This is a subtle HDR image and I captured enough bracketed exposures to significantly brighten the darker areas.
However, I liked the natural brightness accentuating the near and distant falls (especially in higher resolution versions).
A larger version of this image is available on Flickr.
Here are some comparisons:
The Sony a7 III has been so incredibly popular that it is sold out everywhere. This camera is available for preorder at B&H | Amazon | Adorama | WEX. The a7 III is eBay, but at the premiums being charged, you should probably just get the a7R III. Preorder right now from one of the trusted retailers just mentioned to get the best spot in the a7 III preorder line.
Or, rent one right away from Lensrentals.
“Well, I was doing carnival shows in the midwest – The Amazing Floating Kenny – when a Sony representative found me. We got to talking and one thing led to another, and suddenly I was the face of their budget-friendly a7 III.”Q: That’s awesome. Did you get to use the camera much while shooting images for the marketing campaign?
“Oh yeah, the camera’s awesome. And its light weight is great for me, personally. I tried shooting with a traditional DSLR, but it made levitating really difficult. With an a7 III, I can float anywhere I please.”Q: Isn’t it kind of odd that Sony didn’t go all out in featuring your special abilities in the campain? I mean, being able to levitate is pretty rare.
“Yeah, I thought their choice of a brick wall was kind of odd. I mean, I can float over difficult terrain, the kind you see in those captivating sunrise mountain images. But Sony wanted an urban theme. Go figure.”We wish Kenny the best of luck in his endeavors and look forward to seeing more (or, rather the same amount) of him as Sony releases future mirrorless cameras.
Check out this interesting tool for photographing the night sky in areas affected by light pollution (where most of us live).
What do you think? Are light pollution filters important for photographing the night sky?
The price of this lens is especially attention-garnering.
by Erin BabnikRead the entire article on the Canon Digital Learning Center.
There is a lot of truth to the old idea that we tend to see the world in terms of what we know about it. If we know that a location offers a photogenic vista to the north, then it can be easy to overlook the wonderfully gnarled trees to the south. Similarly, the compositions that photographers see most easily are usually those that fit well within the average field of view of two human eyes at a standing height—it’s the way of seeing that we know best. With only a little shifting or focusing, our eyes at that height can take in scenes that fall within the range of a 24-105mm lens quite nicely, and it is no wonder that focal lengths in this range are most traditional for landscape photography. Nonetheless, compositions that fall well outside these limits have the potential to evoke the more abstract qualities of human perception, such as the ability of our brains to combine certain visual stimuli and to isolate others. For the photographer who would like to emphasize the ‘mind’s eye,’ extreme focal lengths have a lot to offer.
Like the Sony FE 28mm f/2 Lens, the Sony FE 24-70mm f/4 ZA OSS Lens has strong geometric distortion and current Sony cameras have the distortion correction menu option grayed-out. Distortion correction is always enabled when this lens is mounted and this means that the corrected image is seen in the electronic viewfinder and we are not able to determine the required precise test chart framing for the uncorrected view. So, understand that the image quality results for the Sony FE 28mm f/2 Lens include distortion correction and that this lens has strong distortion at the longer and shorter focal lengths.
Here are some comparisons to get you started:
Sony FE 24-70mm f/4 ZA OSS compared to Sony FE 24-70mm f/2.8 GM Lens
Sony FE 24-70mm f/4 ZA OSS compared to Sony FE 24-105mm f/4 G OSS Lens
Sony FE 24-70mm f/4 ZA OSS compared to Canon EF 24-70mm f/4L IS USM Lens
Before going any further, we need to talk. Most cameras today have built-in lens abberation correction that can optionally be enabled/disabled. Sony's a7R III and similar cameras are included in this group.
When testing lenses, we disable all lens abberation correction. We want to see how well the lens performs without any software enhancements. Software enhancements can be applied to the results from any lens, but some of this processing can be destructive – especially distortion correction.
Any processing made before the raw file is created cannot be controlled and some have accused Sony of this tactic. Addressing these accusations is not he point of this tangent, but I can tell you that the distortion correction menu option is grayed-out and distortion correction is always enabled when this lens is mounted. This lens has extremely strong barrel distortion that Sony apparently doesn't want anyone to see.
With distortion correction enabled, the corrected image is seen in the electronic viewfinder and we are not able to determine the required precise test chart framing for the uncorrected view. So, understand that the image quality results for the Sony FE 28mm f/2 Lens include distortion correction and that this lens has very strong barrel distortion.
Capture One permits the distortion correction to be turned off and this is what the final ISO chart framing looks like:
Here are some comparisons you might find interesting.
Sony FE 28mm f/2 compared to Canon EF 28mm f/1.8 USM Lens
Sony FE 28mm f/2 compared to Canon EF 28mm f/2.8 IS Lens
Sony FE 28mm f/2 compared to Canon EF 35mm f/2 IS USM Lens
Sony FE 28mm f/2 compared to Nikon 28mm f/1.8G AF-S Nikkor Lens
Sony FE 28mm f/2 compared to Tamron 35mm f/1.8 Di VC USD Lens