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02-27-2014, 02:52 PM   #16
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If i was to work as a pro, my point of view is often you'll need to be very good, but also fast. You'll need zooms. prime are nice, wonderfull for learning and ultimate quality but that might not be what you look for to deliver results. Your clients will not pixel peep you photo anyway.

I agree with others that 50-135 is going to be far better in practice for portraits. 70mm is too long to start with, the quality is superb and the size/weight is clearly a plus. But I would just say it is unsuited to action/sport stuff.

Sigma 17-50 vs 16-50, I don't really know. But as a pro, and for the transtandard (= most used lens) that WR is a big plus. This mean you can take photo under the rain without any problem. I would then start with 16-50 + 50-135.

Don't forget you'll need at least also a good flash with it's accessories. It is mandatory as the event you'll need to cover will not always have proper light to begin with. You'll might need to plan for some good tripod and studio kit too.

For the prime, why not, but not sure this is really necessary. DA*55 look pricey to me without being that much better to me than the FA50 and being less sharp wide open than the sigma. The f/1.4 range is also difficult to master and you have to be sure your clients really want most of the subject to be out of focus except for the center of the eye. This can be usefull for a full body portrait through.

Prime is ultimate quality and as an amator I love my small primes (DA21, DA35, FA50). Not sure how you'd need them as a pro in practice. And if you really need one, maybe the FA ltd could be of better use. Better quality, very high lever rendering and character so you don't buy a prime just to say I have a prime and change lens more often. Would maybe prefer FA43 to DA55, look like the focal is more usefull and the rendering is better. The price is not so different. And for close portrait work, the 50-135 is already more than perfect.

02-28-2014, 02:32 AM   #17
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QuoteOriginally posted by Brooke Meyer Quote
Good light at events is rare. Its why I went from K20's to K5's, for the extra ISO capability. Color rendering is a non-issue for me as I've never shot anything but DNG's. Its always mixed light so RAW is the best way I've found to manage that.
This makes perfect sense for most events. But I don't equate photojournalism as being exactly the same.


Also, a sensor's color character shows up in RAW files too, especially when your editing software has good camera profiles. If the sensor or lens doesn't pick up the colors (or anything else), it's not really there. It's very difficult to manufacture something out of nothing.
03-01-2014, 04:59 PM   #18
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QuoteOriginally posted by Nadir Quote
Since Ricoh seems to be determined to keep to APS-C buying FF glass isn't a factor for me. I'd rather go for better quality lens, and all arguments for 50-135 are convincing. I'm not really sure I'll need the 135-200 range, and many users of 70-200 zooms say they don't use it much either. The price gap isn't too far, so maybe I could go for the DA* and be happy about it. If I'll ever need more range I can always ged DA* 300, or just move closer.
The DA*50-135 and a * 300 lens (I have the F version) makes a good combo. The gap in between (in FL) is rarely a problem, I find.


QuoteOriginally posted by Nicolas06 Quote
DA*55 look pricey to me without being that much better to me than the FA50 and being less sharp wide open than the sigma. The f/1.4 range is also difficult to master and you have to be sure your clients really want most of the subject to be out of focus except for the center of the eye.
The DA*55/1.4 is much better in actual use from f/1.4 to f/2.8 than the FA50s or F50s (I had 3 of the 4). I can't compare it to the Sigma, having not used one. But I just looked it up and was surprised to find it looks pretty good (because many Sigma f/1.4 lenses are quite poor near wide-open).

These lenses are also useful as ~short to mid-teles for subjects farther away than a person in a typical portrait. That gives greater DOF, even at f/1.6 or f/1.8, so it's very useful. Good for some low-light stage events and other occasions. The DA*55, FA77, and FA*85 are the best candidates here (I have the latter). Don't try to shoot an F or FA50 at these apertures. As much as I like to use the DA*50-135, for these situations I don't even bother with it - I just use the FA*85 instead (and the FA77 was almost as good when I had it).


QuoteOriginally posted by Nadir Quote
As was said, if your photos are not good enough, you're not close enough
I haven't heard this, but I've seen it so many times! Even though you may not be able to move closer, a (quality) long FL makes for much more compelling photos!

Last edited by DSims; 03-01-2014 at 05:45 PM.
03-07-2014, 09:42 AM   #19
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Well, the final lens set will most likely include two Sigmas: 17-50 and old 10-20, plus two DA*: 50-135 and 55. This will give me almost complete focal range, and I can always get more primes later. Thanks, everybody.

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