I looking to purchase a lens for 75% in studio and 25% outdoors. I currently have a D90 which I'm going to upgrade my camera to a FX camera by the summer D800. I'll be shooting full body shots, 3/4, headshot, and head to shoulders. I looking for lens that's for DX and FX camera.
Dude, we just did this. The 85mm is a great lens but it's going to be tight indoors on the crop sensor. The 50mm is a better choice and I recommend the 1.8 over the 1.4. The 50mm is not classified as a pro lens but it's an awesome performer.
On the zoom side I'd choose the 24-70 all day long. The 70-200 is a stellar lens but again, on the crop indoors it's going to be tight.
This is an excellent lens, and it's still one of Nikon's sharpest. (The same is true of the 135mm f/2 AF DC). But 105mm is a bit long for shooting full-length photos with a DX body. I could do it in my studio - but I don't.
Back in the film era, the 50-135mm f/3.5 Nikkor AIs was quite possibly Nikon's sharpest zoom lens. If Nikon made a very sharp 50-135m f/3.5 or f/2.8 AF lens today, it would handle 70-75% of my shooting. But they don't.
Instead I use a Nikon 35-70mm f/2.8 (almost always between 50-70mm) and a 70-200mm f/2.8. These two lenses take care of 90% of my shooting. Both are extremely sharp.
Used 35-70mm f/2.8 lenses aren't terribly expensive. That lens would be approximately the equivalent of a 50-105mm lens with your DX body. A 105mm lens is suitable for headshots - although I prefer something that's a bit longer (at least 135mm).
If you could swing a 35-70mm now and a 70-200mm lens later, that would be about as good as it gets for model photography with two lenses.
If I could just have one, it would be the 70-200mm. That works well for full-length to headshots in a decent-sized studio - but shooting full-length at 70mm in a somewhat cramped location is less than ideal.
Aaron Lewis Photography wrote: Dude, we just did this. The 85mm is a great lens but it's going to be tight indoors on the crop sensor. The 50mm is a better choice and I recommend the 1.8 over the 1.4. The 50mm is not classified as a pro lens but it's an awesome performer.
On the zoom side I'd choose the 24-70 all day long. The 70-200 is a stellar lens but again, on the crop indoors it's going to be tight.
For me, longer is always better. The 50 wouldn't be my first choice for a portrait (a word that connotes, for me, 3/4 and tighter -- usually tighter). Unless the studio isn't really a much of a studio. I'd always opt for the longest lens you can get away with.
Having re-read the OP (I somehow missed the full-length part), I'd opt for a 24-70 or a 24-120 and just stay away from the wider lengths. You're asking one lens to do a lot of stuff, so there's no perfect solution.
The older 28-70 f2.8 is also an excellent lens, and you can save a few bucks getting a used one of those.
Aaron Lewis Photography wrote: Dude, we just did this. The 85mm is a great lens but it's going to be tight indoors on the crop sensor. The 50mm is a better choice and I recommend the 1.8 over the 1.4. The 50mm is not classified as a pro lens but it's an awesome performer.
On the zoom side I'd choose the 24-70 all day long. The 70-200 is a stellar lens but again, on the crop indoors it's going to be tight.
Yeah we did. I need other opinions beside the three lenses that I mention before. I talked to someone in a camera store today and they didn't recommend any of the lenses that I asked about in the previous post.
Ok here's another question which lens would you for each shoot, on a FX camera.
Headshots
Head and shoulders
3/4
Full Body
I admit, I love my 35mm. I picked it up for landscapes, but it's come in amazingly handy for nearly everything in studio too, without having to deal with a lot of distortion!
SPierce Photography wrote: I admit, I love my 35mm prime. I picked it up for landscapes, but it's come in amazingly handy for nearly everything in studio too, without having to deal with a lot of distortion!
Until the 28-70 f2.8 came out, I used a 35 f2 all the time (with an 85 f1.8 on a second body). Still have them both; I'm sentimentally attached.
Aaron Lewis Photography wrote: Dude, we just did this. The 85mm is a great lens but it's going to be tight indoors on the crop sensor. The 50mm is a better choice and I recommend the 1.8 over the 1.4. The 50mm is not classified as a pro lens but it's an awesome performer.
On the zoom side I'd choose the 24-70 all day long. The 70-200 is a stellar lens but again, on the crop indoors it's going to be tight.
Yep - this is spot on and my set up with a crop sensor.
FX or DX I still choose the 24-70 for indoor / studio work. It's the pro series zoom that covers the range you'll be looking for.
I had forgotten about the 24 - 120 f4 also mentioned here. I haven't shot with one yet but it's supposed to also be a great lens with a smaller price tag. If you don't need the extra stop of light, which you shouldn't in the studio, that may be an excellent choice as well.
Look for one thing I wouldn't listen to anything anyone in a camera store tells you. If you really don't know what to do, go to borrowlenses.com and rent all the lenses you're considering and make the decision for yourself.
It doesn't matter indoors or out and it doesn't matter FX or DX. It's either the 85mm or the 105mm. The difference is working distance and I personally like the 105mm for portraits. If you use anything less and get close enough for a full frame head shot you are going to distort the face and nothing in the world is going to change that.
Aaron Lewis Photography wrote: FX or DX I still choose the 24-70 for indoor / studio work. It's the pro series zoom that covers the range you'll be looking for.
I had forgotten about the 24 - 120 f4 also mentioned here. I haven't shot with one yet but it's supposed to also be a great lens with a smaller price tag. If you don't need the extra stop of light, which you shouldn't in the studio, that may be an excellent choice as well.
Look for one thing I wouldn't listen to anything anyone in a camera store tells you. If you really don't know what to do, go to borrowlenses.com and rent all the lenses you're considering and make the decision for yourself.
I don't need to extra stop, I'll mainly be shooting in well lit areas and with Alien Bees strobe lights. I'll just looking to get a sharper lens to get my images sharper for less editing work. Yeah you right about people that works in camera stores, there are just looking for a bigger sale. I was thinking about renting a couple of lenses from there to test out and go from there.
If you really plan on buying the D800, it somewhat limits your choices for the best glass. The super high resolution demands the very best glass.
The following is a list of recommended lenses for the D800 and D800E:
Zoom lenses
Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens
Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens
Nikon 24-70mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens
Nikon 24-120mm f/4G ED VR AF-S Nikkor Zoom Lens
Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens
Nikon 200-400mm f/4G AF-S SWM SIC ED IF VR II Nikkor Super Telephoto Zoom Lens
Prime Lenses
Nikon 24mm f/1.4G ED AF-S RF SWM Prime Wide-Angle Nikkor Lens
Nikon 35mm f/1.4G AF-S FX SWM Nikkor Lens
Nikon 85mm f/1.4G AF-S Nikkor Lens
Nikon 200mm f/2G AF-S ED VR II Nikkor Lens
Nikon 300mm f/2.8G AF-S ED VR II Nikkor Super Telephoto Prime Lens
Nikon 400mm f/2.8G ED VR II AF-S SWM Super Telephoto Lens
Nikon 500mm f/4.0G ED VR AF-S SWM Super Telephoto Lens
Nikon 600mm f/4G AF-S ED VR Nikkor SWM Super Telephoto Lens
from this list, the 24-120 might interest you, should cover both dx and fx needs. But, I have to say buying one lens to do everything means you have to live with some compromise.
Until the 28-70 f2.8 came out, I used a 35 f2 all the time (with an 85 f1.8 on a second body). Still have them both; I'm sentimentally attached.
I picked up the 35 2.8 . Don't have a lot of money to spare, so needed something at a decent budget. Holy hell I adore this thing- crazy sharp, absolutely perfect! It's just so small compared to what I'm used too, I feel like I'm going to break it sometimes! Was using a Nikkor 35-135 for the longest time, but it and my d800 doesn't really place nice together, not sure why.
Images by MR
Posts: 6,019
Vancouver, British Columbia, Canada
King Tay wrote: Ok, I'll look into it, thx. I just need something much sharper then my lens that I have now which is 18-105 that came with my D90 as a kit.
I think your kit lens should be fine for studio work when used right.
When I first started I was using the 18-70 kit lens on my D80 and seem to work good. Still use this lens for landscapes.
rfordphotos wrote: If you really plan on buying the D800, it somewhat limits your choices for the best glass. The super high resolution demands the very best glass.
The following is a list of recommended lenses for the D800 and D800E:
Zoom lenses
Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens
Nikon 16-35mm f/4G ED VR II AF-S IF SWM Nikkor Wide Angle Zoom Lens
Nikon 24-70mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens
Nikon 24-120mm f/4G ED VR AF-S Nikkor Zoom Lens
Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens
Nikon 200-400mm f/4G AF-S SWM SIC ED IF VR II Nikkor Super Telephoto Zoom Lens
Prime Lenses
Nikon 24mm f/1.4G ED AF-S RF SWM Prime Wide-Angle Nikkor Lens
Nikon 35mm f/1.4G AF-S FX SWM Nikkor Lens
Nikon 85mm f/1.4G AF-S Nikkor Lens
Nikon 200mm f/2G AF-S ED VR II Nikkor Lens
Nikon 300mm f/2.8G AF-S ED VR II Nikkor Super Telephoto Prime Lens
Nikon 400mm f/2.8G ED VR II AF-S SWM Super Telephoto Lens
Nikon 500mm f/4.0G ED VR AF-S SWM Super Telephoto Lens
Nikon 600mm f/4G AF-S ED VR Nikkor SWM Super Telephoto Lens
from this list, the 24-120 might interest you, should cover both dx and fx needs. But, I have to say buying one lens to do everything means you have to live with some compromise.
Is the D800 a bad choice??? I'm working with a D90 currently.
Since you said you're upgrading to the D800 shortly, a lot of lenses that would be great on your current camera, won't stand up as well to the lens quality demands of the D800.
So, unless you want to rebuy for the significantly upgraded camera, you're choices/options are not as large as some of the posts here suggest.
John Allan wrote: Since you said you're upgrading to the D800 shortly, a lot of lenses that would be great on your current camera, won't stand up as well to the lens quality demands of the D800.
So, unless you want to rebuy for the significantly upgraded camera, you're choices/options are not as large as some of the posts here suggest.
It's better to go full frame correct? I was looking to get a entry level - semi pro full frame camera and the 800 was the cheapest. I was told, da camera is less important, all that really matters is the GLASS, lol.
I don't need to extra stop, I'll mainly be shooting in well lit areas and with Alien Bees strobe lights. I'll just looking to get a sharper lens to get my images sharper for less editing work. Yeah you right about people that works in camera stores, there are just looking for a bigger sale. I was thinking about renting a couple of lenses from there to test out and go from there.
I would rent the 24-70 and the 24 - 120 f4 and see which one you like to handle more.
King Tay wrote: Is the D800 a bad choice??? I'm working with a D90 currently.
No, not at all. It is a HUGE step from a D90(also a great camera), the technology improves every year. The D90 is 2008 tech, the D800 is 2012 tech.
The D800, at 36MP is kind of a game changer. Highest resolution sensor for a 35mm sized DSLR, it brings out the best- and worst- of your glass. To get the very best a D800 is capable of, the photographer needs to use very solid technique.
You may want to rent a couple lens/body combos and see what feels right for you....it is certainly a personal choice. Good luck!
Images by MR
Posts: 6,019
Vancouver, British Columbia, Canada
King Tay wrote:
It's better to go full frame correct? I was looking to get a entry level - semi pro full frame camera and the 800 was the cheapest. I was told, da camera is less important, all that really matters is the GLASS, lol.
King Tay wrote: It's better to go full frame correct? I was looking to get a entry level - semi pro full frame camera and the 800 was the cheapest. I was told, da camera is less important, all that really matters is the GLASS, lol.
I have both, dx and fx. I love them both for different jobs. There is nothing "magic" about fx cameras.
Also, the D600 is now available, and is less expensive than the D800, if that is of interest to you.
I will throw my hat in the 24-70 and 70–200 2.8 ring. If you're only going to grab one I would grab the 24-70 first. Although (in my opinion) the 70–200 is better for head shots and close-up beauty work, it's not quite as diverse a tool as a shorter focal length lens would be, especially on a crop sensor. A 50 mm 1.4 or 1.8 can't be beat when it comes to pocket-size speed lenses, it's cheap and great when you need a couple extra stops on an outdoor shoot, I would say get one just to have one.
Of course all the primes that have been mentioned so far are going to be good lenses, but I would not start collecting those until you realize what focal length you're using most, that's the great thing about a zoom is it tells you a lot about what you prefer. It would be crappy to plunk down huge chunk of change for a 80 mm to find out that you love shooting at half that.
As for the D 800, it is NOT an entry-level camera. Most likely it will not make you a better photographer, but rather drag out the flaws in your abilities for all to see.
My portfolio is shot with the D 7000 and D 800, both with crappy plastic glass as well as the 14-24, 24-70, 70-200, and 50 1.4. At this point if I were considering a prime I would be going for a macro. Ask yourself what it is that you can't do with what you already have.
When what you need becomes glaringly obvious is the point that you probably need it.
It's better to go full frame correct? I was looking to get a entry level - semi pro full frame camera and the 800 was the cheapest. I was told, da camera is less important, all that really matters is the GLASS, lol.
It definitely matters more than the camera, especially in a studio setting. If you were to ask, I'd bet that most would tell you to buy light modifiers, computer programs/training and lenses(d90 is a great camera) before a body. I love my new D600 for what it's worth but I find myself shooting at high ISOs fairly often. Check out this link. The longer, the better(as well as usually more expensive too) IMO. http://stepheneastwood.com/tutorials/le … ippage.htm Also, one great thing about Nikon is that you can use 40+ years of manual focus lenses so long as they are labeled ai or ai-s, they don't need to be converted. There are lots of bad-ass lenses out there that can be had for a fraction of the auto-focus costs if you don't mind manually focusing. Your d90 won't meter(I think) so you'd have to move up a body to use all of the modes. I'm sure some of them are good enough to be used on the d800, Nikon just has no reason to recommend lenses that they no longer manufacture.
ok....maybe there is -some- magic in some fx bodies.........I admit I love my d3s at ~iso +3200. I have images in my port @12800.
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