| I'm a portrait photographer. So I get asked a lot | | | | narrower the angle of view. For example, a |
| about what cameras and lenses the portrait | | | | 28-200mm lens has an angle of view of about 74 |
| photographer should be using. And while I'm a true | | | | degrees to about 12 degrees. Naturally, the longer |
| believer that any lens can be a portrait lens, what | | | | the lens, the less is included in the image, and the |
| we're looking at here is trying to find the 'ideal' | | | | easier it is to isolate your subject on a |
| lens that should be the first one you reach for | | | | background and crop out distracting elements. Is |
| when doing portrait work. So what we'll examine | | | | this all starting to seem quite logical? Good, let's |
| here is the 'why' behind the lens of choice for the | | | | look at some other factors. |
| majority of portrait work. This is a lens that will | | | | 2: LENS SPEED. In studio portraits, lens speed is |
| routinely work in a variety of situations and | | | | usually not that critical, since you may be shooting |
| produce outstanding results. Let's get starting with | | | | at f/5.6 or smaller. Outside, on location, and for |
| some of the key features to look for in your | | | | weddings, you want the fastest lens you can get. |
| choice. | | | | No matter what your shooting aperture, it's |
| 1: FOCAL LENGTH. This is always step one. A | | | | always nice to have it as bright as possible so |
| good starting point is to take the diagonal | | | | both your eyes and the camera can focus better. |
| measure of the film or sensor your camera uses | | | | 3: ZOOM LENSES. It used to be that prime focal |
| and multiply it by two. For example, the film | | | | length lenses were much better than zoom lenses |
| diagonal of a medium format square camera is | | | | because they don't have to make the many |
| about 80mm. The diagonal of the film is used to | | | | compromises needed in the design of a zoom. |
| determine the focal length of a 'normal' lens. I | | | | While that's still true, lens technology is now so |
| believe the reasoning is that a lens of that length | | | | advanced that the gap is very tiny. So in practical |
| gives us a 'normal' perspective when made to 8 x | | | | terms, a quality zoom will fit the bill for most |
| 10 and viewed at arms length, but don't quote | | | | photographers. A zoom offers many focal lengths |
| me. In the above instance, a typical lens length for | | | | and allows you to crop the image in camera so |
| portraits is 160mm. And it seems that all makers | | | | that you can maintain optimum image quality. One |
| of square format lenses just happen to make a | | | | other note, if at all possible, try to buy a lens that |
| 150mm lens that all portrait photographers own. | | | | is a continuous f/stop as opposed to those that |
| Translating that to the 35mm format, we'd come | | | | vary with focal length, it will make your life easier |
| up with a 100mm lens, and it also seems that for | | | | and your exposures more accurate when |
| years 35mm camera makers have made a | | | | manually metering. |
| 105mm lens. Coincidence? I don't think so. | | | | 3: OTHER FACTORS. Here are a couple of other |
| Now you can see that if we look at the 'perfect | | | | factors to consider in your search for the perfect |
| lens' for digital, our sensor size must be taken into | | | | lens. Based on my limited testing, if you're digital, |
| consideration. If it's a full frame camera, then we | | | | buy the lenses made for digital cameras. Film and |
| can use the same thinking that applies to the | | | | sensors do not focus the same way, I see a |
| 35mm format. If the sensor is only half the size | | | | considerable difference using digital lenses. Another |
| or less, that must be taken into consideration. For | | | | consideration is the blade shape of the lens |
| example, the Nikon D 80 camera chip is about | | | | diaphragm. Some are designed to make more of |
| two thirds the size of a 35mm frame, so the lens | | | | a circle, so your out of focus highlights assume a |
| 'conversion factor' compared to 35mm is 1.5. That | | | | pleasing, circular shape. Also, a Vibration Reduction |
| means that a 100 mm lens on a 35mm camera | | | | lens will cost you more but also allow you to |
| becomes a 150mm lens on a camera with a 1.5 | | | | shoot handheld about two stops more than the |
| conversion factor. Now that I've taken the time | | | | standard issue. If you do mostly outdoor and |
| to explain the relationship between film or sensor | | | | location portraits, I'd suggest it. |
| size and focal length, let's just stick with 35mm | | | | 4: THE PERFECT LENS. Taking all of the above |
| format and you can do your own interpolating | | | | into consideration, I'll take a couple of stabs at the |
| later depending upon what camera you own. | | | | 'perfect' lens. For 35mm and full frame digital, |
| Now that that's out of the way, what's the | | | | there are 70-200mm f/2.8 lenses with VR that |
| reasoning behind the longer than normal focal | | | | seem pretty close to perfection. There are also |
| length for typical portraits? There are actually a | | | | 55-200mm digital lenses that have variable |
| few reasons for it. First, there is perspective. The | | | | apertures, pick them if cost is an issue. A shorter |
| perspective you have in a photo is dependent | | | | and lighter lens, like a 28-75 or 80mm, is nice to |
| upon how close you are to the subject, not the | | | | have when you are working in tight quarters or |
| lens. Take a few images on a tripod of the same | | | | when the weight of the longer lenses becomes an |
| subject and keep changing the focal length. While | | | | issue. On my wish list for the future? A 50 to |
| some images will have more in them than others, | | | | 300mm VR f/2 lens that you can throw in your |
| the perspective remains the same. However, to | | | | pocket and buy for $400. Read this three years |
| include the same subject at the same size means | | | | from now and you probably won't thing it's so |
| moving the camera. Walk up to a friend, get two | | | | ridiculous! |
| inches from his nose, close one eye, and look. | | | | SHOOTING F/STOPS. While the lens you use has |
| You're seeing what a wide angle sees in close. | | | | f/stops from about f/2.8 to f/22, for portraiture |
| Back off six feet and look through a paper towel | | | | you'll probably settle on a couple of favorites. |
| tube, there's your long lens. So a longer than | | | | Since not all of you have studios, let's look at how |
| normal lens allows us to keep some distance | | | | you'll be shooting outdoors. |
| between ourselves and our subjects, giving us a | | | | My zoom lens goes to f/2.8 but most of my |
| pleasing perspective. And by keeping that | | | | shooting is done between f/2.8 and f/5.6. I find |
| distance, our subject is also more comfortable | | | | that these apertures will in most instances give |
| than if we shove a camera up his nostrils, so the | | | | me the 'look' I want. They are open enough to |
| longer length now accomplishes two objectives - | | | | throw backgrounds out of focus, but small enough |
| a pleasing perspective and subject comfort. | | | | to keep my subject in focus. |
| Now we're going to throw in another nice feature | | | | Do your own practice shooting to find your |
| - angle of view. The longer the focal length, the | | | | favorites! |