Home News Buyers Guide About Advertising
 
 
 
   
Page 4 of 14 FirstFirst ... 23456 ... LastLast
Results 31 to 40 of 131
  1. #31
    Join Date
    Jun 2008
    Posts
    2,204
    With M mode, you really have to experiment with the right exposure. A mode, you set the aperture and it gives a nice auto exposure so the picture will come out fairly close if not right on.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  2. #32
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,560

    Lightbulb Just some quick advice on how to shoot better ...

    Quote Originally Posted by Jimothyy View Post
    Thanks mate, i'm using the standard issue 18-70 lense at the moment.
    Jimothyy ... you should really consider going to the SONY SAL DT 18-250mm f/3.5-6.3 lens ... and just get rid of that "kit" lens (give it away). Chances are really good that it will not give you the images you are looking to create with this camera. The 18-250mm covers a much wider range, is a brighter lens ... and eliminates the need to constantly swap lenses, reducing the dirt build up on your sensor.

    Name:  18-70 vs 18-250.jpg
Views: 151
Size:  123.0 KB

    The flatter the log line, the brighter the lens in comparison. Vertical is not good. That means the lens aperture is closing down rather rapidly, as you zoom in.

    The 18-250 is also one of the best lenses for this purpose out there ... so the sooner you make the migration from that rather mundane, lack luster 18-70mm, the better you will feel and perform with your Alpha camera.

    Welcome the forum ... let's shoot some pictures.
    Last edited by DonSchap; 09-02-2008 at 03:25 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  3. #33
    Join Date
    Sep 2008
    Posts
    10
    Well I appreciate what you are saying, and yes, the lens probably is letting me down a bit. However, I may have to wait a while before buying that, am sure I would benefit but, cannot really warrant paying that out just yet. It's more than the camera was! :-)

  4. #34
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,560
    One thing you simply must realize coming into this hobby is that you cannot classify or justify the cost of your glass based on the cost of the body you slap it on. The bodies will change every year or so, but the glass (quality lenses) stay the same. You progressively move them along ... and they are the one constant in this equation.

    I, personally, am using pricey glass from ten years ago. This is the fourth camera that they have been on. Invest in several good lenses will pay you back in solid imaging and continuous control of your light. Using "marginal" glass with give you an image, but usually nothing to brag about. Like anything, it is a degree approach. How interested are you in what you produce?

    Similar to a painter with fine brushes, the degree of detail is often reflected in the fineness of the bristles. Good brushes are not cheap, but like the cheap ones, they are still ... "brushes."

    You will find that MOST lenses in the SONY line up will cost more than your camera body ... until you finally buy a "high-end" body. To be honest, it will be like that no matter what camera manufacturer you decide upon.

    The accepted standard that most veteran DCRP members have agreed to is this:

    Superior glass BEFORE a superior body. It just doesn't make sense to put cheap glass on a superior camera. It will do more to expose your lens' failings than any other attribute. The reverse cannot be said, though. Superior glass will usually improve your images, be it on a introductory camera body or a superior one.

    One thing is for sure ... good glass will cost you money. What YOU do with that investment is up to you. The 18-250 is not the best lens available, just the best all-aound utility lens for its price. Many, on here, will agree that Using it would be a serious improvement over the 18-70.

    Anyway, for what it is worth. Enjoy.
    Last edited by DonSchap; 09-02-2008 at 05:20 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  5. #35
    Join Date
    Jun 2008
    Posts
    2,204
    I'm surprised you didn't suggest the more superior replacement to the kit lens: the Tamron 17-50mm F/2.8 DI-II or the more expensive, marginally better SONY 16-80CZ Lens (shaper, just not as fast).

    If you want to notice the difference. Good glass to compare with would be the minolta 50mm f/1.7. It's a very fast lens and is a great deal for the very nice prime lens. Everyone should at least have it or the f/1.4 version (3x the price).

    http://photo.net/equipment/sony/18-70-versus-16-80


    or maybe you could've got lucky..... (see below)

    Don have you seen this?>> http://www.mhohner.de/sony-minolta/18-70_vs_17-35.php
    Last edited by dr4gon; 09-02-2008 at 06:36 PM.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  6. #36
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,560

    Cool Point of order ...

    Look ... we need to get something clear, here. Most introductory people are looking for a lot of coverage (focal length-wise) and are not going to be too happy swapping higher-end glass, just to get an improvement on aperture. They want "quick and dirty", with the best performance.

    Like I said, toss that "kit" lens ... and buy into the 18-250mm. It covers the 17-50mm, the 18-70mm, the 55-200mm and most of the 70-300mm range. Truly a "one-lens-solution" and it was not available at the time the article you referred to was written.

    The 17-50mm costs roughly $400 ... so what do you do to get the rest of the focal length. Another $250 for the 55-200mm? Why not cut the loss and merge everything. It is only one lens and when you are ready to improve ... you know what to do, but you will still have this lens as a terrific backup.

    Jimothyy seems to be in that position, in my opinion ... and I have been there myself. The 18-250mm is on my A100 (99% of the time), as a grab and go lens. It does a lot of work and fits in a relatively small case.

    Name:  grab-&-go.jpg
Views: 150
Size:  192.7 KB

    Name:  18-250-+-A100.jpg
Views: 152
Size:  265.0 KB
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  7. #37
    Join Date
    Jun 2008
    Posts
    2,204
    Yeah true... lol. What's on your A700 most of the time since you do have 2 cameras.

    So have you seen this review?:
    http://www.mhohner.de/sony-minolta/18-70_vs_17-35.php

    I think he just got lucky, I ended up with just an average lens at best. Too much CA in the kit. The 18-250 is probably my next lens to get. Others on my wishlist (probably not going to happen anytime soon) are the 70-200/2.8, Tamron 200-500mm Di, and maybe the 70-300G.
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  8. #38
    Join Date
    Feb 2006
    Location
    Des Plaines, IL
    Posts
    9,560

    Thumbs up Toting glass ...

    Well, I usually carry the α700 in my sling bag ... which includes the 17-50mm f/2.8 and the Tokina 80-400mm f/4.5-5.6.

    I may/probably will replace the Tokina with the TAMRON 70-200mm f/2.8 when I obtain it, but that for another time. Usually, the two lenses can handle most issues. I also can slap the 200-500mm f/5-6.3 on the outside of the sling, for the airshows.

    Name:  Sling+200-500mm.jpg
Views: 154
Size:  401.0 KB
    Taken with A100 w/ 18-250mm f/3.5-6.3
    Last edited by DonSchap; 02-16-2009 at 12:11 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  9. #39
    Join Date
    Jun 2008
    Posts
    2,204
    Cool, you are so prepared!
    flickr

    Canon 7D - 5D | 550EX - 430EX II - (2) PW FlexTT5 | 24-105 f4L | 70-200 f2.8L IS | 100 f2.8L IS | 50 f1.8 II

  10. #40
    Join Date
    Jan 2008
    Location
    Ohio, USA.
    Posts
    1,161

    Welcome Jimothyy

    Welcome to the forums Jim read listen and learn, and play with all the knobs and buttons, your not "wasting" any film. Dr4gon likes A mode, I like S mode, even pop into one of the scene modes now and then. get off auto or it will become easy just to leave it there. One of the first pieces of advice and one of the best pieces I got was from right here, Don't get a kit lens, and trust in Tamron!! The Sony CZ lenses seem to be amazing!! but the so is the price. The Tamron 17-50 has great color and is a outstanding lens for the price, I really should use mine more, maybe when winter comes and I am inside more. I shoot lots of sports for fun and the Tamron 70-300 works very very well for the money, I feel it is one of if not the best "cheap" lense you can get. good advice get the best glass you can afford. It's interesting that Dr4gon and I have never met outside this forum and in a short period of time have developed and almost identical lense list and purchase plan, centered around Tamron glass. and get the KM 50mm 1.7 whenever you can pick it up, prices have been a bit crazy lately so take your time and watch for one. it's one of the REQUIRED lenses just kidding
    Sean
    Sony A700_____________Minolta AF 50mm. F/1.7
    Minolta AF 70-210mm F/3.5-4.5 Tamron AF 17-50mm F/2.8 XR DiII LD Asp. [IF]
    Tamron SP AF 70-200mm. F/2.8 DI LD [IF] Macro
    Tamron AF 70-300mm F/4-5.6 Di LD Macro 1:2
    Tokina AF 28-70mm F/3.5-4.5
    Tokina AF AT-X 80-400mm F/4.5-5.6
    http://flickr.com/

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •