Reviews

Landscape Photographer’s Review of Sony’s FE 16-35mm F2.8 GM II

Calvin — Fri, 05 Jul 2024 06:01:48 +0000

Landscape Photographer’s Review of Sony’s FE 16-35mm F2.8 GM II

Calvin Fri, 07/05/2024 - 11:31

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Alpha 7C II

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FE 16-35mm F2.8 GM II

SNOWY BEACH LAST GLOW, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-35mm F2.8 GM II | 19mm | 120s | F14 | ISO 50 | WB 7500K

INTRODUCTION

Sony’s FE 16-35mm F2.8 GM II (SEL1635GM2) is a full-frame ultra-wide-angle zoom lens from the second-generation G Master line. There are many improvements to its predecessor, notably the Nano AR Coating II, which helps suppress flares, resulting in a gorgeous sunstar. The lens is now more compact— 1 cm shorter in length and 130g lighter in weight. When paired with the Alpha 7C II (or Alpha 7C R), you’ll get a compact and lightweight combination, perfect for moving around and travelling.

Instead of charts and measurements, I will be showing you actual photographs that reveal the lens qualities and the final artistic creations produced using the Alpha 7C II and FE 16-35mm F2.8 GM II. The photo-taking conditions during my trips to Lofoten, Norway, and Hokkaido, Japan, were challenging but the camera and lens performed exceptionally despite enduring freezing temperatures as low as -15°C and high winds reaching up to 30 km/h at different times.

The lens has a versatile focal range from 16 to 35 mm, which is suitable for landscapes with a foreground, specifically seascapes and lakes. Moreover, its maximum aperture of F2.8 covers low-light indoor situations and astrophotography, such as capturing the Milky Way and star trails. Along with its superior optical qualities and compact design, the FE 16-35mm F2.8 GM II has become one of my favourite lenses.

LAND OF BLISS, Lofoten, Norway, Feb 2024 Alpha 7C II | FE 16-35mm F2.8 GM II | 23mm | 1/125s | F5.6 | ISO 800 | WB7000K

WHAT’S NOT EDITED

All photos in this review were taken in RAW format using the Alpha 7C II and were processed through RAW decoding in Adobe Lightroom. Sharpening was set to standard for 33MP (Amount= 70, Radius= 0.8, Detail= 70, Masking= 0). Then, I edited them in Photoshop using Luminosity Masks to achieve the final artistic effect. However, the following were left untouched:

Distortion
Vignetting
Flare
Chromatic Aberration (CA)

CRITERIA FOR CHOOSING A LENS

Technologies have advanced significantly since the 1990s, raising the bar in lens selection. For instance, flagship lenses from major manufacturers have significantly reduced chromatic aberration and improved sharpness towards the corners. Therefore, my current criteria for choosing a lens for landscape photography have since changed. Here they are in order of priority:

Sunstar and flare: Sunstar makes a landscape photo unique and special. Lenses that can create beautiful and unblemished sunstars are rare.
Distortion: Wide zoom lenses almost always exhibit distortion. The less distortion there is, the more natural an image appears. We can correct distortion in post-processing, but this may result in the expanding or compressing of the image, ultimately reducing its original sharpness.
Sharpness to the corners: Achieving uniform sharpness from the centre to the corners of an image is very challenging.
Vignetting: It refers to the darker shading in the four corners compared to the central area.
Chromatic aberration: Also known as colour fringing, it is most visible at high-contrast edges.
Autofocus: I manually focus for landscape photography and occasionally use AF when shooting wildlife in Hokkaido. Therefore, AF is the lowest priority.

BEAUTIFUL SUNSTAR WITH LITTLE FLARE

Among all the lens characteristics, achieving a sunstar effect is probably the most challenging because it depends on a combination of factors, including optical design, the number of aperture blades used, and the quality of nano coating. A sunstar is considered beautiful when its entire body is clearly defined, with long and balanced bursting light rays featuring sharp points.

The number of bursting light rays usually relates to the number of aperture blades—an even number of blades results in the same number of points. For example, lenses with six aperture blades produce a six-pointed star. On the other hand, an odd number of blades results in twice the number of points. For instance, the FE 16-35mm F2.8 GM II lens with 11 aperture blades produces a 22-pointed star. I love capturing the effect of 22 bursting light rays for landscape photography. When the bright sun is partially obscured by a mountain, 11 bursting light rays (half of 22) become visible, creating a stunning visual display. On the contrary, if you have a six-pointed star in the same half-covered situation mentioned above, only three light rays would be visible, which would look less desirable.

The quality of nano coating helps suppress the reflection on each lens element's surface, reducing the lens flare and ghosting. Sony’s second-generation Nano AR Coating technology was first used on the FE 12-24mm F2.8 GM in 2020 with great success. This high-end lens produces the most beautiful and cleanest sunstar I have ever seen. This FE 16-35mm GM II lens also benefited from the same Nano AR Coating technology, albeit to a lesser degree due to its optical design. There are still a few tiny flare spots in the photos that I have taken, but they can be easily removed in post-processing.

Note: When shooting directly at the sun, avoid using any filters to prevent introducing additional flare into the lens.

Sunstar FE 16-35mm F2.8 GM II

Detailed close-up of the sunstar before and after correction.

Here is my ranking of the quality of sunstars produced by the Sony lenses that I have used:

FE 12-24mm F2.8 GM: Simply the best sunstar effect with virtually no flare.
FE 16-35mm F2.8 GM II (reviewed lens): Excellent sunstar effect with a few flare spots.
FE 12-24mm F4 G: Good sunstar effect with bursting light rays that are not sharp. At apertures larger than F11, it creates a fan-shaped star.
FE 16-35mm F2.8 GM: Good sunstar effect with flares.
FE 24-70mm F2.8 GM II: Good sunstar effect with some flares.
FE 24-70mm F2.8 GM: Good sunstar effect with flares.
FE PZ 16-35mm F4 G: Sunstar effect with skinny and excessively long bursting light rays with flares.

RED GRASS, Lofoten, Norway, Feb 2024 Alpha 7C II | FE 16-35mm F2.8 GM II | 20mm | 120s | F11 | ISO 200 | WB 4100K

DISTORTION

Distortion is an optical error in which straight lines appear curved, either inward like a barrel, outward like a pincushion, or with complex geometry like a mustache. It differs from perspective distortion, which is the effect of near objects appearing larger and far objects appearing smaller. For example, when looking up at a tall building, we can see that the top of the building appears smaller than the bottom of the building. This occurs because the base of the building is closer to the camera. This converging effect is more pronounced at wider focal lengths and is not a lens error.

Zoom lenses are much more optically complex than prime lenses. Therefore, it is more challenging to produce low-distortion zoom lenses. Although seascapes and lakes require good distortion control to maintain a straight horizon line, I rarely capture visually compelling photos with an unobstructed horizon in practical use. Most of my photos include background subjects, such as mountain ranges, which add interest to the composition.

Alpha 7C II | FE 16-35mm F2.8 GM II | 19mm | 120s | F14 | ISO 50 | WB 7500K

DISTORTION CORRECTION OF GM II IS BETTER THAN GM

When taking photos at various focal lengths, I observed that the distortion correction of the FE 16-35mm F2.8 GM II lens is slightly better than its predecessor. The lens has an average distortion, which is most noticeable at 16mm. Focal lengths ranging from 20mm to 35mm exhibit minimal distortion. Consequently, when capturing real-life photos, I did not observe any distortion and thus did not need to correct it during post-processing for any of the images in this review.

Below is a test shot I took with the horizon before and after applying distortion correction in Adobe Photoshop.

SHARPNESS

A lens must be sharp enough to fully reveal the camera resolution expressed in megapixels (MP). As a camera's resolution increases, the lens needs to be sharper to match it. As a leading manufacturer of camera sensors, Sony has set out to create the sharpest lenses to satisfy even 100MP or higher resolution cameras. They have spent 20 years developing the XA (extreme aspherical) lens elements, which are key to taking lens sharpness to a new level. Subsequently, GM lenses were born, combining superb sharpness with buttery smooth bokeh. The GM II lineup of lenses has been further improved, making them even smaller and lighter.

The FE 16-35mm F2.8 GM II lens uses three XA elements (the previous GM version used two), improving uniform sharpness while maintaining a more compact design. Lens sharpness is one of the most desirable features for most photographers, and this GM II lens is one of the sharpest ultra-wide-angle lenses available, delivering exceptional sharpness from the centre to the corners that money can’t buy from any other brands.

Highly detailed definition of FE 16-35mm F2.8 GM II

SAKRISØY RED HOUSE, Lofoten, Norway, Feb 2024 Alpha 7C II | FE 16-35mm F2.8 GM II | 18mm | 30s | F11 | ISO 100 | WB 6600K

VIGNETTING

Vignetting is a gradual shading from the periphery of a lens to its brighter centre. This effect is most visible at the largest aperture, which is F2.8 for this FE 16-35mm F2.8 GM II lens. For astrophotography, a maximum aperture of F2.8 would be used to keep the ISO setting low, thus reducing noise. In such cases, the night sky would be completely dark, making it hard to discern any vignetting. I primarily use apertures between F11 and F16 for daylight landscape photography, at which vignetting is least visible. Therefore, in practical use, vignetting is unnoticeable with this lens unless you shoot a uniformly white frame.

Vignetting at F2.8. Compared to the middle area, the upper left and right corners do not show any noticeable difference. However, light on the lower horizon affects the light and dark areas in the two corners of the image more, making the vignetting effect of the lens less visible, even though it is present.

In the photo below, you can see that the cloud areas at the top left and top right are quite uniform, as are the snow areas at the bottom left and bottom right, compared to the middle area.

HAMNØY SUNRISE, Lofoten, Norway, Feb 2024, Alpha 7C II | FE 16-35mm F2.8 GM II | 22mm | 120s | F16 | ISO 50 | WB 6150K

CHROMATIC ABERRATION – CA

Chromatic aberration is a type of lens error where all colours are not focused precisely to the same point, resulting in the most noticeable colour fringing at contrasting edges. FE 16-35mm F2.8 GM II features an advanced optical design with one Super ED and two ED elements to suppress chromatic aberrations. As a result, both contrast and colour quality have improved, leading to perceived sharpness, as fine edge details remain clear and sharp.

Chromatic aberration, also known as purple fringing, is not visible at all, even in backlit conditions.

SUPERFAST AF FOR THE FUTURE

The FE 16-35mm F2.8 GM II lens employs four XD linear motors to provide precise autofocus, which is twice as fast as its predecessor. On a high-performance camera like the Alpha 9 III, continuous shooting can achieve speeds of up to 120 fps. This newfound autofocus performance is tremendously useful for close-up sports photography or videography.

The four XD linear motors in the FE 16-35mm F2.8 GM II lens enable extremely fast autofocus (AF), reaching speeds of up to 120 fps when paired with a camera body with high-speed capabilities.

RED CABIN BLUE LAGOON, Lofoten, Norway, Feb 2024 Alpha 7C II | FE 16-35mm F2.8 GM II | 35mm | 120s | F11 | ISO 50 | WB 7500K

CONCLUSION

Choosing the right lens for an important trip is a serious consideration for most photographers. Using an inferior lens can lead to long-lasting regret. I experienced this many years ago when I thought I had taken some great shots, only to discover later that they were technically unacceptable. Some photos had good lighting but were too soft in sharpness, while others had a sunstar effect but were ruined by severe flare. This can be a nightmare for photographers who have invested a lot of money in their trips.

After spending two months with the FE 16-35mm F2.8 GM II, I have taken over 800 photos, including shots from Lofoten, Norway, and Hokkaido, Japan. This lens has grown on me. Paired with the Alpha 7C II body, this combo has endured some of the harshest weather conditions while confidently producing vibrant and sharp photos. This lens is undoubtedly one of the best ultra-wide-angle lenses available today. In addition, it is compatible with the 100mm rectangle filter system, making it ideal for landscape photography. Below are the pros and cons of the FE 16-35mm F2.8 GM II:

PROS

Significantly smaller and lighter than the FE 16-35mm F2.8 GM.
Excellent flare control, ranked second only to the FE 12-24mm F2.8 GM.
Beautiful 22-pointed sunstar that is well-defined with only a few spots of flare, which can be easily removed in post-processing.
Lesser distortion than its predecessor; no additional correction in post is required for most of the time.

No visible chromatic aberration or purple fringing.
Excellent sharpness is maintained from the centre to the corners, although the corners do not exhibit the same level of excellence as the centre of the image.
The F2.8 large aperture is convenient for capturing star trails, while the 16mm wide angle is useful when the Milky Way is in an upright position.
You can use the standard 100mm rectangle filter system.
Super fast autofocus which supports up to 120 fps (in camera bodies like the Alpha 9 III).

CONS

There are still a few flare spots when shooting in the sun. It would be ideal if this issue could be completely eliminated, similar to the FE 12-24mm F2.8 GM. Even so, these few flare spots can be easily removed in post-processing.

MAGICAL REINE, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 17mm | 120s | F16 | ISO 50 | WB 6700K

WINDY BEACH, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 19mm | 120s | F11 | ISO 100 | WB 7500K

GREEN SKAGSANDEN, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 26mm | 120s | F14 | ISO 50 | WB 6500K

WHITE BEACH GREEN SKY, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 21mm | 120s | F16 | ISO 50 | WB 7500K

CONVERGING, Lofoten Norway, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 35mm | 1/80s | F7 | ISO 800 | WB 5500K

SNOW PATTERN, Hokkaido Japan, Feb 2024 Alpha 7C II | FE 16-36mm F2.8 GM II | 35mm | 1/4s | F16 | ISO 50 | WB 5950K

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FE 24-70mm F2.8 GM II | Shoot clear and focused images from a distance | Review by Gary Wong

Harriman — Tue, 23 May 2023 05:54:11 +0000

FE 24-70mm F2.8 GM II | Shoot clear and focused images from a distance | Review by Gary Wong

Harriman Tue, 05/23/2023 - 11:24

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Reviews

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FE 24-70mm F2.8 GM II

Video Name

World of Film 2022-2023 | Happy Taxi

Short film: Happy Taxi Day

This short film puts viewers into the shoes of Lam Kin Wah, an aging taxi driver who is lamenting over his son’s decision to immigrate overseas – taking his beloved granddaughter away from the familiarity of home, and away from him. As he reminisces in his cab, a bubbly young girl hops into his taxi unexpectedly and asks him for a ride home. The weary taxi driver reluctantly agrees, and the pair end up spending a very special day together.

Shot with the Alpha FX3 and Alpha 7S III cameras, and the FE 24-70mm F2.8 GM II zoom lens, this heartwarming drama takes audiences on an unforgettable taxi ride – and a journey that will undoubtedly leave more than a few eyes tearing with its emotional conclusion.

Dive into the mind of filmmaker Gary Wong in our in-depth interview. Learn about his filmmaking influences, challenges and ambitions – as well as the one story that he’s still mustering up the courage to share with audiences.

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FE 16-35mm F4 | Best for selfies | Review by Choi Jihye

Harriman — Thu, 18 May 2023 10:49:03 +0000

FE 16-35mm F4 | Best for selfies | Review by Choi Jihye

Harriman Thu, 05/18/2023 - 16:19

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Reviews

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Alpha 7 IV

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Vario-Tessar T* FE 16-35mm F4 ZA OSS

Alpha 7 IV | FE PZ 16-35mm F4 G | 24mm | F4.0 | 1/250s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F8 | 1/100s | ISO 160

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F4.0 | 1/2s | ISO 1000

Alpha 7 IV | FE PZ 16-35mm F4 G | 26mm | F4.0 | 1/400s | ISO 100

Memories of your travels, captured for a lifetime

Since a young age, I've always loved beautiful landscapes. This includes the seasonal flowers, buildings and architecture that showcase a country's culture. That's why on my travels, I find happiness in taking photos of these landscapes. After some time, I started to capture myself in these landscapes, and now I shoot people (and myself) harmoniously with the environments they are in.

My favourite camera is the Alpha 7 IV, and my lens of choice is the outstanding FE PZ 16-35mm F4 G zoom lens. Today, I'll take you along on my journey to Singapore and give you a behind-the-scenes look at how I captured my “Singapore Project”.

The Singapore Project: Showcasing the city to the world

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F4 | 1/2s | ISO 2000

This series was shot in collaboration with the Singapore Tourism Board. My goal was to capture the beauty of the country and give international audiences a reason to visit this wonderful location. On this journey, I snapped a collection of photos – often using myself as the subject – featuring the country's many picturesque gardens, parks and cityscapes.

Accompanying me on this trip were my Alpha 7 IV camera and FE PZ 16-35mm F4 G zoom lens. As I had planned to take many selfies and landscape shots, I also went prepared with my tripod for vertical shots. Even with the plate mounted on, I could take full advantage of the camera's swivel LCD, which proved to be very convenient.

This lightweight package was important as it allowed me to pack my outfits and props too. Weighing only 353g, the FE PZ 16-35mm F4 G is both lightweight and compact – which meant I never strained my wrists, even after full days of shoots. And the high resolution of this zoom lens was essential for capturing every detail of this city's amazing landscapes.

The iconic Changi International Airport

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | F8 | 1/100s | ISO 160

This photo was taken at the Changi International Airport in Singapore. My vision was to capture a person surrounded by a forest, so I went to the second floor for a better angle. To take an unobscured shot, I leaned on a railing and stretched my arms as far (and low) as possible, so I could capture the leaves within the frame. And to capture the flowing waterfall in all its beauty, I set the shutter speed to 1/100 seconds.

The manoeuvrability of the Alpha 7 IV and FE PZ 16-35mm F4 G proved to be valuable in this show – as they made it easy to hold the camera and shoot with one hand.

Singapore, when the sun goes down

Alpha 7 IV | FE PZ 16-35mm F4 G | 30mm | F4 | 1/2s | ISO 2000

There are many inspiring night views across Singapore, and this is one of my favourites. While the maximum open aperture value of the FE PZ 16-35mm F4 G is F4, the synergy between the Alpha 7 IV and this zoom lens provides outstanding results at night – without any clipped areas often seen in high-sensitivity shooting.

Another plus is how the FE PZ 16-35mm F4 G delivers clear, high-resolution images, without any deterioration in on the periphery of the image.

Alpha 7 IV | FE PZ 16-35mm F4 G | 30mm | F4 | 1/2s | ISO 1000

Here's another night shot that I really like from this series, and a tip for improving your nighttime selfies: To capture a subject along with the nightscape, there should be suitable lighting near your subject. In this photo, I was able to balance the exposure by placing wire lights in the shot.

For best results, illuminate your subjects with lighting that's similar in intensity to the environmental lighting. (Your results won't look as good if your lights are too bright.)

A lesson in contrasts and clothing

Alpha 7 IV | FE PZ 16-35mm F4 G | 22mm | F4 | 1/1600s | ISO 160

This is a photo of the Raffles Hotel in Singapore, which has a white building with a distinctive orange roof. For this shot, I prepared a red outfit to stand out against the building's white façade. In situations like this, solid colours are more effective than patterned clothes, as they emphasise the subject more.

As a bonus, the chiffon fabric was easily blown by the wind, giving the photo a more dramatic look. On days with no wind, you can always fly the skirt with your hands!

A gorgeous waterfall, lighting and architecture

Alpha 7 IV | FE PZ 16-35mm F4 G | 26mm | F4 | 1/400s | ISO 100

Although this photo was taken in an airport, I didn't want it to appear as so. And because the large waterfall, surrounding trees, and light coming from the patterned ceiling gave off mysterious vibes, I wanted to project this “bright yet mysterious” atmosphere onto the subject.

So, I tied up my hair in a ponytail to show off the backless dress, while putting my arms down. I wanted this shot to look like a scene from the movie “Avatar”. As the camera was quite close to the waterfall, it was hit with some splashes of water – but thanks to the Alpha 7 IV's dust- and water-resistance, I could continue shooting without concerns.

Good things come to those who wait

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F5.6 | 1/50s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 17mm | F5.6 | 1/100s | ISO 200

This picture was very challenging to take, due to the large crowds in this space. So, I set up my tripod and shooting composition in advance, then waited… and waited. After an hour, I began to wonder, “Should I just give up now?” But I persevered until I got the shot – and because of the effort put into this photo, it now holds a special place in my heart and is one of my favourite photos.

Tips for photographers interested in travel selfies

Alpha 7 IV | FE PZ 16-35mm F4 G | 24mm | F4 | 1/250s | ISO 200

Alpha 7 IV | FE PZ 16-35mm F4 G | 20mm | F4 | 1/500s | ISO 100

When it comes to travel selfies, know that if you want a good travel photo, you must choose a good scene. These two go hand-in-hand, and memorable shots often involve lots of advance preparation and effort.

Rather than simply pressing the shutter button, ask yourself questions like,

“What do I want to express through this photo?”

“What feeling do I want to convey to someone who's viewing this photo?”

Also, when looking at photos that others have taken, think about why the photographer chose this composition and why they snapped the photo at that particular time of day. These questions can lead you to interesting observations.

Of course, your equipment is very important too. I recommend choosing a lightweight and compact camera and lens combination. Personally, I feel that the FE PZ 16-35mm F4 G provides outstanding high-resolution images and zoom performance for brilliant travel, landscape and selfie shots.

Where's my next adventure going to be? There are still many countries I haven't visited, and many landscapes I'd love to explore – so I'm going to keep seeking out new, beautiful landscapes and travel destinations!

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FE 16-35mm F4 ZA OSS | Ideal for filming on travels | Review by Gift Lee

Harriman — Thu, 18 May 2023 10:10:49 +0000

FE 16-35mm F4 ZA OSS | Ideal for filming on travels | Review by Gift Lee

Harriman Thu, 05/18/2023 - 15:40

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Alpha 7C

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Vario-Tessar T* FE 16-35mm F4 ZA OSS

Creative inspirations, equipment selection

On our travels, we're at mother nature's mercy - you can check weather forecasts, but you can never really predict conditions when you reach your destination. That's part of the excitement of shooting travel videos! There is one certainty whenever and wherever I travel though - I always pack my FE 16-35mm F4 ZA OSS Lens and Alpha 7C camera.

The magic of a zoom lens on your travels

Here's a fun fact - many of my favourite travel videos were totally unplanned and shot along the way to my intended destinations. That's the magic of travelling with equipment you love. By design, a zoom lens has a variable focal length, and this gives you amazing versatility.

To tell vivid stories with your videos, having variety in your framing is key. And a zoom lens empowers you to create a wide variety of shots, without having to physically move yourself.

The FE 16-35mm F4 ZA OSS Lens, in particular, is spectacular for capturing everything I want in my travel videos - the vastness of wide-open landscapes, my subject (i.e. the main character in my video/story), and all the beautiful details that create a more immersive and believable visual experience for viewers.

My favourite shots: Behind the scenes

Scene 1: A time-lapse moonlight in Thailand (00:02)

The opening scene for this video was a time-lapse of the evening sky. Generally, the sky is pretty clear in February (the month I shot this) in Thailand, which was great for a clear shot. Also, the moon cycle was ideal for shooting between 8pm and 6am (i.e. the moonlight wouldn't affect the time-lapse shot).

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F4 | 1/30s | ISO 1600

To create an emphasis on the skyline, keep the camera low to the ground and tilt the camera up.

The focus of this shot was a tent that I pitched. At first though, the shot looked flat. So, I decided to place a lantern inside to create a more intriguing visual - and I really like how it turned out!

Behind the scenes, the star performer was my FE 16-35mm F4 ZA OSS Lens. This lens does remarkably well in low light. Although there were strong winds that shook the camera throughout the night, the FE 16-35mm F4 ZA OSS Lens's built-in Optical SteadyShot (OSS) ensured that the shot was crisp and beautiful.

Scene 2: Artistic reveal of a pine forest (00:12)

This video was shot in a pine forest, during the morning hours. One of the interesting aspects of this shoot were the many pinecones that were scattered along the ground. They added interesting layers of texture and detail and enhanced the storytelling element of the video.

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F4 | 1/50s | ISO 400

Fill the frame by keeping your camera close to your subject.

I felt that a great way to showcase the environment was a slow reveal of the forest. To accomplish this, I sat on the ground and created a tilt shot that started by focusing on a single pinecone - before slowly tilting my camera upwards to unveil a wide shot of the majestic pine forest.

Using the FE 16-35mm F4 ZA OSS Lens's 0.28M close-up capabilities, the pinecone looked sharp and in focus, while being surrounded by natural-looking bokeh. The lens features a smooth and precise autofocus, which made the transition from pinecone to forest, very fluid and natural.

Scene 3: A stroll through a forest (00:22)

This is another of my favourite scenes - a character walking through a forest. I love how wide this lens is, as it really showcases the towering pine trees and their cascading shadows they create. This scene was really beautiful in real life, and the wide angle of the FE 16-35mm F4 ZA OSS Lens captured the scene perfectly - creating an immersive visual experience for viewers.

Alpha 7C | FE 16-35mm F4 ZA OSS | 16m | F4 | 1/50s | ISO 400

To create a natural and seamless shot, stay at the same distance from (and move at the same pace as) your subject throughout the entire shot.

Scene 4: Dusty roads and a hidden landscape (00:44)

Along one of my drives, I chanced upon a unique landscape that was hidden amidst a mountain. It was a hill that was full of stones that gave the environment an otherworldly impression - absolutely ideal for storytelling in a video. I asked my subject to walk across the hill and followed her journey with my camera.

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F11 | 1/50s | ISO 125

Utilise the foreground to create a sense of depth and movement.

This shoot took place at the beginning of the country's drought season, so the environment was very dry and dusty. While these conditions can cause concerns for some other equipment, I shot was confidence with my dust-proof FE 16-35mm F4 ZA OSS Lens, which easily held up to the challenging conditions.

What made this particular scene even easier (and more fun) to shoot, was the lightweight combination of the FE 16-35mm F4 ZA OSS Lens and Alpha 7C camera - which are really convenient to carry anywhere, and very easy to handle.

Scene 5: Capturing the beauty of Mae Hong Son (00:50)

This is a popular shot as it gives viewers the impression that they're in Jurassic Park! In actuality, I shot this in Pai Lan Split, which is a tourist attraction in Mae Hong Son. Pai Lan Split is a canyon that's full of beautiful ferns, and I decided to showcase the breathtaking view with a panning shot that shows off both the detail of the foliage, as well as the awe-inspiring canyon in the background.

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F4 | 1/50s | ISO 400

To great-looking panning shots, hold the camera steady and move the camera with your body (not your hands).

Here's where the FE 16-35mm F4 ZA OSS Lens's autofocus shines! The transition between the two distances - the foliage and canyon - was handled with ease and smoothness (and without the "jumpy" or jarring transitions that can happen with some other lenses).

Scene 6: Tranquil scenes (00:35)

Here's another unplanned shot that's in my personal "top 8". I was driving past a stream and was absolutely captivated by its beauty. The depth, colours and nature textures in the scene - embodied by the rocks, stream and mountains in the background - felt like stories within stories. The environment captivated me.

Alpha 7C | FE 16-35mm F4 ZA OSS | 28mm | F11 | 1/50s | 400

Use a slightly longer focal length to compress the background in your shot.

I wanted to capture every minute detail in this scene, and with the FE 16-35mm F4 ZA OSS Lens, I could. Combined with a CPL filter, I was able to shoot this picturesque scene in high-resolution clarity, and with vibrant colours that truly bring viewers into the scene - almost as if they were standing there with me.

Scene 7: A piece of heaven, hidden on earth (00:29)

This was another hidden spot in Mae Hong Son that I had to capture with my camera. The endlessly expansive grassy hill and curved lines of the country road seemed to go on forever - making you ponder on the expansiveness of the mother nature and appreciate the world around us a little more.

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F8 | 1/50s | ISO 125

By shooting toward the sun, you can create a rim of light that can help to separate your subject and background.

Once again, this shot was taken during the drought season - which meant lots of dust adding an interesting element to the shot, and the need for equipment that I could count on in harsh environments like this.

For this shot, I used a 16mm focal length, which gave the scene added depth and immersion.

Scene 8: The Cascading Mork Fa Waterfall (00:34)

Chiang Mai (Thailand) has many beautiful waterfalls, but the Mork Fa waterfall has to be among the most gorgeous ones. When shooting waterfalls, be prepared for low-light, high-moisture situations and choose your equipment wisely!

Alpha 7C | FE 16-35mm F4 ZA OSS | 16mm | F8 | ISO 640

When shooting a waterfall, choose a time of day when there is no direct sunlight to avoid blown out highlights.

You already know my favourite zoom lens is the FE 16-35mm F4 ZA OSS Lens, and for good reason too. Not only does it take amazing photos and videos (as you've seen above), it's also moisture-proof and has built-in Optical SteadyShot (OSS), which makes it perfect for shots in locations like waterfalls and other high-moisture or windy environments.

Finding your unique inspirations

I'm mostly inspired by watching great filmmakers and video creators' work, and really enjoy going "behind the scenes" - understanding their thought processes, lens choices, and how these creators tell stories and invoke emotions through their art.

For me, everyday life can feel mundane at times - but travelling to different locales and being with nature rejuvenates and inspires me!

If you're ever feeling "stuck", maybe a helpful question to ask could be, "What brings fun, fulfilment and meaning to my life?" That's where your inspiration lies.

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FE 24mm F2.8 G | Ideal travel partner | Review by Carlinn Meyer

Harriman — Thu, 18 May 2023 09:23:49 +0000

FE 24mm F2.8 G | Ideal travel partner | Review by Carlinn Meyer

Harriman Thu, 05/18/2023 - 14:53

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

FE 24mm F2.8 G

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/2500s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F3.5 | 1/1250s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F5 | 1/320s | ISO 100

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/500s | ISO 160

The essence of travel photography

People often ask me, “What's the secret to snapping memorable travel photos?”

Personally, I always focus on capturing the essence of the place I'm visiting. However far – or near – you are from home, there are always special moments, colours and landscapes that will surprise you. As a photographer, you'll want to portray that sense of wonder and surprise to your audiences, so they'll feel like they're travelling on the trip with you.

That's why I love travelling with my Sony Alpha 7C compact full-frame camera and FE 24mm F2.8 G prime lens. This compact pairing is light enough to carry anywhere, making it that much easier to capture spontaneous moments.

Why a prime lens is perfect for travels

When I'm travelling, I'm usually on my feet for most of the day. I enjoy exploring cities on foot to really get a feel of my surroundings, and a prime lens like the FE 24mm F2.8 G is so lightweight, I almost forget I'm carrying it.

Being a 24mm lens, it also does everything I need for my overseas shots. It's great for capturing gorgeous, wide landscapes – while also performing brilliantly for close-ups with its clarity, as well as its deliciously smooth bokeh that dissolves into the background.

Precise, quiet focus
You'll see lots of fascinating subjects on your travels, but not all will be willing to strike a pose – especially those of the feathered variety! This is where the FE 24mm F2.8 G excels – when you're taking covert shots of birds, insects and animals.

Alpha 7C | FE 24mm F2.8 G | 24mm | F4 | 1/640s | ISO 125

The lens features an incredibly quiet autofocus that won't scare your subject off, even at close distances. And its sharp and fast focus makes it easy to take great shots of your subjects – even if they're on the move!

Smooth, natural bokeh
When I'm photographing food and people, I love getting up close and personal. With that said, context is important - and having the background touched by smooth and natural bokeh, gives context to the shot, while making your subject stand out.

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/800s | ISO 250

Alpha 7C | FE 24mm F2.8 G | 24mm | F4 | 1/640s | ISO 125

For portraits and selfies, I create this effect by using a wide-open aperture like a F2.8. The FE 24mm F2.8 G prime lens excels with animal portraits too, as seen in this shot with a squirrel. In this shot, I got very close to the subject to capture sharp details on my focus point – without losing the story that the photograph is sharing with audiences.

24mm lens quality
As shown so far, this 24mm prime lens lets me get really close to subjects. But that's not its only trick – it's also amazing for capturing wide shots, without losing any texture or sharpness. On your travels, you'll definitely come across situations where you'll need to get wider shots without a lot of space – and the FE 24mm F2.8 G is perfect for these situations.

Alpha 7C | FE 24mm F2.8 G | 24mm | F6.3 | 1/1250s | ISO 160

You'll really appreciate how the quality of photos taken using this lens, stays consistent in multiple situations and environments – for example, when shooting buildings in bright sunlight.

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/800s | ISO 100

Alpha 7C | FE 24mm F2.8 G | 24mm | F2.8 | 1/250s | ISO 160

Alpha 7C | FE 24mm F2.8 G | 24mm | F6.3 | 1/1250s | ISO 160

One camera. One lens. Perfect for every trip.

I absolutely love the combination of the Sony Alpha 7C and FE 24mm F2.8 G prime lens. Their lightweight builds make them easy to carry on your travels, and their compactness makes it instinctive to take out and shoot with one hand – so vlogging and selfies are that much easier and more natural.

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Alpha 7C

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VLOG

FE 24-70mm F2.8 GM II | Excellent for outdoor photography | Review by James Liu

Harriman — Thu, 18 May 2023 09:11:33 +0000

FE 24-70mm F2.8 GM II | Excellent for outdoor photography | Review by James Liu

Harriman Thu, 05/18/2023 - 14:41

Article Categories

Reviews

Body Category

Alpha 7 IV

Lens Category

FE 24-70mm F2.8 GM II

Alpha 7 IV | FE 24-70mm F2.8 GM II | 41mm | F4.5 | 1/125 sec | ISO 160

Alpha 7 IV | FE 24-70mm F2.8 GM II | 70mm | F5.6 | 1/640 sec | ISO 320

Alpha 7 IV | FE 24-70mm F2.8 GM II | 50mm | F2.8 | 1/400 sec | ISO 160

Alpha 7 IV | FE 24-70mm F2.8 GM II | 25mm | F2.8 | 1/200 sec | ISO 200

Capturing the splendour of mountainous regions, through a lens

I love doing outdoor shoots, especially in mountainous areas. That's why a lightweight combination of camera and lens is an absolute must. My preferred camera is the Alpha 7 IV. For my lenses, I previously did a lot of shooting with the FE 55mm F1.8 ZA and FE 24mm F1.4 GM – switching between the two because each lens would perform better in specific situations.

Video Name

Mountains with James Liu | SEL2470GM2

However, I always wished I didn't have to keep swopping lenses for the best results. And after years of waiting, I finally got what I wished for when the arrival of the FE 24-70mm F2.8 GM II zoom lens!

Alpha 7 IV | FE 24-70mm F2.8 GM II | 70mm | F3.5 | 1/125 sec | ISO 200

Lighting determines the success of your outdoor shots. Choose well.

I make it a point to frequently check my camera's viewfinder and display to see whether the lighting and shadows are suitable for the shot I've planned. It's important to do so, because the image your camera captures is often different from what you see with the naked eye.

Personally, I prefer side lighting as it feels like a more natural light source. When you're outdoors, the sun is always your best choice for lighting, with clouds acting as natural diffusers. When shooting in sunlight, look for side lighting angles, so your shots will look more layered and three-dimensional.

One issue you'll run into here is the constantly shifting lighting, which can be perfect one moment and off the next. This can happen so quickly that the time taken for a lens swap, could cost you the shot!

For me, I like zoom lenses that can handle my most commonly used focal lengths – 24mm, 35mm, 50mm and 70mm. This is why, since I've picked up the FE 24-70mm F2.8 GM II, I've always brought it with me on outdoor shoots.

Previously, I would've said that fixed focus lenses provided better light transparency and colour performance than zoom lenses. But that's the case anymore. In fact, I dare say that the light transparency and colour performance of the FE 24-70mm F2.8 GM II zoom lens is entirely comparable to fixed focal lenses.

What's more, Sony's RAW file format is so adaptable, it's entirely possible to fix parts of the image that have bad backlighting. This is because details are preserved even in very dark conditions.

So, I'd recommend always choosing to preserve your RAW files in your camera settings. And if a halo in the highlights looks nice, you can even consider overexposing it – sometimes, you can get surprising results by breaking the rules of exposure! (Especially with Sony's powerful RAW file format.)

Capturing motion: Recording outdoor videos

Alpha 7 IV | FE 24-70mm F2.8 GM II | 45mm | F2.8 | 1/400 sec | ISO 320

When recording outdoors, it's a great idea to think from your audiences' perspective and try to immerse viewers in your scenes. Below, I share some recommendations on how to achieve this.

Alpha 7 IV | FE 24-70mm F2.8 GM II | 45mm | F4 | 1/1250 sec | ISO 80

Whether I'm shooting people or landscapes, I like to practise using three angles (utilising different perspectives and focal lengths) and shoot at least three compositions for each project. There'll be an ideal focal length (or set of focal lengths) for every landscape you shoot – so be bold, experiment and see what works best! I think you'll be pleasantly surprised at the results you'll get from each focal length you try out.

24mm : Great for aerial scenes as you can capture everything in the environment, showcasing the entire scene. You can even create a time-lapse video with this view, showing the eye-opening changes in the environment across a passage of time.
35mm, 50mm: Ideal for shooting movement. Whenever I have the choice, I try to use a longer focal length, look for a farther composition, and look for ways to create more layers in the scene. Remember to pre-set your composition and note that in most films, there are usually only one or two wide-angle shots – so choose yours wisely.
70mm: Shooting at this focal length requires a lot of stability, so plan these shots in advance. This means conceptualising how the shot will be incorporated into the story you want to tell in your video, how the shot will be presented, and other details.

There's one more type of shot that's worth mentioning – slow motion. This is perfect for scenes that involve splashing, running, hair being blown in the wind, and more. When used tastefully, these can add texture to the film. Just be careful not to overdo this, as it may leave your storytelling and video direction feeling unfocused.

Alpha 7 IV | FE 24-70mm F2.8 GM II | 42mm | F3.5 | 1/1250 sec | ISO 160

Closing thoughts on the FE 24-70mm F2.8 GM II zoom lens

Since having the FE 24-70mm F2.8 GM II in my collection, I've adopted a "one camera, one lens" philosophy for all my outdoor shoots. I'm very happy that I no longer need to tediously change lenses in outdoor environments, especially when time is of the essence.

Now, I can focus on the environment and subjects in front of me (instead of my equipment), and snap the perfect shots at the perfect moments. This feeling of freedom is something that every photographer wishes for, and I appreciate having it.

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Alpha 7 IV

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FE 24-70mm F2.8 GM II

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ECM-B1M

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Travel

FE 14mm F1.8 GM | Shoot daily life shots conveniently | Review by Ray Kay

Harriman — Thu, 18 May 2023 07:56:18 +0000

FE 14mm F1.8 GM | Shoot daily life shots conveniently | Review by Ray Kay

Harriman Thu, 05/18/2023 - 13:26

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

FE 14mm F1.8 GM

Video Name

Daily | Main

The compelling nature of video

I started my career as a photographer and have always loved portrait shots. On my travels and in everyday life, I would snap photos of the beautiful places and people around me, writing notes in my journal while doing so. I enjoyed capturing stories in the photos I took, but always felt that I wanted to capture… more.

In 2019, I travelled to Iceland and was captivated by the amazing environments and landscapes around me. In that moment, I decided to encapsulate those memories in videos – and that's how I made my first film, "Love Youth", and embarked on my filmmaking journey.

Why I film with a prime lens

I'm inspired by lights and shadows, and am particularly captivated by the low sunlight and long shadows of the "golden hour" – where buildings, people and nature all become extraordinarily beautiful when bathed in this combination of shadow and light.

When out and about, my choice of camera and lens is the Sony Alpha 7C and FE 14mm F1.8 GM prime lens. Why a prime lens? I like how prime lenses have brighter aperture values and better resolutions than their zoom counterparts. This makes the depth of field more diverse – especially in close-up situations, where the shots become a lot more dramatic.

I'm a fan of Sony's G Master prime lenses and own almost all them, along with a few zoom lenses as well.

Today, I'll share some videography tips and use scenes from my film to illustrate the points I'm talking about. I hope you'll find these useful when shooting your videos!

Alpha 7C | FE 14mm F1.8 GM | 1/60 sec | ISO 500

Scene 1: Transitioning from indoors to outdoors

This is an interesting shot for two reasons. Firstly, it takes viewers from a dark indoor area to the bright outdoors. Second, the doorway was especially narrow – which provided a unique opportunity to showcase the two contrasting areas.

As I filmed this scene using a closed aperture, I didn't need to pay particular attention to the focal distance. This meant I was free to adjust the distance and angle to get my "perfect shot". My 14mm FE 14mm F1.8 GM prime lens enabled me to perfectly capture the subject passing through this narrow doorway, with the contrast setting the scene.

I made the scene more dramatic by using a high contrast to really highlight the shadows. Realising that the background was bright, vibrant full of textures and details, I set the aperture to 16 – and really captured as much of the scene's vibrancy as possible.

Alpha 7C | FE 14mm F1.8 GM | 1/60 sec | ISO 500

Scene 2: Motion amidst the vast outdoors

Here's another where light takes centre stage. This time, we were out shooting at 1pm, when the sun was at its highest. This scene takes place in a picturesque grass field with tall grass surrounding my subject.

To get the ideal feel for this shot, I used an infinite focus and set the aperture to 16. Here, I balanced the harmony of all the various elements in the frame, rather than only thinking about the distance of the subject and camera. This way, I could capture all the intricate details in this uniquely gorgeous environment – the grass and subject in the foreground, as well as the trees, mountains and sky in the distance.

Shooting was done at 29.9fps with a shutter speed of 1/60 – creating a beautiful motion blur, while capturing details like the grass swaying and the model's hair moving as the ran through the field. To get the full effect of how the model's motion affected the grass, I shot from low angles.

Alpha 7C | FE 14mm F1.8 GM | 1/60 sec | ISO 6400

Scene 3: Candles in the dark

This scene was filmed in an area that was engulfed in complete darkness, with only candles illuminating the environment.

This particular shot was very close to being a macro shot, with a shooting distance of only around 25cm. During these close-up shots, I set the aperture on my FE 14mm F1.8 GM lens to wide open – which created a soft and beautiful bokeh effect in the background.

In your videos, you can consider using candles or smaller lights (like Christmas tree lights) to maximise the bokeh effect and create some truly stunning shots!

Everyday videos. Not-so-everyday ideas.

Video Name

Daily | Interview

I love recording beautiful scenes, and really like using a shallow depth of field because it heightens the emotional intensity of a scene. And because a lot of what I record involves everyday life, the lightweight combination of the Sony Alpha 7C and the FE 14mm F1.8 GM are fantastic companions on my filmmaking adventures!

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Alpha 7C

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GP-VPT2BT

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FE 12-24mm F2.8 GM | Ideal for astrophotography | Review by Jay Evans

Harriman — Thu, 18 May 2023 06:01:38 +0000

FE 12-24mm F2.8 GM | Ideal for astrophotography | Review by Jay Evans

Harriman Thu, 05/18/2023 - 11:31

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

FE 12-24mm F2.8 GM

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 2422 sec | ISO 200

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

Shooting for the stars: My beginnings in astrophotography

I got my first digital camera in 2008 and was fascinated by its time-lapse feature. My first few time-lapse shots were in the mornings and evenings, but after spending hours in darkness capturing cruise liners docking in Sydney Harbour, I was captivated at how I had also captured the movement of the stars in the dark night sky.

That led me to start photographing star trails, and while I was on a remote overnight hike in the Warrumbungles, realised that my camera could actually capture the Milky Way! I was immediately hooked.

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

The stunning natural landscapes of Australia are a huge inspiration to my photography, but my passion for astrophotography truly stems from the thrill of finding a location devoid of light pollution – where I can capture natural features in a landscape, with the night sky as a gorgeous backdrop. This continually inspires me to plan, prepare and get out there!

Astro settings

Here's a quick start guide on general settings you can use to take great photos of star trails, the Milky Way and time-lapse shots.

Turn "Long Exposure Noise Reduction" off
White balance: Use a Kelvin setting of 4000
Shoot in RAW Uncompressed to maintain high bit depth for dynamic range and colour
Turn off Steadyshot/OSS (if your lens has it)

Mount the camera securely on the tripod

Astrophotography + zoom = A match made in heaven

The FE 12-24mm F2.8 GM is a sensational lens to have in your astro arsenal. Its constant F2.8 at 12 or 24mm is essential for nightscapes, letting in an extraordinary amount of light for a lens of this focal range.

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

What's more, its ultra-wide focal length easily captures a huge field of view across both landscapes and night skies. You also get outstanding versatility and flexibility when it comes to composition, being able to zoom up to 24mm to compress a scene and capture details in the landscape – without much need to refocus every time.

The lens also enables you to get creative – shooting scenes like an "exploding" Milky Way (which you can create by twisting your zoom ring while the shutter is open).

Showcasing the flexibility of a 12-24mm zoom lens

With a zoom lens, your possibilities are endless. These are just some of the many varieties of shots that you can capture with this versatile lens.

12-24mm flexibility with a constant F2.8

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

12mm

Alpha 7C | FE 12-24mm F2.8 GM | 24mm | F2.8 | 20 sec | ISO 6400

24mm

12-24mm zoom (same distance, various zoom levels)

12mm

16mm

18mm

20mm

24mm

The petrified tree of Megalong Valley

One of my favourite astro locations in the Blue Mountains is alongside a road deep inside the Megalong Valley, where a solitary petrified tree sits – beckoning to photographers who have ventured this far.

On this night, the moon was still setting as the Milky Way dropped to the west. This provided powerful lighting across the entire landscape and projected a shadow that cast a menacing image, which I just had to capture with my Alpha 7C and FE 12-24mm F2.8 GM!

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

This tree was only 3 metres from the fence line where I could set up the tripod and camera, so having the versatility of a 12mm ultra-wide focal length allowed me to shoot the scene easily – even with the tree a distance away.

When taking photos when a 12mm lens, always consider just how wide your shot will be – and check your surroundings for distractions that you may not usually notice, especially in the dark.

Pro advice: Replicating subtle moonlight
Some moonlight can be good for your nightscapes, whether it's moonlight lighting up your scene from behind, or a sliver of the moon peeking out from above or below the Milky Way. You could also use a foreground object to "hide" the moon, while it lights up your scene and creates beautiful, dramatic shadows.

If the landscape is devoid of light (making it difficult to pick out details from shadows), try using low lumen LED lighting (also called low level lighting) to replicate subtle moonlight in your composition. And if you're in a pinch, you could also get creative and use the light from your mobile phone!

Time-lapse: Capturing a landscape, over time
One of the most beautiful aspects of astrophotography is the time-lapse video, which is made up of photographs taken over a period of time. In seconds, a time-lapse video can showcase the gorgeous changes that happen over an entire night – and captivate audiences.

Video Name

Astro | SEL1224GM Timelapse

The possibilities for your time-lapse shots are endless, but these tips can help you get started:

Compose your scene: Before starting your time-lapse sequence, look at the scene, compose it thoughtfully, and consider what is likely to change, what aspect of motion you wish to capture, and whether anything may interfere with your shots (like objects entering the scene)
Take a few test shots: Check your images for focus. Check for distracting elements that might not be obvious to the eye, and check your lighting to ensure that ou are capturing details in the foreground that can be pulled out in editing later.
Set the "Interval Shoot Func.": To maintain the movement of stars and the sky in your astro time-lapse, use the Interval Shoot Function on the camera and set the interval to the same time as your exposure. This ensures that as soon as the shutter closes on one frame, it immediately opens for the next.
Once complete: Export your frames, then import them as a sequence into Adobe After Effects, Adobe Premier, Davinci Resolve, or LRTimelapse. There are plenty of online resources available on how to compile your time-lapse sequences into a final video file.
Extra motion: You can introduce extra motion in your time-lapse by setting up the camera on a tracking mount, motorised rotator or motorised slider.

The "exploding" Milky Way

With its ultra-wide angle, the FE 12-24mm F2.8 GM zoom lens provides you with plenty of opportunities to work with your composition – and in astrophotography, this versatility also expands your creative options, enabling you to take some truly unique shots like this "exploding" Milky Way!

Alpha 7C | FE 12-24mm F2.8 GM | 12<>24mm | F2.8 | 20 sec | ISO 6400

In astrophotography and nightscaping, we often say that 24mm is the smallest usable focal distance when shooting the Milky Way (before you should consider switching to a panoramic shot).

Having a full range of 12mm to 24mm and a constant F2.8 aperture (with minimal need to refocus across the entire range) gives you the opportunity to work with your composition, compress features such as lighthouses, get low and close to objects on the ground, or get high up to shoot a broad scene across the landscape.

Pro advice: Be different
When out shooting, try to capture something unique. After all, lots of photographers have captured an image of the Milky Way or a star trail, and may even have combined it with a well-known feature in the landscape.

For your astro shots to stand out, try finding something unique to capture. Think about approaching the scene from a different viewpoint, focusing on an interesting foreground subject, including some macro and bokeh stars, or simply capture a different element of the night sky.

You can also use creative techniques, like light painting tools, to differentiate your photos from your peers. Look for "unicorns" that can really jazz up your images – for example, meteors, an aurora, zodiacal lights, satellites or iridium flares. Some of these, you can't plan for – others, you most definitely can!

Captivating long exposure shots

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 2422 sec | ISO 200

Here's an example of a long exposure shot. To set up such shots, make sure your camera doesn't move for the entire duration of the exposure. You can do so by fixing your camera firmly to a tripod, and ensuring the tripod is on solid ground.

Always open the tripod legs as wide as possible to create a more stable footprint. This will help to reduce vibrations from wind, as well as keep the camera stable.

Once again, the FE 12-24mm F2.8 GM's wide angle is amazing for these shots. It offers a field of view that's simply perfect for capturing vast skies and beautifully detailed landscapes – captured with long exposure times.

Pro advice: Location, location, location!
When you're first starting out, it's good to visit locations that are well-visited by other photographers. Those make fantastic shots for your social media!

But don't just stick to these popular spots. Get out there and scout for interesting compositions. You might find new ideas when looking at buildings and structures from different angles, or you could find a wide-open view of a coastal rock formation, or more. Who knows, you may even discover a stunning waterfall that's perfectly placed for you to capture a shot of flowing water, with the Milky Way in the sky above.

There are so many interesting and unique locations out there, just waiting to be discovered! While exploring, do remember to respect the environment and private property – and always ensure you have permission to shoot at your chosen location.

The splendour of astrophotography

The breathtaking experience of gazing at a crystal-clear night sky is something often missed, especially if you live in a heavily light polluted area. But when you set out to capture the galaxy with your camera, everything takes on a whole new meaning.

These are my preferred astrophotography settings on the Alpha 7C, which you can use to get started (before finding your own sweet spot on your camera).

Don't have a remote? No worries, simply use the 2-second. But remember, the timer light on the front of the camera can cast an orange glow in someone else's photograph – so play nice by placing a piece of black electrical tape over it
Try using the Dynamic Range Optimiser (DRO) if your landscape is very dark. Remember, this only applies to JPG files – so your editing and control will be more limited, compared to having a RAW file.

RAW File. Shadows +50, Noise Reduction +25

DRO Level 5 (JPG Only). Shadows +50, Noise Reduction +25

If your landscape is too dark, you can also use a "Picture Profile". PP3 provides a huge gain in dynamic range, but at the cost of colour (gamma). However, this can be fixed (to a certain degree) in your editing workflow.
Focus Peaking can help with finding the optimum focus point of your stars – especially in wide open apertures – by highlighting stars (that you may have otherwise missed) in the focus magnifier.
Set the Finder/Monitor selection to a button. (I normally use the centre button on the dial.) This can help reduce battery consumption when shooting star trails or timelapse shots.

Enable Bright Monitoring to add more dynamic range to your Liveview. This can really help when composing a dark scene.

Use the Memory function of your camera to save your Astro setup. This way, you can switch it on a access it quickly – while also switching back to normal settings in a snap. This ensures you won't miss a wildlife shot or a family moment, while switching your ISO and exposure time back to your regular daytime settings.

Alpha 7C | FE 12-24mm F2.8 GM | 12mm | F2.8 | 20 sec | ISO 6400

As you spend time under a blanket of stars, you learn more about celestial objects found at different times of the year. You study constellations, observe how the earth's movement creates the motion we see in star trails, and so much more.

All this knowledge augments the experience of astrophotography and transforms each experience into a unique and mesmerising affair. It's an addiction that's led me to explore the world from a new point of view, while expanding my photographic repertoire with new and exciting techniques.

And I capture all this, with my trusted Alpha 7C camera, FE 14mm F1.8 GM prime lens and FE 12-24mm F2.8 GM zoom lens.

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Alpha 7C

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FE 12-24mm F2.8 GM

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SF-M64T

การ์ดหน่วยความจำ SF-M ซีรีส์ Tough

NP-FZ100 Z-series Rechargeable Battery Pack

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Astro

Travel

FE 24-70mm F4 ZA OSS | Take beautiful couple photos | Review by Miki Chang

Harriman — Thu, 18 May 2023 03:26:37 +0000

FE 24-70mm F4 ZA OSS | Take beautiful couple photos | Review by Miki Chang

Harriman Thu, 05/18/2023 - 08:56

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

Vario-Tessar T* FE 24-70mm F4 ZA OSS

Alpha 7C | FE 24-70mm F4 ZA OSS | 38mm | F4 | 1/320s | ISO 640

Alpha 7C | FE 24-70mm F4 ZA OSS | 26mm | F4 | 1/2000s | ISO 250

Couple photography: Perfect for two or three

As a photographer, I've helped many couples photograph lasting memories that they can enjoy for many years to come. However, I would sometimes wonder, “Can a couple take these photos themselves, then use the money they've saved (from hiring a photographer and makeup artist) to travel to more countries instead?”

One day, I decided to answer this question definitively. My boyfriend and I were celebrating our 5th anniversary and going on a holiday – so I brought along my Sony Alpha 7C camera, FE 40mm F2.5 G prime lens, Vario-Tessar T* FE 24-70mm F4 ZA OSS zoom lens, and a tripod.

I decided to be my own “couple photographer” and see the results! The photos you'll see below, have all been taken either by hand or with a tripod.

General tips for couple photography

Alpha 7C | FE 24-70mm F4 ZA OSS | 50mm | F10 | 1/4000s | ISO 5000

Coordinate your colours!
The basics of couple photography begins with matching your outfits. Choose a similar colour and style, or go with complementary colours to create visual harmony.

Mornings are best
Generally, the most suitable time for outdoor shoots is in the morning (but not too early) and before dusk in the afternoon, as the light is softer during this period. You'll want to avoid harsh sunlight as the colours in your photos will be affected by light that's too bright.

Get the Sony mobile app
If you own a Sony Alpha camera, you can download Sony's mobile app to your phone. It'll make controlling your shots and timers so much easier, especially when you've set up your camera perfectly on your tripod.

Expand your possibilities with zoom

The Vario-Tessar T* FE 24-70mm F4 ZA OSS zoom lens adds a level of convenience and flexibility to your shoots, as you can adjust the focal length of our lens while remaining in one spot. Also, when choosing the wide-angle 24MM, you will be able to capture more of the scene.

Alpha 7C | FE 24-70mm F4 ZA OSS | 24mm | F4 | 1/4000s | ISO 320

Alpha 7C | FE 24-70mm F4 ZA OSS | 24mm | F6.3 | 1/4000s | ISO 800

Sublime coastlines
For shots like these, choose a time closer to dusk for more beautifully coloured coasts.

Alpha 7C | FE 24-70mm F4 ZA OSS | 63mm | F4 | 1/250s | ISO 12800

Vivid indoor shots
Although we were indoors (and I could have used my prime lens), I decided to shoot these with my Vario-Tessar T* FE 24-70mm F4 ZA OSS zoom lens. The slightly longer focal length created more vivid photos, which told more compelling stories.

You can also experiment with creating distance and intimacy in your photos with your poses – or even look away from the camera if you (or your partner) feel shy about looking into the lens.

Alpha 7C | FE 24-70mm F4 ZA OSS | 24mm | F4 | 1/320s | ISO 12800

Alpha 7C | FE 24-70mm F4 ZA OSS | 24mm | F4 | 1/2000s | ISO 100

The Sony Alpha 7C and Vario-Tessar T* FE 24-70mm F4 ZA OSS zoom lens perform well in both bright and dark environments, like these!

Alpha 7C | FE 24-70mm F4 ZA OSS | 63mm | F4 | 1/4000s | ISO 3200

Alpha 7C | FE 24-70mm F4 ZA OSS | 47mm | F4 | 1/2500s | ISO 3200

Experimenting with focal lengths
One of the joys of using a zoom lens is easily changing the focal length to get different shots.

Alpha 7C | FE 24-70mm F4 ZA OSS | 70mm | F4 | 1/4000s | ISO 12800

Mobile convenience at a tap
After downloading the “Imaging Edge Mobile” app to your smartphone, you can connect it to your Sony Alpha 7C camera, which opens up a world of possibilities. Now, you can use your phone to operate the shutter, shooting mode, white balance, and other operations of your camera.

And after taking a shot, you can view the photo from your phone – and even upload it to your phone to share on social media within seconds!

Alpha 7C | FE 24-70mm F4 ZA OSS | 24mm | F4 | 1/4000s | 2000

The romance of couple photography

I set out on this trip to find an answer to my question, “Can couple photography be done with just two people, a camera and lenses, and a tripod?”

Objectively speaking, if there's a special moment that you really want to capture – a photographer can certainly be helpful, as you can get vivid photographs from more angles. Also, your photographer may capture a magical moment that happens spontaneously.

Ultimately, this is a decision that you'll have to make on your own. But one thing's for sure – by having a great camera and lenses with you, you and your partner will be able to capture a lot more of life's precious moments – so you'll have more amazing memories to reminisce on in the years ahead.

Products

Featured

Alpha 7C

กล้องฟูลเฟรมขนาดกะทัดรัด

Vario-Tessar T* FE 24-70mm F4 ZA OSS

เลนส์ซูมมาตรฐาน ZEISS สำหรับกล้องฟูลเฟรม

HVL-F28RM

แฟลชภายนอกที่ควบคุมด้วยวิทยุไร้สาย GN28

SF-M64T

การ์ดหน่วยความจำ SF-M ซีรีส์ Tough

NP-FZ100 Z-series Rechargeable Battery Pack

แบตเตอรี่แพคแบบชาร์จได้ Z ซีรีส์

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Documentary/Events

Portrait

Wedding

FE 40mm F2.5 G | Capture beautiful memories| Review by Miki Chang

Harriman — Thu, 18 May 2023 03:08:12 +0000

FE 40mm F2.5 G | Capture beautiful memories| Review by Miki Chang

Harriman Thu, 05/18/2023 - 08:38

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

FE 40mm F2.5 G

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.8 | 1/4000s | ISO 100

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.5 | 1/2500s | ISO 50

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.8 | 1/4000s | ISO 200

Couple photography: Perfect for two or three

I decided to be my own “couple photographer” and see the results! The photos you'll see below, have all been taken either by hand or with a tripod.

General tips for couple photography

Coordinate your colours!
The basics of couple photography begins with matching your outfits. Choose a similar colour and style, or go with complementary colours to create visual harmony.

Alpha 7C | FE 40mm F2.5 GM | 40mm | F2.5 | 1/250s | ISO 1600

Snapshots from my prime lens

The fixed focus FE 40mm F2.5 G prime lens is simply fantastic for close-up shots. Its large aperture captures images with warmth and softness, and the bokeh in the background is exquisite.

Alpha 7C | FE 40mm F2.5 G | 40 mm F2.8 | 1/4000s | ISO 250

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.8 | 1/4000s | ISO 125

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.8 | 1/4000s | ISO 200

Also, its lightweight lens is easily manoeuvrable, even with one hand. Check out this single-handed shot I took while riding a scooter in Hengchun.

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.5 | 1/2000s | ISO 100

So, what can you do with all the energy saved (by carrying a lightweight prime lens)? Walk further and explore more destinations!

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.8 | 1/1250s | ISO 2500

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.5 | 1/2500s | ISO 12800

Alpha 7C | FE 40mm F2.5 G | 40mm | F4 | 1/500s | ISO 1600

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.5 | 1/1600s | ISO 12800

Alpha 7C | FE 40mm F2.5 G | 40mm | F2.5 | 1/2500s | ISO 50

Continuous action shots are fantastic with a prime lens
I really enjoy shooting continuous action shots with my FE 40mm F2.5 G prime lens. Just set up your tripod, mode and timer, and smile! These are some of my most treasured memories from the trip.