Best Lenses for Museum Photography?

[kyle_long2]

Right... never mind what I just said. Careful examination of my finances reveals there's just no way I can buy the 17-40, if I also buy a tripod.

 

Is there a lens, preferably around $200, that would do the job at the Met well enough? If a 50mm can handle statuary, then the 50mm macro is just within my range. If not, what focal length would be best?

 

Thanks for putting up with my vacillation. My lust for lenses briefly overcame my good sense, not to mention my income. :)

[edgreene]

My Canon T-90 camera mounting a Canon FD F/1.2 55mm aspherical lens on a Manfrotto 679B Monopod and ball head<br> The f/1.2 lens for its blazing speed and Monopod for steadiness.<br>

Even then, in some museums, there is barely enough light to shoot at ISO 100.<p>

And since I am ~not~ anal retentive about "grain" (and more often than not take my shots directly to print form (<i>don't pass digital "GO", or collect my $200 in digital Brownie points on the way</i>), and since I may never-<b><u>ever</u></b>, again visit some venues, I take along ISO 400 B&W & ISO 400 Portra color film just in case.<br>

I also schlep along a GOSSEN Luna Pro light meter for assurances in dark places.

[awindsor]

Ed,

 

Fine grained film (especially some of the technical B&W films) excels at recording detail. Unfortunately, as you note, these films are typically very slow. The fastest of them is ISO 100. Digital capture, such as Kyle will be using, is much better at high ISO than film. I rarely shot above ISO 100 with colour though I did use ISO 400 B&W film.

 

Having said that mummies (and the other artefacts) are typically fairly slow moving and so long exposures are possible on a tripod provided the place is not too crowded. That means you can use a polarizer to help with the reflections and stop down to f8 for good depth of field and optimal sharpness.

[FilmPhotography-DuaneHorne]

I have used a Leica Flex SL2 with a 50mm 2.0 lens; a canon 7E with either a 50mm, 1.8 lens or a 100mm Macro and sometimes a 17-35mm 3.5-4.5 wide angle, and, an old Mamaya c220 TLR with a 80 mm lens.

 

My favorites are the Leica set up and the TLR. The Leica has a much heavier feel, which I am sure helps with vibration, and, although it does not have mirror lock-up, I have found a way to lock the mirror up before the shutter opens. The TLR gives good stability as it rests on my belly. If I hold my breath, with the camera on my belly and use a shuuter release cable, the images are fairly sharp.

 

I will shoot Ilford Delta 400, pushed 1 stop to 800 for B&W film, and fujichrome provia 400, prefered, or another 200 slide film. Of course with slide film I need to use a filteer to take the warmnest out. Sometimes I do not because I like the warm look. Tungsten balanced film should really be used if shot indoors.

 

I have not photographed much with colour print film; hence no comment.

 

I hope this helps.

[doug_hoy]

As a long-time museum worker, I may have some pertinent field tips about getting good

photos in museums. If this is more than a casual snapshot session, then contact Visitor

Services at the museum several days beforehand, and ask about their photographer policy.

You may be able to get permission to use a tripod--they just like to know beforehand--

especially if you'll be visiting on a day not packed with school or tour groups. They used to

ban flashes because the amount of light could possibly damage the artifacts, and the

spent bulbs became a litter problem, but research showed that a modern strobe flash

contributed minimal energy to an artifact's overall light exposure (they keep track). Never

quick to adapt to modern conditions, many museums now say that flashes ruin other

visitors' experience. I don't know of any visitor research to support this, but there you go.

 

If your work might possibly be exposed to the public, then ask for a contact number for

the Media Relations person, to give them a heads-up that you'll be visiting to shoot for a

planned project (even an intention to submit to a particular travel magasine might be

enough). Have a business card. If they return your call, you may get their blessing to do a

shoot on a closed day, with tripod and flash, or even get an area cordoned off, and at least

recognition by the floor staff that you are there on official business. After your shoot, a

thank-you letter to your contact person is appreciated and professional.

 

If you have a particular subject interest, try contacting the relevant curator, and you may

get permission through them, or a tour of the collection. Curators tend to be a bit odd

(okay, a lot odd) but the one thing they will talk about is their collection.

 

In general, museum exhibits have multiple low-level light sources, of varying colour

temperature, so it can be challenging. Reflections off the ubiquitous plexiglas are certainly

a problem, particularly with flash, so review your shots in situ. Be respectful of the

artifacts, and never touch them.

 

If you plan on visiting several museums, then consider a membership in one. This lets you

ask for permission as a favoured member, and may give you free entry in other

cooperating museums. Or get a national museum association membership, e.g., Canadian

Museums Association, if possible, to get free entry world-wide to many museums.<div></div>