charliemcdanger
Well-known member
An anecdote. One day I was shooting a model in a small studio. The Tamron works nicely in such a space, but when the model caught sight of a white L lens in my bag, she insisted I use that. Granted it's prettier and more "pro" than the little Tamron, but 70-200 is also just plainly the wrong lens for the space we were in. I brushed her off.
Her posing became somewhat listless from that point, so I said screw it, popped on the L lens and threw myself back into the far corner of the room. And guess what? The best pictures of the set, hands down, were with the ones with the L lens. Not because it was a better lens (or even an appropriate lens), but because suddenly the talent was enthusiastic and making the magic happen.
No disrespect of course, but it's worth considering how much your filmmaking is stifled by this sort of gear fixation. If you're on a budget and can shake the religion of "gotta have Nikon glass," it will open your eyes to a lot of great options. Also, as manufacturing has advanced to a point where even cheaper lenses are very good optically, the criteria for lens selection should be more about the non-optical factors: versatility, ergonomics, value.
As David pointed out, there's nothing I could show you that would definitively sell you the lens. Too many other factors involved in making any image. But for me the thing has been a versatile workhorse, and worth its weight in Nikon glass.
