Imagine coming to the gate at the airport and the staff forces you to check in your camera bag. There is thousands of dollars’ worth of gear, and checking it in means it can get lost or damaged. We recently covered the story Michelle Frankfurter shared, claiming that American Airlines lost her $13K worth of gear. Inspired by Frankfurter’s story, Matt Granger shares two ways you can avoid checking in your camera bag at the airport.
Since Sony started to produce their range of mirrorless cameras, we’ve seen a mass exodus of DSLR shooters making the switch. The overwhelming majority of them have come from Canon. While a few Nikon shooters have made the switch, many of them haven’t. Canon users have had one big advantage, though. The array of reliable lens adapters that let them keep using their Canon glass.
For Nikon shooters, this option hasn’t really been there. There are few adapters, but most haven’t been very good in the past. And switching to another brand is an expensive move that a lot don’t want to risk all at once. Now Nikon shooters have a few more options, though, and Matt Granger puts three of them up against each other in this video to figure out which is the best.
Back in November 2017, Leica announced a super-pricey Noctilux-M 75mm f/1.25 ASPH lens. The $12,795 lens should start shipping soon, and photographer Matt Granger was lucky to try it out.
Matt got the opportunity to test out the Noctilux-M 75mm f/1.25 ASPH, as well as another unreleased Leica lens: Summicron-SL 90mm f/2 ASPH. He went out on a cold day in Brooklyn and shot some great portraits of Stephanie Pham. In this video, he shares some of the photos, as well as his impressions of the lenses.
We know that the Nikon D850 autofocus system isn’t that great for video. This wasn’t really going to be much of a surprise. But it seems that it’s not as quite good as it could be when it comes to stills, either. The Nikon D850 autofocus is the same as that found in the flagship Nikon D5. And while the D850 does seem to outperform just about every other Nikon out there, it can’t keep up with its big brother.
Matt Granger felt that he was missing more shots with the D850 than he was with his D5. So, he puts the two to the test, side by side in this video. With the assistance of a 4th dan taekwondo black belt subject, Matt sets to work pairing the two off against each other.
The topic of “pro gear” comes up quite often. What is it? Does it make a difference? Will clients and other photographers look at you differently if you’re not using it? The short answer is “probably not”. It really just depends on whether the gear you’re using delivers the results you need.
In this video, Matt Granger talks about what “pro gear” means to him, and what he believes it should mean to you. As far as he’s concerned, there’s no such thing as professional gear, just gear that professionals use. And, for the most part, I don’t disagree.
Grays of Westminster is known around the world as the place to go for high end collectable Nikon gear. They house some of the rarest examples of Nikon’s history anywhere. They also probably have more of it than anybody else. As one of the few independent camera stores left, it’s worth visiting if you’re ever in London.
For now, though, you can see Matt Granger taking an up close and personal tour with some extremely rare and special cameras. As a special treat, Matt got to talk with founder Gray Levett about Nikon’s history. They also discuss how some of these rare cameras are discovered in the strangest of places.
The fact that the depth of field varies depending on focal length seems pretty straightforward, doesn’t it? Matt Granger however says that wide angle lenses don’t necessarily have a smaller depth of field when compared to longer telephoto lenses:
To understand any of this, you have to know what depth of field is: (Yes, this is very basic) Depth of field is basically the depth of your image that is in sharp focus, it is usually about 1/3 in front of your focus and 2/3 behind it.
In his video, Matt conducts a test to prove his point: He takes the same shot with the same framing and only changes the focal length and the position of the camera. The aperture was kept the same – f/2.8 – throughout the shoot. Of course when changing the focal length of your lens you’ll have to physically move the camera if you want your final result to have the same crop.
Here are the results: