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Archive 200718-200VR for "pro"-shooting
p.1 #118-200VR for "pro"-shooting
Just wanted to promote the 18-200VR again... for those who still have doubts, you can even make some money with that lens...
Here are a few shots from an assignment I got for an annual report.
Some explanations about the context: this was for the high-voltage grid operator. They wanted to use hands as a theme to convey their message about cooperation, reliability, communication,...
I first found a modern sculpture representing hands and I have been lucky, there were power lines in the neighborhood, so I decided to take a picture of the lines through the sculpture. I had to PS the picture, because the sky became gray when I took it. They liked the picture a lot and it made the cover page. This has been shot with my "P&S combo", the D200+18-200VR
The kind of sculpture I used: (the sky was blue at that moment)
http://farm1.static.flickr.com/250/448206067_a8a8ba0445.jpg
The original pic: (cloudy at that moment)
http://farm1.static.flickr.com/204/448285858_ee747c3d0e.jpg
The cover page after PP
http://farm1.static.flickr.com/213/448203781_c2092b2e9e.jpg
The second example is in their dispatching, a serious challenge regarding lighting. They wanted the hand of an operator and a good view on the environment. The problem was that they were working more or less in the dark, with the screen with a glossy finishing giving awful reflections in almost all orientations. I found a neutral spot for the reflections, installed two fixed light sources (2x650W) with softboxes to get the appropriate light on the operator while keeping the rest in the shadow. I shot with a relatively long shutter speed (close to 1/2 sec) using the D200+18-200VR on a tripod (VR off) and a remote control (MC-36). Here is the result:
http://farm1.static.flickr.com/219/448200272_cbc060c5bd.jpg
The third and last example has not been shot with the 18-200VR. I wanted to have more DOF control and I used the D200+105VR (VR off) on a tripod with remote release, again with external light w softbox.
http://farm1.static.flickr.com/169/448200284_4670890214.jpg
They selected and used quite a number of pics and they took this pretty seriously. I still don't understand people giving the vague impression that the 18-200VR is not really usable for serious pictures... in practice, more or less half of my shots were with the 18-200VR and half of them with the 105VR. Regarding light, I worked with both spot lights and flashes (not simultaneously of course). When I used flash, it was just the SB-600's (2) and the SB-800 (1) on tripods with umbrellas giving me an excellent system for that kind of shooting. That experience have shown me how flexible and reliable all the Nikon stuff I have used can be.
Guy
Here are a few shots from an assignment I got for an annual report.
Some explanations about the context: this was for the high-voltage grid operator. They wanted to use hands as a theme to convey their message about cooperation, reliability, communication,...
I first found a modern sculpture representing hands and I have been lucky, there were power lines in the neighborhood, so I decided to take a picture of the lines through the sculpture. I had to PS the picture, because the sky became gray when I took it. They liked the picture a lot and it made the cover page. This has been shot with my "P&S combo", the D200+18-200VR
The kind of sculpture I used: (the sky was blue at that moment)
http://farm1.static.flickr.com/250/448206067_a8a8ba0445.jpg
The original pic: (cloudy at that moment)
http://farm1.static.flickr.com/204/448285858_ee747c3d0e.jpg
The cover page after PP
http://farm1.static.flickr.com/213/448203781_c2092b2e9e.jpg
The second example is in their dispatching, a serious challenge regarding lighting. They wanted the hand of an operator and a good view on the environment. The problem was that they were working more or less in the dark, with the screen with a glossy finishing giving awful reflections in almost all orientations. I found a neutral spot for the reflections, installed two fixed light sources (2x650W) with softboxes to get the appropriate light on the operator while keeping the rest in the shadow. I shot with a relatively long shutter speed (close to 1/2 sec) using the D200+18-200VR on a tripod (VR off) and a remote control (MC-36). Here is the result:
http://farm1.static.flickr.com/219/448200272_cbc060c5bd.jpg
The third and last example has not been shot with the 18-200VR. I wanted to have more DOF control and I used the D200+105VR (VR off) on a tripod with remote release, again with external light w softbox.
http://farm1.static.flickr.com/169/448200284_4670890214.jpg
They selected and used quite a number of pics and they took this pretty seriously. I still don't understand people giving the vague impression that the 18-200VR is not really usable for serious pictures... in practice, more or less half of my shots were with the 18-200VR and half of them with the 105VR. Regarding light, I worked with both spot lights and flashes (not simultaneously of course). When I used flash, it was just the SB-600's (2) and the SB-800 (1) on tripods with umbrellas giving me an excellent system for that kind of shooting. That experience have shown me how flexible and reliable all the Nikon stuff I have used can be.
Guy
Apr 06, 2007 at 01:56 PM
p.1 #218-200VR for "pro"-shooting
I'll second the opinion of being able to use this lens for professional applications. I've already stated several times how I use mine extensively for my work, but here's a good tidbit...
Next weekend I'll be attending an awards ceremony that the Louisiana Press Association is holding, to receive a 1st Place Award in "Best Photo Feature Package" for a spread of photos I shot covering the reopening of the Superdome & the N.O. Saints homecoming game (that was a long sentence I know). I found out a couple weeks ago, and while I'm super excited over it, I haven't been very boastful about it (accept for my family).
Point is, it's not a f2.8 piece of glass, but I think it's a damned good lens. And yes, I shot everything you see in the double truck below with my 18-200.
Next weekend I'll be attending an awards ceremony that the Louisiana Press Association is holding, to receive a 1st Place Award in "Best Photo Feature Package" for a spread of photos I shot covering the reopening of the Superdome & the N.O. Saints homecoming game (that was a long sentence I know). I found out a couple weeks ago, and while I'm super excited over it, I haven't been very boastful about it (accept for my family).
Point is, it's not a f2.8 piece of glass, but I think it's a damned good lens. And yes, I shot everything you see in the double truck below with my 18-200.
Apr 06, 2007 at 03:55 PM
p.1 #318-200VR for "pro"-shooting
Excellent work, Guy. I've gotta get me one of them little gems! I'm quickly becoming convinced that the 70-200VR isn't the ideal lens to haul on 20 mile, 10,000 vertical ft backcountry days!
Apr 06, 2007 at 04:13 PM
p.1 #418-200VR for "pro"-shooting
Thanks for providing a fresh perspective on things. The 18-200mm has been routinely maligned and I believe unrightly so. In the right hands, it can be a very excellent tool
Apr 06, 2007 at 09:05 PM
p.1 #518-200VR for "pro"-shooting
Guy, forget the lens, excellent work!
A lens is a tool. If it works for the job and makes you money, it automatically becomes a pro lens. What defines a pro lens by lens snobs is whether or not it is 2.8 or faster, weighs 2 lbs or more, and can be tied to a rope and used as a weapon, then as a image capturing device again. I keep a cheap barely zoomable 35-70 (don't even know what the variable aperture is) lens in my bag. It produces stunning results for when I don't want know if the 50 1.4 will do the job.
If I ever get the chance to travel and do some backpacking, it'll be with a mini-digi and probably an 18-200. Why wouldn't I want to??
A lens is a tool. If it works for the job and makes you money, it automatically becomes a pro lens. What defines a pro lens by lens snobs is whether or not it is 2.8 or faster, weighs 2 lbs or more, and can be tied to a rope and used as a weapon, then as a image capturing device again. I keep a cheap barely zoomable 35-70 (don't even know what the variable aperture is) lens in my bag. It produces stunning results for when I don't want know if the 50 1.4 will do the job.
If I ever get the chance to travel and do some backpacking, it'll be with a mini-digi and probably an 18-200. Why wouldn't I want to??
Apr 06, 2007 at 09:20 PM
p.1 #618-200VR for "pro"-shooting
I've often preached the benefits of the 18-200VR to naysayers, as perhaps the most versatile and well-rounded lenses around. For a single-lens option, it's hard to beat.
Both of you have provided visual proof of that versatility on this thread... very nice work, regardless of the lens. Kudos to both of you for the results.
Both of you have provided visual proof of that versatility on this thread... very nice work, regardless of the lens. Kudos to both of you for the results.
Apr 06, 2007 at 10:01 PM
p.1 #718-200VR for "pro"-shooting
I sold my 18-200.
But it was only because I really wanted the 17-55/2.8 and I needed the money. The only true gripes I had were the lens creep when pointing downward, and some hard-to-correct distortion in the pictures (see the reviews for examples, I'm not knowledgeable enough to explain it).
Other than that, the 18-200 was a superb "walk-around" lens; and when I have a spare $900 lying around, I'll likely pick up another copy. The D200+18-200 were a wonderful combination to have as a "daily" lens.
But it was only because I really wanted the 17-55/2.8 and I needed the money. The only true gripes I had were the lens creep when pointing downward, and some hard-to-correct distortion in the pictures (see the reviews for examples, I'm not knowledgeable enough to explain it).
Other than that, the 18-200 was a superb "walk-around" lens; and when I have a spare $900 lying around, I'll likely pick up another copy. The D200+18-200 were a wonderful combination to have as a "daily" lens.
Apr 06, 2007 at 11:32 PM