The shot above can be found in higher resolution here.
With the increased High ISO capabilities of even entry level cameras astrophotography has become available to almost anyone. But if you want your files to show low noise and high dynamic range – or you want to print big – it might be worthwhile using some of the techniques I am going to show you in this article.
For decent Milky Way shots you need really good conditions – which don’t come often – and a good location. Regarding the latter I decided to go for the Dolomites in Italy, so I followed the weather forecast for quite some time and one weekend the conditions were finally said to be what I needed, so I decided to go there and challenge my luck…
When I decided to use only my 45-years-old Minolta MC 1.7/55 in February I had only one basic idea: I wanted to get out of my comfort zone because I know that I improve my skills much faster in anything if I can’t rely on my routines. And I guess I was also curious how I would fare without all the fancy gear I normally use.
During the project I tried to take pictures everyday and I also created additional challenges for myself: One day I only allowed myself to take 5 pictures and on another I had to photograph in conditions I had little experience in.
The shape and appearance of sunstars is very important for landscape and architecture photographers. For some of them, they are even a defining element in their photos. Sunstars can appear around strong point light sources under certain circumstances, in this article I will talk about how to get them and how certain lenses (being more specific: number and shape of aperture blades) can influence their rendering.
I am a gear head. How do I know? Because I own about a dozen normal lenses.
Usually I enjoy the choice I have but I was asking myself what would happen if I had no choice and could use only one lens for a whole month? There is only one way to find out and so I decided that I would limit myself to the Minolta MC Rokkor 1:1.7 55mm which is 45-years-old and cost me $25.
When I started the project I was curious how it would affect my photography. I have always progressed the fastest when I was outside of my comfort zone and I expected that this project would give me many experiences outside my comfort zone.
In this post I will recapitulate my experience so far.
Day 1: Black and White
On day one I decided that the lens alone wouldn’t push me outside of my comfort zone enough so I decided to give myself additional challenges each day which would make the project more interesting.
For day one this was photographing in black and white only because color is usually essential for my pictures. I think it worked quite well as did using 55mm for zoo images.
On the Easter weekend 2016 I was rather spontaneously visiting famous Cinque Terre in Italy. The weather forecast was quite alright, but as I was only on a two night stay, I had very limited time (and blue hours) so I had to make the best of it…
Better late than never: We wish all of our readers a great and succesful year 2017! Thank you for reading our blog and for all your contributions and comments. This is our retrospective conclusion of the favorite images that we took in the passed year.
2016 was a very eventful year for me. Not all of those events were pleasant but photography was always a great compensation even in stressful times.
The blog is more about gear than about photography and I view my obsessions with gear and photography as two more or less separate hobbies of mine but it is also a pleasure (most of the time at least, the G 4/70-200 review which has been in the making for months now has been very frustrating to so far ;)) for me to discover new lenses, to share my experiences and to receive the great feedback I get here.
In early 2016 I also made the lucky decision to invite Jannik and Bastian to join the team of this blog. In them I have found two soulmates who are as crazy about lenses as I am. Behind the scenes we constantly discuss gear, photos and articles which is a great source of motivation. And of course both have since then written many well received articles and together we can bring many more lenses to your attention than I could alone.
When I took this picture in late August I was working all day on some papers for university, so after many hours behind the desk some sport and photography was well earned.
In the Bag
I packed my small camera bag* with the lightest lenses I could find in my cabinet: a Olympus OM 3.5/28*, Zeiss C/Y 1.7/50* and Olympus OM 2.8/100.* Since I had some strenuous cycling before me I didn’t want to carry any unnecessary weight and I knew that I could capture about anything with this little setup. Of course one is always a bit limited by just three lenses. But I think it is a good exercise to be limited and to be out there is much more important than to have the absolutely best gear anyway.
Hi Jannik, can you tell us a little bit about yourself and why you use manual Lenses?
Jannik: I am an automotive engineer from Wolfsburg, Germany. I started out with an Sony Alpha 200 in 2008 but I discovered photography as my passion when the first Sony A7 came out. I preordered it and was fascinated by the ability to revive all the legacy lenses, that were “dead” for a long time. My first manual lens was a Canon nFD 1.4/50 which was an eye opener for me. At this time, I only owned the Sony FE 3.5-5.6/28-70 kit lens and I was never really satisfied by it. The sharpness and the creative potential of the fast aperture combined with the bargain price (50€) were amazing. I added lots of Canon FD lenses soon and started to discover other systems like Olympus OM and especially Contax/Yashica as well. With some experience, I found the different rendering styles of specific lenses and I am happy that I can choose between several lenses depending on the look that I want to create.
Hi Bastian, can you tell us a little bit about yourself and why you use manual Lenses?
Bastian: I am a bridge engineer from Germany and my lovestory with manual lenses began with the 50mm 0.95 Mitakon and the 12mm 5.6 Voigtlander used with the Sony A7. I couldn’t believe it being possible to get consistently sharp results with a lens like the 50mm 0.95 after I have so badly failed using an Ai-s Nikkor 50mm 1.2 on my D800 (which was even equipped with an EG-s focusing screen). The 12mm 5.6 on the other hand was a total relief in terms of size and weight and so I was hooked. Right now I have sold almost all of my Nikon gear. If you are curious you can read the whole story here: my transition from Nikon to Sony.
It is also a matter of fact that by the time I was using manual lenses I realised I don’t need AF for most of what I am doing and so today I am confident enough to even shoot weddings without AF lenses.