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12-06-2010, 05:23 PM   #16
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+1 on skipping the kit and buying the 16-45. The kit is good, but not great. It will have no place when you start playing with better glass and they are hard to sell.

As for fast 50's, I would suggest the A 50 1.7, or K 55 1.8. The K 55 1.8 is better, but it is temperamental because you have to use it in full manual mode with stop-down metering. The 50mm 1.7 I would suggest skipping unless you can find the A version, which does all the metering for you which is a huge plus. If you want to throw caution to the wind, find the 55mm 1.8 in K mount. It's a great lens.

Judging from what you shoot, those 2 lenses should get you pretty far.

Accessories: Get a blub blower and some sort of brush to keep dust off of the lenses without having to clean them with a cloth and cleaning fluid. You should not clean your lenses with a cloth very often, or at all. Only do it if you get oil, grease, or water on the lens (none of which should happen, anyways).

Get a hood for the 16-45 if it does not come with one (not sure if it does). Get a rubber screw in hood for your 50.

Skip UV filters. As suggested, your circular polarizing filter should fit the larger lens. Then use step down rings to fit it to the smaller one.

Use rechargeable AA batteries.

Buy 1 8 gig card. Even if you shoot raw, the 8 gig card should give you about 400 exposures, which is plenty.

Finally, buy everything used.

I imagine this will be one economical package . Have fun!

Get a nice compact sling bang to carry your two lenses around in.

PS - Great shots!

12-06-2010, 05:29 PM   #17
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QuoteOriginally posted by DaveHolmes Quote
I have to say... Tripod is essential!! If you don't have a tripod... There is a piece of your camera missing!!

I couldn't agree more. You can buy all the best lenses in the world but to get a truly sharp picture you need a good tripod. I would even suggest a good ballhead as well. Check ebay for a hot shoe mount bubble level which you can get for about $2 and a remote shutter release. With these accessories you're ready to take on the world!
12-06-2010, 06:01 PM   #18
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QuoteOriginally posted by Pauld Quote
I couldn't agree more. You can buy all the best lenses in the world but to get a truly sharp picture you need a good tripod. I would even suggest a good ballhead as well. Check ebay for a hot shoe mount bubble level which you can get for about $2 and a remote shutter release. With these accessories you're ready to take on the world!
Thanks for the hot shoe bubble level - had never seen mention on those anywhere - here or elsewhere.
12-06-2010, 06:08 PM   #19
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I suggest you read the blog of one of the major contributors here, he shoots a lot of concert photography.
It helped me a lot:

Marc Sabatella: Concert Photography - Equipment

there's three articles, the first on equipment, the second on technique and the third on post processing.

12-06-2010, 06:34 PM   #20
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For your described inclinations and experience level, I'd look at an FA 50 1.4, (few hundred, those used, but real good.) or maybe the new DA 35. (or old FA 35) if you're talking lenses. The kit lens equation really depends on how much it actually costs you to get one, sometimes they're essentially free, and they're very good as kit lenses go, but still kit lenses. Like the 16-45 would be better, certainly, but the prime lenses are where the really good quality is, so don't fuss too much there yet. If you can make the price difference happen, it's worth it, but there you are.

Hoods for everything that doesn't come with them.

If lenses aren't in the budget, now that's OK,

For bags, you can use about anything with a camera that size, just a bit of an insert in a bag you like to carry, possibly, even.

The rocket blower, batteries, and memory are pretty much necessities, for little things. I like a nice strap, actually: you probably won't need anything really heavy-duty: I like Lowepro Speedsters, not padded, but very non-slippy, which is good for a light camera like a K-x. (I think they are pretty reliablly to be found on Ebay, anyway.) Sounds as though you're not talking about a lot of money, either, but a tripod will likely be pretty key sooner or later. Depending what you're doing. Those are usually worth spending a bit on, anyway.

Anyway, you're getting a lot of info and opinions, but you don't need to go nuts or break the bank for starters.
12-06-2010, 07:27 PM - 1 Like   #21
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If you can live with a lowly A50/1.7 that I have no interest in keeping as your "fast 50", I'll send you one for the cost of postage from Canada to you.
It isn't autofocus though.

I don't even recall if I've ever used it. I have no idea where I got it from, but I assure you it isn't hot, I am the legitimate owner.
Anyway, PM me if you want it.
12-06-2010, 07:29 PM   #22
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Cool..that's generous...take it that "lowly" 50 will deliver some joys.
12-06-2010, 08:16 PM   #23
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QuoteOriginally posted by Ira Quote
I'd keep it simple in the beginning, and you seem to be on the right track with a fast 50.

The 18-55 is okay for a kit lens, and although the 55-300 is better, judging by your shots (nice!), I don't think it's a range you're going to use all that much.

If you can find a deal on the body alone, I would go for that fast 50 you're talking about, and either the new 18-135 or 16-45.

Here in the states, the 18-55 is priced so low as part of the kit that people rarely pass it up. But if it's different in Sydney and you can pass it by and put the money (if significant) towards the 16-45 or 18-135, you'll have a better lens in your bag. And the 18-135 range is a real jack of all trades range. It covers (for me) 95% of what I would ever shoot.

And don't forget a circular polarizing filter:

Buy the size for your lens with largest filter size, and to save money, get step-up rings to so you can use that same filter on all of your lenses. But note that the HOODS have to be sized properly for this as well.
I agree with Ira on the CPL (circular polarizing filter), but keep in mind you'll lose f-stops with it. Since you already shoot in somewhat darker areas you'll want either a faster lens or a camera that can provide good quality at higher ISOs.

There's a great book you should read (quick and easy read) called Understanding Exposure: How to Shoot Great Photographs with a Film or Digital Camera. You may already have this understood (don't know), but it's a good read that explains things pretty well. Since your shots probably will have a high variability of light situations, this book may help you. I got mine at the local library and it took about a day with interruptions to read.

12-06-2010, 09:32 PM   #24
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QuoteOriginally posted by Wheatfield Quote
If you can live with a lowly A50/1.7 that I have no interest in keeping as your "fast 50", I'll send you one for the cost of postage from Canada to you.
Mighty generous!
12-06-2010, 09:55 PM   #25
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Thank you all so much for your help, I am really getting a feel here for what I'll need. I'm so excited to start shooting.
12-06-2010, 09:58 PM   #26
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QuoteOriginally posted by paperbag846 Quote
Mighty generous!
QuoteOriginally posted by Wheatfield Quote
If you can live with a lowly A50/1.7 that I have no interest in keeping as your "fast 50", I'll send you one for the cost of postage from Canada to you.
It isn't autofocus though.

I don't even recall if I've ever used it. I have no idea where I got it from, but I assure you it isn't hot, I am the legitimate owner.
Anyway, PM me if you want it.
WOW! Thank you so much, that would be wonderful. You are so generous, I will PM you now.
12-07-2010, 02:03 AM   #27
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I dare say an A50 1:1.7 might be considered "lowly" only in comparison with the absolute high end and even so the diminishing returns with higher prices mean that the margin is not terribly wide :-)
12-07-2010, 06:34 AM   #28
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You've gotten a lot of good advice. I guess I would agree with those who say not to buy a whole bunch of lenses right now. Start with basics. The DA 16-45 is a real step up from the kit lens and I would go with that as well.

Last thing I would mention is that if you do a lot of concert photography, you would probably benefit more from a decent monopod than a tripod. It's just a lot more portable and a lot of venues will allow a monopod, but not a tripod.
12-07-2010, 07:11 AM   #29
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QuoteOriginally posted by Rondec Quote
Last thing I would mention is that if you do a lot of concert photography, you would probably benefit more from a decent monopod than a tripod. It's just a lot more portable and a lot of venues will allow a monopod, but not a tripod.
And if you get a good strong one you can beat your way through a crowd with it!
12-07-2010, 12:42 PM   #30
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Agree

I'm also new to the dslr cameras and agree with what everyone has stated
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