8 Common Landscape Photography Mistakes

By: Barry J Brady 

As photographers, we know that there are literally hundreds of small things that need to be done in each scene, that add up to the final magnificent shot. Sometimes when we get behind the camera, and the light becomes amazing, it’s very easy to forget one or two things, and the result is that the shot is not as good as it could have been. There are lots of details to remember, but there often some obvious things that have been forgotten. These are the common mistakes I see in many landscape images. If they were corrected at the time, the image would have been much more dramatic and powerful.

Penguins and iceberg in Antarctica.

So here are the eight top landscape photography mistakes make so you can avoid them and improve your images:

1. Lack of stability – use a tripod

In creative images, blurriness can be very interesting. In landscape images however, you usually want your image to be sharp all the way through. The best way to be sure that your image is sharp is to use a tripod. If you are shooting in low light (you mostly will be if you are shooting landscapes) then you absolutely need to be using a tripod.
Now, there are tripods and there are tripods. For landscape photography, you might want to invest in a more heavy-duty one. The small light-weight tripods might do the trick for a while, but if you are shooting on a location and it’s windy, your tripod may get blown over, or might move because of the strength of the wind. A good tripod will also last a long time and take a beating, so buy the best tripod you can afford, and make sure you keep your camera as still as possible when shooting.
Another good piece of equipment to buy is a cable release. You don’t need to buy one of the expensive ones with the intervalometer built-in, no, just a simple cable release. Once you are set up and ready to take your shot, step back from the camera and press the button. There will be no vibration from you pressing the shutter release and your image will be nice and sharp. If you don’t have a cable release, you could use the built-in self timer to release the shutter too.

2. Not getting the horizon straight

This almost goes hand-in-hand with using a tripod. Many a good landscape image has been damaged by a skewed horizon. Fortunately, this can be easily fixed in Photoshop or Lightroom, so it’s not a very big worry, but you might have to crop out some details to get that right. The idea however, is to get the shot right in camera first, then edit.
You can use a few different tools to make sure your horizon is straight. Firstly, switch on the grid in your camera viewfinder, line up the horizon with the horizontal line, and you should be good. Some tripod heads have a built-in spirit level, make sure this is level and your horizon should be fine. Lastly, use the live view function on your camera, and if you have it, bring up the false horizon dial on the back of your screen, level your camera, and you are done.
I prefer levelling my horizon in camera, as it helps to save time in post production. If you need to straighten the horizon afterwards, you will need to crop the image as I noted earlier, which means your composition may change slightly. I prefer not to crop as far as possible, so getting it level in the camera is a good goal.

A crooked horizon is distracting.

Looks better now that the horizon is straight.

3. Shooting only in landscape format

Many photographers assume that they should shoot a landscape scene in landscape (horizontal) format. This is normally not a bad idea, but in some cases, a portrait orientation (vertical) can work really well. Think of a forest or mountain scene. If the subject shape is more vertical than horizontal, try it in the portrait format, it can add a dynamic feel to the scene.

Shoot in portrait format too!

4. Not thinking about the aperture

I truly believe that aperture is a composition tool. When you are setting up a scene, you should be thinking about your depth of field. Do you want everything from the foreground to the background to be in focus? Generally, in landscape photography, this will be the case.
If that is what you want, make sure your aperture is f/8, f/11 or higher. That way, you will ensure that everything is in sharp focus. If you are at f/2.8, and you focus on the foreground, the background will be out of focus, and the middle of your scene will be soft. This should be one of your key checkpoints when you set up the shot. If you are using a wide aperture and the mountains in the distance are out of focus, this cannot be fixed afterwards in Photoshop…not yet anyway!

In a landscape image, you will likely want everything in focus.

5. Shooting using the camera’s landscape mode

Yes, you may have a landscape setting in the scene modes on your camera. As much as possible, try not to use it. Why? Well, it’s not great at making the exposure look good for your scene. What it will do is set your aperture to f/8 or even f/11, but it may not render the scene as effectively as you could do using manual settings. The scene settings are designed to work within certain parameters and in low-light conditions, they are not always the best choice. Try and shoot your landscapes on manual settings as far as possible, that means that you control ISO, shutter speed and aperture.

6. Standing next to other photographers

If you see a group of photographers standing on the top of a hill, it might be a good idea to shoot from somewhere else. This is not to say that other photographers have got it wrong, rather what I mean is, you want to go home with a different image to the others. Sometimes, the best composition or vantage point is at one particular spot, that’s fine, take a shot from there, but look for other places to get a great shot too.
It’s a good idea to scout a scene before you shoot it. Go and take a walk around the day before, look at where the sun will be setting, and decide on your position. Don’t simply follow the crowd, then your images will look like the rest of the images taken there.

A different vista of Machu Picchu.

7. Uninteresting negative space

Negative space is the space that surrounds your subject. This space can truly make, or break, your image. In most cases, the sky is the negative space in a landscape scene. A clear blue sky looks great, but some wispy soft clouds can really make the scene dramatic. If the sky has no clouds and is clear, this can make the scene seem uninteresting.
If you find that in your scene, make the sky a smaller portion of your image, if there are some great looking clouds, give it more space in your scene. Sometimes, you don’t have a choice, you may only be able to get some shots on a particular day. In that case you need to get what you can. If you don’t have this constraint, try to go back on another evening, when there are some clouds in the sky. Clouds give the sky detail, they reflect the sunlight, and can look yellow orange against a blue sky. This makes for a much more interesting scene.

The sky had no clouds, so I made it a small part of the image.

8. No clear subject

It sounds crazy, but it is very easy to have an unclear subject in landscape photography. Most often, landscape photography is of a natural scene, mountains, forest, river, seascape, deserts, etc. Whichever one it is, make sure that it is clear to your viewer.
If you are photographing a mountainous scene, make sure you use a lens that works for that scene. Landscape photographers are tempted to think that every image needs to be taken with the wide angle lens. Sometimes, this can cause the mountain range in the background to seem small and insignificant. The same can be true in any of the other types of landscape photography. Be sure that your viewer knows what they are supposed to be looking at, and show them that, and the beauty that surrounds the subject. Get close to your subject, as close as possible, and if it’s not close enough, maybe you need to use a different lens to get closer. A 50mm lens can be used in landscape photography, so can a 200mm lens, it all depends on what you want the viewer to see.

The iceberg in front of the ship is clearly the subject here.

Next time you are planning a landscape photo shoot, run through these points quickly and see how it works out for you. If anything, you will be more mindful and deliberate about what you are shooting, and that will immediately improve your images. Enjoy.

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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.

Conclusion

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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Photographing Portraits with Classic Lenses (includes Example Images)

By: Matt Murray

From the 1930s onwards, manufacturers around the world produced 35mm film camera systems with a huge array of interchangeable lenses. Some good, some bad, some legendary.
With the rise of digital in the early 21st century, much of this gear fell out of favor, and prices declined rapidly. But things soon turned around.
Classic lenses are now in big demand. This is not only due to the current renaissance in film photography but also due to the fact that many photographers love to shoot with these lenses on digital cameras as well.
In this article, I explain how you can shoot portraits with classic lenses on your digital camera, including how to find one, how to set your camera up, and what to expect from vintage glass. Why limit yourself to the lenses made by your camera manufacturer when there is so much good glass out there?

Three classic M42 mount lenses that can be used in digital photography. [L-R] Pentax Super 

Takumar 50mm f1.4, Helios 44 58mm f2, Meyer Optic Goerlitz Oreston 50mm f1.8.

Why shoot portraits on classic lenses?

This is a key question – why shoot portraits on classic lenses? There are a few reasons why I enjoy it.
Firstly, I love the different look that it gives my photos. They’re not better or worse than images taken with modern autofocus lenses. However, they certainly have a unique charm and character that you just don’t get from today’s ultra-sharp digital lenses.
Secondly, buying a vintage lens is a fantastic way of getting some quality glass in your kit on the cheap. Although prices have risen in recent years, you can still buy many amazing lenses for under $100 USD.
Finally, it’s a lot of fun to shoot with an older lens. I love to think about the images the lens has taken over the course of its lifetime, who has used it, and where it’s been. It’s also a point of interest – people often look puzzled and will go out of their way to find out what lens you’re using and where you got it.

How do I find a classic lens?

Finding a classic lens is relatively straightforward. The first thing you could try is to ask friends and family if they have any old film photography gear. It’s quite possible that an old Pentax or Olympus film camera is lurking in their attic. With some luck, the lens (and camera) will be in a usable condition, and you will be able to shoot portraits with it.
If that avenue doesn’t produce any classic beauties for you, turn to eBay, Facebook marketplace, and other online markets to see what’s for sale.

Considering their optical quality, Super Takumar lenses are still a bargain despite rising prices.

Before you do this, do some research about which lenses you’d like to buy, and make sure that you can get an adapter to fit the lens to your digital camera.
Take care when reading the description of lenses online. Ideally, you want a lens that has clear glass, with no fungus or haze. Don’t worry too much about small amounts of dust – all lenses (especially vintage ones) will have dust in the lens, which doesn’t usually affect image quality too much.
Although I’ve said above that you should avoid lenses with fungus and haze, I have used lenses with plenty of fungi in, without having much of a noticeable effect on images. Still, it’s something you’re best to avoid. If you look at the images of the lenses posted in this article, there are plenty of spots of dust and marks on the lenses I’ve used, but with no noticeable effect.

Buy a lens adaptor

A classic lens will not fit on to your digital camera as it is – you will also need to buy a lens adaptor. There is an adapter for almost every classic lens/digital mount combination.
Don’t just buy the cheapest one you can find; quality does matter here. If you’re not sure which brand to buy, ask around in Facebook groups to see what other people use and recommend.
The adapter I used for images in this article is the K&F Concept M42 to Fujifilm X adapter. I have two K&F Concept adapters – one for M42 mount and one for the smaller M39 mount.

Lens adapters are available for almost all classic lens to digital camera combinations. Pictured 

are M42 and M39 to Fujifilm X lens adapters.

Set your camera up to shoot with your classic lens

Once you have your lens and adapter, you now need to set up your camera to shoot with it. The steps I have below are for my Fujifilm X-Series cameras. If you’re using another brand, ask in Facebook groups, or turn to Google to find out how you can do the same for your camera.
Firstly, you need to enable the “shoot without lens” option in the menu. If the camera doesn’t recognize the lens, it may not allow you to take any images at all, so this is a must.
Secondly, set the focal length of the lens you are using in the mount adapter setting. The camera doesn’t know which lens you are using, so it will take the value in here for the metadata for images. If you skip this step, it’s no big deal, but it certainly makes finding images later on a little easier in Lightroom. Also, remember to keyword your images on import, as you may have several classic lenses with the same focal length.
Now you’re all set to manually focus your classic lens on your digital camera.

Wait, I have to focus manually?

In the vast majority of circumstances, yes. If you’re adapting a lens from one system to another, you’ll have to focus manually.
It may surprise you to know that in terms of the history of photography, autofocus lenses are relatively new. The first mass-produced autofocus camera was the Konica C35 AF point-and-shoot in 1977, and the first 35mm autofocus SLR, the Pentax ME F, was released in 1981.
Even after the arrival of this new technology, many professional photographers thought of autofocus as a gimmick and didn’t trust it until further advancements in the late 80s and early 90s.
If the thought of manually focussing on a portrait shoot alarms you, don’t worry. Digital cameras have amazing technology inside them that will help you.

I found this classic in a charity shop for $15USD.

Set up focus peaking

Focus peaking is a technology that many cameras have to make manually focussing a lens easier. When this is enabled, the camera will highlight objects that are in focus with a color (typically red) as you look through the viewfinder.
As you rotate the lens back and forth, different objects will come in and out of focus. When shooting portraits, you rotate the lens until your subject’s hair and/or eyelashes highlight in red.
This technology helps to focus enormously, especially if, like me, your vision isn’t as good as it used to be. Other options to assist manual focusing in the Fujifilm X-Series line include digital split image and digital microprism.

Classic lens road test

To illustrate the types of portrait images you can take with vintage glass, I’ve used three different lenses for this article. I’ve used the Meyer Optik Gorlitz Oreston 50mm f1.8, the Pentax Super Takumar 50mm f1.4, and the Helios 44 58mm f2 lens.
All of them have the same M42 mount, a system of attaching a lens to a camera body originally designed by the Carl Zeiss company in the late 1930s.
M42 is a screw mount. To attach the lens to a lens adapter (or an M42 mount vintage camera), you rotate it around in a circle until it stops. Don’t overtighten it. This is quite different from many modern cameras which use a bayonet-style mount. Many legendary camera manufacturers have used M42 at some stage, including Contax, Pentax, Yashica, and Olympus.

Meyer Optik Gorlitz Oreston 50mm f1.8

I picked up this Meyer Optik Gorlitz Oreston in a bag of camera gear at a charity shop for $15 USD. As soon as I saw the zebra stripe pattern around the edge of the lens, I knew I had something special.

The Zebra stripes of the Meyer Optik Gorlitz Oreston 50mm f1.8, mounted with a K&F Concept 

adapter to my Fujifilm X-T2.

Meyer Optik produced this lens in their East German factory from 1960-1971. After this, the company was absorbed into the Pentacon group, and the name disappeared from lenses entirely.
A feature of this lens is its beautiful color rendition and distinct vintage look. It has a softer, dreamier overall look than other lenses, but it’s still sharp. Shoot wide open with this lens for beautiful, dreamy bokeh. It’s one of my favorite classic lenses.

Sarah in a field. This image shows the dreamy bokeh of the Meyer Optik Goerlitz Oreston 

50mm f1.8 lens.

This is one of my favorite shots of my daughter, taken with the Oreston 50mm f1.8 lens.

Pentax Super Takumar 50mm f1.4

This lens has a few dents but keeps on rocking! Super Takumar 50mm f1.4 mounted with 

a K&F Concept adapter to my Fujifilm X-T2.

In the 1960s, Pentax wanted to come up with a lens that would rival – or even outperform – Carl Zeiss glass. The result was the first version of the Super Takumar 50mm f1.4 lens with eight elements.
It’s been said that in the early days of its release, Pentax lost money each time they sold one. Perhaps this is why they soon switched to a cheaper seven-element version of the lens.
Manufacturing differences can make identification tricky, but I understand the lens that I have (pictured above) is a later version of the seven-element Super Tak. This version of the lens uses a radioactive element – Thorium – in its rear element. Despite their radioactivity, lenses with Thorium are not considered dangerous. Unless you grind one up and eat it, but that would be a terrible waste of a good lens.
Over many years, Thorium can cause yellowing in the glass. You will see from the images below – especially the first – that it has quite a warm look to it because of this issue.
The Super Tak (any version you can get your hands on) is a gem of a lens. Faster than other lenses in this review, it’s sharp, has pleasing bokeh and fabulous color rendition. If you don’t like the warm cast some of them have, due to the yellowing of the lens, you can always correct it in post.

At the beach. Shot wide open at f1.4 on the Pentax Super Takumar 50mm lens. Note the very 

warm look to the image caused by a yellowing of the lens over time.

Alyssa in Brisbane. Shot on the Fujifilm X-T2 with Super Takumar 50mm f1.4 Lens.

Helios 44

Helios 44 lenses are among the best-known vintage lenses that photographers have bought in recent years to use with digital cameras. Like many post-war Russian lenses, it’s a copy of an earlier German design, the Carl Zeiss Jena Biotar 58mm f2.

An odd-looking combination – a silver Helios 44 58mm f2 lens mounted on my Fujifilm X-T2.

Helios 44 lenses were produced in several different factories in the former Soviet Union. My lens features a full chrome metal construction, but others are black anodized lenses that come in a variety of styles. It’s been said that no two Helios lenses are the same – each has its own unique character.
Take the photos below – the Helios lenses are most associated with swirly bokeh, but in one of the images below, my lens has quite a bit of soap bubble bokeh.
The Helios is sharp, fun to use, and has the most unique bokeh in the lenses I’ve featured in this article. When you use the lens for portraits, though, beware of the bokeh trap.

What’s the bokeh trap?

Bokeh is the name for the aesthetic quality of the out-of-focus parts of an image. Vintage lenses are known to generally have much more unique bokeh than modern lenses. Be careful not to fall into the bokeh trap though – remember that you’re shooting portraits, you’re not producing images just to show off the bokeh.

This image shows some of the swirly bokeh that the Helios 44 line of lenses is known for.

In the right circumstances, the Helios 44 lenses can exhibit incredible looking bokeh. Pictured 

above is the soap bubble bokeh due to the backlit foliage behind the subject.

Lens comparison test at the beach

I took the photos above at different locations, so to demonstrate what the lenses look like on the same shoot, I took them to the beach with my Fujifilm X-T2.
On this shoot, there are noticeable differences between the three, and I believe that I could pick each one if I hadn’t taken the images myself. However, the differences were not as big as I had imagined. All images were shot wide open (using the smallest f-number the lens has) with focus peaking turned on.

No prizes for guessing which lens this is! The Super Takumar has a warm cast to it.

Next up is the Oreston, the sea did not produce a very distinctive bokeh in this instance compared 

to other images I’ve taken with foliage in the background.

Almost surprisingly, this image taken by the Helios was my favorite all-around image in this test.

The Helios RAW image with some edits applied in Lightroom.

Conclusion

Using a vintage lens with your digital camera is something every photographer should try. It’s an easy way to give your images a very unique and characteristic look, including bokeh, which you just don’t get on modern lenses.
It’s also a fantastic way of adding some high-quality glass to your kit for a fraction of the price of modern equivalents.
An added bonus is that it can help you grow as a photographer – especially if you’ve only used autofocus lenses before. Using a classic lens will force you to manually focus and discover more about the incredible features of modern cameras, like focus peaking.
Has this article, Photographing Portraits with Classic Lenses inspired you to try classic lenses with your digital camera? If you’ve already used classic lenses in your photography, which ones were your favorites? Tell us in the comments below.

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Why your Kit Lens is Better than You Think

By: Andrew S. Gibson

Understanding Lenses: Part I, and is the first in a series of lessons about camera lenses.

Lenses are one of the most important pieces of camera equipment you can own. A good lens, well looked after, should last you decades, much longer than any digital camera body. That’s why professional photographers spend thousands on glass, and why so much has been written about which lens (or lenses) you should buy.

If you are like most photographers, your buy your first ‘serious’ camera (ie one with interchangeable lenses) with the manufacturer’s kit lens (the EF-S 18-55mm f3.5-5.6 IS II lens pictured above is a Canon kit lens).
Most kit lenses are, by their nature, inexpensive (a polite way of saying cheap). That’s understandable – all the manufacturers are in competition with each other and they keep the prices of their camera kits down by creating inexpensive kit lenses. A kit lens will get you started, and you can buy other, better quality lenses when you outgrow it.
If your only lens is a kit lens, does that mean you should go out and buy a better one straight away? No it doesn’t – no matter what anyone says, or how much you lust after expensive glass, your kit lens is a great lens to get started with. If you’re in a position where you can’t afford to buy another lens, or you simply just don’t know which one to buy, don’t sweat it. You’ll be surprised at just what you can do with your kit lens once you know how to get the best out of it.
Don’t believe me? Then check out this blog post by Jingna Zhang – a professional fashion and editorial photographer. She’s good, and she got her start with an EOS 350D and the 18-55mm kit lens it came with. The quality of images she created with that camera and kit lens, manufactured in 2006 and an outdated combination by today’s standards, is very high. Take a look and you will see what I mean.
Her article resonated with me because I got started with the same camera and lens combination. I didn’t know what lenses to buy for the camera, so I decided to stick with the kit lens to start with and took it with me on a trip to South America. I soon realised that the lens wasn’t a great one (thankfully it has been discontinued and Canon sells a much better kit lens with its entry level cameras).

However, despite the relatively poor image quality some of the photos I took with that lens were good enough for publication. I illustrated my first published article, a piece in Practical Photography, with photos taken on that journey with the kit lens (illustrated above). Several more of the photos were published in other photography magazines. It wasn’t the world’s best lens, but it was good enough to get me started – the Practical Photography article was a turning point for me because it gave me the belief that I could make it as a writer.

Getting the Best out of your Kit Lens

So, how do you get the best out of a kit lens? My approach is to think of the lens as two lenses in one. If you have a kit lens of typical focal length, 18-55mm, then treat it as an 18mm and 55mm lens in one. The 18mm is a moderate wide-angle that is great for landscapes, architecture and environmental portraiture. The 55mm end is a short telephoto lens ideal for compressing perspective and taking portraits or closing in on details.
That doesn’t mean you can’t use the in-between focal lengths, and there are times when you can’t avoid it, but by sticking with the shortest and longest focal lengths you will learn how those focal lengths behave. Lenses are the ‘eye’ of your camera system and your photos will improve as you learn the characteristics of each focal length.
Some kit lenses also have another useful feature – an Image Stabiliser (Canon’s term, Nikon uses Vibration Reduction and some lucky camera owners have it built into their camera bodies). An Image Stabiliser lets you take photos at slower shutter speeds than would otherwise be possible. So, theoretically, you could hand-hold the camera, set the focal length of the lens to 18mm, and take a photo without camera shake at 1/4 or even 1/2 second. That’s awesome in low light and lets you explore the creative potential of taking photos in the evening or at night.

Kit Lens as Wide-Angle

The above photos were taken at the 18mm end of my kit lens. You can see how I got in close to the subject, sometimes tilting the lens backwards to take advantage of the converging verticals effect.

Kit Lens as Short-Telephoto

These photos were all taken at the 55mm end of my kit lens. The photos have a completely different quality, thanks to the compressed perspective and limited depth-of-field.

Shortcomings of Kit Lenses

Your kit lens is probably a better lens than you think it is, but it’s still not a great lens and has several shortcomings. At some point you will bump up against the limitations. This is not a bad thing, it simply indicates that you’re at the stage where a different lens will help you take better photos.
These are the main limitations of kit lenses:
Focal length: You may find that even the 18mm end of your kit lens is not wide enough – you need a shorter focal length so that you can crate more dramatic images or fit more in. In that case it’s time to start thinking about buying a new wide-angle lens.
On the other hand, if you find the 55mm end doesn’t get you as close as you would like to your subject, then you need a telephoto lens. This could happen if you are photographing wildlife or sport, for example.
Autofocus: The autofocus on kit lenses tends to be slower and noisier than that on more expensive lenses. If the autofocus performance of your kit lens is holding you back, it may be time to upgrade.
Aperture: Kit lenses are ‘slow’ lenses. This means they don’t have a very wide maximum aperture. The reason is simple – the wider the maximum aperture the larger the lens body and lens elements required, which pushes manufacturing costs up. Kit lenses are made with relatively small maximum apertures to keep the price down.
The maximum aperture at the 55mm end of most kit lenses is around f5.6. If this isn’t wide enough, you could buy a zoom that covers the same focal length with a maximum aperture of f4 or f2.8, or a prime 50mm lens with a maximum aperture of f1.8 or wider. The wider apertures on these lenses help you take photos in low light or to use narrow depth-of-field creatively.
Build quality: If you tend to knock your camera around a bit, or shoot in bad weather, then you may need a lens that is built better than your kit lens. The top lenses in each manufacturer’s range have metal bodies, metal mounts and weatherproofing.

Understanding Lenses: Part I

If you liked this article then take a look at my latest eBook, Understanding Lenses: Part I – A guide to Canon wide-angle and kit lenses. In the next lesson I’m going to take a look at wide-angle lenses, how to get the best out of them and some of the points you should consider before buying one.

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