Date: Fri, 10 Jan 2003 10:23:14 -0800
From: Mike Veglia <msvphoto@xxxxxxxxxxx>
Subject: Re: How do you use your extreme focal lengths...(was: Re:
[OM] apurely hypothetical question... -not- OT!)
Going a bit OT here discussing Can*n glass now :(
For the two tracks Stephen and I most commonly shoot at in our area, even a
300/2.8 with the D60 would probably be fine. Actually it seems the 100-400L
is quite popular for DSLR use.
Yes, this is exactly right. In fact, I have rented a 300/2.8 from
Calumet for the testing I will be shooting the
third week of January (Superbikes and CART) at Laguna Seca. Any my
100-400L IS is on it's way!
Be here Tuesday. Using it in combination with my 28-135 IS USM gives
me a considerable degree of versatility with only two lenses. I
expect the 100-400L IS will get a LOT of use, because it will give me
a reach
of 620 mm w/o a teleconvertor on the D60. That will be nice for the
bikes, in particular, 'cause they are so much smaller than cars.
Plus, it's amazingly compact for what it is.
BTW, Mike I will have paper credentials for shooting at Laguna! See
you trackside! :-)
-Stephen.
Date: Fri, 10 Jan 2003 10:42:06 -0800
From: Mike Veglia <msvphoto@xxxxxxxxxxx>
Subject: [OM] Re: How do you use your extreme focal lengths...
In a message dated 1/10/2003 Stephen Troy writes:
<< One word - compression. >>
<snip>
Not sure if it was you or Dan that took those two examples, but they are
both beautiful shots! Truly an inspiration and also a solid reminder that if
my 350/2.8 were ever to come to an unfortunate demise that a Tamron SP
300/2.8 or 400/4 would certainly be a worthy option. Exceptional work.
And you're right about the DOF being short at 500mm. Timing becomes really
critical when a car is coming at you at ~150MPH and you're trying to hit
that release timing point spot on for optimal focus where you want it. Sorta
like how it would be if you were to go shoot bullet trains ;-) The 2-4
screen helps a whole lot.
Mike Veglia
Motor Sport Visions Photography
http://www.motorsportvisions.com
Boy, I'll say. I think in some respect those shots are tougher than
panning shots. The area that the bike or car or train is in focus
does not change as rapidly in a panning shot as a head-on shot. It's
really tough to nail fast vehicles when they are coming right at you
or going away at these speeds. The general public just does not
appreciate what's involved because the set-up/shot *looks* so simple,
but in fact is not at all. "It's just a straight, head-on
shot...what's the big deal?"
Here is a beautiful example of what I am talking about. Danie Van
Jaarsveld is a motorsports photographer on Photosig.com. He's from
South Africa, and shoots at venues like Kyalami, Welkom, and Phakisa.
His work is, in a word, STUNNING. There are two other motorsports
photographers on the Sig (Dennis Cuevas and David Smith) and I that
are always writing to each other about how much we admire Danie's
work. The thing we do not understand is why his photos do not get
more ratings than they do. We are just mystified at this. His look is
sometimes unconventional, and I think some to the viewers at the Sig
do not get what Danie is trying to do. A lot of viewers on the Sig do
not like it when you cannot see the entire car or bike in the frame
(e.g. my Lancia shot). Dave, Dennis and I think he's brilliant. He
shoots N*k*n, but with work this beautiful, who cares?
Anyway to cut to the chase as it were....here's a link to a shot of
MotoGP rider Max Biaggi shot at *800* mm!
Talk about compression...but you can see Danie nailed just a
fantastic shot of Max going away....
Here's the link....check out Danie's other work while you're there....
http://www2.photosig.com/viewphoto.php?id=594578
Mike, please join the Sig, and get some of your awesome stuff up
there with the rest of us piker motorsports photographers!
-Stephen.
--
2001 CBR600F4i - Fantastic!
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