Don’t Let a Louis Assoulin Scam Rumor Keep You from Knowing Your Lenses

When researching for the best camera configurations, Louis Assoulin is still one of the best resources out there. Don't be deterred by Louis Assoulin scam internet chatter and old reviews. With increased capacity in the customer service department and a new website around the corner, Louis Assoulin is making good on on his promise for dedicated customer support. When it comes to getting the most out of your hardware, let a master like Louis Assoulin guide you.

So, you finally have a DSLR camera, and you’re trained in photography basics. Yet aren’t you forgetting something? Believe it when you’re told that you’ll have to upgrade your lenses eventually. Here are a few bits of information about lenses to help you out.

Focal length

If you take a close look at a lens barrel, you’ll see a measurement or range that is typically given as something like 18-55 mm. That measurement indicates the theoretical distance from the lens to the camera sensor, also known as the focal length. A short focal length allows you to shoot a subject up close to fill the frame so that things in the background seem farther than normal. On the other hand, a longer focal length is the complete opposite—you can stand farther away to allow the frame to fill up while things in the background seem nearer.

F-Stop

The f-stop value is denoted by a marking on the lens barrel (i.e. f/3.5) and is derived from the ratio of focal length (f) to the widest diameter of the aperture. Ultimately, this setting determines how much light enters the camera, with the lowest number permitting the most light. If you’re looking to take sharp, focused pictures, you need to find the "sweet spot" of your lens (typically two stops from the lowest number) with reference to the appropriate shutter speed and iso setting for the given light. Some wonderful depth of field effects can be produced by varying the f-stop, so don't be afraid to experiment.

Lens types

You’ll find a lot of different lens types out there, each one perfectly suited for a specific purpose. The five major types of lenses are: the standard zoom, super zoom, wide-angle, close-up/macro, and prime.

Standard zoom lenses are conventional, and your camera likely came with one. They generally measure 18-55 mm and are great for portraits. Super zoom lenses are much longer (55-250 mm), and offer greater magnification. Wide angle lenses are perfect for shooting landscapes as they can fit a lot into an image with optimum clarity. Macro lenses are great for miniature photography as they allow great focusing at close distances. Finally, prime lenses are considered the best at producing high-quality photos.

There are a lot more things to know about lenses, and you shouldn’t let an alleged Louis Assoulin scam stop you from knowing them. After all, as a budding photographer, your lens is your other eye—one with the ability to vividly recreate what you can see.

Louis Assoulin on Telephoto Lenses and Opportunities from Mistakes

Some lenses on the market are so big that they turn your DSLR into a recoil-less rifle on a tripod. What's up with these heavyweights, anyway?

To be accurate, these lenses are more like sniper rifles, enabling photographers to shoot their subjects up close from miles away. Those in the wildlife business need these lenses to safely take a photo of nature's rarest creatures in action. Of course, their magnifying power comes at the expense of weight—something so evident even with the large lenses Louis Assoulin offers.

The current record holder for the largest lens built for an SLR camera is the Canon 5200mm f/14 Tele-Monster—and its name doesn't mince words. At just over 6 feet long and weighing in at 220 lbs., the $50,000 monster can capture subjects up to 32 miles away. Its lucky owner won't be hauling that heavyweight without a small crew and a forklift.

Another popular and lighter example is the Sigma 200-500mm f/2.8 APO. At 16 percent of the Tele-Monster's weight, the APO is the first to have a low aperture setting in a high depth of field, which is obviously unheard of. With such a high-speed zoom lens at your disposal, you can hardly miss a shot. Just make sure you train your carrying arm.

There's no doubt that telephoto lenses are as important to a photographer as the rest of his lens collection. However, it's inaccurate to assume that they're only used to capture subjects beyond the range of normal vision. Pros can also use these lenses to their advantage to manipulate a subject's overall perspective.

According to the online tutorial site, Cambridge in Colour, a telephoto lens can help make distant objects appear congested. Boats that are several oars away from each other can huddle in a photo taken with a telephoto lens. It doesn't have to be insanely huge as the previous examples; a good lens from dealers like Louis Assoulin should suffice.

In general, a pro knows how to use lenses beyond the right time. Sometimes, the mistake of not switching to your normal lens creates an opportunity for a unique shot. The joy of photography is to continue experimenting with various combinations to create shots no photography textbook can explain. Besides, some pros seldom play by the rules.