The 16-50mm at the 50mm end should be just perfect for portraiture - save yourself some cash

The lighting is the main thing in good portraiture
My kit for portraiture:
* Reflector (just a white will do). I have a fold up Portaflash thingy, but even a sheet of polystyrene packing sheet will behave very nicely as a reflector. Aluminium kitchen foil can be used (but it's a bit harsh IMHO).

* Tripod mounted remote flash & brolly. I have a Hama brolly and mount that takes the AF360 or AF540. Cost about £30 from Castle Cameras. The light source should be really, really close to the subject - literally just out of shot.

* Lots of practice!

Really, the 50mm will be just fine

However, if you want to spend extra cash, and give yourself some extra possibilities, then the SMC-DA 55-300 is a fine addition (especially with the £25 cashback). Yes, the SMC-DA*50-135 would be ideal, but the 55-300 shouldn't be discounted

Still, why don't you just try some portraiture with what you have and go from there??

Matt

I've used the 50mm reversed onto the 100mm macro (Held by hand!)
The depth of field is stupidly small, but it's great fun!!

Have also used a 1.7x teleconverter with extension tubes - that was fun!

The house halogen lamps come in very handy for lighting too

Haven't done much macro work lately... might have to try again!
Matt

Thanks for the correction Stefan
Yes, a "reversing ring" allows the lens to be mounted back to front straight onto the body.
A "coupling ring" allows two lenses to be mounted front-to-front.

I've tried all kinds of combinations for macro... and they're all good fun (as long as you can find enough light!!!).
Matt

When shooting indoors, even with flash, you should be using ISO800 or more
That will increase the flash gun's effective range and ability (that's why the shots were underexposed - you were asking too much of the relatively small flash gun. You'll need a flashgun the size of a large brick to shoot in a large indoor space with ISO100 )

My recommendation:
* Use ISO between 400 and 1600
* Shoot RAW if you can (it will give you extra lattitude later)
* Use a wide-ish aperture (as you have already)
* If the car is moving that fast, you should pre-focus and anticipate, or perfect your panning technique
* Turn off SR (especially if using panning)
* Use trailing-curtain-sync on the flash

If the flash becomes the predominant light source, then don't worry too much about the shutter speed - the flash should freeze the majority of the shot. In fact, you probably want to use a slow-ish shutter speed, with panning, and trailing-curtain-sync on the flash (you'll then get "motion blur" with the car well defined by the flash burst).

Hope that helps!
Matt

Amin,

All the current 50mms are 49mm filter thread:
http://www.bdimitrov.de/kmp/lenses/primes/normal/FA50f1.4.html

(BTW, reversing a lens in this way requires the lens have an aperture ring - otherwise the aperture remains almost closed. That's another good reason for the SMC-FA 50mm f/1.4 )

Matt

The Pentax 55-300 is (from what I've heard) an excellent lens
If it wasn't for getting the new SMC-DA 17-70, the 55-300 would definitely be on the wish list

I have the old Pentax SMC-FA 80-320 which is very, very good. Others have said the 55-300 is better still

The resulting images can make Canon users feel slightly sick after realising their "mega-bucks" lenses don't perform that much better than a £90 second hand Pentax 80-320 lens Hahaha!


Matt

Amin,
Extension tubes effectively make the camera short-sighted (myopic).
A slim extension tube on the 55-300 will bring your close focus point nearer - just adds an extra creative dimension.

Can't remember the make of mine (Kenro? Not sure.) - picked them up from Jessops for next to nothing. Just make sure it has the electrical contacts around the lens mount - that'll mean the camera can adjust the aperture automatically. It will be manual focus, but auto-aperture. Shouldn't cost more than £25.

The only other thing is a reversing ring for the 50/1.4. If you mount the 55-300 on the camera, then put the 50/1.4 (set at f/1.4) facing the 55-300 then you'll get unbelievable macro facilities - great than 1:1 www.srbfilm.co.uk do cheap reversing ring adapters (58mm to 49mm).

Have fun!!
Matt

Amin,
Decisions, decisions, decisions

Here's my take on it:
The 50/1.4 is sublime. Even being able to shoot at f/2.2 can be enough to justify its use. It's very small, light and makes a great single lens combination for out and about.
The only trouble about taking shots of "little ones" indoors is their propensity to move around rather quickly Shallow DoF means no flash, but a high probability of out of focus shots - unless they keep really, really still!
I've had some cracking portraits with the 50/1.4 in my time.
Wouldn't give this one up

I have the SMC-F 100/2.8 macro. That too is a fine, fine lens - achingly sharp. I've used it for macros of flowers as well as portraiture and a medium long lens (great for school concerts and the like, shooting at f/2.8 ). The newer DA versions are lighter (mine is a tad too heavy to carry around normally).

It's likely that the new 55 will be stunning... but whether it's £200 more stunning that the already superb 50/1.4 is difficult to say The 55 will be SDM, and apparently was designed similar to the legendary 85/1.4.


I would say... go for the 50/1.4 if you are in any way unsure. You will definitely not be disappointed. Even second hand commands relatively high prices (as it's such a good lens) - so even if you upgrade later you won't have lost much at all

If you are doing the occasional macro work, then a set of extension tubes (with the electrical contacts) will be a fine addition to both the 50/1.4 and 55-300 - it should give you an idea of what you actually need

Hope that helps!
Matt

Moderator note: I've changed the title - it appears that the forum software does not like quotes, fractions etc. (The URL link needs just pure text.)
Matt

Galoot - let us know how you get on! (Do it before 31st Jan - as the cashback expires then!)
Yes, f/2.8 would have been nice, but even at f/4 this is one fine lens
Matt