The release of the new Samyang 35mm f1.4 autofocus lens for the Sony E mount system has grabbed everyone’s attention. Owning both this lens as well as the Sony Zeiss Distagon T* 35mm f/1.4, I have been constantly asked to do a comparison review. In this comparison, I will go through everything showing the differences between the lenses.
In this article, I aim to explain what TTL is, what is does and how it can be implemented into a photographic workflow. I also go on to share my test images from a recent shoot where I tested the TTL abilities of the Godox AD600 / PixaPro Citi600 TTL / Flashpoint Xplor 600 TTL flash head. The test shots provided below show you exactly the strengths and the weaknesses of the function for a variety of situations.
I’ve wondered for a long time what it means to be an ethical landscape photographer. Sure, this field isn’t known for its wide-reaching moral dilemmas or particularly sticky situations, but the question still deserves attention. As landscape photographers, we are in a rare position to show the Earth’s most amazing places to an audience of countless people. It makes sense to me that we should do so with respect. One of the most important rules? Don’t cause harm — not in the field, and, perhaps, not even in post-production.
There is no doubting that analogue photography is on the up – or at least, it did hit rock bottom and it has bounced. But is gravity going to take hold; is it on the verge of failure again? Or is it about to break through into the mainstream again like vinyl records have? Moreover, is the huge part crowdfunding has played in this process ultimately going to be key to the success, or will it issue the final death warrant to the film photography industry?
It might seem like one of the simplest parts of photography: leveling your horizon. Most photographers want their horizons to be straight, of course, but this isn’t an area of photography that gets too much attention. And why would it? Leveling the horizon is a very easy task — right? In practice, though, it requires more care than many people think. You can’t just rely on your camera’s “virtual horizon,” or your post-processing software’s “auto straighten” tool. Our perception of a level horizon is more complicated than that.
People think that because I expect the worst and try to prepare for it, that I’m negative. That’s not it at all. I’m not a negative person; I’m cheerfully cynical. If I expect the worst and it doesn’t happen, I’m happy because things went better than I expected. If I expect the worst and it does happen, I’m happy, because I can tell everyone, “See, I told you this would happen.” So I expect the worst because that keeps me happy.
This post is a superb example of why expecting the worst is reasonable. There are all kinds of badness in this one post. There’s nothing good here at all. Well, except for Aaron’s disassembly. That’s very good. Everything else here is about mistakes.
I more than often hear landscape photographers complaining about “bad” weather and then say it’s chugging down. Honestly, I don’t know what they’re talking about. I thrive in stormy weather. Rain, strong winds, and what can sometimes be a bit of a problem, low hanging clouds – yes it’s next to nearly impossible to keep your camera dry, it’s next to nearly impossible to keep the lens clean and it requires extra energy to keep up the spirit – but “bad” weather is not bad weather, it’s amazing. For two reasons: One, you can photograph during daytime instead of hitting odd hours during sunset or sunrise. Two: And most importantly, it can create some amazing dramatic photos with a lot of atmosphere.
I’m a creative minded person and feel very frustrated when the creativity strikes and I have nothing to photograph. This was the main reason I started making these cardboard models.
I thought of all the everyday home items that could be used for creating figures. I found the boxes we used when we moved into our home are still in our garage. They had also “nice” package symbols on them which gave me a couple of ideas of the story that could be created around them and also ended up using them concretely on two of my pictures.
The use of slit scan photography is actually quite old. It is often called line-scan, photo finish, or streak photography. Slit scan photography has a rich and colorful history rooted in chemical analog photography. This technique is often used to visualize high-speed events, such as missiles and bullets, although it is probably best known as photo finish photography that is used to determine the outcome of races.
In the past, slit scan photographic systems used a sheet of film that was moved past a slit. These cameras were most commonly used as photo finish cameras at races and, for example, could very precisely measure the time one horse might have won the race by. There were a number of designs of these types of systems. One of the most interesting slit scan cameras had the camera and film moving at the same time to create a panoramic picture. The last camera on the market to use this technique was the Spinner Dolphin 360 made by Lomography.
Back in June, I was given the opportunity to test the new crazy lens by Laowa – the Laowa 24mm f/14 2:1 Relay Lens. It measures about 40cm in length and looks more like an endoscope rather than a traditional lens. While such relay lens designs are not entirely new with a few other examples in underwater macro photography, there are rarely any readily available options for terrestrial macro photography.
I only managed to spend a few hours with it during an inter-tidal shoot, and compiled some clips in the intro video here: