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OPTIONAL EXTRAS
The equipment listings so far are sufficient to do the job , but without frills . If you are prepared to invest more , there is no shortage of extras to choose from . Some , like extra lenses or different filters , make different types of image pos- sible . Others , like handheld meters , improve the likelihood of getting the precise effect that you want . Yet others , such as a colour analyzer for the darkroom , simply make life easier . All have their uses - it is up to the individual photographer to decide whether they are of real value .
EXTRA LENSES
Unless special interests take hold from the start , most photographers follow a fairly similar pattern when acquiring a set of lenses . From the standard focal length that usually comes with the camera , they move first to moderate wide- angles and telephotos ( or else achieve the same result with zoom lenses that cover an appropriate range ) . The next step is towards more extreme focal lengths in both directions : a 20mm or 24mm wide - angle , for example , or a 500mm mirror lens . Super wide - angle lenses give not only the expected better coverage , but also introduce kinds of distortion that can be used to make strongly graphic images . Long telephotos and mirror lenses ( the two construc- tions are different , but they both give high magnification ) make it possible not only to enter specialist areas of photography , such as wildlife , but to gain access to views that are beyond the eye's ability to compose unaided .
Similarly , at very close ranges , supplementary close - up lenses , extension tubes and bellows extensions open up subjects at life - size magnification and greater - more images that are beyond normal vision .
METERS
The fact that more manufacturing ingenuity has gone into automatic exposure than into any other area of camera design is no surprise . Getting an exposure that makes the final image look similar to the photographer's perception has always been a prime concern . It has also been a common pitfall . TTL ( through- the - lens ) metering is now highly sophisticated , and works well most of the time One thing that it cannot do , however , is the light falling on the scene , irrespective of the subject . This is , in many ways , the baseline measure- ment , and for this reason most professionals carry and use a handheld exposure meter . If you use flash regularly , you might also want to consider an exposure meter that measures both daylight and electronic flash .
Another kind of meter , more specialized still , is the colour ( or colour temper- ature ) meter . As an extra it is probably a fringe option , but it is the one certain method of ensuring colour accuracy , or colour control , exactly as you want it .
DARKROOM AIDS
A colour analyzer , with its sensor placed on the enlarging easel , will recommend the filtration needed for any given negative or slide . It is , however , only really useful to an experienced printer , and so is the kind of optional extra that is best to consider at a later stage , once you have become more practised . A lightproof paper safe is another accessory that helps speed up operations : as a dispenser it saves having to open and close the box of paper each time .
ABOVE Although motor drives are often used unnecessarily in situations where manual operation would do , for short , sharp bursts of action they have no rivals , particularly if a progressive series is the end product . Here , a motor drive operating at six frames per second reveals the flight control of an open - bill stork as it brakes to land on a branch . The pronounced flicker of the mirror seen through the viewfinder makes focusing difficult when the motor drive is in continuous operation , and it is easiest to work with subjects moving across the field of view .
Although built - in motordrives are becoming ever - more popular , it's still arguable that add - on motordrives both improve an SLR's handling and give greater flexibility . They are not , however , an excuse to use up film ; only use the motordrive when you're unsure of your ability to catch a precise moment during action , or when you want an exciting sequence . It must be said when discussing their use , however , that the flicker of the camera's screen in the viewfinder can make focusing tricky while shooting the sequence .
LEFT This shot of a sidewalk cafe in Montreal , Canada , features just the kind of high - contrast lighting that can fool a TTL meter . Here a hand - held meter would be the order of the day , as it would enable the photographer to measure the light falling on the scene .
ABOVE For accurate , repeatable colour printing , an analyzer is an undoubted help . Its light - sensitive probe can measure either individual areas of the negative projected onto the baseboard , or average the range of tones .
Choosing lenses
The wider the focal length range covered by a collection of lenses , the better equipped the photographer will be to stamp his or her view of the world onto film . However , the sheer variety of lenses presently available can make the choice somewhat bewildering . By far the most important consideration when choosing is your subject matter- owning a fisheye is useless if you only shoot sports action . Shown below is a selection that could be used for general or portrait photography - a 28mm wide - angle ( left ) , a 35mm - 70mm zoom ( centre ) and a 135mm telephoto ( right ) . The photographer has managed to cover a wide focal length range with just three lenses , and yet still has the advantage of the wider maximum apertures offered by the fixed focal length lenses ( the 28mm and the 135mm ) .
OPTIONAL EXTRAS
The equipment listings so far are sufficient to do the job , but without frills . If you are prepared to invest more , there is no shortage of extras to choose from . Some , like extra lenses or different filters , make different types of image pos- sible . Others , like handheld meters , improve the likelihood of getting the precise effect that you want . Yet others , such as a colour analyzer for the darkroom , simply make life easier . All have their uses - it is up to the individual photographer to decide whether they are of real value .
EXTRA LENSES
Unless special interests take hold from the start , most photographers follow a fairly similar pattern when acquiring a set of lenses . From the standard focal length that usually comes with the camera , they move first to moderate wide- angles and telephotos ( or else achieve the same result with zoom lenses that cover an appropriate range ) . The next step is towards more extreme focal lengths in both directions : a 20mm or 24mm wide - angle , for example , or a 500mm mirror lens . Super wide - angle lenses give not only the expected better coverage , but also introduce kinds of distortion that can be used to make strongly graphic images . Long telephotos and mirror lenses ( the two construc- tions are different , but they both give high magnification ) make it possible not only to enter specialist areas of photography , such as wildlife , but to gain access to views that are beyond the eye's ability to compose unaided .
Similarly , at very close ranges , supplementary close - up lenses , extension tubes and bellows extensions open up subjects at life - size magnification and greater - more images that are beyond normal vision .
METERS
The fact that more manufacturing ingenuity has gone into automatic exposure than into any other area of camera design is no surprise . Getting an exposure that makes the final image look similar to the photographer's perception has always been a prime concern . It has also been a common pitfall . TTL ( through- the - lens ) metering is now highly sophisticated , and works well most of the time One thing that it cannot do , however , is the light falling on the scene , irrespective of the subject . This is , in many ways , the baseline measure- ment , and for this reason most professionals carry and use a handheld exposure meter . If you use flash regularly , you might also want to consider an exposure meter that measures both daylight and electronic flash .
Another kind of meter , more specialized still , is the colour ( or colour temper- ature ) meter . As an extra it is probably a fringe option , but it is the one certain method of ensuring colour accuracy , or colour control , exactly as you want it .
DARKROOM AIDS
A colour analyzer , with its sensor placed on the enlarging easel , will recommend the filtration needed for any given negative or slide . It is , however , only really useful to an experienced printer , and so is the kind of optional extra that is best to consider at a later stage , once you have become more practised . A lightproof paper safe is another accessory that helps speed up operations : as a dispenser it saves having to open and close the box of paper each time .
ABOVE Although motor drives are often used unnecessarily in situations where manual operation would do , for short , sharp bursts of action they have no rivals , particularly if a progressive series is the end product . Here , a motor drive operating at six frames per second reveals the flight control of an open - bill stork as it brakes to land on a branch . The pronounced flicker of the mirror seen through the viewfinder makes focusing difficult when the motor drive is in continuous operation , and it is easiest to work with subjects moving across the field of view .
Although built - in motordrives are becoming ever - more popular , it's still arguable that add - on motordrives both improve an SLR's handling and give greater flexibility . They are not , however , an excuse to use up film ; only use the motordrive when you're unsure of your ability to catch a precise moment during action , or when you want an exciting sequence . It must be said when discussing their use , however , that the flicker of the camera's screen in the viewfinder can make focusing tricky while shooting the sequence .
LEFT This shot of a sidewalk cafe in Montreal , Canada , features just the kind of high - contrast lighting that can fool a TTL meter . Here a hand - held meter would be the order of the day , as it would enable the photographer to measure the light falling on the scene .
ABOVE For accurate , repeatable colour printing , an analyzer is an undoubted help . Its light - sensitive probe can measure either individual areas of the negative projected onto the baseboard , or average the range of tones .
Choosing lenses
The wider the focal length range covered by a collection of lenses , the better equipped the photographer will be to stamp his or her view of the world onto film . However , the sheer variety of lenses presently available can make the choice somewhat bewildering . By far the most important consideration when choosing is your subject matter- owning a fisheye is useless if you only shoot sports action . Shown below is a selection that could be used for general or portrait photography - a 28mm wide - angle ( left ) , a 35mm - 70mm zoom ( centre ) and a 135mm telephoto ( right ) . The photographer has managed to cover a wide focal length range with just three lenses , and yet still has the advantage of the wider maximum apertures offered by the fixed focal length lenses ( the 28mm and the 135mm ) .
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