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Hello everyone! I want to buy Sigma 30 1.4 art for Canon 6d. Are there any alternative fast lenses with a similar focal length? Vignette does not bother a little.
30 art under the crop actually. Probably 35. Alternatives are native or the same sigma of the previous generation or non-autofocus samyang.
And a list with all similar auto-focusing lenses for cropped cameras Canon EOS:
There are no others under the SLR
But what about the new best Tamron in the world? 35 / 1.4?
UPDATED
Thank you very much everyone for your answers! Now I use Mir 6n 24 35 at 2.0d, but I want a slightly lighter lens. The scenario of use is amateur portrait shooting in low light. The choice fell on 30 1.4, which is much cheaper than 35 1.4 for ff, and I'm ready to put up with the vignette. I know variants from Kenon, but I don't know other manufacturers well, so I asked. Do you think there will be a big difference between Sigma 30 1.4 and its more recent version with the ART prefix? Strange, but in Ukraine it is exactly 30 1.4 Art used. I find mostly for Nikon. thanks in advance
Hello. Can you find lenses in this blog by Arkady according to the criterion “for full-frame cameras”? Or you need to break all lenses in a row to find for full-frame ones. Well, there are certain signs to distinguish, but not for all focal ones. I mean universal lenses (for different systems), tamron, sigma, tokina.
Each company has a designation for crop lenses. Nikon, for example, has DX.
All Soviet lenses and Zeiss are full-frame by default.
Canon has only EF-S and EF-M lenses for crop, and physically they will only be on mirror and mirrorless crop, all EFs are full-frame.
Nikon has all the DX lenses for crop, but will also be in full frame. Moreover, parts can be shot even in full-frame mode without a particularly scary vignette, and all full-frame photos can cut out the central part of the image, simulating the behavior on the crop.
Sigma, Tokina, Tamron take the same approach - they can be physically put on a full frame camera. Named - Tokina DX for crop, Sigma DC for crop, DG for full frame. Tamron DI II - for crop. If there is no DI II in the title - for a full frame.
I won’t say anything about Sony.
Fuji is everything for crop. In addition to the conventional large format.
Hello Arkady.
Personally, this is a question for you. "The middle element in the lens has a subtle haze that has no effect on the images." Here is a description of the optical condition of a used Tokina 20-35 f / 3.5-4 / 5 f72mm lens that I want to buy.
How do you advise? Really does not affect the quality of the photo this haze?
If this haze, fungus, for example, can affect, if not now, then later, when it grows.
Igor. Sorry, I thought I asked a stupid question. Sorry again‼ ️
Good day to all. Please tell me the wide-angle lens-fix NIKON, (for landscapes) on a full frame, from a relatively new series, i.e. for a multi-pixel camera, BUT (!) in a metal case.
Like: Zeiss, Sigma, Voigtlander, Sony..NIKON has anything like that, or are there any new glasses in plastic cases?
All new in plastic. Current Zeiss for such requests
If a metal case is needed for strength, then it is more convenient to fight off with a telephoto. A better monopod with a heavy head.
No, don't fight back ... it's a matter of taste. I understand that the quality of the images is not affected by the lens body, but I like the performance itself in metal.
Does Kenon have the same situation?
Most likely yes. You yourself answered your question in the question. Plus Korean Samyang.
I photograph for myself, for the “soul” (I just like it). In the arsenal of Nikon D5300. But I already want something more functional. I'm looking at the D7500, I can't afford more expensive options. If someone had both cameras, share your opinion - is there any point in such a replacement? Any advice / recommendation would be welcome. Thanks.
Not such devices, but I changed D3200 to D7100 (D7200 did not give green, mortgage). Earth and sky for convenience and ergonomics, no need to go to the menu for the slightest reason. If I had the opportunity, I would not buy the D7500, I would choose between the D7200 and the D500. D7500 would be more correct to call D6500 - features inherent in professional cameras have been removed.
Thank you.
The D7200 and D7100 are not professional cameras, but the D7500 is functionally the heir to the D90
Thanks for the answer. From it, I realized that the D7500 will be better, although there are a lot of conflicting opinions on the D7200 and D7500 on the network.
Of course it's amateur. But the d7500 looks foreign in the 7000-7200 line. Crossing 5000 and 7000 series.
No, I would never say that the d7500 is a crossing of five thousand and seven thousand. I have already written my observations more than once: the d7100 and d7200 were needed when there was no d400, they took over part of its functionality. When the d500 came out, this need disappeared, and the d7500 dropped to the level of d90. Nobody argues that d90 is a mixture of d200 / d80 and d5000? D70, 70s, D80, D90, D7000, D7100, D7200, D7500 belong to the same class, although there are small differences in functionality
Thank you all for your answers / controversy. The D500 is certainly a good device, but 1,5 - 2 times more expensive than the D7500. I think for the next few years the D7500 will be more attractive than the D7200. And of course it will be a good replacement for the D5300.
Unless corrupted by the battery pack and using old lenses, the D7500 will be better than the D7200.
Hello. The other day I bought a 5n kaleinar for fuji 5s pro and 3s pro cameras. On 5s, it puts on the bayonet and works normally. And on 3s it puts on the bayonet with effort and the aperture ring stops rotating, the aperture repeater also does not work. Other lenses on 3s get up and work nominally, even zenitar n 16 / 2,8. The face of the diaphragm ring does not reach about 1 mm to the body. I wonder where the wedge ring diaphragm wedges. Tell me which way to dig?
Some Soviet lenses are not entirely AI, but have a long skirt like PRE-AI, and the details are here https://radojuva.com/2012/06/nikon-ai-s-old-lens-about/
Hello, I can’t understand something: I set the ISO, the aperture, put the wheel in the aperture priority position, take a picture, look at the histogram and see (in most cases) bust, i.e. the histogram mark is to the right of the middle of the histogram. Why does it happen, though not always. TTL does not have time to make a measurement or is there something else?
The exposure meter instantly makes a measurement. If matrix metering is selected and exposure compensation is not in the black, then the Japanese comrades decided that such an exposure was ideal. Except when there is an excess of light with these exposure settings.
No, the exposure is at zero and the morning light before dawn.
A matrix then?
The center is weighted.
What questions then? The histogram is then shown throughout the frame, and the exposure is measured in the center.
Not only in the center, but the central spot affects the most
That's right, but Victor needs an “ideal” exposure.
The question was “I can't understand something ...”, dated 08.09.2019/17/28 at XNUMX:XNUMX, and not what I need or what I want. Thanks to all who answered and all the best.
Well, metering is easy to fool in a contrasting sunrise scene. Secondly, it can lie because of the lens (?) - my Tokina likes to overexpose by a step
All these “tricks” take place during macro photography with Tamron 90 / 2.8 before the sun's rays hit butterflies and dragonflies. Okay, I heard the answers, all the best, Mikhail!
Try to shoot with matrix metering and with different apertures on a low-contrast background, such as a gray wall or a piece of paper. And you will understand whether the focus is metering or non-linearity of the aperture.
These are not aperture tricks. There are paired shots at different apertures. And on low-contrast scenes, too, everything is in order. This is exactly the trick of the exposure meter, apparently the lens tells the camera something is not right. Arkady had something like this with a 10-17 token
On my Tokin 11-16 it’s precisely the diaphragm that is glitching, sticking in the open position. The first picture is overexposed, the second is normal. Then all of a sudden everything is fine. Moreover, everything is fine on the removed lens, it responds to the pusher without delay.
The post is more to Victor than to you. You just need to try the lens in different situations in order to know its features. Due to the aforementioned Tokina, he began to take paired pictures on the machine.
Tell me who is tastier, will any effect be better or worse if you put a fifty-fifty, not DX, but from a full-frame DSLR on a cropped DSLR Nikon D5600?
Interestingly, what kind of fifty dollars is this 50 mm DX?
And Nikon does not seem to have a special version of fifty for DX. There are two fifty-fifty 1.8 (with and without a focusing motor) and one - 1.4 (with a focusing motor). All work at full frame (well, and crop, respectively).
Nikon has a lot more fifty dollars (put on modern cameras), on this site only 15 are presented, but under DX, alas, not a single one.
Fifty dollars for dh no and never will.
Any ff lens will be better than milking crop than native cropped one, due to cutting off the soap edges.
If you put some helios, then along with the soapy edges the nice, so desired background twist will partially be cut off.
The one that remains after a while also gets bored.
Tell from personal experience, which lenses are best for travel? Available: Nikon D5100 + Nikon 18-55 VR, Nikon 35g 1.8, Nikon 85g 1.8. Objective: photos of cities and amateur reports from certain events, including non-stop portraits of people from festivals. Does it make sense to sell something from lenses and buy, say, 18-140 for the above purposes? Or sell all the lenses and take 18-140 + 50mm for creativity? The budget is limited by the cost of those glasses that are already in stock))
Interesting is the experience of amateurs who have an amateur crop - what are you traveling with?)
I always took 18-105 / 18-140 with me, and some kind of fix “just in case”. If you plan to climb some kind of observation platform, or a mountain with a good view, then something more authentic will not hurt. In Lviv, from the town hall and from the mountain I shot at 70-300, and for portraits it will also work.
10-18 and 55-250 at Canon. I switch between them. It is very rare to need 18-55, the last times I do not take either it or 17-55, which is a class higher, but is more suitable for photo sessions with people, and not for architecture and nature. For something to fill in the middle, there are several options. 50 / 1.8, if I want to take portraits and need aperture. 35 / 20IS for tourism purposes. But, again, lately, this 35 / 2.8IS Macro serves several purposes at once - it fills the middle of the range, provides stabilization for shooting in difficult conditions and macro at the same time.
Architecture and nature are few 18 below. For Nikon, look for alternatives with Nikon or Tamron-Sigma. 10-24 from below as an option, 70-300 from above. Well, 35 or 50 in the middle.
On a trip, usually dofiga techniques are reluctant to take. 10-24 is good in a city with narrow streets, and that’s all. Recently I took a mirrorless crop from 20-50 on a walk. A very small zoom, it was constantly lacking, especially the long end (especially after 18-140).
The advice is good, but there is no budget for the conditions ...
Without a sketch, but with Canon it is really cheap. Well, lightweight, for crop just right. Three lenses in a photo bag with a bang, even a flash breaks in.
I agree, my set is 11-16, 18-105 and 35. 70-300, due to its size, often stays in the room.
But, I think, in full width he will definitely have to sell at least 85. And so sell 18-55 (though if it works out yet), add a little and buy 18-105. Portraits on him can also be done, though without DOF in one eye.
Damn, while choosing a photo, the time is up. Do not sell fixes, then do not buy cheap, better buy inexpensive 18-105, there is almost no difference from 18-140. 105 was not enough for me only in the Prague zoo - the giraffes left the observation deck for 500 meters, 140 mm would still not be enough. But I wouldn't take 85 with me - it's hard to shoot non-staged portraits. An example of a "portrait" on the fly at 18-105: https://d.radikal.ru/d12/1909/2f/ddc6482216d3.jpg
Greetings!
There is an MS Helios 81H lens, the anti-reflection layer is in place, the lenses are without scratches, but there are many small particles / debris inside, googling - this is due to the fact that the diaphragm is not blackened, it flies off + dust flies in.
Photo problems on Google Photo: https://photos.app.goo.gl/9FZ6EtLXxJ99xafz9
Interested in where in Kiev you can give the lens for quality and competent cleaning of this garbage?
Thank you!
Please tell me, I bought a nikkor 35 mm DX lens on a nikon d5100 camera and on aperture of 1,8, auto focus at the center point behaves either normally or back focus. The service said that this carcass behaves this way and it has a back focus and the lens is normal. It is necessary to align it. With whale 18-105, everything is fine. Could this be so?
Can. BEC on the open at 35 is something wrong. The lens has a very noticeable focus-shift and it goes into the back when the aperture is closed, and a small front is opened when it is open. You can adjust the lens for the carcass, since everything works with your whale
The service said that the lens is normal, it is under warranty and less than 14 days have passed. And the carcass has a back. So I will adjust the carcass. Or maybe in the store try another such lens?
Try another one if possible.
You can try, but they have a small spread. If you align the carcass, the question arises, what will happen to your 18-105?)
As they said on the service, everything will be fine. I don’t know the truth or not. I don’t know what to do.
But if the carcass mows, then in theory all fast lenses will probably mow.
Good day. I am the owner of Nikon d5100. I want to try a portrait of him from the Soviet past. The choice fell on Helios 44 and Helios 81n. I bow to Helios 81n due to the lack of an adapter. The question is that helios 81n has fr 50 (75) and helios 44 58 (87). So I can’t choose it seems 75 is not enough for a portrait. Tell me please. Thanks.
I'm also far from a pro, but looking for a portrait. More than 75 is needed so that there is no obvious distortion on the faces. Full-length portraits and even larger, mostly at fifty dollars and removed. And full-growth by 35 mm. Also important is the angle under which to shoot, and lighting. And the desire to blur the background (on a larger FR, it is easier to blur without coming close to the model).
I love larger portraits, but not very scenes, so I took 85 straight away (in fact I had 135 on the crop), I was comfortable with it. This is all, it seems to me, a practice to whom you like best.
You can still get a good zoom for a while (even better, rent it), 70-200 for example, and see which FR you use more often.
When you buy 81H - share where you bought it. I'm interested in myself. There are many openly fake resources designed for fans of old technology.
I shoot mostly on a 35mm Nikkor 1.8. In a room where you need a large angle there are 18-105. I would like to try taking a larger picture. Yes 85 Nikkor would be nice, but the price for an amateur also bites. Probably still try 81n.
The difference will be small.
On Helios 81, it’s also not exactly 50, but closer to 53 (53mm was written on older versions)
Keep in mind that 50mm on Helios will give the same angle as 50mm on 18-105. 2) To put the Soviet lens on d5100 - the hemorrhoid is still the same - the device does not see the diaphragm, the exposure compensation scale does not show, the exposure is to be selected by typing with a n-th attempt. I tried Helios-81 on d200 (even though it works there), I was not impressed in comparison with nikkor 50 / 1,8D, hence it is logical to take 50 / 1,8G or, if there is a lot of money, 1,8D. 3) An amateur acquaintance took N.55-200 from poverty and admired the portraits from him. Of course, it is more pleasant to shoot with high-aperture optics, but with well-chosen light, background, etc. and it will work well with a dark zoom.
"Temnozum" falls into the depth of field, because he has it much wider.
It’s not the greatest pleasure to give the carcass with the lens for a long time to adjust). The time spent and the unknown result of pairing with other lenses.
Trying with other lenses in the store is better. At the same time, it will be seen - this is the fault of the carcass or the lens.
Well, not much, 2 times in total. If the back focus is strong, it will only run out
focal length 35 mm. distance 150 cm
aperture 1.8 - depth of field 9,7 cm
4.5 - 33,5 cm for 18-105)
These are 2 times)))
mistake, litter.
by 1.8 - 13,2
Not fundamentally, but changes the picture
Good evening everyone!
Need advice - how or with what paint to tint small (2 * 10 mm) areas of chips (rubbing) of the magnesium body of the DSLR? Please provide a practical and time-proven method of touch-up.
Arkady, if possible, and you, too, would advise, as a pro, I am sure that your cameras are also a little worn ....
I use a car repair shop - a small jar with a brush. Or pick up a nail polish. As a last resort, spray paint - splash into the lid and apply with a brush or toothpick.
And the nail polish does not conflict with the native paint of the camera, because the nitro-based varnish, have you tried and everything is fine?
Be sure to try in an inconspicuous place. Different colors, like varnishes. One does not care for solvents, the other will peel off more damage.
I tinted the PC case with a "pencil", my native paint was powder.
Good afternoon.
Gentlemen such a question.
You need to pick up an entry-level camera. It is desirable to separately body and lens.
The goal is portrait photography with emphasis on hair, its texture and detail.
I don’t understand anything in portraiture.
Advise worthy options.
Hello. I can only advise from Nikons, I don’t know others. As far as I understand, we are talking about a portrait for a hairdresser (or something like that). Here the lens is more important than the camera. In the budget version you should be satisfied with 50mm 1: 1,8 (in the case of Nikon - AF-S 50mm 1: 1,8G), more portrait lenses like 85mm, 105mm are many times more expensive. The entry-level cameras for Nikon are 3x00, 5x00, for Canon - xxxxD, xxxD. On the secondary housing it is noticeably cheaper, albeit older, with about the same quality.
Yes, it is hairdressing.
Thanks for the advice, I will look.
Please tell me which of the released Nikon SLR cameras provide the ability to display the future photo before the final pressing of the shutter button, and, if necessary, adjust the exposure in parallel with the wheels. And so that the displayed image visually changes on the LCD when the control wheels are rotated.
All equipped with Live View, i.e. absolutely everything released since 2010 and some until 2010
I apologize, but will the D7000 on the LCD display change the image of the future picture when the control wheels are rotated?
Yes.
Really? And the diaphragm drive combined with the shutter? Is it that when the aperture changes in Liveview, the picture will change and the aperture will be compressed?
Some will, some will not. In any case, after turning Live View on / off, the iris will be set to the set value.
Maybe I asked a question incomprehensibly? In my question, I had in mind the Nikon model in which when changing the exposure ratio with the wheels (without switching from Live View to “Menu”, and then again to Live View), the image on the LCD screen continuously changes the brightness of the future shot.
Those. which Nikon models, when rotating the expopair wheel (without leaving Live View), does the picture of the future image change right on the LCD?
For example, Nikon D800, D800E, D810, D810a, D850, D3s, D4, D4s, D750, D5, D500, they can control the aperture on the fly. At the same time, in order to see the current picture, you need to set the appropriate functions in the menu, for some cameras it will be necessary to use M mode for such purposes, for some it will be necessary to disable the Auto-ISO function, and for some it is necessary to enable the function “manual settings for video and / or Live View ”. I don’t think anyone has an exact list of such cameras, as well as the actions that must be performed for a given result.
You named the models that are professional (expensive) models. Does Nikon D7000 have on-the-fly aperture control from the screen (in Live View)?
D7000 does not know how
Thank you.
Arkady, interested in ff Nikon more for photography and glass Karl Zeiss portraiture and wide-angle to him. What do you advise. Thanks.
I will advise you to indicate budgets in the question))
150-180 grew. rub.
150000-180000 grew. rub.
For manual Zeiss (and for Nikon they are all manual), a mirrorless is desirable. there is not much to choose from among mirrorless cameras - z6 / z7, and of course z7 is a priority. This is already under 200.000. Z6 under 130.000, is not enough for lenses.
In any case, for portrait lenses look at Planar 1.4 / 85, Sonnar 2/135. Of the shiriks, good Distagon's, such as 21 / 2,8.
But again - I want to not know what, Zeiss implies that the photographer already understands what's what.
Thank you, Arkady, for the answer and clarification. A friend wants his son to give a gift for a day and that's puzzled. Thanks again from me and from Oleg.
Good day. Tell me please, is it worth taking the price of 38000 rubles Nikon d750 with mileage of 20000 frames? Or it’s not worth it to look with less mileage. And if with less, then about what to look for?
20 kr mileage is not a mileage at all with a resource of 150. It's another matter whether this is a real mileage, or the shutter has already changed. Well, it can be determined by its appearance - how long the device was in operation.
Very suspicious price for a full-frame camera.
The minimum prices for d750 killed by wedding men on Avito in Moscow / Moscow Region start at 51.000 rubles.
Most likely they will not sell anything good for 38.000 rubles. Even after repeatedly replacing the shutter, the d750 does not go below 50k.
Thoughtful camera inspection and personal inspection is required. There are no scams Avito delivery, maybe at flea markets because of the crisis and poverty, there are now a lot of scammers.
I fully support.
Tell me a modern camera that can give such a skin tone and color right away in jpg, or in a rav with minimal body movements ALWAYS like here:
http://m.blog.daum.net/satboy/11300401
Follow the link for the Korean Photoblog. Look at pzhl pictures before advising something.
Any camera. You just take, shoot, print a photo in a magazine, then scan and get + - what is on the link. After all, these are scans from the printed versions, which make “such a skin tone” (count - none).
Rather, it is printing from film and then scanning from printing. Skinton is carrot or yellow, terrible. Irina, do you need it? This has not been quoted for a long time. As for the cameras - there are no such cameras now, now the trend is a different skin tone and without knocked out lights
See the bottom 5 photos.
*
Well, as here too: http://m.blog.daum.net/satboy/11170484
Tucked up greens and carrion in the photo. I want pleasant bright colors right away in jpeg or rav.
What kind of camera will you shoot your child with?
The one that paints his skin in a gray-green color?
I understand that I was behind the times ... in the 90s I shot on Kodak Gold200 and the result was immediately ready on the Olympus soap dish and the colors were good and it was all worth a penny ...
If you photograph a Korean woman on the beach on a sunny day with film, you get a great result (although in my opinion it is rather “flat”, oversaturated, like paint shading, this is not the best example of what film can give). If you put your anemic child under trees that give a green reflex on the skin in the summer, you will get the appropriate result. And the camera has nothing to do with it - unlike film, the result will be EXACT and almost identical on all cameras. I don't like it - edit the tint in camera raw (one click), assign a film profile - the second click. Well, or dig deeper into the camera settings and choose a profile for you.
Roman, I'm a simple man.
What is the model of a modern camera that gives a result that is always pleasing to the eye in the daytime, always or almost always.
Yes, let it tint the skin the color of peanuts or almonds, nothing, I will survive somehow.
I call the model of a modern camera: no, there is none, and no one will answer this question, because no one makes such cameras, there are a lot of reasons for that.
Ira, there are such controversial points: 1) “the result is pleasing to the eye” - the category is subjective, in most of the photos you submitted, the skin color is ugly and unnatural, IMHO; 2) any camera can be mistaken in color, as well as reflection from greenery, etc. 3) there seems to be a tendency that Canon adds a yellow (orange) tint, Nikon on Cmos matrices - pink (bluish). I saw the best skintones in my photos from SSD-nikons - d200, d40x (there are peanuts with almonds), but they are not modern.
Greens and meterlight are:
1. If the skin color is pale and painfully earthy. (Here it is already correct to put the lighting and bring in FS)
2. If filmed under trees or on green grass - the light turns green.
3. Shoot against the light without backlighting with a reflector on a shaded face. (the camera is not
lacking dynamic range).
4. If you shoot under mixed lighting and the camera, essno, can not automatically determine the correct white balance.
The Korean example is not applicable to Europeans.
1. Asians have very dark skin, on it will not be visible greens and dead skin.
2. In the magazine in the photo, lighting is very well chosen.
3. Photos in the magazine went through color correction, often simply toned in
yellow-orange tones. Aesthetically not very like instagram, but who likes it.
What to do:
1. There is no magic camera, which will immediately give out masterpieces.
2. Learn to take pictures, build composition, work with the natural and
artificial light and then also process the photos in FS / LR to the desired condition.
(by the way, pictures in the magazine were not made by an amateur as well and were being prepared for printing)
3. If you were satisfied with the yellowing colors of the Kodak Gold + photolab, well, try shooting on film. Although, I’m sure that without a competent frame construction, working with light and doing fine-tuning the scan in the same FS, there will be no masterpiece.
But what about the iPhone ?! Nevertheless, they know that they will immediately go to the iPhone.
Yes, it would be nice to have a figure that can play like a film ...
Digit preset is easy, but the film under the digit does not
Hundreds, thousands of loots imitating film color and contrast. How much more do you need in the end?
Yeah, here in one of the branches I took profiles for fuji by reference, such a g .... turns out. Each photo is individual, I don't think that loot is competent to portray the film. Otherwise, the film would have bent completely, and so ... it is quite alive.
Generally not competent. Film by film, digit by digit. Using a film does not lead to a good result in the forehead either
It is necessary to look at what the original file format is. First of all, the loot is intended for video and the source code is there - some kind of LOG files with minimal contrast, on which the loot curve and its color are already superimposed. If you throw your LUT on on-camera JPEG, and even with processing, you, in most cases, will get your terrible result.
Usually, the use of a special camera profile works well, or at least a decrease in contrast during development (and no Saturation gain, maximum correction of optical defects - vignette, distortion, chromaticity).
Film, in terms of color, is a series of non-linear color transformations, often of artistic value. Think of each tape type as the equivalent of a preset. Just as one preset cannot be applied to all scenes, so all types of film are not suitable for all scenes - nature is better for something, for something skin, and so on.
With loot you can get film colors and add some film aesthetics to your images. The film itself is also a film grain (the corresponding picture of noise) and a bunch of flaws inherent in the film, which need to be achieved specifically (and which not everyone likes).
Well and more. Asians have skin problems: olive green tint, which they themselves do not really like. Therefore, even in the film days, for the Asian market, color films intentionally distorted colors: they tidied up a yellow-green hue, added pink and purple: this way their skin looked much better. I once shot such a film (Konica GX100): swarthy people turned out fine, but white faces turned like alcoholics, with a lilac shade.
And now look in your magazine for pictures where there is sky. Didn’t it bother you that against the background of the model’s face, the sky is not blue, but for some reason, lilac?
That's the secret of your beautiful skin tone - we twisted magenta to the maximum in post-processing in order to bring down the yellow-green real skin color, and don't care that this is no longer a photograph, but lomography.
Good afternoon, advise which is better.
I have a Nikon d5100. Which is better to change to Nikon D7000 and buy 85 1.4d or just buy 851.4g. But I think it’s better to switch to a full frame than to drop a crop, but then it’s not enough for the objective (?????
And at the same time the second question. Here on the site Arkady said that the 85 1.4d picture is better than the g version ??? What can you say who used both ???
It makes no sense to change 5100 to 7000 - the same matrix + screwdriver + control, minus the rotary screen. I would change to 7100/7200.
And you did not voice your tasks.
I am an amateur photographer, in the future I plan to make a commercial
Just buy 85 \ 1.4G, and calmly shoot when there is an opportunity to go to the full frame. 7000 is needed only for a screwdriver, that is, if you want to get hooked on lenses without a motor.
Or as an option (as I understand it, the budget is 60 kilo rubles + the price of B \ y 5100) we are looking for a not very usable D 610 (the price is usually 50-60) and we will buy 28-105 / 3.5-4.5 (price 8-9). We make the transition to full immediately, on it and from 28-105 you will be extremely pleased at first.
The catch here is that the picture looks better - the d or g version :). Still, it’s more logical to buy g and only then go to full frame. But there is also a fucking dormouse, which also does not allow you to sleep normally (switch to dormouse)
The picture on q and g is about the same, the difference can not be seen. For work, they generally take 85 / 1.8g so as not to bathe with mistakes. It’s more logical for me to switch to a full frame. About Sony I will not prompt, I did not use it.
My choice fell on the cameras Kenon 70D and Nikon D7100. In shops on sale there are no longer these cameras to “touch”. I don't know how to decide now what to choose, which system suits me best….
Go to the pawnshop.