Prime lenses were the way to go for years. The thought used to be that a zoom lens was cheating a bit, or using a piece of glass that wasn’t quite up to snuff.
Sure, there were a few lenses that were in consideration like the 80-200 2.8 lens first introduced in 1978. Not a lot were made.
But you always carried the primes, meaning the dedicated, single focal length lenses.
Those lenses had enough glass and design to ensure the best image possible. No worries that there would be falloff at a zoomed focal length. Even if it wasn’t a professional, fast lens, stopped down it would be tack sharp.

Why am I talking about this history? Because right now, I’m sure most of you are carrying around a variety of zoom lenses, covering a range from 12-200 mm, with the only primes being perhaps a 300mmm or a 400mmm, if you’re shooting sports.

What the heck happened? Yes, lens technology has made leaps and bounds in through the years. The zoom lenses that are the staple of every starter kit take care of a lot of photo taking needs.

Doesn’t anybody want to commit anymore? And I’m talking focal length here.

To test the metal, as it were, I recently used an 85mm 1.8 lens from Nikon. there were some portraits to do so, it was a good choice.

The first thing to hit, was the heft. This is a solid lens. As my fingers wandered about unconsciously feeling for the extra zoom ring, they were left without a target.
My feet were to become the zoom.
This was a good feeling. My mindset was just walk into the shot, frame it, and move on. The split second of extra choice was gone. Oh, yeah it was an odd felling at first. Stopped me cold for a second. But then the feet got moving. And then settled into a zone.
Commitment. Felt real good.

OK, that was the feel. Then there was the classic framing, with the focal depth that didn’t distort .

Here is an example.

Now this was also shot using a Nikon SB-800 Flash in wireless mode, bounced into a reflector. The location was a doorway with a slightly stained stucco wall, behind the model, which was blown out with a balanced exposure between the flash and the afternoon light.
The shutter speed was 1/160, f/3.2, ISO 200 using a D300.
The results had an extra crispness and a natural contrast that added to the shot, thanks to the lens.
Plus the photo was worked on in Photoshop Elements and using a bit of a Wacom Bamboo tablet, both mainly for workflow and slight enhancements.

But more of that later this week.

We’ll get into an easy lighting setup and workflow arrangement and tools that will get you into the right systems, but using less dough for now.
The skills you learn will carry you to the next level of all of these tools, when you are ready. Or need it.

OK, where was I………..?

Oh right. Prime lenses. Using this single focal length lens was the right exercise that made me commit in the shot. I moved around more, but once the sweet spots were found it became two shooting points: head and shoulders and more full length.

The first camera I owned came with a 50mm lens. Worked that puppy till I couldn’t figure out anymore angles or exposure combos.
Then moved to multiple lenses and bodies. All using primes.
I can move fast enough with the zoom, but unless I’m using a f 2.8 or better zoom, I pay in quality. Not that a lot of folks may notice or need.
For instance, love the 18-200 Nikon lens. Carry it all over the world. But I know what it’s good for and what it’s not good for.
Is it the sharpest lens in the bag?
Nope.
Is it the right choice for travel and limited space?
Yep. Excellent Range. Vibration reduction . And incredible close-up capabilities.
Like we always say: right tool for the right job.

So the final point is this; treat yourself to a high quality, prime lens. Think about what you mainly shoot and choose wisely.
Or, if you are near a rental house do a weekend rental to check it out.
(Whoops…commitment issues again.)
Get one though, If you don’t already have one.

It’ll make you appreciate the choices you make.

© Deborah Zeitman

As a youth I was bold and brave, fearless in a way only innocence can allow. At nineteen-years-old, I eagerly walked into the Los Angeles Bureau of the Associated Press with a meager portfolio of black and whites and asked to work as a freelance photographer for the summer. The Bureau Chief looked me over and reached for my portfolio, an ugly fake wood-grain file held shut by an elastic band. He pulled the 8×10 glossies from the enclosure and rifled through them as I saw my life’s moments whiz by.

“The pros are much faster than college,” he said, dismissively tossing down the highlights of a year’s work upon his desk.

“I know,” I said, reaching to gather my photos of college baseball and beyond. “But how can I prove I can do it if you don’t give me a chance?” Our eyes met and right then I knew I had won, my spirit more important than my expertise.

That night as I climbed down the stairs of Dodger Stadium, the fans screaming with enthusiasm, the artificial lights more jarring than daylight ever could be, I felt myself trembling. Weighed down by three cameras and my fear, I moved onto the field to the stares of the crowd and fellow photographers. At nineteen and a wisp of a girl, I couldn’t have looked more out of place or felt more disoriented.

But the crack of ball hitting bat sparked instinct. I focused and clicked and missed every important image.

The next day I dragged myself before the Bureau Chief, embarrassed, guilty, like a dog who’d misbehaved.

“How’d ya do?” he asked.

“Terrible. I was really nervous.” I could barely look up. “I need another chance.”

And I got it. And I shined, compelling the staff photographer accompanying me to submit my photo over his, and getting published across the nation in assorted papers.

The rest of that summer I shot for AP in L.A., and when the time came to return to college for my sophomore year, I started working for the bureau near my university thanks to the recommendation of the L.A. Bureau Chief.

This could be my tale of courage and perseverance, but really, it is my tale of luck. When I walked into AP that day, I arrived with the perfect balance of innocence and guts and stumbled upon a willing recipient of my style. I never sought advice as to how to land a photojournalist job, but perhaps my spirit is what gave me my first big shot.

To contact Ms. Zeitman email her at :wavewatcher@verizon.net

(Here is an article form one of our readers. Thanks to everyone for a great response to the call for writers.)

We mean Pinhole Cameras.
Low tech camera gear at its finest.
And the good folks at Corbis want you to give it a shot. (ouch,sorry about that.)
They had a company design some very cool cameras for you to DIY with, till the cows come home. With full instructions on construction and shooting, you won’t be the discreet shooter, however your images should give you a photographic look like you haven’t seen.

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