This is a detailed review of the Sigma 1.4x Teleconverter EX APO DG for the Nikon mount. I had a chance to test out this teleconverter, along with the 2x Sigma teleconverter when working with the Sigma 120-300mm f/2.8 lens (review to be published within the next week), so I wanted to share some of my findings and compare the teleconverter to its Nikon counterpart, the Nikkor TC-14E II. In this review, I will go over the optical characteristics of the Sigma 1.4x teleconverter and talk about its performance when using both Sigma and Nikon super telephoto lenses.
Along with the two new lenses and a black version of the E 50mm f/1.8 OSS, Sony has also introduced two new mirrorless cameras. One of them might make it to our list of new old products, as the NEX-5T adds very little over its predecessor and is more of a mild refresh than a new model. At this point, I would be slightly annoyed at Sony for reasons already discussed, but the second camera might just attract enough attention for NEX-5T barely to be noticed at all. In a strange and bold move, Sony has introduced the A3000 – a mirrorless camera with Sony E mount that looks like a DSLR.
Sony has just announced two impressive new zoom lenses for its NEX cameras and a black version of its current Zeiss 50mm f/1.8 lens. The first of the two lenses is a Vario-Tessar T* 16-70mm f/4 OSS designed by Zeiss. The second zoom lens has an even more impressive focal length range of 18-105mm whilst also sticking to f/4 aperture throughout and being optically stabilized. Both new lenses instantly make Sony NEX compact system cameras that much more attractive to serious amateurs and enthusiasts.
1) Zeiss 16-70mm f/4 OSS Lens Overview
The new Zeiss lens is designed for APS-C sensor cameras and features a 24-105mm full-frame equivalent focal length. This is the first lens in this class for APS-C cameras that also has a constant f/4 aperture throughout the zoom range. And you know what? Finally. Much older APS-C DSLR systems lack important lenses with similar parameters, not to mention a number of primes. Nikkor 16-85mm f/3.5-5.6 VR DX instantly springs to mind – it is very capable, but the slow variable aperture leaves something to be desired. The addition of the Zeiss 16-70mm f/4 OSS lens makes the whole NEX system quite a bit more inviting to serious photographers unwilling to sacrifice versatility and quality over small size. If Sony keeps up with such serious lenses, it is well on its way to providing both.
As you would expect from Zeiss, 16-70mm f/4 OSS has lens coatings to minimize flare and aspherical and ED glass elements. Lens barrel is, traditionally, made of metal and should feel very solid.
We at Photography Life are always interested in new things. We constantly come up with new ideas and plans for our community. We try to learn something new ourselves all the time, and then pass on to our readers whatever knowledge we acquire. We do our best to remind you that photography is all about composition, light, story and result rather than gear. But it is the gear getting out of your way that helps you concentrate on things that matter in photography. And so, cameras, lenses and software tools also manage to intrigue us every now and then. In other words, we are not against new, improved equipment as long as the said improvements are real and help whatever camera you use get out of your way better. Fujifilm X-E1 didn’t seem to interest Nasim all that much back when it was announced, but Fuji made so many improvements via firmware updates, he now seems to be in love with it. Innovation is also good. Sony RX1, for example, left me with extremely mixed feelings. On one hand, it is very expensive, and even more so if you purchase any accessories. Lack of a built-in EVF was also an enormous disappointment for many. On the other hand, it is an impeccably machined and tiny camera with an enormous sensor. It is discreet, has a very capable lens and one of the very best full-frame sensors on the market. As skeptic as I was about it, I would love to give it the full beans and run it through several weddings very much.
One of the first things that comes to mind when faced with some sort of a disaster (fire or flood, for example) is the safety of the people we love. If one’s family and friends are well and within arm’s reach in the case of such a tragic event, people often tend to think of… photographs. Wouldn’t you? After all, photographs ensure the memory of our children, parents, siblings, friends and the greatest days of our lives remain no matter what. Consequently, it is a good idea to always have a safe copy of all or at least the most important photographs you may have. If you have been storing images on a single computer, DVD or other simple storage, there is no way to make sure that your photographs are 100% safe – all types of storage unfortunately fail, it is just a matter of time! There is a way, however, of eliminating the possibility of loss almost entirely. In this article for beginners photographers, I will provide you with several inexpensive basic backup ideas. Even if you choose not to follow this particular backup strategy, it should give you a decent starting point and help you figure out a way that suits you better. It is worth noting that we do not recommend these tips for professional photographers, as they should take more serious, reliable and faster means of backing up their work.
1) Keep a Copy at Home
In addition to storing photographs on your hard drive, it is a good idea to have a copy of them on an external drive somewhere at home. This is in case your computer suffers from some sort of malfunction, data loss or physical damage. Storing copies of your photographs on the same disk isn’t a backup – if the disk breaks down, both originals and backup copies may be lost. Also note that it is a good idea to store original copies on a separate internal hard drive rather than the one used by the operating system. This way, if you ever need to format your computer you’ll know all the important files will remain untouched.
What do you do when you have an 800mm super telephoto lens with a 2x teleconverter? Well, if you were me, you would be spending a couple of weeks in a lab environment, testing the lens inside out and comparing it to the 300mm, 500mm, 600mm and the new Sigma 120-300mm. Otherwise, you would be out shooting fun stuff, like the full moon! A couple of nights ago, I got really tired from all the testing, so I got out to get some fresh air. When I looked at the sky, I noticed that the moon was in its full glory. The skies were partly cloudy, so I waited it out for a few minutes, then got out with the Nikon 800mm f/5.6 VR with the 2x attached to it and took a few shots of the moon. Although the whole setup was incredibly shaky (and that’s mounted on a full Gimbal head and the sturdiest of Gitzo tripods), I managed to get some shots that were sharp. Then I went back in and uploaded the photos to my computer. When I opened up the image and zoomed in to 100%, I was pretty shocked to see so much detail. By far, this is the sharpest and the most detailed photo of the moon I have taken! So I decided to share it with our readers in a wallpaper format for high resolution monitors (1920×1200). So here is the photo:
This is a review for the Impact’s Beauty Dish Reflector Kit with an adapter for the Paul C Buff Alien Bee Strobe. The Reflector kit includes a 20″ Beauty Dish Reflector, Honeycomb Grid for 20″ Beauty Dish Reflector, and a diffuse sock.
I have mostly been a natural light photographer. I believe there is so much beauty in available light. However, I have been playing with studio lighting to have more control over my lighting environment. I am a huge fan of light modifiers that create soft light (like a softbox or this parabolic umbrella). Using a beauty dish was new to me and a little different than what I was used to – it is always fun and beneficial to play around with new tools to give you a new perspective on photography.
Canon has just announced a number of new products, with a new lens and high-end compact camera among them. The new lens is a replacement for the older, 2011 release of the 55-250mm f/4-5.6 IS kit zoom lens for Canon APS-C sensor DSLR cameras. The Powershot G16 enthusiast compact camera is a direct replacement of the Powershot G15. The lens and camera offer minor improvements over their predecessors.
As any reader of our previous Mastering Lightroom series articles will know, one of the biggest strengths Adobe’s popular RAW converter has is presets and templates. With its emphasis on speed, Lightroom allows you to create a preset or template for more or less anything, from Metadata, to slideshows or book design. I have already talked about the super-useful Develop Presets. In this article, I will show you how to use Filename Template Editor so that you learn how to name your images as quickly and efficiently as possible.
1) Why Should You Use the Filename Template Editor?
As with all other kinds of templates and presets you can find in Lightroom, filename templates are there for you to make managing and working with images easier. With the Filename Template Editor, you can create several naming templates and include as much or as little information as you want. What sort of information? Well, more or less everything from the metadata of that image – date, equipment, keywords etc. In addition to that, you can also include a custom text field.
This is a quick guide on how to upgrade from Lightroom 4 to Lightroom 5, if you are considering moving up to the latest and greatest Lightroom version. While the process of upgrading the actual software is pretty straightforward, there are some important steps you need to take to make sure that the catalog is upgraded successfully and you are using the latest available features. If you are scared about upgrading and have not done it in the past, this guide might help you to go through the process. The good news is, Adobe allows keeping both versions of Lightroom on the same machine, which means that you can install LR5 and continue to use your old LR4 with the old catalog(s). Once you are satisfied with the upgrade, you can then remove the old version of Lightroom, along with the old versions of catalogs.
1) Download and install Lightroom 5
If you are hesitating about downloading the online version of Lightroom 5 versus buying a boxed version from a store, don’t – they are both exactly the same. Adobe lets you download the full version of Lightroom and use it for 30 full days until you input the serial number from a retail boxed version, or the one supplied by Adobe when you purchase it digitally. This is a great way to try it out and see if you want to keep it or not.