Or at least a longer focal length than conventional wisdom suggests. I’m always reading that so-called street photography is best undertaken with a prime lens within the 35mm to 50mm range and I understand the merits of this range for reasons I will elaborate on further down. But convention is naturally a gauntlet that Alpha Whiskey cannot ignore. So before meeting my date I decided to kill an hour in town the other night shooting with a telephoto zoom and mostly at the maximum focal length (210mm: 420mm equivalent field of view).
Summer is usually the season for air shows and that means yet another reason and opportunity to go out shooting. I had intended to visit the Farnborough Air Show this year but unfortunately an exhaust muffler decided to divorce itself from the underside of my car and reconciling the two became my whole day instead. Undoubtedly there’ll be other air shows for me to visit this summer but for now these images here are from previous shows, including the one at Farnborough.
Nikon has been on the roll in the past few years, releasing one amazing lens after another. We have seen a refresh of the f/1.8 prime lens line with some amazing optics, but those craving for more have been patiently waiting for a modern replacement of such lenses as the Nikon 105mm f/2 DC and Nikon 135mm f/2 DC, absolutely amazing and beautiful lenses in every way, capable of rendering stunning bokeh for portraiture. Well, the waiting for the first lens replacement is finally over, because today Nikon gave us something truly groundbreaking – the Nikon AF-S NIKKOR 105mm f/1.4E ED. While the de-focus control feature on the previous 105mm f/2 lens allowed one to modify the bokeh rendering of the lens, it would end up changing the field of view and it was a bit hard to get used to utilizing that feature effectively for many photographers. Plus, the maximum aperture of f/2 put it in competition with the superb Nikon 85mm f/1.4G (review soon to be updated), as the latter is a faster lens and has superb rendering capabilities wide open. For these and other reasons, many photographers having been choosing the 85mm f/1.4G over the 105mm f/2 DC for portraiture, while the 135mm f/2 DC remained untouched. Now that the 105mm f/1.4E is out, let’s talk about what is so amazing about this gem and why we can mark today as an important milestone in the history of lens making.
Update: Our in-depth Nikon 105mm f/1.4E Review has now been posted.
It has been 15 years since Nikon produced the last iteration of its budget 300mm lens, so the new Nikkor 300mm f/4E PF ED VR was something many enthusiasts and professionals have been patiently waiting for. Although the previous generation Nikkor 300mm f/4D AF-S is an excellent lens optically, it lacks image stabilization, new generation coating and other new technologies that Nikon has been integrating into modern lenses. I have personally been a huge fan of the 300mm f/4D AF-S lens and have owned it for many years, loving the lens for its superb optical performance, fast autofocus, light weight and compact size, making it my ultimate travel lens for wildlife photography – a perfect companion for hand-held shooting. Because it was so good with the 1.4x teleconverter, I practically always kept the teleconverter attached to the lens, making it a very nice 420mm f/5.6 combination. When Nikon finally announced the new 300mm f/4E VR lens, I got very excited, because Nikon completely redesigned the lens. In fact, with close to a 50% reduction in weight and a 30% reduction in physical size, we are not dealing with another redesign or update – this is a completely different lens.
For the past couple years, I have thought of myself primarily as a “telephoto” landscape photographer. A majority of scenes that catch my attention look best with a telephoto lens, and I tend to keep a 105mm or 70-200mm on my camera most of the time. However, a recent trip to Zion and Death Valley National Parks changed my mind.
Have you ever heard someone say that a telephoto lens “compresses” the background or “flattens” an image? What exactly does this mean? The perceived distance between your subject and the rest of the scene is dependent on two things: where you stand relative to your subject to take the photo and the focal length of the lens you choose. In this short article, I want to discuss this type of perspective distortion, and how to use it to compose exciting photographs.
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.
Although Tamron pioneered the release of the first 150-600mm lens, Sigma followed suit by releasing two versions of lenses with exactly the same focal length and aperture ranges. The smaller and lighter version, the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary (the one we are reviewing today), targets the same market as the Tamron 150-600mm f/5-6.3 Di VC USD, while the much larger and heavier “Sport” version is something unique to Sigma, with no other equivalent competing offers from any other manufacturer. Being able to reach 600mm without spending a lot of money has been a big dream of many wildlife photographers on a budget, because anything close to the 600mm range typically translates to a very large expense – as much as $12K for the latest generation 600mm f/4 lenses. While the current 150-600mm lenses cannot offer the maximum aperture of f/4, they give a huge focal range to work with, which can be particularly useful when photographing subjects at varying distances. As many 600mm prime lens owners know, shooting with long glass is not an easy task due to both weight and atmospheric haze concerns. Such lenses can be quite limiting when the action is close, such as when photographing bears in Alaska, or taking pictures on an African safari. For such occasions, many pros love the 200-400mm f/4 lenses, because they give that flexibility to shoot action at both close and long distances. However, the high cost and the weight concerns are still there, making such lenses prohibitive for budget-conscious enthusiasts and pros who prefer shooting hand-held. And that’s when the 150-600mm lenses come to the rescue, offering great performance in a lightweight and relatively low-budget package. At just over $1K and a total weight of 1930 grams (4.25 pounds), the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary is a very attractive lens for sports and wildlife photographers. In this review, we will be taking a closer look at this lens and compare it to the Tamron 150-600mm lens that we previously reviewed and loved.
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.
If it isn’t obvious from the photos I share on Photography Life, the camera equipment I use makes it quite clear: I am not a wildlife photographer. In fact, my longest lens weighs in at 105mm — nowhere near the super-telephotos used by most wildlife pros. However, although I rarely seek out wildlife opportunities, animals do not avoid me. I have been fortunate enough to see everything from whales to reindeer while taking pictures, and I’ve learned some tips for photographing wildlife with a short telephoto lens along the way.