On this page, you can write for a long time how cool and skillful I am, but why? Consider that I have already written all this, and you have read and admired it all. Although all this is true - let my work speak for me. In this article I just want to roughly describe what I work with and tell why it is with this. After all, the customer is sometimes interested in equipment.
So you need to start from the camera itself: this is a full-frame Canon 6D. My choice was not accidental: at the time of purchase it was a camera with the most sensitive and low-noise matrix - what is needed, including to work in adverse shooting conditions, namely with a lack of lighting. The size of full-frame arrays is the same for all 35x24mm, but the number of pixels in 6D is less than in 5D MarkIII (especially MarkII in which is also the matrix of the previous generation) - which means that with the same amount of light more light falls on each pixel. The central point of the AF is enough for me, so for me this is an ideal option
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Here is an example of a photo of a fire helicopter in Marmaris. I shot it on the court at night, without a tripod, with my hands, with a lens that does not have stabilization - and as you can see, the camera does an excellent job of shooting in low light conditions, all the rich colors are preserved.
Or here is a portrait. That is how the camera works with the person in the frame. Again, I remind you that this was taken by me from my hands, without a tripod, without a flash or other lighting devices, except for a night lamp on an easel of an artist busy working at night on the Marmaris embankment. 6D gives quite working material with which it is already possible to work during processing.
But do not think that this is a night lens) Night shooting with low noise is just a nice bonus. Shooting on a sunny day is also beyond praise.
Everything is in place, and the color (it is artificially cleaned even in processing, made less saturated), and especially the dynamic range - the white shirt in the blinding sun retained all the texture, but the insides of the darkened balcony did not fall into noisy blackness.
Well, enough about the "carcass." Now about the lenses.
Over the years, I have had a lot of "glass". Some of them didn’t like me sharply, some of them on the contrary ñ they made a masterpiece after a masterpiece, some I didn’t understand, some were uncomfortable, some were like no hands and so on. What is the use of remembering them with a kind word or curses if it is already past. I'll tell you about the current ones - why I chose them.
First and foremost, of course, every photographer has a kind of universal lens that fits most scenes, shooting conditions and tasks with a convenient range of focal lengths. For me, this is the Sigma 24-105 f4 Art lens. Wonderful glass. Buying it was spontaneous. There was a time, I shot "for the soul" with L fixes from Canon, 35mm, 50mm, 135mm and it was awfully inconvenient to carry this mountain of glass, besides, it is very tiring to twist the lenses dozens of times, depending on the need. It was decided to buy a universal zoom, which, as a classic version, is considered a Canon 24-105 4f L lens. But the very first shooting after the purchase showed the imperfection of this glass. And if frankly - the photos from him did not please me. The sad picture, color, and that especially disappointed - low microcontrast: for example, the leaves on the trees stuck together in one green gruel. In general, the lens was sold without hesitation, and the eye fell on a rival from Sigma. Having tried it before purchase, and after having worked with it for a long time, I can say with certainty: a beautiful universal zoom lens. It works exactly, the material gives excellent, the stabilizer holds. Here are photos from it (my photo is a watermark of another media project):
Colors, geometry, picture - everything is fine. and note that it’s e; t in the open so beautiful.
Very pleased with it. It is a pity only darkness - but this is the price for versatility. However, in the dark scenes, he works on all 100.
In general, most of the photos presented here on the site are made with this particular lens. Thank him for the excellent work, and move on to another.
In each photographer's arsenal there is a lens called “high-aperture”. This is a glass where the ratio of the inlet and the outlet on the fully open diaphragm reaches not 4, as on the previous lens, which is considered "dark" (and it is even darker), but 2.8, 2.0, 1.8, 1.4 and even 1.2. This feature has 3 nice bonuses: 1) a lot of light passes through such a lens (provided that the inlet is large, of course)) otherwise it will turn out like with smartphones - 1.8 is written and the inlet with a mouse ass - there is very little light) and you can lead shooting in conditions of lack of lighting, and even a strong lack:
This is me at night, under the dim light of a street lamp in one of the village of Marmaris, photographed a hedgehog. Again, I remind you that this was done without a flash and a tripod. With hands, as the day photographed)
Or here:
Another photo without a tripod, with hands: the embankment and the marina of Marmaris. Probably because I am just a bummer to carry a tripod with me and install it every time, and sometimes it is even useless, for example when shooting people - they move. For example, a photograph of the artist at the beginning ...
The following pleasant bonus of such a lens: 2) the shallow depth of the sharply depicted space: the image emphasizes only the desired object in the frame:
Well, or not a subject, but a face:
Agree, so expressive front of my cat named Barton can not be called a snout. This is a full and very charismatic person)
Well, the third bonus: 3) blur the background: and as an artistic device - there can be a beautiful play of light or lights, and as a way to hide an ugly or frankly bad backdrop. And when processing in Photoshop and relief cutting object in the foreground on a blurred background.
And such a lens in my arsenal is Sigma 35mm 1.4 Art. Wonderful, perhaps my favorite lens, with the right focal length (viewing angle).
As for the viewing angle - this is a separate issue. The specificity of Marmaris is that in most of the filming the most popular focal length is 24-50 mm. These are narrow streets, not kilometer-size yachts, where the shooting is made, dense buildings and everywhere beds, trees and bushes) are not going far. And on a yacht so much the more. Even with a 100mm fix it’s hard to turn around) So for now I’m driving away the thought of buying the amazing zoom Canon 70-200 2.8 LIS II again. mountains:
The lens is certainly wonderful, but something in Marmaris turned out to be of little use) I sold it, maybe I’d work with it again, but I realized for myself that wide-angle photos are more relevant and effective in Marmaris, so I bought myself another lens that especially good at shooting the most sought-after scenes: yachts and narrow streets:
As atmospheric: the entire cabin of the yacht is included in the frame. The man in the frame is now not just an object, but immersed in the atmosphere of what is happening. And what wonderful views and landscapes with him and each landscape is not just a landscape, but is inextricably linked with people in the frame who rest, bathe, sunbathe - we see where they are and what they do - the very thing to leave the memory of the rest when one the photo will tell everything at once: here I am, here I am, and this is what I do and where my companions are
After all, if you judge, close-up photos of yourself, apart from Marmaris, can be made anywhere by placing you in the surrounding location so that everything fits around - this will be a better memory of your vacation in Marmaris. Well, if we add to this the narrowness of the streets of Marmaris and even greater crampiness on the yacht:
this makes my Samyang 14mm 2.8 objective even more interesting and relevant. The lens is really completely manual without any automation, but that's why I started a “song about professionalism” here to curb this interesting creative lens.
Well, after that it's a post-production case: conversion with pre-processing and further deeper processing in the source frames. I love working with color correction and dynamics of photography.
for example, a photo session in the fortress:
it's like taking a camera, but little expressiveness and showiness, as well as on this faded photo
Therefore, in addition to all the praise of the camera and lenses, without further processing in any way. And I, too, believe me, I own it very well.
