Sony FE Images Thread
p.2459 #1Sony FE Images Thread
Grenache wrote:
Yellowstone, generally in terrible lighting, yet still great color and contrast, even at intermediate aperture:
I would like to have the Loxia 21 but for my experience I have to say the Zony 16-35 seems to have a built-in anti haze filter
Manuel
Yellowstone, generally in terrible lighting, yet still great color and contrast, even at intermediate aperture:
I would like to have the Loxia 21 but for my experience I have to say the Zony 16-35 seems to have a built-in anti haze filter
Manuel
Oct 05, 2017 at 11:29 PM
p.2459 #2Sony FE Images Thread
ManuelLaMantia wrote:
I would like to have the Loxia 21 but for my experience I have to say the Zony 16-35 seems to have a built-in anti haze filter
Manuel
That is a great way of putting it. I find that I actually have to sometimes have a negative Clarity setting with that lens. I have only ever done that previously when I stopped down the Contax 100/2 beyond f/5.6 when shooting portraits or when using the ZE 2/135 for portraits beyond WO. Those statements put the "lowly" zoom into a rarefied class.
It is not a perfect lens, but it is a really surprisingly good one...probably excellent, especially if you take into account that it is a zoom. Being able to shoot handheld on an IBIS body at 1/5 sec and get sharp images is just insane.
Grenache wrote
Yellowstone, generally in terrible lighting, yet still great color and contrast, even at intermediate aperture:Manuel
That is a great way of putting it. I find that I actually have to sometimes have a negative Clarity setting with that lens. I have only ever done that previously when I stopped down the Contax 100/2 beyond f/5.6 when shooting portraits or when using the ZE 2/135 for portraits beyond WO. Those statements put the "lowly" zoom into a rarefied class.
It is not a perfect lens, but it is a really surprisingly good one...probably excellent, especially if you take into account that it is a zoom. Being able to shoot handheld on an IBIS body at 1/5 sec and get sharp images is just insane.
Oct 05, 2017 at 11:37 PM
p.2459 #3Sony FE Images Thread
Glad that worked out good for both of us, Jim! (Grenache sold me his outstanding Loxia 21. )
Your shots seem solid with that 16-35.
*************
Another house in one of the poorer parts of town, Aberdeen, WA.
)Your shots seem solid with that 16-35.
*************
Another house in one of the poorer parts of town, Aberdeen, WA.
Oct 05, 2017 at 11:45 PM
p.2459 #4Sony FE Images Thread
12-24 seems quite good as well. Sony is getting it together when it comes to lenses. That was the big fear years ago when they swallowed up Minolta.
Oct 05, 2017 at 11:56 PM
p.2459 #6Sony FE Images Thread
Last light on the Antelao taken from the skylight of our 'Mansarda' Dolomiti, Italia
the FE70-300 G was my most used lens throughout the whole of our time int he mountains
It had to be colour by Viramati, on Flickr
the FE70-300 G was my most used lens throughout the whole of our time int he mountains
It had to be colour by Viramati, on Flickr
Oct 06, 2017 at 02:44 AM
p.2459 #7Sony FE Images Thread
A found portrait out of the Loxia 85/2.4.
And a note that Zeiss's latest Lenspire 9/2017 has a short take of their views on bokeh, from the designer's point of view, incl:
"But ultimately blurriness is a somewhat hazy term that primarily comes down to a subjective judgement. That’s
why no set of scientific measurements can ever be a proper substitute for the visual impression of a photograph taken under realistic conditions. We appreciate that fact – and that is why we equip our photographers and brand ambassadors with lenses right from the start of the prototype phase so that we can gather as many images and appraisals as possible."
And a note that Zeiss's latest Lenspire 9/2017 has a short take of their views on bokeh, from the designer's point of view, incl:
"But ultimately blurriness is a somewhat hazy term that primarily comes down to a subjective judgement. That’s
why no set of scientific measurements can ever be a proper substitute for the visual impression of a photograph taken under realistic conditions. We appreciate that fact – and that is why we equip our photographers and brand ambassadors with lenses right from the start of the prototype phase so that we can gather as many images and appraisals as possible."
Oct 06, 2017 at 04:48 AM
Oct 06, 2017 at 04:54 AM
p.2459 #9Sony FE Images Thread
chiron wrote:
Hi Jonathan.
I'm intrigued by how you got a terrific shot like this. You obviously don't know the guy, but you are very close to him, aiming a 55mm lens at him. But his expression and reactions seem to be as though you are not there. It does remind me of some of Gary Winogrand's shots. Here is one of Winogrand's student's description of how he shot on the street:
"We quickly learned Winogrand’s technique–he walked slowly or stood in the middle of pedestrian traffic as people went by. He shot prolifically. I watched him walk a short block and shoot an...Show more →
Peter,
I apologize for my tardy reply to your post. Thank you so much for the kind words (and for the extremely flattering reference to Gary Winogrand). In a certain sense, I am "not there". I photograph with the camera at waist level at least 95% of the time, no matter what the subject, human or otherwise. (I would never buy a camera that did not have a tilt screen.) But nowadays the vast majority of people take photographs with a mobile phone held out at arm's length and more serious photographers (a minority) compose through a viewfinder. So I suspect that I become essentially invisible because my potential subjects do not believe it is possible for anyone to take a photograph whilst looking at them rather than at or through the camera.
Interestingly though, about ten minutes after I'd taken the picture you referred to, another guy I'd photographed came back and asked me what I was photographing. I told him I was photographing people as they passed by and showed him the picture I'd taken of him. (I just checked that frame and he's looking directly at the camera.) What are you going to do with the photographs, he asked. I'm hoping eventually to publish a book, I replied. He was totally happy with that response and went on his way.
I wasn't aware that Gary Winogrand "walked slowly or stood in the middle of pedestrian traffic as people went by" but, as it happens, that's exactly what I do. Sometimes I stand or sit where there is a constant flow of pedestrians and allow the pictures to come to me; at other times, I walk through the social landscape and attempt to find pictures. On most days, I alternate between those strategies. For the picture of the man striding past, I was sitting on a bollard. For the one I posted a couple of days ago of the couple sitting on the bench in the park, I was walking slowly towards them.
Winogrand worked with a Leica and (frequently) a 28mm lens. I've done some experimenting with a 28mm but find that one needs to get much closer than I'm currently comfortable with. When I'm stationary, I find a 55mm lens frequently works well but when I'm on the move I prefer a 45mm so I carry two bodies.
genji wrote
https://d1u92k3d1w68j5.cloudfront.net/photos/street-portraits/jd-20171003-160727-5845-a7rIIb-copy01-w980bc.jpgI'm intrigued by how you got a terrific shot like this. You obviously don't know the guy, but you are very close to him, aiming a 55mm lens at him. But his expression and reactions seem to be as though you are not there. It does remind me of some of Gary Winogrand's shots. Here is one of Winogrand's student's description of how he shot on the street:
"We quickly learned Winogrand’s technique–he walked slowly or stood in the middle of pedestrian traffic as people went by. He shot prolifically. I watched him walk a short block and shoot an...Show more →
Peter,
I apologize for my tardy reply to your post. Thank you so much for the kind words (and for the extremely flattering reference to Gary Winogrand). In a certain sense, I am "not there". I photograph with the camera at waist level at least 95% of the time, no matter what the subject, human or otherwise. (I would never buy a camera that did not have a tilt screen.) But nowadays the vast majority of people take photographs with a mobile phone held out at arm's length and more serious photographers (a minority) compose through a viewfinder. So I suspect that I become essentially invisible because my potential subjects do not believe it is possible for anyone to take a photograph whilst looking at them rather than at or through the camera.
Interestingly though, about ten minutes after I'd taken the picture you referred to, another guy I'd photographed came back and asked me what I was photographing. I told him I was photographing people as they passed by and showed him the picture I'd taken of him. (I just checked that frame and he's looking directly at the camera.) What are you going to do with the photographs, he asked. I'm hoping eventually to publish a book, I replied. He was totally happy with that response and went on his way.
I wasn't aware that Gary Winogrand "walked slowly or stood in the middle of pedestrian traffic as people went by" but, as it happens, that's exactly what I do. Sometimes I stand or sit where there is a constant flow of pedestrians and allow the pictures to come to me; at other times, I walk through the social landscape and attempt to find pictures. On most days, I alternate between those strategies. For the picture of the man striding past, I was sitting on a bollard. For the one I posted a couple of days ago of the couple sitting on the bench in the park, I was walking slowly towards them.
Winogrand worked with a Leica and (frequently) a 28mm lens. I've done some experimenting with a 28mm but find that one needs to get much closer than I'm currently comfortable with. When I'm stationary, I find a 55mm lens frequently works well but when I'm on the move I prefer a 45mm so I carry two bodies.
Oct 06, 2017 at 04:55 AM
p.2459 #10Sony FE Images Thread
kevindar wrote:
went for a walk today with my 85 1.2II and 35 1.4. still using only canon lenses on a7rII. some focus misses, but working ok over all.
https://farm5.staticflickr.com/4499/37493487122_bfbc362859_h.jpgflickr-09860 by kevindar, on Flickr
https://farm5.staticflickr.com/4496/37266479290_2cfde47df0_h.jpgflickr-09882 by kevindar, on Flickr
https://farm5.staticflickr.com/4482/37524746581_5ff13b7bcb_h.jpgflickr-2-2 by kevindar, on Flickr
Love that last one . . . lots of 3D!
went for a walk today with my 85 1.2II and 35 1.4. still using only canon lenses on a7rII. some focus misses, but working ok over all.
https://farm5.staticflickr.com/4499/37493487122_bfbc362859_h.jpgflickr-09860 by kevindar, on Flickr
https://farm5.staticflickr.com/4496/37266479290_2cfde47df0_h.jpgflickr-09882 by kevindar, on Flickr
https://farm5.staticflickr.com/4482/37524746581_5ff13b7bcb_h.jpgflickr-2-2 by kevindar, on Flickr
Love that last one . . . lots of 3D!
Oct 06, 2017 at 05:01 AM
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p.2459 #12Sony FE Images Thread
Sony ILCE-7RM2
EF24-70mm f/4L IS USM
ƒ/9.0 47.0 mm 1/400 50
Reflecting on Teton by MedicineMan4040, on Flickr
EF24-70mm f/4L IS USM
ƒ/9.0 47.0 mm 1/400 50
Reflecting on Teton by MedicineMan4040, on FlickrOct 06, 2017 at 06:33 AM
p.2459 #13Sony FE Images Thread
The G 28, 45 and 90 are spectacular. Been processing shots recently and they're surprising me even though I've used them for a bit... Mine is with the 1500mm PCX and stock filter stack. probably over-processed these...
kevindar wrote:
http://c1.staticflickr.com/5/4451/36831238303_bea046809d_o.jpg
http://c1.staticflickr.com/5/4466/37452510166_d2e692be96_o.jpg
http://c1.staticflickr.com/5/4443/36831237773_3c1c718a2e_o.jpgLove the colors and micro contrast. How much is the lens vs great post processing? beautiful shots.
G28 w/ 1500mm PCX
G28 w/ 1500mm PCX
kevindar wrote:
sebboh wrote
contax g 28 with 5m pcx filter on kolari UT:http://c1.staticflickr.com/5/4451/36831238303_bea046809d_o.jpg
http://c1.staticflickr.com/5/4466/37452510166_d2e692be96_o.jpg
http://c1.staticflickr.com/5/4443/36831237773_3c1c718a2e_o.jpg
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G28 w/ 1500mm PCX
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G28 w/ 1500mm PCX
Oct 06, 2017 at 07:18 AM
p.2459 #14Sony FE Images Thread
Sunrise at Dolly Sods, WV from last weekend.
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Oct 06, 2017 at 08:34 AM
p.2459 #15Sony FE Images Thread
rji2goleez wrote:
Continuing in the Mallorca series
Last one with the scooter stopped me. Great shot!
Continuing in the Mallorca series
Last one with the scooter stopped me. Great shot!
Oct 06, 2017 at 09:09 AM
p.2459 #17Sony FE Images Thread
Few more Tamron 60B 300mm f/2.8, with the 1.4x TC @ f/5.6 I believe.
What the hell are you doing, Gerald?
Edited on Oct 06, 2017 at 10:28 AM · View previous versions
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What the hell are you doing, Gerald?
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Edited on Oct 06, 2017 at 10:28 AM · View previous versions
Oct 06, 2017 at 10:16 AM
p.2459 #18Sony FE Images Thread
"Pushed to the edge" that's what Katie told me afterwards regarding this pose . Indeed, there was not much surface on the fence for her to balance plus, we were leery about the fence falling apart. I ended up only taking 4-5 images there instead of more normally and here is one of them. She likes the results though.
Katie on "balance beam"
. Indeed, there was not much surface on the fence for her to balance plus, we were leery about the fence falling apart. I ended up only taking 4-5 images there instead of more normally and here is one of them. She likes the results though. |
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Katie on "balance beam"
Oct 06, 2017 at 10:21 AM
p.2459 #19Sony FE Images Thread
Tension by Werner Utsch, on Flickr
A7R II, Batis 85/1.8
Oct 06, 2017 at 11:20 AM
