RSS
 

Posts Tagged ‘Four’

Using four Godox EC-200 extension heads as a quad-flash for beauty and close-up lighting

25 May

Flashpoint/Godox have just announced the EC-200 extension head, adding an effective and extremely low-cost tool for cosmetic and macro photography. These heads are exclusively designed for the Evolve 200 / AD200 pocket flash, a widely popular and highly efficient product, operated by long-lasting lithium batteries.

Throughout my career I have used various types of ring flashes and parabolic umbrellas. I also collaborated with Swiss lighting manufacturer Broncolor for over a decade on countless marketing and promotional projects, and shot their launch campaigns for the original Para 330 and Ringflash C.

Super model Iman for DeBeers global campaign (2003), shot with Broncolor Para330, and Fujifilm GX680III, on Fujifilm Provia film.

These types of lights are often used by fashion photographers, as they are both easy to work with and offer many options—the Broncolor Paras in particular, which range from the 88 to 330, can produce a wide variety of effects. However, neither types are ideal for extreme close up work when balanced, even front-lighting is required.

The new remote heads from China on the other hand, are small and light enough to allow for several of them to be mounted on a camera flash bracket and rail.

Selecting tiny but wide-angled reflectors, the resulting light is much less harsh, and more feathered than the output from a ring flash, in very close distance. The total weight of, let’s say, four extension heads with the small reflectors and including the bracket/rail set is just about 24 ounces, making handheld shooting is easy.

This new kind of ‘Quad Ring’ set up offers also the additional advantage over traditional ring flashes of allowing individual control of each of the flash heads in turn, which permits me to limit the output of the flash hitting the model’s face from underneath.

This is not as easily achieved with a ring flash.

Placed on tripod, the four extension heads are still mounted on the bracket and rail, but the camera is hand-held, so the four lights hit from a slight angle.

Fujifilm GFX 50S, GF 250mm lens, F8, 1/4000 sec, ISO 100

The Evolve 200 / AD200 pocket flash performs extremely well and reliably in HSS (High Speed Sync) mode, and when used for this ‘Quad Ring’ arrangement, provides output powerful enough to completely black out direct midday sunlight.

This four-light arrangement also makes an excellent off-camera light by simply setting the contraption on a tripod and shooting from various angles around it.

The ‘Quad Ring’ is also off-centered in this image. This time it’s placed to the camera angle, resting on a tripod.

Fujifilm GFX 50S, GF 120mm macro lens, F11, 1/125 sec, ISO 100

 As evident by the unusual catchlights, the four extension heads are mounted on bracket and rail around the lens here.

Fujifilm GFX 50S, GF 120mm macro lens, F11, 1/125 sec, ISO 100

The announcement of the new remote heads is timely. The recent release of new macro extension tubes by Fujifilm for the mirrorless medium format GFX 50S (and the release of the GF 120mm macro lens) have ushered in a new era for macro photography. One can now easily shoot 1:1 handheld, with very fast and reliable autofocus, or manually focus while zoomed in.

Compared to previous systems, macro photography with medium format mirrorless cameras has become easy and accessible. Adding the creative options created by the convenient new remote heads, it has never been more fun to shoot close up!

About the Author: Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today’s most iconic stars of film, music, and fashion.

Klinko has photographed the likes of Beyonce, Lady Gaga, David Bowie, Jennifer Lopez, Britney Spears, Mary J. Blige, Mariah Carey, Kanye West, Anne Hathaway, Kate Winslet, Will Smith, Eva Mendes, Kim Kardashian, Naomi Campbell, and Iman. His editorial clients include Vogue, GQ, Vanity Fair, Harper’s Bazaar, and Interview magazine.

You can find more of his work on the Markus & Koala website or by following him on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Using four Godox EC-200 extension heads as a quad-flash for beauty and close-up lighting

Posted in Uncategorized

 

hähnel introduces Modus 600RT flash for Micro Four Thirds

15 May

Battery and accessory brand hähnel has extended its range of radio-triggered Modus 600RT flash units with a model for Micro Four Thirds cameras. The unit can be used directly in the hotshoe as a standalone flash, or will work within a group of flashes as a TTL commander or a slave using radio or optical communication.

The company already makes this model speedlight for Canon, Fujifilm, Nikon and Sony systems, and is adding Olympus and Panasonic cameras with this new model.

Although the Modus 600RT shares its basic design with the Godox TT685 flash, and much of its specification with the Godox V860II, hähnel claims its flash has significant advantages that account for the difference in price. A spokesperson told DPReview that the build quality of the 600RT is improved, and that hähnel is especially proud of its firmware updates and customer service—both before and after purchase.

The Modus flashes also feature Digital Channel Matching that locks the transmitter and receiver together once they are connected, to reduce the possibility of interference. Another major difference, according to hähnel, is the quality of the supplied lithium-ion block battery, which is injected with silicone to insulate the circuits and to provide improved shock absorption. The company says these hähnel Extreme li-ion batteries have a longer life and retain their charge for longer than competitors’ equivalents.

The Modus 600RT has a guide number of 60m/197ft at ISO 100, and can produce 600 full-power bursts per charge with only a 1.5-second delay for recycling.

With a transmitter and receiver built-in, the flashes work as both commanders and slaves in groups of other hähnel Captur-compatible guns as well as in combination with manufacturers’ original and third party units. A Viper TTL radio controller can be used from the hotshoe to control single guns or up to three groups of guns at a range of 100m/330ft, and can operate in full TTL, manual or strobotic modes with DCM. The zoom head offers coverage for 20-200mm lenses and high speed synch mode allows use with shutter speeds as short as 1/8000sec.

The hähnel Modus 600RT for micro four thirds is available now and will cost £270/$ 250/€250 including a Viper transmitter, hähnel Extreme li-ion battery and charger. For more information, read the full press release below or visit the hähnel website.

Press Release

{PressRelease}

hähnel announce launch of MODUS 600RT Speedlight for Micro Four Thirds

Following on from the very successful launch of the MODUS 600RT Speedlight for Canon, Nikon, Sony & Fuji, hähnel have now announced availability of the MODUS for Micro Four Thirds (Panasonic & Olympus).

The staggeringly powerful hähnel Extreme Li-Ion battery provides the power for the MODUS and beats the speed of AA-powered speedlight’s hands down. With a GN of 60, the MODUS will handle over 1000 shots at ½ power and over 600 shots at full power.

Rather than waiting the normal 4-6 seconds which normal Speedlight’s would require at full power, the MODUS 600RT has fast re-cycling in abundance at just 1.5 seconds. The built-in wireless receiver/transmitter offer TTL, manual and multi modes and high-speed sync supports up to 1/8000 of a sec.

The unique wireless connectivity really steps into its own when paired with the Viper TTL Wireless Flash Trigger. Use them together and control up to 3 separate groups of flash guns in either TTL, manual or Multi (Stroboscopic) mode. DCM channel matching and over 100m range makes the Viper TTL the perfect partner for this new speedlight.

With a long-standing reputation for high- quality accessories, it is no surprise that the MODUS has received ‘Best Value Accessory’, ‘Best Accessory’ and ‘Gear of the Year – Best Flashgun’ accolades from Digital Photographer, Digital Camera and N-Photo magazines since launched.

Stock available from Monday 28th May.

MODUS 600RT WIRELESS KIT FOR MICRO FOUR THIRDS RRP £269.99

{/Pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on hähnel introduces Modus 600RT flash for Micro Four Thirds

Posted in Uncategorized

 

The Yongnuo YN43 is a Four Thirds smartphone clip-on camera with Canon lens mount

12 May

Yesterday, affordable photography accessory maker Yongnuo unveiled a 60mm F2 macro lens, and they’ve also taken the wraps off a YN43 camera module, a clip-on camera for smartphones in the spirit of Sony’s QX-cameras, the Olympus Air, DxO One, and the Kodak PixPro models.

Unfortunately, at this point there are no specifications available on the site. Looking at the images and model name it’s fair to assume the device will feature a Four Thirds sensor. Curiously the lens mount appears to be of the Canon variant, though. On the product images we can see a Yongnuo 14mm F2.8 wide angle lens for Canon mounted to the module. The choice of lens mount is likely due to the fact that Yongnuo only makes lenses for Canon and Nikon, but no Micro Four Thirds glass.

The camera is pictured with an Apple iPhone and an app is already available in the App Store which suggests it will definitely work with Apple devices, but one would assume it’ll be compatible with at least the most popular Android phones as well.

With its unusual sensor/lens mount combination the YN43 looks like a slightly odd product to put it mildly. It also doesn’t bode well that all the similar products mentioned above have disappeared from the market and the built-in cameras in smartphones have improved drastically, almost nullifying the need for bulky clip-on modules.

That said, Yongnuo is known for its budget pricing and while no price information is available yet for the YN43 we’d expect it to be quite affordable. This could make it worth a closer look to anyone who has a few Canon lenses lying around and likes tinkering with photo equipment.

We’ll let you know as soon as more information and specs become available.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Yongnuo YN43 is a Four Thirds smartphone clip-on camera with Canon lens mount

Posted in Uncategorized

 

The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

11 May

Yesterday, affordable photography accessory maker Yongnuo unveiled a 60mm F2 macro lens, and they’ve also taken the wraps off a YN43 camera module, a clip-on camera for smartphones in the spirit of Sony’s QX-cameras, the Olympus Air, DxO One, and the Kodak PixPro models.

Unfortunately, at this point there are no specifications available on the site. Looking at the images and model name it’s fair to assume the device will feature a Micro Four Thirds sensor. Curiously the lens mount appears to be of the Canon variant, though. On the product images we can see a Yongnuo 14mm F2.8 wide angle lens for Canon mounted to the module. The choice of lens mount is likely due to the fact that Yongnuo only makes lenses for Canon and Nikon, but no Micro Four Thirds glass.

The camera is pictured with an Apple iPhone and an app is already available in the App Store which suggests it will definitely work with Apple devices, but one would assume it’ll be compatible with at least the most popular Android phones as well.

With its unusual sensor/lens mount combination the YN43 looks like a slightly odd product to put it mildly. It also doesn’t bode well that all the similar products mentioned above have disappeared from the market and the built-in cameras in smartphones have improved drastically, almost nullifying the need for bulky clip-on modules.

That said, Yongnuo is known for its budget pricing and while no price information is available yet for the YN43 we’d expect it to be quite affordable. This could make it worth a closer look to anyone who has a few Canon lenses lying around and likes tinkering with photo equipment.

We’ll let you know as soon as more information and specs become available.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Yongnuo YN43 is a Micro Four Thirds smartphone clip-on camera with Canon lens mount

Posted in Uncategorized

 

Venus Optics reveals four new Laowa lenses for Sony FE, Fuji GFX, and more

21 Apr

Venus Optics has unveiled several new lenses today, including a wide-angle lens for the Fuji GFX mirrorless medium format camera, and the “world’s widest zoom lens for Sony full-frame E-mount cameras.” There are four new lenses in all: the Laowa 10-18mm f/4.5-5.6 FE Zoom, Laowa 100mm f/2.8 2X Ultra Macro APO, the Laowa 17mm f/4 GFX Zero-D, and the Laowa 4mm f/2.8 Fisheye MFT.

All four will be on display at Venus Optics’ booth at the Beijing P&E Imaging fair. But in case you don’t happen to be in Beijing between May 3rd and the 6th, read on to find out what these lenses are all about.

Laowa 10-18mm F4.5-5.6 FE Zoom

The Laowa 10-18mm F4.5-5.6 FE Zoom is the aforementioned “world’s widest zoom lens for Sony full-frame E-mount cameras.” According to Venus Optics, the lens was primarily designed for travel photography, offering an angle of view between 102° and 130° in a package that weighs only 496g and is less than 100cm in length.

Inside the 10-18mm F4.5-5.6 you’ll find 14 elements in 10 groups, including two aspherical elements and one extra-low dispersion element. The lens’ aperture can be de-clicked using a switch on the lens barrel, and if you like using filters, you’ll be happy to know the lens features a rear filter slot built to handle 37mm filters.

This Laowa 10-18mm F4.5-5.6 FE Zoom will be available only in Sony FE mount.

Laowa 100mm F2.8 2X Ultra Macro APO

Next up, the Laowa 100mm F2.8 2:1 Ultra Macro APO is… well… it’s an ultra-macro lens that offers a maximum magnification of 2x with a minimum focusing distance of just 24.7cm. The lens can focus from 2:1 macro to infinity, and promises “crystal [clear] sharpness image in both macro and tele distances” thanks to an optical design consisting of 12 elements in 10 groups.

The Laowa 100mm F2.8 2X Ultra Macro APO is the only lens released today that isn’t limited to a single mount. When it ships, you’ll be able to get it in Canon EF, Nikon F, Pentax K, and Sony FE mounts.

Laowa 17mm F4 GFX Zero-D

Third party options for the mirrorless medium format Fujifilm GFX camera are still somewhat limited—at least compared to more popular mounts like Sony FE, not to mention Canon EF or Nikon F. So it was a nice surprise to see Venus Optics release the 17mm F4 GFX Zero-D.

The 14mm F4 GFX is another of Venus Optics Zero-D lenses, offering a full-frame equivalent focal length of 13mm and a field of view of 113° with “close-to-zero distortion.” The lens is made up of 21 elements in 14 groups, including two aspherical and three extra-low dispersion elements. Venus Optics claims this lens is “ideally suited for landscape, architecture and interior photography.”

Laowa 4mm F2.8 Fisheye MFT

Last but not least, we have the only Micro Four Thirds lens of the bunch: the Laowa 4mm F2.8 Fisheye MFT. This circular fisheye lens offers a 210° angle of view at a full-frame equivalent 8mm focal length. Made up of 7 elements in 6 groups, the ultra-portable lens weighs just 135g to keep your MFT kit light and agile.

Here are detailed specs for all four lenses:

All of the new lenses are expected to ship “in mid/late 2018” according to Venus Optics, although “exact ship date and pricing are to be confirmed.”

Press Release

Venus Optics announces 4 new & unique lenses in development, led by the Laowa 10-18mm f/4.5-5.6 FE, World’s widest zoom lens for Sony full frame E-mount cameras

All 4 lenses will make their debut in the coming Beijing P&E Imaging Fair.

Anhui China, Apr 20, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce 4 new and unique lenses.

  • Laowa 10-18mm f/4.5-5.6 FE Zoom
  • Laowa 100mm f/2.8 2X Ultra Macro APO
  • Laowa 17mm f/4 GFX Zero-D
  • Laowa 4mm f/2.8 Fisheye MFT

Laowa 10-18mm f/4.5-5.6 FE Zoom

This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 10 inch (<100cm) and only 1.1 pounds (<500g). The 102° (18mm) to 130° (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. Click/clickless aperture can be toggled by the switch on the lens barrel.

Laowa 100mm f/2.8 2X Ultra Macro APO

Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Canon EF / Nikon AI / Pentax K / Sony FE mounts are available.

Laowa 17mm f/4 GFX Zero-D

This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113°). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

Laowa 4mm f/2.8 Fisheye MFT

Featuring a 210° angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360° panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

Availability

All four lenses will be available for trial at Venus Optics’ booth (T225) in Beijing P&E Imaging fair during 3rd-6th May 2019. They are expected to be shipped in mid/late 2018. Exact shipping date and pricing are to be confirmed.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Venus Optics reveals four new Laowa lenses for Sony FE, Fuji GFX, and more

Posted in Uncategorized

 

Four Ways to Get Frame-Filling Shots in Bird Photography

23 Mar

When all goes well, bird photography can be absolutely exhilarating. Yet birds are small and skittish creatures. Hence, a common problem faced by bird photographers, beginners and experts alike, is simply getting close enough to capture an image.

Even with longer lenses, attempts to photograph a bird often result in tiny specks in the final image, not to mention a very frustrated photographer.

heron with fish portrait - Four Ways to Get Frame-Filling Shots in Bird Photography

However, never fear, there are several simple techniques that you can use in order to capture frame-filling images of birds. Using these approaches, you should be able to radically increase your success when it comes to bird photography. You don’t have to own a huge lens to do it, either!

Also, before I begin, I’d also like to emphasize that the welfare of the subject should be your top priority. These techniques can often get you close enough to birds in a non-threatening, non-invasive way. But if a bird begins to show signs of agitation, such as moving away rapidly, calling, spreading its wings, etc., then give up.

If you are set on capturing the image, try coming back on a different day, with a different technique, one that is less likely to disturb your subject.

Without further ado, here four ways to help you get frame-filling images of birds.

1. The slow, low approach

This technique is simple, and is often suprisingly effective. It goes like this – move slow, and stay low.

spoonbill bird photography - Four Ways to Get Frame-Filling Shots in Bird Photography

I got close to this Roseate Spoonbill by moving slowly through the waters of the Florida coast.

As I said earlier, birds are quite skittish. But if you move slowly enough, oftentimes a bird will eventually accept you as a non-threatening aspect of the environment, rather than as a dangerous intruder.

You spot your subject across the lagoon. You (slowly!) take a few steps forward. Then stop and wait. Take a few more steps. Once you’ve gotten significantly closer, I suggest that you get on your knees (or even your elbows), and shuffle forwards.

oystercatcher bird portrait - Four Ways to Get Frame-Filling Shots in Bird Photography

I crouched low and moved across the beach towards this Oystercatcher, who wasn’t bothered at all.

Every so often, check on the bird; you can do this with the naked eye, or through your camera viewfinder. If it begins to move away from you, then that is a sign that you should slow down.

Go really slow!

I also recommend taking a couple of pictures with your camera every few feet. This will allow the bird to become acclimatized the sound of the shutter clicking, and will prevent it from flying away when you begin to photograph in earnest. Once you’re close enough, start shooting.

Now, I said that you should go “slow,” and when I say “slow,” I mean slow. Oftentimes it takes 10, 20, maybe even 30 minutes to get close enough to get usable images. The key here is to be patient; if you can do that, the rewards will be worth it.

White Morph Reddish Egret bird photography

A slow approach allowed me to get close to this White Morph Reddish Egret as it waded in a lagoon.

2. Position yourself and then wait

This is a favorite of mine, partially because it’s so non-invasive, and partially because it’s so successful.

The key fact to remember here is that many birds follow a general pattern of movement. Shorebirds, for instance, will usually forage while moving in a single direction. If you watch them for long enough, you’ll notice that they’ve shifted a good ways down the beach.

So, from a distance, observe the movement of the bird. Think about where it will be in five or 10 minutes. Then, simply place yourself in a position to photograph the bird when it gets to that spot.

tricolored heron bird photography

I took note of this Tricolored Heron’s movements, and sat in the water until it waded past.

Often, if you stay still enough, the bird won’t mind your presence in the slightest, and you’ll find that it may even stray too close. I’ve had tiny shorebirds get within the minimum focusing distance on my camera, at which point it becomes an amazing experience of a whole new type.

black-bellied plover bird photography

This Black-bellied Plover ventured so close that I couldn’t fit its body in the frame.

3. Using a blind

As hunters will know, a blind is a shelter that you sit inside, and will shield you from the eyes of animals. But blinds aren’t only good for hunting; they can be great for photography as well.

This one may seem out of reach. You might think that you don’t have access to blinds, nor can you afford to have one of your own. However, this often isn’t true.

For one thing, local parks may have blinds that you can use for free, or that you can rent. For another, it is often extremely easy to make a blind, one that you can use in your own backyard.

All that it requires is an old tent of some sort, or even a strong box. Cut a hole in the box or the tent, put it in your backyard, and voila, you have a fully-functioning blind. Let the birds have a few hours to get used to the blind, and they soon won’t even notice it.

I like to use this alongside my backyard feeders in winter. I put out some perches, and I am pretty much guaranteed that several birds will fly by and pose.

northern cardinal portrait - Four Ways to Get Frame-Filling Shots in Bird Photography

I took this image of a Northern Cardinal from a tent-turned-blind in my backyard.

4. Using a car

Your car can work as portable blinds, of sorts – oftentimes, birds hardly notice when cars are going by. Hence, you can approach birds on roadsides very closely without them taking flight. Then you can wind down the window, and begin your photography.

This often works best if you are in the passenger seat of the car while somebody else drives. This allows you to focus on the photography, while they focus on the driving. However, if you’re alone and on a public road, I suggest that you pull off and stop in a safe position (near the bird, of course!), before bringing out your camera.

You can also use a car to approach closely, and once you have stopped, you can slowly open the door and approach from the safe side of the car.

heron portrait - Four Ways to Get Frame-Filling Shots in Bird Photography

5. Take an environmental portrait

Now you’ve gotten four techniques for ensuring that you can get close to birds. But sometimes, it’s best to put away that telephoto lens and take a step back. Do not try to fill the frame. Instead, compose with the environment in mind, aiming to capture not just the bird but the beauty of the surroundings.

This works especially well if the environment complements the bird and thus enhances the overall aesthetic. I like to search for this type of image in areas that are already photographically powerful, where the scenery can carry the image on its own, and the bird simply adds something extra.

Next time you get the opportunity, try it. You may even find that the resulting image is more pleasing than the one you would’ve captured with that long telephoto lens.

Swan Michigan misty lake - Four Ways to Get Frame-Filling Shots in Bird Photography

I used a 100mm lens to photograph these swans on a misty autumn morning.

Conclusion

If you are having trouble getting close enough to capture frame-filling portraits of birds, don’t worry. Using the techniques listed above – approaching slowly, lying in wait, using a blind, and using a car – you can capture excellent images, I guarantee it. So I urge you to get out and get photographing!

Little Blue Heron portrait - Four Ways to Get Frame-Filling Shots in Bird Photography

Have any tips of your own for getting close to birds? I’d love to hear them in the comments section below.

The post Four Ways to Get Frame-Filling Shots in Bird Photography by Jaymes Dempsey appeared first on Digital Photography School.


Digital Photography School

 
Comments Off on Four Ways to Get Frame-Filling Shots in Bird Photography

Posted in Photography

 

Sunset, golf and a fake nuclear missile: How I spent four days taking pictures in Hawaii

27 Jan
Sony a6500 | 18-135mm F3.5-5.6 OSS @ 95mm | ISO 100 | F6.3

Being a child of the Midwest a hike, in my mind, is more or less walking across land that is mostly flat. There are trees, usually a dirt path, and maybe the occasional hill. A hike in Hawaii, I came to learn recently, can mean something vastly different.

I was in Hawaii on a Sony-sponsored trip along with a handful of other photography journalists, on Oahu for two vastly different shooting experiences: shooting pro golf with the a9, and trying out a new 18-135mm F3.5-5.6 zoom for the a6000-series. I was armed with a TSA-approved 3.4 ounces of sunscreen, a handful of memory cards and a pair of running shoes that prove to be woefully outmatched by the “hike” we’re about to embark on.

My first clue should have been when one member of our party put some spiky, chainmail-type overshoes on top of her street shoes. We walked across a parking lot toward the “trailhead,” a rocky slope where a faint suggestion of a path disappeared into some trees. What followed was 30 minutes of scrambling up a steep incline, grabbing at roots, tree branches and rocks for support. Oh, and did I mention I have a slightly weird thing about heights?

Suddenly, I was quite grateful for the a6500 and the lens’ small size. The whole kit fit easily into a low profile backpack and didn’t provide an extra physical challenge to overcome. Along the way we found a couple of points to stop off, breathe, and take a few photos. Every time we stopped I considered chickening out on the rest of the climb. Nobody would judge me, and I’d get perfectly nice photos from halfway up.

Sony a6500 | 18-135mm F3.5-5.6 OSS @ 18mm | ISO 100 | F4.5

Maybe the morning’s events made me feel bolder (more on that later). Maybe being the only lady journalist on the trip made me hungrier to prove my grit. Maybe it was just the beer I had at lunch giving me some extra courage. I kept going whatever the reason, and I’m pretty darn glad that I did.

Insert your favorite inspirational quote / rap lyric about making it to the top here.

Sony a6500 | 18-135mm F3.5-5.6 OSS @ 18mm | ISO 200 | F5.6

I wouldn’t have wanted to carry a lens/camera combo much bigger than the a6500 and 18-135mm on that hike. For its size, it proved to be a pretty versatile kit. The lens was wide enough for a sweeping view of sunset in the valley, but long enough for a quick shot of a helicopter in the distance when it swooped by unexpectedly. Your standard kit zoom wouldn’t have provided quite as many options.

Did you instinctively start humming the Jurassic Park theme when you saw this image? No? You’re a liar.

Sony a6500 | 18-135mm F3.5-5.6 OSS @ 90mm | ISO 100 | F5.6

I tend to gravitate toward wide lenses and like the convenience of carrying lightweight primes, but I was very happy to have the variety that the telezoom offered. When you’re standing on one 3′ x 3′ rock scared to move left or right for fear of falling to your death, you don’t have too many composition options with a 24mm prime.

As it turns out, that hike wasn’t the only time I contemplated my own mortality that day. Let me tell you about the events of that morning.

We all know now what happened, but when you’re woken up by your phone buzzing with this message (special attention to the part that says THIS IS NOT A DRILL) it makes for a very strange start to the day. The short version of my story is that I spent about 15 minutes in a semi-panic, and having only the tornado drills of my youth to call on for guidance, huddled in my hotel bathroom with a single bottle of water. Not exactly your best shot at surviving a nuclear attack.

I wish I could say I had some kind of profound experience when I found out it was all a mistake. In reality, I just put on some shoes and went downstairs for coffee and a yogurt, and more or less just went about my day. I made time to get into the ocean. That was nice.

A couple of days before the threat of nuclear warfare appeared on my phone, I found myself in a very different state of mind as I tried to photograph professional golf.

Sony a9 | FE 100-400mm F4.5-5.6 GM OSS @ 121mm | ISO 100 | F5.6

Golf is a mysterious game. As opposed to the tennis tournaments and baseball games I’m familiar with, the action happens all around you. I’ve thought of it as a game with a leisurely pace, but trying to photograph it for the first time, I’m amazed at how quickly the action unfolds. You have to get into position, pray that a caddy doesn’t step into your way at the last moment, and you only have a few seconds to get your shot before it’s all over. Oh, and you have to keep in mind the direction of the sun, ugly things like trash cans creeping into your backgrounds, and woe betide you if you make even a peep as a golfer prepares to swing a club – you’ll be swiftly escorted off the grounds.

“Game changer” has become sort of a joke around the office since it’s a phrase that’s been used to death and rarely lives up to its meaning. But if you’re a golf photographer, you really could consider the a9 to be a game changer. Plenty of resolution, 20 fps and silent shutter – particularly that last bit – is huge for a sport where silence isn’t just golden, it’s mandatory. Jeannette Moses noted this revelation when she photographed the Presidents Cup last year with the a9. I’ve seen it firsthand too, and it really is strange to be so close to a professional golfer raising his club to strike the ball while firing away at 20 fps.

Sony a9 | FE 100-400mm F4.5-5.6 GM OSS @ 100mm | ISO 100 | F5.6

Sony’s making a clear appeal to pro sports photographers with the a9, and before we set foot on the golf course we got a primer on the company’s efforts to bolster its offerings with Pro Support. If you aren’t familiar, this is a program for working photographers that aims to put Sony on even footing with Canon and Nikon.

Sony Pro Support members pay a $ 100 annual fee that entitles them to 24/7 phone and email support and access to service centers in Los Angeles and New York. If you need to send a product in for a fix, Sony claims a three-day turnaround with free loaner gear to cover repairs that take longer. To qualify, photographers must own at least two full-frame Sony bodies, three lenses and must be actively earning income from their photography.

For comparison, Nikon uses a point system and requires at least two camera bodies and two lenses. The system is tiered, but all levels include priority repairs, repair loans and discounts on repairs. Canon also uses a point-based tiered system, but doesn’t require a certain number of lenses or bodies.

I’m by no means a pro, and shooting golf proves to be a much more challenging experience than I was anticipating. An afternoon carrying two camera bodies, one of them with a sizable 100-400mm lens attached, was a fairly taxing endeavor. I also put my finger on the shutter too gingerly a few times, and with 20 fps silent shutter it’s easy to end up with hundreds of photos you didn’t mean to take. From over 3000 (!) images, I managed to scrape together a handful I feel comfortable putting my name next to. Not exactly a stellar hit rate.

Sony Open gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8041997224″,”galleryId”:”8041997224″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

I have a renewed appreciation for the tough job pro sports photographers have, and a respect for Hawaii’s lovely-yet-dizzying hiking trails. I also jump out of my seat now when my phone buzzes too loudly and I’m finally getting serious about putting together an earthquake preparedness kit. But my feeling of having stretched myself as a photographer, and I suppose as a hiker, outweighs my sense of distress over the whole thing. And if you’re going to survive a fake nuclear missile attack, there are worse places to experience it than Hawaii.

Sony 18-135mm F3.5-5.6 OSS sample gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3207546459″,”galleryId”:”3207546459″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sunset, golf and a fake nuclear missile: How I spent four days taking pictures in Hawaii

Posted in Uncategorized

 

A closer look at the Sigma 16mm F1.4 DC DN for Micro Four Thirds

12 Jan

We’ve got a pair of Sigma 16mm F1.4 DC DN lenses in the office: one for Micro Four Thirds and the other for Sony E-mount. In this article we have some impressions of the MFT version, as well as some other lenses in this class worth considering.

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9513055220″,”galleryId”:”9513055220″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The 16mm F1.4 acts as a 32mm equivalent lens on the Micro Four Thirds platform. It’s an interesting focal length to end up with: not quite 28mm equiv., which many people would consider the gateway to wide-angle, but also noticeably wider than the near-normal of 35mm equiv. I didn’t expect it to make any difference but found myself constantly fighting against too much stuff creeping into the edges of the frame in a way that I don’t with a 35mm.

In terms of handling, I felt the 16mm worked best when mounted on the larger Micro Four Thirds camera that feature prominent hand grips: its comparatively long length feeling a little unbalanced on the smaller, rangefinder-style boxes, though it’s light enough that it doesn’t end up feeling too front-heavy. The lens’s only control point is a large by-wire focusing ring. It’s a little under-damped for my tastes, rotating fairly freely but it was effective on the few occasions I ended up having to manual focus (turns out LED Christmas lights and autofocus do not always play nicely with one-another).

Optically, I was pretty impressed with the lens, the F1.4 (F2.8 35mm-equivalent) aperture gave me plenty of control over depth-of-field and sufficient light for low-light work. Sharpness seems good if not necessarily stellar and with what appears to be pretty good cross-frame consistency, until you reach the extreme corners. As you’d expect, the performance gets better if you stop down a couple of notches. The 16mm is pretty resistant to flare, even when given significant provocation, with good levels of contrast maintained even in contre jour images with veiling flare.

Autofocus was snappy to the degree that I didn’t ever really have to think about it. Only the aforementioned Hybrid AF/LED Christmas light mismatch caused me to even give it a second thought. It’s fast and quiet to the degree that you just don’t notice it, and can concentrate on composing your shot instead.

Alternatives

My impression is that the Sigma is sharper, two thirds of a stop faster and comparably priced to the Olympus 17mm F1.8. However, I don’t think it’s quite as easy a win as that makes it sound. The Olympus is significantly smaller and features the lovely snap-back manual focus clutch and linear manual focus system (faux-cus by wire, perhaps?), both of which are definite bonuses. So, while I’d find it hard to choose between the two, I probably wouldn’t rush out to replace a 17mm if I had one, not least because I personally prefer the narrower angle-of-view that the extra 1mm brings.

1mm in the opposite direction is the Panasonic 15mm F1.7. It usually retails for around $ 100 more than the Sigma, despite being rated as half a stop slower. Again it’s smaller than the Sigma, meaning it handles better on a smaller camera body. Similarly, the 15mm offers a neat operational advantage over the DN, at least for Panasonic shooters: the lovely Leica M lens style front aperture ring (worth the extra $ 100 on its own, in my opinion and well worth lobbying Olympus for firmware support for, if you’re on that side of the system). Optical performance is perhaps a step up from the Sigma, leaving the 16mm F1.4 DN DC as an attractive extra option for Micro Four Thirds but not an absolute must-have, from my perspective.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on A closer look at the Sigma 16mm F1.4 DC DN for Micro Four Thirds

Posted in Uncategorized

 

Sigma 16mm F1.4 DC DN for Micro Four Thirds sample gallery

07 Jan

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9513055220″,”galleryId”:”9513055220″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

We’ve already taken the Sony E-mount version of Sigma’s super fast 16mm lens for a spin, and we were eager to see how the Micro Four Thirds version stacks up. Announced in fall of 2017, the 32mm equivalent prime includes weather-sealing a nine-blade aperture – all for $ 450.

See our Sigma 16mm F1.4 DC DN for
Micro Four Thirds sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma 16mm F1.4 DC DN for Micro Four Thirds sample gallery

Posted in Uncategorized

 

Tamron sets up ‘VIP Club’ for users with four or more registered lenses

28 Dec

Loyal Tamron users who own four or more lenses made by the third party lens maker might qualify to be a part of the company’s new VIP Club in 2018. Announced yesterday, the program creates three “membership” tiers that offer a variety of perks like free T-shirts, lens rebates, non-warranty repair discounts, an invitation to participate in a VIP-exclusive contest, and much more.

Anybody who has purchased and registered four or more Tamron lenses between May of 2011 and January 18th of 2018 is eligible for one of the tiers. Four lenses purchased and registered between those days will earn you a Silver membership, five earns you a Gold membership, and six or more earns you a Platinum membership.

You can read all about the perks available to the various tiers below, but remember: you must register your lens purchases to qualify. So if you’ve bought four more more lenses in the past 6 years but never registered them, you’ll want to get on that at the Tamron website.

Membership Perks

If you’ve purchased and registered four lenses between May 2011 and January 15th, 2018, you’re a Silver member, which entitles you to:

  • Welcome gift
  • Tamron magazine mailed three times per year
  • $ 50 bonus rebate towards any Tamron lens
  • 50% off of one Tamron event ticket (excludes summit)
  • 10% discount on non-warranty repair
  • Invitation to participate in VIP Member contest
  • Membership Card with lanyard

If you’ve purchased and registered five lenses between May 2011 and January 15th, 2018, you’re a Gold member, which entitles you to:

  • Welcome gift
  • Tamron t-shirt
  • Tamron magazine mailed three times per year
  • $ 75 bonus rebate towards any Tamron lens
  • 50% off of two Tamron event tickets (excludes summit)
  • Free pass to one Tamron event (excludes summit)
  • 15% discount on non-warranty repair
  • Invitation to participate in VIP Member contest
  • Membership Card with lanyard

And, finally, if you’ve purchased and registered six or more lenses between May 2011 and January 15th, 2018, you’re a Platinum member, which entitles you to:

  • Welcome gift
  • Tamron t-shirt
  • Tamron LL Bean vest
  • Tamron magazine mailed three times per year
  • $ 100 bonus rebate towards any Tamron lens
  • 50% off of three Tamron event tickets (excludes summit)
  • Free passes to two Tamron events (excludes summit)
  • 20% discount on non-warranty repair
  • Lifetime Limited Warranty on any new lens purchase from year of Club induction
  • Free shipping on repairs (Tamron USA will send a pre-paid shipping label to receive your lens)
  • Free 2-week lens loaners (if available, with signed loaner agreement)
  • Exclusive Tamron Photo Tips Hotline for questions about photo techniques and tips on how to use your lens and camera
  • Invitation to a Tamron Workshop Summit
  • Invitation for chance to be profiled on website
  • Invitation to participate in VIP Member contest
  • Membership Card with lanyard

For more details, check out the full press release below or head over to the Tamron VIP Club website by clicking here.

Press Release

Tamron USA Announces the Launch in 2018 of New VIP Club for Owners of Multiple Registered Tamron Lenses

December 26, 2017, Commack, New York – Tamron USA announced the development of a new VIP Club for registered owners of multiple Tamron lenses. To be launched in 2018, the VIP Club will include select users who have registered their Tamron lenses through the company’s online warranty registration system since May 2011 through January 15, 2018 (certain exclusions apply, see website for rules and details). There are three VIP Club levels: Silver for those having registered four purchased lenses; Gold for those having registered five purchased lenses; and Platinum for those having registered six or more purchased lenses. Club membership will be evaluated each year to include new members who qualify and to increase the level of existing members if applicable. The VIP Club will be in effect February 15, 2018 and 2018 members will be notified by email. Complete rules and details of the program are available at www.tamron-usa.com/vipclub.

2018 Silver Level Benefits (Four Registered Lenses)

Tamron owners who have purchased and registered four lenses during the time-frame of May 2011 and January 15, 2018 are eligible for these 2018 membership perks: Welcome gift; $ 50 bonus rebate each year of Silver status towards any Tamron lens; 50% off one Tamron event ticket each year of Silver status; 10% discount on non-warranty repairs; invitation to participate in the Tamron VIP Member contest; and three issues of the new Tamron magazine mailed to the member’s home.

2018 Gold Level Benefits (Five Registered Lenses)

Tamron owners who have purchased and registered five lenses during the time-frame are eligible for these 2018 membership perks: Welcome gift; T-shirt; $ 75 bonus rebate each year of Gold status towards any Tamron lens; 50% off two Tamron event tickets each year of Gold status; free pass to one event per year of Gold status; 15% discount on non-warranty repairs; invitation to participate in Tamron’s VIP Member contest; and three issues of the new Tamron magazine mailed to the member’s home.

2018 Platinum Level Benefits (Six or More Registered Lenses)

Tamron owners who have purchased and registered six or more lenses during the time-frame are eligible for these 2018 membership perks: Welcome gift; T-shirt; Tamron apparel; $ 100 bonus rebate each year of Platinum status towards any Tamron lens; 50% off three Tamron event tickets each year of Platinum status; two free passes to any Tamron event per year if available (excludes Summit); 20% discount on non-warranty repairs; lifetime limited warranty on any new Tamron lens purchased and registered within two years of Club induction at Platinum level; free shipping on any lens sent in for repair; exclusive Tamron Photo Tips Hotline; free 2-week lens loaners, if available; invitation to a 4-day workshop (The Workshop Summit, details below) if qualified; invitation to participate in the Tamron VIP Member contest; invitation for chance to be profiled on the Tamron website; and three issues of the new Tamron magazine mailed to the member’s home.

The Workshop Summit

Members of the Tamron VIP Club Platinum level whose latest lens purchase and lens registration was within the past two years as of January 15, 2018, will be invited to a 4-day/3-night Workshop Summit scheduled for Fall 2018. The Workshop Summit is limited to 25 participants, first-come/first-serve. Invitations will be sent to qualifying Platinum Level members in Spring 2018 by priority mail. The Workshop Summit includes three nights hotel, meals, transportation to/from hotel/airport in destination city, workshop transportation, workshop and loaner lenses. Airfare, home airport transportation, and other incidentals are not included. The Workshop Summit will be offered each year, and Platinum level members may participate in one Workshop Summit during the life of the program.

Tamron VIP Program Rules and Details

Complete rules and details are at www.tamron-usa.com/vipclub.

Registering Tamron Lenses

Tamron lens owners are encouraged to register their new purchase at www.tamron-usa.com (click link to go to registration page). Registration is quick and easy and owners enjoy these benefits: Instant serial number verification to ensure that a Tamron USA imported lens with 6-Year Limited USA Warranty and eligible for any qualifying rebate has been purchased; access to product information in the event of loss or theft; custom support if service is ever required; priority contact in the rare event we discover an issue with the registered product; and if subscribe is selected, invitations to local workshops, seminars and sales events, subscription to the Tamron e-newsletter and exclusive promotional offers. And now, registration has the benefit of becoming a Tamron VIP Club Member when membership level requirements are met.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Tamron sets up ‘VIP Club’ for users with four or more registered lenses

Posted in Uncategorized

 
« Older Entries
Newer Entries »