I love travel photography, going to exotic places and exploring landscapes and cities different from those I can find back home. But when you travel somewhere far away what you mostly do is checking before what are “the best” spots, hoping for decent weather only to actually end up at a totally overcrowded landmark with lots of other photographers, fighting for a good spot and hoping to not have too many tourists in the picture.
In this article I will try to show some alternatives that might not be as exotic, but can nevertheless be just as enjoyable and in the process might also improve your photography skills more than just “collecting” the shots from other photographers.
What makes a picture good? Not only because this is a very subjective question it is a hard one to answer. We will still try to do that and in the process we will also come across the following questions: why do you take pictures in the first place and: for whom?
Very often we get asked questions like: should I get lens X or lens Y? Out of lens X, Y and Z: which is the best performer? Which 35/50/85mm lens should I buy? Do I need a camera with 42mp? Is the Zeiss Batis 18mm 2.8 or the Zeiss Loxia 21mm 2.8 sharper?
For several reasons we usually cannot answer these questions: rarely we know what you want to use the lens or camera for and often the difference between a good and a bad sample of the same lens is bigger than that between two different lenses.
So, to give you a different perspective, in this article we will look at the Huawei Mate 20 Pro, a smartphone with above-average camera capabilities and see what results can be obtained from this pocketable 200g device.
I am always looking for new photography related accessories that might be useful for what I do. Furthermore when holding a workshop or going out with other photographers I constantly have a closer look at other equipment that I wouldn’t have bought myself to see how it works in the field.
Unfortunately every once in a while I come across a product flawed by design (sometimes deeply) and then usually the Team of phillipreeve.net has the misfortune of listening to my complaints. They suggested to make a series out of this so others might be warned about these products. This is one of these flawed products.
Lens design, like clothing, is subject to the whims of fashion. These fashions dictate what tradeoffs the designers make. Every lens is a trade-off between many characteristics. The more important ones are in our eyes: speed, sharpness, price, size, weight, bokeh, chromatic aberration, distortion and vignetting.
The currently fashionable tradeoff that Sony and most others adopt emphasises performance and bokeh at the expense of the size of lenses. The Sony FE 1.4/50 ZA or 2.8/24-70 are good examples of that. These lenses are certainly good tools for some applications where only their excellent image quality matters and their significant size and weight does not. Our point is that a great lens does little good if it is so heavy that you leave it at home because of its weight. So we would argue that probably most photographers would get better results with lenses which are a little slower or a little less perfect but in their bag and not left at home.
Manufacturers focus their resources on faster, bigger and better lenses, which of course makes perfect commercial sense. The pity of it is that this comes at the cost of less fashionable lenses which many of us would probably enjoy more. This article is about kinds of (older) lenses that we see as inspiration for lenses we would love to see made in E-mount but with the best technology available today. By accepting a few minor tradeoffs, rather than just trying to give the photographer performance and speed bragging rights, lenses can be significantly smaller. Sometimes that tradeoff might be speed only, sometimes a little peripheral performance at wide apertures might be traded off for handling.
Before we go any further: we are not talking about simply copying old ‘classic’ lenses (maybe with minor improvements) and launching them on kickstarter. We want as good performance as possible within the constraints of a reasonable budget and size. We are talking about types of lenses which aren’t now being made in E-mount, and which—with the benefit of modern design, materials and electronic contacts —could be a huge asset to our photography. Comfort certainly plays a role as well: Not having to think about an adapter and having exif simply makes life easier.
We’ll start by giving some examples where we think makers have found a good balance between handling and performance. Then we’ll get down to business: we’ll discuss the older lenses that have no modern equivalent, and should have.
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