We’re definitely a Canon family at MotionBlurr, and as a result in possessing cameras of the same lineage, we have the invaluable advantage of sharing each others’ lenses. We shoot both stills and video on our trusty SLRs which means investing in decent glass is a must. So far in the family we have three 50 millimetre f/1.8s; small but powerful lenses that give a very nice, flattering, soft look due to their shallow focus and even contrast. We also have a couple of Tamron 17-50mm f/2.8s, which have a large zoom range, making them flexible in tight situations.
Recently I took the plunge and went for what some would consider a speciality lens: the 11-16mm f/2.8 Tokina, which if you look through the camera viewfinder on it’s widest range, actually allows you to see wider than the field of vision of your own fucking eye!
It’s pretty cool, like having a robot eye. Everyone wanted to be a robot when they were a kid right?
You’d think with such a wide range the image would be as fisheye as a Beastie Boys music video, but it’s only minorly distorted, a distortion that only reveals itself when close to a subject. However it’s the distortion in this lens that allows it to take some truly unique shots, by positioning the camera close to something then looking down the object’s line of perspective, you make things seemingly plunge into the far distance, their three-dimensional depth exaggerated by the lens. The same object taken by a longer lens would have a much flatter image, bringing the plains of perspective close together rather than far away.
Without the Tokina, I wouldn’t have been able to get shots like this on the Chiddy Bang Tour.
Every lens has it’s use. Word.