When using telephoto and macro lenses, it is often desirable to get tighter framing on a subject that is being photographed. There can be many reasons for wanting to make subjects appear larger in images, but the main reasons are typically related to enhancing composition, improving subject detail and increasing image resolution (particularly after extensive cropping). For example, photographing a bird with a short focal length lens from hundreds of feet away will result in the bird appearing very small and insignificant, with very little to no detail in the resulting image. But if the same bird is photographed at a closer distance or with a longer focal length telephoto lens, a lot more detail can be revealed about the bird. In addition, making the bird take a larger portion of the image can also enhance the image by reducing the amount of clutter surrounding the bird, allowing for a better overall composition. When conditions allow, it is possible to achieve tighter framing by simply walking closer to the subject or zooming in with a zoom lens. However, what if getting closer is not an option and one is already at the longest focal length of their lens? In such situations, a teleconverter can come into rescue. Teleconverters allow increasing the focal length of lenses by coupling with them and thus essentially magnifying the image, allowing for tighter framing of subjects. While teleconverters can be incredibly useful, they also have a few rather serious disadvantages that can lead to increased blur and loss of sharpness. Let’s take a look at what a teleconverter is and go over its advantages and disadvantages in more detail.
Due to overwhelming emails, comments and response we got on our “How Was This Picture Made #6” post, which went viral and got us over 25 million hits (funds from which we are planning to use for the next team retreat on the beaches of Mongolia), we decided to publish the answer to the last post today and not put our readers through the pain of having to wait.
The title of the article deserves three exclamation marks, because this is one of the best news I have seen in photographic history! Google has just announced that it has made the best plugins for Photoshop and Lightroom, bundled into a single “Google’s Nik Collection” absolutely free (it was priced at $150 per license before). This is awesome, and no, it is not an April 1st Fool’s Day joke! As of today, March 24th 2016, you can download Google’s Nik Collection for free by visiting this page and clicking the “Download Now” button on the top of the page.
With only a week left until our PL + KeepSnap Lens giveaway ends, we wanted to write an article about differences between KeepSnap and PhotoShelter. Since a number of our readers asked about KeepSnap and what makes it different from the already established PhotoShelter, we thought it would be a good opportunity to look into the features of both sites in a bit more detail.
Ever since Nikon debuted the 24mm f/1.4G ED lens five years ago, the lens has been a popular choice among professionals and serious amateurs, thanks to its excellent optical formula and coating technologies that yield crisp and pleasing images. However, its high price point and the relatively heavy weight made it a rather specialized tool, so a cheaper and lighter f/1.8 version of the lens was much needed to complement the 20mm f/1.8G and the 28mm f/1.8G lenses. Nikon filled this gap with the Nikkor 24mm f/1.8G ED in August of 2015, finally addressing the needs of many photographers like me, who had been wanting such a lens for a while now. When I finally received my copy of the lens, I wondered how it would compare optically not only to its older f/1.4G brother (which I used to own and love), but also to other popular 24mm primes such as the Sigma 24mm f/1.4 Art and the Samyang 24mm f/1.4. After getting a hold of all three, I hit the road with the purpose to find out which lens would serve as my dedicated 24mm prime in the future. In this review, I will not only discuss the Nikon 24mm f/1.8G lens in detail, but also compare it to the above-mentioned 24mm primes.
Today-only, SanDisk is offering huge savings on SD, MicroSD and SSD drives on Amazon USA. These are significant savings, particularly on SanDisk’s excellent Extreme-series SD cards of 32 GB, 64 GB and 128 GB capacities. These cards are rated at 90 MB/sec read speeds and are suitable for both stills and video (up to 4K Ultra HD video). Savings range from $37 on the 32 GB card (bringing the price down to a mere $12.99) all the way to $155 on the 128 GB, which is currently on sale for $44.99.
For many years, Nikon has been limiting affordable super telephoto zoom lenses above 300mm to the 80-400mm VR lens, while keeping its high-end super telephoto line of zoom and prime lenses available only for those with deep pockets. With Tamron and Sigma pushing great budget-friendly 150-600mm options, Nikon finally decided to release its first constant-aperture super telephoto zoom competitor in August of 2015. Specifically designed for beginner and enthusiast wildlife / sports photographers, the new Nikkor 200-500mm f/5.6E ED VR became the first hand-holdable Nikon lens to reach 500mm at a relatively low price point of $1,399. This offering, coupled with the upcoming Nikon D500 DSLR (see our D500 announcement post) makes a killer combination for action photography. With an equivalent field of view of 300-750mm and the capability to shoot fast action at up to 10 frames per second on the D500, the Nikon 200-500mm f/5.6E VR is definitely going to become one of the most popular lenses in Nikon’s lens line-up, thanks to its versatility and reach. Although our team at Photography Life has not had a chance to test this particular combination due to unavailability of the D500 in the US, we have been actively using the lens on camera bodies like the Nikon D7200, D750, D810 and D4S for this particular review. We are planning to write a follow-up article covering the use of the lens on the Nikon D500, once we get our hands on the camera. Meanwhile, please enjoy the review of the Nikon 200-500mm VR lens, along with comparisons to Tamron 150-600mm VC, Sigma 150-600mm C / Sport and Nikon 80-400mm VR lenses.
Nikon is bringing back its lens-only rebates in the USA again and this time we have some very nice options, including the Nikkor 20mm f/1.8G, 85mm f/1.8G, 18-35mm f/3.5-4.5G and 70-200mm f/4G VR lenses getting some nice discounts, with higher-end lenses like the 14-24mm f/2.8G ED and 70-200mm f/2.8G VR II getting $200 off. In addition to these lens-only rebates, Nikon also has the “Buy Together and Save” program going on, where you can get additional discounts when purchasing a camera body.
We are excited to announce our 2016 Colorado Fall Colors Workshops taking place in one of the most picturesque locations in the world, in the San Juan Mountains of Colorado! This is the workshop that we have been conducting every year for the past 5 years and we are happy to do it again this fall. Just like last year, we will have two different groups, one from September 23-26 and one from September 28-October 1, both spanning a total of 4 days. Get ready to learn a lot, shoot a lot and enjoy quality time with like-minded people that share your passion! The workshops are limited to a total of 10 spots per group and since it usually sells out within 24 hours, we would recommend to register as soon as possible!
UPDATE: Only 2 spots left!
Ricoh has just posted image samples from its upcoming Pentax K-1 DSLR (see our announcement post for details). Although all of the images were shot at ISO 100 and we are yet to see high ISO image samples, the 36 MP sensor on the K-1 seems to be very similar to that of the Nikon D810 in terms of image quality and color reproduction, which is superb. At $1800, the Pentax K-1 represents phenomenal value, not only because of the sensor alone, but also because of the different technologies packed into the camera body. The “Pixel Shift” capability, in particular, deserves a lot of attention, because the camera is capable of moving its sensor in order to capture all the colors that a typical Bayer sensor is incapable of capturing in a single shot. As a result, one can get results previously only possible when shooting with a medium format camera in terms of extreme detail. This kind of technology is disruptive, because it is innovation we have previously not seen from any full-frame camera.