Lens Film
Lens Film
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 Nikon F2 film camera with lens  US $117.25
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 Canon EF 50mm f 18 II Lens As Is US $33.00
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 Nikon Micro Nikkor AF S 105mm f 28G ED IF VR Lens US $585.00
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 Canon EOS IX Lite Film Camera Lens Remote Film US $71.50
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 Hand Grip Strap For SLR Digital Camera CANON NIKON More US $4.99
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 Nikon AF Nikkor 35 70mm f 28D Lens US $280.00
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 Nikon AF D Nikkor DSLR Zoom 28 80mm f35 56 Mint US $85.00
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 Sigma 10 20mm F4 56 EX DC for Nikon US $355.00
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 POLAROID SX 70 LAND CAMERA ALPHA 1 US $66.00
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 HP Photosmart M537 Digital Camera 60mp NEW store demo US $51.00
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 RICOH KR 10m 35mm FILM CAMERA BODY PENTAX K LENS MOUNT US $14.80
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 NIKON AF50mm f 18D LensLLN w CapsinstrbookORIG BOX US $118.85
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 Schneider Kreuznach Super Angulon 90 F8 Copal 0 Shutter US $225.00
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 Macro Lens WIDE ANGLE For NIKON D700 D300S D3000 D5000 US $37.98
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 Nikon AF Nikkor 70 210mm f 4 56 Lens with UV Filter US $61.00
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 NEW FS1000 Digital Film 35mm Negatives Slides Scanner US $17.60
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 2 Mamiya 645 1000s Film Camera US $305.00
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 PENTAX SP500 35mm Film Manual SLR Camera Good Student US $61.00
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 Nikon AF S VR Zoom NIKKOR 70 300mm f 45 56G IF ED US $345.57
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 Pentax P30T 35mm Film Camera with Vivitar 28 70 lens US $19.99
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 Polaroid One Step 600 Film Camera US $.99
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 nice Kodak Automatic 35 w case flash US $9.95
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 Super WIDE ANGLE Lens For Nikon D60 D2Xs D300 D40X D80 US $27.50
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 Minolta Maxxum STsi Camera Tons of Extras MUST SEE US $160.00
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 28Pc 58mm FILTER SET LENS KIT FOR CANON REBEL 350d XT US $37.00
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 Telephoto Lens 199A Flash for for CANON Film Cameras US $15.95
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 New Digital Film 35mm Negatives Slides Scanner US $42.95
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 Minolta 110 Zoom SLR with 25 50mm 146 Zoom Macro Lens US $.99
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 Canon EF 70 210mm f4 Zoom Lens w 2 year warranty US $135.00
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 Leica M2 Body Only 35mm Film Camera US $559.95
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 WIDE ANGLE Zoom Lens For NIKON D60 D300 D200 D80 D40 D3 US $37.98
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 Nikon AF 35 70mm f35 45 Autofocus Zoom Lens US $23.50
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 WORKING 35mm Camera ASAHI PENTAX K1000 w 50mm LensCASE US $66.00
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 POLAROID One600 CLASSIC Camera BLUE One 600 film WORKS US $44.99
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 52MM 28Pc lens Filter Kit for NIKON D5000 D3000 D60 D40 US $37.00
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 Nikon Nikkor MC Auto 128 f24mm US $73.00
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 S743 Travel Camera Bag for Sony DSC H1 DSC H7 DSC H9 US $10.00
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 E786 Camera Travel Bag for Canon EOS 500D 1000D 450D US $10.00
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 52mm 28pc Lens Filter For Canon AE1 AE 1 Nikon D50 D40 US $37.00
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 Canon EOS 5D 128 Mega Pixel Full Frame Digital Camera US $1,112.00
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 HITACHI DZ GX5020A CAMERA BAG DVDS SD CARD US $96.50
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 Nikkor H Auto f28 Nippon Kogaku Japan US $50.00
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 ARRIFLEX BL 2 SUPER 35 FULL APATURE 35mm Mint US $15,990.00
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 52mm 20x Tele Lens for Nikon D40 D50 D60 D3000 D5000 US $.01
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 ANGENIEUX 12 240 CAMEFLEX MOUNT US $300.00
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 Mamiya ZM SLR film camera with two Mamiya lenses US $99.00
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 Canon AE 1 Camera w 35 70 zoom Vivitar MC 2x 4 Tele US $20.63 |
 MINOLTA MAXXUM 7000 SLR CAMERA 35 70MM US $25.99
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 139914 PHOENIX 35 70MM F 35 48 PENTAX PK MOUNT LENS US $19.99
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 NEW FS1200 Digital Film 35mm Negatives Slides Scanner US $42.95
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How Fast Should My Lens Be?
If you are still using a point and shoot film or digital camera, your choice of lens speed is limited to the camera. However for those of you who decided that it is time to move on and upgrade to an interchangeable lens camera, whether it happens to be film, or digital, you are no doubt have been looking at the many lens options available. Large majority of people switch from a point and shoot to a Single Lens Reflex camera. While overwhelming percentage of people move to a Digital SLR, Film SLRs are still popular, and function essentially the same. So, for the purpose of this article, the two types will be treated as one. Lenses are available in so many different combinations, and varieties, that discussing them all is far beyond the scope of this article. However, they all have one thing in common. They are all broken down into two groups: slow, and fast. If you are still struggling with choosing your first lens, or just trying to make the right decision, while faced with many choices, this article should help.
First of all, the speed of the lens is determined by the size of the opening, known as the aperture. The larger the opening the faster the lens is considered to be. Typically, lenses marked with F4, F3.5, F2.8, and smaller are considered fast, while lenses marked with a bigger number are slower. I know this may sound odd, but the smaller the number the faster the lens. If you are new to shooting with an SLR camera, you are most likely looking at “zoom” lenses. Most zooms today have a variable aperture. This simply means that at the shortest end, the lens is faster than at the long end. For example, a typical lens a 28-80mm. This lens zooms from 28mm to 80mm, and it is a very good starter lens. This type of a lens will typically have a F3.5 aperture at 28mm (short end), while at 80mm (long end) it will be F4.5, or F5.6, which is considerably slower than the short end. Typically, the faster the lens, the more it will cost, and the heavier it will be. Most casual shooters look for very versatile lenses, and faster lenses certainly offer more flexibility in certain situations.
Now that we briefly discussed the concept of speed, lets figure out whether you really need a fast lens. The first thing that you have to think about is your shooting habits. Everyone is different, and very much unique. Some shoot landscapes, some only people, others night scenes, some shoot under water, and so forth. Typical casual shooter will likely shoot during daytime, and will likely be shooting portraits, landscapes, city scenes (during a vacation perhaps), and other fairly undemanding environments. If you shoot a lot of photos in dim light, like night clubs, restaurants, museums, outdoors after dark, and other dim light situations, a faster lens is definitely a boon. However, you should always keep in mind that most zoom lenses, while faster at the short end, will be slower at the long end. This is very important, because if are going to be shooting at the longer end of the lens, when shopping for a lens, keep this in mind, and you will save yourself some money. Let me explain. Take two lenses, one is a 28-80mm f2.8(short end) / f5.6(long end), and another lens, 28-80mm f3.5 / f 5.6. These two have an identical range, however the first is faster at the short end. This larger aperture does not come free. You may end up paying 2 times as much as the second lens. If you are going to be mostly zooming to the long end of the range, compare and price your lens at that end.
If you are going to be shooting mostly portraits and other static scenery and plan to use flash, or a tripod most of the time, you will not need a very fast lens, because the added speed will likely be of little benefit to you. As such, you will do just fine with a F4.0 or slower. Action shooters often benefit from faster lenses, and if you are planning to capture sports, animals, and other moving subjects, a faster lens may help at times. The single biggest benefit of a faster lens is the freedom it gives you, when the light is limited. If you are an action shooter, and capture a lot of action in dim light, the extra speed will be very helpful, and allow you more hand-held shooting. Always evaluate how much you are going to be shooting in different environments. Action and low light shooters will most benefit from lenses with apertures of F4.0, and larger. If you think low light, and action will be very infrequent, and you are comparing two similar lenses, choose the budget one, which will likely be just a bit slower. Often, a price of a zoom lens with just a slightly smaller aperture at the long end will be hundreds or dollars less than a similarly sized zoom with a slightly larger aperture.
Most modern Digital SLRs can really offset the need for a fast lens through higher ISO settings, something that Film cameras do by using a faster film. With Film cameras, you would need to switch a roll of film to change the ISO speed. If you use a Digital SLR, switching an ISO is easy, and could be done at any time. This is a huge benefit, and reduces a need for the faster lenses. Unless you are planning to make money with your camera gear, fastest lenses will not be cost effective.
Consider borrowing, or renting a fast lens, in the range which will meet your shooting needs, and test it in the different environments in which you will be shooting. If you are not pushing the limits of the lens, chances are, you will be OK with a slower, more budget friendly alternative. Make sure that you know your budget, and how actively you will be involved in photography. If you plan to trade-up your equipment in a few years, keep in mind that technology only gets better, and making a big investment will make more sense if you are going to get a lot of use out of it.
About the Author
Written by Sam Zaydel, Professional Photographer, and part owner of a Black and White All-Digital Photography Lab. Our Lab specializes in custom conversions of digital color to Black and White images. We are a custom service, and approach all image conversions individually to offer best possible results. No automated process comes close to the quality of Black and White conversions we produce. To learn more about how you may benefit from our service, please consider visiting our Digital Black and White Photography Lab.
What's the difference between using filters and gels on a film camera lens and?
doing the same effects but in post production?
I think that making everything in post is way faster and much more accurate than using filters during filming.
Moreover is cheaper. With a software of effects you can forget about using a red filter in a take because you can do it in post.
But maybe I am wrong.
What do you think?
if you are talking about a film camera, as you state, then you are wrong. motion picture film only comes in one balance, for tungsten lighting. a digital video camera can adjust on the fly for white balance so that reduces the need for some gels. However it is NOT the same as a digital still camera. A still camera can save images in a RAW format which makes almost all color manipulation available in post-processing. A video camera, in particular a consumer video camera, does not have the capacity to record in RAW format for later adjustment. Shooting in AVCHD results in 100:1 compression of the video data, so there is absolutely no lattitude for post adjustment of badly exposed footage.
As to film, you can adjust by also placing gels on the lamps. Many an aging actor requires sets be lit with magenta light which will hide wrinkles and blemishes. This is corrected when the film is processed to de-emphasis the magenta tone. This is the job of the color timer, a position you sometimes see in the film credits. Shooting tungsten film outdoors requires using a filter to restore white balance, failure to due this results in an overall blue tinge. sometimes this is done intentionally, called shooting "day for night" and it give a night-like aura even though the shooting is done in normal daylight.
Broadcast television cameras have even more tricks. With a modern broadcast camera it is possible to adust the chroma resolution based on hue. thus wrinkles are removed in the magenta region while blue eyes remain sharp and chrisp. However it is not possible to do this after the fact of video encoding, so you can't fix everything in post.
The ability to scan and then post motion picture film digitally is really a new concept to the industry. However using a lot of computer horsepower to correct for flaws in the original exposure is not a recommended proceedure. as less experience directors and crews begin manning the cameras, it will become more commonplace, that's for sure.
