JUst got back from Paris with only my 24-105 L IS on 50D

I agree, and I am not very much into taking pictures of pictures.

However, when we were in the Orangerie looking at the Monet water lilies, I had the bright idea that a closeup of this pic would make a great computer desktop. Works great!


Wow, what a great gallery. It was like a guided tour of the art
museums of Paris! I will have to check out your other galleries when
I have time.

Your approach to museum photography is excellent. I've found that my
museum photos, while technically okay, are lacking something: the
people viewing the art!
 
Wow, what a great gallery. It was like a guided tour of the art
museums of Paris! I will have to check out your other galleries when
I have time.

Your approach to museum photography is excellent. I've found that my
museum photos, while technically okay, are lacking something: the
people viewing the art!
Another good reason for including people in the picture, (besides giving human interest to the image) is to give a sense of scale to the pictures / sculpture you are shooting. Often that is the only way to have a feeling for the size of the work of art.. It is surprising how many times you will think an painting or sculpture is quite large (or small) and after putting a person in the picture, it brings the object's size into focus (no pun intended !).

carolyn

--
Ranger a.k.a chammett
http://www.pbase.com/chammett

'elegance is simplicity'
 
--

Your gallery is excellent, I am holding off on the 50 mm because your right , the 24-105L and the 17-40L have made me spoiled
I take both but have an itch for another L lenses
But I am always worried about the camera when I am on vacation

so I have done some reseach for a great little camera, and found the Leica D -lux-4
is almost as good as a SLR--
check it out,
Rick
 
Another good reason for including people in the picture, (besides
giving human interest to the image) is to give a sense of scale to
the pictures / sculpture you are shooting. Often that is the only
way to have a feeling for the size of the work of art.. It is
surprising how many times you will think an painting or sculpture is
quite large (or small) and after putting a person in the picture, it
brings the object's size into focus (no pun intended !).

carolyn
That is great advice for landscape pictures as well. I love to put a person in a very small portion of the picture for scale. It's even better when they aren't facing the camera and it helps if they have on a red or yellow sweater or are holding an umbrella.
 
It is always a major decision for me, when on family trips, whether to carry a dSLR or a compact. Which ever way, there are always some regrets. My last time in Paris I opted for a compact (Fuji F31fd); it is small and light and does reasonably well in low light situations. The focal length range is not that different to the 24-105 mm on a crop body.

What I really miss is the 24-105 on a FF camera. It is the wider side of things that I miss in urban environs.

Brian A.
 
Another good reason for including people in the picture, (besides
giving human interest to the image) is to give a sense of scale to
the pictures / sculpture you are shooting. Often that is the only
way to have a feeling for the size of the work of art.. It is
surprising how many times you will think an painting or sculpture is
quite large (or small) and after putting a person in the picture, it
brings the object's size into focus (no pun intended !).

carolyn
That is great advice for landscape pictures as well. I love to put a
person in a very small portion of the picture for scale. It's even
better when they aren't facing the camera and it helps if they have
on a red or yellow sweater or are holding an umbrella.
You're right Joe. When you are using a person for scale or to add a human element, sometimes facing away from the camera doesn't let the person compete with the main subject of the landscape or architecture. And the primary color of clothing adds impact to an otherwise basically green landscape or sometimes bland architectural color .Sometimes you have to take what you get though ! :-)

carolyn
--
Ranger a.k.a chammett
http://www.pbase.com/chammett

'elegance is simplicity'
 
--
Your gallery is excellent, I am holding off on the 50 mm because
your right , the 24-105L and the 17-40L have made me spoiled
I take both but have an itch for another L lenses
But I am always worried about the camera when I am on vacation
so I have done some reseach for a great little camera, and found the
Leica D -lux-4
is almost as good as a SLR--
check it out,
Rick
I have a Canon Pro 1 now almost 4 years old that I like because if its really nice little 28-200 L lens (SLR equivalent). But if I could find something that had IS and less noise above ISO 100, I might be interested in replacing it, because I really like having a small camera on trips for backup. I have had camera failure (in film days) on two trips where it was impossible to get repair or replacement. That spooked me, but luckily, I was schlepping a second SLR body on both trips, which saved me. I'll check out the Leica D-lux-4. I have a couple of friends who are crazy about the Pano LX3. have you looked at it ?

carolyn
--
Ranger a.k.a chammett
http://www.pbase.com/chammett

'elegance is simplicity'
 
My 1Ds3 and the 24-105/4 are a great combo for trips. I have enough file size to crop if I have to. I use this combo a lot.

However, for really remote trips (SW China in the mountains) I take my 28-300/3.5-5.6 IS with the 1Ds3. 12 hour walks with this hunk does get tiresome but, with the micro focus set correctly on the 1Ds3 this lens gets the variety I want in rain & dust without having to change lenses. They are sharp with great color. Lots of compromises here (slower lens, push-pull design, etc.) but in balance, with proper work-a-rounds, I come away with some memorable images. I also do not worry much about failure with this body & lens. They get the hits you would expect with a police department mag flashlight and they keep on working.

Stu
 
My 1Ds3 and the 24-105/4 are a great combo for trips. I have enough
file size to crop if I have to. I use this combo a lot.

However, for really remote trips (SW China in the mountains) I take
my 28-300/3.5-5.6 IS with the 1Ds3. 12 hour walks with this hunk
does get tiresome but, with the micro focus set correctly on the 1Ds3
this lens gets the variety I want in rain & dust without having to
change lenses. They are sharp with great color. Lots of compromises
here (slower lens, push-pull design, etc.) but in balance, with
proper work-a-rounds, I come away with some memorable images. I also
do not worry much about failure with this body & lens. They get the
hits you would expect with a police department mag flashlight and
they keep on working.

Stu
You are right Stu - when you go to remote places and / or are on your feet all day, you have to make compromises and work-a-rounds with what you are comfortable with, or exhaustion kicks in and equipment becomes a burden, and picture taking becomes no fun. No matter what lens decisions you make, you always come home with some great pictures. What you miss, becomes a non-issue. For those who haven't been in this position, all I can say is that many of us have had to learn the hard way !

carolyn
--
Ranger a.k.a chammett
http://www.pbase.com/chammett

'elegance is simplicity'
 

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