TRIPphotography article & photos by rick matthews
all Reasons Why carry six lenses when you can take better photos with just one zoom?
A Lens for A 24 Summer 2004 As a young photographer I spent hours devising complex packing
schemes to take all my lenses kayaking. Of course the lenses were all of a fixed focal length. Six in total had to be tucked away in assorted Tupperwares and tripled Ziplocs. There was the 20 mm, the 35, the 50, the 85, the 180, and of course the 105 mm macro for close-ups. On the water, the lens that I had on would invariably be the wrong
one for the image I was trying to create. This would lead to frantic, scrambling searches for just the right lens, with the danger of chang- ing lenses and getting water into the internal workings of the camera. Many years later, with improved lens technologies and more expe-
rience in trip photography, I rely exclusively on zoom lenses. The zoom lens is the Swiss Army knife of the photography world. It is compact, versatile and gets the job done. The zoom lens, camera, and a few rolls of film make for a compact bundle that fits in a small dry- box on the deck or a drybag in the cockpit. And because the versatile zoom combines several lenses into one, you can frame the image in many different ways without having to manoeuvre into a new posi- tion or risk unnecessary lens changes. Minimizing paddle strokes helps avoid dripping water onto your camera. All of the major camera brands have compatible zooms that are of
excellent quality and come in all sizes from wide angle to telephoto and combinations of both. Canon has a 28–300 mm zoom that covers a huge range. Nikon has 12–24 mm and 80–400 mm lenses that cover both ends of the focal length spectrum. At one time Nikon even pro- duced a 400–800 mm monster that weighed in at 12 pounds—not a good option for kayaking! Some companies such as Tamron and Tokina specialize in quality lenses that fit most of the popular camera bodies, and in some cases may be slightly less expensive.
The higher-priced zooms feature higher-quality light dispersion
optics, such as Nikon’s ED glass and Canon’s UD glass, which improve image quality by reducing internal light reflection. High-end lenses are also faster, meaning they admit more light.
This lets you shoot in lower-light conditions at faster shutter speeds. The more expensive lenses usually have a fixed ƒ2.8 aperture through the entire zoom range, giving a much brighter image through the viewfinder. Lower-priced zooms have a range of ƒ-stops such as ƒ3.5–5.6. As
you zoom in, the aperture shrinks. The image appears slightly darker in the viewfinder and requires a slower shutter speed under low-light conditions. On the upside, the less expensive lenses tend to be slightly smaller and lighter than their higher-priced counterparts. My choice when I can only carry one lens is the 80–200 mm zoom.
The 80 mm focal length is a good compromise for scenic shots and the 200 mm is excellent for tighter shots of paddlers and wildlife. I also slip in a very compact two-times lens multiplier. This boosts my lens to a very powerful 400 mm wildlife lens with a minimal increase in equipment space. On longer trips I also take an 18–35 mm wide angle zoom that lets me capture those great scenic vistas. Now with only two lenses I can cover all the focal lengths that took
five or six lenses in my early years. I can zoom and crop images easily and create different perspectives quickly without the fuss and stress of changing lenses in the boat. The accompanying images show how the zoom lens can be used to
better frame subjects, capture multiple perspectives and enhance visu- al effects. The Swiss Army knife of lenses may not open a can of beans, but it will certainly open up a whole new world of photograph- ic possibilities on your next paddling expedition.
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