tag:blogger.com,1999:blog-87218746861210362912024-03-05T15:23:31.873-08:00The Untamed LandscapeDietiker photography nature fine art untamed landscape Northwest PacificDouglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-8721874686121036291.post-58779869083281432322012-02-25T14:59:00.001-08:002014-06-05T16:35:03.724-07:00Samyang 14mm f2.8 Lens review (Bower, Rokinon)<table cellspacing="0" cellpadding="2" width="400" border="0"><tbody> <tr> <td valign="top" width="200"><a href="http://www.amazon.com/gp/product/B004NNUN02/ref=as_li_tl?ie=UTF8&camp=211189&creative=373489&creativeASIN=B004NNUN02&link_code=as3&tag=theuntaland-20&linkId=3BGF46VSBLZJITIT"><img border="0" src="https://images-na.ssl-images-amazon.com/images/I/41THzWHmOuL._SL250_.jpg" /></a></td> <td valign="top" width="200"><font style="background-color: #f79646"></font><font color="#f79646" size="3"><strong>Available at Amazon, click the image to open the Amazon page.</strong></font></td> </tr> </tbody></table> <img style="border-top-style: none !important; border-bottom-style: none !important; border-right-style: none !important; margin: 0px; border-left-style: none !important" border="0" alt="" src="http://ir-na.amazon-adsystem.com/e/ir?t=theuntaland-20&l=as2&o=1&a=B004NNUN02" width="1" height="1" /> <br clear="all" />I had heard some very good things about the Samyang 14mm f2.8 a.k.a. Bower and Rokinon. It is a rather inexpensive manual focus ultra wide-angle prime lens made in Korea and comes in a Nikon and Canon mount. The Nikon mount lens comes in 2 versions, totally manual and one with the pins to work with Nikons auto exposure cameras. The AE version will control the aperture. It does not have filter threads due to the bulbous front element and has a built in hood that the lens cap fits over much like a lid. I am writing about the Nikon mount version. I had read some discussion it might be as sharp or sharper than the Nikon ultra wide-angle zoom 14-24mm f2.8. I also read it had some distortion of the mustache type. Since I don’t have a 14-24mm, I cant compare them, but I did test it against my Nikon 16-35mm f4. <br />I have been jonesing for 14mm for quite some time after being at locations I could have used the extra 2mm over my widest focal range on my Nikon 16-35. I didn’t want to hike with 2 wide angle zoom lenses and even though the Nikon 14-24 is very good, it is very heavy. Who needs 2 heavy zooms. The Nikon 16-35 is a very sharp lens and it takes filters as well as having a more useful focal range so it is my main landscape tool. A prime 14mm however would fit in my pack and compliment the 16-35 quite nicely. The old Nikon 14mm f2.8 prime doesn’t seem to be that good on modern digital cameras compared to newer lenses and is prohibitively expensive. After doing a little research I decided to check out the Samyang (the Rokinon version) 14mm prime. I wasn’t all that concerned about the distortion it reportedly had because distortion is rarely noticeable in most landscape shots. I probably correct about less than 2 percent of the landscape shots in post processing I take with my Nikon 16-35 that has distortion of the barrel kind. <br />In my research, I read Ken Rockwell had tested one and he was disappointed because it was very soft, seeming to be the opposite of what many others were saying. Well… I ordered one and when it arrived at my doorstep it was early enough in the day for me to set up my test scene and start shooting. I use the same setup to test all my lenses for consistency. The lens is very well built, the focus ring is very smooth but I immediately noticed it was very soft compared to my Nikon 16-35. Hmmm… Ok, it is a manual focus lens, maybe I need to work on my manual focusing skills. Never mind that I manually focus my Nikon all the time. I spent the next 30-45 minutes making sure I was focusing the 14mm correctly. No joy, this lens was soft. Looked like Ken may have been right. But, knowing sometimes there are bad copies of a lens, I returned it and had a replacement sent. <br />The replacement arrived and I went about setting up my test again. I took a couple shots… Yes! I could tell right away this one was going to be better. I didn’t even need to look at the shots on the computer. Of course, I did, comparing it to the Nikon 16-35 that I was hoping it would compliment in the field. All testing was done with my D3x on a tripod, using live view for focus, mirror lockup and a remote cable release. But what is a comparison without pictures: <br />Larger versions of images found here: <a href="http://www.pbase.com/ddietiker/samyang_14mm_f28">http://www.pbase.com/ddietiker/samyang_14mm_f28</a>   <br />This is the test shot of the Rokinon 14mm f2.8 at f8. The mustache distortion is quite obvious. <br /><a href="http://lh5.ggpht.com/-LAGEnOstU30/T0lneBejk7I/AAAAAAAAAp0/vqRtIz2FL1A/s1600-h/samyang-14mm-f8%25255B5%25255D.jpg"><img title="samyang-14mm-f8" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="samyang-14mm-f8" src="http://lh5.ggpht.com/-Vyjslt2w-Ww/T0lneZx2q7I/AAAAAAAAAp8/hMCNWiXmKKQ/samyang-14mm-f8_thumb%25255B3%25255D.jpg?imgmax=800" width="597" height="417" /></a> <br />The shot below is the Nikon 16-35 f4 at f8. Notice there is quite a big difference in the type of distortion and also how much wider just 2mm is compared to 16mm. <br /><a href="http://lh6.ggpht.com/-cTshKD2S5_c/T0lnexh9RwI/AAAAAAAAAqE/J4ZPpTt3P4k/s1600-h/nikon-16-35-16mm%252520f8%25255B4%25255D.jpg"><img title="nikon-16-35-16mm f8" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="nikon-16-35-16mm f8" src="http://lh6.ggpht.com/-lb3sQxUjdM8/T0lnfEL0tCI/AAAAAAAAAqM/HEJHIqP6Z90/nikon-16-35-16mm%252520f8_thumb%25255B2%25255D.jpg?imgmax=800" width="594" height="411" /></a> <br />One of the first things I noticed is the Rokinon (Samyang) has no real noticeable chromatic aberrations. The Nikon is very good, but the Rokinon is better. This next shot is the focus point of the Rokinon f8 <br /><a href="http://lh4.ggpht.com/-Kvp_B95hpDw/T0lngY11FsI/AAAAAAAAAqU/fgqoQkuH8Os/s1600-h/samyang-14mm-focus-point%25255B4%25255D.jpg"><img title="samyang-14mm-focus-point" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="samyang-14mm-focus-point" src="http://lh5.ggpht.com/-wKXzyroJoYw/T0lngsTt7_I/AAAAAAAAAqc/5i2Y5hDz8Ys/samyang-14mm-focus-point_thumb%25255B2%25255D.jpg?imgmax=800" width="596" height="411" /></a> <br />Followed by the focus point of the Nikon f8 <br /><a href="http://lh6.ggpht.com/-eZJI937PdZY/T0lntS2LmZI/AAAAAAAAAqk/KicH_CP9KKg/s1600-h/16-35-focus-point%25255B5%25255D.jpg"><img title="16-35-focus-point" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="16-35-focus-point" src="http://lh3.ggpht.com/-GkI7NSJNalQ/T0lntvrr3hI/AAAAAAAAAqs/lhNWRUki9Tg/16-35-focus-point_thumb%25255B3%25255D.jpg?imgmax=800" width="596" height="417" /></a> <br />The next shot is the Rokinon (Samyang) upper left corner at f8. Notice how little CA there is and the corners look pretty good. <br /><a href="http://lh6.ggpht.com/-HBUFG7BrkVY/T0lnuIUgrPI/AAAAAAAAAq0/zGoXzU2I1XI/s1600-h/samyang-14mm-left-corner-f8%25255B4%25255D.jpg"><img title="samyang-14mm-left-corner-f8" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="samyang-14mm-left-corner-f8" src="http://lh5.ggpht.com/-s_Kcu9oNsf0/T0lnulPVmHI/AAAAAAAAAq8/Htjz4_u5Zwo/samyang-14mm-left-corner-f8_thumb%25255B2%25255D.jpg?imgmax=800" width="596" height="410" /></a> <br />Followed below by the Nikon at f8. The Nikon is not at it’s best in the corners at f8, and the Nikon cleans up much better at f11. <br /><a href="http://lh4.ggpht.com/-7YoueavT5tU/T0lnu-QrsUI/AAAAAAAAArE/yjP2_N9T-qY/s1600-h/16-35-16mm-left-corner-f8%25255B4%25255D.jpg"><img title="16-35-16mm-left-corner-f8" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="16-35-16mm-left-corner-f8" src="http://lh3.ggpht.com/-2OsBGr9Tkhk/T0lnvNwRR-I/AAAAAAAAArM/e-2pPCz0DyI/16-35-16mm-left-corner-f8_thumb%25255B2%25255D.jpg?imgmax=800" width="594" height="409" /></a> <br />The shot below is the Rokinon (Samyang) at f11. Not much improvement, but it doesn’t need much, it is already pretty good at f8. <br /><a href="http://lh4.ggpht.com/-IC070dgTW18/T0lnvlT8EII/AAAAAAAAArU/Yj_XeN_v_58/s1600-h/samyang-14mm-left-corner--f11%25255B3%25255D.jpg"><img title="samyang-14mm-left-corner--f11" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="samyang-14mm-left-corner--f11" src="http://lh5.ggpht.com/-QXLrEpOdJvE/T0lnwEPzV4I/AAAAAAAAArY/mDHq6HRAsHg/samyang-14mm-left-corner--f11_thumb%25255B1%25255D.jpg?imgmax=800" width="595" height="366" /></a> <br />Followed below by the Nikon at f11. <br /><a href="http://lh4.ggpht.com/-vHOtlZw8dOY/T0lnwhTYUqI/AAAAAAAAArg/8UVUJF5eOkM/s1600-h/16-35-16mm-left-corner-f11%25255B3%25255D.jpg"><img title="16-35-16mm-left-corner-f11" style="background-image: none; padding-top: 0px; padding-left: 0px; display: inline; padding-right: 0px" border="0" alt="16-35-16mm-left-corner-f11" src="http://lh5.ggpht.com/-OTCUdlTiROg/T0lnw_QEn0I/AAAAAAAAArs/7PPUQ81lSbY/16-35-16mm-left-corner-f11_thumb%25255B1%25255D.jpg?imgmax=800" width="593" height="365" /></a> <br />So after getting a very soft Samyang 14mm, the second is much better and appears to be as good as my main landscape tool, the Nikon 16-35. Maybe there is something to people saying it is as sharp as the Nikon 14-24 at 14mm. I will be hanging on to this Rokinon. Now I need to get out and actually use it for landscape shots. If you order one, make sure you test it, since there do appear to be some soft  copies. For those getting the new Nikon D800, this lens will definitely deliver with those 36 megapixels. <br /><iframe style="height: 240px; width: 120px" marginheight="0" src="http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&npa=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=theuntaland-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B003VS9UP4" frameborder="0" marginwidth="0" scrolling="no"></iframe> <br />Larger versions of these images can be found here: <a href="http://www.pbase.com/ddietiker/samyang_14mm_f28">http://www.pbase.com/ddietiker/samyang_14mm_f28</a> <br /> <br /> <br />Updated. The picture below was shot with the Samyang 14mm. You cant see it in this size and I wont post a larger version for obvious reasons, but the 14mm may be the crisp/sharpest lens I have used. It got more detail out of my camera than I was expecting. <br /> <br /><img class="display" border="0" alt="_1011144_720.jpg" src="http://m8.i.pbase.com/o6/59/642759/1/143055678.XMEAH9SQ._1011144_720.jpg" width="590" height="398" /> Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com24tag:blogger.com,1999:blog-8721874686121036291.post-18570495340083904572012-02-18T09:48:00.001-08:002012-02-18T09:48:08.132-08:00Why color calibrate your monitor?<p>I have seen and heard this question asked many times, “Why bother? When most everyone viewing my images isn’t using a color calibrated monitor anyway?”</p> <p>Here is a thought, if you don’t calibrate your monitor, you have no way of knowing how far off the colors are. If your monitors colors are off by quite a bit, picture someone else viewing your image with an uncalibrated monitor which is off also. The colors wont even be close to what you think they should be.</p> <p>If you have a color calibrated monitor, at least there is a greater chance that what the viewer sees is close to the intended colors.</p> Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-75733027930468640142012-02-06T14:46:00.001-08:002012-02-06T14:46:06.993-08:00Nikon D800 as leaked early by Brazilian site.<p>Along with some pictures, a Brazilian site leaked early the press release information about the soon to be announced Nikon D800. It has since quickly been removed. Here is a cut and paste of what was up briefly:</p> <p>The new Nikon D800 surpasses all expectations with its 36.3 megapixel resolution ensures maximum fidelity and unsurpassed</p> <p>The new release of the Nipponese company offers unparalleled features to please all demanding professional photography, videographers and filmmakers.</p> <p>Sao Paulo, February 6, 2012</p> <p>Nikon introduces its long-awaited release, the HD-SLR D800, which offers resolution never seen before, amazing picture quality and valuable video resources, still optimized for professional multimedia photographers and videographers. With unparalleled balance between precision and functionality, the Nikon D800 brings innovations such as the CMOS sensor 36.3 megapixel FX-format, 91,000 pixel RGB sensor, advanced Scene Recognition System and many other new features.</p> <p>Exceptional Image Quality</p> <p>The new 36.3 megapixel CMOS sensor (7360 x 4912 resolution) and FX format (35.9 x 24mm) is the largest in terms of resolution so far developed by Nikon, and come meet nikonzeiros numerous requests from around the world. It is ideal for situations where you can not compromise the fidelity, such as weddings, photo studio and record landscapes. A resolution of this magnitude gives the photographer the ability to portray even the smallest details with stunning clarity. Every aspect of the sensor of this model was designed to ensure clear images in low light, so it has enhanced features like OLPF converter and a 14 bit A / D to minimize the noise around the picture.</p> <p>The D800 lives up to Nikon’s reputation of being the sovereign ability to capture in low light thanks to the standard range of ISO 100-6400, expandable to 50 (Lo-1) and 25600 (Hi-2), which helps create gradient amazing colors when shooting JPEG or RAW.</p> <p>All these image data are directed to a channel of 16 bits for maximum performance. Photographers can also take advantage of the lenses in FX format lenses for more options and increased focal range (1.5X), while still maintaining the clarity and detail in high resolution of 15.3 megapixels (4800×3200).</p> <p>The D800 has an advanced Scene Recognition System with its array of colors (3D Color Matrix Meter III), which provides precise measurement in the most challenging lighting conditions. At the heart of this system is the innovative RGB sensor that analyzes each scene meticulously, recognizes factors such as light and bright and then compares all the data using the unique database of 30,000 images from Nikon. This new sensor still has the ability to detect faces with high accuracy even when shooting through viewfinder. The Color Matrix Meter also prioritizes the faces detected, allowing the right exposure even when the subject is backlit.</p> <p>Novelty is also the exclusive image processing engine Nikon’s EXPEED 3, which controls the entire system and is the catalyst behind the responsiveness of the camera’s auto focus and performance. The new Nikon image processing engine is capable of processing huge amounts of data, with perfect color and tone perfect. 3 The EXPEED also contributes to energy efficiency, allowing the user to use the camera for longer.</p> <p>Featured in the new and improved white balance system of this model that more accurately recognizes both the sources of natural light and artificial ones, and gives the user the option to retain the warmth of ambient lighting.</p> <p>Users can also capture a greater dynamic range with the HDR function and enjoy the benefits of Active D-Lighting for balanced exposures even in backlit scenes. In addition, the camera offers a dedicated button for quick access to Nikon’s Picture Controls to adjust the parameters of photo and video in real time, such as color, sharpness and saturation.</p> <p>True Cinema Experience </p> <p>The Nikon D800 is a compact and lightweight which is ideal for the production environment. Its features are very practical and functional usable by both filmmakers in the field and in the studio or filmmakers. Filmmakers have the option of multiple resolutions and frame ranges, including Full HD 1080 and HD 720 30/24p to 60p. By using the method of data compression B-Frame, the user can record video in H.264 / MPEG-4 AVC up to 29:59 minutes per clip. The optimized CMOS sensor reads the image data on rates incredibly quick results almost instantly.</p> <p>The D800 also allows videographers to keep the resolution high definition (1080p) regardless of the selected scene mode. Users can also compose and easily check critical focus for HD LCD monitor 3.2 “and 921 000 pixels with reinforced fabric, automatic control of brightness and wide viewing Anglo.</p> <p>For professionals, it is important to have a camera that has digital recorders and external monitors. With the D800 is possible to transmit an uncompressed HD signal directly off the camera for an HDMI output (8 bit, 4:2:2). This signal can be transmitted to a display, digital recording device or routed through a monitor, eliminating the need for multiple connections. The image can also be viewed simultaneously on the LCD screen and an external display screen while excluding the state data of the camera for streaming media.</p> <p>The D800 also includes features to enhance the audio quality, as a specific output for headphones used to monitor the audio levels during recording, which can be adjusted within 30 steps. Have the onboard microphone can be adjusted with up to 20 steps of sensitivity for the faithful reproduction of sound. To complete the recording can be configured to be activated via the shutter button.</p> <p>Shutter speed and performance with amazing accuracy</p> <p>The autofocus system Advanced Multi-Cam 3500 AF is the next generation of the proven 51-point AF system Nikon. The fully customizable system offers users the ability to capture fast moving subjects in focus and accurately track, or select a single AF point with absolute precision in detail. The focus system uses 15 sensors of the type AF Crusaders for accuracy and the system also emphasizes human faces even when the viewfinder is used. The D800 also employs 9 cross-type sensors fully functional when used with compatible NIKKOR lenses and teleconverters aperture f / 8 or smaller.</p> <p>For maximum versatility in different situations, users can also select multiple AF modes, including normal, expanded area and tracking of faces and objects / people, even the optical viewfinder.</p> <p>Ready to shoot in less than 0012 seconds, the Nikon D800 can capture files in FX mode and resolution up to 4 fps, or up to 6 fps with DX mode with the optional battery pack MB-D12 battery and compatible. To further improve the speed of the camera and the overall workflow, the D800 uses the new standard USB 3.0 for fast transfer.</p> <p>Format and operability </p> <p>The structure of the Nikon D800 is designed magnesium alloy for maximum durability and reliability. The camera body is closed and sealed with gaskets to resist dust, moisture and also to electromagnetic interference. You can easily picture of the composition through the viewfinder of course, which offers 100% coverage of the scene.</p> <p>The shutter was tested to withstand 200,000 cycles, ensuring maximum durability, while the sensor cleaning is made by the vibration of OLPF. The self-diagnostic shutter unit also includes a mirror balancer to minimize the residual impact of the “bounce”, improving the AF and zoom viewing time. Furthermore, the display is coated with a new finish protection thermal which serves to resist to overheating during prolonged use. For storage, the D800 has dual card slot for CF and SD cards, offering the user the possibility of recording up when a card is full, recording RAW / JPEG, separately, and the added option of recording still pictures to and video card to another. For recording and transfers at high speed, data can be recorded on the latest UDMA-7 and the cards SDXC/UHS-1.</p> <p>The D800 also features built-in flash, and is compatible with the acclaimed Creative Lighting System Nikon, including the Command Mode for embedded control Speedlights wirelessly.</p> Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-28920493667494524422010-12-23T13:12:00.000-08:002010-12-23T13:13:04.851-08:00Get out of my shot…A pretty common occurrence at popular scenic viewpoints, someone is standing with their tripod setup right where you want to be. Other photographers wander through and sometimes even setup right in front of you without looking. I can think of a couple ways to avoid that, go mid-week or get there when everyone else is sleeping or has gone home. Or better yet, find a different spot with a different perspective on the subject, you go home with a shot no one else has.<br />
<br />
<img align="left" alt="_1007852-800" border="0" height="319" src="http://lh5.ggpht.com/_9UxSZVkiOcM/TRO6oyg2GSI/AAAAAAAAAGw/VP0pK6uxwWY/_1007852-800%5B13%5D.jpg?imgmax=800" style="background-image: none; border-bottom: 0px; border-left: 0px; border-right: 0px; border-top: 0px; display: inline; float: left; margin: 0px 10px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="_1007852-800" width="417" /><br />
But here is something a little different, <strong><u>YOU</u> </strong>get in your own shots. What… you ask while scratching your head?<br />
It took me a while to start thinking about this before I arrived at a location. Of course, none of these things <em>ever</em> happened to <em>me</em> <img alt="Winking smile" class="wlEmoticon wlEmoticon-winkingsmile" src="http://lh6.ggpht.com/_9UxSZVkiOcM/TRO6pHqCe0I/AAAAAAAAAG0/upKwJfcfvzw/wlEmoticon-winkingsmile%5B2%5D.png?imgmax=800" style="border-bottom-style: none; border-left-style: none; border-right-style: none; border-top-style: none;" />.<br />
You wander around looking for a great composition and when you finally find the perfect spot, set up your camera and look through the view finder only to see there are <strong><u>great big clown size footprints</u></strong> right in the middle of your composition. Ok, who was the idiot that walked right through here??? Looking around only to find you are the only one there… Oops, way to go smarty pants. It helps to think about where you might setup ahead of time, preferably before you walk through that snow or sand.<br />
How about this one, you are shooting in portrait orientation with the ultra-wide angle lens. You get some outstanding shots, at least so the camera LCD says, and cant wait to get home and see these beauties on that great BIG custom calibrated monitor you spent a month researching information on the internet before you bought. So there it is, <strong>The shot</strong>, but wait, what is that at the very bottom of the frame? Could that be a tripod foot? Doh… You didn’t even think of checking the bottom of the view finder while positioning your camera. This last one usually isn’t a problem unless you are using something wider than 17mm on a full 35mm format camera of 12mm on a cropped sensor camera. Of course, like I said, this has never happened to me.<br />
<br />
<img align="left" alt="_1007760-800" border="0" height="310" src="http://lh4.ggpht.com/_9UxSZVkiOcM/TRO6pl1ahfI/AAAAAAAAAG4/BEVgFulrsYU/_1007760-800%5B5%5D.jpg?imgmax=800" style="background-image: none; border-bottom: 0px; border-left: 0px; border-right: 0px; border-top: 0px; display: inline; float: left; margin: 0px 10px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="_1007760-800" width="417" /><br />
<br />
Geez, and all I thought I had to do was get to a pretty location at the right time of day and snap the picture. Now you want me to think about where I walk, or double check the view finder all before I have had my morning coffee?<br />
Next you’ll be asking if I remembered to charge my batteries…<br />
About the pictures; the first was shot using a Nikon D3x and the AF-S 24-120 f4 at 38mm using a Singh-Ray circular polarizer to help cut some of the glare from the water and rocks. The second was shot with the Nikon D3x and the AF-S 16-35 f4 at 16mm.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-49251792601278217692010-11-22T17:14:00.000-08:002010-11-22T17:14:21.895-08:00Nikon AF-S 24-120 f4 review for Landscape PhotographyI recently rented the new <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a> to see how well it would work as a landscape lens. I had read some mixed reviews about the lens but no one has really tested it from a landscape perspective. The focal ranges I normally use are 16mm to about 125mm. I have 2 lenses I carry all the time (Nikkor’s AF-S 16-35 f4 and AF-S 70-300 VR) and a 3rd (Nikkor AF-S28-70 f2.8) I use sometimes. The focal range of this new lens would compliment my 16-35 and reduce the lenses I carry to 2. Another benefit would be a bit of weight reduction in my backpack. The Nikkor AF-S 28-70 is a very large and heavy lens, while image quality is great, I <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&link_code=as3&camp=211189&creative=373489&creativeASIN=B003ZSHNEK" target="_blank"><img align="left" alt="81B2vJYZyNL__AA1500_" height="291" src="http://lh3.ggpht.com/_9UxSZVkiOcM/TOqkiinaszI/AAAAAAAAAGk/z0EGjX0jEns/81B2vJYZyNL__AA1500_%5B5%5D.jpg?imgmax=800" style="display: inline; float: left; margin: 19px 24px 8px 8px;" title="81B2vJYZyNL__AA1500_" width="286" /></a>would not miss having to carry it while backpacking. The <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a> wont be replacing my 16-35, but I was curious how it would compare at 24mm if switching lenses in a nasty environment wasn’t an option. I also compared the <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a> to the AF-S 28-70 f2.8 at 28mm and 50mm, and the AF-S 70-300 VR at 70mm, 85mm, and 120mm. The images posted are all at f11, though I am shooting the same shots at f8 also. Since I am looking at this from a landscape perspective, I wasn’t concerned with larger f stops. Shots posted are 200% crops for your pixel peeping benefit <img alt="Winking smile" class="wlEmoticon wlEmoticon-winkingsmile" src="http://lh3.ggpht.com/_9UxSZVkiOcM/TOq45wjFCPI/AAAAAAAAAGs/qSZH9YCSkU8/wlEmoticon-winkingsmile%5B2%5D.png?imgmax=800" style="border-bottom-style: none; border-left-style: none; border-right-style: none; border-top-style: none;" /><br />
<b>Testing was done using a Nikon D3x mounted on a tripod, mirror lock up, cable release and Live View contrast detect focus. I was shooting at f8 and f11 and pixel peeping at 200% The shots were taken in RAW and no extra processing other than my normal ACR settings or sharpening was applied other than adjusting very slight exposure changes.</b> <br />
The images are posted <a href="http://www.pbase.com/ddietiker/af_s_24-120_f4_vr" target="_blank">HERE</a>. My expectations weren't high considering the bashing this lens was getting (mostly from people who had not tested it.) My initial impression is, I don't see what all the fuss on build quality is about. It is similar to the feel of the AF-S 16-35 f4, the <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a> internal sleeve is metal. It appears it will withstand my abuse as the AF-S 16-35 f4 does and I can be pretty hard on gear. It is very solid feeling when zooming. I don't get the plasticy (is that a word? ) feeling of my AF-S 70-300 VR. I think the build quality is quite good. The 24-120 does have a decent amount of barrel distortion improving all the way to 35mm where there is no distortion. As I zoomed further it changes to some minor pin cushion all the way to 120mm.<br />
Testing at 24mm, the <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a> is better than I was expecting, the center sharpness looks very close to the AF-S 16-35 f4 seeming ever so slightly sharper due to a little better micro contrast. They are close enough to not worry about (remember, 200% pixel peeping). <br />
(When I refer to micro contrast or lens contrast it is a reference to sharpness, not like the contrast which distributes tonal gradation from black to white or lightest to darkest. <a href="http://www.luminous-landscape.com/tutorials/understanding-series/lens-contrast.shtml" target="_blank">Here</a><b><span style="color: #ffcc66;"></span> </b>is a good article explaining lens contrast). At f8 The 16-35 is better in the edge/corner department as I expected and the 24-120 has a bit of CA as does the 16-35 but the 16-35 CA is negligible. The 16-35 has nice clean straight lines and the 24-120 quite a bit of barrel distortion, no surprise here. At f11 there doesn't seem to be much change except edge/corner performance, the 16-35 improves and the 24-120 stays about the same.<br />
<br />
Against the the 28-70, at 28mm, center performance is similar but the corners are much better with the 24-120. My eyes give a slight edge to the 24-120 in the center but it is very close. Both have a decent amount of CA of different type. The 24-120 still displays a bit of barrel distortion at 28mm and changes to pin cushion which showed up in my 50mm comparison. The 24-120 is the winner at 28mm. At 50mm the 24-120 had a repeat performance. I am satisfied the 24-120 could easily replace my 28-70 and give me better results.<br />
<br />
At 70mm, compared to the 70-300 VR at f11 in the center, the 24-120 has a slight advantage, corners were too close to call. the 70-300 has always impressed me with it's corner performance and one of the reason I carry it over my AF 80-200 f2.8 (besides weight). At 85mm, the 70-300 has better corners, the 24-120 corners are very good, just not as good as the 70-300. The center frame comparison is the opposite with the 24-120 coming out on top nicely. Most of the CA has disappeared as well. Images at 120mm are close to the same results as 85 with the 24-120 corners not quite as good but still not bad and the center, the 24-120 is better. The 70-300 has virtually no CA and the 24-120 has a tiny bit.<br />
<br />
Verdict: I think this lens will be a nice upgrade for a light landscape photography kit with the AF-S 16-35 f4 and the <a href="http://www.amazon.com/gp/product/B003ZSHNEK?ie=UTF8&tag=theuntaland-20&linkCode=xm2&camp=1789&creativeASIN=B003ZSHNEK" target="_blank"><span style="color: #ffc000;">Nikkor AF-S 24-120 f4</span></a>.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com7tag:blogger.com,1999:blog-8721874686121036291.post-78057650059216624512010-10-28T15:25:00.001-07:002010-10-28T15:25:57.225-07:00LIGHT……<p><font size="2">You are at a great location, you have your camera setup and a perfect composition through the view finder. What will turn a good image into a great one? Light…. it is why landscape photographers get up before the sun rises and make long treks early in the morning. It is why they spend hours at mid-day scouting for locations to use for morning or evening. It is why they walk back from an evening location for hours with a headlamp on.</font></p> <p>You can use light to highlight elements within a scene such as this.</p> <p><a href="http://lh4.ggpht.com/_9UxSZVkiOcM/TMn4ZgUsELI/AAAAAAAAAGI/KKqPyT6_Gfw/s1600-h/_1007657-750%5B9%5D.jpg"><img style="display: inline" title="_1007657-750" alt="_1007657-750" src="http://lh6.ggpht.com/_9UxSZVkiOcM/TMn4aATAP5I/AAAAAAAAAGM/PYQQE3jCg40/_1007657-750_thumb%5B7%5D.jpg?imgmax=800" width="479" height="718" /></a></p> <p>You can use light to light up the clouds in the evening.</p> <p><a href="http://lh3.ggpht.com/_9UxSZVkiOcM/TMn4bItRGgI/AAAAAAAAAGQ/mAKQTmKuexo/s1600-h/_1006965-700%5B6%5D.jpg"><img style="display: inline" title="_1006965-700" alt="_1006965-700" src="http://lh3.ggpht.com/_9UxSZVkiOcM/TMn4bgs7KsI/AAAAAAAAAGU/cMOVv7bAI8Q/_1006965-700_thumb%5B4%5D.jpg?imgmax=800" width="483" height="701" /></a></p> <p>On an overcast day you can use light in a scene so everything is lit more evenly.</p> <p><a href="http://lh3.ggpht.com/_9UxSZVkiOcM/TMn4b2sGjjI/AAAAAAAAAGY/TJ_Bgm7yC9U/s1600-h/_1001527%20700%5B7%5D.jpg"><img style="display: inline" title="_1001527 700" alt="_1001527 700" src="http://lh5.ggpht.com/_9UxSZVkiOcM/TMn4czFgmRI/AAAAAAAAAGc/BFe1str4GBo/_1001527%20700_thumb%5B4%5D.jpg?imgmax=800" width="486" height="737" /></a></p> <p>But it is all about light. Next time you go out looking for that great shot, think about how light will affect it. Think about shadows, highlights, reflections… use it to your advantage. Most of all, be patient. Light changes, you need to be there when it does.</p> Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-9037408895774666952010-10-07T16:02:00.001-07:002010-10-07T16:06:47.492-07:00Central Oregon Coast<p><a href="http://lh3.ggpht.com/_9UxSZVkiOcM/TK5RlQ_TCwI/AAAAAAAAAF4/Ai76QiLNhak/s1600-h/_1007176-800%5B23%5D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; float: left; border-top: 0px; border-right: 0px; padding-top: 0px" title="_1007176-800" border="0" alt="_1007176-800" align="left" src="http://lh3.ggpht.com/_9UxSZVkiOcM/TK5Rl-FZGAI/AAAAAAAAAGA/GC8IUB0qqME/_1007176-800_thumb%5B21%5D.jpg?imgmax=800" width="601" height="447" /></a>During the month of September I spent some time on the Central Oregon Coast. The first trip was to do a little exploring since I have not been there before…. My bad! I went a second time to explore some more and capture a few shots. For me, to get decent photographs, I have to visit a location more than once. I go at first to find the area and get a feel for what type of photography I can expect. If I happen to get lucky, I might even get a nice shot. In the case of the coast, I want to get a feel for tides and how the sun looks against the coast. Knowing how a location looks at high tide and low tide tells me when the best time to be there is. Some areas look better at high tide, some at low, others have photographic opportunities at both. Some other questions I get answered are “how does this location look in the morning? How about in the evening?”</p> <p>All these questions and exploring help plan your time wisely. Four things I always look at before heading out; Tide tables for the areas and weather, sunrise and sunset as well as moon rise and set. All four of those are important and can help decide if a trip was a success or a bust. And if the weather looks bad, that can mean photography is good. Nothing is more boring than a cloudless blue sky.</p> <p><a href="http://lh4.ggpht.com/_9UxSZVkiOcM/TK5RmG8N5cI/AAAAAAAAAFg/PV6-mw4dmIE/s1600-h/_1007022-700%5B4%5D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; float: left; border-top: 0px; border-right: 0px; padding-top: 0px" title="_1007022-700" border="0" alt="_1007022-700" align="left" src="http://lh5.ggpht.com/_9UxSZVkiOcM/TK5RmdspLlI/AAAAAAAAAFk/EL_YvUMWxlg/_1007022-700_thumb%5B2%5D.jpg?imgmax=800" width="317" height="480" /></a></p> <p>A word of caution, if you like keeping your camera gear pristine, shooting at the ocean is probably not a good idea. My gear can get wet, and I spend time keeping the salt film wiped from my camera and filters. I wear glasses, which get coated too, though they help keep me aware of when it is time to wipe the lens. I usually try and keep my polarizer on the lens, since my Singh-Ray circular polarizer wipes clean easier than the front element does. After shooting, my equipment is fine, but if you get nervous about that type of thing you might be better off shooting something else.</p> <p>The photograph at the top is a good example of wiping the lens to keep it as clean as possible. I also had to keep an eye out for large waves as I was standing very exposed to incoming waves. Though the spray and the mist made for a nice extra glow around the water.</p> <p>The next shot is Cannon Beach and Haystack Rock. I used a 3 stop Graduated Neutral Density Filter and a wide angle lens. What first attracted me to this location was the fingers of water pointing at the rock, but when I got there the ripples in the sand looked like they would catch the sun so I included them in the composition.</p> <p><a href="http://lh6.ggpht.com/_9UxSZVkiOcM/TK5Rm1nEgDI/AAAAAAAAAFo/X18H4arPdf4/s1600-h/_1007479-800%5B5%5D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; float: left; border-top: 0px; border-right: 0px; padding-top: 0px" title="_1007479-800" border="0" alt="_1007479-800" align="left" src="http://lh3.ggpht.com/_9UxSZVkiOcM/TK5RnWsju4I/AAAAAAAAAFs/WA7oOoHBkOw/_1007479-800_thumb%5B2%5D.jpg?imgmax=800" width="321" height="480" /></a></p> <p> </p> <p> </p> <p>This third shot was screaming black and white to me. I converted it in Photoshop and did a little dodging and burning as well as contrast enhancement. This was another occasion where I had to keep the filter wiped constantly, though it was a 3 stop Soft Graduated Neutral Density one and no polarizer. I kept the lens cap on between shots.</p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p>This last one was taken right before sunrise, so the slow exposure gave the water a mist like look. I also used a Circular Polarizer so the tiny bit of reflection from some of the wet rocks and water weren't so obvious and to help slow the shutter speed a bit more.</p> <p><a href="http://lh5.ggpht.com/_9UxSZVkiOcM/TK5Rnk4oYkI/AAAAAAAAAFw/ssHFroJFRjA/s1600-h/_1007193-700%5B4%5D.jpg"><img style="background-image: none; border-bottom: 0px; border-left: 0px; padding-left: 0px; padding-right: 0px; display: inline; border-top: 0px; border-right: 0px; padding-top: 0px" title="_1007193-700" border="0" alt="_1007193-700" src="http://lh4.ggpht.com/_9UxSZVkiOcM/TK5RoHENKBI/AAAAAAAAAF0/YxnEceL3s8s/_1007193-700_thumb%5B2%5D.jpg?imgmax=800" width="556" height="480" /></a></p> Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com4tag:blogger.com,1999:blog-8721874686121036291.post-43831137516732529442010-06-17T13:22:00.000-07:002010-06-17T14:42:28.402-07:00Be selfish, enjoy yourself first...<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYy-ndAozBK-JIhmF8ROsjt3oj18eFwVie_5_r_r1sCLo1dPztGiwNhcUhrB_flevLtvJoFPzipNOe6AKYcUkucZeRdmXL14wKgBSkdBuYQt5eptahkRTZ_HMfMD2pacR-3rPzz6JJ4lv/s1600/_0008001+650.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" qu="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuYy-ndAozBK-JIhmF8ROsjt3oj18eFwVie_5_r_r1sCLo1dPztGiwNhcUhrB_flevLtvJoFPzipNOe6AKYcUkucZeRdmXL14wKgBSkdBuYQt5eptahkRTZ_HMfMD2pacR-3rPzz6JJ4lv/s400/_0008001+650.jpg" width="293" /></a></div>Then worry about getting "<strong>the</strong>" shot. I started out in landscape photography probably the same way many other photographers did. I loved the natural beauty of the world around me while I ventured out hiking and camping in the nearby mountains. M<span class="goog-spellcheck-word">aybe</span> for you it was walking through the desert or visiting the ocean before you decided to get serious and try and get more than just a "tourist photo." I think too often we are consumed with getting a beautiful shot to show friends and family, or if you're a pro, maybe you are concerned about getting that next publishable shot. I have been with people so anxious to get that shot, they miss the real beauty around them. They have forgotten why they started...<br />
<br />
Looking at the <span class="goog-spellcheck-word">photograp</span>h to the left, it isn't one I would call a great shot, it's nice and helps give the viewer a bit of an idea of the area. But the best part of being there was the hike and the scenery. There is this wonderful gorge where the river flows through, almost impossible to find a spot to photograph safely from, but I still remember how beautiful it was. I stopped along the trail many times, knowing the location I stopped at wouldn't make a great photograph, just to take in and really enjoy what I was seeing.<br />
<br />
More often than not, a beautiful scene doesn't translate into a good landscape photograph. But sometimes photographers spend so much time trying to force it into a shot they miss the entire point of why they started. If you relax and enjoy the moment, you may not have a shot to show friends and family, but you have an unforgettable experience that will last a lifetime. And yet, you may also get much better photographs because you slow down and start noticing things you may not have seen in your rush. Some of my best shots are after I sit down and just enjoy what I am looking at. <br />
<br />
People need to think back to why they began this quest. Don't lose sight of your goals, but open your eyes and "see" the way you used to. I don't know that you will go home with better shots, but I guarantee you will go home with a much more gratifying and better experience.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com2tag:blogger.com,1999:blog-8721874686121036291.post-75497963417327943872010-05-20T11:13:00.000-07:002010-05-20T11:22:58.525-07:00The Circular Polarizer: Myth and Truth<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><strong>A circular polarizer wont work on wide angle lenses, you cant use it on anything wider than 24mm.</strong></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">I could fill a book with statements like that. Usually made by people who do more talking than photographing. The truth is, if you are shooting clear blue skies in mid-day in landscape orientation at the right angle to the sun, then yes, a circular polarizer will cause some problems with an uneven sky. But as most professional landscape photographers know, the reason you use a circular polarizer isn't to make blue sky darker blue. It is used to cut glare and enhance color. If all you want to do is make the sky darker blue, you can use a Graduated Neutral filter or do it in post processing. If I want darker skies, I use the graduated filter.</div><br />
Think of it this way, why do we wear polarized sunglasses? To cut glare.... Think of a circular polarizer as sunglasses for your camera. I probably use my Singh-Ray polarizer for 75 percent of my shots. For a landscape photographer, it is one of the most useful tools available and the effect can not be reproduced in post processing.<br />
<br />
One of the best uses of a CPL (circular polarizer) is around water and forest scenes. The polarizer will cut the glare from the water surface as well as from the wet rocks. Let's say we are shooting a forest stream, we are most likely going to find rocks, trees, shrubs and bushes. All of these surfaces are affected by light and can have some color robbing glare, even on dark cloudy days.<br />
<br />
Here is an example of a scene shot without a polarized effect and with polarization. Notice not just the water, but the leaves, ferns and trees also have reduced glare and enhanced color. The scene was shot using a 16mm extreme wide angle lens by the way.<br />
<br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8e_X4DCdImMZ7Pbnh9NO6ukkSNqKmJ1gPKenRT2kxm0NSqfmMCcVf8u-_L854GOK5YmqWJPcV3k2ZnODjPPtRoba7JwnIzw73w3Ov7bwFwD5IVg45ssCUk_bKV6gBELxK5ppaeiDgXv1u/s1600/_1005326-no-polarizer.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" gu="true" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8e_X4DCdImMZ7Pbnh9NO6ukkSNqKmJ1gPKenRT2kxm0NSqfmMCcVf8u-_L854GOK5YmqWJPcV3k2ZnODjPPtRoba7JwnIzw73w3Ov7bwFwD5IVg45ssCUk_bKV6gBELxK5ppaeiDgXv1u/s400/_1005326-no-polarizer.jpg" width="317" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">This is the before, the water, rocks and fallen trees have some glare to varying extent. Notice even the leaves have glare, something that we have to deal with in the Pacific Northwest. The glare is robbing the scene of some color too.<br />
<br />
(When shooting in the woods, it is usually best to go very early or late, or on overcast days since a camera cant capture the entire dynamic range of light for a scene in sunshine. You either wind up with blown out bright parts with no color or pure black shadows that should have some detail in them and often times you get both blown and pure black areas.)</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukSR_7JpPlVSaIui-Z7NaqzZXCQZqGVgxvL0PPoIR1oGSysfHbWCcVG_ApLTgAWjw0ak7rNU-rdQlTQALqseiaMHOViowiheOgJcg_lrkjL87AI6GMrNJjnA845jRIwf7fpYikPni8jsB/s1600/_1005325-polarizer.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" gu="true" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjukSR_7JpPlVSaIui-Z7NaqzZXCQZqGVgxvL0PPoIR1oGSysfHbWCcVG_ApLTgAWjw0ak7rNU-rdQlTQALqseiaMHOViowiheOgJcg_lrkjL87AI6GMrNJjnA845jRIwf7fpYikPni8jsB/s400/_1005325-polarizer.jpg" width="318" /></a>This is the after, you can see some of the colorful rocks under the surface of the water, the glare is mostly gone from the leaves and rocks adding more color to the scene. With a CPL you can vary the effect by rotating the front piece of glass. Sometimes you may not want top cut all the glare. many times on a still lake that has a beautiful reflection of a mountain, I will reduce the effect so the reflection is the main subject and not what is seen below the surface of the water if I had fully polarized the scene.</div>Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-8603199623314402292010-04-23T17:41:00.000-07:002010-04-23T17:41:00.233-07:00Misquoting, Misconstruing, and MisstatingI read and interesting article from <a href="http://bythom.com/">Thom Hogan</a><br />
<br />
<strong>Misquoting, Misconstruing, and Misstating</strong><br />
April 23 (commentary)--<br />
"...But the whole web of Web viralness shows a remarkable problem that's getting more and more common these days. First, we have misstatement and hyperbole. This is then misconstrued by many into something even more outrageous. At which point we eventually end up with complete misquotes that enhance the misconstruction. Lord help us, isn't anyone teaching English, logic, clarity, or fact-checking these days? Have all the reporters in the world disappeared and been replaced by bloggers who don't have time to actually check the source?"Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-47566163711018668432010-04-21T08:53:00.000-07:002010-04-21T08:53:38.080-07:00Adobe releases Adobe Camera Raw for Photoshop And LightroomAdobe just released Adobe Camera RAW (ACR) 5.7 for Photoshop CS4 and 2.7 for Lightroom 2.<br />
<br />
The release includes support for several new camera models and an upgraded RAW processing engine (Camera Raw 5.7 includes an updated demosaic algorithm designed to provide compatibility with settings applied in Lightroom 3.)<br />
<br />
The read me files for Lightroom are <a href="http://www.adobe.com/special/photoshop/Lightroom_27_ReadMe.pdf">here</a><br />
The read me files for Photoshop CS4 are <a href="http://www.adobe.com/special/photoshop/camera_raw/Camera_Raw_5.7_ReadMe.pdf">here</a><br />
<br />
Download Photoshop 5.7 for Windows <a href="http://www.adobe.com/support/downloads/detail.jsp?ftpID=4683">here</a><br />
Download Photoshop 5.7 for Mac <a href="http://www.adobe.com/support/downloads/detail.jsp?ftpID=4682">here</a><br />
<br />
Download Lightroom 2.7 for Windows <a href="http://www.adobe.com/support/downloads/detail.jsp?ftpID=4673">here</a><br />
Download Lightroom 2.7 for Mac <a href="http://www.adobe.com/support/downloads/detail.jsp?ftpID=4672">here</a><br />
<br />
I haven't had a chance to look at the new RAW processing engine yet, so stay tuned.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-3390515646055053642010-04-17T10:32:00.000-07:002010-04-17T10:54:39.558-07:00Do you own a DSLR?I was wondering how many owned a DSLR with interchangable lenses and understood as well as used them in anything other than Auto mode. They are quite powerful tools and learning to move beyond Auto is probably why you bought your camera in the first place. I am sure you have probably discovered by now, a DSLR can take just as bad a picture as a point and shoot and you might be wondering why your shots arent looking like the "Pro's" with those expensive DSLR's.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com0tag:blogger.com,1999:blog-8721874686121036291.post-9766912351258696392010-04-12T16:32:00.000-07:002010-04-13T14:24:52.365-07:00The new Nikon AF-S 16-35 f4 VR lens<a href="http://www.amazon.com/Nikon-16-35mm-4G-VR-Digital/dp/B0037KM0XA?ie=UTF8&tag=widgetsamazon-20&link_code=bil&camp=213689&creative=392969" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img alt="Nikon 16-35mm f/4G ED VR II AF-S IF SWM Wide Angle Zoom Nikkor Lens for Nikon Digital SLR Cameras" src="http://ws.amazon.com/widgets/q?MarketPlace=US&ServiceVersion=20070822&ID=AsinImage&WS=1&Format=_SL160_&ASIN=B0037KM0XA&tag=widgetsamazon-20" /></a><img alt="" border="0" height="1" src="http://www.assoc-amazon.com/e/ir?t=widgetsamazon-20&l=bil&camp=213689&creative=392969&o=1&a=B0037KM0XA" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; margin: 0px; padding-bottom: 0px !important; padding-left: 0px !important; padding-right: 0px !important; padding-top: 0px !important;" width="1" /><br />
I recently added the Nikon 16-35 f4 VR to my lens collection. I already have the Nikon 17-35 f2.8, which is a very nice sharp wide angle zoom that performs well stopped down for landscapes. I was intrigued by the new Nikon lens and thought I would pick one up and try it out. The MTF charts on the Nikon web site indicated the new 16-35 was quite a bit sharper in the center and the edges/corners than the 17-35. If the 17-35 could use improvement, it was the edges and corners and an extra 1mm on the wide side wouldn't hurt either.<br />
<br />
After testing the 16-35 against the 17-35 for 2 days I was satisified it would meet my landscape needs and brought it along on my recent trip to the Eastern Sierra to test it out in the real world for the type of shooting I do. After using it for a week and looking at the files it produced I can say it adds a special something to my shots I cant quite explain but I can see, almost a 3D type effect in some shots. There is quite a bit of barrel distortion at the wide end, a bit more than my 17-35, but for most landscape shooting it is not noticeable. At 16mm, perspective distortion will be the major issue one will have to deal with anyway and all wide lenses cant avoid that. I have started using focus stacking with some of my images, this lens is quite suitable for this purpose as there is very little focus breathing. The one troubling "feature" with this lens is the small distance from close focusing to infinity on the focus ring. It is very difficult if you manually focus for DOF to get the proper distance set. Of course, if there is something at the correct hyper focal distance you can auto focus on that. Though that isnt always going to be the case and manual focus will need to be set occaisionally. I added a small white paint spot on the focus ring at 3 feet to help me get the distance correct when focusing manually.<br />
<br />
<div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPU6rQEBga_h5FbUnOPyNK5ZjiHscsalDoipwXGfDX7JOdEz7iUWZ6BqfWUWoN-oxr2T7m81YIznHFJZS1I7jZaREWogeyd2xsGlN2wh7sC_FjOQI0OPgU42ewmcX1pdyauStyno1XFohF/s1600/_1005237-700.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPU6rQEBga_h5FbUnOPyNK5ZjiHscsalDoipwXGfDX7JOdEz7iUWZ6BqfWUWoN-oxr2T7m81YIznHFJZS1I7jZaREWogeyd2xsGlN2wh7sC_FjOQI0OPgU42ewmcX1pdyauStyno1XFohF/s400/_1005237-700.jpg" width="400" wt="true" /></a></div><br />
This shot taken with the 16-35, f11 at 16mm, as you can tell from this, barrel distortion isnt an issue. The only time it would be a problem is if the horizon was near the extreme top or bottom of the frame. To my eyes, the lens renders the shot much more pleasing than my 17-35 would have done.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com1tag:blogger.com,1999:blog-8721874686121036291.post-67925739945497491012010-04-12T15:08:00.000-07:002010-04-13T09:15:13.828-07:00The Southwest<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7S7Yx7gR5GqCBrllJugtGInt1bb5SHgplO639w15cZXzloBOX85WNyRWchIa3XOn24VWBAsz20ggvySC4SkOqKQDCYvRU-wL1IRZdVOQbBUJjxu1sxAYjTZ6xnyUuWCczF_s-qC7LSwBW/s1600/_1004300-700.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7S7Yx7gR5GqCBrllJugtGInt1bb5SHgplO639w15cZXzloBOX85WNyRWchIa3XOn24VWBAsz20ggvySC4SkOqKQDCYvRU-wL1IRZdVOQbBUJjxu1sxAYjTZ6xnyUuWCczF_s-qC7LSwBW/s400/_1004300-700.jpg" width="400" wt="true" /></a></div>One of my favorite places to photograph is the southwest. I recently went on a trip with friend and fellow landscape photographer <a href="http://kevinmcneal.smugmug.com/"><strong><span style="color: #ead1dc;">Kevin McNeal</span></strong></a><strong><span style="color: #ead1dc;">.</span></strong> Part of the time we spent some frustrating days waiting out snow storms. But patients pays off sometimes as we were able to capture some of these areas with some dramatic light and snow. Many of the places we visited were iconic, but we didn't have these in our portfolios. We also went during the dead of winter since most National Parks are captured during the spring through fall seasons.<br />
<br />
Three advantages going in off-season are 1: A lot less people to deal with 2: The chance of snow in areas that you don't see much of it in photographs 3: The weather and light tend to be more dramatic. Finally, there were a couple other photographers at this spot when I started, but by the time this light happened they had given up and had gone home. Patience is not only a virtue, it is essential for capturing that magic light we look for.The first image of the Watchman (above) would have been a difficult capture with a Graduated Neutral Density Filter which I would normally use. I shot this as 2 exposures, one for highlights and one for shadows then I combined them in post processing to give the same type of effect as if I had used a filter on the camera. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngb0eJBt4496YMghS-eWXRNYZdyTGGbC7iTqtP7Mawi8VfCERmaOVcgjpntxW4cG1QfDlP0bPUNfAWWqONm7BVQkWLDQLrCGx4sxk365mI8Omp9a8u07WU3isdWwAsA63Dni9-Cw1dLv7/s1600/_1004427-700.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjngb0eJBt4496YMghS-eWXRNYZdyTGGbC7iTqtP7Mawi8VfCERmaOVcgjpntxW4cG1QfDlP0bPUNfAWWqONm7BVQkWLDQLrCGx4sxk365mI8Omp9a8u07WU3isdWwAsA63Dni9-Cw1dLv7/s400/_1004427-700.jpg" width="400" wt="true" /></a></div>Another iconic spot, but also done a bit differently than what you will normally see. This is Turret Arch through North Window. You can make your shots a little different than everyone else's by composing from different angles, or shooting at a different time of day. That is what was done with this shot. The most common time of day from this location is just as the sun hits the rock face of the North Window. I shot this a few minutes before sunrise with a longer exposure to capture some of the stars that can be seen in a larger version of this shot.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiunQe7toEhDL0rqtm9VswfRqpALU2wAfcmJXl0AI371uBA0L-e9Qu8bHn428EqEjvla8zQHtaWlrMSjVyvhELYsYWEK6fwZlww5lVnh_uaiFS-V24iOB1fSgLASUsNo6K-s_AMh5xuzojB/s1600/_1004367-700.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiunQe7toEhDL0rqtm9VswfRqpALU2wAfcmJXl0AI371uBA0L-e9Qu8bHn428EqEjvla8zQHtaWlrMSjVyvhELYsYWEK6fwZlww5lVnh_uaiFS-V24iOB1fSgLASUsNo6K-s_AMh5xuzojB/s400/_1004367-700.jpg" width="400" wt="true" /></a></div>This last shot was 2 exposures combined in Photoshop, not because of a difficult exposure, but to achieve better sharpness throughout the photograph. The focal length was 26mm and the foreground was very close so I had a shallower depth of field to deal with. I shot one image focused for the foreground and one focused further into the scene. Photoshop has a new feature that allows the photographer to use the the sharpest parts of several images to create one very sharp image throughout. I combined the 2 shots for exceptional sharpness that could not have been achieved in a single shot.Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com1tag:blogger.com,1999:blog-8721874686121036291.post-33721406139347780832009-11-04T14:02:00.001-08:002010-04-13T09:05:45.348-07:00Autumn in the Columbia Gorge<div class="separator" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" height="400" sr="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhWSUMUzrOXNZWKPlICmc0UefDRgwiLWUmyY8Lzr6a1WALcViEuQJ2sPYOjIBTPXSNTDfOLBH67UH369xFnmbzXsscGavtFoEeclV52sTESnW3NMbAcc4_LsVNoKmdDteMLSFVuZz6t1M/s400/_1003952-700.jpg" width="266" /></div><div style="text-align: justify;">I spent a day and a half hiking around some of the trails at the Columbia Gorge. I enjoyed a long time at this location, probably longer than I should have, but it was beautiful and I wanted to make sure I had a really nice composition. An advantage to spending a while at a location is the weather can change so later photographs look different than the earlier ones in the same day. In this case, there was a slight breeze early that had leaf movement showing in my shots. a bit later the breeze was gone and the longer exposures came out much better.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">I used a 17-35 set at 17mm and a Singh-Ray circular polarizer for this shot.</div>Douglashttp://www.blogger.com/profile/01448171349122007757noreply@blogger.com1