Greg wrote:
>
> I'm wanting to increase my range and capabilities beyond the two
> kit lenses that came with my 510, and would like any feedback/advice
> that list members would like to impart.
>
> 1) 14-54 vs 12-60
The 14-54 is is my most used lens and an excellent performer. For what
I shoot, I doubt I could justify the price difference between it and the 12-60
just to get a bit more on either end of the zoom range. However, when I win
the lottery, I'll give the 12-60 a try. ;o)
> 2) 70-300
> Anyone used one of these? I know it's a lower-tier lens and not
> especially fast, but that 600mm equivalent reach is what I'm looking at.
Haven't tried this one, but the 50-200 is my second most used lens and is an
excellent performer. When I want a bit more magnification, I use the 1.4X
teleconverter to obtain a 560mm equivalent.
>
> 3) 50mm macro
I really like this lens. In addition to being an outstanding macro lens, it can
double as a terrific 100mm equivalent f2 short telephoto, just right for head
and shoulder portraits. I would use this more often as a "normal" lens, if I
were not so fond of zoom lens versatility. I think I have gotten spoiled. As
Walt W. would say, "There's no need walking if your zoom can do it for
you." The older I get the more I appreciate a zoom lens.
**Warning: Personal ramblings follow. Proceed at you own risk.**
Greg, FWIW, I think the kit lenses are seriously underrated by users. I
suspect that more photographers have abandoned them out of "photo-
graphic lens envy" than performance inadequacy. (Hmm. Reminds me
of another perception-related kind of envy.) ;o) A good photographer
can make quite remarkable photos with them. However, as a group, we
photographers are a "nit-picking" bunch, always searching for the perfect
photo or perfect piece of equipment even though many of us (myself
included) have not realized the full potential of what we have and use.
The truth be told, most people we show our photos to can't tell the difference.
If it looks good, the preponderance of our clients and friends don't care if the
photo has a little barrel distortion, chromatic aberration, bad bokeh, etc. Most
would not know the difference unless we pointed it out to them. (Didn't each
of us have to learn what those things were before we started noticing them
and/or were taught that they are "undesirable?")
I think many photographers tend to shoot and/or print photos seeking the
approval of other photographers more than to please their clients or themselves.
Haven't we (all) had other photographers pan photos that we personally like?
Did we change anything because of their opinion? Answer: Often. Point made.
In my experience, many members of photographer lists/clubs are fickle. They
are chasing the photographic equivalent of the Holy Grail. And so they get
seduced by the "latest and greatest," spend lots of money on camera bodies,
lenses, software, etc. and still produce mediocre photographs. In short, "it
ain't
just about the equipment, Harvey."
Don't misunderstand, I think we should strive to do the best we can and have
the tools that meet our needs (but not necessarily our wants). But, we must not
forget that perfection in any field is a seldom obtained goal, a wicked
taskmaster,
a prime producer of discontent and a frequent cause of abandoning one's
dream(s). Rather than set unreachable goals and fail, we should set goals we can
achieve and then as we achieve them set the next goals a bit higher. That way,
we continue to grow and achieve. But, never, ever denigrate your present
accomplishments because you haven't reached perfection. As someone once said,
"If at first you don't succeed, you're running about average." ;o)
What does this have to do with your questions? Not much. Just wanted
to spout a few personal opinions. Nothing personal intended. It's just that
list members have gotten so philosophical lately. I couldn't resist. ;o)
Robert
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