Photographing Cormorants with the Tamron 150-600mm VC

Cormorant (7)

Over the past week or so I’ve been out taking a lot of images to prepare for my upcoming review of the Tamron 150-600mm VC lens. At this point it looks like my review will be completed and up for Photography Life readers to see at the end of June.

In advance of the full review I thought another very short article with a few more sample images may be of interest. This article has some photos of cormorants taken at a large nesting colony that is located just off Eastport Drive adjacent to the Hamilton harbor in Ontario. This is a favorite photo site of many area bird photographers. In this area you can also find black-crowned night herons, a wide variety of gulls, the occasional swan, and if you scan for small, fast moving birds…you can also spot the odd kingfisher.

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Birds in Flight with the Tamron 150-600mm Lens

Tamron 150-600mm on D800

Many Nikon owners have been chomping at the bit waiting for the F-Mount version of the new Tamron 150-600mm f/5.6-6.3 VC zoom lens to be available. I recently borrowed a review sample from Tamron’s Canadian distributor. In advance of my full review, I thought that Photography Life readers would like to see some sample images of birds in flight. My full review of this lens will appear later in June or early July.

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Sigma 50mm f/1.4 DG HSM Art Review

Sigma 50mm f/1.4 Art

This is an in-depth review of the Sigma 50mm f/1.4 DG HSM Art prime lens that was announced on January 6, 2014 for Sigma SA, Canon EF, Nikon F and Sony A mounts. Ever since Sigma announced its new “Art” lens line, it has been releasing superb new lenses and updates. The Sigma 35mm f/1.4 DG HSM Art received the highest praise from us at Photography Life, especially after we compared it to the Nikon 35mm f/1.4G and other 35mm lenses in our extensive review. So when I first found out that Sigma had plans to update its existing Sigma 50mm f/1.4 EX DG HSM, I got really excited, since I knew that the new Art-series lens would not disappoint. It has been too long since both Nikon and Canon updated their 50mm f/1.4 primes. In the case with Nikon, its newer 50mm f/1.8G yields better sharpness than the bigger and heavier 50mm f/1.4G. In short, the Nikkor 50mm f/1.4G is just not good enough for modern high resolution sensors and its performance at maximum aperture is rather disappointing (and the Canon 50mm f/1.4 is quite similar in that regard). The Sigma 50mm f/1.4 Art announcement was very timely, because it hits a sweet spot between the sub-par 50mm f/1.4 Nikon and Canon lenses, and the exotic manual focus Zeiss Otus 55mm f/1.4.

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Micro Four Thirds vs DSLR Camera Considerations

Olympus 60mm F/2.8, ISO 200. Richmond Park, London.

Warm greetings to my fellow Photography Life readers! My name is Sharif and I am the photographer behind Alpha Whiskey Photography. I have been very kindly asked by Nasim to write an article for Photography Life, which has proved to be an excellent resource for photographers all over our planet. Nasim specifically invited me to write about my experience with my Olympus Micro Four Thirds mirrorless camera, the lenses I choose to use with it, and why I prefer it to my DSLR system, along with some examples of images I have produced with it.

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D800 vs D4s For Wildlife in Low Light & Long Lenses

Beautiful Wet Female Black Bear

For whatever reason most of the wildlife photography I do ends up being in less than desirable conditions. Its rare that I get that perfect light, with the animal perfectly posed and the weather just right and me in the right place and time to capture it. A lot of times I am in the right place, but all the other elements needed seem like they are on the extreme limits of what is needed for quality photography.  I recently had the opportunity to photograph black bears here in New Hampshire and one thing that a person not from NH must understand is that this is not like going to Yellowstone or some similar place where the bears are more receptive to humans. Here in NH they are the ghosts of the woods, the animal you never hear while hiking or rarely see unless its by accident and then its for seconds before they disappear. I was able to use both the D800 and D4s during this time and I found out some disappointing things about the D800 which has me regretting purchasing it.

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Macro Image Comparison: Nikon D800 vs Nikon 1 V2

Pewter Pig in Palm of Hand

Since buying my first Nikon 1 V2 in August of last year I’ve been having some fun trying to push the limits of this little, mirrorless camera and its small CX sensor to see what it is capable of producing. On the surface doing a macro image comparison between a Nikon D800 and a Nikon 1 V2 may seem like a David and Goliath match-up.

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Sony RX100 III Announcement

Sony RX100 III

Sony has also had a couple of important announcements last week. The pricing and availability for the previously announced Sony A7s mirrorless camera was finally revealed. The 12 MP Sony A7s with 4K video recording capability will be available on July 8, 2014 for a retail price of $2,498 (pre-order yours at B&H Photo Video). Along with this news, Sony also announced its third iteration of the Sony RX100 point and shoot camera with a large 1″ sensor (same size sensor as on the Nikon 1 cameras). The Sony RX100 III packs great features compared to its predecessors and now comes with a high resolution pop-up electronic viewfinder. The new 8.8-25.7mm (24-70mm equivalent) Zeiss lens is now also better and faster, with a maximum aperture range of f/1.8-2.8, compared to the 10.1-37.4mm (28-100mm equivalent) f/1.8-4.9 lens on older models. More features such as a 180° flip-up LCD screen, better movie recording features and a faster processor make the RX100 III a very attractive compact camera. It will be priced at $798 and is expected to be available at the end of June, 2014.

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Tokina 70-200mm f/4 Pro Announcement

Tokina 70-200mm f/4 Pro FX VCM-S

One of the interesting announcements from last week was Tokina’s AT-X 70-200mm f/4 Pro FX VCM-S. Being the first Tokina lens to incorporate optical image stabilization, the 70-200mm f/4 Pro is a direct competitor to the excellent Nikkor 70-200mm f/4G VR lens. The Tokina 70-200mm f/4 seems to be similar to the Nikkor 70-200mm f/4G in a number of ways. Its optical design incorporates 19 elements in 14 groups, with 3 ultra-low dispersion lens elements (vs 20 elements in 14 groups and 3 ED elements) and the lens does not come with a tripod collar either (available to be purchased separately). It has the same filter thread size of 67mm and has a slightly shorter barrel. Unfortunately, at 980 grams, it is a 130 grams heavier than the Nikkor, which is a pretty noticeable difference.

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Canon 10-18mm f/4.5-5.6 IS STM Announcement

Canon EF-S 10-18mm f/4.5-5.6 IS STM

Along with the 16-35mm f/4L IS USM lens, Canon has also introduced a budget wide-angle lens for its EF-S mount, the Canon 10-18mm f/4.5-5.6 IS STM. At a very compact size, image stabilization and just 240 grams of weight, the Canon 10-18mm will be an interesting choice for Canon’s APS-C line of cameras like 7D, 70D and Digital Rebel series. With an equivalent field of view of 16–28.8mm relative to full-frame, the lens will offer great ultra wide angle coverage. And with its MSRP price of just $299, it will be a great choice for beginners and enthusiasts interested in landscape, travel, architecture and everyday photography.

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Canon 16-35mm f/4L IS USM Announcement

Canon EF 16-35mm f/4L IS USM

I am finally back in Denver after a three week-long trip to the UK and I am trying to catch up with all the news and announcements that we’ve missed. The first news items are related to Canon lens announcements from last week. Canon announced the EF 16-35mm f/4L IS USM image-stabilized full-frame lens for enthusiasts and professionals who want something cheaper than the EF 16-35mm f/2.8L II USM. Usually, f/4 lenses are lighter and smaller than their f/2.8 counterparts. However, the difference between the 16-35mm f/4L and 16-35mm f/2.8L is not as big – the former is just a tad thinner and weighs 20 grams lighter in comparison. The three biggest differences are obviously the smaller maximum aperture of f/4, $500 price difference and image stabilization. With a very similar optical design featuring the same number of elements and groups, 2 Ultra-low Dispersion (UD) and 3 Aspherical elements, the 16-35mm f/4L IS seems to challenge its big brother in a number of ways, even in optical performance.

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