Both have a place in my bag, especially for the flowers and gardens. And while I love them all for different reasons, I do play favorites with a few (Velvet and Sweet). Flowers and macro photography have always been my “Calgon,” so Lensbaby fits right in. I can use the Macro Kit on the Composer Pro II optics to do the same. Not only do they fit my creative style, but I can add macro adapters such as the Nikon 6T to the Velvet 56 and get closer. If you ask me, Lensbaby rocks, and I always have one or two in my bag when I’m in the field. ![]() A Sweet 35 optic gives a 35mm angle of view the Sweet 80 gives a narrower angle of view, and so on. Finally, the numbers following the lens or optic names indicate the angle of view. That said, both of the Velvets are sharp lenses and function in a more traditional way above f/5.6, so the landscape or scene needing a deeper depth of field is within reach. For example, with the Velvets, you lose the buttery glow after f/5.6. Most people shoot their Lensbabies using the wide-open to shallow areas of depth as this is where the effects show up best. This works similarly as well-a “big number” gives you a deeper depth of field, while the “smaller number” gives you a shallow depth of field. While these are among my “go-to” choices for photographing flowers in the gardens, they’re also wonderful for still lifes and for capturing unique images in a wide array of photographic subjects. I have almost every lens and optic made by Lensbaby, including some favorite vintage optics that are no longer made (e.g. Along with their Composer Pro II and optic swap system, they have multiple lenses, each with its own characteristics for creative effects right out of the camera. The unpredictable nature of the Lensbaby was what made it both appealing and challenging.įast forward to 2019, and Lensbaby offers a cavalcade of creative options for all types of photographers-nature, portrait, wedding, travel, street, and still life. ![]() ![]() The tagline “see in a new way” totally made sense. It was fun to use and gave intriguing results however, it was definitely not for the purist or technician photographer. At that time, it was all about bending, squeezing and stretching, and placing magnetic aperture discs in the Muse to control depth of field, and the images and process were not repeatable or refinable. My first Lensbaby appeared about 20 years ago. The reasons are many, and as a Lensbaby lover myself I can show and tell. There are those who might wonder what it is about a Lensbaby that photographers love. Award-winning nature photographer and workshop instructor Jamie Davidson shares the story of her love for Lensbaby, offering up some excellent tips for fellow flower and nature photographers.
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