Henry Turner is full of $h!t!

12 mil lovely and wide that versatility is absolutely class and again I sound like this is this is inadvertently becoming an absolute prime lens bashing video I don't mean to talk negatively about prime lenses at all I think they're fantastic I think they've got a place I think the're wonderful for the beginners for many different reasons the cheaper you can get incredible image quality out of them but you know I just said all that so you don't think I'm bashing them but yeah Henry Turner is full of now I say that mostly in just mostly I watched nearly every single one of Henry's videos I love Henry don't get me wrong Henry I love you buddy I find your Zeal and enthusiasm for photography absolutely infectious and honestly I'll sit down and watch one of your videos before I head out myself just to set my own mood however buddy you out of line with your business about prime lens not having their place in landscape photography now I know that's not what you said you said prime lenses have their place but the implication was that they didn't have a place in landscape photography now Henry was absolutely right absolutely right when he said that the zoom lens were fast and versatile absolutely are absolutely are but we're a Prim lens shines obviously macro photography portrait photography Etc where a prime lens can Shine for a landscape photographer is here in the Woodland and that's kind of why I'm here today is to prove you wrong I hate Woodland photography I take that back I love Woodland photography I love Simon Baxter's Woodland photography not so much my own I struggle with it because it's so chaotic it's it's so busy and I have such a hard time picking things out of the scenery and simplifying them that is where the prime lens comes into play because what you're not going to get with your Zoom lens is an f1.8 aperture and that f1.8 aperture is perfect for finding the star of the show and separating it from the chaos behind it so hopefully that's what we're going to find today there's two photographs that I want to take at this location one of them I already have in my head and I photographed it once before but I wanted to come back with a wide lens to to to shoot it and it's it's a set of stairs a little further into the Woodland and the other photograph is that star of the show in the woods that I can separate from the background um to counter Henry's point and show you that a prime lens is absolutely suitable for landscape photography all right let's crack on and see if we can find something and if any of you are wondering what this strap is that I've got around my neck that is attached to my camera it's just a single point rifle sling that instead of being attached to a rifle I have attached to my camera and it just allows it to hang at my side rather than hang out inside my backpack because what I found is that if I'm cruising through the woods I'm less likely to give a composition an opportunity to be composed if my camera is in the backpack I'm not as likely to stop and dig out my camera so I'm trying this thing with just keeping my camera out and accessible around my neck uh that way if I see something it's it's nothing to just bring the camera up to my face and and have a quick look I don't have to stop and dig the camera out of the bag um this bag does have a quick Side Access pouch for pulling the camera out um but it's still it's it's it's not perfect so I'm just I'm working with this until I figure out a better solution um but yeah single point rifle sling uh this is not the one that I carried in Iraq the one I carried in Iraq has a lot of sentimental value so it is at home this is just a cheap one that I picked up on Amazon um you can pick them up for about $7 us but yeah so far it's it's it's actually done exactly what I've expected it to do I walked by a couple of spots brought the camera up and and work the scene I didn't really get a good shot yet but if the camera was in my bag I would have just walked right on by it all righty we've got a shot uh it's not Simon Baxter but it's definitely Tony hog grave it's dark and I like it um so as you can see by the light on my face uh the light's pretty harsh uh it's six hours before Sunset so the light coming down is it's got a lot of contrast to it but let me just spin you around so you can see what I shot and I've already taken the photograph what we're looking at is I'm set up in a vertical composition and it's just this fallen tree right here with the with the moss on it you can see that the the light is really bright really contrasty but there's so much chaos here and I really want this to be the star of the show and I'll just show you what we've got here in the camera me throw this up just now so that's at F22 here you see everything is in Focus here but if we dial back and I don't know if I'll be able to do this but that right there is about the level of Darkness I'm shooting at but if I dial back to f4.5 I me the camera it's not going to show you the the darkness that I want but you can see how all of this back here starts to fall out of focus everything back here will fall out of focus and the only thing we keep in focus is this tree right here now that is where the prime lens absolutely shines now you see here this is where the prime lens pretty much shines all right let's get out the phone we'll keep this running oh where is the phone no where's my phone I didn't bring my phone with me I didn't bring my phone I sure a did not bring my phone please enjoy this side by side comparison while I walk back to the car for my phone all right so this is the location of the other photograph that I wanted to take I photographed this a couple of months ago um and I and I did it with my wedding lens my wedding lens is what I call my 28 to 135 I call it my wedding lens because it will do an okay job of covering most scenarios that you might find at a wedding uh and it does okay with landscape stuff but I shot this at 28 mm and I really wanted it to be so much wider to give these stairs a lot more drama so I'm back today with my 17 to 35 we're going to shoot this at 17 mm going to get nice and low and shoot up the stairs the other nice thing about about today is that the last time I photographed this the the skies were very gray you know there was just absolute mud in the sky and at the moment just now I there's absolute Bluebird Skies there's no there's no interest up there whatsoever there isn't a there isn't a wisp or a hint of a cloud and it's also probably what 2:30 in the afternoon if that 2:00 in the afternoon so it it's the light is super super contrasty and if you look up the stairs there's just all sorts of dappled light so what I'm going to do is is I'm going to expose for those highlights and let everything else fall in the darkness and I'm hoping that that's going to give a more ominous feel so let's let me let me go ahead and get this set up and we'll have a look in the camera so unfortunately this dappled light isn't coming all the way down these stairs I there is just a touch of it just down here at the bottom but it's really coming into play about halfway up so I I'm thinking because of what I've got here I'll just throw this up on the camera here up on the screen here real quick so you can see how I'm composed we're just here let me darken this down a little bit so you can actually see what I'm actually shooting we are at f11 that is about what my exposure is set and as you can see the light really isn't coming into play until we get up here there's a touch of it just there but it's not doing much for me and I'm not sure this particular Viewpoint is giving me exactly what I'm after I'm thinking I may have to get a little higher I think I thought getting down low and shooting up the stairs would make it would make it a little more ominous but Ian I'm going I'm going to shoot this and then I'm going to play around with a couple of other different compositions and and see what what we land on um um my intention is to is to convert all of these to black and white and push the contrast and really just kind of go for that ominous feeling of the stairs um but what I had envisioned is not coming to fruition so I have to tweak the vision just got to work the process got to work the process we're going to find something because there's something of value here all right all right let me put you away so I can work I am backed right up against this tree so I can try to get this composition the way I wanted it to be uh we just throw this up on the screen so you can take a peek at it what we're looking at there uh that's the bottom of the uh tripod of the GoPro uh is I just wanted to get the stairs cutting diagonally AC acoss the the the screen here and again letting that dappled light be the star of the show and I'm still not sure if I've got the shot I like it on the on the back of the camera but I'm not sure if it's going to pan out when I get back home um it is what it is I've got the shot it's already done what's done is done I get home and I like it great if not well well whatever you know I've I've worked the scene I've done my part um but yeah I'm not sure yeah I'm not sure if I got the shot I wanted but I've been working this for a good 45 minutes um I'm running out of time because I got to get my butt out of here I got to do some shopping this evening because in the morning I am leaving for Ohio to head down to the hock ing Hills State Park uh to shoot some some waterfalls and whatnot but anyway uh that'll be next week's video maybe or later this week or whatever anyway we'll figure it out um but yeah I think that might be it and uh I appreciate you sticking around and watching and and again Henry just busting your balls I love your videos I love your banter and most importantly I love your photography uh but but yeah man don't go knocking those prime lenses see you next time

Channel: Tony Hogrefe

Views: 9,566

Keywords: landscape photography, photography, prime lens, zoom lens

Id: cLOYVs_3RXA

Length: 14min 12sec (852 seconds)

Published: Sat Apr 06 2024