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I was ten years old when I became the proud owner of my first camera, a Brownie Star Flash. It was something just short of love at first sight. Wow! I could take pictures of pretty much anything. Although the Brownie did not allow for flexibility, I still have many pictures of long departed relatives, staring back in black and white. The idea one might take a picture for art's sake was simply preposterous. That attitude, no doubt, was inherited from my parents. In a good year, they might expose as many as three rolls of film. Mostly pictures of my brothers and I, neatly posed in our Sunday best, with the occasional extended family member thrown in.
In the years that followed, I owned a series of point and shoot camera's. As my world expanded, these little cameras documented my travels. Everything changed in 1969 when, one day at a PX in Vietnam, I bought a Canon FT, my first thirty-five millimeter SLR. No longer would I be limited to snap shots of my buddies. I was learning about 'depth of field', time exposures, and doing my best to talk the talk. The FT was a totally manual camera, which was no rarity in those days. Looking back, it was wonderful thing, as manual operation forced the user to really learn the craft of photography. That old Canon continues to occupy an honored place in my one shelf camera museum.
It was during my time in Vietnam, I was introduced to the darkroom. I was fascinated. I could develop my own film, and print my photos. I could not only print my pictures, I could 'mask', 'burn in' and otherwise tweak my prints. At any rate, I could do these things in black and white. Quality color print film was still years away. If you wanted to shoot color in those days, the preferred medium was the slide. The downside to shooting slides was the unavailability of local processing. Film had to be sent back to the U.S. for processing. It could easily be three or four weeks between shooting the pictures and seeing the results. Thus, my first artistic attempts were done in black and white. Fortunately few, if any, of these early efforts survive. Unfortunately for me, once the novelty of the darkroom wore off, my attitude began to change. Although I loved taking pictures, darkroom work was becoming drudgery.
I don't know how many budding photographers fell out of love with the darkroom. I expect there were more than a few. This phenomenon only increases my admiration for artists like Ansel Adams. Lugging a heavy, large format camera into the back country, is not for the feint of heart. In his early days, Adams had the additional task of preparing his own glass negatives. A long day's effort might yield only half a dozen photos. My digital Nikon can take six photographs in less time than it takes to tell about it. Ultimately, it wasn't Adams' physical perseverance that made him great. It was his genius in the darkroom set him head and shoulders above the crowd. His willingness to print pictures again and again until he was completely satisfied turned his photography into art.
Leaving the darkroom behind, I spent the next several years shooting mostly slide film. As family, work responsibilities, and life in general took up more and more of my time, I largely abandoned photography for a number of years. It was in Minneapolis, while waiting for a movie to start, I wandered into a camera store, to kill a little time. I emerged a few hundred dollars poorer, but possessing a Canon F1, and a couple halfway decent zoom lenses. The F1, was about as good as it got for mostly manual camera's. It had a solid brass body and one camera store owner told me, "You could drive a nail with it". I'm pretty sure he was right. It had the aperture priority feature, my earlier camera's lacked. Aperture priority allows the user to set a desired depth of field, and the camera automatically gives the correct exposure time.
By this time, high quality, fine grained color print films had come on the market, and I never looked back. I had recovered my hobby and life was good. I shot roll after roll of film. Although digital cameras were appearing, they were far outside my price range, and the pictures they produced left much to be desired. I had pretty well resolved to stay with film, considering myself to be hopelessly old school. All this changed when one of my best customers stopped by my house with a brand new Nikon D50, still in the box. She said, "I want you to learn how to use this, and then teach me". She also left her trusty Nikon 8008 35mm, and a bag full of lenses. Who could turn down a deal like that? With manual in hand, I set about entering the world of digital photography. Digital photography was far removed from the, mostly manual, 35mm world I had inhabited so long. I uttered many a, "You've got to be kidding", during those early days. Little by little it began to take hold. I was learning about 'white balance' the same way I learned about depth of field so many years earlier. As things worked out, I wound up buying all of her Nikon gear, thus ending a thirty-five year love affair with my Canons. Personally, I don't think there's a big difference between Nikon and Canon. Their long competition has made them both great. It's that bag of lenses that tends to keep a person bound to one brand or the other.
By a fortunate convergence, I had become, more than a little computer literate, having spent ten years writing software. Using Photoshop seemed almost second nature, and what a world it opened. What was drudgery in the darkroom could now be done on my computer. I upgraded my computer, and then upgraded cameras. The D50 was a great entry level digital SLR, and you can do serious photography with it. It was when I traded the D50, for my D200, and moved to Corel Paintshop Pro, the floodgates of creativity burst wide open. The high resolution of the D200 allows for great cropping, with little or no loss of resolution. Paintshop Pro has all the tools needed to tweak a picture all over the map.
Today, I have my own web site, highplainsphotosandframes.com, and I manufacture note cards and postcards, all on my own equipment. I did a short production run of a calendar this year, mostly for family and friends. Everyone seemed to like them, and I plan to do a much larger run, for sale on my web site, next year. What a world digital photography has opened for me. If you haven't tried it yet, what are you waiting for?
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Just for the fun of it, and to prove it can be done, I simply held the Minolta 50mm prime kit lens from an old Minolta XG-M given to me by my dad. I apologize for the pretty bad video, but it's rather hard to do this all one handed you know. XD
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You bought that DSLR for the versatility and ability to change equipment to handle any and all situations. There is one piece of equipment you don't want to leave on the shelf. It is the Canon 70-200mm L lens.
There are actually four of these critters, and there is plenty of discussion about which is the best. But the truth is that any one of the four is an excellent choice. There are two differences which make up the four variations. First, there is an f/4 version and an f/2.8 version. Add to that the IS version of each, and the total is four.
First, it is important to know that each 70-200mm L lens version has excellent build quality and superior glass. The "L" in the name actually means Luxury. It is the highest quality of glass and building materials, making it much more expensive than non-L glass. There is low-dispersion and ultra-low dispersion glass in each of the four types. This basically means that the glass used (dispersion glass) is not subject to the same deterioration of quality as non-dispersion glass. It will not distort the images, making the image quality much better.
Another plus for the Canon 70-200mm lenses is the non-rotating front elements. This feature is important for maintaining focal quality, but it is also important if you are using certain filters, such as circular polarizers.
With the high range of focal length, having either f/4 or f/2.8 allows you, the photographer to have relatively low light photos without the danger of poor quality that comes with higher apertures. Obviously, the f/2.8 will allow faster shutter speeds than the f/4, making it a better choice if you are doing indoor sports where you will need the fastest possible setup.
Each of these models is also equipped with an ultrasonic motor, making the focus time almost instant. There is no searching as with other lesser quality products. The non-rotating barrel is also an asset when it is focusing. Auto focus is also present in conjunction with the ultrasonic motor.
The differences among the four Canon 70-200mm lenses are in the aperture (f/4 or f/2.8) and the inclusion or exclusion of IS (image stabilization).
Starting with a non-IS f/4, you get two advantages. First you will pay the least of the four, in fact, you will pay quite a bit less - about one-third the price of the most expensive one. The second advantage is the weight. Because there is less glass, the f/4 is much smaller and lighter than the f/2.8.This factor alone has been the deciding one for many photographers. The extra weight of an f/2.8 lens can cause fatigue much quicker.
As you add IS and wider aperture range, you increase the price and the weight with each addition. But as mentioned earlier, any one of these Canon 70-200mm Lenses will make a welcome addition to your camera bag. Due to the zoom range, there is so much versatility. You can shoot portraits, modified landscapes (not enough wide angle to use for dedicated landscape photography), sports, nature, and almost anything you can think to shoot.
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Directed and Edited by David Banks Performance by Young Fella and Ferg Gotti of RichFaam. Various Location at Orlando, Florida Shot with the Canon Rebel T2i (550D) HD DSLR camera 1920 x 1080 24 FPS 50mm lens 1.8 18-55mm 3.5-5.6 IS (Kit Lens) Banks Films and RichFaam Records
Scarlett Black performing live at Cafe De Paris. Filmed with Canon 7D with prime Lense, sound recorded on Zoom H4 and 2nd Camera Panasonic HMC151Produced by DIDA MEDIA. DIDA MEDIA is an cutting edge digital video producer specialised in creating Music, technology, advertising, publishing and social events contents. Our rates is reasonable and our team is professional and friendly. For more information about what we offer, please log on www.didamedia.com and you can also contact us at: info@didamedia.com We film gigs and events in London and SE England for utmost reasonable price. We've filmed at Cafe de Paris, Jazz Cafe, Cobden Club, Brickhouse, Ronnie Scott's Jazz Club, Fabric (club), and many more. In good relation with Managers and agents.
