In this third installment to this series on visualization and film photography, I have selected a sample of photographs (mostly made in the 35mm format) to share and discuss. Although I heavily focused on technical aspects in film photography in Part I and Part II of this series, my goal with this article is to provide a more aesthetic description and simplified approach to the construction of photographs. I thought it would be of interest to beginning 35mm photographers to briefly discuss some of the film choices available. Although the choices of film stocks have dwindled over the years, fortunately there remain a plethora of excellent professional and consumer 35mm films from which to choose and enjoy. Even though I have used many – but not all – of the available film stocks, I cannot possibly discuss all of them here. For one particular film stock, I am delighted to share a pair of interviews with more experienced photographers that readers might find interesting and helpful. Of note, Photography Life contributor Vaibhav Tripathi has previously shared his experiences and beautiful photographs made on 35mm with Fuji’s Velvia 50 and Kodak’s Portra stocks in his inspiring photo essays on Acadia National Park, landscape photography, and Waterfalls of New England series that may also be of interest.
One of the biggest complaints we hear about from photographers today is lack of innovation by DSLR manufacturers. Given how far mirrorless cameras have gotten in the last few years with the electronic viewfinder (EVF) technology, it is a given that DSLRs are looking archaic in comparison, particularly when it comes to intelligent information overlays, manual focusing, focus peaking, EVF image playback and other important advancements that make mirrorless cameras not just joyful to use, but also very helpful in reducing focus issues. When using classic lenses such as the Noct 58mm f/1.2 on a DSLR, I personally find it quite frustrating that I have to switch to live view to try to nail focus with the camera at my arm’s length. Not only does that result in potential instability and undesired camera shake, but it takes me away from the optical viewfinder (OVF) and slows down the whole process. But what if there was a solution to the problem? What if DSLR manufacturers came up with a way to integrate an EVF into DSLRs and make both OVF and EVF possible? Sort of a “transitional DSLR” with both OVF and EVF capabilities. How cool would it be, if you could switch from an OVF to an EVF with just a single button? I have been thinking about this concept for a while and I think there is a way to implement this, if camera manufacturers are willing to be flexible and put some R&D resources towards such a project. It would certainly reduce the potential of mirrorless cameras taking a huge market share away from DSLR sales, which have only been declining in the past few years.
One of the common misunderstandings in photography has to do with the focal length of a lens, or its optical distortion properties. Many photographers claim that a wider angle lens will distort facial features either because of the lens distortion, or the focal length of the lens being too short. In this article and the accompanying video (which is extracted from our upcoming Photography Life Basics Video), we will prove that focal length has nothing to do with distorting a subject’s face and the additional information on lens distortion will explain in detail exactly what gets impacted by lens distortion.
Today Canon announced the updated Canon EF 35mm f/1.4L II USM lens, which promises remarkable performance for a 35mm prime, thanks to its updated optical formula and the new “Blue Spectrum Refractive Optics”, which is designed to further reduce chromatic aberration to new levels. With a total of 14 elements (2 of which are aspherical), 9 diaphragm blades for beautiful bokeh, fluorine coating and a dust / water-resistant construction, the Canon EF 35mm f/1.4L II USM will surely be a popular choice among Canon enthusiasts and professionals. The only issue might be the added weight – at 760 grams, it is 180 grams heavier than its predecessor. It will retail for $1,799 in October of 2015.
Let’s talk about noise. Not the lovely Swedish lullaby my friend hums at me down the phone but digital noise in our photographic images. Most of us profess a serious allergy to it such that noise control has become a major USP for many camera models. One of the many features prospective buyers look for is noise control at higher ISOs. Models like the Nikon D4S and Sony A7s market themselves specifically as clean imaging devices, having listened to (preyed on?) the market’s feverish insecurities about the dreaded grain.
When testing out the Nikon 58mm f/1.4G, I really wanted to get a hold of the legendary Noct-NIKKOR 58mm f/1.2 lens to see how the two lenses from different generations compare optically. Unfortunately, I could not obtain a good sample of the Noct-NIKKOR at the time, but after scouting eBay for a while, I finally found a pristine copy of the lens from a photographer in California. Being a collector item, the lens was barely used and had been sitting for years in a closet – exactly what I had been wanting to get. I really wanted to make sure that the lens performed as close to its original specifications as possible, because I was on the quest to measure its optical performance, particularly at its super wide f/1.2 aperture. Let’s take a look at the lens in more detail.
Both Zenfolio and SmugMug are giants in the world of photography hosting websites, and each has its fair share of loyal supporters. After a year of using Zenfolio to display my photos, though, I was beginning to second-guess my choice. There was no single, nail-in-the-coffin issue with Zenfolio, but several small details were beginning to annoy me as time passed. I kept wondering, could the grass be greener with SmugMug? Two months ago, I decided to jump ship and answer the question for myself – I have been using SmugMug ever since. In this article, I want to share my experiences with both companies and help other photographers choose which site is better for their needs.
One of the most common knocks against the Nikon 1 product line has been its small CX sensor and its somewhat underwhelming dynamic range and colour depth performance. I wasn’t even mildly interested when I first read about the introduction of the Nikon 1 J5 as I initially assumed the camera would be using yet another Aptina sensor. Based on past experience this meant very little, if any, improvement in terms of sensor performance and image quality. After all, that had been the case with each successive S-series, J-series and V-series model that had been introduced. Since I don’t like using cameras without a viewfinder I just shrugged.
And I guess the follow-up question would be “Could Verm come up with a more provocative title?” To put you at ease, these sample pics are all saved at web resolution so you needn’t don eye protection. This last weekend I had the pleasure of shooting with the new AF-S Nikkor 500mm f/4E FL ED VR. Here are some quickie sample pics and comments from the first few days of shooting. There’s more to come as I’ll be doing in-depth field tests and comparing results with the “old” Nikkor 500mm.
Is it sharp? I’ll let this spike answer.
A landscape photographer’s goal, especially in the most dramatic and massive locations, is to demonstrate the size and scope of the landscape in a photo. However, it is quite difficult to translate the three-dimensional world into a flat rectangle — certain aspects of a scene, including the scale of the landscape, can get lost along the way. In this article, I’ll go over some common ways to put the size of a scene into perspective.