Too Many Lenses?

[Geoff CB]

Currently shoot 90% with either a Voughtlander 40mm prime (god I love this lens) or a tokina 28-70. More and more I'm choosing 1 lens at the start of the shoot and sticking with it. 

[mercer]

Currently shoot 90% with either a Voughtlander 40mm prime (god I love this lens) or a tokina 28-70. More and more I'm choosing 1 lens at the start of the shoot and sticking with it. 

Do you have the angenieux 28-70 or the RMC?

[Geoff CB]

Angenieux, not the RMC. Also have the old 20-35 Tokina which is a pretty nice lens as well. 

[jase]

I am a fan of "one lens and one lens only". During my MFT days, this was the Voigtländer 25mm which is an absolutely fantastic lens. On my A7s this is the Canon 35mm IS lens. Using the APS-C mode i get effectively a 35mm and a 50mm which suits my needs perfectly. I never used a zoom and there are only a few occasions where I was thinking that a zoom might be handy.

Might look out for something more wider, probably below 20mm. Heard some good stories about the Sigma 20mm 1.8 - or maybe something even wider like a Canon 14mm 2.8, will see.

[mercer]

I am a fan of "one lens and one lens only". During my MFT days, this was the Voigtländer 25mm which is an absolutely fantastic lens. On my A7s this is the Canon 35mm IS lens. Using the APS-C mode i get effectively a 35mm and a 50mm which suits my needs perfectly. I never used a zoom and there are only a few occasions where I was thinking that a zoom might be handy.

Might look out for something more wider, probably below 20mm. Heard some good stories about the Sigma 20mm 1.8 - or maybe something even wider like a Canon 14mm 2.8, will see.

Only one lens, you must be a fan of post? 

[Geoff CB]

Only one lens, you must be a fan of post? 

​Actually there are a large amount of cinematographers that shoot on only one lens. Chinatown was shot entirely on a 40mm anamoprhic. 

[mercer]

​Actually there are a large amount of cinematographers that shoot on only one lens. Chinatown was shot entirely on a 40mm anamoprhic. 

Oh yeah, I was referring to one lens for multiple projects. As you know, there are so many different lenses, each with their own quirks and character. To use only one lens, I must assume that jase enjoys tweaking his image a lot in post. I have found that lens selection can get you almost halfway there. 

[Guest Ebrahim Saadawi]

One lens, did it on my last music video, my DP only had a 5D and a 24-105 (which I didn't see would work for the shoot, it needed fast dreamy look), and I had no Canon lenses at the time but one.

Works beautifully, much more consistency and not distracting to the eye as different focal lengths, different sharpness, colour, bokeh, distortion, etc. 

Just a 40mm F2.8, from wide to extreme close ups, covered everything beautifully, you just need to move your butt and think about composition. 

Few grabs from first scene: 

Wide, 

Med

Close-up

It can be done, absolutely. Pushes creativity to a great extent for some reason and gets you better shots too. 

-About one camera:

yes it's the same principle, I use one camera at all times, I never want a second camera operated by a different vision moving around the scene I want to be responsible for every single shot and at least SEE it before it's recorded. Tarantino uses one camera and never approves shooting on two rolling at once, says the same argument. Two camera set up never worked for me, I end up covering it all with one and throwing the rest. Hard to match too unless they're the same camera AND at the same profile settings. 

Keep in mind: all these one lens/one camera approaches only work for projects where you can take your time, rehearse. take second takes, acting, 

It would not work at all when you need to "cover" an event, a wedding, a documentary, etc. Ideal for that is a long range zoom lens with smooth zoom transition (power zoom) and a second operator with a second camera covering everything from A-Z just for safety. 

This stuff is just for narrative, music videos, nature, etc where you can take your time and re-do takes. 

 

[Richard Bugg]

When I started out with one or two lenses, I felt severely compromised and set out to acquire everything from 14-300mm. Now that I have everything from 14-300mm I find that I'm using a 35mm 1.4 for most of what I do, stills or video. The more I have, the more it feels like less is more.

[Liam]

I get the one lens thing. it's a little cheating to say only one lens and then pick a zoom lens though ;). it really does make sense sometimes to have multiple lenses even of the same focal length for different aesthetic. one prime for a shoot is like a practice in framing and storytelling, giving you the best cinematic image AT that focal length since it's not a lens trying to pretend to be 10 lenses, giving you less to think about, moving fast. but of course if something is scripted and you decided beforehand a subtle wide angle is best for a shot, you should really do that. Changing focal length is a great tool for storytelling. You can use one prime to sort of look like a different focal length depending on position, or post production, but that just gives you even more to think about. in that case I'd rather pick the focal length on set from a variety of lenses. This has all gone just slightly off topic, but if you maybe realize you need money, and you're sitting on a million dollars worth of lenses that you will never use again, you could probably sell a couple. if know you want/need them all, even though some people think you're crazy, keep em.

[mercer]

I get the one lens thing. it's a little cheating to say only one lens and then pick a zoom lens though ;). it really does make sense sometimes to have multiple lenses even of the same focal length for different aesthetic. one prime for a shoot is like a practice in framing and storytelling, giving you the best cinematic image AT that focal length since it's not a lens trying to pretend to be 10 lenses, giving you less to think about, moving fast. but of course if something is scripted and you decided beforehand a subtle wide angle is best for a shot, you should really do that. Changing focal length is a great tool for storytelling. You can use one prime to sort of look like a different focal length depending on position, or post production, but that just gives you even more to think about. in that case I'd rather pick the focal length on set from a variety of lenses. This has all gone just slightly off topic, but if you maybe realize you need money, and you're sitting on a million dollars worth of lenses that you will never use again, you could probably sell a couple. if know you want/need them all, even though some people think you're crazy, keep em.

Nah, nobody has been off topic here. I am interested in knowing what other filmmakers have or use. I like selection. I like to be able to use my Nikkors when I am looking for a more warmer, almost clinical feel to a piece. If I want something a little more vintage, I'll throw on my Minolta MCs. If I'm rushed, but looking for a nice flat image I can play with in post, I'll use my set of Tokina AT-X manual zooms. Of course, this is all theory based on lens tests because I haven't shot too much narrative work yet. 

[homestar_kevin]

This is definitely one that I struggle with.

I've had a very similar path as you, so on one hand it's good to see I'm not the only one, on the other, you have my condolences, because I know how I am.

I started with a 35mm DOF adapter on a Canon hv20, then went to a t2i when they came out.

I really didn't like the kit lens and went with older vintage primes that I knew about because of the 35mm adapter.

I started buying Nikkors and some Russian m42 primes and I've never come back out from down the rabbit hole.

 

I think lenses are such a great way to get different looks and they can be bought cheap enough to do so.

I've also always enjoyed thrift stores and yard sales, so finding lenses in these places was natural to me.

 

I've gone through many lenses and still sell them on ebay, but I've settled on a really nice and fast set of Nikkors as my main primes.

I have my zooms (tokina 11-16, 28-70 and Nikkor 80-200 ED) 

 

I also have some other odds and ends and lenses I bought to try out and to have fun with, these are more specific.

Pentax 110 lenses for the BM Pocket

Schneider Kodak Retina Reflex DKL mount lenses

Anamorphic projection lenses

 

I've had way more than most people should, but at the same time I've spent a lot less than someone buying a few L lenses new, so maybe it's more the type of thing where it's the journey more than the destination.

 

I think as long as you keep working, keep doing new projects and don't let lenses (or anything for that matter) take away from that zone/space, you're in good shape.

 

 

 

 

[mercer]

This is definitely one that I struggle with.

I've had a very similar path as you, so on one hand it's good to see I'm not the only one, on the other, you have my condolences, because I know how I am.

I started with a 35mm DOF adapter on a Canon hv20, then went to a t2i when they came out.

I really didn't like the kit lens and went with older vintage primes that I knew about because of the 35mm adapter.

I started buying Nikkors and some Russian m42 primes and I've never come back out from down the rabbit hole.

 

I think lenses are such a great way to get different looks and they can be bought cheap enough to do so.

I've also always enjoyed thrift stores and yard sales, so finding lenses in these places was natural to me.

 

I've gone through many lenses and still sell them on ebay, but I've settled on a really nice and fast set of Nikkors as my main primes.

I have my zooms (tokina 11-16, 28-70 and Nikkor 80-200 ED) 

 

I also have some other odds and ends and lenses I bought to try out and to have fun with, these are more specific.

Pentax 110 lenses for the BM Pocket

Schneider Kodak Retina Reflex DKL mount lenses

Anamorphic projection lenses

 

I've had way more than most people should, but at the same time I've spent a lot less than someone buying a few L lenses new, so maybe it's more the type of thing where it's the journey more than the destination.

 

I think as long as you keep working, keep doing new projects and don't let lenses (or anything for that matter) take away from that zone/space, you're in good shape.

 

 

 

 

Yeah, we sound awfully similar. I started with the t2i, so I was a couple years behind you, if you don't count the dozen or so cartridges of Super 8 film and the couple dozen mini dv tapes from a consumer Canon.

I knew a little about cinematography from my hapless attempts to load 16mm film into an old bolex in the dark.

All I knew was I hated everything about that kit lens that came with the t2i. The first and only time I used it, I wanted to kick it against a tree. Instead, I bought a Vivitar 28mm. I didn't love it, but it was miles better than the 18-55mm.

From there I tried some cheapo m42s and some series e lenses and some Olympus and some Rikenon m42 lenses and then I found my first real lens that I loved... a Pentax-M 28mm 2.8. I couldn't have been happier until I found a mint 50mm 1.7 for 25 bucks...

Long story short, it took me awhile to find decent lenses and know what decent lenses even were. For the most part, I have been able to sell every stinker without a loss and have been able to get a half dozen, or so, keeper sets. 

Btw, I also have a complete set of the Pentax 110 lenses. I love the 20-40 zoom, the 18mm and the 50mm. Have you put together an aperture for them? I just use step up rings and fader nd filters. What a cool image they make though. How are they on the pocket?

[mercer]

Of course every time I think, or say I am done, I go and buy another lens. The other night I picked up my first Canon FD... The 50mm 1.4 newest version. It came with a FD to eos-m adapter, so I think minus the adapter it cost about 50 bucks. I have some of the older FL lenses, the rubber ring 35mm 3.5 is one of my favorite lenses... It's right up there with the Konica 40mm.

[homestar_kevin]

Btw, I also have a complete set of the Pentax 110 lenses. I love the 20-40 zoom, the 18mm and the 50mm. Have you put together an aperture for them? I just use step up rings and fader nd filters. What a cool image they make though. How are they on the pocket?

​

 

The 110 lenses are really nice to have around! They're a perfect match for the pocket.

I bought an adapter from RJ camera with an aperture installed in it.

it was kind of pricey, it costs more than the lenses did.

I got a lot with the 18mm, 24mm, and 50mm in it so I've really enjoyed them on the pocket camera.

They definitely get sharp enough and cover the sensor fully and they're so tiny!

I leave them in the case with the Pocket camera and find myself using them the most with it

 

 

 

 

 

 

 

[fuzzynormal]

​The 110 lenses are really nice to have around!

​I've shot a short film with the 110 25mm on a GM1.  Even though I don't use that camera except for only certain tasks, I do love it.  Great documentary stealth cam.  Such an awesome set up with the a110 lenses, As you can tell from my avatar.

I like the character of the glass and the f2.8 is, I think, ideal for cinema.  Matched with the Panasonic IQ?  It's pretty nice.

It's truly amazing what you can/could make with that set-up --and you can acquire it via used gear for around $350.

[Raafi Rivero]

Of course Polanski shot all of Chinatown with a 40mm Anamorphic. I think it's important to not be paralyzed by choices when on set. There are enough things to grab your attention. One of the reasons why I prefer working with a limited set of primes is that you start to know their characteristics by heart. A location immediately gives you a feeling for a focal length or two, and then it's right into lighting and shooting.

[homestar_kevin]

​I've shot a short film with the 110 25mm on a GM1.  Even though I don't use that camera except for only certain tasks, I do love it.  Great documentary stealth cam.  Such an awesome set up with the a110 lenses, As you can tell from my avatar.

I like the character of the glass and the f2.8 is, I think, ideal for cinema.  Matched with the Panasonic IQ?  It's pretty nice.

It's truly amazing what you can/could make with that set-up --and you can acquire it via used gear for around $350.

​

Nice! Yeah I really had a fun time getting the 110 lenses set up on the pocket. 

I really like them wide open, the 2.8 doesn't get too shallow on the pocket's smaller sensor, but I am glad I went for the adapter with an aperture control.

The knob to control the iris is a bit annoying/unprecise, but I really enjoy the lenses.

The 18mm is my favorite.

There didn't seem to be a huge following or market for them, but I love them too.

Here's the 24mm on my Pocket Camera from when I first got them.

I have one short in post right now that we shot using the 110 lenses and pocket. I'll get some screen grabs from it if anyone would like to see what they can do.

 

Sorry this has kind of shifted OT, we can put the 110 stuff in a different thread if we're distracting too much

 

 

 

[mercer]

Not off topic at all. Discussions are supposed to evolve. It looks wicked, would love to see some footage. I didn't know they made an adapter with an aperture. When I bought mine a couple years ago, people were doing diy apertures. Although, I am a mechanical type of person, I have no interest in making apertures or homemade adapting. Not my thing. 

[mercer]

To be honest, I just love Pentax lenses. I am really surprised more filmmakers don't use the M, A or my personal favorite the K version... Which was there model they put out in between the Taks and the M version. Supposedly they are optically identical to the Taks, without the radiation, and with a K mount. Beautiful, beefy lenses with great IQ.