We had a few people cancel their workshop reservations for this fall’s Colorado Fall Workshops for different reasons, so I wanted to let our readers know that there are now a total of 5 spots available for our upcoming Colorado Fall Workshops at the end of September. With three months left until the workshop, there is still plenty of time to register and get your airfare and stay booked at great rates.
When I first got access to the Tamron 15-30mm f/2.8 VC lens (which we recently reviewed), I got curious about other potential lens options already available with the similar focal length range, build and fast aperture of f/2.8. After a quick search through our lens database, I found the Tokina AT-X 16-28mm f/2.8 Pro FX. This little gem has been available for a while now and although I have heard a lot of good things about it, I never had a chance to actually try it out. After receiving the lens along with a few other lenses like the Tokina AT-X 11-16mm f/2.8 Pro DX-II (which I will be also reviewing very soon), I headed off to Death Valley National Park. Although I primarily used the lens with my infrared-converted Nikon D800E, which as I painfully found out later turned out to be a bad choice for IR as explained further down in the review, I was really curious to see how it would do, given its extremely attractive price of $629. At this price, I was expecting the Tokina 16-28mm f/2.8 to be a poor performer, because the price just did not seem to be right for such a fast zoom lens with a “pro” label on it. After using the lens and testing it out in my lab, I realized that I was wrong – it turned out to be a hidden gem.
Saying “goodbye” to a friend is never an easy thing to do. We have a great team here at Photography Life, made up of some of the most creative, inventive and supportive folks in the photography world. Each of them works incredibly hard to bring our readers some of the best photography articles available anywhere.
Zeiss created the new Loxia line specifically for Sony, adding high-quality manual focus primes to the growing list of native lenses for the Sony FE mount. With the Zeiss Loxia 35mm f/2 targeted for everyday use, the Loxia 50mm f/2 is a bit more specialized for such needs as portraiture, street, travel and landscape photography. Although Sony already had the excellent Sonnar T* FE 55mm f/1.8 from the beginning, the Loxia 50mm f/2 nicely fills the 50mm gap. And just like its 35mm f/2 counterpart, the Loxia 50mm f/2 is superb in its quality and build, designed to be similar to other traditional Zeiss lenses, with manual aperture control and a very compact size. This review is based on my 3 month shooting experience with both Loxia lenses on a variety of different Sony A7-series cameras.
Recently during the filming of a safety video project for a client I needed to capture some video footage looking straight down on a machine in operation. In order to film the required footage I used one of my existing tripods, which can be configured in a non-adjustable, lateral position. It occurred to me as I was fiddling around with this existing tripod that it would have been much easier to get the required video footage if I had a tripod with a range of lateral movement, rather than just one lateral position at 90-degrees. Since I’ve been pleased thus far with my other Oben tripod (CC-2491), I decided to give the Oben CC-2361L lateral tripod a try since it met my key shooting criteria for tripods.
A couple of weeks ago, I posted an article titled “Mystery Camera – Can You Guess What It is?“, where I posted some images without any embedded EXIF data. Along with the images, I provided a couple of clues about the camera to see if our readers would be able to figure it out. Although some of our readers did guess that the images were captured by a camera phone and some even correctly guessed the specific model, most answers varied greatly from the Canon 5DS to the newly announced Sony A7R II. It was a great exercise to showcase just how good modern smartphones have gotten and the fact that most people have a hard time differentiating images between small sensor cameras and expensive large sensor cameras when web-sized images are posted on the Internet. This again reiterates the point that one does not need a high-end camera if all they do is output to the web. But that’s not the subject of today’s review. Instead, I will be talking about the new LG G4 Android phone, which AT&T kindly sent me for a review.
Sigma has just announced world’s first large aperture full-frame wide-angle zoom lens with a constant aperture of f/2, the Sigma 24-35mm f/2 DG HSM Art. Built on the concept of the already successful Sigma 18-35mm f/1.8 DC HSM Art lens for APS-C cameras, the 24-35mm f/2 Art offers similar advantages to full-frame camera shooters. With this announcement, Sigma challenges other prime lenses between from the 24mm to the 35mm range, claiming that this one lens can replace them all and offer the same quality and sharpness in a single, versatile and convenient package. The lens will be available for Nikon, Canon and Sigma mounts and at this time, there is no word yet on the pricing.
With the release of the much-anticipated Sony A7R II, a number of our readers have been asking about the use of the camera, such as what type of photography the A7R II would be best suitable for, what advantages and disadvantages it has compared to DSLRs and how it can compete with them. Many Nikon and Canon DSLR shooters are actively looking at mirrorless cameras, not just because they are generally lighter and more compact, but also because they offer intriguing technological features that cannot be made available on DSLR cameras. The Sony A7R II is quite an attractive and unique camera, because it features a high resolution 42.4 MP back-illuminated full-frame sensor – something no other camera manufacturer offers at the moment. While Canon’s new 5DS and 5DS R cameras currently hold the resolution crown, we already know that Canon did not drastically improve dynamic range and the cameras themselves are not much different than their 5D Mark III predecessor. So aside from the new 50.6 MP sensor (see more on resolution differences below), Canon did not deliver any other innovations with those cameras, which puts the Sony A7R II in a good position in comparison. Let’s take a look at what the Sony A7R II offers when compared to modern full-frame DSLRs and the type of photography it would or would not be suitable for.
As photographers we all do our best to really think about the composition of our images and construct them to achieve a sense of balance. When we do this well we are able to control eye flow and create a pleasant viewing experience for people looking at our photographs. To accomplish that we often use the Rule of Thirds in our compositions. Obviously this is much easier to utilize when photographing static subjects such as landscapes and much more difficult to achieve when our subjects are moving.
This article is meant to be an extension to the Camera Resolution Explained article that I published back in February of 2015. With the release of high-megapixel cameras such as the Canon 5DS / 5DS R and the Sony A7R II, more and more photographers are getting interested in these tools. They want to understand the advantages and disadvantages that such high resolution cameras bring and what changes they can anticipate to their workflows. In this article, I want to address these concerns and talk about pros and cons of low versus high resolution cameras. Please keep in mind that the term “low resolution” refers to the least resolution we see in modern full-frame cameras. Just a few years back, what I refer to as “low” in this article was considered state of the art. Hence, such terms are relative to the highest resolution sensor available today.