#get prepared to spend a lot of money on their hypothetical show(s)

[louisisalarrie]

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[mooshs-crack-headcanons]

Hi moosh! Could I have sfw letters APW for dante, vergil, nero, and V? Thank you!

So this is my first piece for devil may cry, I hope it turned out well I'm still ify on it, especially with V's and a part of Vergil but I hope you guys like it anyway!

Dante 

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Dante is a pretty chill guy, but he really doesn’t get out that much besides to go do a job, out to get drinks and to gamble (losing most of his last payment from Morrison in the process and getting absolutely screamed at by both you and Lady) at the local bar, and to get a Strawberry Sundae at Fredi’s, most of these activities he loves for you to tag along with him (some partially to make sure he doesn’t get into too much trouble *cough cough* like losing most of his fucking money *cough*) especially hunting if you can hold yourself in a fight, he gets a kick out of watching you kick demon ass and finds it really hot so expect a lot of flirty banter that’s filled with terrible puns and other dorky eye rolling one liners. This lovable fucking dork.

However most of your time spent together is in the office, which you can find the two of you laying on the couch watching the old busted television watching old movies or listening to the old busted jukebox that has been playing the same sixteen songs for the last thirty years (Dante stop abusing your shit) or just telling each other shitty stories the both of you have heard from one another countless of times, but somehow when he tells it again it somehow feels just as enjoyable as the first with somehow a different twist to it and when you tell it he always that charismatic talent that Dante just has this big heart throbbing grin on his face as he listens and it just makes your words sometimes stop that even he has to tell you to keep going, or just cooking together (and by together, I mean you doing 99% of the work because this man is forever banned anywhere near a oven anymore) because yeah sure pizzas 24/7 is fun and all but if there’s one thing (besides watching you kick demon ass) that he loves to watch you do it’s cooking and not only does he get to watch you excitedly dash from one part of the kitchen looking for ingredients and get a little messy along the way, he also gets something to eat out of it too in the end. 

P DA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

Embarrassment to show his absolute adoration for you in public? No way! Dante is all about that PDA, unless you’re uncomfortable with it then he’ll respectfully lay off...but sometimes he finds it really hard when you’re just super cute when talking to the crew about a job, it's just something about that look of thrill in your eye that always grabs his attention. But if you’re down with it, let the lap sitting, quick heated kisses, bad suggestive pick up lines, and questionable touches commence! 

Dante is the number one choice for a feel better boost, if you’re feeling unsure and doubtful of your abilities be prepared to see this man recite everything fucking cool, smart, and badass thing he’s ever seen you do, so it’s a given Dante absolutely loves bragging about you to people. As he’s sharing tales of your badassery, there’s a glint of pure love in his eyes as he looks back to you and watches as your doubts begin to slowly fade away to the back of your mind, and of course if this is a recurring issue you might find even the rest of giving you compliments from time to time, even from Vergil (which almost gave you a heart attack from the shock hearing that from the eldest son of Sparda) 

Kisses from Dante are never shy, when he wants to show affection to you he’s never shy about it. Kisses from him are always the type that shoots butterflies to your stomach and makes you feel dizzy afterwards, his favorite to pull over you are when you’re in the middle of working on paperwork (his fucking bills) and surprising you with them because always without fail you get drag away from your work and go to cuddle on the couch, bills to be forgotten (and he wonders why his electric shuts off all the time) The crew immediately learns quickly that Dante really doesn’t have any shame, but reactions vary when they stumble upon it with Trish and Morrison are the two not to really give a shit to be bothered by it, Lady, Vergil, and Nero just roll their eyes at it before going back to do their own thing, Nico lets the: “get a room love birds” and other types of teasing lines and whistles fly every chance she gets, Lucia either embarrassed and covering her eyes or scolding the both of you for being that ‘personal’ out in the open like that, and Patty asks really uncomfortable questions. Dante for the most part gets a kick out of all of it!

W ild Card - A random Fluff Headcanon.

I think it's very clear that he mimics actions he sees in movies (just look at how he fucking uses Cerberus for example) and so lots of what he does romantically is stuff he's seen in romance films he remembers watching with his mother and brother when he was younger or films that when he really has nothing better to do and Patty brings (all with titles he can never pronounce) to the office on a lazy afternoon and that's the reason why his view of romance is so cliche. When asked jokingly about it, he'll give a shrug and answer with the fact that the love between his parents, forbidden lovers, is a cliche trope itself and from the very few memories he has of his mother and father together he definitely remembers how sappy they were together, so sappy that it might've carried over into their kids (Vergil you don't escape this, just you wait) 

 So that being said, with the heart shaped chocolates, the roses to start every date with, several dates under candle light on the roof of the shop under a full moon, no matter how cliche it may be the confident wide eye grin on his face during them will never fail to make your heart skip a beat. 

Vergil 

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Vergil of course really likes to take every opportunity to train whenever he can so that he can be sure he's able protect those he cares for, so he really likes when you take the time to spare with him so not only he can stay in top shape for whatever danger that may come in the future but also so that you can do the same that he doesn't feel like it's all up to him to protect you when he is assured you can protect yourself, this keeps his mind from wandering to dark power lusting places.

On free days that there's no jobs in sight and there's not a focus on training, Vergil of course likes to read in his book. Flipping through the pages of his old precious childhood possession he feels himself at ease and even more so if the two of you are laid up together in bed in the privacy of your shared room, your head laid softly on his chest with his hand in your hair subconsciously combing through it as he reads Blake's words aloud to you in a quiet voice as if the words were only meant for you to hear.

P DA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

Listen, all the Sparda men are romantic in their own way to the core, I like to think it’s in their genes and this is Vergil we’re talking about, this man is an absolute traditional romantic with absolutely no PDA. I mean come on, again this is Vergil we're talking about this is to be expected the son of Sparda prefers to keep his romantic life absolutely private between the two of you. To be honest it takes only the closest people in the two of your lives to realize that the two of you are even together, so basically only those who are at Devil May Cry frequently. The tale tell is that out of everyone you end up being on the end of Vergil's...Vergilness the least bit, sure there are moments but at least you haven't been stabbed by Yamato or had any summoned swords shot at you like everyone in the office has been at least once (although this also applies to Kyrie but I see her never really doing anything that would really bother him) and he also gives to rare non sarcastic compliments, which blows Dante's mind every time it occurs. 

Vergil doesn't brag about you, he compliments, and true hearted compliments from Vergil are rare, but when they happen you always know he 100% means it especially if he does it in front of others. This is the only form of PDA he feels comfortable with doing, and usually they're about how you did in fights or a super rare version: that he's proud of you. 

Again Vergil believes all romantic acts should be savory in the privacy between each other, so it's obvious that he doesn't like kissing in public. However, if you were to hypothetically I don't know...give him a peck on the cheek or go even more scandalous the lips while he's at phone duty in the office while Dante and the others are around the pool table and sitting area or in Nico's van while waiting to drive off with the crew to whatever next job, his cheeks might turn into a interesting shade of pink. 

W ild Card - A random Fluff Headcanon.

It takes patience to be in a relationship with Vergil, in the beginning he'll be closed off and won't share what he's thinking (but it says a lot with how much he does trust and care for you to be in a commitment with you) but as time goes on he'll slowly start to open up more and more as he lets himself accept the human in him to love you, and at this point he'll start to share things that are very close and dear to him. 

He has very fond memories of watching old black and white romance films with his mother and Dante, who only would watch them because the moment they would end he would immediately beg him to train with him, but with him falling down to hell and being corrupted since he was only nineteen to him he remembers memories of when he and Dante were kids more clearly than his brother can since to him they don't feel as they happened a long ago so he remembers watching these films from long ago in very great detail. So of course the moment he can find some of these films with the help from a hesitant Nero (still getting used to the whole dad ripping arm off thing and all) to find and order those they could find online. From the very moment he has the old tapes in his hands do they become as precious as you, Yamato, his amulet, and his book (as well as a little bit of Nero but it takes him a while to come to terms with it) so with this being something very emotionally important to him, and after very long pandering about it, he asks you to watch these films with him (he also considered asking Dante but figured since he didn't practically like the these films as children that he wouldn't want to to watch them now, absolutely no idea about the cliched dork he is now because of these types of films) The entire time you find yourself struggling to pay attention to the actual film instead you find yourself drawn to the deep nostalgic look in your lover's eyes as he's glued to the screen. For a while you're not even sure if he's actually watching the black and white picture either with how he eyes seem to be playing out scenes of the past and this is the first time you've ever seen this much emotion on his face at once. You end up holding a tight securing grip on his hand throughout the rest of the film, one normally he wouldn't hold for as long but you find his fingers subconsciously rubbing against yours from time to time. Once the nostalgic movie night ends the two of you don't say much to each other, which Vergil appreciates since how much emotional significance that it had on him and with the feeling that he's glad he got to spend it with you. 

Nero

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

He likes killing demons with you, it's in his blood. Just seeing you in action will without fail boost confidence in him and makes him want to show off for you, which ends with him getting hurt and scolded by you many times but he wouldn't have it any other way. 

Well, he really finds himself doing a lot doing jobs with Nico on the road as of late so except a lot of quality time together on jobs and in the van. When the two of you aren't out kicking demon ass expect a ton of sitting around in the van watching whatever happens to come in on Nico's very small and very shitty portable tv, this is when you learn your boyfriend has actually a lot of a surprising amount of trivia on shows that hadn't been in production in decades but are shown as frequent reruns on low quality channels that coincidently air in Fortuna's limited broadcast range. 

P DA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

I feel like during the time around dmc 4, Nero at that point was absolutely super embarrassed with the idea of PDA, not even getting started with his insecurities about his arm, but I feel about now after his experience with dating Kyrie for a few years he gotten use to it a little bit. However that doesn't mean he won't get entirely red faced by teasing comments from Dante or Nico even if he was just looking at you for a few seconds longer than he should've.

Fuck yeah he brags about you to others. You're a badass, and he absolutely loves that. During a fight he'll gladly give you a cocky Nero way of approval by saying that even he should try and catch up before flashing you a smug ass grin before revving up Red Queen and jumping into the next hoard of demons.

Again Nero gets embarrassed easily, however unlike his father he's not totally against it but it depends on whose exactly around. For example if it's Lady or Trish, hell even Morrison he's perfectly comfortable with giving you a kiss hello/goodbye or wrapping his arms around you just for the hell of it because he knows that they're chill and won't make a big deal out of it. But if it's anyone else...he feels not so much about it. Dante and Nico tease the hell out of him for days, Patty asks very uncomfortable person questions, Lucia gets really easily flustered about it, and Vergil and Kyrie for personal reasons would just rather not prefer to do anything around them. But every time you are the one to initiate any sort of affection, he'll immediately rub/scratch at his nose with a very dumb founded flustered look on his face. 

W ild Card - A random Fluff Headcanon.

Nero is actually a good cook and absolutely loves cooking things for you and that is usually what happens for most dates, no matter how complicated the recipe he just seems to have a natural talent for it. So when it comes not only dates but to holidays as well, it's really funny to see the youngest relative of Sparda cooking away to serve the rest of the company on Christmas day when everyone knows damn well that neither his father or uncle has any clue how to work a kitchen and this is a fact that he holds proudly over his head. 

V 

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Well being Vergil's human half, I still say most things still somewhat apply to him but a little bit differently. V's not really the best partner to spar with for starters (the most I see him doing is letting you train with his familiars) but I feel that he still completely understands the reason why Vergil would desperately want that, but he has a little bit more in himself to have faith in you to know you can more than able to handle yourself with your abilities. 

Like with Vergil, V absolutely loves to read with you. It puts a nice warm feeling in his chest when the two of you are alone and with you in his arms as he reads to you as you both sit against Shadow and Griffon nesting nicely in your lap, all together like a nice small family. 

P DA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

V, unlike Vergil, is torn between PDA. Like Vergil, he really does appreciate the privacy of time spent together behind closed doors but also he really does like the feeling of people seeing the two of you together as a couple, it brings out a heavy sense of pride and stroking his ego. 

V doesn't feel need to brag, he's proud of you and if you're with him you should know that by now, but if you're in need of some encouragement he always knows what right thing he's proud of you to pick you tight back up again. 

Kisses from V are never shy, will he do it often in front of others? Occasionally, but never frequent. When he does though they're always sudden and full of spark, you swear his lips are like an instant kill switch to your brain because once you realize that he's kissed you it's already hit you and most of the time you hear whistles and teases from Griffon (and sometimes Nico if she's around) that bring you back earth to (Name). 

W ild Card - A random Fluff Headcanon.

Vergil's nightmares plague him a lot, I mean he's literally contracted to them. So expect a lot of countless of nights of him waking up in cold sweat and doing his best to keep his sobs down as the image of Nelo Angelo is burnt into his mind. He would rather not talk about it, but he really does appreciate feeling you holding him through the after shocks. Tracing his tattoos or gently combing your fingers through his hair will slowly calm him down enough to at least lay back down with you and hesitantly fall back asleep knowing you're there to fight off the plagues of his mind at a moments notice.

[shelawmsluderym09insurance-blog]

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[rebeccahpedersen]

Why Don’t People Want To Move?

TorontoRealtyBlog

Well, my mother enjoyed Friday’s blog, and that’s all that really matters, right?

Lost in the shuffle after an impromptu 2,000 word trip down memory lane were the reasons behind this recent survey, showing more home-owners would opt to stay put and renovate their existing homes than move.

The survey was posed in this hypothetical “What if you had $50,000,” manner, whereby respondents were supposed to choose between renting and moving.  But ignoring that hypothetical, and simply looking at the decision as it pertains to all of us, our lives, and our situations, I would still argue that just as many people would rather do without moving.

I see five major reasons for this, many of which have multiple reasons therein…

5) The Neighbourhood

There’s nothing wrong with loving where you live, in fact, it’s a dream for all of us.

So when faced with the prospect of leaving all that you know and love, it seems to reason that many people would look for ways to avoid it.

This means that when many people do end up moving, many of them stay within the same area.  I actually sold a $970,000 condo to a buyer last week who currently lives in the building in a smaller place worth about $550,000.  He loves the building, doesn’t really want to leave, but needs more space.  So buying a larger place but only considering that one building became his chosen path.

For other would-be buyers, however, not being able to move within that same area is often a reason why they stay put.  If you owned a 3-bed, 2-bath semi-detached house, but wanted a 4-bed, 4-bath, or at least a 4-bed, 3-bath, and were constrained by price, you might end up looking in another neighbourhood with lower prices.  We’ve all been here before, and this is a very common scenario for most buyers.  You can’t afford to move “up” within your area, so you look at other locations.  When faced with this prospect, many buyers just can’t pull the trigger because they can’t face moving out of the neighbourhood.  And thus, they renovate, expand/add-on, or simply put off the move for a little while longer.

I’ve seen this happen a lot.

When I’m working with active buyers who essentially “change their mind,” and decide to put the search on hold, one of the top reasons is because they can’t bear the idea of leaving the neighbourhood.  So as I mentioned above, many decide that their plan is to stay, save more money, and then be able to purchase a larger home within that same area.

As housing prices continue to rise, however, we all know it’s difficult to “chase the market.”  Saving more money for a down payment on a larger home only works if the market stays the same, or appreciates at a rate substantially lower than one’s ability to save.  This is why I find so many people who don’t move, initially, because they “want to stay in the neighbourhood” end up becoming stuck in their existing home.

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4) The Kids

You all heard my sob-story from Friday about how I didn’t want to move, but what I didn’t mention was that as a child, I was paralyzed with the fear of switching schools.

We grew up in Leaside, and I attended Bessborough Public School right from Junior Kindergarten.  But I knew that when my mother and father were out looking at houses on the weekend, half the time they were looking in other areas.

I had no idea where “Lawrence Park” was, but I knew I didn’t want to live there.

Avenue Road?  Is it an avenue or a road?  That made no sense to me.  I certainly didn’t want to live there.

Bayview Heights?  Where the hell was that?

North Toronto?  How far north are we talking?

My sister explained to me that if we lived in any of these areas, we would have to go to a different school.  This scared me more than just about anything as a child, and that includes Freddy Krueger, who was just about the worst-looking, scariest thing I had ever seen, and maybe still have to this day.  The makeup for that movie, considering it was 1984, is just unreal.  But that’s a topic for another day…

As any child would at this age, I had developed a close circle of friends, and the thought of not only losing those friends, but also having to make new ones, was a non-starter for me.  I didn’t want to be “the new kid” that shows up on September 5th, and is introduced by the teacher who basically begs the other children to befriend.

A lot has changed since the 80’s, and nowadays with technology where it is, social media, and a lot more clubs, sports, and activities, kids from all over the city blend together in a way they never did before.  But I still think a lot of parents worry about pulling their kids out of existing schools, and planting them in new ones.

Many parents will actually plan their moves around their kids’ ages, and/or school cycles.

I’ve had clients who told me, “We’re going to buy a house in two years because our son will be turning 6-years-old, and we want to start him in School X for Grade 1,” as well as other variations surrounding different public/private school options, or special programs like French Immersion, or simply leaving daycare for JK, or graduating from Grade 8 to high school.

But others simply refuse to move because they fear it’ll be traumatic for the kids, whether that’s based on the school, or in some cases, emotional attachment to the home.

I suffered from both as a child, but thankfully when we moved, I stayed in the same school!

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3) The “Lateral” Move

You don’t sell for $1,000,000 and buy for $1,000,000 in this market very often.

If you lived in a condo, and wanted to own a house, you might though.  And I’m sure there are other exceptions to the rule.

I suppose if you live in a downtown Toronto condo, worth $600,000, and you’re moving to Hamilton to start your new job, get married, start a family, and prices for freehold homes are $600,00, then yes, the lateral move makes sense.

But here in Toronto, most of my clients are either buying up or down, and the “lateral move” is a fear of many buyers, and probably should be.

For reasons that we’ll explore in point #1, it’s expensive to move, and to buy and sell for around the same price often doesn’t make sense.

Switching neighbourhoods around the same price point can be an option, but it really just comes down to the costs involved, and I feel as though most buyers want to truly “buy bigger.”

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2) The Bother

As I write this, I have not one, but two sets of clients who have moved in with their parents for two weeks.  I have another couple of sellers who are also leaving while their property is being sold, but they’re sailing around the world, so we don’t feel quite as bad for them!

My other seller-clients have been displaced from their homes as it’s simply not feasible for them to sell why they’re living in the house.

In the house.  In their house; it’s not feasible for them to live in their house.  How crazy is that?

Well, that’s Toronto!  That’s the market!  You’ve heard me say this over and over, but I believe there is only one “right way” to sell real estate, and it involves doing everything properly before and during the listing, cutting no corners, and not diverting from the path that’s been set out in advance.  This means, for those that choose to do it properly, that you’ve got anywhere from two weeks to two months of preparing, and it can be awful.

You start by de-cluttering, and that means throwing away stuff you probably want to keep, and/or often going through boxes you have no desire to go through.  You often work around the clock, with a deadline (ie. a target listing date), and every night you go home from work knowing that you’re simply switching jobs, as the work doesn’t stop until you finish packing, and go to bed.

You have to work on the house too.  Repairs, fixes, often renovations.  I have clients right now who are going to replace all the flooring in their condo, renovate the bathroom, paint the entire place, and maybe even tackle the kitchen cabinets while they’re at it.  They’ve told me they’re stressed, anxious, and wondering whether this is “the right move.”

But then when the property is actually cleaned, painted, repaired, and de-cluttered, the staging begins, and many people can’t live in a staged house.  Especially those with kids…

Most of my clients who have children end up moving out for 10-14 days when we sell, provided the house is freehold and in at least a lukewarm location.

If we stage the house on a Thursday, take photos on Friday, to list on Monday, that family isn’t going to live in the house on the weekend.  They’re already up at the in-laws!  So then we have a week of showings, followed by an offer night, and it’s close to two weeks before they can move back into the house.

Add all this up – packing, de-cluttering, repairing/renovating, cleaning, moving furniture and boxes to storage, staging, and finally moving out of the house, and it’s no wonder many people couldn’t be “bothered” with the process.  It’s daunting to many, although those of you who have been through it probably think it’s just the cost of doing business.

Then there’s something to be said for the “bother” of trying to essentially re-create one’s existing home, in a different location.  Those of us who take pride in our homes, and who have worked over the years to make it our “own,” often see a new house as a stark blank canvas, and thus a chore.  Some relish the opportunity to start from scratch, but others see it as a lengthy task that they could do without.  Imagine spending five years “feathering the nest,” only to have to start over elsewhere?

To each, their own.  Some might see this as complaining about nothing, but the feedback I get from people all the time is that moving is daunting, and much of it has to do with the process of selling, rather than buying.

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1) The Cost

There’s absolutely, positively, no doubting that this is the #1 reason why people don’t move…

…in Toronto, that is.

Tell me if I’m wrong, and I feel as though this could be one of those blog posts where the readers’ comments really drive home the accuracy of this list, but I have to think that if it wasn’t so expensive to move, people would do it more often.

Some see real estate as an “investment” and others are irked by that mere notion; thinking somehow that houses should be exempt from being bought/sold/traded and rather simply house people.  But for those who find themselves in the former camp, they’ll recognize that real estate as an investment has one major difference from your typical investment vehicles out there today: liquidity.

That’s not to say that real estate isn’t easily sold.  It’s a far more liquid investment than art, rare coins, or precious metals (ie. those who actually take physical possession of gold bars; I had a client once with all his money in physical materials, it was nuts).  But the time it takes to dispose of real estate is an eternity compared to the “click of a button” for selling shares of stock.

Then, there’s the cost.  That’s the major issue with liquidity, from my perspective.

And the costs associated with selling real estate might be the elephant in the room for most agents, but I tell my clients this all the time!

Land transfer tax, real estate listing fees, legal fees, movers, and then the things people don’t think about – like furnishing a new house, and all that comes with it.

Those of us in Toronto pay not one, but two land transfer taxes, to the wonderful municipality of Toronto, and province of Ontario.

On a $1,500,000 purchase, that’s $52,950 that you are never going to get back.

Now let’s say you’re selling a $700,000 condo as you prepare to move into that $1.5 Million house.  The fees are anywhere up to 6%, or $42,000.  But add in HST, and it’s even worse – $47,460.

There are other options, of course.  It costs $0.00 to put a “FOR SALE” sign on your lawn, so while the land transfer tax to Toronto and Ontario are non-negotiable, the real estate listing fees aren’t fixed.

I won’t turn this into a conversation about commission but suffice it to say, most people are paying 4-5% to sell, and that’s a big number if you’re going to buy/sell again in three years, then five years after that.

It’s why I tell a lot of my clients, “It’s expensive to move.” I do it all the time, just ask them.  “You don’t want to call me in two years, tell me you’ve outgrown the space, and have to pay me again to sell your place, and then pay two governments massive fees just to file paperwork.”

You’re going to pay a lawyer to close the sale of your existing property as well as the purchase of the new one.  Disbursements, title insurance, and other fees add up.

But what really surprises me is how much people underestimate the cost of new furnishings in the home.  How many of you have moved into a new house or condo and been blinded by light, because you had no window treatments, and never thought to get any?  How many people actually factor this in to their number-crunching when they start considering making a move?

And that couch in the living room of your condo?  You are kidding yourself if you think it’s going in your new house.

The IKEA pots and pans scream “bachelor,” and now you’re a married man in a home.  So get ready to spend!

In fact, the most common dollar figure that buyers attribute to these types of expenses is $0.  Honestly, people never think of it until they’ve already bought, already sold, and are preparing to move into the new property.  Only then do they look around at their existing furniture and realize how much they hate it.  Only then do they find themselves out, every weekend, shopping up at Castlefield & Dufferin.

This certainly isn’t the largest cost associated with moving, but it’s the most underestimated!

In the end, I think the costs involved with moving are the number-one reason why more people don’t.

–

So there you have it, folks!

If there are other reasons, please feel free to share.

And for those of you that want, or wanted to move, but did not, I’d love to hear why!

The post Why Don’t People Want To Move? appeared first on Toronto Realty Blog.

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[davidcdelreal]

Trading in Options: A Guide for Beginning Investors

Investing has a way of teaching a great life lesson: Our changing world can be unpredictable.

Even “safe” investments — companies or assets with long histories of solid earnings — can change quickly in the volatile global market.

As financial advisors we encourage clients to prepare for these waves by diversifying portfolios. But there’s another tool savvy investors use to navigate choppy waters. I’m talking, of course, about options.

How to Trade in Options

What Is an Option?

Types of Options

Options Vocabulary

Why Trade in Options?

Where to Trade in Options?

How to Get Started

What Is an Option?

When you hold an option, you hold the right to buy or sell a security at a certain price by a certain date. Typically a single option includes 100 shares of the security in question.

The option does not obligate you to buy or sell the security. You can let the option expire without exercising your right to buy or sell.

And that’s why an option can be so powerful: If economic conditions change — or even if your personal situation changes — and you no longer wish to buy or sell the security, you’re off the hook.

This difference between buying and selling defines the two types of options, so let’s go there next.

The Two Types of Options

At their simplest, you can divide options into two categories: call options and put options:

Call Option: A call option means you have the right to buy 100 shares of the security at a specified price by a certain date.

Put Option: A put option gives you the right to sell 100 shares of the security at a specified price by a certain date.

This seems simple enough, right? Yet in my experience, options remain one of the more nuanced and complicated concepts for beginning investors to master.

Why is that? I think options can be tough to master precisely because they are so simple. You can do a lot with these two choices.

You can leverage, protect, or add value to your portfolio. It’s all about how, when, and why you buy and exercise options.

And therein lies the fun lies for experienced investors. We’ll get to that soon enough.

First, though, let’s get a little more familiar with the vocabulary of options. Options have their own glossary of terms like “strike price,” “intrinsic value,” and “assignment.”

I won’t give you a quiz, but knowing these terms will help you understand how to unlock the power of options to make your investing more flexible and controlled. (This knowledge could also help impress your broker!)

The Language of Options

Any kind of special trade language has a way of making outsiders feel, well, outside. So to keep that from happening, let’s get up to speed with some key options terms.

Strike Price

Remember when we said an option gives you the right to buy or sell securities at a stated price before a specific date? The “strike price” is the price stated in the option.

Some traders use the term “exercise price” instead.

Exercising

If you own an option and take advantage of it — to buy the shares (with a call option) or to sell them (with a put option) — you have exercised the option.

Exercising your option requires the issuing party to either buy (with a put option) or sell (with a call option) the shares.  

Expiration Date

You guessed it. The expiration date refers to the date after which your option is no longer valid.

After the expiration date, your option no longer has any value. An expiration date can be months or even years into the future.

At, In, or Out of the Money

The strike price of your option remains the same until the option expires or you exercise it. However, the price of the security continues to fluctuate on the open market.

The following terms refer to the relationship between your strike price and the current market price:

At the money: When the strike price and the current market price are the same, your option is at the money (ATM).

In the money: When your strike price gives you an advantage over the market, you’re in the money (ITM). For a call option, this happens when the strike price is below the market; for a put option, it’s when the strike price is above the market price.

Out of the money: The opposite of in the money, of course. When you’re out of the money (OTM) the current market price is either above the strike price for your call option, or the current market price is below the strike price for a put option.

Kinds of Value

An option can have different values at different times depending on the expiration date and current market conditions:

Intrinsic Value: If an option is in the money, the option’s intrinsic value refers to the difference between the strike price and the market price. An out-of-the-money option has no intrinsic value.

Time Value: An option is less valuable if it is about to expire. If the option has a longer life, it has a bigger time value. Since an out-of-the-money option has no intrinsic value, it has only time value.

Premium: The price paid for the option itself. The premium is comprised of intrinsic value + time value. The amount of the premium is also the most money you could lose if you buy the option.

Writers and Assignments

This has nothing to do with English class. Instead, it refers to the way options originate, and it has implications when you exercise an option.

Writer: The initial seller of a new option is the “writer” of the option. Before they can be traded, options must be written into existence.  

Assignment: By writing the option, the seller makes an assignment. The assignee is obligated to sell (call) or buy (put) the shares if the owner exercises the option.

Long vs. Short

When you own an option, you are “long” in the security; the option gives you a right to buy or sell.

You can also be “short” if you have the assignment; that is, if you are the party obligated to buy or sell shares if the owner exercises the option.

Equity vs. Index Options

An option can give you the right to buy or sell 100 shares of a specific stock or exchange-traded fund (ETF) or 100 shares from a specific index:

Equity Option: With an equity option, also known as a stock option, you’ll have the right to buy or sell shares of a specific stock or ETF.

Index Option: An entire stock index such as the S&P 500 underlies an index option. These can be a little harder to comprehend since they do not represent one specific stock.

Stock Options Quote

A stock options quote shows you all the pertinent information in one place, usually along one line of text:

the stock abbreviation (AAPL, AMZN, GOOGL, etc.)

the strike price

the expiration date

call vs. put

the premium price

Volatility and Deviation

Options are hypothetical in nature. When you start thinking about volatility, you’re hypothesizing about the hypothetical to a certain degree. If this is too much too soon, just skim on down to the next header.

Brokers measure two kinds of volatility:

Historical Volatility: This measures the actual changes in a particular stock over a specific period of time.

Implied Volatility: This indicator anticipates future volatility of a security based on measurable variables. An option whose underlying shares have a higher implied volatility tends to have a higher premium.

Along those same lines, brokers and investors will also discuss standard deviation. This also refers to the potential movement of a stock and can impact an option’s premium.

Why Trade In Options?

Experienced investors like options because they limit losses without necessarily limiting the potential for gain.

An example may be helpful here: Let’s say you are thinking about buying $10,000 worth of stock in Hypothetical Industries (HIDY) because you think the stock could be worth $12,000 in three months.

Rather than spending the $10,000 to buy the stock, you could buy a call option for $200, for example, and still control the $10,000 worth of stock. If the stock performs well, like you thought it would, you could exercise the option or trade on its intrinsic value.

If not, rather than losing your significant investment, you’d lose only the $200 premium you paid for the option.

This may be the simplest example for how to use options, and it’s also a common approach we call speculation. You’re using your hunch or, hopefully, your market research to anticipate changes in the market then buying an option to take advantage if you’re right.

Investors use options to speculate because it can create leverage, especially if you buy an out-of-the-money option and it goes in-the-money. Options have even more elaborate and elegant applications:

For Hedging

Options originally evolved to address this need. In this case, options work like an insurance policy. Hopefully you’ll never have to file a claim on your homeowners insurance, but you’re still wise to pay the premiums just in case.

Likewise, investors who use put options for hedging may never exercise their options unless their securities perform more bearishly than they’d expected. If that happens, though, they have the option to sell at a price that limits losses. 

As Spreads

Here’s where it gets really complicated. Savvy investors often create spreads when they buy multiple options at two or more strike prices.

A well-designed spread can profit no matter how the market performs.

In Combination

Similarly, investors can combine put and call options on the same security to control an asset. Some investors call this a “synthetic” position since you’re synthesizing ownership of a stock without actually buying it.

More Advanced Options Strategies

With some knowledge and experience, you can create your own win-win scenarios using options. Combining short (selling an option) and long (buying an option) positions can even limit the premium you pay to buy the options to begin with. Your short position can help defray the cost of your long position.

Someone new to options should seek the guidance of a professional financial advisor. 

Where to Trade Options

While you have a wide variety of options, pun intended, when it comes to trading, we have a few favorite platforms for online options trading.

Ally Invest: Ally Invest is one of the best online brokerages, with no minimum account balance and low trading fees.                                             

Check out Ally Invest today>>

E*Trade: If you’re a pro looking for an affordable active trading option, E*Trade is a solid choice.

Try investing with E*Trade here>>

TD Ameritrade: TD Ameritrade offers affordable trading and expert advice for new and seasoned investors.

Get started with TD Ameritrade today>>

While these brokerages are excellent places to start investing in options, you should read on for a little bit more insight into what traditional brokerages entail.

How to Get Started

You’ll need to open an account with a brokerage, either in person or online, before you can start trading in options. Take your time when looking for a brokerage house to make sure it fits your style and your budget.

Brokers usually charge per trade or charge by a percentage. Find out exactly what services you’re getting in return for your fees.

For example, if you want to use a sleek app to make trades, you may be willing to pay a higher commission to a broker who offers quality mobile services. Also, if you expect your broker to guide you more actively, you should be willing to pay a little more.

Some brokers allow only one position at a time on an option. This will be fine if you’d like to simply invest in some put or call options. But once you’ve gained some experience and you’re ready to start using spreads or combinations, you’d need a different broker.

Bottom Line

Many brokerage houses require clients to go through a screening process to assess their knowledge before allowing them into more complex options schemes.

Options can be among the safest and smartest investments you’ll ever make, but they can also cost you if your strategies don’t match the reality of your financial situation or if you’re not quite sure what’s going on.

To unlock the power of options, be patient and keep learning. Get your feet wet before diving into the deep end. Before long you’ll be doing the backstroke while waving at the lifeguard.

The post Trading in Options: A Guide for Beginning Investors appeared first on Good Financial Cents®.

from All About Insurance https://www.goodfinancialcents.com/options-trading/

[grgedoors02142]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[rtscrndr53704]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[exfrenchdorsl4p0a1]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[pat78701]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[repwincoml4a0a5]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[porchenclose10019]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[chpatdoorsl3z0a1]

Ask the staff: Pick one focal length or lens to rule them all

Can you guess the focal length? Photo by Wenmei Hill

We handle a lot of glass in the DPReview office, but there always seems to be a handful of lenses or fixed lens cameras that everyone is extra eager to lay some paws on. Which got us thinking of a fun hypothetical: If we could only choose one lens to use for the rest of time, what would it be?

To keep things interesting, and to vary the answers, we opened the question up to include one lens in particular or one focal length. The photograph that accompanies each answer was shot with that staff member's chosen lens or focal length. We purposely didn't list the gear used. See if you can guess!

Carey Rose

Any guesses what focal length Carey gravitates toward?

Before I worked at DPReview, I would have immediately chosen the 35mm focal length. Now that I’ve worked at DPReview for some time, I have to say… I haven’t really changed my mind.

Splurging on a battered old D700 after college left me without enough money to pick up anything approaching a fast zoom, so I started building up a collection of affordable Nikon AF-D primes: a 50mm F1.8, a 35mm F2, an 85mm F1.8. I quickly realized that I just wasn’t a zoom guy, and the 35mm F2 was glued to my camera most of the time. A used X100 was a natural next step for a more portable setup when I scored a good deal on one. Even today, after using lens after lens and camera after camera for review after review, the 35mm focal length remains my go-to. It doesn’t matter whether I’m headed to shoot an event, a wedding, an environmental portrait, or just strolling around when some nice light hits, it’s more likely I’ll have a 35mm lens with me than any other.

Wenmei Hill

Wenmei likes versatility. Did she choose a zoom or a prime?

I’m going to take the easy way out and pick a zoom lens rather than a single focal length. My choice is the Nikon AF-S 24-120mm F4G ED VR, and my excuse is that the majority of shooting I do (documentary lifestyle and candid portraiture) requires a flexibility that is difficult to get with a single focal length.

I’m choosing the 24-120mm even though it’s not one of my ‘favorite’ lenses because it is relatively small, lightweight and versatile enough to get the variety of shots I look for when photographing. I am able to immerse myself in a scene at 24mm but also step back for a portrait at 120mm, using the longer focal length to get pleasing bokeh and separation from the background.

Shooting it on a DX-format body gives me even more reach at the long end (180mm equivalent) for portraits. I already use this lens as my everyday lens when I don’t have a particular creative plan and want to be prepared for anything, so it’s the one I’d choose if I had to pick just one.

Dale Baskin

Dale chose a specific focal length that he didn't always love. Can you guess what it is?

This will probably seem like I’m going for the low hanging fruit, but I would choose 35mm. I used to be a solid 50mm guy, and if I wanted to go a bit wider I switched to 28mm, skipping 35mm entirely. My shift to 35mm began in earnest when I started shooting Fujifilm’s X100 series of cameras, which have a 35mm equivalent lens.

Now, one could argue that I’m choosing 35mm because I really enjoy the camera to which it’s attached, but that’s not the case. In fact, when I first started shooting the X100 I enjoyed it despite the focal length. It was actually the one thing I didn’t care for about the camera. However, as I continued to use it, I learned to adjust my style to take advantage of the 35mm field of view. After a few months, I found myself really enjoying it, so I decided to do a little experiment: I was about to embark on a trip to Brazil and decided to shoot my entire adventure at 35mm. The idea was both exciting and scary; I knew from experience that I would be giving up some shots by not having the right lens. However, I like to travel light, and I hate carrying camera gear, so I threw down the gauntlet and accepted my own challenge.

The upshot? I had a great trip and captured a lot of memorable images. Did I miss a few shots along the way? Sure, I did. But on the flip side, I got some great photos I would have otherwise missed because I forced myself to visualize every scene at 35mm instead of mentally switching to a different focal length. Now, no matter what camera I happen to be testing, one of the first lenses I always put on the front is a 35mm (or equivalent).

Sam Spencer

Sam chose a specialty lens. This image was shot using a similar lens, albeit with a different focal length. Do you know what it is?

Forever? Forever ever? I’m sure I could do the practical thing and say ’24-70’, or be a motorsports spectator the rest of my life and say ’70-200’, but I’m weirder than that. If it was a lens for me to shoot what makes me happy for the rest of my days, it’d be the Nikon PC-E 85mm F2.8 for product, portrait, and automotive photography. The maximum magnification of 1:2 means I can get close for product, and use the tilt to either get more of the product in focus, or isolate the focal point. I like medium telephoto lenses for the narrower field of view that makes selecting a background out of a busy environment much easier, and even F2.8 can be bright enough to blur the background at 85mm. I’m a control freak, not a speed demon, so I’ll be watching eBay for a copy…

Dan Bracaglia

Dan's image was shot with the equivalent of his favorite focal length. The image was cropped in slightly, still any ideas what he chose?

The first and only lens I'd owned for many years was a 50mm. But as my interest in photography (and other activities) grew I found myself yearning for other lenses. If you'd asked me this question when I was 16 years old and shooting a lot of skateboarding, I probably would have said a fisheye is my favorite lens. If you'd asked me again when I was 18 or 19 years old and starting to get into photojournalism, I'd probably have said 24mm. If you'd ask me when I was 24-28 years-old, and reviewing cameras for a living, all why exploring the streets of NYC/Seattle, I most likely would have said 35mm. But these days, I've come full circle and 50mm is my focal length of choice if I could only shoot one lens for the rest of my life.

Sometimes overlooked or seen as pedestrian, there are plenty of reasons why a normal 50mm lens is number one in my heart and bag: For starters the nifty fifty is as practical as they come. Most manufacturers make a reasonably fast, yet inexpensive 50mm equiv. Moreover, I'd argue its the most versatile focal length of them all: in a pinch it can be used for portraiture or detail shots, in the same way a tele can. And it can also be used in some capacity as a wide-angle, if you have the room to move (I've shot many concerts with just a 50mm, without feeling a need for something wider). And if you get a reversal ring, you can mount a nifty fifty backward and use it for macro shooting!

For years I've carried a Nikon 50mm F1.8 in my bag as the ultimate backup for just about anything I'm shooting: weddings, concerts, portrait sessions, travel. It's light cheap and versatile. But these days, the lens spends as much time mounted on my camera as glass I own costing 6x as much.

Jeff Keller

Jeff chose a workhorse zoom. Can you guess which one?

Since I’m always shooting with something work-related, I don’t get to use my EOS 5D III very often. But when I do, my daily driver is the Canon EF 24-105mm F4L IS USM. Not the most exciting choice of lens, I admit, but for land- and cityscapes that I enjoy taking, it definitely fits the bill. The image stabilization works well, it focuses silently and the weatherproofing is helpful when you’re out at Snoqualmie Falls and it’s throwing mist. Naturally, not long after I bought the 24-105, the Mark II arrived, with new optics, better autofocus and new coatings to reduce lens flare and ghosting. The lens is larger and heavier than my Mark I model, which I consider a good size for its focal length and aperture.

It’s nice to see that Canon isn’t the only one offering a lens with this focal range. Sigma’s 24-105mm F4 DG OS HSM Art lens is even bigger and heavier than Canon’s Mark II version, but the build quality is excellent. And, according to DxO, it’s also a sharper lens. And did I mention that it’s a bit cheaper? Thus, if I was stranded in a world with wonderful landscapes and cool architecture, the Sigma 24-105mm F4 Art would be permanently mounted on my 5D III.

Vladimir Bobov

Vladimir is our newest DPR team member. He makes sure the site works properly. Any guesses what focal length he chose?

I wasn't sure whether to bother praising the 50mm focal length. I figured that it's so common, that talking about it would be either redundant at best or boring at worst. However, sorting my photo collection by focal length showed that I took more photos with a 50mm (on a 35mm full frame camera) than with any other lens, including the more versatile zooms.

So why pick the "normal" prime for the rest of my life? Versatility and portability. It's the perfect lens for candid portraits in a casual setting - fast enough to use in low light, and small enough to not intimidate the subject. Wide enough for full-body and group portraits, and good enough for head-and-shoulders (especially when paired with an APS-C camera). I've also been able to use it effectively for landscapes, close-ups, product, and food photography. So although I'd certainly miss the other focal lengths, with enough creativity and trickery, the 50 and I could live happily ever after.

Richard Butler

Richard chose a favorite lens that doesn't yet exist. This image falls toward the tele-end of his made-up range. Can you guess what it is?

If I have to live within the constraints of reality, then I’d be tempted to say a 35mm just for its Goldilocks-like flexibility. But, it seems only fair that if I agree to be bound by an arbitrary restriction, I’m should get to relax the need to limit myself to lenses that actually exist. The problem is that I really like 35-40mm equivalent lenses but also love something around 90mm equiv. for portraiture and a lifetime seems like a long time to have to go without.

Equally, if I have a 24 or 28mm equivalent lens, I get back into the habit of ‘seeing’ wide-angle scenes and I’m sure there’s some aphorism about making one’s life spicy. This is why I’m pushing back against reality: the need for a 90mm equiv, rules out the use of a 24-70mm equiv and, over time, the limiting equivalent aperture of an 18-55mm F2.8 on APS-C would leave me frustrated. Sigma’s 18-35mm F1.8 is a work of genius that I wish were available on mirrorless systems, so I’m going to put my faith in the men and women of Aizu and trust that they’ll make me a 16-60mm F2 for APS-C mirrorless. I mean, how hard could it be?

Allison Johnson

Allison chose a specific zoom lens, can you guess which one?

Maybe a truly bold person picks a prime to shoot with for the rest of their life, but I’m going to play it safe and pick a zoom, whatever that says about me. The Olympus 12-40mm F2.8 is not the very best lens I’ve ever shot with, but it’s fairly versatile, sturdy and relatively small. It’s the right size (along with the OM-D cameras I’ve used it with) so that it’s doable to carry around all day in my purse, and I like having a fairly wide 24mm equiv. out to 80mm for a little more reach when I want it.

Really, it’s not special in any way except that it’s a solid standard zoom for a system I like. I’ve had many happy days shooting with it, including one wonderful afternoon at a defunct nuclear power plant (seriously, it was awesome). If picking a zoom makes me basic, then so be it.

Barney Britton

Any guesses what lens Barney chose?

If I was trying to impress you, and if I wasn’t such a died-in-the-wool contrarian, my choice for ‘go-to’ camera and lens would be a Nikon D810 and a 35mm lens – something good, like the Nikon 35mm F1.4 or Sigma Art 35mm F1.4, or perhaps an old ’sleeper' favorite, like the Nikon AF-D 35mm F2, for the hipsters. If you were to ask me what focal length I use most, I’d say that probably around 90% of my photography could be achieved with a 35mm lens. If you were to ask some of my comment-thread critics on the other hand, they’d tell you that 90% of my photography could be achieved with an iPhone, or their 5-year old daughter, or their blind grandmother, or their blind grandmother’s 5 year-old iPhone, but that’s beside the point.

But I’m not trying to impress you. Which is why I’m going to cheat a little, and make a case for a zoom lens, and one that doesn’t get a lot of love in these parts – the Nikon AF-S 24-120mm F4. The current version of Nikon’s ‘street-sweeper’ do-everything zoom, it’s true that the 24-120mm isn’t the sharpest lens in Nikon’s stable, or the best-controlled when it comes to distortion, or the toughest, and all the rest. It’s a kit zoom. A pretty good kit zoom, in my opinion, but still. So why – if I had to choose only one lens – would I pick the 24-120mm? Because it just works. I know that if I go out shooting with the D810 and 24-120mm, come rain or shine (or snow, or hail, or desert dust, or any of the other nasties I’ve thrown at it) I can capture pretty much anything I might want or need to. It’s almost boring. I wish I had more of an excuse to attach other lenses, but to be honest, most of the time I just don’t. I actually sold a bunch of my Nikon glass recently, because it wasn’t getting used.

The image above was taken just after a torrential downpour last December which turned into a hail storm. The camera and lens were - like me - soaked. Could I have taken it on something better? Maybe, but I wouldn’t have wanted to risk damaging a more expensive lens in those conditions. And would it be a better picture had I done so? Or a happier memory? No.

What would you choose?

If you could only shoot with one lens, or one focal length for the rest of your life, what would you choose? Feel free to share your answer in the comments! 

from DIYS http://ift.tt/2mHg4L7

[rebeccahpedersen]

Why Don’t People Want To Move?

TorontoRealtyBlog

Well, my mother enjoyed Friday’s blog, and that’s all that really matters, right?

Lost in the shuffle after an impromptu 2,000 word trip down memory lane were the reasons behind this recent survey, showing more home-owners would opt to stay put and renovate their existing homes than move.

The survey was posed in this hypothetical “What if you had $50,000,” manner, whereby respondents were supposed to choose between renting and moving.  But ignoring that hypothetical, and simply looking at the decision as it pertains to all of us, our lives, and our situations, I would still argue that just as many people would rather do without moving.

I see five major reasons for this, many of which have multiple reasons therein…

5) The Neighbourhood

There’s nothing wrong with loving where you live, in fact, it’s a dream for all of us.

So when faced with the prospect of leaving all that you know and love, it seems to reason that many people would look for ways to avoid it.

This means that when many people do end up moving, many of them stay within the same area.  I actually sold a $970,000 condo to a buyer last week who currently lives in the building in a smaller place worth about $550,000.  He loves the building, doesn’t really want to leave, but needs more space.  So buying a larger place but only considering that one building became his chosen path.

For other would-be buyers, however, not being able to move within that same area is often a reason why they stay put.  If you owned a 3-bed, 2-bath semi-detached house, but wanted a 4-bed, 4-bath, or at least a 4-bed, 3-bath, and were constrained by price, you might end up looking in another neighbourhood with lower prices.  We’ve all been here before, and this is a very common scenario for most buyers.  You can’t afford to move “up” within your area, so you look at other locations.  When faced with this prospect, many buyers just can’t pull the trigger because they can’t face moving out of the neighbourhood.  And thus, they renovate, expand/add-on, or simply put off the move for a little while longer.

I’ve seen this happen a lot.

When I’m working with active buyers who essentially “change their mind,” and decide to put the search on hold, one of the top reasons is because they can’t bear the idea of leaving the neighbourhood.  So as I mentioned above, many decide that their plan is to stay, save more money, and then be able to purchase a larger home within that same area.

As housing prices continue to rise, however, we all know it’s difficult to “chase the market.”  Saving more money for a down payment on a larger home only works if the market stays the same, or appreciates at a rate substantially lower than one’s ability to save.  This is why I find so many people who don’t move, initially, because they “want to stay in the neighbourhood” end up becoming stuck in their existing home.

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4) The Kids

You all heard my sob-story from Friday about how I didn’t want to move, but what I didn’t mention was that as a child, I was paralyzed with the fear of switching schools.

We grew up in Leaside, and I attended Bessborough Public School right from Junior Kindergarten.  But I knew that when my mother and father were out looking at houses on the weekend, half the time they were looking in other areas.

I had no idea where “Lawrence Park” was, but I knew I didn’t want to live there.

Avenue Road?  Is it an avenue or a road?  That made no sense to me.  I certainly didn’t want to live there.

Bayview Heights?  Where the hell was that?

North Toronto?  How far north are we talking?

My sister explained to me that if we lived in any of these areas, we would have to go to a different school.  This scared me more than just about anything as a child, and that includes Freddy Krueger, who was just about the worst-looking, scariest thing I had ever seen, and maybe still have to this day.  The makeup for that movie, considering it was 1984, is just unreal.  But that’s a topic for another day…

As any child would at this age, I had developed a close circle of friends, and the thought of not only losing those friends, but also having to make new ones, was a non-starter for me.  I didn’t want to be “the new kid” that shows up on September 5th, and is introduced by the teacher who basically begs the other children to befriend.

A lot has changed since the 80’s, and nowadays with technology where it is, social media, and a lot more clubs, sports, and activities, kids from all over the city blend together in a way they never did before.  But I still think a lot of parents worry about pulling their kids out of existing schools, and planting them in new ones.

Many parents will actually plan their moves around their kids’ ages, and/or school cycles.

I’ve had clients who told me, “We’re going to buy a house in two years because our son will be turning 6-years-old, and we want to start him in School X for Grade 1,” as well as other variations surrounding different public/private school options, or special programs like French Immersion, or simply leaving daycare for JK, or graduating from Grade 8 to high school.

But others simply refuse to move because they fear it’ll be traumatic for the kids, whether that’s based on the school, or in some cases, emotional attachment to the home.

I suffered from both as a child, but thankfully when we moved, I stayed in the same school!

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3) The “Lateral” Move

You don’t sell for $1,000,000 and buy for $1,000,000 in this market very often.

If you lived in a condo, and wanted to own a house, you might though.  And I’m sure there are other exceptions to the rule.

I suppose if you live in a downtown Toronto condo, worth $600,000, and you’re moving to Hamilton to start your new job, get married, start a family, and prices for freehold homes are $600,00, then yes, the lateral move makes sense.

But here in Toronto, most of my clients are either buying up or down, and the “lateral move” is a fear of many buyers, and probably should be.

For reasons that we’ll explore in point #1, it’s expensive to move, and to buy and sell for around the same price often doesn’t make sense.

Switching neighbourhoods around the same price point can be an option, but it really just comes down to the costs involved, and I feel as though most buyers want to truly “buy bigger.”

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2) The Bother

As I write this, I have not one, but two sets of clients who have moved in with their parents for two weeks.  I have another couple of sellers who are also leaving while their property is being sold, but they’re sailing around the world, so we don’t feel quite as bad for them!

My other seller-clients have been displaced from their homes as it’s simply not feasible for them to sell why they’re living in the house.

In the house.  In their house; it’s not feasible for them to live in their house.  How crazy is that?

Well, that’s Toronto!  That’s the market!  You’ve heard me say this over and over, but I believe there is only one “right way” to sell real estate, and it involves doing everything properly before and during the listing, cutting no corners, and not diverting from the path that’s been set out in advance.  This means, for those that choose to do it properly, that you’ve got anywhere from two weeks to two months of preparing, and it can be awful.

You start by de-cluttering, and that means throwing away stuff you probably want to keep, and/or often going through boxes you have no desire to go through.  You often work around the clock, with a deadline (ie. a target listing date), and every night you go home from work knowing that you’re simply switching jobs, as the work doesn’t stop until you finish packing, and go to bed.

You have to work on the house too.  Repairs, fixes, often renovations.  I have clients right now who are going to replace all the flooring in their condo, renovate the bathroom, paint the entire place, and maybe even tackle the kitchen cabinets while they’re at it.  They’ve told me they’re stressed, anxious, and wondering whether this is “the right move.”

But then when the property is actually cleaned, painted, repaired, and de-cluttered, the staging begins, and many people can’t live in a staged house.  Especially those with kids…

Most of my clients who have children end up moving out for 10-14 days when we sell, provided the house is freehold and in at least a lukewarm location.

If we stage the house on a Thursday, take photos on Friday, to list on Monday, that family isn’t going to live in the house on the weekend.  They’re already up at the in-laws!  So then we have a week of showings, followed by an offer night, and it’s close to two weeks before they can move back into the house.

Add all this up – packing, de-cluttering, repairing/renovating, cleaning, moving furniture and boxes to storage, staging, and finally moving out of the house, and it’s no wonder many people couldn’t be “bothered” with the process.  It’s daunting to many, although those of you who have been through it probably think it’s just the cost of doing business.

Then there’s something to be said for the “bother” of trying to essentially re-create one’s existing home, in a different location.  Those of us who take pride in our homes, and who have worked over the years to make it our “own,” often see a new house as a stark blank canvas, and thus a chore.  Some relish the opportunity to start from scratch, but others see it as a lengthy task that they could do without.  Imagine spending five years “feathering the nest,” only to have to start over elsewhere?

To each, their own.  Some might see this as complaining about nothing, but the feedback I get from people all the time is that moving is daunting, and much of it has to do with the process of selling, rather than buying.

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1) The Cost

There’s absolutely, positively, no doubting that this is the #1 reason why people don’t move…

…in Toronto, that is.

Tell me if I’m wrong, and I feel as though this could be one of those blog posts where the readers’ comments really drive home the accuracy of this list, but I have to think that if it wasn’t so expensive to move, people would do it more often.

Some see real estate as an “investment” and others are irked by that mere notion; thinking somehow that houses should be exempt from being bought/sold/traded and rather simply house people.  But for those who find themselves in the former camp, they’ll recognize that real estate as an investment has one major difference from your typical investment vehicles out there today: liquidity.

That’s not to say that real estate isn’t easily sold.  It’s a far more liquid investment than art, rare coins, or precious metals (ie. those who actually take physical possession of gold bars; I had a client once with all his money in physical materials, it was nuts).  But the time it takes to dispose of real estate is an eternity compared to the “click of a button” for selling shares of stock.

Then, there’s the cost.  That’s the major issue with liquidity, from my perspective.

And the costs associated with selling real estate might be the elephant in the room for most agents, but I tell my clients this all the time!

Land transfer tax, real estate listing fees, legal fees, movers, and then the things people don’t think about – like furnishing a new house, and all that comes with it.

Those of us in Toronto pay not one, but two land transfer taxes, to the wonderful municipality of Toronto, and province of Ontario.

On a $1,500,000 purchase, that’s $52,950 that you are never going to get back.

Now let’s say you’re selling a $700,000 condo as you prepare to move into that $1.5 Million house.  The fees are anywhere up to 6%, or $42,000.  But add in HST, and it’s even worse – $47,460.

There are other options, of course.  It costs $0.00 to put a “FOR SALE” sign on your lawn, so while the land transfer tax to Toronto and Ontario are non-negotiable, the real estate listing fees aren’t fixed.

I won’t turn this into a conversation about commission but suffice it to say, most people are paying 4-5% to sell, and that’s a big number if you’re going to buy/sell again in three years, then five years after that.

It’s why I tell a lot of my clients, “It’s expensive to move.” I do it all the time, just ask them.  “You don’t want to call me in two years, tell me you’ve outgrown the space, and have to pay me again to sell your place, and then pay two governments massive fees just to file paperwork.”

You’re going to pay a lawyer to close the sale of your existing property as well as the purchase of the new one.  Disbursements, title insurance, and other fees add up.

But what really surprises me is how much people underestimate the cost of new furnishings in the home.  How many of you have moved into a new house or condo and been blinded by light, because you had no window treatments, and never thought to get any?  How many people actually factor this in to their number-crunching when they start considering making a move?

And that couch in the living room of your condo?  You are kidding yourself if you think it’s going in your new house.

The IKEA pots and pans scream “bachelor,” and now you’re a married man in a home.  So get ready to spend!

In fact, the most common dollar figure that buyers attribute to these types of expenses is $0.  Honestly, people never think of it until they’ve already bought, already sold, and are preparing to move into the new property.  Only then do they look around at their existing furniture and realize how much they hate it.  Only then do they find themselves out, every weekend, shopping up at Castlefield & Dufferin.

This certainly isn’t the largest cost associated with moving, but it’s the most underestimated!

In the end, I think the costs involved with moving are the number-one reason why more people don’t.

–

So there you have it, folks!

If there are other reasons, please feel free to share.

And for those of you that want, or wanted to move, but did not, I’d love to hear why!

The post Why Don’t People Want To Move? appeared first on Toronto Realty Blog.

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[davidcdelreal]

Trading in Options: A Guide for Beginning Investors

Investing has a way of teaching a great life lesson: Our changing world can be unpredictable.

Even “safe” investments — companies or assets with long histories of solid earnings — can change quickly in the volatile global market.

As financial advisors we encourage clients to prepare for these waves by diversifying portfolios. But there’s another tool savvy investors use to navigate choppy waters. I’m talking, of course, about options.

How to Trade in Options

What Is an Option?

Types of Options

Options Vocabulary

Why Trade in Options?

Where to Trade in Options?

How to Get Started

What Is an Option?

When you hold an option, you hold the right to buy or sell a security at a certain price by a certain date. Typically a single option includes 100 shares of the security in question.

The option does not obligate you to buy or sell the security. You can let the option expire without exercising your right to buy or sell.

And that’s why an option can be so powerful: If economic conditions change — or even if your personal situation changes — and you no longer wish to buy or sell the security, you’re off the hook.

This difference between buying and selling defines the two types of options, so let’s go there next.

The Two Types of Options

At their simplest, you can divide options into two categories: call options and put options:

Call Option: A call option means you have the right to buy 100 shares of the security at a specified price by a certain date.

Put Option: A put option gives you the right to sell 100 shares of the security at a specified price by a certain date.

This seems simple enough, right? Yet in my experience, options remain one of the more nuanced and complicated concepts for beginning investors to master.

Why is that? I think options can be tough to master precisely because they are so simple. You can do a lot with these two choices.

You can leverage, protect, or add value to your portfolio. It’s all about how, when, and why you buy and exercise options.

And therein lies the fun lies for experienced investors. We’ll get to that soon enough.

First, though, let’s get a little more familiar with the vocabulary of options. Options have their own glossary of terms like “strike price,” “intrinsic value,” and “assignment.”

I won’t give you a quiz, but knowing these terms will help you understand how to unlock the power of options to make your investing more flexible and controlled. (This knowledge could also help impress your broker!)

The Language of Options

Any kind of special trade language has a way of making outsiders feel, well, outside. So to keep that from happening, let’s get up to speed with some key options terms.

Strike Price

Remember when we said an option gives you the right to buy or sell securities at a stated price before a specific date? The “strike price” is the price stated in the option.

Some traders use the term “exercise price” instead.

Exercising

If you own an option and take advantage of it — to buy the shares (with a call option) or to sell them (with a put option) — you have exercised the option.

Exercising your option requires the issuing party to either buy (with a put option) or sell (with a call option) the shares.  

Expiration Date

You guessed it. The expiration date refers to the date after which your option is no longer valid.

After the expiration date, your option no longer has any value. An expiration date can be months or even years into the future.

At, In, or Out of the Money

The strike price of your option remains the same until the option expires or you exercise it. However, the price of the security continues to fluctuate on the open market.

The following terms refer to the relationship between your strike price and the current market price:

At the money: When the strike price and the current market price are the same, your option is at the money (ATM).

In the money: When your strike price gives you an advantage over the market, you’re in the money (ITM). For a call option, this happens when the strike price is below the market; for a put option, it’s when the strike price is above the market price.

Out of the money: The opposite of in the money, of course. When you’re out of the money (OTM) the current market price is either above the strike price for your call option, or the current market price is below the strike price for a put option.

Kinds of Value

An option can have different values at different times depending on the expiration date and current market conditions:

Intrinsic Value: If an option is in the money, the option’s intrinsic value refers to the difference between the strike price and the market price. An out-of-the-money option has no intrinsic value.

Time Value: An option is less valuable if it is about to expire. If the option has a longer life, it has a bigger time value. Since an out-of-the-money option has no intrinsic value, it has only time value.

Premium: The price paid for the option itself. The premium is comprised of intrinsic value + time value. The amount of the premium is also the most money you could lose if you buy the option.

Writers and Assignments

This has nothing to do with English class. Instead, it refers to the way options originate, and it has implications when you exercise an option.

Writer: The initial seller of a new option is the “writer” of the option. Before they can be traded, options must be written into existence.  

Assignment: By writing the option, the seller makes an assignment. The assignee is obligated to sell (call) or buy (put) the shares if the owner exercises the option.

Long vs. Short

When you own an option, you are “long” in the security; the option gives you a right to buy or sell.

You can also be “short” if you have the assignment; that is, if you are the party obligated to buy or sell shares if the owner exercises the option.

Equity vs. Index Options

An option can give you the right to buy or sell 100 shares of a specific stock or exchange-traded fund (ETF) or 100 shares from a specific index:

Equity Option: With an equity option, also known as a stock option, you’ll have the right to buy or sell shares of a specific stock or ETF.

Index Option: An entire stock index such as the S&P 500 underlies an index option. These can be a little harder to comprehend since they do not represent one specific stock.

Stock Options Quote

A stock options quote shows you all the pertinent information in one place, usually along one line of text:

the stock abbreviation (AAPL, AMZN, GOOGL, etc.)

the strike price

the expiration date

call vs. put

the premium price

Volatility and Deviation

Options are hypothetical in nature. When you start thinking about volatility, you’re hypothesizing about the hypothetical to a certain degree. If this is too much too soon, just skim on down to the next header.

Brokers measure two kinds of volatility:

Historical Volatility: This measures the actual changes in a particular stock over a specific period of time.

Implied Volatility: This indicator anticipates future volatility of a security based on measurable variables. An option whose underlying shares have a higher implied volatility tends to have a higher premium.

Along those same lines, brokers and investors will also discuss standard deviation. This also refers to the potential movement of a stock and can impact an option’s premium.

Why Trade In Options?

Experienced investors like options because they limit losses without necessarily limiting the potential for gain.

An example may be helpful here: Let’s say you are thinking about buying $10,000 worth of stock in Hypothetical Industries (HIDY) because you think the stock could be worth $12,000 in three months.

Rather than spending the $10,000 to buy the stock, you could buy a call option for $200, for example, and still control the $10,000 worth of stock. If the stock performs well, like you thought it would, you could exercise the option or trade on its intrinsic value.

If not, rather than losing your significant investment, you’d lose only the $200 premium you paid for the option.

This may be the simplest example for how to use options, and it’s also a common approach we call speculation. You’re using your hunch or, hopefully, your market research to anticipate changes in the market then buying an option to take advantage if you’re right.

Investors use options to speculate because it can create leverage, especially if you buy an out-of-the-money option and it goes in-the-money. Options have even more elaborate and elegant applications:

For Hedging

Options originally evolved to address this need. In this case, options work like an insurance policy. Hopefully you’ll never have to file a claim on your homeowners insurance, but you’re still wise to pay the premiums just in case.

Likewise, investors who use put options for hedging may never exercise their options unless their securities perform more bearishly than they’d expected. If that happens, though, they have the option to sell at a price that limits losses. 

As Spreads

Here’s where it gets really complicated. Savvy investors often create spreads when they buy multiple options at two or more strike prices.

A well-designed spread can profit no matter how the market performs.

In Combination

Similarly, investors can combine put and call options on the same security to control an asset. Some investors call this a “synthetic” position since you’re synthesizing ownership of a stock without actually buying it.

More Advanced Options Strategies

With some knowledge and experience, you can create your own win-win scenarios using options. Combining short (selling an option) and long (buying an option) positions can even limit the premium you pay to buy the options to begin with. Your short position can help defray the cost of your long position.

Someone new to options should seek the guidance of a professional financial advisor. 

Where to Trade Options

While you have a wide variety of options, pun intended, when it comes to trading, we have a few favorite platforms for online options trading.

Ally Invest: Ally Invest is one of the best online brokerages, with no minimum account balance and low trading fees.                                             

Check out Ally Invest today>>

E*Trade: If you’re a pro looking for an affordable active trading option, E*Trade is a solid choice.

Try investing with E*Trade here>>

TD Ameritrade: TD Ameritrade offers affordable trading and expert advice for new and seasoned investors.

Get started with TD Ameritrade today>>

While these brokerages are excellent places to start investing in options, you should read on for a little bit more insight into what traditional brokerages entail.

How to Get Started

You’ll need to open an account with a brokerage, either in person or online, before you can start trading in options. Take your time when looking for a brokerage house to make sure it fits your style and your budget.

Brokers usually charge per trade or charge by a percentage. Find out exactly what services you’re getting in return for your fees.

For example, if you want to use a sleek app to make trades, you may be willing to pay a higher commission to a broker who offers quality mobile services. Also, if you expect your broker to guide you more actively, you should be willing to pay a little more.

Some brokers allow only one position at a time on an option. This will be fine if you’d like to simply invest in some put or call options. But once you’ve gained some experience and you’re ready to start using spreads or combinations, you’d need a different broker.

Bottom Line

Many brokerage houses require clients to go through a screening process to assess their knowledge before allowing them into more complex options schemes.

Options can be among the safest and smartest investments you’ll ever make, but they can also cost you if your strategies don’t match the reality of your financial situation or if you’re not quite sure what’s going on.

To unlock the power of options, be patient and keep learning. Get your feet wet before diving into the deep end. Before long you’ll be doing the backstroke while waving at the lifeguard.

The post Trading in Options: A Guide for Beginning Investors appeared first on Good Financial Cents®.

from All About Insurance https://www.goodfinancialcents.com/options-trading/