For many people, the main limitation of the micro 4/3 systems, while being more portable and fun, has been in capturing movement and action, owing to the contrast-detection AF system. And they would be entirely correct. While it is super fast for static subjects, the lack of effective phase detection AF, as found on DSLRs and other mirrorless systems, causes difficulty in tracking moving subjects.
An in-depth Nikon D810 review with sample images, high ISO tests and detailed real-life analysis
Some of our readers have been asking about the performance of the Sigma 50mm f/1.4 Art lens on the Nikon D810, particularly about its autofocus […]
We are continuing our coverage of the Nikon D810 and today we want to talk about the capability of the D810 to photograph wildlife, particularly […]
Talking to Tadas Kazakevičius (in case you are having a hard time spelling that, he’s just as well known as Ted Kozak), a young Lithuanian […]
Engagement sessions are a big hit with couples and photographers. Almost all couples agree for a session before the wedding, so engagement photography has pretty […]
Incredibly, the first domes date back to people living in the Mediterranean region 4,000 years BC. Since then, artists have created a fascinating variety of them all over the world. Still today, they are an essential part of modern architecture, as shown for example by Calatrava’s spectacular glass dome of the library of the Institute of Law in Zurich, Switzerland.
If I was to be completely honest about encouraging people about setting out on a career in wildlife photography, I feel these days I could sum it up in two words. ‘Forget it!’ Having said that, I do not take rejection of article ideas well, I am poor at self-promotion and I am not brilliant at keeping my agents supplied with my latest images. Finally, I do not keep up to date with all of the latest camera bodies which produce superior image quality compared to the old Canon EOS 1D Mk2 I am still using for my wildlife pictures and the Canon EOS 5D Mk2 that I use for landscapes.
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.
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.
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.
Rainbows are rare in nature, because a number of events have to happen at the same time. First, there has to be moisture in the sky, so a rainy day or a quick rainstorm is the first pre-requisite. Second, the sun must be positioned on the horizon at a low angle, around 42 degrees relative to the viewer. Third, the part of the sky where the sun is must be clear from clouds and obstructions, while the part of the sky where the rainbow will appear must have continuous rain / moisture. When all of these conditions are met, the sun rays will refract and reflect off the water droplets in the sky, creating the optical illusion that we refer to as “rainbow”. When you see a rainbow, it is only natural to want to capture it on your camera. Who wouldn’t want to capture such beauty that contains the full color spectrum visible to our eyes? And if you happen to be at the right place, rainbows could make an ordinary subject appear truly extraordinary. Even a boring scene could be turned into something completely different with a full arc of a rainbow.
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.
Nature often rewards us with incredible opportunities for photographing sunrises, sunsets and sun rays piercing through the clouds, creating stunning views. As a landscape photographer, I tend to wait for partly cloudy and stormy days, because clouds make photographs appear much more dramatic and vivid. Without clouds, sunrises and sunsets often look boring, forcing us to cut out the sky and focus on foreground elements instead. In contrast, if you get to witness a sunrise or a sunset with puffy, stormy clouds that are lit up from underneath with colorful sun rays, creating a fiery view, including the clouds in your photographs would make the scene appear much more colorful and alive. In fact, clouds can be so beautiful, that they could become the main element of composition in your photographs. In this article, I will not only talk about the process of photographing clouds, but also will focus on making clouds appear much more dynamic and dramatic in your photographs.
Big thanks to our readers in London that came to participate in our London Photo Walk on Wednesday, May 14. Although many could not make it due to work, conflicts and the fact that we did it during the week, we had 24 people join us for the photo walk! It was an amazing experience for me personally to get a chance to meet our readers and photograph the beautiful and the historic city of London. Although I ended up only taking a single picture at the end of the day (yes, the group did get a good laugh at that!), I absolutely loved getting to know each and every person from the group. Here is a group photo of us right before we started the photo walk: