Posts Tagged ‘VR’
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 20mm f/4, 1/80 second ISO3200
What a great time to be a Nikon shooter. The company has been releasing an exciting variety of new high-performance glass into its lineup, and I couldn’t help but be a part of the action! Just picked up the new Nikkor 16-35mm f/4 VRII, and I’m in love.
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 16mm f/4, 1/320 second ISO1600
Of course, with an optic this wide, you have to really push in tight for portraits. This is Suki’s “uh, get that big fat lens out of my face” look.
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 16mm f/4, 1/100 second ISO400
This is Suki’s “I’m not feelin’ being on top of this garbage can and am certainly not going to pretend that I’m enjoying it, so don’t bother” look.
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 16mm f/4, 1/100 second ISO400
…and this is Suki thinking “what’s with the crooked horizon line in this shot? You’re killin’ me!” Ok not really….
See? Suki is not as easy to work with as you might think!
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 16mm f/4, 1/10 second ISO800
Anyway, besides being a definite go-to lens for my Suki Project, this thing will have a special place in my bag for travel, as well as city and landscape photography….
Nikon D700 + Nikkor AFS 16-35mm f/4G VRII at 16mm f/4, 1/30 second ISO6400
….or environmental portraits. I was also thinking of the 14-24 f/2.8 from Nikon, a legendary ultra wide, but size, weight, and cost considerations put me off. No regrets =)
A year or so ago I was taking a look at a Canon 5D MkII with a 24-105 f/4L IS lens mounted. Loved the range, the constant aperture, the stabilization. I thought to myself, “why doesn’t Nikon make something like this? If they did, I’d SO buy it….” Well, they finally did.
So I took the plunge. I’m the proud new owner of one of Nikon’s latest lens releases, the Nikkor AFS 24-120mm f/4G VRII. This nano-coated beauty arrived yesterday, and I’m excited to start putting it through its paces. As soon as the lens was announced I was immediately drawn to its appeal. Previous generations of the 24-120mm don’t exactly have the best reputation, but with a new optical design, better build, and constant f/4 aperture throughout its zoom range, I felt safe enough giving Nikon the benefit of the doubt.
Originally the 24-70 f/2.8 was on my hotlist, but first off, I’m big on image stabilization for hand-held shots at very low shutter speeds, a feature the 24-70 lacks. This lens has a more flexible focal range as well, and is lighter and smaller. Sure, you lose a stop of light gathering with the smaller f/4 aperture, but I rarely shoot wide open anyway. I think this is the general purpose/travel/event lens I’ve been looking for.
It’s only slightly larger than my Tamron 17-50mm f/2.8 VC, a much loved lens on my crop sensor body. Focus is much more snappy than my Tamron, and while the 24-120 is not an all-metal build, it feels solid and very well built. Coming from the Tamron, the Nikkor’s zoom ring placement is throwing me off! It’s going to take some getting used to.
Zooming out to 120mm extends the lens barrel, just about doubling the length of the lens. Not a big deal.
So how does it perform? I’ll know for sure with this lens mounted on an FX body. Yesterday I had my D300s with me at work, so I picked Suki up in the afternoon and took a few shots of her with it last night. This is one of the first images I took with the new Nikkor:
Nikon D300s + Nikkor AFS 24-120 f/4 VR at 78mm f/5.6, 1/30 second ISO400
Did a quick test that same evening to test the effectiveness of the lens’ image stabilization:
Nikon D300s + Nikkor AFS 24-120 f/4 VR at 120mm f/4, 1/8 second ISO800
This is hand-held at a full frame equivalent of approximately 180mm, at 1/8 of a second. Guess the VR works! Well, that’s all I got for now. Will be taking this lens on a trip next week and hope to use it extensively for about a week. We’ll see how it does!
UPDATE: Just shot a wedding over the weekend and used the 24-120 f/4 on a D700 for many of the images. Loved the result! Check out the post here.
Also, see some casual shots I took in NY with it here.
UPDATE (11/9/10): Just read a killer review on the 24-120 f/4 by Todd Owyoung, an awesome concert photographer. Lots of sample images as well as pictures of the lens itself. He has a lot of great things to say about the lens. Check it out at this link!
UPDATE (11/14/10): Used the 24-120mm f/4 today for some on-location portraiture. Check out my latest post!
UPDATE (11/29/10): Legendary wildlife photographer Moose Peterson loves his new 24-120 VRII, check out what he has to say about the lens at this link.
Lens Images: Nikon D40 + Nikkor AFS 50mm f/1.4G
This past weekend after our week 30 photo shoot, we relaxed at a nearby park with Suki, the camera, and my favorite coffee ever. I mentioned this in my previous post, but the above image is a good example of how you can make your subject appear larger than they are in real life. I shot this photo from a position much lower than Suki’s, and with my lens racked out to it’s longest 300mm focal length, which increases her prominence in the frame.
That morning we actually ran into two other Shibas! One was a red one like Suki. The other, named Akahi, was black with some sesame mixed in:
They were perfect for each other! At one point I couldn’t help but whip out my phone and get a clip of them playing:
This is HD video from the iphone 4 (change the resolution to 720p above for best results). If you look closely you can see that Suki is actually on leash when she takes off after Akahi. Towards the end of the clip you can see that my wife loses her grip on the leash and Suki just bounds away, dragging the leash along the grass. So funny =)
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/25 second ISO800]
This happened a little while ago, but I’ve been so busy that I haven’t had a chance to post about another of my wife’s recent performances. She spent some time this year training at the Jazz School in Berkeley, California. The training included a performance at the school’s Jazz Cafe, where she had the opportunity to put on a show in front of a full house, together with three very talented instrumentalists.
I roamed around with my latte in one hand and camera in the other, snapping away as the performance continued:
[ Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/2.8 1/40 sec ISO1600]
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/50 sec ISO1600 ]
[ Nikon D300s + Nikkor 35mm f/1.8G at f/2 1/160 sec ISO1600 ]
Bridget sang two beautiful jazz pieces!
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/60 sec ISO800]
Some other people sang too, but I didn’t come for them😉
[ Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/2.8 1/30 sec ISO1600]
The crowd actually goes way farther back than I’ve shown here. It was packed inside! Many in the audience were friends and family that showed up to support Bridget’s portion of the performances.
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/20 sec ISO800]
I’m always all for my wife pursuing her love of music whenever she can. I know that in photography, you gotta keep shooting to keep improving, and it’s important spend as much time as you can taking the kind of photographs that you enjoy taking in order to keep your passion for the craft alive. Same thing in the art of music it seems. Bridget seems to get better and better with every performance. One thing is for sure: wherever and whenever she performs, I’ll be right there with her, camera in hand.
Found an optical defect in one of the inner elements of my Tamron 17-50mm /f2.8 VC a couple weeks ago. As soon as I discovered the problem, I shipped the lens over to a Tamron service center. I promptly received notice from Tamron that the issue would be repaired under warranty, but I’m still waiting for the lens to return. At first I thought I’d have a real tough time without the lens, but I must say that so far, I don’t miss those mid-range focal lengths very much at all. I think it’s because the 17-50mm range just doesn’t give you a whole lot of control over the perception of space and distance in a photograph.
I usually like to either expand foreground and background elements using an ultra-wide lens, or compress the foreground and background using a long telephoto. An example of the latter is seen in the image above. Shot at 165mm, you can really see how compressed the elements in the frame are, giving Suki a really powerful presence in the photo. In contrast, check out a similar image shot at 78mm:
See? Not quite as dramatic, right? Even Suki is disappointed, as you can see by her facial expression. Now if you really want to isolate your subject from the background, try an even longer focal length:
Same location, only with my lens at 280mm. The background gets so compressed at this focal length that it becomes unrecognizable, which completely isolates Suki in the foreground. This is the kind of creative control that a telephoto zoom lens can give you. So the next time you’re out taking photos, think about what you’re trying to accomplish before you start rotating that zoom ring. Are you zooming because you’d rather stay in one spot instead of moving closer to your subject, or are you trying to alter the perception of space and distance in your image? It’s almost always best to consider the latter first.
Ok, so it’s not that I don’t want my Tamron 17-50 anymore. It’s usually the lens I grab first if I have no idea what I’m going out to shoot. But I know now that I can definitely live without that focal range.
Camera Specs: Nikon D300s + Nikkor AFS 70-300mm f/4.5-5.6 VR
When I first started Suki’s 52 week project this year, I tried my best to have a very specific concept in mind for each image, planning each shot as meticulously as I could before we even headed out the door. I’m nearly halfway through the project now, and I’ve learned that having a plan is not always the best way to get a great shot. Reminds me of what Jay Maisel, a highly regarded NY based photographer once said:
“Not knowing what you’re going to shoot is the great adventure. If you go out knowing what you’re going to shoot, the great adventure is gone. Most people work to have a plan; I’ve worked to not have a plan for shooting when I go out.”
I love this advice, and I’ve done my best to incorporate the principle behind it not only in my 52 week project, but in my photography in general.
Nowadays, the only planning I do when I go out to take a photo of Suki is deciding the location. Once we’ve settled into a spot, I then start scanning the area and coming up with ideas. It forces you to be observant, to look intently for interesting compositions, lines, and light. Instead of locking down on a specific plan, you find yourself exploring with a free and clear mind, and exploration and adventure is what makes photography great.
My best images of Suki this year are the ones where no planning was involved, where I’d just say “hey, let’s go to [insert location here] and try to get some sort of shot of Suki.” The images you see in this post, for example, are from a series I shot of her last Sunday during an early morning stroll. No plan involved. Just me, some camera gear, and a Shiba Inu. We walked and walked until I saw an element of the environment that struck me. It’s a great way to approach your photography. Just make sure you always have your camera with you!
My Favorite Lenses
So lately I’ve decided that my two absolute favorite lenses in my bag right now are…..[drum-roll]…. The Nikkor 70-300mm VR (used in the top image) and the Tokina 11-16mm f/2.8 (used in the third photo from the top). Yup. My longest telephoto and my widest wide-angle. Both allow me to greatly exaggerate the perception of distance in an image. Want to really add some impact and dimension to your photos? Move further away from your subject and rack out your telephoto lens. Using an ultra-wide? Move in super close to your subject. Experiment and see what happens!
1st image: Nikkor 70-300mm f/4.5-5.6 VR, 260mm f/8, 1/400 second, ISO200
3rd image: Tokina 11-16mm f/2.8, 11mm, f/16, 1/320 second, ISO200
CLS triggered SB-800 + SB-900 used in both images
I recently watched a video that involved Photoshop guru Scott Kelby spending a day with Jay Maisel, a highly regarded photographer who lives in New York City. They explored the streets of Manhattan all day, cameras in hand, and Jay shared his extensive knowledge and experience the whole way through. I loved seeing such an experienced photographer talk about his methods and thought processes while out creating photos on the street. Seeing the way he interacted with people in order to get natural photographs of complete strangers was also a real treat.
There were tons of great points on improving your photography that Jay expounded on during the photo walk, but a few of them really stood out for me.
For example, he said that one of the greatest ways to improve your photography is to practice it regularly, daily if possible. This involves committing yourself to carrying a camera with you at all times. He mentioned that if the camera is with you, you’re improving your skill even if you don’t use it. How? Your awareness of your camera causes your eyes to search for interesting subjects while you’re out on the street, which helps hone a a key skill for a photographer: his or her ability to observe, anticipate, and react to what happens in an environment.
Another point I appreciated is that photographers should be more concerned with “picture quality” instead of “pixel quality.” He encouraged the use of high ISOs out on the street, even in relatively good light. Why? It keeps your shutter speed high, and gives you the depth of field and bracketing flexibility needed for capturing good frames in a highly dynamic environment like the streets of New York. Basically, it helps you “get the shot.” Sure, lower ISOs give you technically cleaner images, or better “pixel quality,” but our aim as photographers should be, once again, the “picture quality.” After all, what’s the point of a cleaner image if it’s blurry or you couldn’t nail the exposure? Jay typically shoots at ISO1600 on his Nikon D3 when out on the street (yes, having a D3 helps).
His lens of choice? The bargain-priced Nikkor 70-300mm f/4.5-5.6 VR. Does it matter to him that it’s not the sharpest, fastest, highest performing glass in Nikon’s lineup? Nope. He chose this lens for the photo walk because of its smaller size, lighter weight, and wide focal range. A good example of choosing an appropriate tool for the job.
As they roamed the streets, Jay demonstrated how highly tuned and focused his photographic eye is. He was catching moments, shapes, colors, and compositions in the environment that Kelby wasn’t even aware of. It really inspired me to get out and try exploring my own neck of the woods and looking for interesting things to photograph with these new points in mind.
So, on a day off last week and after having lunch with the wife out in the city, I started walking the neighborhood with my camera. I brought along a single lens (the 70-300), and slowly explored the neighborhood. Check out the gallery above for a sampling of what I came back with that day. Not really the best images I’ve ever taken (and WordPress degrades the quality on these unfortunately), but I had such a fulfilling time out there that I’m anxious to head out again for another photo walk and to continue developing my skills. I just wish I had more time!
In other news, I just found out that Adobe Lightroom 3 is officially out of Beta and available for download! It’s got great new features and runs much faster than before. If you’re a Lightroom user, you must check it out!