I have long thought about a lens that could satisfy all of my photographic needs. 10mm to 100mm Lens with 1:1 macro possible at all focal lengths, no smaller than F/1 aperture at the telephoto end, even quicker aperture at the wide end (if possible), weather resistant, lightweight, and compact. While there have been at least a few very intriguing lenses, such as the Laowa 100mm 2X, none of them have come close to being my dream lens.
The image was taken with a Rokinon 50mm lens at F/1.2. Anyone know the name of these flowers? The Rokinon 50mm F/1.2 can also take quite great images of stars, except for moderate halo effects that can be removed in editing programs- which I haven’t tried as of late, but might once the weather finally might clear up! For using the lens with extension tubes and/or reversing it, it doesn’t work great because using such methods can easily result in loss of contrast. Perhaps a close-up lens filter might work? As I might’ve already mentioned, I’ve considered selling my X-T2 along with all accessories for it (including lenses) to obtain a camera such as a Sigma FP or Panasonic S1 but have had doubts about whether it would improve anything by enough to make the extra cost worthwhile. The Sigma and Panasonic aren’t nearly as popular as the Fuji (at least according to the number of users on Flickr), but also, the Fuji can make for film simulations- something that’s not supported by Sigma & Panasonic natively.
It’s disappointing, at least to some extent, that the maximum aperture of the vast majority of lenses doesn’t go under F/1.2, but I honestly needed to work with what I had.
Long exposure and high speed photography- what do the two have in common? One perhaps overlooked aspect of these is that it’s typically impossible to combine any of these techniques with HDR; but is it?! I’ve started thinking of an idea- call it a “parallel reality” perhaps- in which HDR long exposure & HDR High speed photography is indeed possible! What’s the trick? Use identical camera setups (lens and camera) next to each other! You can do this by using a specific camera accessory, which is known as a Hot Shoe Adapter. The closer the actual sensor of one of the cameras is to the next, the more flexibility you can obtain- so mount the cameras as close to each other as possible, so to make for as identical frame (perspective) from each as is humanly possible. Set the exposure for each- the technique for doing so depends on whether you want to do long exposure or high speed photography. For long exposure photography, it’s more flexible of a technique, where you can adjust aperture (well, there are many situations where you might not want to do that, but I’m not getting into the specifics here in this post) but also ISO. For example, mount a camera on top of the other; the top camera can have an aperture set to F/2 at a focal length of 35mm, while the bottom camera (which also needs the lens to be set to 35mm!- same focal lengths must be used!) can have an aperture set to F/5.6. Also for such an example, make sure that the ISO and exposure time is the same for each camera. You can later merge the resulting under-exposed and over-exposed imagery using some type of editing program. I myself have not had first-hand experience using such methods but doing so could greatly help my explanations!
For high speed photography, the exposure most likely needs to be the same; the aperture typically needs to be the same (although it’s not quite as important as exposure staying the same). As for long exposure HDR technique, use the same focal length. Therefore, the only parameter that is left is ISO, so first try changing that- if changing the ISO is insufficient, then you can try to change the aperture, but keep in mind that the main reason why I didn’t recommend changing the aperture is because the depth of field might be different; there is also the slight issue of focus shift. You’ll most likely never need to worry about focus shift as caused by varying aperture though. Thinking more about it, it does not seem to be a daunting task, but it could easily become very expensive because multiple cameras and/or lenses are required. It can potentially become quite complex of an idea- but as I’ve already mentioned, I’ve not obtained first-hand experience with such a dual-camera setup. Actually building such a setup some day might enable me as the writer to write more concisely about this idea, to make it less complex. The idea is also quite fascinating though; it cane be used for extreme creativity-provoking projects! If you ever think of a new novel idea about what can be done using two or more cameras (not necessarily linked together), please let me know, as I’d be thrilled at the prospect of new ideas!
Also, there’s at least a chance that I can do something very relevant to this using video (image below)!
This is an infrared image of the Fuji X-T2. I’ve discovered that some of what’s black isn’t truly black across all spectrums. The black paint on the higher-end lenses of mine was indeed black in Infrared, while the cheaper lenses, such as the 7Artisans (~175 dollars) and Viltrox 23mm (~320 dollars) was silver! Goes, maybe to show that not everything is made equal, perhaps even high end cameras such as the XT2! The XT2 has been the most popular Fuji camera used by Flickr users for years now! Hopefully the camera might not depreciate in value after enough time goes by, but it might actually increase in value much like vintage cameras? There have been some times during which I’ve contemplated selling at least some of my lenses and/or cameras. I’ve been considering trading in my Fuji gear for a Sony A7RII, but of course, I don’t have even a single Sony lens at the moment- meaning that my potential switch to a marginally better camera system is arguable at best.
Much since I’ve started to do astrophotography and macro, it’s literally felt like an itch to keep practicing it!
There’s been a new lens announcement. It’s the Tamron 35-150mm F/2-2.8! I’m not a Sony ILC owner, but it seems like a truly fantastic lens. I’ve been really hoping that for the Fuji system, a Sigma ART lens could be made with such specifications! The aperture of F/2.8 of the Tamron is quite large of an aperture for 150mm of focal length! Such a lens can pass about as much light through it as a 50mm lens could at F/0.93 lens. F/0.9 isn’t the same as F/2.8 in terms of aperture, but in the example, it is accurate in regard to the exit pupil. This means that it could be a relatively great lens for lowlight photography! I’ve wanted to own a Sigma ART lens for some time, but never before had much of the chance to obtain one. Ideally, I’ve been thinking that Sigma could create a 35mm ART lens alongside (or separately from) a very bright aperture ART lens; such a set of lenses in particular could boost my photography creativity to a new level. Maybe an extremely bright 35mm ART could be enough? Probably not for my budget though.
Astrophotography generally requires a very long time- multiple hours might be needed for a single photo. In recent (modern times), the most preferred method for astrophotography of the moon has been to use video instead of photo, because a video is made up of many more frames per second than what a camera is otherwise able to achieve using full resolution photos, especially if using uncompressed (RAW) format. Over time, photography cameras have been able to achieve much faster continuous shooting at full resolution, in addition to slightly but surely obtaining better buffer times. At some time in the future, cameras might eventually be able to efficiently take many more photos in quick succession, at least if the buffer time can be improved- albeit the improvement must be very vast to make it worthwhile enough to definitively reign supreme over video-based astrophotography. Usually, about one minute or more is needed to make a video of the moon to use for frame stacking, to ensure that the atmospheric disturbances that have been captured can be processed out to a minimum; it’s helpful if the frame rate can be increased. An average video is about thirty frames per second for such use, so one minute of video is equal to about 1,800 frames. There might be currently some high end cameras of 2021 that can achieve about a few hundred RAW photos in succession in a single burst. Given this information, I’ve started to wonder something intriguing: is there a limit to which the number of frames per second becomes much less practical? For example, 240 frames per second could be a limit, as to which going with more frames per second might possibly be not practical anymore, as the amount of atmospheric disturbance to be removed might become no more. Astrophotographers specifically might find this article intriguing in it’s own right, but so should regular photographers! -It was a random and short Facebook question from an Astro group that inspired me to right this post!
Using a laser, someone blasted away the CFA in a camera ! I’ve definitely become interested! More info at https://hackaday.com/2021/08/09/using-a-laser-to-blast-away-a-bayer-array/
There are so many useful things that I could’ve checked back in the past, but has gotten to no longer be free! For example, Rtings.com, the technology review website, to be able to compare which specific electronic devices are best for specific use cases!
Once again, I’ve made some images that are quite artistic!
Each of the images is made up of multiple stacked long exposures. Each was made from the same position, making sure to keep the perspective as identical as possible. I opened some of them in Photoshop as layers. Next, I desaturated the layers, before assigning a color channel to each one- in fact, for each of these images, more than three channels were made! The multicolored “waterfalls” are in fact made of water- but instead of actual waterfalls, they are mist that slowly evaporated from the mushroom at night. The mist was influences by slight but real breezes- what you might even name as “micro breezes”; the camera in-between each image could see the change in the wind by the way that the pattern was formed differently by the flowing mist in the air. The giving off of water vapor by mushrooms can create a slightly cooler microclimate underneath the mushroom itself! Some imagination might be required, but it is in fact a very much scientific study, by the images themselves! I used the lens of mine that let in more light (had the largest aperture) than any of my other lenses; it was the 50mm F/1.2 lens by Rokinon. I wanted something- a setup- that could render the images the best way possible, so that there could be minimal image grain (image noise). In fact, it was even possible to make a video, which I should maybe post asap once I can edit it!
Fiction- it’s been rampant!
July 2, 2024
Prelude: Starlink has nothing on this: a live view Google Earth has been installed.
Last night, someone (me) presumably walked into a kayak store and overheard a general conversation: “Guy, ask about whether or not electric is clean.” Those might’ve simply been the first nine of a twenty nine set of words, but Next thing you know, by the time I heard the tenth word, I’m running like a maniac to my own room! I assumed that someone had asked about whether or not electric is clean. So I didn’t let time go to waste. I looked down at my alarm clock, which had a built-in phone charger (platform). I looked at the the sides of the phone charger platform. At that moment, as I’m about to overturn the alarm clock, my buddy Tim phones me up and says “I found a buddy on Google Earth. It’s a guy by the name of Brian Greene (Physicist from California)”. “Coordinates?” I asked. He replied with a location that was about 25.2 miles south of Thunder Bay, Ontario, and one foot east of Grand Marais. The next day, July 3rd 2024; I said that electric is as clean as the water of Lake Superior . Looking at the platform, that sounds about right. what if it wasn’t me though? what if Brian Greene said this the next day on the TV internet?!