The camera is the paint and the lenses are your brushes. Everyone has their own opinion on what looks ‘good’ and more importantly what works for the story but there’s no doubt that lenses are a huge factor in this. Two people can have opposite views on the same image is the reason that I love art and the medium of photography (whether motion or still). Knowing the tools available will only make you a better storyteller and as a cinematographer, it will make you more valuable to directors. I’ve discovered a new “brush” and want to share my findings.
Quick Glance Tokina 100mm Cinema Macro
Lenses are such a personal choice and the first thing I do when using a new one is throw up a test chart and see how it does wide open and a few full stops that follow. This gives me a good starting point and I’m instantly able to get a feel for the build quality and mechanics of the lens. Today, we’re looking at the Tokina Cinema 100mm Macro t/2.9
So, let’s start there. A little boring to look at, but again, it’s the starting point. These were shot on the Canon C300 in Clog.
Ok, so what does this tell me? Shooting wide open (t/2.9) is definitely useable and at a t/4 the image becomes tack sharp. Great, now lets dive in a bit deeper.
Being a macro lens, I wanted to take a few stills and see what this could do in regards to product shots and extreme closeups. What I’m looking for here is how sharp the my image is and how soft the background is. Furthermore, I take pay particular attention to the character of what’s out of focus, also known as bokeh.
Next up, I’ll be checking out sun flairs and skin tones. So far I’m really impressed with this lens and can’t wait get it on set. Next up is my tests on the Tokina Cinema 16-28 t/3 and 50-135 t/3. More information on these lenses can be found here.