Sony FE Images Thread
p.2536 #2Sony FE Images Thread
The Valley Of Forms by Werner Utsch, on Flickr
A7RII, FE 16-35/2.8 GM
BW ND 110 Filter, SR App 16 shots x 10 s = 160 sec exp.
Nov 15, 2017 at 01:24 AM
p.2536 #3Sony FE Images Thread
HelenaN wrote:
Sun and snow with A7 and the 50mm Russian Monocle/Monolens:
http://www.helenasphotography.com/keep/2017/20171106_013_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_001_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_007_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171011_005_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_010_a7-mc50b.jpg
#2 wows me. Just beautiful light.
Sun and snow with A7 and the 50mm Russian Monocle/Monolens:
http://www.helenasphotography.com/keep/2017/20171106_013_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_001_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_007_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171011_005_a7-mc50b.jpg
http://www.helenasphotography.com/keep/2017/20171113_010_a7-mc50b.jpg
#2 wows me. Just beautiful light.
Nov 15, 2017 at 01:42 AM
p.2536 #4Sony FE Images Thread
Sony ILCE-7RM2
FE 12-24mm F4 G
ƒ/10.0 12.0 mm 1/400 640
Brasstown by MedicineMan4040, on Flickr
FE 12-24mm F4 G
ƒ/10.0 12.0 mm 1/400 640
Brasstown by MedicineMan4040, on FlickrNov 15, 2017 at 01:46 AM
p.2536 #6Sony FE Images Thread
I was able to get access to a Coastguard helicopter a couple of weeks ago to lightpaint it at night.
I got there before dark so that I could have them position the helicopter where I wanted it to take the photos and to set up the gear and decide on composition. They have 3 helicopters and the one they chose was yellow. The normal CG colour is red and white, the yellow paint job is to commemorate their centennial last year.
Towing it out of the hangar
Into position and disconnecting the mule and tow bar
I initially thought that I'd like one of the compositions high and in front so I asked if they could bring over a pickup so I could use it with my tall tripod. I ended up not liking the composition so much but here's a shot. They had turned off some lights outside the nearest hangar that would have been pointing directly at the helicopter, so the only lights on were from the far hangar behind the fuel depot and some street lights a good way off to my left. Now wait for dark ...
The moon co-operated beautifully. It was the night after the full moon and by chance it rose, shrouded in clouds, to the left of the tail, then came up moving to the right and crossing the rotors. The clouds stayed there and made it more interesting (by chance because I didn't set up the helicopter knowing where the moon was going to rise).
I took 48 images, lighting different sections in each (many repeats as I wasn't going to get a 2nd chance at this). I took shots with the cabins empty and with crew, and one crew member standing outside watching the engine in their startup position. Of the 48 I pulled 28 into PS as layers, and ended up with 18 of them in the final comp. Here's a gif showing the lighting by section. The layers in PS had been masked before I created the gif so you don't see what I call light splashover. I use a focusable flashlight so my lighting it fairly controlled, but there are good sections that have to be masked out in many or most shot. I set each lighting layer against the final sky background so you don't actually see the moon rising like a timelapse.
Sony A7R2 / Canon 24mm TSE II / Metabones 4
Mike
I got there before dark so that I could have them position the helicopter where I wanted it to take the photos and to set up the gear and decide on composition. They have 3 helicopters and the one they chose was yellow. The normal CG colour is red and white, the yellow paint job is to commemorate their centennial last year.
Towing it out of the hangar
Into position and disconnecting the mule and tow bar
I initially thought that I'd like one of the compositions high and in front so I asked if they could bring over a pickup so I could use it with my tall tripod. I ended up not liking the composition so much but here's a shot. They had turned off some lights outside the nearest hangar that would have been pointing directly at the helicopter, so the only lights on were from the far hangar behind the fuel depot and some street lights a good way off to my left. Now wait for dark ...
The moon co-operated beautifully. It was the night after the full moon and by chance it rose, shrouded in clouds, to the left of the tail, then came up moving to the right and crossing the rotors. The clouds stayed there and made it more interesting (by chance because I didn't set up the helicopter knowing where the moon was going to rise).
I took 48 images, lighting different sections in each (many repeats as I wasn't going to get a 2nd chance at this). I took shots with the cabins empty and with crew, and one crew member standing outside watching the engine in their startup position. Of the 48 I pulled 28 into PS as layers, and ended up with 18 of them in the final comp. Here's a gif showing the lighting by section. The layers in PS had been masked before I created the gif so you don't see what I call light splashover. I use a focusable flashlight so my lighting it fairly controlled, but there are good sections that have to be masked out in many or most shot. I set each lighting layer against the final sky background so you don't actually see the moon rising like a timelapse.
Sony A7R2 / Canon 24mm TSE II / Metabones 4
Mike
Nov 15, 2017 at 05:01 AM
p.2536 #7Sony FE Images Thread
philber wrote:
Lovely pano, Kai!
Many thanks Phillipe!
As per your recommendation... the stained glasses at Sainte-Chapelle.
A7R2, CV12/5.6, 1/30s, F/7.1, ISO 4000. The files ended up ok.
_DSC4171 copy by Kai O'Yang, on Flickr
Lovely pano, Kai!
Many thanks Phillipe!
As per your recommendation... the stained glasses at Sainte-Chapelle.
A7R2, CV12/5.6, 1/30s, F/7.1, ISO 4000. The files ended up ok.
_DSC4171 copy by Kai O'Yang, on FlickrNov 15, 2017 at 10:28 AM
p.2536 #8Sony FE Images Thread
Wow!! Classy!! When I see a shot like that, I wonder how I can live without a super-wide...
Nov 15, 2017 at 11:21 AM
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p.2536 #11Sony FE Images Thread
Some available low-light shots with the Sony 100 STF
Nov 15, 2017 at 01:54 PM
p.2536 #12Sony FE Images Thread
Two-shot panorama/composite of previously posted scenes.
Loxia 35
Loxia 35
Nov 15, 2017 at 03:02 PM
p.2536 #14Sony FE Images Thread
Evening Grosbeak
Sony ILCE-9 + FE 100-400mm F4.5-5.6 GM OSS + 1.4X Teleconverter @ ISO 2000, FOCAL LENGTH 560.0 mm, APERTURE f/8, EXPOSURE TIME 0.0008s (1/1250).
K-H.
Sony ILCE-9 + FE 100-400mm F4.5-5.6 GM OSS + 1.4X Teleconverter @ ISO 2000, FOCAL LENGTH 560.0 mm, APERTURE f/8, EXPOSURE TIME 0.0008s (1/1250).
K-H.
Nov 15, 2017 at 07:11 PM
p.2536 #15Sony FE Images Thread
Sony ILCE-9 + FE Zeiss Batis 2/25 @ ISO 160, FOCAL LENGTH 25.0 mm, APERTURE f/2, EXPOSURE TIME 0.00625s (1/160).
K-H.
Nov 16, 2017 at 02:14 AM
p.2536 #16Sony FE Images Thread
Northern Flicker
Sony ILCE-9 + FE 100-400mm F4.5-5.6 GM OSS + 1.4X Teleconverter @ ISO 2000, FOCAL LENGTH 560.0 mm, APERTURE f/8, EXPOSURE TIME 0.0005s (1/2000)).
K-H.
Sony ILCE-9 + FE 100-400mm F4.5-5.6 GM OSS + 1.4X Teleconverter @ ISO 2000, FOCAL LENGTH 560.0 mm, APERTURE f/8, EXPOSURE TIME 0.0005s (1/2000)).
K-H.
Nov 16, 2017 at 04:23 AM
p.2536 #18Sony FE Images Thread
Rhythm by Werner Utsch, on Flickr
A7RII, FE 100-400 GM @ 400
BW ND 110 Filter
SR App 96 Shots x 1.3 sec = 67 sec exp.
Nov 16, 2017 at 04:34 AM
p.2536 #20Sony FE Images Thread
Rainy day in town with A7II and C/Y Planar 50mm/1.7:
Nov 16, 2017 at 05:15 AM