Introduced alongside the FE 70-300mm f/4.5-5.6 last week, Sony has added its own take on the “Nifty Fifty” to their lens lineup. Aimed at photography hobbyists, the FE 50mm f/1.8 will only cost $248 and gives a wide aperture option to those that may be only shooting with the FE 24-70mm f/3.5-5.6 kit lens at the moment. Here are my first impressions of the new 50mm f/1.8 after briefly shooting with the lens.
Anamorphic lenses are mostly used by cinematographers to get a ratio of 2.40:1. The cinematic look these lenses offer has become popular amongst photographers lately. While such a wide ratio is not very practical for most genres, the squeezed bokeh and the unique flare these optics create is a way to stand out amongst the competition.
If you’re looking for a little more reach with your Sony Alpha mirrorless camera, there is a new telephoto lens coming soon that you may want to check out. Sony announced plans to ship their longest E-mount focal length zoom lens, the FE 70-300mm f/4.5-5.6 G OSS, in May 2016. I had the chance to shoot with the new telephoto mounted to the 42.4-megapixel Sony a7RII, and am happy to share my thoughts on the practical-use aspects of the lens in this article.
I've never been one for artificial light in my photography, and it's an issue that many photographers come across when leaving that oh, so beautiful natural light. The struggle of having a budget to put towards lighting equipment can be daunting but shouldn't limit you in finding the best way to create the shot. In this behind the scenes look, I will go into how I created a high-end product shot using light trails, all while on a budget. Remember, this can be recreated with any camera, including an iPhone, that allows for long exposures.
First and foremost, gear is not the be all and end all. Creativity will bring the most out of the simplest of gear. We stand on the shoulders of giants now. Remember that it was only a few years ago that high ISOs were all but unusable and that once you'd shot a black and white frame, it stayed black and white. The fact remains, though, that understanding what your gear is capable of is the key to exploiting its strengths and weaknesses, which is where creativity lives. Learning a few simple things about what your existing gear is capable of will do more for your images than any shiny new purchase. Use these five simple exercises to learn more about what the tools you have can do.
This could be your once in a lifetime opportunity to buy a piece of historic glass that could simultaneously boost your hipster and geek street cred out of the stratosphere.
The Zeiss Tele-Tessar 500mm f/8 lens by Carl Zeiss AG, produced especially for the Hasselblad Electric Data Camera (HDC), is a shiny silver gem. But the particular sample RR Auction is planning to offer on April 14 is a piece of history in the truest sense. This lens has been to the moon, after all.
Think Tank makes some of the best camera bags on the market period. Their bags are so well designed that I've actually become a bit cynical when someone announces the "next breakthrough camera bag" because, well, there isn't really much more I need other than my Think Tank Airport. Today Think Tank has announced a new roller bag for everything that won't fit in your camera bag and it looks awesome! Welcome the Think Tank Production Manager 50.
Canon and Nikon have always had their single digit models at the top level of performance. From the original D1, bringing a professional digital camera to the world that didn’t require a separate backpack for a processor, to the D3, Nikon’s first ever full-frame body, this series of cameras has pushed the envelope of what a camera can do. The Nikon D5 not only pushed the boundary, it has demolished any previous limitation that I have found in a camera.
In February, Sony announced their new "G-Master" lineup of full frame zoom lenses, with fast apertures and made specifically for their mirrorless camera options, like the popular the a7rII, or even the recently reviewed a6300. In this video review by Chelsea and Tony Northrup, they got to kick the tires of the new 24-70mm f/2.8 Sony G-Master lens, and were impressed by the results.
Leica T users rejoice! Leica has officially announced a Summilux 50 equivalent for your aluminum wonder that gives you the benefits of autofocus, electronic aperture control, and metadata to go along with the blazing fast glass. I had an absolute pleasure spending some time with the new 'Lux and was able to put to get a good feel for it in the real world. Read on for my findings and sample photos.
When Gura Gear was absorbed into the Tamrac brand in late 2015, the beloved Bataflae photo backpack was left without a home. Without hesitation, Tamrac introduced the G-Elite line that improved upon the genius butterfly-opening backpack design of the original Bataflae and was launched in two sizes: the G32 and the G26. Over the past few months I’ve been running around with the G26 version and it is without a doubt the best backpack I’ve ever used.
In early February, Sony unveiled the a6300, a follow-up to one of the best selling interchangeable-lens cameras of all time, the a6000. The updated a6300 features an APS-C 24.2-megapixel CMOS sensor, 4D Focus system with 425 on-chip phase-detection points and 169 contrast-detection areas, 11 frames-per-second burst shooting, and 4K video recording without pixel binning. Along with many other similar features that are available on Sony’s flagship a7II-series cameras, but with a price tag of only $999 (body only), this is one of the most feature-rich prosumer cameras ever released.
Time-lapse Photographer Rufus Blackwell put together an interesting video for DJI, featuring their Osmo stabilizer/camera system, but using it in a way that might not be the most obvious: for hyperlapses. Check out the video, then read on to see what improvements DJI has made in their latest firmware update to the Osmo.
Recently, during my annual trek to Las Vegas for WPPI (wherein I arrive in the city of sin and proceed to actively avoid going to the actual expo because I book too many other things), I found myself in the deserts outside of Vegas with a Sony A7RII, a few bits of glorious Zeiss glass, no modifiers or lighting of any kind, and Renee Robyn as my model. Welp, guess it was time to see what Sony's dynamic range claims were truly about then.