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Home My WebLink AboutThe Wingham Advance-Times, 1983-02-02, Page 28N Page 16—Crossroads—Feb. 2, 1983 THE POLITE THING_ TO DO—Zoom Lenses come in handy when you want to photograph someone without causing a disturbance. Johnny Claypoole, a re- nowned painter of hex symbols, was photographed in the midst of a discussion by zooming in frond a discreet distance. (CNS Photo by Holt Confer) Throughthe 4iplens 111" By HOLT CONFER I Vivitar's 28-90mm lens For the past few weeks, I've been using a new lens offering from the Vivitar Corp. — a Series I, 28- 90mm macro wide angle - telephoto zoom lens. If you've been a regular reader of this column, you know that the 28-90mm range for a lens is just about ideal for most photo- graphers using 35mm equipment. And that's especially true if you buy just one lens for your camera body. I would guess that close to 90 percent of the pic- tures most amateur photo- graphers ever take will fall into that 28-90mm span. If I had to pull a figure out of the air for professionally taken pictures, I'd have to make the percentage of shots made in that same range just about as high. This lens has a one -touch zoom and focusing control which means you focus and zoom with the same slid- ing -rotating ring. I've been able to try several of the one touch units over the past year, and I'm not en- tirely convinced I like this arrangement. Granted that you can probably zoom and focus faster with the one control system than you can when there are two 'controls to operate, but there is one flaw with the single control system that bothers me. MINUTES OF YOUR LIFE.,. ...WM PAW A .tx .n rt(h t Ross RI ni r (x1IVfR' When I use a zoom lens, I like to zoom in on my sub- ject, focus sharply, and then zoom back to where the ocmposition looks at- tractive ,— it's a procedure that you can follow quite easily when one control op- erates the zoom mecha- nism, and another control is used for focusing. When I tried to follow that procedure on this Vivi- tar lens, I found I couldn't hold sharp focus through- out the zoom range. If I zoomed in and focused sharply on my subject, I lost the sharpness when I zoomed back to compose my picture. I found myself having to refocus when I had my picture composed — and focusing from a greater than necessary dis- tance adds a dimension of uncertainty of whether or not you're really working at maximum sharpness. Remember, though, when I find a lens uncom- fortable to use, I'm ex- pressing a personal opin- ion. I don't want you to feel the lens isn't designed properly or doesn't deserve your attention. A one -con- trol zoom lens may be just what you are looking for because it fits smoothly into your personal photo- graphic modus operandi. This lens does have a nice close focusing (macro) setting. At the 28mm range, you can focus down to one-third life size. And to get that ratio, you'll find you've moved in to where your subject is a scant 4 inches from the front of your lens. Here again, if you select this Tens as your primary operating tool, this fine macro feature will open up another new di- mension to your picture taking possibilities. In designing this lens, the engineers created vari- able aperture settings. The aperture range at 28mm is f-2.8 -f-16; while at the 90mm setting, the effective aperture range is f-3.5 -f- 22. There are two aperture reference marks on the, set- ting ring — a red dot to be used when you're working in the 28mm range, and a green line to indicate aper- ture settings for 90mm work. Fine and da'hdy...but which of the marks do you use when you are operating somewhere in between 28mm and 90mm? The op- , erating instructions with the lens don't tell you the answer to that question, but it involved a whole lot more mathematics than I wanted to hear. The Lens was obviously designed with the automat- ic camera owner in mind. If you use your matched needle system or aperture - shutter speed preterred electronics to set up your camera, you've got no problem because the inter- nal mechanism is making the adjustments necessary to compensate for aperture changes needed to accom- modate the different focal lengths. If you should de-° cide to work manually, though, your picture taking will be interrupted by moments of uncertainty as you try to guess which ap- erture mark to line up with the necessary f-number. The good news is that_ ' you could only be off mark • by one full f-stop, and. with a normal amount of brack- eting, there is no reason not' to get a correct expo- sure somewhere along the line. Still, I feel there are enough other things to con- cern the photographer who likes to work manually without introducing one more thought-provoking item. I suspect there will be an increasing tendency among lens makers to introduce items that cater to the au- tomatic camera user. While that design -manu- facturing philosophy al- lows more automatic cam- era users to enjoy a full range of optical capability, it's bad news for those of you who still like to ex- ercise maximum human control over your picture taking. riaciaammassuzetsmaw T LO RVEY K OT UP TOA 30 MONTH TERM OPE N 1980 Monarch 4 Door 6 cylinder, automatic, power steering and brakes, red. Stock no. G1516A 1.979 Chrysler Cordoba 8 cylinder, automatic, power steering and brakes, silver. Stock no. L2385A 1979 Dodge Diplomat 4 Door 8 cylinder, grey. Stock no. F1386A 1979 Granada 2 Door 6 cylinder, automatic, power steering, power brakes, black. Stock no. 10212B 1979 Mercury Monarch 2 Door 6 cylinder, automatic, power steering, power brakes, gold. Stock no. J30588 1979 Ford LTD II 4 Door 8 cylinder, loaded, brown. Stock no. 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