Many times in my travels I’ve happened upon a beautiful scene spread wide before me with a huge dynamic range that just begged to be photographed. It would require HDR to capture the range but also need to be stitched together as a panorama. I’d set up my tripod, snap the sequences, then get home and say “Verm, it’s time you give HDR another try.” Which would last about two minutes until the first bracketed set of shots made it into Photoshop HDR Pro and gave me a result that looked like someone painted a coat of gray primer over it.
There are probably more entertaining ways to spend a Sunday afternoon but this stunt display in a field in London was reasonably diverting. I had shot stunt shows before using a Nikon DSLR and the Nikkor 70-200mm f/2.8. But I knew my EM-5 had only contrast detection AF and was not really camera for shooting action. Nevertheless, there was only one way to find out how it would fair and I took it with me, along with the Olympus 40-150mm f/2.8 and 12-40mm f/2.8.
A couple of weeks ago, I shared the first part of my exploration of the waterfalls of New England here on Photography Life and promised that there will be a part two. This write up fulfills the promise and continues the story further. My focus this time were the forests of Western Massachusetts, especially those around Route 2 West from Boston. This freeway is also known as the Mohawk Scenic Byway and is a very beautiful drive once you get little beyond the Greater Boston area.
As you may already know, we are currently running a Photo Spot Contest (with a grand prize comprised of the new Fuji X-T10 camera) and we are really happy to see some truly amazing submissions from some of our readers. I have been going through all the submissions and approving them one by one and boy, it has been a great experience! It turns out that many of our readers are amazing photographers – some of the submissions are very inspirational to see. So far, we have published a total of 154 submissions and we are looking forward to seeing even more. I have no doubt that this project will be successful, because it offers tremendous help for people who are considering to visit places and not knowing where to go and what to photograph. Although I have not worked out a proper way to index all the submissions and offer an easy way for our readers to browse through the photo spots, it is definitely on my plate and I will be working on those soon.
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.