Has the black Olympus 12mm lens gone for good?

Started 5 months ago | Discussions thread
Olydude
Regular MemberPosts: 259Gear list
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Re: Zooms forever......
In reply to Guy Parsons, 5 months ago

Guy Parsons wrote:

Olydude wrote: Zoom only photographers generally learn nothing about composition.

Huh? And double huh?

Where the heck did you dredge that "fact" from?

Regards..... Guy

It's common knowledge... Just use a prime for a while and then realise how much more you actually use that thing between your ears to actually find a shot and then compose it. Zoom only shooters will sit there all day with their short telephoto and not bother to ever get anywhere near what they're trying to compose in order to achieve the shot. Meanwhile you're missing every possible angle, every different way of looking at it and you're looking at what you're shooting as if you've got horse blinkers on.

Guy Parsons wrote:

Olydude wrote:

Guy Parsons wrote:

Olydude wrote:

That's the whole point... You're not learning anything about focal lengths or why they exist, or why there has been standard focal lengths such as 24, 28, 35, 50, 90, 100, and 135mm for such a long time.

Standard focal lengths are there because that's what started being made and unimaginative photographers keep buying them as they become "must haves" for no other reasons than they box their view into those set focal lengths.

OK, you win, I'm over arguing with non-pros why professional photographers have done things for so long the same way and continue to do so, you must know something they don't Guy?

The difference between pros and non-pros is that the pros are getting paid. Quality of results varies from excellent down to tragic for both sets of people.

Yes... We all know this. Some people can't compose a shot even if they are paid.

When a prime photographer wants something in between say 14mm and 17mm to get the perfect frame then he crops, all I do is zoom a little so I get that 15.5mm frame just so. Where's the problem with that?

The prime photographer gets the next lens out of his kit and continues to snap. He may crop in post processing, but this is nothing unusual, this is why we have terms such as "cutting room floor" back from when cinematographers and photographers including greats such as Frank Hurley, Ansell Adams, Alfred Hitchcock and whoever else actually used to actually cut and splice film together in order to establish the shot that they want. This is nothing new.

You didn't think this was a single shot did you? Photographers have had creative license to do what they feel like with their work since well before Photoshop was around and many of them did since the birth of common place black and white film.

You act as if cropping is ever a bad thing.... With a 16megapixel camera you can crop until your hearts content. With a 4 megapixel camera I've printed 10x12" posters that look as good as anything that I've ever shot with a film camera.

Everyone else who owns the 12-40 F/2.8 must also know something about the land of milk and honey in terms of low light performance that I don't know about either.

It is an exceptionally nice lens to use.

One dark and not stormy night I had the chance to try 45/1.8 and 75/1.8 lenses on my E-PL5.

They were tragic at attaining AF in the very low light, maybe one in 10 tries hit the spot.

Swapped back to my 12-40mm and in same light it hit AF first time every time at any focal length.

The good news for you and everyone else is that the 12 F/2 is lightning fast in every condition. No really, you should try it sometime. As soon as I tap the screen on my EPL5 it's already focused and taken a shot. It reacts quicker to the moment than is humanly possible.

 Olydude's gear list:Olydude's gear list
Olympus PEN E-PL5 Olympus M.Zuiko Digital 14-42mm 1:3.5-5.6 II R Olympus M.Zuiko Digital ED 40-150mm 1:4-5.6 R Olympus M.Zuiko Digital ED 12mm 1:2
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