Best camera lens for portraits. Touch screen camera reviews.

Best Camera Lens For Portraits

best camera lens for portraits
    camera lens
  • a lens that focuses the image in a camera
  • A camera lens (also known as photographic lens, objective lens or photographic objective) is an optical lens or assembly of lenses used in conjunction with a camera body and mechanism to make images of objects either on photographic film or on other media capable of storing an image chemically
  • (of a page, book, or illustration, or the manner in which it is set or printed) Higher than it is wide
  • A painting, drawing, photograph, or engraving of a person, esp. one depicting only the face or head and shoulders
  • A representation or impression of someone or something in language or on film
  • (portrait) any likeness of a person, in any medium; "the photographer made excellent portraits"
  • Portraits is a concept album by Breton band Tri Yann. It was released in 1995 under the Declic label.
  • (portrait) portrayal: a word picture of a person's appearance and character
best camera lens for portraits - PoPsie: American
PoPsie: American Popular Music Through The Camera Lens of William "PoPsie" Randolph
PoPsie: American Popular Music Through The Camera Lens of William "PoPsie" Randolph
Haunting the recording studios, jam sessions, concert halls, and nightclubs of New York City, William "PoPsie" Randolph chronicled the postwar transformation of American music from swing and jazz, to rhythm & blues and rock n' roll. The 100,000 negatives left behind after his death in 1978 span the giddy, glitzy heyday of swing in the 1940s, the hot and cool jazz spawned in the clubs of 52nd Street, the rumbling emergence of black R&B and doo-wop, the sudden explosion of rock n' roll in the late '50s, the rise of Brill Building pop and the British Invasion of the '60s, and the growth of rock into a multibillion-dollar industry by the '70s.
PoPsie's son Michael has chosen the very best of his father's collection for inclusion in this remarkable book. Here readers will find luscious black-and-white photos of everyone from Benny Goodman and Billie Holiday to Elvis, The Beatles, Hendrix, and the Rolling Stones. Insightful text explains the time, people, and place of each captured moment.

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A standard lens that's anything but standard: Pentax FA 31mm f1.8 Limited
A standard lens that's anything but standard: Pentax FA 31mm f1.8 Limited
Belated upload of yesterday's lens of the day. Like Canon's "L" lenses, Pentax has a line of permium lenses; they are called "Star" lenses, because their nomenclature includes, literally, a star (often substituded by an asterisk in roman characters). E.g., Pentax DA* 16-50mm f2.8. There is another line of lenses that are, in terms of their positiion in the lineup, slightly unique. They are called the Limiteds. They typically do not have the bestest of best specs. E.g., an FA* 85mm f1.4 is a giant, fast, monster of a portrait lens, that is the Pentax equivalent of the Canon 85/1.2L. The Limited counterpart is the FA 77mm f1.8 Limited (or the newer DA 70mm f2.4 Limited). As the numbers suggest, spec-wise, the Lims are slightly below the Stars. The Lims, you can say, have a different philosophy. Spec is not necessarily the highest priority; rather, relative compactness is. Thus, all the Limited lenses are quite compact, with this 31 Lim being, by far, the biggest of the bunch. The speeds are typically about half stop slower than the "best of the best". FA Lims are all either f1.8 or f1.9. The DA Lims are all slower than f2. The Limited line's focal length tend to be funny; FA 43mm, FA 31mm, and FA 77mm. And, the Lims are all made out of machined aluminum :-D With all technology aside, this is simply one of my favorite lenses to use. It has a way of rendering pretty much anything I shoot wonderfully. So much so, in fact, that I find my self picking this up whenever I need to take a product shot to put things on Ebay or upload on Flickr. It also helps because on an APS-C sensor, the 31mm focal length quite closely approximates the field of view of a 50mm "standard" lens on full frame cameras. It's just way versatile. The irony is, because of its versatility, I find I often shy away from this lens for all my "other" stuff. Call me perverse, but I like to shoot under conditions that require something more or different than "let's find something nice to shoot and take a pretty picture of it." That said, the lesn has, for a 31mm "wideangle" lens, a very nice bokeh quality and superb color rendition. Like many Pentax lenses, it can get some nasty purple fringing in high-contrast shots, which is the one negative aspect of it, but like all Pentax lenses, it's SMC (Super Multi Coat) coating is absolutely fantastic, producing great contrast and high flare resistance. I consider myself very very very lucky that I bit the bullet and bought this a year ago when they were still available for $650-ish. Now, the lowest Ebay price for this is $1189 (yikes!).
Latest Family Portrait
Latest Family Portrait
Some friends asked about photo of my equipments, so here they are. Only some of them though, but these are my main set. may be i should write a few note on those lens. Tokina 12-24mm, my wide angle, very well built and constant f/4 is very nice. Tamron 90mm macro, very sweet lens for me. always want to upgrade to 105mm VR but result from this lens always change my mind, and it's very light lens to carry too :) Nikkor 50mm f/1.4, the only lens i will carry for night walk, very small and quality is so good ! Nikkor 85mm f/1.4, if i want the best image and bokeh quality, this is the one ! 70-200mm f/2.8 VR, my most expensive and heaviest lens :) but really worth the price :) 70-300mm VR, 1/3 the price of 70-200mm and half the weight too. to be honest, i'm so impressed with the result. if i don't want to carry that 1470g of 70-200mm, this is a much lighter alternative :) Lensbaby, if nothing else work for me, this is the one to spark my creative idea :)

best camera lens for portraits
best camera lens for portraits
In Focus: National Geographic Greatest Portraits
National Geographic Greatest Portraits tells the story of portrait photography through the eyes - and words - of five accomplished National Geographic photographers. The book showcases images never-before-seen alongside award-winning favorites. New and fascinating text reveals photographers' individual experiences photographing people and their evaluation of NG portraits produced during each decade - from the late-19th century until today. In Focus opens with a beautiful and surprising look at National Geographic's contribution to the knowledge of the world's peoples through photography. Five chapters follow, each spanning approximately two decades and covering an era in world history and photographic style. The chapters are: Before 1930 (Exploring the power of photography), 1930s-1940s (The Great Depression and World War II), 1950s-1960s (Bright colors and perky smiles), and 1970s-1980s (Back to realism), and 1990s-Present (Everything is relative). Each of these chapters is a portrait of the world.

Through the years, National Geographic magazine's staff photographers have often elevated stock depictions of "exotic" cultures into haunting glimpses of other lives. In Focus: National Geographic Greatest Portraits presents a century of captivating images of ordinary people from around the world--280 photographs of pleasure, grief, stoicism, shyness and sheer endurance. In thoughtful essays, five photographers frankly assess changing notions of authenticity and discuss their own methods of capturing a stranger's personality on the run. In the beginning, the magazine showed people stiffly posed in their native costumes, viewed as anthropological specimens. Advances in camera technology created a greater degree of intimacy and spontaneity. Then came color film, which ushered in an era dominated by corny themes and perkily posed subjects in brightly hued clothing. The 1970s marked a new honesty in portraiture, a willingness to go beyond the superficial to investigate the small moments that make up daily life everywhere.
In Focus draws upon the magazine's complete archives to raise intriguing questions about how editorial choices help define our understanding of the world. For example, in 1981, National Geographic published Sam Abell's elegiac portrait of Rosa--the last of the Yahgan Indians of Terra del Fuego--wreathed in atmospheric smoke against a dark background, in the stately tradition of Edward S. Curtis. We also see one of Abell's unpublished photos of Rosa in her modest home, grimacing as she stands in the blue light of her TV, next to a poster commemorating the restoration of Chile's constitution in 1980. The gallery of portraits in this splendid book includes many memorable faces, from the unnerving grin of the Wodaabe tribesman in Niger (who wears colorful makeup as part of a courtship ritual) to the sunny self-possession of a child in Murmansk who holds up four tiny fingers to indicate her age. Beautiful women abound--they have helped sell the magazine from its earliest days. As the decades go by, people everywhere seem more at ease being photographed. But they remain as fascinating as ever, perhaps because we'll never know what they were thinking when the shutter clicked. —Cathy Curtis

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