Lens Reccomendations for Nikon F4?

[shutterfinger]

Partially.
The monopod provides vertical stability, but not horizontal stability and it can rock from side to side.
Horizontal stability still depends on your stance.
Something is better than nothing, but it still relies on technique.

When I was young I could hand hold a 50mm lens on a 35mm body at 1/8 second. Today I'm lucky to do 1/60 second.
On a different site a member was surprised to see motion blur in the background of some images shot on a 1200mm zoom at 900-1200 with the VR on.
If you are steady enough with VR enabled then a monopod will work as well with non VR lens.
Also the rule of thumb I was taught is 1/lens focal length is the slowest speed to use hand held for sharp images.

 

[Leigh B]

Also the rule of thumb I was taught is 1/lens focal length is the slowest speed to use hand held for sharp images.

I was taught the same rule, and taught it to my students.

- Leigh

 

[ac12]

When I was young I could hand hold a 50mm lens on a 35mm body at 1/8 second. Today I'm lucky to do 1/60 second.
On a different site a member was surprised to see motion blur in the background of some images shot on a 1200mm zoom at 900-1200 with the VR on.
If you are steady enough with VR enabled then a monopod will work as well with non VR lens.
Also the rule of thumb I was taught is 1/lens focal length is the slowest speed to use hand held for sharp images.

I'm getting older and less steady as well

I tell people that 1/focal-length is a "general" guideline.
- Some people can hold slower, others can't and need the shutter speed higher.
- If you can brace yourself and or the camera against something, you can shoot slower.
- Long lenses are difficult for many people to hold steady, in part due to the size and weight of the lens.
- If taught the proper technique, they can usually shoot slower.
- When I'm tired, I can't hold as well as when I am not tired. Technique gets messed up when I am tired.
- If it is windy, the wind is blowing you and affecting your hold.

As far as I am concerned, VR is not a 'silver bullet' that will TOTALLY compensate for an unsteady photographer or poor technique.
Also a LONG zoom has soo much magnification that it is just plan hard to hold it even on the target. 1000mm = 20x. I CANNOT hold a 10x binoculars on target while standing, it is wobbling all over the place.

 

[WILL WORK FOR FILM]

OK. So I have in my possession a newly purchased Nikkor 50mm AF-D f1.8 It seems to work well and I see it as the first step in what will be an ever growing lens collection. I think I will search out a 100mm prime next.

First impressions.... this seems to be a very good match to my F4. It is fast, at least compared to what I have used in the past, and very capable of low light scenarios. I am currently shooting TRI-X at ISO800. I have a few rolls of Ilford Delta 3200 on the way. I have read the F4 manual and have been playing around with the controls. This thing will burn through a roll of film in a heartbeat if I let her run. Impressive!!

From what I "believe' I understand, the optimum procedure for shooting a moving subject would be to choose Matrix metering, Aperature priority, (CL) continuous low shutter, and (C) continuous focus settings. Would it be safe to assume this is the most effective means of shooting a sporting event in difficult lighting?

 

[ac12]

WWfF,

Good lens choice.

My opinion based on shoot similar in high school on the yearbook staff.
I was OLD school, and shot film, and manual everything.

In most gyms, the lighting is even and stable. So once you get a proper meter reading, that's it. I just set my camera at that setting, and left it alone. Then you know what setting you are shooting at, and the camera is not fooled by the background, as you move around. The only exception is a day shoot, if the side blinds are opened, then you would get extra sunlight coming in from that side which would affect exposure. I honestly don't know how well matrix metering will work, but it is worth testing it out yourself. I used to take an incident reading.

Yes I think CL and C would work.
I have trouble with burst mode, too many years of single frame shooting, and ME selecting when to shoot. I do recognize the value of it, just have to get my head to use it. For me, a motor drive adds extra weight and bulk that I would rather do without. Weight is one of the casualties of getting older. Also film cost $ for every shot, vs. digital where extra shots are 'free.'

I would use center point AF, and make sure that your subject is on the AF point. Or set and hold focus, then recompose, then shoot. I found dynamic AF tricky to use. Will the AF select the correct AF point for the subject, or will it focus on something else (the ref in front, or the crowd in the background)? I want to be in control of where the camera is focusing.

gud luk

 

[shutterfinger]

I bought my F4s new in '91. After practicing I found I could control how many frames were exposed in Ch by how long I kept the shutter button pressed. Ch gives tighter (less) time between frames than Cl for real fast action.
I was pleased how a six frame burst of a Cardinals pitcher making a pitch at a Giants game at Candlestick came out, start of pitch, not wind up, to release.
I use aperture priority, centerweighted and manual focus mainly so I cannot comment on continuous AF. With aperture priority you can set the point of focus and allow DOF to carry the action area.

 

[WILL WORK FOR FILM]

I obviously have a lot to learn about both photography and the functions of this camera. It is interesting that two different people have different approaches to the same scenario. Therein lies the artistry. I love it! It seems that I have several different options and techniques to play around with. I can see the appeal of the F4. it is quite the tool.

 

[Huss]

From what I "believe' I understand, the optimum procedure for shooting a moving subject would be to choose Matrix metering... Would it be safe to assume this is the most effective means of shooting a sporting event in difficult lighting?

Matrix metering is only good on evenly lit subjects. Think of it as a fancy name for averaged metering. I have been very disappointed with it on my F6 (and D750), and now only used center weighted or spot.
I would get a spot meter reading and lock that in, or meter off something that looks like it is the same brightness as your subjects.

 

[Leigh B]

For a rapidly-moving subject you definitely do NOT want to use any metering mode that includes the background.
That's because the background is constantly changing, and it is absolutely irrelevant to the desired image content.

I suggest metering ambient light with a separate light meter and setting the camera exposure based on that.

If the subject is moving between directly lit and shade, then some adjustment is needed.
You should not need any such adjustment with most subjects and environments.

In-camera metering systems are designed to give printable negatives of kids at a birthday party.
If that's what you're after, go for it.

- Leigh

 

[shutterfinger]

Meters are calibrated to 18% gray or to render the tone they are pointed at to 18% gray.
The meter in my F4 is as good as my Gossen Ultra Spot.
Knowing how to meter is far more important.

 

[Leigh B]

Meters are calibrated to 18% gray or to render the tone they are pointed at to 18% gray.
Knowing how to meter is far more important.

To render an 18% gray card accurately, it must be oriented correctly both up/down and left/right.
It must be perpendicular to a line drawn halfway between the lens axis and the light axis, intersecting both.

The other angle must be perpendicular to the plane defined by those two axes.

You get a lot of variation in reflectivity by having the card at the wrong angle either horizontally or vertically.

- Leigh

 

[shutterfinger]

You get a lot of variation in reflectivity by having the card at the wrong angle either horizontally or vertically.

Agreed.

 

[ac12]

You will hear a LOT of opinions based on individuals own experience and ideas.
Now that you have a fast lens, you need to go out and shoot, to see how things work for YOU.
Try some of our ideas, but keep your own log so you know how the different settings worked for you.

gud luk

 

[one90guy]

I have a Vivitar 28-210mm 3.5 that I bought in 98 that I use on all my Nikons. It was my walk around lens for many years and comparing negatives I see no difference in my B/W. My main reason to buy it was price but have kept it and sold many Nikon lens.

David