More intuitive composition with eye-focus of mirrorless cameras
Continuing on a topic we have discussed here before: a strong advantage that mirrorless cameras have over DSLRs – how Eye-focus makes Composition more intuitive. When I reviewed the sequence of images while photographing a wedding recently, where the bridesmaids were helping to lace up the bride's corset, the composition immediately stood out for me -- all the elements just came together. A bit of luck ... and being ready.
The composition really hangs together, because the bridesmaid in the center is framed by all the Read more inside...
Sony recently released the Sony FE 12-24mm f/2.8 GM (B&H) lens, as a wider aperture companion to the highly regarded Sony FE 12-24mm f/4 G (B&H) which has been available for a while now. While ultra-wide zooms in the 16-35mm range is common-place now, lens makers have been pushing the boundaries with even wider focal lengths. Ultra-wide lenses, and specifically ultra-wide zooms are of particular interest to landscape photographers and architectural photographers.
The rectilinear look creates optical distortion to Read more inside...
Advantages of mirrorless cameras - Eye-focus & Composition
The more I work with mirrorless cameras, and get familiar with the difference between using a DLSR and using a mirrorless camera, the more I appreciate the advantages of a mirrorless camera. And I feel like I'm struggling less with the quirks of the system. In a previous article I listed the main advantages of Mirrrorless cameras over DSLRs, but there is another advantage that I have found really valuable - how intuitive eye-focus can be in fluidly changing your image Composition.
Before the magic of eye-focus, when Read more inside...
Photographing events like weddings, and in this case, Bar / bat mitzvahs, I bring a big roller case - the Think Tank Logistics Manager 30 (B&H / Amazon) - with several cameras and lenses. At the moment I straddle Nikon and Sony. As much as I love the Sony A9's eye focus capabilities there are some situations where the Nikon D5 is the beast that I can rely on. It so rarely doesn't deliver with precision. I bring a range of lenses - a mix of f/2.8 zooms, and several fast primes. (I have a self-imposed rule that I Read more inside...
During a chance connection at WPPI photography convention in Vegas, Lupita and I struck up a conversation ... and later that evening we ventured out on the Las Vegas strip for a few late night portraits. With a fast prime lens - the Sony FE 135mm f/1.8 GM lens (B&H / Amazon) - we were able to use just the light on the part of the Strip we explored. Here are a few of my favorite images.
It's always an adventure using random available light like this -- there is such a wide range of nuanced shades of colors Read more inside...
Electronic / silent shutter of the Sony A9 / A9ii vs Sony A7iii / A7Riii
Both the Sony A7iii and Sony A9 / A9ii offer a silent / electronic shutter. Just like the Nikon Z6 and Z7 and Canon EOS R. But there are specific differences which might affect your decision about which camera best suits your needs.
What sets the Sony A9 (B&H / Amazon) apart from any of the other cameras mentioned, is that it is very resistant to banding in some artificial lighting. The sensor readout is (as far as I can figure out) 1/160th of a second, while it is 1/40th for the Sony Read more inside...
The 135mm focal length is super for getting more reach than 85mm or 100mm would, but still keeping the lens to a smaller size. While the smaller size is nice, it was the fast aperture was what I really wanted. That the lens is super-sharp is an extra bonus. The Lens Rentals review has this as "This is the sharpest lens we’ve tested. Period." That says something!
The first thing to notice about this lens is the fast f1/.8 aperture. Even though I mostly use a 70-200mm f/2.8 lens for events and headshot photography, there are times where I need that Read more inside...
Event photography where you are photographing speakers at the event, can be challenging in its own way. The problem with taking photos of presenters, especially if they are animated, is that you have to take a LOT of photos to get a few where they look good. You don't want to give your client any photos with awkward expressions. This means you have to take so many photos just to get a few keepers. But shooting a ton of photos with flash becomes intrusive after a very short while. I therefore prefer to do the majority of photos of speakers at events, Read more inside...
Tips for posing your subject during a photo session
Too often, when I am being photographed, I notice one major flaw in how the other photographer interacts with me during the photo session -- they lose connection. They will take a shot, and then spend too long checking the image. Then after that, every other shot is interrupted by looking at the playback screen. Not only is it annoying to the person being photographed - the continuity is lost.
Using this photo of Rozalinda as an example - while she looks magnificent, and is supremely easy to pose and interact with, it depends on Read more inside...
Direction of light - Using available light in the studio
This striking portrait of Rozalinda was lit by big window light in the studio. In using light - whether studio lighting or available light - you need to consider the direction of the light. You need to figure out how you want to place yourself and your subject in relation to where the light is coming from. Your own position in relation to the light and your subject, will significantly change the way the light appears on your subject. Check this article for an example: Change your position, change the direction of light.
With Read more inside...
