, focal length, etc. If you're considering a couple of alternative lenses, there may be reviews available. and it's worth looking for other reviews inn other sites too.

In-person

It's a good idea to visit a reputable local camera store and ask for advice, based on your budget and other criteria.

New or second-hand?

If you know roughly what you're looking for, it's worth checking whether there are (cheaper) second-hand lenses available in your area. I personally wouldn't buy a second-hand lens online unseen (and untested) unless from a reputable camera shop with a ''right of return'' within x days. But I have bought second-hand lenses from individuals and stores that I've tried out before buying.

Mike

sometimes labeled Biotar or Planar.

Hmmm. My 58mm f/2 Jena B(iotar) isn't as good off-axis as the later 50mm f/1.8 Pancolar, which in turn is marginally eclipsed by an f/2 or f/1.8 55mm Super Takumar, which are both equalled by a humble 55mm f/1.4 Chinon at f/2, which in turn appears to be identical to a 55mm f/1.4 Mamiya Sekor.

Don't know about the Planar. I don't have one in a fitting that can be adapted to the same camera I used for testing the above collection. However, there appear to be generational improvements in performance as the design matures.

Never mind all the shilly-shallying, the BEST lens for a 35mm-size image, is, without question, a 58mm f/2 Double Gauss, sometimes labeled Biotar or Planar.:rolleyes:

Oooooo...

While I'm very fond of my 58/2 Biotar (Helios) lenses, I think that there could be quite some argument that the 'best' normal lens for 35mm, ignoring modern, hyper-corrected lenses with 27 elements for digital cameras, is the 40/1.8 Konica Hexanon.

To the original poster; the 'right' lens is the one that gives you the photo you want.

When I first knew about cameras, my father had a Canon rangefinder with 35mm, 50mm, and 135mm lenses.

After he bought a Canon Pellix, I got to mostly use the rangefinder and lenses.

I got used to those lenses, and especially liked the 35mm lens.

When I bought my Nikon FM, I bought it with the AI 35/2.0 lens.

For me, it is about the right lens for many scenic attractions, and also

indoors with flash, where there is often a limit to how far back you

can go. (Before you run into a wall.)

(Except you want a 24mm lens for Sequoia trees in California.)

But that was from the days when zoom lenses weren't so common.

Lately I like the 24-120mm zoom on an FX camera.

While I'm very fond of my 58/2 Biotar (Helios) lenses

I just added my one and only copy of 58/2 Helios-44 to the tested list.

It came bottom!

Marginally worse than the Jena B, but with an overall similar 'sharp centre - crummy edges' result.

I just added my one and only copy of 58/2 Helios-44 to the tested list.

It came bottom!

Marginally worse than the Jena B, but with an overall similar 'sharp centre - crummy edges' result.

Is this not also known as 'Bokeh'? ;);):D

. . . I think zooms do more harm than good when learning. Your feet are your zoom. Learn what the perspectives these different lenses offer and how to use them to best advantage.

No they are not.

For clarity -

Moving the camera's position using your feet changes the Perspective: it is definitely not the same as keeping the same Camera Viewpoint and using a Zoom Lens to change the Focal Length.

These two actions are separate and individual.

WW

These two actions are separate and individual.

Hence the recommendation for three lenses. A wide, a normal and a telephoto. A zoom simply emulates having multiple focal length prime lenses. Limiting a new shooter to 3 fixed focal lengths aids in the learning curve. This is better than infinite focal length choices of a zoom assuming one wants to learn the craft. Sitting in one spot with a zoom and being too lazy to move your body to get the best perspective, is the mark of a snap shooter, not a photographer IMO. You pick your best focal length and you pick your best position. Yes you can do the same thing with a zoom. The problem is new users don't bother to do more than fill the frame with a zoom which is not ideal.

Hence the recommendation for three lenses. A wide, a normal and a telephoto. A zoom simply emulates having multiple focal length prime lenses. Limiting a new shooter to 3 fixed focal lengths aids in the learning curve. This is better than infinite focal length choices of a zoom assuming one wants to learn the craft. Sitting in one spot with a zoom and being too lazy to move your body to get the best perspective, is the mark of a snap shooter, not a photographer IMO. You pick your best focal length and you pick your best position. Yes you can do the same thing with a zoom. The problem is new users don't bother to do more than fill the frame with a zoom which is not ideal.

As if having an infinite number of focal lengths between ultra wide and tele would not allow a photographer to choose both (!) the desired perspective and framing?

If zoom lenses perform at least as well as fixed focus lenses, there is little or no reason to limit your creative possibilities to just three focal lengths, making up for the lack of control by either compromising perspective in favour of framing, or vice versa.

Is a limit to what you can do a good teaching aid? I don't think so.

These two actions are separate and individual. . . . . Hence the recommendation for three lenses.

The comments in post #20 were addressing the recommendation "your feet are your zoom" . . .

The problem is new users don't bother to do more than fill the frame with a zoom which is not ideal

I think that predicating the choice of three Prime Lens on the unsubstantiated statement, is flawed logic: rather disciplined pedagogy suggests that instruction to a beginner in how best to learn using a Zoom Lens, that is, by actively and consciously choosing which specific Focal length to use, and why to use it, is more suitable approach.

Limiting a new shooter to 3 fixed focal lengths aids in the learning curve.

If we are now debating which is best between a choice of one Zoom Lens or three Primes Lenses for learning, then my opinion is a zoom lens is the better choice - and that's based on my 20 or so years of teaching Photography to High School Students and the basic rationale is described above in Post #22

“You pick your best focal length and you pick your best position.”

This is the wrong way around – best practice and protocol is to choose the Camera Position first, (that dictates the Perspective) and then choose the Focal Length for the Framing, which is required.

WW

.. best practice and protocol ..

I can learn from others how to see things differently, and that learning might change what I instinctively see. However, if I want to capture what I am seeing right now then over-thinking and choreographing is not going to produce the right result.

Put another way, there is probably a best practice for walking, but using my own walk has always felt more natural to me.