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Scott Kelby -The Truth About Lenses - Fixed- Length Prime Lenses Vs. Zooms

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Thread started 04 Sep 2009 (Friday) 01:07   
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moemoe6434
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airfrogusmc wrote in post #8991562external link
Love BELLS We couldn't get in the Chicago area for a very long time. Bells and their distributer were at odds. Three Floyds is a good brew also. I also like the KING of IPAs Dogfish Head 120 IPA. This is a serious IPA. Extremely hoppy.

http://www.dogfish.com ...rities/120-minute-ipa.htmexternal link

Bells Best brown Al has been my favorite beer for about a year now. It is back in season now too!

Post #451, Nov 10, 2009 19:42:58


http://photography-on-the.net ...p?p=14246741#post14​246741

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jetcode
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Thanks to this thread I know a lot more about Scott Kelby and I agree with ConDigital he knows a lot about photography, imaging, and image processing. He has a really nice portfolio and lots of books some of which I am working through currently. Way ahead of my game for sure.

Post #452, Nov 10, 2009 20:35:37




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alex66
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ConDigital wrote in post #8991607external link
Yes he knows his stuff.

I couldn't pick a shot that was taken with a zoom or a prime. I wonder just how many that handfull is that Scott mentions.

I find this quite interesting although Scott knows his post processing very well but above all he is extremely good at explaining things, thats why he is a success and his books sell. But it does not matter for this argument whether he is a great, good or dull photographer, the talk is of a technical parameter and not a compositional one. On the balance though he is some what correct and the important thing to get out of all this is what works for the one holding the camera whether that be a kit lens, the nifty fifty or L glass. What works for any of you may not be good for me and vice versa its the same as artists with brushes or carpenters with chisels. :D

Post #453, Nov 10, 2009 20:50:44


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MDJAK wrote in post #8991514external link
In my drinking days, which weren't much to speak of, I preferred a good Becks dark.

I used to really like Becks, but now I'm with SPG, as it's slightly cheaper and slightly better, IMO; however, it's a toss up between SPG Special Dark and Guinness Extra Stout as my favorite. In any case, those beers are safe from my friends. :lol:

Post #454, Nov 10, 2009 22:49:55


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mattograph
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Look, I know some of you light to tap a pint or two, but lets get back on topic.

I need some advice on a really good 78 cartridge.

Post #455, Nov 10, 2009 22:58:53


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mattograph wrote in post #8994049external link
Look, I know some of you light to tap a pint or two, but lets get back on topic.

I need some advice on a really good 78 cartridge.

Never spun a 78, but mono... mono is where it's at! Wish I could afford a good two arm 'table to keep a mono cart at the ready all the time...

Post #456, Nov 11, 2009 05:58:10


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alex66
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mattograph wrote in post #8994049external link
Look, I know some of you light to tap a pint or two, but lets get back on topic.

I need some advice on a really good 78 cartridge.

On the subject of 78 playback you will need to find a dedicated photo stage preferably one with various playback curves as the recording curves were all over the shop. I designed and built one for a collector of 78's years ago as they found it hard to get one that worked properly.

Post #457, Nov 11, 2009 10:42:52


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alex66 wrote in post #8993425external link
I find this quite interesting although Scott knows his post processing very well but above all he is extremely good at explaining things, thats why he is a success and his books sell. But it does not matter for this argument whether he is a great, good or dull photographer, the talk is of a technical parameter and not a compositional one. On the balance though he is some what correct and the important thing to get out of all this is what works for the one holding the camera whether that be a kit lens, the nifty fifty or L glass. What works for any of you may not be good for me and vice versa its the same as artists with brushes or carpenters with chisels. :D

But what about his quote -

I think there are but
a handful of photographers who, with the naked eye, can tell whether you took a particular

shot with a zoom lens or a prime lens.

Anyone here one of those handful?

Post #458, Nov 11, 2009 16:41:26


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ConDigital wrote in post #8998294external link
But what about his quote -



Anyone here one of those handful?



Well one thing I do remember is the first time I saw my slides comes back when I had used a Leica I saw there was something vastly different about those slides. I remember the colour seemed to have texture that I had never seen before. It reminded me of the first time I was fitted for glasses all of a sudden I saw textures in the world that I never saw before.

I suppose some zoom lenses could have the same quality (I disagree that they have to be 2.8 lenses as I think the 70-200 f4, for example, is outstanding [Being a Nikon shooter he is maybe not exposed to good f4 lenses and maybe not even good primes I don't know what Nikon offers in those regards or what experience he has]) as some primes. But Kelby does not say that primes are not better (in the most general of senses) as he does give that there are some people that can see the difference so then there must be some difference.

There are many people here who wax poetically about the difference between different 50mm lenses so I am going to guess they are not completely self-deluded and they actually do appreciate the difference between the half dozen or so 50's they own.... cough ...gasrocks ...cough.

The difference in lenses are very easily masked by other variables like noise, hand shake, processing, paper surfaces, sensor technology and the list goes on. This makes saying that one can see the difference (all the time) that much more difficult.

Post #459, Nov 11, 2009 17:12:42




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alex66
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ConDigital wrote in post #8998294external link
But what about his quote -



Anyone here one of those handful?

There will be some that notice subtle differences in sharpness and it will be important for them just as some will notice distortion and hate it. Then there will be those that claim to see these differences but don't than there will be those that say hey this lens has some bad barrel distortion it gives it an interesting flavor and I like it. At the end of the day there are various forms of snobbery in everything and there are people who are perfectionists and certain faults bug them, then there are the pragmatists who just make do. Like I said its all very personal and if using primes or zooms gives you what your looking for thats what matters. I am in the last year of a photography degree and having spent a long time looking at photography I can tell you there are a lot of great photographs taken with very basic gear, its what works for them.

Post #460, Nov 11, 2009 18:48:53


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alex66 wrote in post #8998984external link
There will be some that notice subtle differences in sharpness and it will be important for them just as some will notice distortion and hate it. Then there will be those that claim to see these differences but don't than there will be those that say hey this lens has some bad barrel distortion it gives it an interesting flavor and I like it. At the end of the day there are various forms of snobbery in everything and there are people who are perfectionists and certain faults bug them, then there are the pragmatists who just make do. Like I said its all very personal and if using primes or zooms gives you what your looking for thats what matters. I am in the last year of a photography degree and having spent a long time looking at photography I can tell you there are a lot of great photographs taken with very basic gear, its what works for them.

Well said.

Post #461, Nov 11, 2009 18:55:59




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CAL ­ Imagery
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ConDigital wrote in post #8998294external link
But what about his quote -



Anyone here one of those handful?

I doubt many could tell a different between a picture taken with a zoom or a prime, except for shooting wide open. If it's a "close range" shot with a prime wide open, it'll be much more noticeable than any lens at f/8, for example.

However, along the same lines, I would like to see people take pictures with a FF that can the "average" advanced photographer or greater could unequivocally say "that DOF came from a FF, not a cropper!"

Post #462, Nov 11, 2009 19:28:24


Christian

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timnosenzo
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ConDigital wrote in post #8998294external link
But what about his quote -

Anyone here one of those handful?

A few pages back you asked the same question:

ConDigital wrote in post #8986304external link
As Scott says -

"I think there are but a handful of photographers who, with the naked eye, can tell whether you took a particular shot with a zoom lens or a prime lens."

To which I responded:

timnosenzo wrote in post #8986340external link
According to your gear list, it looks like you have plenty of expensive and not-so-expensive lenses. Can you tell the difference in IQ?

You have f/2.8 zooms, f/4 zooms, and some consumer zooms. Can you tell the difference between them?

Post #463, Nov 11, 2009 20:12:57


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nphsbuckeye wrote in post #8999201external link
I doubt many could tell a different between a picture taken with a zoom or a prime, except for shooting wide open. If it's a "close range" shot with a prime wide open, it'll be much more noticeable than any lens at f/8, for example.

However, along the same lines, I would like to see people take pictures with a FF that can the "average" advanced photographer or greater could unequivocally say "that DOF came from a FF, not a cropper!"

Thanks Christian

Post #464, Nov 11, 2009 20:16:41


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timnosenzo wrote in post #8999410external link
A few pages back you asked the same question:

To which I responded:

You have f/2.8 zooms, f/4 zooms, and some consumer zooms. Can you tell the difference between them?

He likes to ignore any good points by "the opposition," which is pretty good indication of the openness of the discussion.

Post #465, Nov 11, 2009 20:30:01


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