Leave your q’s in the comments below if you want them answered on a future show.
In this episode I discuss the idea of having more than one camera system, talk about what lenses a beginner should buy and give you my thoughts about the X Pro 1. Is it a bargain?
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hi my name is Matt wintry from Matt witchery com this is a new type of show that I'm going to be doing to add to the channel called viewers cues as the name suggests you lot asked me questions I answer them so basically the idea is that I get a lot of emails messages and comments through on the YouTube video is twitter instagram that kind of stuff asking advice on various topics about photography and what i've been doing up until now is i'm just going through and trying to answer you know sort of individually to people and giving them the answers they want however the thought occurred that actually what some person may actually ask maybe there be other people out there who were thinking it just haven't answered the creme last the question but would be interested to know what the answers were so that's what we're going to be doing so i'm going to take sort of you know just a few questions for each episode so it doesn't get mind bogglingly complicated to sort of you know and long and unwieldy and things like that but here we go so we're going to dive straight in the first question is from richard evans and he asks as a pro photographer do you recommend sticking to just one to two ecosystems i have three cameras on my list the pentax k-50 the om-d en and the fujifilm x8 two is three too many of course one has to consider lenses for three different systems and yeah Richard I mean you know I you know answer to you individually on this one as well and but yes I do think three systems is too much I think two systems is probably too much certainly when you're getting going it depends kind of where you are really in terms of your in terms of your photography and how long you've been doing it for and how much of your own kind of personal style you've developed and whether or not you you're getting another system to do something very specific but if you're just starting out and you're kind of learning the basics of digital photography then I would recommend sticking to just the one system so pig it doesn't really matter which one you go for because they're all good frankly the k-50 is very good the Olympus's are very good and the XA 2 is the fugees are very good as well so you can't go wrong really which one you choose will depend slightly on what type of photography you end up one thing to do long-term and when you first start you may or may not know that that might be something that you want to discover later so when you're learning and you're learning digital photography it's very it can be confusing to start with to kind of learn where all the different buttons are so if you very quickly jump into a scene and you want to change the white balance or you want to change for metric matrix to spot metering or you want to change from single to continuous burst or you want to change the ISO very quickly when you are just starting out trying to remember how to change those functions on the camera can be you get a little bit of brain freeze you look at you know guy which one is it that one is it that one you get used to that fairly you know quickly depending on how much you use the camera but it takes so much longer if you've got to try and learn where all the things are on this system and then on that system and then that system over there so when you're just starting out I probably would just stick to the one after you kind of get the feel for what you want to do and you decide long-term that you want to be the two things that you love doing more than anything else in the world are sports photography and portraiture for example you may well decide that you want two different systems for that so you know you might go for something that's got a very fast burst rate and maybe even something like a like the crop sensor on the is it the canon 7d that allows you to get extra throw by eight frames a second to whatever it is for shooting you know whatever it is football or you know cricket or something and then perhaps the other thing you like is portraiture and say maybe you get and they got lots of lots of money you get some digital hasselblad you know 20,000 pound medium format thing you know which would be terrible if you try to shoot sport with it but it would be brilliant in the studio so maybe you get two different systems at that point because you know they're specific things for doing specific jobs but when you're just starting out stick to one system and you know start with one camera and preferably one lens as well to kind of get used to that and you know get used to a focal length it's really nice to be able to do that so get yourself a little nifty 50 or whatever it is I mean you know obviously a lot of cameras come with the kit zoom 18 to 55 and whatever it is that's useful it's perfectly useful but one camera one body get used to those and then when you figure out where the limitations are for you then add on to that system or you know figure out what you need to change to get to the system that you ultimately want but you have to start somewhere and if you're just sort of generally you know getting into photography get the one system so that's it so next question from a chin Thea Prem chinti asks i have a nikon d50 300 and a 35-millimeter 1.8 g prime lens i want to do more street photography and night low-light astrophotography mainly stars so yes I want to do more low light night photography in brackets mainly astrophotography stars and things like that and yeah walk around type of lens i don't know if that's included in the first one my budget is less than eight hundred dollars strictly ok right so i think the question therefore my chin Thea is you know what you know what other lenses would would you recommend you know in that eight hundred dollar or less you know for doing street photography and astrophotography that kind of thing ok so yeah basically when you're looking at doing street photography getting something that's that's nice and wide is is useful for the way I shoot I like to shoot on the wide end and get close to my subjects some people prefer to go telly and independently it depends on at the type of person that you are and people like Jay may sell for example when he does his street photography he uses of 72 300 because he likes to look at the scene and snip out one little bit of it other people like myself for example I like to kind of get really up close with a wide angle lens and fill the frame with something really wide and get that sort of dramatic look of the wide angle so it depends slightly on what type of steep photography you like and also kind of how brave you feel about getting up close to people with the 35 mil 1.8 it's not a bad lens for doing street photography on your D 5300 being a crop rd it will give you a focal length equivalent of about 50 millimeters so we're sort of normal focal length and that can be quite useful it is a lot you can do with that only cartier-bresson is 250 ml a lot and you know because it got really good results with it but if you do find when you're shooting with that and this is my recommendation basically fewer chintia shoot a lot of street photography like that and if you figure that you are cropping into that image a lot in your when you're doing page production and you're actually snipping into that and getting in you know you to get closer they neither get along the lens or you know sort of practice getting closer to people and and you know there's some techniques that you can do there if it's just a bravery thing but if what you like is to compress the background and just snip out portraits and things like that get something on the long end if however you find that when you look at the pictures in post-production that actually you wish you'd got more of the scene in or you wish you've got more you know width to the picture and then go for something a little wider than the then the 35 so that'll be that and then astrophotography it's really something on the other end or astrophotography you're looking at something that telly and the more telly the better there are it's not my area of expertise I stray photography so I'm not going to give you specific lens recommendations for that but you know it's something something telephoto is good the other thing that I would recommend is is a really solid and stable tripod I don't know what you're using at the moment but you know half the battle with astrophotography is having a really heavy fixed solid tripod if you can get one that's as heavy as you can and also get one of the ones where the little sort of middle pin that sticks through the middle has got the spring hook on the end that you can put your camera bag on that it weighs it down but lens wise yeah I mean if you're shooting like you know the moon and stars and things like that then the longest lens you can afford is it is good I would shy away from getting teleconverters simply because there is a bit of a loss of image there and you do kind of the picture darkens down quite a bit as well so you know if you can't get a get a longer lens that would be good but astrophotography isn't my field so I can tell you exactly what lenses people use I would probably find some astrophotography forums and find some people that are interested in that probably that you'll find some people on YouTube as well that have done some good tutorials about doing a straight photography and they will have some good lens recommendations to go there so do a bit more research and see what you can find up in my advice on that one so next question Alex LEM he asks have you tried the tokina 11 to 18 2.8 Nick on mount with an adapter for the ex pro war of the xt-1 do you think it would be an alternative to buying the 10 to 24 fuji appreciate your thoughts so yeah I'm the 11 to it's actually 11 to 16 I think we're talking about the same range this is it here it's the this is the tokina 11 to 16 2.8 I f DX well yes as you can see I have tried it this is indeed the nikon mount this is the the nikon f-mount on the lens there and I've got an adapter which should that's it through to my fuji matts it will work on The X Pro one and it'll work on the xt 12 yes I frankly and honestly and simply yes I do think it's a good alternative to the 10 to 24 for a couple of reasons yours talking is believed about the xt-1 and the xt-1 out of these two cameras x-pro 1 and the xt-1 and both of which have really good sort of focus assist mode but the the focus assist modes in the in the xt-1 are better than the ones in the X Pro one simply because you can in the color you can change the color of the focus peaking which is really nice and it's also got a split screen image as well also when you're shooting really wide open then you know sort of more of you got more depth of field in the picture anyway so you know between 11 and 16 millimeters you know if you're set up sort of F 5.6 f8 then pretty much everything is going to be in focus all the time anyway and so you know it's pretty it's pretty hard to get things out of focus with this lens and the one thing I would say though is that because the these lenses that like the Nikon G lenses if you've ever used in the kanji lenses on your Fugees you'll know that you can get like the sort of standard type adapters but because there's no aperture control on the lens itself like around the the actual lens barrel unlike the Fuji lenses and the older nikon D lenses there's no there's no aperture control ring on there that the only rings you got there of a focus and zoom so what you need to get is a type of adapter that actually includes aperture controls so this one has got a this is by fotodiox it's a fotodiox pro i got it off ebay and it costs about 80 pounds something like that and what this does is it gives you a pitcher control you probably can't see in there but there's a little pin in there that comes out and moves the aperture blade control you know that's on the it's on here it actually controls that so that allows you to get to get aperture control into your lens a couple of things with that one the there are different types of these I believe but on this one as you can see there are just some markings which go from a clear circle to a solid circle and this is basically just indicating how tight the aperture is in there it doesn't have f-stops on there so if you're when you're using this lens you really just have to use the the screen or the digital viewfinder or the the exposure you know the light meter needle to get your exposure correct you know you can't Sonny 16 it because I don't know where f60 is there and I don't know what my reciprocal values are because there aren't any there aren't any values on the lens so yeah but you can use it perfectly acceptable in I've certainly don't have a problem with that certainly in normal shooting you just get the aperture to kind of roughly where you want it for the depth of field you know the the live you know sort of information that comes through the electric viewfinder and on the screen on the back will tell you where your depth of field is automatically and it'll tell you where your exposure is automatically and if you've got the histogram switched on and things like that as well that'll avoid clipping and it's perfectly easy to do the other really nice feature about this particular unit is that on the side there's a little switch and it goes from a smooth smooth line a smooth sort of sine wave line to a block line and what that means is when it's smooth like that it means it's a stepless aperture control so that rather than clicking so f2 f2 point a f4 5.6 it's smooth it's completely graduated like that which is brilliant for doing video and then if you flip it back the other way then it's clicked and it unit you've got your you know basic clicks in there so you can kind of work out you know like if the first one is f 2.8 which is the widest that this lens goes and I think this lens goes to I think probably f-16 to look that up but you can kind of figure out where the clicks are in between if you're really worried about knowing but I don't bother I just kind of put it to where the depth of field looks nice for my picture and the exposure is correct so that's that so yeah basically you can works really nicely and the image quality of those to quino's 11 to 16 a brilliantly brilliantly sharp so that said okay so notice ? Fletcher he asks would you still recommend the x-pro 1 given its age although as i type this i realize that i wouldn't think twice about buying a canon 5d mark 3 which is a similar age yes and no is the answer to that if you're the you can buy now an X and X Pro one for very little money then relatively speaking i mean you can buy one new for you know five or six hundred pounds and quite often you'll find that bundled with a you know maybe a lens or two as well so it does represent very good value for money and the only thing i would say is that now the xt ones are kind of almost as cheap they've been out now themselves for you know good 18 months and so they're starting to come down and you can certainly in the UK you can get a new xt one for about 700 pounds body only that kind of thing and those prices are coming down all the time so the difference really is probably only a couple hundred quid so it depends I mean I overall you know it just has to be said that the xt-1 is a more accomplished camera than the x-pro 1 it fixes a lot of the niggles but it does depend on how you shoot I mean I still love this camera dearly it's just that there are some things that it does you know better than others and certainly you know for me having the weather sealing on this is brilliant having the ability to tether it through the phone and do the remote capture is very very useful for me personally and the snappier autofocus with the phase detecting I find incredibly useful incredibly good so I do use that a lot that being said if you're if you're not shooting professionally and you know this is such a wonderful camera to use i love the hybrid optical viewfinder i still think that's a work of art it is genius if it's so beautiful you know i don't use it so much but when i do i really love it and having the the frame lines sort of you know superimposed over the top of there like a kind of range finder it harks back to just those lovely sort of you know contacts ease and likers back in the day and i really enjoy it and because you can get them so cheaply now certainly on the second-hand market you could probably pick one of these up for 3 400 pounds sterling that's like that kind of thing so you know for that kind of money to get into you know what is a very very nicely built camera that's capable of producing incredibly good images then yeah you know it is very very good however now I've got the xt-1 as well I just find myself this is the honest truth or just find myself not picking up the x-pro 1 simply because everything that the xt-1 does slightly better just makes me want to kind of pick that camera up before the x-pro 1 and it kind of almost breaks my heart to say that because you know I do love the x-pro 1 and you know you almost feel disloyal to a camera like this because it's it's such a wonderful thing to hold and to use except when it starts to you know give you niggles so it depends if you're on an absolutely capped budget and you can't stretch to the extra sort of hundreds of 200 pounds that it'll probably cost you to get the xt-1 and you'll have a lot of fun with the x-pro 1 although in those instances you may want to consider something like an ex situ or even an xt 10 because you can get an ex t10 now which is basically a slightly smaller version of the xt-1 which isn't weather sealed but basically has more or less most of the same features on it for probably about the same money as one of these if not a bit cheaper than one of these now so that now really is a very interesting proposition if you can't stretch to the xt-1 maybe have a look at the X t10 so there'll be my recommendation on that so where are we this is andrew chung he says i recently purchased a fuji xt one and wondered if you had some advice on manual lenses to add to my kit bag and what would you need to buy in terms of converters and things but also appreciate your advice of the standard lens the 18 to 55 plus the 35 mil but thought about the 23 and or fifty six millimeter for some gym photography is it worth getting the 23 even for a daily lens or is better to skip that and go straight in and fork out for the 56 millimeter thank you in advance okay Andrew so yeah basically in terms of manual lenses I both parts of the question almost kind of like feel the same to me in the sense that the lenses that you end up buying really are dependent on the type of photography that you're going to be doing gym photography and you kind of almost want something on the wide end so that you've got the scene of the gym and the general scene of people working out and then something that's a little bit more telly as a portrait lens to do close up pictures of people as well so you know I would say that you know in terms of both manual lenses and whether or not you get the 23 for those instances you know yeah probably the the you know either you've got the 18 millimeter on the on the kit lens the 18 to 55 you can go out wide so you can save yourself a bit of money there when the 18 is is cranked all the way back to 18 it's a 2.8 lens so it lets lots of light in so that's very cool and then you can just use the 56 for doing the close-up stuff so that might be one way to go there alternatively if you find that you are pretty much on your 18 to 55 kit lens racked out you know between 18 and sort of you know 30 you know that kind of thing about that first bit of the zoom range and you're going in that far and it's only just occasionally that you're putting it in 256 millimeter 55 millimeter they maybe hold off getting the 56 for now because you know obviously if you're not using it so much and then get the 23 which will give you it's a bit brighter so you could go down that route there and in terms of manual lenses i would really sort of say the same thing i mean just kind of figure out you know what type of photography that you like to shoot so presumably do other things apart from shooting in the gym i don't know or maybe that's your special ism but what type of shots do you want to get and then pick the pick the focal length that you want for that I mean generally speaking in terms of what brands have lens you've got such an open field I the lenses I use most on my the manual lenses they use most some old Nikon lenses that I've got I've got the nikon 105 macro the d version of that with the aperture in control and that is such a sharp lens and it produces brilliant portrait engines on there the 105 gives you a nice bit of compression and i actually prefer the compression on that to getting the 56 millimeter 1.2 although you know you got that nice shallow depth of field but 55 isn't that it doesn't compress the features in the same way that a 105 does so i would rather step back a little bit further and use 105 if i'm doing portrait stuff in the studio or location or something for sort of less formal portraits or like more head and shoulders stuff and i use a tokina 55 1.8 which is a very nice lens and i also use the carl zeiss by o-tar Jenner f2 which is a 58 millimeter lens so it depends either one that I've got both of those and I switch out they've got slightly different looks to it the bio tightly more contrasty and it just depends on what i'm feeling in terms of the mood there but they're very nice the super takumar lenses are very good i've also got a hundred and thirty-five millimeter 3.5 which again i use with more portrait stuff and if i want a little bit more longer throw but still needs something that's reasonably bright so that's a really nice density is there but there are so many available i mean i would really recommend looking at these zuikou lenses from olympus because they're fantastic obviously if you happen to have an old like of kicking around and you've got some single runs and things they're going to be brilliant on there as well there's a brilliant load of Carl Zeiss staff voigtlander make very nice lenses there's some brilliant old minolta glass that's kicking around out there and i'd really recommend having a look at some of that so have a little play with these things trying and you know sort of figure out first of all what focal lengths you use most and then just have a player the nice thing is a lot of these lenses you can still buy relatively cheaply so you can kind of experiment with them try them see if you like them and then chuck them back on ebay afterwards and you probably make your money back if you've got one in good condition so yeah that's what I recommend for that but it so anybody that's really looking at you know worrying about what lenses they're trying to get use whatever lens you got to start with and take pictures and then fathom out you know if you're like have a look at the martyrs if all your subjects are tiny in the middle of the frame and you're just not getting close enough and it's impossible for you to get closer by using your feet and walking there then get a Tele lens if you find that you know sort of thing that the edges of things are cropped off you're shooting a lot indoors in tight spaces with you know your friends or street photography or people closer and around about you and you want to get wider or you're doing interior shots and you wanna get the whole room in and you're not quite being able to do that get something wise if you find you're shooting a lot in the dark you know maybe you're doing a lot of concert photography or and you know you're out in the streets at night and you want to get you know brighter lens than your standard kit lens get a prime millimeter with it with a brighter lens on it you know brighter aperture so you know the type of lens that you get is always predicated on the type of photography that you do so that's the really important thing to remember there so okay final question of this episode it is Matthew Norberg he said I've read that lenses made for full frame cameras don't work well with aps-c cameras aps-c sensors causing vignetting and smear done sharp corners can you address this yeah I can basically it's the flip of that if you you can use full-frame any felt full frame glass on an aps-c camera and basically you actually get a very beautiful crisp image because it's not using the edge of the lens the aps-c sensor is smaller than the the full-frame 35-millimeter sensor so it's only using the scent of it of the image circle from that lens so you don't get any vignettes and you get a lot less vignetting when you're open you know if you get a lens at vignettes a bit on 35 mil and you put that on aps-c you'll get less Vinnie etting and because the center part of the lens tends to be the sharp is bit then you get more edge to edge sharpness through that than you would if you're putting it on the 35 mil the other way round then that's definitely the case you know if you put a like this for example this 11 to 16 tokina is designed for an aps-c image circle it's designed for that smaller smaller image circle so if you then put that on to full frame it won't quite reach the edges and so you will see vignette singh as it gets to the edge and because the the image circle doesn't quite get to the edge of the full frame size of sensor so it gets darker at the edge and yea the very extreme edge is that you will see you know smearing and darkening and weird stuff going on around the edges and it'll just darken away to nothing simply because it's run out of image circle so that's basically it so yeah basically the good news is that any full-frame lenses you can use on aps-c so hooray for that because it gives you a huge amount of choice you can get onto eBay and go mad and violated really cool vintage lenses from old 35 millimeter film cameras and they work like absolute gems on these so that's it thank you very much for your questions and yeah please leave more questions in the comments below and I will stick another video up and answer then too thanks very much for watching and I'll see you again soon JS