Archive for October, 2011
Battle of the High End Portrait Lenses: Canon 85mm f1.2 L vs Sigma 85mm f1.4 EX
Sigma 85mm f1.4 at f1.4 1/640th iso 125
Previously we did a quick test with the Sigma 85mm f1.4 EX and the Canon 85mm f1.2 L. Before that, we compared the Sigma lens against the more affordable option in Canon’s lineup, the 85mm f1.8. Eventually, I was able to bring the two lenses out into Central Park for a quick portrait session with Kathy. The results? You may be surprised.
EXCLUSIVE Hands On Review: Shooting a Party with the Fuji X10
At Photo Plus Expo 2011, we got our first hands on experience with the newly announced Fuji X10. Marketed to the world as a point and shoot with phenomenal image quality due to a larger sensor while maintaining stunning good looks the on the outside, the Fujifilm X100 gives design cues to the Fujifilm X10, but targeted at a different price point.
On the second night of Photo Plus, I attended a party (one of many) where after a couple of rounds, I tried out the X10 with a flash mounted on it. Shooting all JPEGs and with the only intention being to have fun, did the Fujifilm X10 surprise me?
Useful Photography Tip #2: How to Save a Mixed Lighting Shot in Post-Production
Mixed lighting photo unedited
As a follow-up to my post on coping with mixed lighting while shooting, here is a way you can save an image where you didn’t get it right in-camera. There are many different ways of doing this that take varying amounts of time, this is just one way to do it and a pretty quick one.We’ll use this image as our test:
You can see that the majority of the image is quite yellow from the incandescent lighting at the event, but there are blue reflections in the platter from the flash as well. There are other issues but for the tutorial let’s just focus on those two obvious problems.
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Useful Photography Tip #1: Lose Unwanted Glare With a Polarizing Filter
Glare on table without polarizing filter
Glare is caused by diffused reflection (as opposed to direct reflection). While there are techniques for eliminating this with proper lighting, sometimes that’s not possible. Other times the glare is on a secondary object such as a table when the primary object is already lit exactly as you want. An inexpensive addition to your kit which can solve this problem in seconds is a circular polarazing filter. A 52mm filter runs about $20 and larger ones aren’t much more. Just place one on the front of your lens and rotate it till the glare disappears, and in seconds you have a better photo. Here are two photos, one without and one with a polarizing filter attached.
With polarizing filter
Other Uses for a Polarizing Filter
This is not the only time a polarizing filter can help your photos. It will also add color to washed out skies, reduce haze and other uses. When working in a studio keep in mind you will lose approximately one stop with this filter attached so adjust your metering accordingly. If you’re metering through the lens your camera will make that adjustment automatically.
To find out which thread your lens requires, look on it for an ø followed by a number – that’s the size filter you need. My Nikon 50mm f/1 says ø52 and my Tamron 28-75mm says ø67. Then get the right size circular polarizing filter for your lens.
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Coping With Mixed Lighting As a Photographer
Mixed lighting refers to an environment that is lit by multiple light sources that have a different color temperature. It could be fluorescent and incandescent, incandescent and flash, natural light with incandescent or any other combination of lighting, and if you’re really unlucky there could be three or more color temperatures in one place. It can be one of the biggest challenges in photography and mishandled, it can ruin a photo that is great in every other way.
While there’s no definitive answer to this problem, there are some guidelines that can help. Here are some things to keep in mind, which I’ve ordered by my usual priority list from most preferred to last option.
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Review: The Profoto D1 Studio Kit 500/500 Air
Sometimes our readers ask for us to review higher end gear. With that in mind we decided to test the Profoto D1 Studio Kit 500/500 with Air. It’s fairly undisputed that Profoto is the best-of-breed for studio lighting and chances are pretty high that if you walk into a professional studio and rent their gear you’ll be handed Profoto power packs and heads. They’re reliable, consistent, fast, durable and include every feature the demanding professional expects. They’re not as well known for their more portable monolights, so how let’s see how they stand up.
Note: A rep from Profoto just read my article and sent some corrections and clarifications. Edits are in bold.
