So a year some went by since I realized that I wanted to man a camera seriously with 48032 clicks on my D5100 (via camerashuttercount.com).
This thing was a real trooper and survived more than your average camera gets put through these days- various lenses, traffic slalom, snow, poorly lit conditions, and not that much rain due to its lack of weather sealing (snow doesn’t count since its magical substance that simply shakes off before getting inside of anything).
It saw the kit lens days, including 55-200 that quickly made me realize that I DO want a long telephoto and I want it in a much better quality than ‘5-200 had to offer…
Not that I didn’t take some neat snaps with this one,
But it really does not compare to my realistic tele-zoom dream- 70-300 VR.
But this thing came much, much later on since I went through a dirt-poor photographer stage and couldn’t event squeeze enough cash out of my pockets for this guy. I did get weary of kit quality, despite upgrading to a much more capable 18-70 DX along the way, and fiddling around to fix its busted manual focus ring (that I honestly seldom used anyway)…
So budget days brought about the biggest revelation and my best to-date photography teacher: Nikkor-H 50 f/2.
This was a true, full-manual bargain that also came with an extension tube that I didn’t fully and properly break in until way, way later.
This lens required me to truly learn aperture as a whole and rewarded me with a realm of speed being an f/2 lens, which IS miles better than kit 3.5 and up. Not to mention its sharpness that really impressed me given that the 50 survived all the way from 1966 (via some internet serial number sleuthing) and that it only cost me ~$45 with postage.
And drove my enthusiasm through the roof, making me try crazy stunts like shooting bees using an ancient piece of glass coupled with some insanity.
This combo (or rather, mostly the 50 since I neglected the 18-70 hence after) lasted me until my decision to invest into some fast auto-focusing glass for the sake of night-time action shots.
Did I like this $200 worth of plastic and silent focusing? Even despite it leading to my discovery of chromatic aberration that I’ve never seen prior to shooting this little guy? Given the power to trust my 5100 to focus for me third of a stop faster, it was quite refreshing indeed.
And the round bokeh! This lens became the new workhorse given the season for DC road skating and me not wanting to have to worry about poor aperture vs manual focus.
Consistent and terrible CA in direct light still bugs the heck out of me, but I just can’t deny the usefulness of this little guy.
Eventually the 18-70 found a new home and has been treated and treating the new owner very well from what I hear, feeling right at home on another D5100 to boot.
I finally mustered up the funds for the glorious 70-300 and it became my primary workhorse of a lens unless I absolutely needed a wider angle than it offered. I absolutely abused it at the National Zoo, which eventually led to some collaborations with a good new friend.
I worked my stubborn, natural-light mentality towards a proper flash that changed the game very substantially towards a positive new level and started to miss <50mm kind of field of view since my 18-70 was no longer at my side. I’ve also come to miss having a mid-range zoom since the flash took care of having relatively low aperture and having a zoom would have been much more convenient indoors than dancing around with my primes. My solution? Another bargain hunt- Sigma 24mm Super-Wide II f/2.8 for a whopping $40 shipped, and it even came with the original leather case!
This guy had surprisingly awesome color rendition and plenty of angle for me to work with too.
Somewhere in between all of that I got lucky with my research tendency and actually narrowed down a dream lens, that I got lucky enough to be able to find and afford around past October- Nikkor 45mm f/2.8 AI-P pancake. The modern remake of the old one, and pretty much the only duo of true pancake lenses Nikon ever made. It sported uncanny thin profile and the oldest, Zeiss-like Tessar lens design.
And once this went into action, I would rarely take it off despite being forced to use manual focus and only having f/2.8 as my highest aperture. This lens simply felt perfect for me, and this is speaking with the DX field of view, so of all others I can’t wait to use it as it was intended to be on a FX body.
The ghosting/flare rendering is extremely unique thanks to the Tessar design and I love having something that produced unique images. A lovely flower of light instead of the standard straight scatter.
I’ve done some odds and ends with this thing too, like mounting it onto my neglected macro extension tube and using a ring light on its front via step-up rings.
With surprisingly decent results to boot.
And so, now I’m ready to enter a whole new world of full frame sensors and plethora of useful settings to help me fight my ideas and framing more than the ISO and shutter speed on the camera. D5100 has been a solid starter, with pretty capable video capability, but it’s simply not a body I want to trust with small things and feel confident in its judgement of my idea of utmost quality. Hopefully my D600 that should be here in couple of days will rise to the challenge with confidence and quality. Based on all the reviews I’ve watched and read, as well as user opinions, it should be able to do just that for where I am on my learning curve.