Tips From a Pro to Help You Know Which Lens to Choose

By: Lily Sawyer  

When I first started out as a photographer, my memory of researching which lens to get was one of absolute overwhelm. The market is inundated with hundreds of choices for any budget. Where do I start? What do I choose? How do I choose? Why should I spend that much on that lens even though it’s over my budget?

Where to find help

So many questions rushed through my head that I shut down and decided to ask a couple of photographer friends instead, thinking that was the surefire way of getting quick and right answers that would aid my decision. I was wrong. They each had different things to say for different reasons. So I was back to the drawing board and had to ask myself what was right for me. At that point, I had my kit lenses that came with the camera and a 50mm f/1.8. I already knew then that it was wiser to invest in good lenses than to keep upgrading cameras and I wanted to take the first step in owning a professional lens for long term investment.


This article is about helping you decide which lens to buy next or which to use for a particular subject. It comes from my eight-year journey (going on nine) as a professional photographer. This may not be what other photographers will say if you ask them, as we all have different needs and priorities. But these are my answers and I hope will help you find your own answers too.

Questions to ask yourself

The first important question to ask yourself (regardless of whether you are a hobbyist or professional) is what is right for you as a photographer in terms of subject, style, usage and frequency? The second important question is how much use will that lens get? That is probably the best litmus test as to whether or not you have made your investment work for you.

Going back to my story above, I had upgraded my cropped sensor to a full sensor professional-grade camera and wanted to start building a professional lens collection. Photographing families was my primary focus but I wanted to expand and do more weddings. I needed a workhorse that would cater to both. As I knew I would be investing a fair amount, I wanted the lens to be worth the money in terms of usage rather than just gathering dust in the cupboard.
With weddings, it’s difficult to have just one lens because in an ideal world you need several lenses for the variety of situations that a wedding day entails. Read this article for more on that subject: 5 must have lenses for wedding photography and why. Having said that, I have shot a wedding with only one lens, the 85mm, and had to work around many limitations of having just one lens, but it is totally possible.
Before I list the different lenses and their uses, according to what I found my requirements were, here are a few things to note on prime and zoom lenses.

Prime Lenses

You will notice above that my first lenses were all primes. They are fast and great in low light. They are also smaller than zooms, though not necessarily lighter as the quality of the glass really adds to the weight. I wanted prime lenses as I knew my shoots were mostly on location. The downside of prime lenses is that you have to zoom with your feet – physically adjusting your distance continually, as these lenses have a fixed focal length. However, moving closer to the subject is NOT the same as zooming in with a zoom lens because there you are not changing your distance but rather the focal length of your lens. To read more about the intricacies of this difference, check out this excellent article; Prime Lenses: Can you really zoom with your feet?

Zoom Lenses

In contrast to prime lenses, zooms allow you to stay in place and get closer to your subject by changing the focal length without sacrificing pixels or changing the sensor mode. Depending on the lens, some zooms have an aperture range while others have a fixed maximum aperture. The latter is usually in the professional range of lenses, which is reflected by a hefty price tag as well.
The fixed maximum aperture means that regardless of the focal length you are using, the lens remains at that aperture (obviously you can adjust the actual aperture you want to shoot with). So if your lens is an f/2.8, then it can go to that aperture whether you shoot at 70mm or at 200mm. Bear in mind that when dealing with macro lenses, you have to take into consideration the focusing distances and effective apertures so that the closer you get to 1:1 magnification, the effective aperture decreases. This is due to the nature of optics and is normal with macro lenses.
Zoom lenses with an aperture range, on the other hand, automatically decrease the aperture as you zoom in. For example, on a lens with an aperture range of f/3.5-5.6, the maximum aperture (widest you can use) changes automatically as you zoom in, forcing you to stop down. So when shooting at 18mm, your lens allows you to open up to f/3.5 but when you zoom in to 55mm, that lens will only let you go as far as f/5.6 at that focal length. This is a disadvantage shooting in low light conditions.

I acquired the following Nikkor lenses in this order; 50mm f/1.4, 35mm f/1.4, 105mm f/2.8, 85mm f/1.8, 70-200mm f/2.8, 24-70mm f/2.8, and 60mm f/2.8. If you shoot with a different camera, you can look up their Nikkor equivalents easily. I previous tried Sigma lenses but sold them and switched to Nikkors. I also recently added a 14mm third-party lens. I cannot justify the cost of a Nikkor when I rarely ever use that lens – it’s great for shooting super wide scenes which are perhaps 1% of my output! My thoughts below are in the context of using these workhorse lenses on a full-frame camera.

35mm Prime Lens

The Nikkor 35mm f/1.4 FX was the first professional lens I bought and for a while, it was my go-to for pretty much everything. It allowed me to shoot some landscapes when I did location shoots for both family and weddings. It is super fast and great for working in low-light especially when shooting the accessories for the bride getting ready at a wedding, or details of special items on a family lifestyle shoot. It still is one of my most reliable lenses to date.

If I get into a difficult situation on a tightly scheduled wedding day and have to make split-second decisions, this is one of the first lenses I think of to remedy a problematic situation. It is that versatile. It is great for bird’s eye view framing and shooting which is very trendy nowadays. Though not built as a macro lens, its minimum focusing distance of just under 12 inches comes in very handy and provides 0.2x magnification at that range. This is one of my favorite capabilities of this lens; it enables me to shoot this close and is fast and super sharp. Just don’t shoot this close when doing people portraits!
I also use this lens for full body portraits. Sometimes I can get away with half-body but have to be very careful of distortions. The 35mm focal length gives me ample wiggle room for cropping as well as enough space when shooting in small sized rooms which are common for my family shoots.
Note: there is also a Nikkor f/1.8 DX which is considerably lower cost. Check for options available for your brand.

50mm Prime Lens

Like the 35mm above, the 50mm prime lens is super versatile too. It is much smaller and therefore handier, lighter, (less glass) and easier on the pocket. It is a better lens to use for half-body or slightly closer portraits especially when if there isn’t enough space in the room in to distance yourself from the subject.
One of the things I love about this lens is that viewed through a full frame camera, the angle of view most closely resembles that of the human eye (at 45mm). It helps me capture scenes that make it look like the viewer is right there looking at the scene. This is especially effective when using the layering technique which I love. This is also why I use the 50mm the lens for travel, family snaps, and even some street photography (for my personal use) on the rare occasions that I do so. This article I wrote expands on that; 5 Creative Uses for the Super Versatile 50mm Lens.

105mm Macro Lens

I purchased the Nikkor 105mm macro lens while saving up for a 70-200mm and also to have a smaller alternative. When used on a crop sensor it is the equivalent of about 150mm. At that time, I was avoiding having to carry the heavy lenses and stuck to primes with my shoots.
The 105mm is a fantastic portrait lens. I love the focal length. The compression from it makes the subjects look more flattered, and I especially love the beautiful creamy bokeh from the f/2.8 aperture. It is a sharp lens, but quite a slow one, so it’s not great for sports or shooting fast in low light as it tends to hunt for focus. It is an awesome macro lens and I use it for shooting rings and other accessories at weddings, especially those I want to get really close-up shots that I could not get with the 60mm. This lens sings at f/7 which is mostly what I use for macro shots.

85mm Prime Lens

Prior to purchasing my 85mm lens, I was saving up for the f/1.4 and read many reviews and comparisons of the two lenses. Some said the 85mm f/1.8 was better, while others said the Sigma f/1.4 was superior to the Nikkor. I ended up getting the f/1.8 for a third of the price and never looked back.
When you are used to the weight of the professional lenses though, the f/1.8 is a little disappointing because it is light in comparison and feels more plastic. Some people see that as a plus for traveling and location shoots – which I also do. It is an amazing lens, so reliable, fast, sharp and my number one choice for shooting portraits, especially wriggly kids! I never go on a family shoot without my 85mm as I need a super fast lens to capture those fleeting smiles and sharp eyelashes and this lens never disappoints! I use this for couple’s shoots, bride and groom portraits, individual and family portraits (mainly smaller groups, usually 2-3 people).
Its wide aperture allows me to use it indoors too, although being a longer lens, there may not be much space in a small room than a headshot or upper body shot. This is the perfect lens for those anyway, as you can get close enough to your subject while getting a really flattering portrait of them. Any longer and you may need to be shouting at them from far away.

70-200mm Zoom Lens

The 70-200mm zoom lens is one I could not do without nowadays. It is the ultimate portrait zoom. I shoot portraits with this lens when I am on location in wider spaces. I love the fact that even when stopped down to f/5.6 I can still get beautiful blur in the background and my subjects are super sharp. It has to be said that I do have to shoot quite far away as I like shooting outdoor portraits at 200mm, so I do end up shouting!
This is also the lens I use for weddings during the ceremony and speeches. The focal length range is perfect and allows me to mostly stay put rather than running around more than necessary, which can be really distracting during weddings.

I love cropping in camera through composition and this lens allows me to do that with great ease. If you can afford it, I recommend the 70-200mm f/2.8, without hesitation. There is also a more affordable f/4 alternative, although I have not personally had any experience shooting with it. I have read, however, that it is a great lens especially when you don’t need the wider aperture. To be honest, I rarely use this lens at f/2.8 anyway as it is heavy and I am terrified of shaking from the weight so I tend to stop down. On a tripod though I can happily snap at f/2.8, usually f/3.2 as long as I’m not photographing toddlers on the run!

24-70mm F2.8 Zoom Lens

This lens is a true all-rounder. It makes life easier in so many ways. It is fast, reliable, and although heavy, it’s quite slim. However, it is not the first lens I would reach for. Being an all-rounder makes this lens a non-specialist, in my opinion.
I love the 70mm focal length as it gives a bit more wiggle room as compared to the 85mm, but I still prefer the clean, crisp, sharpness of the image quality with the 85mm. For me, the 24-70mm lens is most useful for large and medium-sized group shots and for candid shots of children. I use this for photobooth setups and the first dance at weddings – both situations where constant focal length adjustment is required depending on how many people go in the booth, or where the couple are on the dance floor.
The quality of the image from this lens for practically any shot is still amazing and the bokeh is also pleasing. This is not my portrait lens choice but as a landscape, travelscape, snapshots, wide action shots lens, the the 24-70mm is superb.

60mm F2.8 Macro Lens

When I know I am not shooting portraits but would need a macro, I pick up my 60mm f/2.8 macro lens. It’s small and handy and has no lens distortions.
When I shoot portraits, like an engagement session for example, and need a macro for the ring, I go for the 105mm. For travel and holiday photos, where I know I would not necessarily need a flash, I take the 6omm instead of my 50mm. I can get super close-up images of details and still have a focal length still close enough to the human eye so I can get a documentary feel to my photographs. I don’t do much street photography, but if I did, this would probably be one of the lenses I would choose.
The same goes for still life. Although depending on how much focus you would want in your images, you need to adjust the aperture as well as the distance from the subject to make sure you achieve the desired depth of field.

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Choosing the Right Camera Bag – and Why You May Need More than One

By: Daniel

You’ve just bought yourself a new camera, or perhaps a new lens. Now you find yourself wanting to get a new bag for new purchases – after all, a good bag will protect your equipment, and can serve as an ideal place to store your photography gear when not in use.

These are some of my bags. The two end ones are both roller bags. From left to right:  

ThinkTank Roller Derby; ThinkTank Airport Accelerator; ThinkTank Airport Security.

However, choosing a camera bag that’s right for you may not be as straight forward as it seems, but it is something that some thought should be given to. Choosing the right bag can make photography more enjoyable for you, as it can help carrying your equipment easier and more comfortable.
The days of buying the generic shoulder bag are gone! Now we are spoilt for choice with offerings of backpacks, shoulder bags, sling bags, belt packs, roller bags; the list goes on. But which one is right for you? Which one is the best fit for you and your equipment needs?

1. Camera Bag Size

This is my largest bag. I use this bag when I need to carry more equipment than normal.

How much equipment do you have, and will you want to carry all, or only some of it with you? This will help you decide on which size bag you need to look at. Also, think ahead; will you be buying more equipment such as additional lenses or camera bodies? Will you be adding a flash system, etc.?
All of these will obviously increase the size of your kit, and influence the size of the bag you purchase if you wish to use the bag for all of your stuff. But, do bare in mind that the more kit you carry with you, the heavier the bag will be. Also do be aware that if you use a pro-sized or gripped body, some bags may not fit your camera as the bag is not deep enough to accommodate such sizes. Generally, bag manufacturers will give a list of what can fit into a bag, and list so you can see if pro-sized or gripped DSLRs are suited to that particular bag.

2. Camea Bag Style – The Personal Part

Choosing the size of your bag is relatively easy. It’s choosing the style of bag that I think is the most challenging, and this is where most people can get a little stuck. There are just so many choices available, it really does come down to personal choice.
I take my backpack, the ThinkTank Airport Accelerator (left), to nearly every job I do. I use this bag to carry my laptop, laptop accessories (charger, internet hub, card reader, etc.) and any other bits and pieces I may need such as wet weather gear. If I need it, I also put my modular set (not pictured) inside this bag to use on site.
You may prefer to use a shoulder bag, where the next person may prefer to have a backpack. It’s important to consider just how much equipment you want to carry around in your bag, as this can influence the style of bag you end up purchasing. Below is a small table with a short list of pros and cons to each style of bag.
Let’s have a look at some of the pros and cons of the following bag types:

Backpacks

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Pros: Completely frees your hands, enabling you to use your phone, change lenses, etc. Varying levels of carrying capacity. Weight is moved from one shoulder (on a shoulder bag) to both shoulders, and your lower back. Can be more comfortable that other options. Can be ideal for storing equipment when not in use.

Cons: Can be slow to access your equipment and/or change lenses etc Bags can have the ability to carry too much equipment and become too heavy Can become uncomfortable with sustained activities; especially in warmer climates

Roller Bags

By See-ming Lee

Pros: Can carry the largest volume of equipment easily. Easy to transport equipment, as you are not required to carry anything; simply roll the bag along. Perfect for keeping all of your gear in one bag, and storing equipment when not in use.

Cons: Not well suited if you require more mobility whilst out photographing. Require somewhere secure to be left when no longer needed on a shoot.

Modular Systems

Image courtesy Lowepro

Pros: Ideal for photographers who want maximum mobility. Smal pouches that attach via a belt sit on your waist, thereby removing the weight off your back and shoulders, and transferring it to your hips. Ideal for carrying extra pieces of equipment without the need for a bag on your back.

Cons: Not ideal for transportation as the pouches to not offer enough protection. Each pouch has a very limited carrying capacity, so not suited to carry all of your equipment. Not suited for storing equipment as each pouch can only hold a very limited number of items.

Sling Bags

Pros: A hybrid of backpack and shoulder bag; these bags sit on your back via a single strap. Can be more comfortable for prolonged use than a shoulder bag. Quickly and easily access your equipment without take the bag off. Perfect for storing smaller amounts of equipment.

Cons: Generally have a lower carrying capacity than other bag styles.

Shoulder Bags

By Thomas Wanhoff

Pros: Easy access to equipment as it’s by your side. Can look more casual, allowing you to blend in easier. Varying levels of carrying capacity to suite your equipment. Can be great to store equipment when not in use.

Cons: Weight of equipment is on one shoulder and can cause discomfort. Not ideal if you have larger lenses (greater than ~200mm for example).

3. Active or Passive Bag Concept

Personally, over the years I have used pretty much every style of bag around from backpacks, sling bags, shoulder bags, to roller bags and modular belt systems; you name it and I’ve most likely used it at some stage!
What I have learned from this experience is that one style of bag is no better than the next and that what works on one adventure, won’t necessarily work as well on another. I have also learned that generally, one bag will not fit every situation. This brings us to an interesting concept that I have called Active Bag and Passive Bag.
An Active Bag is a one that allows you to easily carry equipment with you and be more mobile; one that can go with you all the time. The styles of bag that are suited to this are: backpacks, sling bags, modular systems and shoulder bags.

This roller bag – the ThinkTank Roller Derby – is the bag that I take to pretty much every job I have. It’s small enough to easily fit in the car, yet carries everything that I need on a job.

Passive Bags are great at transporting all your equipment to and from your shooting location and even providing a great storage solution for storing your kit whilst it’s not being used. But these bags are not ideal for the photographer who is constantly on the move. What I have found to work best is having a combination of both Active and Passive Bags with me. I use my roller bag to transport my kit to my shooting location and it provides great protection during the transport phase – not to mention a great portable desk to sit my laptop on! I then compliment this by using an Active Bag, usually a modular belt system or backpack, to carry the extra lens and flashes that I may need.
I already have two cameras over my shoulders, each with a lens, so the bags I have are there to carry what I cannot hold in my hands, or do not need right at that moment. It is a little more expensive, yes, but the benefits are great. This is something worth considering if you’re find yourself in a similar situation where you want/need to carry a larger amount of equipment, but do not need that bag once you are at your location.

Some manufacturers also include a cable that is made in to the bag. This is ideal to lock the bag to 

an immovable object; perfect for Passive type bags.

4. Bag Quality

So you’ve decided on the size and style of bag you wish to purchase; but please do not overlook quality. You’ve spent a small fortune on your equipment, and the last thing you should do it cut corners on what protects it.
A good camera bag should have nicely padded, removable inserts inside. The removable inserts will allow you to customize the bag to best suit your equipment, and the padding will provide greater protection and help prevent your equipment from crashing into each other.
Generally, the first thing to fail in a camera bag are the zippers, so looking for a good feeling zipper (especially for the main camera compartment) is very important. A poor quality zipper can unexpectedly fail, and potentially cause your equipment to fall out and break.
You also want your bag to last, so make sure the exterior fabrics used are tough and wear resistant. Personally, I use ThinkTank Photo products and to be honest, I cannot fault them at all. They’re extremely well made and have withstood everything that I have thrown at them.

A close up of the zipper on the main camera compartment on one of my bags. The zippers used on 

this bag are YKK Fuse zippers.

Some bags also offer zippers that are lockable; ideal for that little bit of extra security.

Whilst this is an introduction into buying a bag for your camera, by no means is this exhaustive and you will still need to do a little research before you make a purchase. But, this article should offer some guidance on which bag may be right for you. You will find that most of your decisions will be based upon your own requirements. I would highly recommend you go in to a store, and bring your kit with you to try the various bags to help you find the best one.
I’d love to hear if you have anything else you want to add and offer some advice based on your own experiences. What kind of bags do you have?

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Step by Step How to Clean Camera Gear so it Stays in Good Shape

By: Daniel 

You may be very aware that photography equipment is not cheap. If you’re not, you’re in for a rude awakening! Camera bodies can cost thousands of dollars and it’s not uncommon for a lens to be even more expensive than a body! Sometimes it’s very tempting to baby your equipment; treat it with extra caution and wrap it up in cotton wool so as no harm will come to it. But with the right care and maintenance, your equipment will last and continue to perform for many years, no matter what, and without the babying!

Being a professional photographer myself, my equipment is often subject to some not-so-camera-friendly circumstances. Rain, snow, dust, and even champagne (!) are not uncommon encounters for my equipment. Even though I generally take the right precautions (for example, I use rain covers on for my cameras and lenses if it’s raining) there are times when the conditions are just unavoidable and my equipment gets a little dirty. It’s going to happen. But because I care for my equipment (even though it may look like I don’t!), it keeps on performing and hasn’t let me down. So I thought that I would share some of my tips to help you do care and maintenance on your gear, too.

Supplies needed

The good news about caring for your equipment is that it’s relatively cheap to buy what you need. With so few things in photography being cheap, this comes as a nice relief! Here is a list of what I use to care for my gear.

From a camera store (camera specific tools)

An overview of some essential cleaning items.

• Rocket blower: I use this a lot! Squeezing it blasts out a puff of air to blow away any dust.

• LensPen: I have just added one of these to my kit. At one end there’s a small soft, cleaning tip. At the other, is a retractable brush. I haven’t yet used it extensively but have been impressed with it so far. However, the cleaning tip is quite small so it’s not something I use on my larger lenses, such as a 400mm f/2.8; it would take forever.
• Pre-moistened lens wipes: I love these things. These are almost like the refresher towelettes you can get at KFC, but for lenses. They’re pre-moistened with a lens cleaning solution that quickly evaporates from the lens. They’re also dirt cheap. I use the Zeiss brand ones (only ones I’m aware of) which for a pack of 200, cost about $13.90USD. (Note: also available by Hoodman especially for camera lenses)

• Microfibre cleaning cloths: Another cheap must have. I like to have several of these. I reserve one just to buff lenses after using the wipes, and another just for cleaning the lenses without any product at all. I avoid using the same one across many devices, for example, using the same clothing to clean my iPhone screen, then using it to clean my lenses.

From a regular store (non-camera tools):

• A paint brush: These are very handy at removing dust from the surface of camera bodies and lens barrels. Again, buy this brand new. You don’t want this to be super soft either, as it’s just being used on the outside of the cameras and lenses and not on anything that needs to be protected.

• Make-up brush: this is something that people often have a laugh at when they see it in my bag. But then think, “Hey that’s a good idea”. If you want to add one to your kit, make sure you buy one brand new. You don’t want your partner’s blush going all over your lens. Generally, the more expensive brushes are better as their bristles are much softer. The one I have is also retractable, which is ideal as it protects the brush.

• Teck Towel: I got a Tek Towel for my birthday years ago and decided to give it a go cleaning my gear. It works brilliantly, but a clean towel will work just as well.

• Zip-Lock Bag: This is where I store my cleaning gear, to keep it clean and as dust free as possible!

With these items, I am able to keep my lenses and camera bodies looking (almost) like new. Here’s my workflow when it comes to cleaning time.

Lenses

Step 1. Use the Rocket Blower

The first step is to remove any larger bits of dust, etc., from the lens. For this, I use the rocket blower. Squeezing it blows air out of the tip and will blow away larger, loose bits of dust, etc. It’s important not to use a cloth for this step as this can drag dust over the lens and scratch it. This is why the Rocket Blower is very useful.

Step 2. Use the LensPen

Hopefully, the blower was able to remove all the dust. However, there are times when some little specs remain. To remove these, I use the brush on the end of the LensPen. Doing a quick flick of the brush around the lens should do the trick. There shouldn’t be a need to apply much if any pressure at all. This should remove all the dust from the surface of the lens. You may need to do a quick repeat with the blower, though. If you don’t have a LensPen, using a makeup brush works just as well.
If you don’t have a LensPen, using a makeup brush works just as well.

Step 3. Clean the glass

Your lens should now be free of dust and other debris. If there are some marks surface on the lens, this is when to give it a little clean. First off, use the cleaning end of the LensPen. It is very soft and doesn’t damage the glass at all so it is ideal for this. Using a circular motion, work your way around the lens until all the marks have been removed. This may take several passes to achieve. It’s important to not be tempted to push on the lens too hard. Just keep going around in a circular fashion until it’s satisfied. Give the blower another quick go over, too if necessary.If you don’t have a LensPen using a
If you don’t have a LensPen using a clean micro fibre cloth will also do the job. Just use the same circular motion and again, repeating the motion is preferred over applying more pressure.

Step 4. Get rid of stubborn marks

After Step 3, I am normally done cleaning the lens. Step four is completely optional, but sometimes, there is some muck on the lens that just will not budge; no matter how many times it’s gone over. This is when to use the pre-moistened lens tissues.
Using the same circular motion, I work my way around the lens until it’s been completely gone over (I normally go over it two or three times). Then I get a microfibre cloth (generally, a different one that I use just for this purpose) and give the lens a bit of a buff using the same circular motion. I’ll go over it a few times.
I favour these tissues over sprays because I don’t like the idea of having a bottle of liquid inside my camera bag. If it breaks, it can leak into my gear and cause major damage. I also quite like their single-use quality.
For me, using cleaning solutions is an absolute last resort and not something I do each and every time I clean my gear. I also don’t breathe on my lenses (you know, to fog them up to make it easier to wipe off grime) if I can avoid it. If you’re like me and quite a coffee drinker, your breath can be slightly acidic and with repeated use, it can wear down the coatings on your lens. At least that’s what Nikon mentioned a while back in an article I read (ps, I’m a Canon guy).

Step 5. Don’t forget the lens cap

The front element is now clean. But for me, the process is still not yet finished. Before placing the lens cap back on, I have a quick look at it – there could be grit and dust on it that is about to put back on my newly cleaned lens. Giving it a quick once over with the blower and a paint brush will keep it and the lens cleaner.

Step 6. Clean the rear element

Now it’s time to have a quick look at the rear element – the bit that goes inside your camera. This shouldn’t be too messy; after all, it stays inside the camera. But dust can fall on it, especially when changing lenses and this dust, while it may not show up in pictures, can definitely make its way on to the sensor. I give it a quick once over with the Rocket Blower making sure the bottom of the lens is facing down. Doing so will stop any dust from falling back on it.  Some rear elements are further recessed into the lens than others. With lenses that have the rear element much closer, I also may give it a quick wipe with a micro fibre cloth or LensPen to clean it up.

Notice with this lens, the rear element is very close to the surface. Also, those gold bars are the lens
contacts.

Occasionally, I’ll also give the mount a clean up too, as well as the lens contacts. For this, I just use a Tek Towel, although any clean towel will do. Carefully wipe around the mount and go over it a couple of times. A small amount of alcohol on a cotton tip can be used to clean the contacts. Cleaning the contacts every now and then can help to prevent errors between the camera and lens caused by a build up of grime.
Now it’s time to give the rear cap a quick go over. Remove any dust with the blower and put it back on the lens.

With this lens, the rear element is recessed deeper into the lens barrel.

Step 6. Clean the outside of the lens

Now that the elements (both front and rear) and the lens mount are clean, it’s time to give the outside a quick go over. For this, I whisk away any dust with the paint brush and wipe the whole surface area with the Tek Towel. If I’ve been at the beach (salt in the air), or my lens has had a shower, I’ll dampen the towel in fresh water to remove any salt or champagne, etc.
This step, while very quick and simple, has proven to be quite helpful in picking up some things that may need my attention. For example, a while back I was cleaning my 70-200mm lens and I noticed that the end of the barrel was a little loose. I took it into Canon it was fixed in 10 minutes and cost nothing. Prevention is the best remedy.

Camera

Here is a view of one of my camera bodies without its body cap. Care should be taken when cleaning around the lens mount as to avoid dust, dirt, etc., from falling inside. It’s good practice to do this with the lens mount facing down.

Cleaning the camera is MUCH easier and quicker than the lenses. First off, I start by giving the outside a once over with the paint brush, followed by a thorough wipe down with the towel. I make sure the screens and the viewfinder are all nice and clean, too. As with lenses, I make sure that the mount and the contacts on the body are clean using the same steps and dampen the towel in fresh water if I’ve been at the beach.
While I have the body cap off, I’ll also blow out any dust that may be in the camera with the blower. With this step, I am much more cautious as I don’t want to blow into the body too much. Again, I also have the camera mount facing down to prevent dust from re-entering. This step can help reduce the amount of particles inside the camera which may eventually find their way onto the sensor.

Sensor

For me, this is where the cleaning process stops. I don’t do my own sensor cleaning as I much prefer it be done by the right people. Some people like to do their own sensor cleaning, and that’s completely fine. This is just something I like to give to professionals because if anything goes wrong, I can blame them.

Filters

You may have noticed that I haven’t mentioned anything about UV filters. The reason for that is simply I don’t use them. I am yet to be convinced that they will actually save a lens from breaking if being dropped and have the view that if a lens is going to break from a fall, it will break; filter or no filter. I always use lens hoods which not only help to reduce lens flare but also provide some protection from objects falling on to the front element. However, if you’re in an extremely dusty environment, for example, then the use of a UV filter could be a smart investment.

So that’s it for my gear cleaning process. This isn’t something I do after each and every shoot, but I do try to get to it at least once a month or after shoots where my gear has been a little abused by the elements. It may seem that there are a lot of steps involved, but it really doesn’t take that long to do it. It’s even quite therapeutic when you get into it.
How do you clean your gear? Do you have any other tools you use? What’s your procedure and how often do you do it? Please share in the comments below.

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A Concise Guide to Choosing a New Lens

By: Andrew S. Gibson

I think it’s fair to say that most photographers buy a kit lens with their first camera. It’s a good place to start, as despite the limitations, a good one is versatile (an idea I explored in my article Why Your Kit Lens is Better Than You Think).
But, however well a kit lens performs in the right hands, at some point you will ask yourself what lens you want to buy next. Or, you might already own more than one lens and be wondering if a new one may improve your photography. I am going to help you answer these questions by outlining some of the things you need to think about when choosing a new lens.
You may find it helpful to think of lenses in categories rather than specific focal lengths. That’s because the field-of-view of a specific focal length depends on the size of your camera’s sensor (learn why in our article Crop Factor Explained).
The benefit of considering lenses this way is that each type suits certain subjects. If you are into landscape photography, for example, then a wide-angle lens of some sort is essential. If you photograph sports, then it is difficult to do without a telephoto lens.
By the way, if you follow the links in the article you will see plenty of photos taken with these lens types.

Wide-angle lenses

A good definition of a wide-angle lens is one with a focal length shorter than the diagonal measurement of your camera’s sensor (or negative if you have a film camera).
The idea of measuring the diagonal is a useful one for understanding the relationship between sensor size, focal length and field-of-view.
Let’s look at a specific camera to see how that works: the EOS 70D. The corner to corner distance of the sensor is approximately 27mm:

From that figure, you can say that any focal length shorter than around 25mm is a wide-angle lens.
Wide-angle lenses are used for subjects like landscape photography and environmental portraiture. My article 7 Ways to Get More Out of a Wide-Angle Lens explores the use of wide-angle lenses in more detail.

Normal lenses and short telephoto primes

A normal lens is a prime lens with a focal length similar to the diagonal measurement of your camera’s sensor.
In the example of the EOS 70D used above, a 28mm prime lens is a normal lens. A 50mm lens is considered normal for full-frame and 35mm film cameras (despite the diagonal measurement being 42mm – these things are often approximations).
A short telephoto lens is one with a focal length slightly longer than the diagonal measurement of the camera’s sensor.
Normal lenses and short telephoto primes are ideal for portraits, some types of landscape photography, and for close-up photography. Being primes, they have much wider maximum apertures than zoom lenses. This helps limit depth-of-field and create images with lots of beautiful bokeh. It also helps you take photos in low light.
Learn more about the versatility of these lenses by reading these articles Why a 50mm Lens is your new best friend and How A Humble 85mm Lens Became my Favourite.

Telephoto lenses

This category includes focal lengths from around double the diagonal measurement of your camera’s sensor and upwards.
There are two main reasons to use a telephoto lens. The first is for the compressed perspective they provide to pick your subject out of the background. Portrait and fashion photographers often use them for this reason.
The other is that you need a telephoto because you are photographing something that you can’t get physically close to. This includes subjects like wildlife and sports.

Super Telephoto lenses

These are the large telephoto lenses you often see photographers using at major sporting events. With focal lengths of 300mm and upwards, you will probably want to buy one of these if you are serious in any way about sports or wildlife photography. Be warned – many of these lenses are also super expensive. The new Canon 200-400mm zoom (pictured above) retails for over $11,000. Ouch!

Specialty lenses

The final category includes other types of lens that you would probably only buy if you really wanted to use them, as they are specialty items, and some of them are pricey. They include macro, fisheye and tilt-shift or perspective-control lenses.

Other factors

Once you have decided which category of lens you are interested in, it’s time to consider other factors:
Image quality: You can say a lens has good image quality if it gives you sharp, contrasty images free from chromatic aberrations, colour fringing and barrel distortion from corner to corner at all aperture ranges of the lens.
No lens is perfect. There is no such thing as the lens that I just described. But good quality lenses come close. Generally speaking, the more you pay for a lens the better the image quality.
You may be wondering how to evaluate the image quality of a lens you don’t actually own. One tip is to read plenty of reviews, including the ones on the sellers’ websites, personal blogs and on Digital Photography School. DxO Mark has tested lots of lenses and posted the results on their website. You will soon get a feel for what people think about a particular lens.
Build quality and weatherproofing: These could be important if you subject your lenses to any kind of rough treatment or want to shoot in adverse weather conditions. The higher end lenses in each manufacturers’ range are the ones that have the best build quality and weatherproofing.
Another benefit of weatherproofed lenses is that they let less dust into your camera to get on the sensor.
Budget: Also important, for fairly obvious reasons. If you’re on a tight budget, consider buying prime lenses rather than zooms. You can get great image quality from relatively inexpensive prime lenses, much better than you would from zoom lenses in the same price range.
You could also consider buying second-hand (our article An Introduction to Buying Used Lenses will help).
Bear in mind that good quality glass should last you a long time. The life span of lenses surpasses that of most cameras. In the words of Sir Henry Royce: “The quality is remembered long after the price is forgotten.”
How many lenses do you need? I prefer to take the simple approach to photography and that includes equipment. The more gear you have, the more it weighs if you carry it all around in one go, and the more it costs to insure. I currently own four lenses and, depending on the subject, I take two lenses with me at the most on a shoot.

Your view

That’s my approach, what’s yours? How many lenses do you own? What are your favourite lenses and what are your recommendations for choosing a new lens? Do you buy new or second-hand? Let us know in the comments. It will be interesting to hear what our readers have to say.

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6 Tips for Mastering Your Lenses

By: Andrew S. Gibson

Most photographers have a favorite lens (you can read about mine here), maybe even two or three. But do you know how to get the best out of that lens? I’ve used lots of lenses over the years. As a result, I know that it takes time to get to know a lens, and longer still to master it. These tips will help you work your way through that process.

1. Use the lens exclusively for a month

In his book Outliers, author Malcolm Gladwell put forward the now-famous idea that true mastery of a skill takes 10,000 hours of practice. The idea of putting in your 10,000 hours applies to photography as a whole rather than using a single lens. But there’s no doubt that by using the same lens, and no other, for an extended period of time it will help you get to know that lens really well.
You can put this idea into practice in a small way by taking just one camera and one lens out on a shoot. For example, if you have a portrait shoot then take along a short telephoto prime lens. If you’re shooting landscapes, take a wide-angle lens.

I often take just a single lens on a portrait shoot. The only lens I had on me for this one was an 

85mm short telephoto.

You can take it further and extend the exercise for a week, a month, or even longer. It’s up to you.
This exercise is easiest with a prime lens. If you do it with a zoom I suggest that you pick one focal length and stick to that. The idea is to get familiar with how a specific focal length behaves. You can’t do that if you are zooming from one to the other.

2. Test your lenses at all apertures

Part of mastering your lenses is getting to know how they each perform at various apertures. There are two things to consider here – technical performance and aesthetic quality.
No lens gives consistent image quality across its aperture range. All lenses are softer at their widest and narrowest aperture settings than the middle ones.
If you tend to use small apertures when you take photos (perhaps you are a landscape photographer) then you need to be aware of an effect called diffraction that creates a softening effect as you stop down. Yes, you get more depth of field at f/22, but photos taken at f/11 or f/16 may be sharper overall.
Test your lenses to see where the visible effects of diffraction kick in. That way you know the smallest aperture you are happy using, in relation to sharpness for each lens in your kit.
At the other end of the scale, a lens is always softer at its widest aperture. If your favorite lens is a prime then you probably open the aperture to create bokeh. As you stop down the depth of field increases, there is less bokeh, and the image gets sharper.
The key is to find the balance between bokeh and image quality. For example, I find that when I make portraits with a short telephoto lens I get the best results at f/2.8. More of the model’s face is in focus and the bokeh still has a beautiful quality. You can see the difference in the two portraits below.

3. Zoom lenses – test at different focal lengths

The situation becomes a little more complicated with zoom lenses. This is because you have an extra variable – focal length. Not only does sharpness vary according to the aperture, but focal length has an effect too. Very few zoom lenses give equal optical quality across their entire focal length range.
When it comes to zoom lenses I prefer to think of them as several prime lenses in one. For example, when I owned a 17-40mm zoom I tended to set it to 24 or 35mm for most of my shoots (these focal lengths were conveniently marked on the barrel). At other times I would use 17mm if I wanted a real ultra wide-angle effect or 40mm. So, to me, it was four lenses in one – a 17mm, 24mm, 35mm and 40mm lens.
These photos show the difference between the 17mm and 40mm focal lengths on this lens.


This approach simplifies the task of getting to know your zoom lens because you are getting to know it at three or four focal lengths rather than across the entire range.

4. Zoom with your feet

Regardless of whether your favorite lens is a prime or a zoom it is helpful to zoom with your feet rather than use the zoom ring (of course, if you have a prime lens you have no choice in the matter!) Zooming with your feet is an expression used to describe the process of moving physically closer to or farther away from your subject to change its size in the frame, rather than using the zoom ring on a zoom lens.
For zoom lens owners, this comes back to the earlier idea of a zoom lens being three or four prime lenses in one. For example, if you have an 18-55mm kit lens then your lens behaves very differently at different focal lengths. At 18mm it’s a wide-angle lens ideal for subjects like landscapes. At 55mm it’s a short telephoto lens that you can use for portraits.
In terms of perspective, both focal lengths are very different. You will only learn about perspective and the way it changes as you move closer to or further from your subject if you stick to using your zoom lens at a single focal length. If you use the zoom ring to change subject size, you won’t learn about perspective.
For example, with an 18-55mm lens set to 18mm, you need to get fairly close to the subject to obtain the dramatic perspective associated with wide-angle lenses.

If you are further away from the subject the perspective is much less dramatic.

5. Try different subjects

We tend to think of lenses as associated with specific subjects. For example, wide-angle lenses are ideal for landscapes, and short telephoto lenses are brilliant for portraiture.
But what if you mix it up a little? What happens if you use a short telephoto for landscape photography or a wide-angle for portraiture? The idea is to take yourself out of your comfort zone and find creative ways to use your favorite lenses. Ways that perhaps hadn’t occurred to you before.
If you use a wide-angle lens for portraiture you will soon find that if you get too close to your model then it’s going to create some very unflattering effects. But what if you step back and include more of your environment? Suddenly you’re taking a very different approach than you would with a short telephoto lens. Experiments like these can add new skills and new ways of working to your repertoire.
I made this portrait with my 17-40mm zoom set to 17mm.

6. Push your composition to the limit

The final tip is to push your composition to the limit. It’s all about taking various techniques to the extreme and seeing what you can do with them.
If you have a wide-angle lens, what happens if you get as close to your subject (whatever it is) as you can? What happens if you use the widest aperture setting instead of a smaller one?
If you have a telephoto lens how can you maximize the compressed perspective that those lenses give you? What subjects can you shoot to make the most of the layered effect you can get with a longer lens?
This is a process of experimentation. Not all of your experiments will work. But when they do, just as with the previous tip, you’ll be adding new skills to your repertoire.
Here is a landscape photo that was taken with a telephoto lens.

Next steps

Hopefully, these tips have given you some ideas for working with and getting to know your favorite lenses. Instead of fantasizing about the next lens you are going to buy (dreams are nice, but new lenses are expensive!) how about learning to make the most out of the ones you already own?
You may find that true creativity lays as much in pushing the lenses you already own to their limits as it does with buying new gear.

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You can learn more about lenses, and how to get the most out of them, in my ebook Mastering Lenses. It also contains a buying guide to help you make wise choices when you buy your next lens!
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Fuji Release the Fujifilm X-Pro1

By: Darren Rowse 

One of the fastest growing segments of the digital camera market is the smaller bodied interchangeable lens mirrorless cameras that have been released by many manufacturers in the last 12 or so months. Filling the gap between DSLRs and compact point and shoots – these cameras give the flexibility of being able to change lenses with the benefits of not having to lug around a larger camera. Increasingly they’re providing these benefits with a really high standard of image.
One manufacturer doing great things in this space is Fuji who have won a lot of fans in the last little while with their highly acclaimed X100.
Today they went one further and released the Fujifilm X-Pro1 – an interchangeable lens system aimed at the professional and advanced amateur audience. It’s a 16 megapixel camera with a new custom APS-C sized sensor and hybrid optical and electronic viewfinder.
It is being launched with 3 lenses – a 18mm (27mm equivalent) f2.0, a 35mm (53mm equivalent) f1.4 and a 60mm (90mm equivalent) f2.4 macro lens. It’s great to see them releasing some nice fast lenses.
Design wise it’s a pretty minimal design – still a little retro and rangefinder-ish like the X100 but all in black this time.
There’s a lot more to say about this camera but rather than rehash all the details check out the news release and hands on video below. We’ll do our best to put hands on an X-Pro1 to test it for ourselves but until then check out the video below.
The Fujifilm X-Pro1 will be available in February and price is expected to be released later this month.

Below is the official news release for the X-Pro1.

Fuji X-Pro 1 News Release

Fujifilm is proud to announce the new model changes the rules in the new interchangeable lens system: Fujifilm X-Pro1. This camera is aimed at a professional audience and advanced amateurs and incorporates advanced technologies such as Trans-X’s unique sensor CMOSTM megapixel APS-C 16, a new X port for mounting the lens, a viewfinder and three hybrid optical the base.

X-Pro1 sets new standards in image resolution

For this camera, Fujifilm has developed a new CMOS sensor called X-TransTM CMOSTM which is able to provide a response similar to that of a sensor “full frame”.
The new array (CFA – Color Filter Array) opens the way for an ideal sensor that does not require an optical low-pass filter. This filter is in fact essential for the reduction of false colors and moiré generated by conventional sensors, but at the same time, also degrades the resolution. Fujifilm has developed a new matrix that is inspired by the CFA random arrangement of the grain in the film, eliminating the need for optical low-pass filter to solve the problems of false colors and moiré. In the matrix, RGB pixels are arranged in groups of 6×6 pixels with high aperiodicity (randomness).
Increasing the degree of randomness eliminates the root cause of the false color and moiré, a problem that occurs in conventional matrix elements during the filming of rows and other repeating patterns. The presence of a pixel R, G and B in each series of horizontal and vertical pixels minimizes the generation of false colors and provides superior color reproduction themselves.
The use of a matrix inspired by the film has necessitated a more powerful processor to process image data for this FUJIFILM EXR Processor Pro has created this project to optimize the potential of the Trans-X sensor CMOSTM providing high speed and high-precision image processing.

Fujinon XF for the best image quality

The Fujinon lenses used for television broadcasts and medium format cameras, have always been associated with high image quality. All the experience in the design of the optics has been used in the study phase of the objectives dedicated to X-Pro1.
The targets are launched with the machine, and three are part of the new XF series Fujinon: “XF 18mm F2 R”, “XF 35mm F1, 4 R” and “R XF 60mm F2 Macro 4. These objectives are compact, very bright and offer precise control over depth of field effect and the possibility out-of-focus bokeh thanks to the design of the curved blades of the diaphragm. The slats are curved to create a circular image at all apertures, while the edges of each blade is carefully rounded for a sharper image.
The feeling of solidity and the precise mechanics of optics will satisfy the desire of photographers to capture multiple images with every shot.

FUJIFILM Attack “X-Mount” to maximize performance

Designed specifically to maximize the design “mirrorless” of the body, X-mount flange has a short distance posterior to the sensor plane, equal to only 17.7 mm. This means that the rear lens as close as possible to the sensor. The wide opening allows you to attach the lens deeper inside the body – up to about 7.5 mm from the mounting surface – minimizing the distance of “back focus” of each lens for high resolution to the edge of the image.

Hybrid Multi Viewfinder

FUJIFILM’s revolutionary hybrid viewfinder appeared first in the X100. With its ability to instantly switch between optical viewfinder and an electronic viewfinder, the viewfinder hybrid has added a new dimension to the pleasure of composing photographs.
The user may choose to use, depending on your mood or need, depending on the optical viewfinder for a picture as real as possible and have all the information electronically in real time.
The advantage of hybrid viewfinder is the ability to combine the two technologies to get the ultimate in visual quality and functionality, allowing you to place the composition of images through a bright viewfinder and offering the ability to overlay important information for the release of photos. The change from a crosshair to another is easy, thanks to the switch on the front of the body of the X-Pro1.
When mounting a Fujinon lens on the X Series XF-Pro1 in the viewfinder magnification and size of the light frame automatically change to support its focal length. The viewfinder magnification, equal to 0.37 for x and 0.60 x 18mm lens for the 35mm and 60mm, allows you to compose the scene with the brilliant optical clarity and sharpness of an image. The X-Pro1 also gives the freedom to manually set the focal distance and switch to another magnification of the viewfinder.

Technology and careful design

The top and bottom made of aluminum alloy die-cast and hand enameled precise engravings on the top and the camera lens, point to the fact that all the X-Pro1 is built with attention to detail and uncompromising quality.
This attention to detail extends to dial in shutter speed and exposure compensation control, precisely machined from solid metal. In addition, the locking mechanism and the shutter switch exposure compensation set back, are designed to prevent accidental change of settings. The edges of the selectors have a knurled finish, knurled detail, for a grip and an excellent feeling.
The seal “Made in Japan” also present on the body of the new X-PRO1, confirming that each part of the building meets the highest standards FUJIFILM.
The lens hood with precision knurled aluminum, supplied with the lens is designed exclusively for Fujinon XF. The hood is compact and lightweight and offers excellent performance with a design that perfectly matches the style of X-Pro1.
The diameter of the aperture ring and focus of the three interchangeable lenses Fujinon XF is only slightly larger than the diameter of the objective to standardize the elegant design. The precise machining of the metal, the reassuring click each picture to the aperture ring and a comfortable pair of resistance when using manual focus, contributing together to improve the shooting experience.
The coating of X-Pro1 was designed to be weather resistant and provide a look of quality. The body of X-Pro1 was designed for the complete comfort of the photographer, the natural form of the eyepiece also provides excellent protection from light. The viewfinder you can use an additional lens (optional) for diopter adjustment.

Fujifilm continues the myth of the films

Further improvements have been made to the options Film Simulation Mode with the new “Professional Color Negative Film Modes” (Pro Neg. Neg Standard and Pro. Hi) designed for users who work in the studio with the X-Pro1. If you want to take the same scene in different film simulation modes, X-Pro1 offers the option of bracketing “Film Simulation”, along with AE Bracketing, Dynamic and ISO.
Fujifilm has also included the Film Simulation mode by which X-Pro1 simulates the color and tonal qualities of popular FUJIFILM emulsions. These include the colors of Velvia, the skin tones soft and natural look of the ASTIA TEST.
Pro1-X allows you to use special color filters to expand the photographic interpretation: to increase the contrast with the yellow and red filter, make brighter green and red filter with the deepest green. Just as professional photographers when selecting a filter paper and printing to complement their creative vision, now you can easily adjust the image quality with these filters. For those who wish to achieve a more nostalgic is also a sepia filter.
Through advanced digital processing, X-Pro1 is able to simulate the multiple-exposure technique: simply select this mode and the first shot. In the hybrid viewfinder or LCD you can see what the end result and then framing the precise second shot.

A series of exclusive accessories

The handle HG-XPro1 optional, helps balance the weight of the camera, allowing a more comfortable grip and offers a uniform look to the lines of X-Pro1.
The Flash EF-X20 option, to be mounted on the hot shoe is designed as a complementary accessory to the X-Pro1. A switch lets you choose between two modes: AUTO, which automatically optimizes the flash to daylight for outdoor and indoor shooting in low light; MANUAL for manual control. In addition, the built-in speaker, easy to use, it helps to soften the effect of excessive contrast created by the flash.
The leather case LC-XPro1 optional *, X-shaped to protect Pro1, is designed to allow quick access to the camera. Particular attention was paid to every detail: the red interior that contrasts with the black leather exterior, the accuracy of the stitching and the adoption of a magnet hidden for closure. This beautiful case is completed with the inclusion of a genuine leather strap and a protective cap bellows for different optics.
Filter Protector and Protector Filter 39mm 52mm optional protective filters are dedicated to the new XF goals. Super EBC treatment of these filters effectively reduces reflected light. The ring of the filter, made with a special process, fits the overall design of the optics.
Fujifilm and X-lenses Pro1 18mm F2 R XF, XF 35mm F1, 4 R and R XF 60mm F2 Macro 4 will be on sale from March 2012.

Key Features

• New CMOS sensor called X-TransTM CMOSTM
• New EXR Processor Pro
• Three Fujinon dedicated XF
• FUJIFILM Attack “X-Mount”
• Hybrid Multi Viewfinder
• Sensor Cleaning System Ultra Sonic Vibration
• RAW files
• Full HD video and stereo audio
• Shutter: Focal Plane Shutter
• “Made in Japan” extremely accurate
• Film Simulation Mode Advanced
• Range of optional accessories dedicated

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News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted

By: Jaymes Dempsey on February 11, 2020

Last week Fujifilm launched its X100V, an update to the popular X100 compact camera lineup. It includes a 23mm f/2 lens, a 26.1 BSI sensor, and fast autofocus for professional-quality images.
It also includes both an electronic viewfinder and an optical viewfinder, which you can toggle between by way of a switch on the camera body. You’re also free to view both the EVF and OVF at once, by working with an electronic viewfinder that appears as part of the optical viewfinder display.
With the X100V launch came a series of promotional videos, including one that featured the work of Tatsuo Suzuki, a street photographer who uses…unusual methods.
The promotional video shows Suzuki approaching people while out in public, then shoving his X100V in their faces in order to capture a photo.

Nearly all of Suzuki’s subjects look uncomfortable with the encounter, with many of them holding up their hands or ducking to the side to avoid his camera.
After this promo video dropped, many viewers became disturbed and angry, which culminated in Fujifilm deleting the video from their YouTube channel.
Note that Fujifilm seems to have done more than just delete the video. Recent reports suggest that the company has removed Suzuki as an ambassador, presumably as a response to protests.
But while some have expressed deep offense at Suzuki’s methods, others find his work impressive or even inspiring.
Many have compared Suzuki to the celebrated American street photographer, Bruce Gilden, who is known for his forceful approach; Gilden’s shooting style involves marching straight up to a subject and shoving a camera, as well as an off-camera flash, in their face.
Which begs the question:
Are Suzuki’s methods acceptable?
On the one hand, Suzuki’s photos are undeniably powerful. His style is intimate and unique.
On the other hand, if Suzuki is causing such discomfort, are the shots really worth the cost? Do the ends justify the means?
There are also other costs to consider. For instance, the more unpleasant experiences the public has with street photographers, the less likely they are to engage with street photographers in the future, potentially ruining opportunities for the rest of the community.
In truth, I find it curious that Fujifilm didn’t recognize this problem with their footage from the beginning. Even if the company doesn’t have a problem with Suzuki’s style of shooting, it was inevitable that not all viewers would appreciate his approach.
What do you think? Do you have an issue with Suzuki’s methods? And should Fujifilm have dropped him as an ambassador?
Share your thoughts in the comments!

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