Tick Tick Tick Tick Zoom?

After very promising results recently with an SMC Pentax-A 35-105mm, the next step in my explorations of zoom lenses was to try something that would embrace the wider end.

It was time try the lens I got this with the 35-105mm, a 24-50mm, also Pentax-A series.

Now I’ve realised (duh!) that I can use a zoom as a set of primes, use one focal length at a time and ignore all the others, they’ve become vastly more appealing. At least a select few have.

The aforementioned SMC Pentax-A 35-105/3.5 appears to offer a wonderful range of primes – 35, 50, 80 and 105mm if you stick to the focal lengths marked on the barrel (which I do).

On paper this lens offers everything I need, bar maybe a 120 and/or 135mm prime at the tele end plus a 24 and/or 28mm at the wide. 

Turns out it’s not just promising on paper but actually a bit special in practice too.

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So let’s say this lens WAS the only one I needed between 35 and 105mm. What about that wider end? I have my Super-Takumar 28mm f/3.5 – pretty special in its own right too. But nothing wider.

Enter the 35-105’s little sibling, the SMC Pentax-A 24-50mm. 

Following its barrel markings, it offers 24, 28 and 35mm, as well as 40 and 50mm.

At 35 and 50mm it duplicates focal lengths of the 35-105 (and my surprisingly impressive 35-70mm f/4, also a Pentax-A zoom), and though the 24-50mm is significantly smaller and lighter, its close focus of 0.4m across all focal lengths puts it way behind the 35-105’s intimacy potential up close and personal at 35 and 50mm.

So my consideration of the 24-50 is almost exclusively as a twinset of 24 and 28mm primes.

With that in mind I took it for a spin at 24mm.

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In short, it’s pleasant enough to use, pretty compact for a zoom, but still with a wide enough focus ring to be very comfortable. The focusing is pretty smooth too.

The all metal aperture ring has a good feel, very similar to the M series lenses, and better than many A series with their reliance on plastic.

In practice I use A series lenses on their A setting, then have the camera on Manual (M) mode, adjusting both the aperture and shutter speed via the dial wheel(s), but the build of the aperture ring is reassuring nonetheless.

Overall the lens performed well enough.

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It’s sharp is enough for my needs, and the colours are similar to my other A series – natural yet quite vibrant (more so than my Takumars), and the combination with the CCD sensors of my Pentax DLSRs gives results I really like with minimal post processing.

But I have two main issues.

First, the close focus of 0.4m, whilst respectable at 50mm, and just about passable at 35mm, is just nowhere near close enough for me at 28mm or 24mm. A bit of a let down in all honesty, compared with the 35-105’s excellent “macro” shift focus action that works across the entire zoom range.

As I mentioned, this feature alone would make me reach for the 35-105 for a 35 or 50mm lens over the 24-50mm every time, again making it in practical use just a 24 or 28mm lens.

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The second issue is not really the lens’s fault but more just my unfamiliarity with 24mm. And this is a major reason I bought it – to get more familiar with 28 and especially 24mm.

I struggled not so much with finding compositions that suited 24mm, but the focusing, and the (deep) depth of field (DOF).

Even at my usual starting point of f/5.6, there’s a fairly extensive DOF (and remember the lens only goes down to 0.4m – obviously at half this distance the DOF would be significantly more shallow) so I didn’t have my usual comfort blanket/ crutch/ excuse for not intelligently making every single element in the frame work together and blurring it out with shallow DOF.

With the 24mm field of view I wanted to get really close. But the lens wouldn’t let me.

At least not unless maybe I used a tiny aperture and relied on the DOF at this aperture to bring everything in focus. Which I didn’t want to do.

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In a way this is all good, and challenging for me as a photographer. It was just different to get used to.

In time once I am more used to 24mm I’ve no doubt it will have a positive effect on me using longer focal lengths too, and being less reliant on wide apertures to magically disappear backgrounds.

So to sum up, the lens  mostly ticked the boxes I wanted it to – providing an affordable option at a 24mm focal length, to allow me to experience and start to embrace that focal length for wider, more distant scenes at least.

The fact is, it’s unlikely to be used at 35 and 50mm (maybe I’ll dabble at 40mm a little) and maybe not even at 28mm (that Super-Tak 28/3.5 is arguably the loveliest and most balanced handling Tak I’ve ever had).

Which makes it essentially a 24mm prime in a more chunky package that only focuses down to 0.4m. Hmmm.

So whilst it does give me a taste of 24mm, the prime alternatives I might consider are the 24/3.5 Takumar which goes down to 0.25m, and a DA 21mm which focus as close as 0.2m. A whole other world of intimacy compared with 0.4m.

I’ve also got decent enough results a couple of years ago with a Sigma Super Wide II 24/2.8, which are far more affordable than either of the Pentax options mention above and also focus close.

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I’m all for embracing the versatility of zooms, but with this one I’m still undecided. 

A zoom that offers four focal lengths, but I’ll only realistically use for one of them, 24mm, doesn’t seem such good value.

It deserves another couple of outings, but my hopes of it being as big a surprise as my other two A series zooms are somewhat dashed.

Which 24mm (or wider) lenses have you tried, whether as a prime, or within a zoom? 

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

Champion The Wonder Zoom?

Traditionally I’ve been a prime lens kind of photographer. I just like the simplicity of having one less variable to consider.

Plus the journey of getting to know how the world looks at a fixed focal length and field of view – so you can visualise the part of the scene the camera will capture with this particular lens before you raise it to your eye – is very enjoyable and satisfying.

But I confess I’m increasingly drawn towards zooms, albeit using them as a set of primes. I’m still not comfortable with the stand-in-one-fixed-position-and-just-zoom-until-the-scene-fits-the-frame approach that I imagine zooms were/are designed for.

Also I’m gradually coming to settle on a range of focal lengths I like shooting.

50/55mm is where I began and have most experience, and 135mm is something I’ve now used a fair bit too.

Less familiar are wider angles, though the Super-Takumar 28/3.5 I’ve used a few times has delighted me already, and is an absolutely joy to use.

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As I’ve started to consider zoom lenses more, I’ve chosen them based on the gaps they can fill in my collection.

I’m geeky enough to have recently sat down and plotted every lens I have on a chart of focal lengths, to see where there is duplication, and see where there are shortfalls.

The outcome of this exercise was – plenty of coverage at 50/55mm and 135mm, one 28mm and three 35mm lenses covers the moderate wide angle front, and lovely f/2.8 Takumars at 105 and 120mm elegantly bridge that 105-135mm gap.

What remains missing then, is anything wider than 28mm, and between 55mm and 105mm.

Conveniently, I came across someone selling two rather well regarded Pentax-A series zooms together – a 24-50mm f/4 and 35-105mm f/3.5.

Given my previous experience of Pentax-A zooms – a solitary, but very impressive 35-70mm f/4 – I thought these two could potentially fill any remaining gaps in my optical arsenal, so made him an offer he couldn’t refuse.

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Indeed, between the 24-50mm, the existing 35-70mm and the 35-105mm I now have everything covered from 24-105mm (and 35-50mm covered three times over), pretty much the entire range I shoot. In three lenses.

I currently have 15 other lenses (all primes) that, on the basis of focal lengths at least, could be replaced by just these three A series.

Collectively the zooms cost me around £90. The remainder of my 15 lenses probably amount to £750+.

Ah, another reason why people like zooms.

So today I went out with the 35-105/3.5 and my Samsung GX-10 (almost identical sibling to my Pentax K10D) to see if there was any chance it could indeed replace a handful of primes. 

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The short story is, there’s plenty to like about the 35-105.

It’s well made, with lots of metal and big Super-Multi-Coated glass on the front. It’s smooth to use and feels robust.

The focus initially goes down to 1.5m, on paper very disappointing, especially at the wide end.

But, cleverly, and crucially, shunt the (wide and easy to handle) focus ring forward a few mm and it shifts into a whole other “macro” scale, which, even better, works at all focal lengths, not just at one end of the scale, like many similar zooms.

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In practice this means focusing is possible down to around 0.15m at 35mm, 0.3m at 50mm, 0.5m at 80mm and maybe 0.7m at 105mm.

All of these are as close or closer focusing distances than any equivalent primes I have. If you’re a regular here, you’ll know I like my close focus. A big +1 for team zoom then.

Performance wise it’s more than sharp enough for my needs (I don’t pixel peep and/or make 3m x 2m prints) and the colours are in line with other A series I have, which on my Pentax/Samsung DSLRs with their CCD sensors means lovely vivid colours, that are natural without looking too garishly digital or processed.

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As I said, plenty about the 35-105 to want to cuddle it close on a cold winter’s night.

So far so peachy. But are there any downsides?

Ultimately, there is only one, which itself all depends on how you view it. The size and weight of the lens.

At a shade over 600g, it’s not exactly a bazooka, but heavier than my biggest prime, the Takumar 120/2.8 which weighs in around 350g. Paired with the GX-10 / K10D it’s not a pocketable, lightweight combo you want dangling from your neck for eight hours.

The overall size itself in terms of handling is not an issue, and that wide, chunky focus ring is fun and reassuring to use. Especially once you get used to that macro shift feature.

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The 35-105 has markings at 35, 50, 80 and 105mm, so in my one-zoom-equals-a-handful-of-primes outlook, this equates to four primes in one. 

If you make a direct comparison with any of the primes I have (35, 50 and 105, I have nothing at 80mm anyway) then in terms of weight and size the 35-105 seems a bit of a dinosaur.

But that’s not exactly its point or purpose.

On the flip side, you could quite easily argue that you could use just this single lens for all kinds of different photography over a series of photoshoots, and it would be far lighter, smaller and cheaper than the comparable four primes you’d need to carry around to cover the same range. As I said, for maybe 90%+ of my shooting needs, this one lens would deliver.

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The other potential negative for some might be the f/3.5 maximum aperture.

For me, the only time this would make it difficult are the occasional very low light church interior explorations I venture on. In these instances, my A series 50/1.4 or 55/1.8 Takumar would be the lens I reached for, as my lenses at all other focal lengths are f/2.4, 2.8 or 3.5 anyway.

But for all other situations, where my default aperture tends to be around f/5.6, the max aperture is perfectly fine – fast enough to make the viewfinder bright and clear to focus, and to mean that my optimum shooting aperture is a comfortable stop and half down from the lens’s maximum.

So, does this “champion the wonder zoom” mean I’ll be selling every other lens from 35-105mm that I own? 

No, not exactly.

But because it’s more than competent at all of its focal lengths (four, if you stick to the barrel markings as I do), it has made me strongly question whether I need another three 35mm, four 50/55/58mm, and one 105mm prime lenses over the same range, that will in most situations not give me any significant advantage or better final photographs than the zoom.

A more thorough testing of the 24-50mm is next on the plan, though on its initial outing it’s shown enough promise to be optimistic.

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If it lives up to its reputation – and my experience with its 35-70 and 35-105 siblings – it will no doubt further the argument for a few quality zooms potentially replacing a bunch of primes.

Which would free some funds maybe for some more unusual additions, like something even wider than 24mm… A 20mm Takumar? A 15 or 21mm Limited? Time will tell.

How is the balance of primes and zooms in your kit? When do you favour a prime over a zoom, and vice versa?

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

 

 

Guilty Secrets And The Great Film Fallout 2017

This feels something of a confessional. I started writing 35hunter in late 2015 with the following intentions –

35hunter is a diary of my photography hunting adventures.

The three things I’m hunting for are –

  1. Beautiful objects and scenes to capture with a photograph. Usually using 35mm film cameras.
  2. The ideal camera. Or, more realistically, a small collection of excellent, individual cameras that I love using.
  3. A balance between being a photographer and a camera collector. Mostly I want to be the former, and feel like the latter.

I’m pleased to find that, some 20 months and 80 posts later, my intentions are much the same. Especially parts 1a, 2 and 3.

What has changed rather significantly is the extent of my use of 35mm film.

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I’ve never been an exclusively film photographer, and since buying my Sony NEX in 2014 have kept around 3500 photographs. As I edit quite strictly, and maybe only keep 20% at best, I must have shot around 15000+ with the NEX.

In other words, I’m no stranger to shooting digital. 

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Since 2012 I’ve gathered some 15000 items in my film photograph folder on my MacBook, shot with 130 different cameras. Yikes. So, I’m pretty familiar with film too.

But the number of rolls of film I’ve shot this year, 2017, can be counted on two hands. 

Since May I’ve shot a single roll of film, barely any more on my NEX. But I have kept some 1500 photographs from my newly discovered Pentax K10D and Samsung GX-1S DSLRs.

Again these are just the keepers – I’ve likely shot approaching 7000-8000+ images across these two bodies so far.

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What this all means is I’m not what you could call an active high volume film photographer anymore. 

I’m barely a film photographer at all.

So, the truth is out! Where does this leave me?

As I see it, I’m actually closer to my original aims outlined at the launch of 35hunter (and ones I’ve had in my head for some years previously) than ever before.

I still love seeking out beautiful things to photograph, and they’re still usually trees, flowers, crumbling gravestones and weathered paint flaking doors.

Also, I’ve found as close to the ideal camera set up as is probably possible, in my K10D and its little brother the Samsung GX-1S.

So much so that I’ve literally just taken arrival of a Samsung GX10, the Samsung clone of the K10D as a back up/ complementary camera.

Using my beloved old Takumars and a few other vintage M42 lenses on the K10D, a handful of A series SMC Pentax on the GX10, and potentially any of these (but mostly my recently discovered super light and mightily impressive Pentax DA 35/2.4) on the little GX-1S, makes a manageably small but formidable arsenal – three cameras and around 20 lenses.

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When I do feel a hunger for film, I still have my Spotmatic F for M42 and Program A for K mount lenses.

This set up also makes me feel closer to being a photographer than a camera/lens collector than I have done in about four years.

Which is a big thing for me – I hate just collecting stuff for the sake of collecting and not actively using it, plus that unhealthy binge/purge consumption cycle it’s so easy to get sucked into.

So whilst this post does feel a bit of a guilty confession, in fact I’m nearer my aims than ever.

Which, it turns out, is nothing to hide about after all…

Where are you in your photography journey? 

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

The Most Incredible Photograph You Can Make

Shooting film, where you have a finite (and small) number of exposures on a roll, greatly helped me become more effective as a photographer. It encouraged me to take my time more, and make each shot count, as far as possible.

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Now I’m predominantly shooting digital again, I’ve tried to retain some of the best aspects of shooting film.

One major one is the vintage lenses I use.

I can’t see myself using a modern AF lens on my DSLRs anytime soon, I’m so attached to the experience and the resultant images gained when using vintage glass, from Takumars to Pentax-A.

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Arguably the second most significant shooting trait I try to carry over from film to digital can be phrased simply.

At the moment I’m about to take a photograph, I ask myself, “Picture the most incredible photograph you can make, with this subject, with this equipment, in these lighting conditions. Would that ultimate realisation of the scene before you be worth capturing?”

If the answer is no – and it often is – then I either try to adjust some aspect (focus, aperture thus depth of field, my position) to make it better, or just walk away.

Because if the very best possible outcome isn’t going to be that good, then why waste a photograph on it? 

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Yes, I know with digital you can potentially have hundreds or thousands of images on your camera at once, so you could take seven or 77 variations of the same scene and then decide later which to keep.

The technology is there for continuous shooting and exposure bracketing and so on, that mean it’s far more likely that one shot out of a rapid-fire blast of them is going to be ok.

But that’s really not my style. Again this was honed by shooting film. 

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I’m all for frugality and efficiency and would rather get it right with one shot in camera than be sifting through dozens afterwards. (My post processing with digital is very simple and virtually non-existent.)

And by asking this simple question – Would the most incredible photograph you can make in these conditions be worth taking? – it significantly reduces the likelihood of sifting through seven or 77 versions of the same scene, where none of them are any good because the lighting or the composition or the focal length was all wrong anyway.

Or the scene was just too dull to be worth capturing (yep, I’m still getting of this one pretty often!)

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How do you decide in the moment which photographs are worth taking? Does this process and thinking change between shooting film and digital? 

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

Wandering On The Wide Side

When I predominantly shot 35mm film, my default lens was a 50 or 55mm.

The world just looked right when viewed through them, plus they’re compact, can usually focus down to around half a metre, and perform very well.

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Contax 137MA, Yashica ML 50mm f/1.7 lens, Fuji Superia Reala 100 expired film

Then when I began experimenting more with digital – first with my Sony NEX mirrorless, then a Sony Alpha DSLR, then a couple of Pentax K DSLRS – I became curious about other focal lengths.

My first 135mm was the lovely Carl Zeiss S (Sonnar) 135/3.5, and there soon followed two or three other 135s, and maybe 10 since then.

I loved how with a 135mm I could get a more shallow depth of field with very dreamy backgrounds that almost became more like paintings than photographs.

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Sony NEX 3N, Carl Zeiss Jena DDR Sonnar Electric MC 135mm f/3.5 M42 lens

In a word, 135mm lenses say “isolation” to me, as in isolating interesting subjects from everything around them.

What it took a while to get used to though was having to stand around 2m away from my subject every time I composed a photograph, having got so embedded in the much closer distances required for 50/55mm.

I’ve since explored a few focal lengths either side and found 150mm and 200m too long for my tastes (and the lenses too cumbersome and difficult to steady!).

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Pentax K10D, Asahi Super Takumar 150mm f/4 M42 lens

Takumars in 105 and 120mm have delighted me and continue to do so, having most of that reach of a 135 but being slightly less extreme and distant from the subject physically. 

Plus, being typical Takumars, they are both very compact for 105 and 120mm lenses respectively, so don’t feel clumsy or unbalanced at all.

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Pentax K10D, Asahi Takumar 105mm f/2.8 preset M42 mount lens
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Pentax K10D, Asahi Super-Multi-Coated Takumar 120mm f/2.8 M42 lens

My latest challenge is at the other end of the scale – wide angles. 

Of course using APS-C sensors, the fields of view are different to that seen when using the same lenses on a 35mm film camera.

The two lenses I’m most interested in exploring currently are, inevitably, both Takumars. An old and amazingly tiny Auto-Takumar 35/3.5 and a somewhat newer Super-Takumar 28/3.5.

On film I dabbled with 28mm and struggled to get my head around it. There were just too many elements in the scene I had to consider and try to balance!

On the DSLRs it’s easier because of the crop factor – 28mm giving an equivalent 42mm (28 x 1.5) field of view, which is said to be pretty much exactly the “normal” view.

What I’m finding challenging is not to default to the same style of photography as I make with 50/55/58 and longer lenses, ie mostly close up, isolated subjects.

Er, like the image below.

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Samsung GX-1S, Asahi Auto-Takumar 35mm f/3.5 M42 preset lens.

The 28mm and to a slightly lesser extent 35mm Takumars (which is equivalent 52.5mm field of view on film, bang in the middle of where I’m most experienced in that medium) encourage seeing wider, more complete scenes than 50/55mm and certainly 105mm and beyond.

In many ways, the longer the lens, the easier it is to make beautiful images, especially close up.

The shallow depths of field possible, plus the magnification of the larger focal length compared with our “normal” view, mean it’s not hard to block out anything distracting and isolate that beautiful petal/leaf/dewdrop.

So I’ve been trying to capture complete scenes as opposed to isolated close ups with the 28 and 35mm, with, so far, quite limited success!

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Pentax K10D, Asahi Super-Takumar 28mm f/3.5 M42 lens
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Pentax K10D, Asahi Super-Takumar 28mm f/3.5 M42 lens

On the plus side, I love using these lenses, especially the 28mm which is divinely smooth to use, is plenty sharp even half a stop down at f/4, and gives very pleasing (to me) colours.

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Pentax K10D, Asahi Super-Takumar 28mm f/3.5 M42 lens

I’ll continue to explore in the coming days and weeks and see what I can manage to capture.

Walking around with any camera encourages us to look at the world more closely and discovery beautiful things we might otherwise ignore and pass by. This is a crucial aspect of myself as a photographer, and of 35hunter

Using the 28mm is giving that ethos a jolt and a fresh impetus – still hunting for beauty, but in a different way, and a more challenging, and possibly ultimately a more rewarding one.

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Pentax K10D, Asahi Super-Takumar 28mm f/3.5 M42 lens

I’ve had enough positive results with the 28mm – and certainly enjoyed the new experience enough – to consider maybe selling one or two 50/55 or 135 lenses to fund something even wider – a 24mm or even 20mm lens – down the line, and refreshing and expanding my outlook all over again.

What focal length have you found most challenging, and most rewarding? 

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

How To Find The Lenses Best For You – Choosing Focal Length

Since discovering film cameras and vintage lenses some five summers ago, I’ve been through a fair bit of glass. 

Enough to become concerned about being a lensoholic.

What I’ve learned from this experience – and I appreciate compared with some people’s lens count this is a tiny drop in the Atlantic – is which lenses I like most and why.

I thought it might be useful to outline how this has evolved.

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Pentax K10D, Pentax-A 35-70mm f/4 lens

Regular readers might have gathered I’m not really a zoom kind of guy, and when I do use them, I treat them as a prime lens.

By using them in this way – in short, setting them at one zoom position, ie one fixed focal length, on any one photowalk – I’ve had access to a whole range of focal lengths in one lens.

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Samsung GX-1S, Tokina SD 28-70mm f/3.5-4.5 lens

This might seem like stating the obvious, but I gather that most people use zooms by simply standing in one position, scanning around until they seem something interesting, zooming the lens until the subject fills the frame how they wish, then releasing the shutter.

Absolutely nothing wrong with this – it’s likely why zooms were originally developed, to be able to capture different shots without switching lenses.

But I’m a simple kind of guy, and just like to concentrate on one focal length at a time, and try to get to know how the world looks through that perspective. 

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Pentax K10D, SMC Pentax-A Zoom 35-70mm f/4 lens

Two zooms that have helped me with this recently are the Pentax-A 35-70mm f/4 and Tokina SD 28-70mm.

There’s little to choose between them in size, weight and performance – both will give very pleasing results.

So, with the Tokina say, using the guide numbers on the barrel I can use it as 28mm, 35mm, 50mm and 70mm. 

The Tokina is plenty good enough to give pleasing results at these focal lengths. Plus it has a “macro” mode at 50mm to get really close, down to around 0.2m. This also gives one a taste of the world that close, where most 50mm lenses typically focus down to about 0.5m.

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Samsung GX-1S, Tokina SD 28-70mm f/3.5-4.5 lens

The Pentax is even more useful, in my view. 

It might only go to 35mm wide, but also has handy markings at 40, 50, 60 and 70mm. Plus it focuses pretty close at all focal lengths, from around 0.55m at 35mm, 0.27m at 50mm and 0.25m at 70mm.

Again this gives the user a great sample of a range of focal lengths, and closer focusing than most prime lenses. 

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Pentax K10D, SMC Pentax-A Zoom 35-70mm f/4 lens

So to anyone starting out with vintage lenses, despite my love of beautiful old primes, especially Asahi Takumars, I would recommend picking up something like the Pentax or Tokina zooms featured here (both gave me change from £10) and experiment for at least a few months with one focal length at a time.

Then, when you find which you like best, maybe explore a prime lens at that focal length.

This makes a lot more sense – and will save you a lot of money and lens gathering – than buying a bunch of beautiful expensive lenses at focal lengths you never warm to. 

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Samsung GX-1S, Tokina SD 28-70mm f/3.5-4.5 lens

Affordable compact zooms – even if they don’t establish a permanent place in your photography kit – can be a fantastic step along the way in helping you find the focal lengths you enjoy seeing the world through most.

Which focal lengths do you enjoy most? How did you discover them?

Let us know in the comments below.

Thanks for reading. Please share this post with others you feel will enjoy it too.

When Nature Reclaims

Nature is an essential element in my life. 

Tracing it back, I remember running for what seemed like hours in the woods during cross country running training around maybe 9 or 10 years old and loving it, feeling I could run for hours more, forever into the trees.

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Even earlier I recall roaming the woods behind our house, discovering the remains of pottery, bricks and glass, and wondering what used to exist there – the buildings and the lives – and how the woods had gradually taken whatever kind of dwelling was there back into the ground.

Close to my home now, the woods contain a surprising array of abandoned vehicles – a bicycle, a jeep, half a fairground’s worth of dodgems…

I’ve visited and photographed them often.

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These days, this time in the trees is as important as ever, and if anything, having a camera with me helps narrow my focus and immerse in the experience even more deeply. 

Even without intentionally setting out with specific themes or projects, after a few years or a few tens of thousands of photographs, we notice the common threads emerge organically.

For me an obvious recurring subject matter is not just the plants and trees, but more specifically how they slowly reclaim the man-made objects abandoned amongst them.

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So it feels like a good time to pull a few of these threads together and collate some of my favourite photographs of “When Nature Reclaims”.

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Also, it’s not lost on me that being in nature – especially trees – starts to reclaim me too, returning me to a place of calm and clarity and belonging, one that I can’t connect with in the same way in towns an cities.

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I expect this to be a long running theme for years to come – the need to escape to the woods and the countryside, and photographing what I find along the way.

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What themes and threads have you noticed in your photography? What are the influences behind why you’re drawn to them? 

Let us know in the comments below.

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