AGeoJO wrote:
Ronny, your macro work is really awesome !
+1! Ronny, too much great work that I can congratulate you every time. But the admiration is always there.
Welcome back Helena. Ronny, I especially like the frogs.
I love to see the places that trees will take root and grow in the mountains where the climate is harsh. These are all shots taken with the A7rM and Sony FE 24-240.
HelenaN wrote:
Fantastic macros as always, Ronny.
Werner, love the photo at the top of the previous page. Good composition and use of light/shadows.
Phillip, I can never resist your shots of cows, sheep and pigs.
Back from two weeks at Sardinia in Italy. It was nice to be out traveling, but I didn't enjoy the island nearly as much as I did Corsica a few years ago (if you haven't been there I can highly recommend it!).
In the end I decided to bring C/Y 28/2.8 and Rokkor 58/1.2 instead of CY 18, 28 and 50 (sorry for going against your advice, Peire!) and that worked out very well. Didn't take a lot of photos though because the light was mostly very harsh and hazy, but here are some.
We must have been in Sardinia at a similar time. I know Corsica well so having revisited Sardinia after a gap of many many years I think I agree with you. Don't tell absolutely everyone about Corsica though!
I guess my first shot above confirms Helena's comment about the light being harsh in Sardinia (at this time of the year anyway) Less so perhaps in this chocolate shop in Turin on the way back to the UK:
AGeoJO wrote:
^^ Peter, both images taken with the Voigtlander 15mmm III are great . What aperture did you use on those shots?
Thanks Joshua, it was pretty dark in both places so I thought f4.5 was my best bet. To be honest I thought I was wasting my time in the chocolate shop so I was pleasantly surprised with the result.
The church was a bit frustrating because I wanted to try and take the shot from dead centre but there were too many other people sitting in the crucial pews listening to guides (or possibly even praying, hard to tell?!)
Cracking open geodes with my daughter. I'm in the process of focus stacking a shot of the inside of one of them, but it's going to take me a while...it'll be in the OM-D thread, since I used my E-M5 with Oly 60 macro. Stacking 117 shots. Final stack can be found here: https://www.fredmiranda.com/forum/topic/1127925/314#13072530
A7II with Canon FD 50mm f/1.8 (Didn't have a 49mm UV filter and didn't want a shard of rock flying into my FE 55.)
A few samples from this weekend with the ZA 35/1.4 - The lens is wonderful but not what I expected. It is very sharp WO in the center (on the A7r), the AF is fast and mostly accurate, and it balances surprisingly well, even with the shallower grip of the A7r MK1. That said, it has a very different signature from the previous 35/1.4 distagons that I've owned (ZF and contax). Sharpness and colors are probably closer to the ZF (my contax sometimes struggled on the A7r), though different. Sadly from what I've seen so far gone is the sharp falloff from the focal plane. From my limited shooting, this lens rolls off much more gently, and so I've had fewer instances of that "walking off the screen" pop, though I do wonder how valid it is for me to compare my old ZF images from a 12mpx 5Dc to this lens on the A7r. I still love the images from the lens, but it doesn't appear to be an AF version of the ZF 35/1.4 as I had hoped (with regards to rendering, I realize the designs are different). Overall, when I consider ease of use and final results I think its a keeper, but I'll need to get thoroughly aquatinted with this lens and see if there isn't a way for me to coax more of the 3D pop (the FE 55/1.8 seemed to generate it much more easily.... though I like the 35mm focal length much more). As a side note, does anyone know how to fix the weird digital artifacts in the last pic? The step-like grading in the sky is just killing me
a) Saving with the absolute lowest compression when you save to JPEG.
b) If the above doesn't fix it, add some noise to the image in Photoshop. Sounds crazy, and you generally don't need a lot (use gaussian pattern with the Add noise, and increase the amount from zero until the banding appears to go away).
Smooth tonal gradations definitely stress the JPEG encoding scheme. Besides Jordan's suggestions, avoid any sharpening of the sky. And thanks for the 35/1.4 FE images: I find the rendering most appealing.
!
