Tag Archives: 5d Mark ii

Some Thoughts on Owning Only One Lens

For most of the DSLR cameras I’ve owned, I’ve had at least two lenses, typically a mid-range zoom and a telephoto zoom.  Since upgrading my DSLR to a Canon 5d Mark ii last fall, though, I’ve had only one lens – the utterly fantastic Canon 24-105L.  All of my work since then has been done with that one lens, and that one lens only, so I thought I might share a few thoughts about working with only one lens.

First, the downside.  There definitely have been times I’ve missed having the more telephoto end of the range past 105mm.  I love, and in the past had gotten used to, picking details out of a grand scene, be it a tree on the distant horizon or an architectural detail on the top of a building.  Telephoto lenses also tend to have the effect of compressing the foreground and background in images, which makes them great for juxtaposing elements in a scene, such as a towering mountain in the background over a tree or building in the foreground.  They also are great for isolating patterns, textures, or other elements in an otherwise crowded scene.  My eye tends to gravitate towards these kinds of things naturally, and with the 24-105 I’ve encountered many subjects I couldn’t capture simply because I didn’t have the telephoto reach.

Now, the good.  Working with one lens definitely is a liberating, simplifying experience.  Your gear is lighter.  You never have to devote any thought to what lens you will use.  There’s no risk of getting dust or dirt inside your camera during a lens switch.  Being ready to photograph often means simply grabbing your camera and turning it on. You’re incredibly familiar with the settings and controls.

You get more creative with your compositions.  Working with a more limited range of focal lengths forces you to move yourself closer or farther away from your subjects.  In the process, you see angles and views you didn’t see before.

You work outside of your comfort zone a bit.  For me, this meant working more at the wide-angle end of the range than I had in the past.  I found myself getting closer to my subjects than I had before, sometimes maybe only a foot or two away, and often shooting from low angles.  Once or twice, I even found myself wishing I had a focal length wider than 24mm to work with.

You learn new things.  I began using hyperfocal distancing to a degree I never had before, to take advantage of the greater depth of field available at shorter focal lengths. This required me to seek out and find much new information that I might not have gone looking for otherwise.

Your images take on a consistent look, in a good way.  The image in this post is called “Black Trees No. 5.”  As the name suggests, there are Black Trees Nos. 1-4 already, and there probably are more Black Trees images in the works.  All of the Black Trees images were taken with the 24-105L, which I believe adds to the unifying, thematic look that binds these images together.

On balance, I would say that working with just one lens has been a very positive experience.  I definitely recommend it for other photographers out there, if only for a little while …

…. because, yes, I recently took the plunge and purchased a Canon 100-400L. I did miss doing those things I liked to do at the telephoto end of the range, after all.  Still, I think my experience with owning only one lens has made me a better photographer, and I hope that experience will carry over with the new lens!


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In Defense of Photographic Opportunism

Snowy Spring Pastoral, Loveland, Colorado

What the heck is photographic opportunism?  Well, mostly it’s a couple of ten-dollar words to describe a two-dollar concept, but let me explain.

Many of the photographers I admire are advocates of working in groups of images on a single concept or theme – a series, a portfolio, or whatever.  Probably the one who comes most immediately to mind in this regard is Brooks Jensen of Lenswork magazine.  The whole premise of Lenswork, after all, exactly is to publish these kinds of series and portfolios.  It can be a little intimidating, when so much good work done by so many great artists is being presented in this kind of format.

I love a good portfolio of photography, I really do.

I might even aspire to start working this way myself one day.

But that’s not where I am right now.  I’m an opportunistic photographer, and I take my images where I can get them.

There’s a pragmatic component to my thinking here.  Portfolios really take a substantial investment of time and effort to complete.  While I am dedicated to pursuing photography and committed to making time to practice it, it’s not my whole life.  The reality is I have a full-time day job as well as several other competing interests and priorities to handle.  While photography is important to me, most of the time it has to fit into the bigger schedule of my life and be pursued on a time-available basis.  This does not lend itself to portfolio-making.

There’s a technical component here too.  My impression is that many portfolios are undertaken by very experienced photographers, perhaps as a challenge to themselves, or perhaps to generate excitement when making high-quality single images becomes routine or repetitive.  That’s not where my mindset is right now.  I still find a camera to be an intrinsically exciting way to interact with the world.  I enjoy having it with me as a way to visually experience and explore many different kinds of environments in many different expressive ways.  If photography is a learning curve, then I’m still on it, and being open to capturing different kinds of subject matter and making prints in different kinds of styles is an excellent way to develop your skills.

Finally, there’s a philosophical component at play as well.  I’ve heard it said that to make your mark as a photographer, you should become known for one style of image, one kind of subject matter, one approach to prints, etc.  I agree that being consistent in your output will make you known for that kind of work.  But I disagree that consistently generating the same kind of output is required to become known for your work.  Good work is good work.  Think of Picasso, probably one of the most widely recognized artists in history, and the great variety of styles and subject matter his work spanned over his career.

The image in this post, “Snowy Spring Pastoral,” embodies a lot of these themes.  It was very opportunistic, in the sense that we had a quick spring snowstorm here in Colorado last week.  I had no particular plan or objective other than getting out to capture some images of snow, which I don’t do very often.  It also definitely was a learning experience.  Working with wet equipment (kudos to the Canon 5D Mark ii, by the way), getting compositions and exposures right in a driving snow, all added up to expand old skills and develop new ones.  Finally, this image arguably also is a bit of a break from my other work.  The snowy subject matter lent itself to a more high-key treatment than I usually do, and my composition included a mix of the man-made (the fence, the telephone lines) and the natural (the tree, the snow) that I otherwise don’t tend towards as much with landscapes.

So am I troubled that I’m not producing portfolios of work on single subjects or themes?  Not at all, I’m an opportunistic photographer.  That’s just where I’m at right now.

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