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.
With the introduction of lenses like the Tamron 150-600mm f/5-6.3 VC, more people than ever before are using long telephoto zoom lenses. Sometimes they are disappointed with their initial results when using these lenses hand-held, especially at slower shutter speeds. This short article provides some tips that can help improve hand-holding technique.
During the past few years, Nikon has been slowly replacing its high-end super telephoto lenses with newer technology using lightweight fluorite lens elements, shredding off a lot of weight and making additional improvements to lens designs, making the already strong lenses even better. After the 800mm f/5.6E VR monster, it was time for Nikon to update its legendary 400mm f/2.8G VR with the newer version, so that’s how the Nikkor 400mm f/2.8E FL VR came to life. Although Nikon is planning to update every super telephoto lens in its line-up with lighter lenses featuring fluorite elements (which includes the 200mm f/2, 300mm f/2.8, 500mm f/4 and 600mm f/4 lenses), Nikon decided to start with the 400mm f/2.8, because it is one of the lenses that would get the most benefit from the fluorite lens design. Weighing in at a whopping 4.6 kg, the previous generation 400mm f/2.8G VR was a monster of a lens to handle and impractical to hand-hold (it was quite a bit front-heavy). Although it is quite a versatile lens and works remarkably well with all three Nikon teleconverters, its weight and size were its main disadvantages, making a lot of photographers opt for other super telephoto Nikkor lenses like the 500mm f/4 instead. The newly designed 400mm f/2.8E FL VR is a whole different lens in comparison – weighing 3.8 kg, the lens is now similar in weight as the 500mm f/4G VR, which is a great engineering achievement! Let’s take a closer look at this lens.
Even though the new and upcoming full-frame Pentax DSLR camera will support existing brand lenses for APS-C sensor cameras, Ricoh realizes full and well that having a 35mm camera is only part of the package. Lenses are simply crucial to make such a system make any sense at all. That is why Ricoh-Pentax has announced two new lenses designed to cover the image circle of a full-frame sensor, the HD Pentax-D FA * 70-200mm f/2.8ED DC AW and HD Pentax-D FA 150-450mm f/4.5-5.6ED DC AW. It’s quite the mouthful, isn’t it? But I am focusing on the wrong things as both lenses, along with the upcoming full-frame camera, mark a new chapter in the history of the famous brand. Let’s take a closer look, then.
In advance of my upcoming hands-on review of the 1 Nikon CX 70-300 f/4.5-5.6 telephoto zoom lens I thought readers may like to see some sample bird images. It is late in the season in Southern Ontario and many birds have already migrated. Never-the-less I was able to get a few different species captured in flight.
In the popular movie, “For Love Of The Game,” starring Kevin Costner and Kelly Preston, an aging major league baseball pitcher makes the gut-wrenching decision to retire from the game of baseball. The title of the movie reflects the pitcher’s response to the club owner regarding his decision. He walks away because he cares too much about the game to stay on beyond his time. A recent event in the Grand Teton National Park, the area where my wife, Tanya, and I recently vacationed, reminded me of the sentiment behind this movie title.
This is a detailed review of the Tamron SP 150-600mm f/5-6.3 Di VC USD, an ultra-telephoto zoom lens that was announced in November of 2013 for enthusiasts and professionals that are looking for a high quality, versatile zoom lens for a variety of needs, including wildlife photography. Although many DSLR lens manufacturers have been making telephoto zoom lenses that cover long ranges, whether looking at Sigma’s 50-500mm / 150-500mm lenses, Canon’s 100-400mm or Nikon’s 80-400mm, none of them can reach the focal length of 600mm natively without teleconverters. And as we have discovered in our Nikon 80-400mm f/4.5-5.6G VR review, attaching teleconverters on slower zoom lenses is generally not a good idea, since there is a bit too much of sharpness loss / image degradation, or even potential loss of autofocus capability. Thus, the Tamron 150-600mm f/5-6.3 is a rather unique lens in this group, which is why our team at Photography Life has been anxious to get a hold of the lens for a while now.
Recently a Photography Life contributor, Alpha Whiskey, posted a great article here on some techniques that we can use to challenge ourselves as photographers. Finding ways to grow and stimulate our individual creativity is one of the most important things we can do to advance our skill level. I gave myself one such challenge this week and I thought I would share the results of it with you with images taken at the Metro Toronto Zoo.
Despite all the recent photowalks shooting urban ephemera, my primary interest in photography was always wildlife and animal photography.