Fast prime lenses, especially those wider than f/1.4, promise photographers dreamy backgrounds and remarkable low-light performance. But how often do you actually shoot at such wide apertures? This question challenges common assumptions about photography gear, making you reconsider whether top-end lenses always justify their price tags.
Coming to you from Leigh and Raymond Photography, this insightful video confronts the belief that expensive gear automatically means better photos. Leigh argues convincingly that photography gear should align with your individual style, not just popular trends or price points. Whether it’s a prime lens at f/1.8, f/2, or even an f/4 zoom lens like the 24-120mm, the gear you choose matters less than how you use it. Leigh emphasizes that practicality, budget, and personal preference play bigger roles than specifications alone. She candidly shares her own experience, revealing she frequently opts for smaller, slower lenses rather than always choosing the fastest primes available.
The video also touches on the reality of keeper rates and editing time. Leigh’s approach might resonate with you if you're tired of taking hundreds of shots only to discard most later. She discusses her own shift toward fewer, more intentional photos, which naturally reduces editing time and boosts keeper rates. Instead of overwhelming yourself with countless images, Leigh suggests slowing down to deliberately capture what truly matters. If you're aiming to streamline your workflow, her practical insights might be just what you're looking for.
One intriguing discussion in the video addresses whether older camera gear and film have a place alongside today’s advanced mirrorless systems. Leigh offers her recent experience experimenting with vintage DSLRs and revisiting film photography, noting how modern camera features like autofocus systems and flip-out screens simplify her work. Yet she acknowledges there's still something uniquely rewarding about shooting film and using simpler equipment, which can heighten your awareness and attention to detail. This balanced perspective might inspire you to reconsider your own gear choices or explore techniques beyond the latest technology.
A brief yet impactful portion of the video addresses creating compelling photos in mundane settings like suburbia or under flat lighting conditions. Leigh briefly shares her approach, emphasizing careful observation and creative thinking rather than relying solely on ideal conditions or stunning locations. She also acknowledges, refreshingly, that not every shot will turn out extraordinary, but that’s okay.
The conversation concludes with thoughtful reflections about the meaning of successful versus meaningful images. Leigh discusses how some photos, despite receiving minimal attention online, hold significant personal value. She cites her visit to the North Rim of the Grand Canyon as an example, where certain images captured important personal memories beyond their aesthetic appeal. Check out the video above for the full rundown from Leigh.
1 Comment
Strangely the community here didn't find anything to say ... (I myself had decided I would let it mature for a while and then try to grab a time slot where I wouldn't have to rush my answer. I hope this is that slot ...)
Keeper rates? irrelevant, now that I am not "burning" expensive film any more. But I have always kept quite a few of my discards - just in case I might want to revisit some of the alternative views of my subjects. But that may have been a mistake ...
Editing time ... went up significantly with the capabilities of my tools and my skills. AI may reduce that again, depending on how good it actually becomes.
Back to film? I might be tempted ... but no - much as I would not mind going back to my cameras of the day if only I could get the digital result (replace the data back with a digital sensor back - if anyone came up with a decent one.)
As far as my "expensive primes" go - I do have some and I am still trying very hard to use them - The options are a bit limited for Canon FD ...
Mirrorless - I still like DSLR more. I have an M43 kit that can also hold my FD lenses and that is nice - except for the crop factor - but the screen can't compare with the view through the prism - with one exception: When I need to step down one of my FD lenses the image doesn't get too dark to judge (as it would on my old T90 or A1) it just gets brightened by the screen driver. That's nice.
Does photography tell something about me that words can't? First of all, unlike Leigh's initial comment, I immediately applied that question to photography I took rather photography I was seen in. And then that is a resounding yes - just like any other way I use to express myself - starting with painting, dancing, and lots of other things.
But the real headline question - what about all those expensive primes?
Do I really need them? Do I really need a camera? Do I need to take pictures? If those are "yes" then we have answered the question definitively. I "need" any equipment that needs to be there for me to get the pictures I want to take. If "expensive primes" are on that list solely depends on what I decide I need them for. The question of how often I use them (wide open) does not get into the discussion at all. One dream photo I couldn't get any other way would be justification enough. If I never see the need for the features of such a lens I can certainly be happy with something cheaper.
The choice is between not trying to take photos that need that sort of equipment and wanting to badly enough so that I am willing to pay the price.
Granted, though, in a perfect world (such as the world of computers, for instance) newly developed equipment would give lots more performance for lots less money. Some of the latest (especially mirrorless) photo equipment prices, though, seem to be pointing in the opposite direction.
There are situations where I feel that what is available is still a compromise that isn't pushing the boundaries far enough to get the results I dream of. Most of my frustration comes from anything where a terribly long focal length needs to come with extreme light power and a fast shutter speed. Be it available light concert or theater photography or very far reaching sports or landscape perspectives, lots more than what is feasible today would be great to have.
In the end, though, it is also true that all this equipment can only support your vision, not replace it.