Back in February, we posted about Xitek’s testing of the highly anticipated Sigma 50mm f/1.4 Art lens. Against the $4000 55mm Zeiss Otus, Sigma came out on top in comparisons and shocked almost every photography blog out there. Today, however, DxO mark put both lenses up against each other and it seems from their end that the Zeiss Otus hasn’t been ousted just yet.
So if you were getting tired of the 4K parade that’s been so prevalent at the NAB show this week, here’s a post that’ll be worth looking into. Thursday was a big day for lens announcements, with three main entries into the competition.
We all love a photo that tells a story. In stories we talk about sub plots. Subplots can relate to the main plot and enrich in it many ways.
It can prelude the main plot and help create emotional attachment to the characters. It can contradict the main plot and provide irony. It can resonate with the main plot, making its point stronger.
In photography we have subject and background (or far plain). The background can relate to the subject, in similar ways that a sub plot relates to a main plot.
To illustrate that point I decided to use images with shaped bokeh.
Here is an interesting question – please hit me in the comments with your answer - Where do you put the lens cap when you are shooting? (My answer at the end of the post, if you care).
I use to lose them all the time, which was no biggie. Then Nikon started to ship their lenses with fancy lens caps and losing one cost an arm and a leg. (OK, really just a finger nail, yet…).
What we never did before is to convert some headlight to macro tilt-shift lens. Till we got a mail from David Koch, that is. A mail with a precise prescription.
Look at the picture on the top from Gilad Ben Ari. Click on it to really see it larger.
Something just does not add up. There’s a noticeable blur on the red in the bottom half of the image. I asked. It is not photoshopped. I’ll say it again. NOT PHOTOSHOPPED.
Take it as an exercise; try to think what makes the blur before reading on.
UPDATE: Pat Joyce jest released a complete set of instructions for this mod.
It happened to all of us. At one point or another our beloved glass falls on the floor and dies. (Yes, by glass I mean lens – we’re trying some hard photo talk here on DIYP).
If you had a UV or Haze filter on the lens glass, you may have protected it from any minor damage. If you tried some camera tossing and missed, you’d better collect your insurance money. Or waitaminute. As Miracle Max would say the lens may only be mostly dead.
I was leaning towards the 1.8 (AKA sharpy) and your strong response helped me to make up my mind. So first of all – thank you all for some great advice.
After a few months with this lens, I would like to share my experience with the lens. Now, don’t expect a Ken Rockwell kinda review, Ken does this much, much better then I can. Instead, I’d like to talk a bit of the general experience that I had with the lens.
Long while ago I published the Create Your Own Bokeh article which was one of the most fun articles this site has seen. I then followed up with some of the uses of this technique and DIYP Flickr pool had a fine hour with great and creative images that used this trick.
One of the questions that keeps popping us is “can you give some more details instructions on the process of making this this filter?”
The following article is a guest post by Dwight Duckstein.
I purchased a used Nikkor 70-200mm, 2.8f lens – the old style that didn’t have a tripod ring. Not wanting to spend even more money on an aftermarket ring that would interfere with the A ring, I decided to make my own. Granted, the materials cost me some change, but it is designed the way I want it, and it works. Your dimensions may vary, depending on which lens and which camera you mount it to, so I am not providing much dimension detail here.