Category Archives: The creative process

The best lenses for Brenizer / Bokehpanoramas

Introduction

bokeh panorama bokehpanorama brenizer bokehrama mechanical vignetting guide review
Sony A7s | Canon EF 135mm 2.0L | 55m f/0.81 equivalent

Brenizer or Bokehpanorama is a panorama technique to get a wide angle shot with the much better bokeh of a longer tele lens. In this article I will show you what it is all about and which lenses work best.

What is a Brenizer/Bokehpanorama?

bokeh panorama bokehpanorama brenizer bokehrama mechanical vignetting guide review
4×9 single shots before stitching in Microsoft Image Composite Editor

By using longer lenses and taking a panorama you can simulate the look of fictional, wider, very fast lenses that are not even technically possible to build.

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Making of series part 3: “Milky Valley” with Voigtlander 1.7/35

milky way astro astrophotography twan dark night stars milchstraße valley dolomites italy sony a7s voigtlander 35mm 1,7 asph ultron
Sony A7s | Voigtlander VM 35mm 1.7 Ultron + 5m PCX filter | f/1.7 | higher resolution

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…

In the Bag

As I wasn’t bound by airline carry on restrictions this time I brought a little more gear than usual. For astrophotography I carried my trustworthy Mindshiftgear rotation 180 panorama* backpack. In the belt comparment I was carrying my A7s, Zeiss Loxia 21mm 2.8, Voigtlander VM 35mm 1.7 + 5m filter and my Samyang 14mm 2.8. I also carried a very sturdy Gitzo Series 4 tripod and of course a remote trigger.

Continue reading Making of series part 3: “Milky Valley” with Voigtlander 1.7/35

Best lenses for Sunstars

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Zeiss Loxia 21mm 2.8 | f/11 | 10 straight blades

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.

Sample Images

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Zeiss Loxia 21mm 2.8 | f/5.6 | 10 straight blades
sunstar sun sunburst blendenstern diaphragm stroke 10 7 8 14 18
Zeiss Loxia 35mm 2.0 | f/11 | 10 straight blades
sunstar sun sunburst blendenstern diaphragm stroke 10 7 8 14 18
Zeiss ZM 35mm 1.4 Distagon | f/11 | 10 straight blades

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Making of series part 2: “Vernazza” with Zeiss Loxia 2.0/35

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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…

In the Bag

As usual when on a trip I was using my Mindshiftgear rotation 180 panorama* backpack. In the belt comparment I was carrying my A7s, Nikon AF-S 20mm 1.8G, review sample of the Zeiss Loxia 35mm 2.0, Voigtlander Nokton 50mm 1.5 and the Leica Summicron 90mm 2.0. In the upper compartmend I also carried a Nikon Ai-s 180mm 2.8 ED which I didn’t use once on the trip (therefore sold now).  I also carried a small Gitzo traveler tripod, a mini tripod and a few filters. With the small lenses the backpack still has some space left for water and food. Now even more, as I won’t carry a longer tele anymore…

A german version of this article can be found here.

Continue reading Making of series part 2: “Vernazza” with Zeiss Loxia 2.0/35

The Manual Photographers Series Part 0.2: BastianK

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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.

bastian kratzke sony a7rii a7s photography aspects important introduction manual lenses
Sony A7s | Nikon AF-S 20mm 1.8G | f/11.0 | higher resolution
bastian kratzke sony a7rii a7s photography aspects important introduction manual lenses
Sony A7s | Leica Summicron-M 90mm 2.0 pre Asph | f/11.0 | higher resolution
bastian kratzke sony a7rii a7s photography aspects important introduction manual lenses
Sony A7s | Loxia 21mm 2.8 | f/10.0 | higher resolution

Continue reading The Manual Photographers Series Part 0.2: BastianK