What Is A Good Lens For Portrait

[cslayter]

I have a Nikon D50 and I need a good portrait lens, I am just starting out in taking pictures and don't want to waste my money on lens that I don't need. Thank you very much for any one that can help me.
Cindy:):):)

[DonSchap]

Take a peek at the TAMRON SP AF 90mm f/2.8 Di MACRO (http://www.tamron.com/lenses/prod/90mm.asp). (<- click here)

It has a focus range limiting switch to allow use as either a very capable MACRO or a portrait lens. Way cool. This is the lens mounted on a SONY A700. (Note "LIMIT" switch on the side of lens.)


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[Jason25]

I have a Nikon D50 and I need a good portrait lens, I am just starting out in taking pictures and don't want to waste my money on lens that I don't need. Thank you very much for any one that can help me.
Cindy:):):)
While the Tamron 90 is a great lens, dedicated macro lenses aren't geared towards great autofocusing, especially if you use AF a lot.

If you don't mind the price, the 85mm f/1.4 is Nikon's legendary portrait lens (though a bit long on a digital body). There is also the f/1.8 version which is considerably less expensive, and also a well-regarded lens.

[cslayter]

Thank you very much I will check into it.:):):)

[cslayter]

How do you learn how to get the lighting right:):)

[DonSchap]

You make sure the lighting of your background is slightly darker than your subject. It really gets weird looking if the opposite is true.

Also, for a "traditional look" to the face, try to have one side of the face 1 f-stop brighter than the other side.

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To maintain the rich color of the background ... set your aperture and speed to the reading on the lightmeter.

Just a couple hints ... oh, and buy a book on studio lighting. It's more than just placing the flash on a hot shoe.

[tcadwall]

The Tammy mentioned by Schap is probably about the only 3rd party lens that I am familiar with that I don't think would be a compromise when compared to the comparable Nikkor glass. It is a highly regarded piece, and it would be a great lens for portraits. Portraits is actually one of the main uses for this lens regardless of the "macro" designation.

[e_dawg]

The Nikon 85/1.4 is THE portrait lens to get if you don't mind the $1,000 price tag.

As an aside, Don, how do you like your Sony A700? No Zeiss glass for you?

[achuang]

You make sure the lighting of your background is slightly darker than your subject. It really gets weird looking if the opposite is true.

Also, for a "traditional look" to the face, try to have one side of the face 1 f-stop brighter than the other side.

29692

To maintain the rich color of the background ... set your aperture and speed to the reading on the lightmeter.

Just a couple hints ... oh, and buy a book on studio lighting. It's more than just placing the flash on a hot shoe.

Nice pic Don, but I don't see how the lighting of your background is slightly darker than your subject when he's wearing black. A lot of the detail is lost in his clothing especially in the pants.

[DonSchap]

Nice pic Don, but I don't see how the lighting of your background is slightly darker than your subject when he's wearing black. A lot of the detail is lost in his clothing especially in the pants.

Shooting black under such conditions is risky ... because of shutter speed. I'm not a fashion-photog by any means, my experience is limited. This was a "photography class" shot I took, last year, in Studio Lighting. I was basically responding to the question regarding portrait light and the above shot was one my better "face shots" that nicely demonstrates the lighting differential.

Once again, to get the true color of your background ... you need to match the lightmeter settings in the camera and then base all other lighting off of that. Remember, the studio lights are additive ... and the main and fill lights will wash out the background if not taken into consideration when making the background measurement. You actually change the color of the background by lowering or upping the light levels.

I did this through shutter speed ... but, the idea holds ...


1/60 sec . . . . . . . . . . . . . . . . . . . . . . . 1/8 sec.
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Now at 1/8 sec ... your subject cannot move, otherwise the shot is wrecked. The lights normally cannot get any brighter, so the only way to adjust them is to move them closer or further away from your subject. I'm here to tell you ... that is serious work after a few minutes. These things get hotter than blazes.

Then, there are times you just cannot get it right for love nor money ... darn SONY!


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SONY A100 w/ Minolta 50mm f/1.7
EXIF: 50mm - f/8 - 1/15 sec - ISO-200 - Tunsten - sRGB


Oh well ... need better material! LOL

[achuang]

That's true about black that it's tough colour to shoot. I see what you mean now, I thought you meant the background should be darker than the subject, including what they're wearing. But I think you meant their skin colour. Studio lighting sounds pretty tricky and it must be great fun to shoot with those lights in summer :p

[erichlund]

It sounds like Don was using a system with the lights constantly on (I forget what these are called). While that makes setup easy, they are very hot. Studio strobes work essentially like a flash, and also have a modelling mode. So they are not constantly one except while you are getting the light correct. Once you have a setup correct, you need only minor variations for different subjects, and eventually you can make those adjustments without even using the modelling lights, just using experience.

[tcadwall]

a great alternative to the lighting mentioned is florescent lighting. I have 3 photography daylight florescents, and the brightness is easily controlled with these, since they aren't hot... Just add diffusers, bounce them, etc. You won't burn yourself. You could even put paper in front of them...