I'm chang. I've been doing this for a long time, and i've found out about what kind of footage travels with, and i've been asked years and years and years. Two days ago, a fan believed in me: next month, a microbill has been made, a 24-70 tape or a 28-200 lens, plus a 70-200 plus 35-85. And i said to him, "you're not going on a trip, you're going on an exhibition." many people corrupted their travels not because the machine failed, but because their backs were too heavy, they were too hard to work, and the last camera at the hotel ate ash, and the cell phones were fit。
Today, we don't stack parameters, we don't back up superstitions, we talk about what we're bringing in when we're in the real world. Just follow your own schedule and stop being watched and measured。
Let's start with one of the most solid points: the first criterion for a tourist lens is not to paint a large number of cattle, but to be willing to take it out every day. The better 24-70, 70-200, which is the same as zero. I went to yunnan early in the day, with two mirrors and three tripods, totalling more than three kilos, to climb to high altitude for a few days, and the camera never came out again, all with a mobile phone. From then on, i set the rules: travel cameras, with lenses, can be the most comfortable, at best not out of proportion, in about a kilo; above this number, the first two days will be fresh, and then the burden will change。
How do you choose? Don't ask "which head is best" first, ask yourself three things: where to go, who to shoot, whether to wait。
The first category consists of city shopping, family visits, couples vacations and the issuance of small books of friends. I say, "the phone is the main one, the camera is the most. Now that the flagship mobile phones are very mature, they are wide-angled, long-focused, night-visioned, and human-like algorithms, the budara palace, the lake of sheep, the city night market, and the running with the baby, the cell phones are drawn out, and they are repaired twice directly, with the highest efficiency. I'd like to have a camera, not to be complicated, with a complete microcopy with a 24-105 f4, or an aps-c with a set of 18-55, 35 cents. 24-105 covers broad angles to mid-strength, with views, streets, photo shoots during the day; 50 f1. 8 or 35f1. 8 at night, with pictures of people, night fairs, restaurants, and a defunct atmosphere. The logic of this system is that the focus of the day is not changed, the focus of the night is not lost。
A lot of people don't like it: is it okay to paint? To be honest, ordinary families travel, and 70 per cent of the problems in the film are the image, the light, the timing is not right, not the holocaust resolution. You've got a big red collar with a big three-dollar black face, and it's not as good as a cell phone. Don't be superstitious about “top level”, tourism is not an evaluation room, social platforms are compressed and viewers are uncomfortable。
Category two, trying to be serious, but not being a porter. It is most recommended as a "one shot below the world" or "standard focus + light focus". A single-scenario picture of tyrone 28-200f2. 8-5. 6, approximately 575 g, wide-angle light 28, 200 long-stroke snowhills and human appearances, with no change in all course; nicon users, 24-200 f4-6. 3 vr, approximately 570 g, with a shake-proof, with a focus line; canon rf24-240 and sony 24-240 also belong to this category, with an extremely sharp ambition; aps-c users look at horses 16-300, nicon 18-150, with a wide range and light weight. The greatest benefit of this type of lens is not that it has the "highest quality" of painting, but that it does not change. The change of scenery in the scenery is the slowest: dust into sensors, missing light, family impatience, and you're still looking for camera covers. It's on the hanger, you see it, and it's high。
If you're more picky about the quality and don't want multiple mirrors, pick standard focal points. The picture is full of 24-105 and 24-120 gold travelers: sony 24-105f4 about 663 grams, nicon z24-120f4 about 630 grams, jiaan rf24-105f4 bands with tremors, and all three have mature programmes. In this class, 90 per cent of the daytime scenes are available, with all the glamour, humanities and images. An additional 50f1. 8 or 35f1. 4, which is controlled by total weight, is filled with nightscape, weak light, and defunct. My experience is that travel is at the top of the sky, and it's just you and yourself。
The third category is dedicated to travel to tibet, xinjiang, qinghai, kawashi, or to driving, following and not walking. This could be a little more important. The super-extreme corner is used to take a large view of the snowy savannah, with a long focus on mountains, longitudes, wildlife. Common combinations of 16-35f4 or f2. 8 with 70-200f4 or, worse, 14-24, 100-400, 200-600. In a place such as tibet, there are those who argue that they “can carry everything” and that it is useful to have a wide-angle view of the budara palace, an 8-block street on 24-70, and a 70-200 snow mountain vision. But you have to be free to carry it on your own and walk around every day, not like a professional. I am more realistic: 16-35 plus 24-105 plus 100-400, depending on needs; 24-120 plus 100-400, or just 28-200 plus cell phone focus. In addition, the sky says to film the milky way with a wide-angle halo, such as 14/16/20f1. 4, but only to recommend the star belt for the nighttime, and to stop the usual tourists。
Let's say a few more common errors。
Mistake i: travel must be 70-200. The 70-200 beats are like a sense of compression, and the distant details do smell good, but the f2. 8 version is a very heavy one and the freedom to walk is a real pain in the ass. Unless you take a picture of people, a performance, a wild animal, you travel 24-105 to 105 end, 28-200 to 200 end, many times enough. I'd love to focus and be afraid of weight, and look at 70-200f4s, or 70-300, 50-300 light head。
Miss two: focus as much as possible. 35, 50, 85, each, sounds like a professional, and tourism for mirrors can crash. The focus has the advantage of big radiums, drawings, atmospheres, but tourism is not a studio. Ordinary people bring a focused view of the night; if the street sweeper only loves humanities, he can wear 35 or 40 alone, with his mobile phone as a standby, which is more comfortable than three。
Mistake three: cell phones and cameras. In fact, the best is complementarity. Cell phones are hand-held, video, hair loops; camera pipes are windy raw, humans are defunct, long-focused. Don't leave your cell phone at home, even if you bring a camera. Highland, seaside, night market, cell phone records, camera focus, not tired back, complete material。
Zone four: the new footage must be better for tourism than the old set. Not necessarily. A lot of people buy a million-dollar traveler, and they don't use raw, they don't learn anything. First, start thinking: can i go back twice a week? Can i accept the change? Would you like to get up early? All three shake their heads. Don't upgrade the camera. Use the phone first。
Directly by crowd, saves trouble:
Home-to-child urban tour: mobile phone + microsheet 24-105f4, or cell phone only. The kid ran away from the mirrors, and focused on the best。
Spouses sea island old town: cell phones are the main, cameras are 35 or 50 fixed, and a standard focal point is added; at night, human beings, restaurants, street lights are all in the big halo。
Mountain windy self-drive: full-drawn body +16-35f4+24-105f4+100-400, as required; no star-space strips with super-wide apertures。
Free-rider passengers: one lens, 28-200 tenron, 24-200 nicoma, 20-200 simma, 18-150 or 16-300。
Photographer first went out: don't buy a new head, use a condom+phone. After this, we'll decide whether we love later, whether we'll do it with a wide angle or a lot of focus, and then we'll do it again。
Let's end with a little real talk. Traveling is essentially about keeping "i look happy in the world" instead of proving to others that i am well equipped. Many people filled their shopping vans before they left, returned to the camera several times without turning them on, full-phone photographs, full-screen floodproof boxes. Instead of looking at which red circle, let's start by thinking: i'd rather hang the camera around my neck this day? Do i want to take this head out for it? Would a change of mirror miss a kid laughing, a sunset, a bowl of heat on the roadside? To figure out this, the camera list is naturally short。
I am going out on my own, and i'm going out on my leisure cell phone; i'm playing 24-105 plus 50 seriously; and i'm going to be too wide and so much more focused. The other head smells better or you don't. It's a little light, a little bit more funny, a little bit more。
