FE 12-24mm F2.8 GM

Defy the limits of speed and embrace precision with Chong Yew

Calvin — Fri, 02 Aug 2024 08:08:36 +0000

Defy the limits of speed and embrace precision with Chong Yew

Calvin Fri, 08/02/2024 - 13:38

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Tips

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Alpha 9 III

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FE 12-24mm F2.8 GM

FE 70-200mm F2.8 GM OSS

Alpha 9 III | FE 400mm F2.8 GM OSS | 400mm | 1/1600s | F2.8 | ISO 500

Sports photography demands precision and every photographer requires a camera that can capture milliseconds of high-stakes action in crystal clarity. Alpha Photographer Chong Yew knows he can count on the Alpha 9 III to perfectly freeze the moment where toil meets triumph, immortalising an athlete’s moment of glory.

The Alpha 9 III features the world's first full-frame image sensor with a global shutter system, being a game changer in capturing fast-moving subjects with absolutely no image distortion and preserving split-second moments in stunning detail. In his latest photoshoot, Chong Yew put the Alpha 9 III to the test by capturing the dynamic action of a soccer and basketball game.

Alpha 9 III | FE 400mm F2.8 GM OSS | 400mm | 1/1600s | F2.8 | ISO 500

Boost your shooting speed by the millisecond

When working with dynamic subjects, you’ll want to freeze every millisecond of action leading to the pivotal moment. The Alpha 9 III’s Continuous Shooting Speed Boost is especially useful in these situations as it temporarily boosts your shooting speed while shooting burst shots. With its ability to capture 120 frames per second of RAW files, the Alpha 9 III delivers maximum dynamic range and top-notch image quality.

Alpha 9 III | FE 70-200mm F2.8 GM OSS II | 1/1250s | F2.8 | ISO 6400

My go-to is shooting at 30 or 60 frames per second, but when that critical moment arises, it’s sometimes not enough,” Chong Yew said. “This is when I’ll hit the custom button on the Alpha 9 III to unleash 120fps Continuous Shooting Speed Boost, capturing every single beat.”

In addition, the Alpha 9 III’s Composite RAW Shooting allows Chong Yew to merge multiple images captured on his camera with Sony's Imaging Edge Desktop software to create full-resolution pictures with reduced noise, making it possible for him to create composite images of his subjects moving at the speed of light.

Alpha 9 III | FE 400mm F2.8 GM OSS | 400mm | 1/1600s | F2.8 | ISO 500

Save the moment before the shutter goes off

Another feature that stood out to Chong Yew was Pre-capture, which allows photographers to capture moments before the shutter is released, from 0.005 seconds up to 1 second. When a pivotal moment unfolds, all Chong Yew has to do is fully press the shutter for the Alpha 9 III to seamlessly capture all the frames from the previous second with flawless autofocus.

Alpha 9 III | FE 12-24mm F2.8 GM | 16mm | 1/1250s | F2.8 | ISO 6400

A game-changer for sports photography

Not only do the above features of the Alpha 9 III guarantee picture-perfect shots at every moment, but they also open up creative opportunities for Chong Yew. “The Alpha 9 III has given me a newfound confidence in capturing athletes at the peak of their performances, elevating my sports photography to new heights,” he said.

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Sports/Action

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

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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

กล้องฟูลเฟรมขนาดกะทัดรัด

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 12-24mm F2.8 GM | Trusted choice for capturing fast paced visuals | Review by Sofashiba

Harriman — Tue, 16 May 2023 09:53:24 +0000

FE 12-24mm F2.8 GM | Trusted choice for capturing fast paced visuals | Review by Sofashiba

Harriman Tue, 05/16/2023 - 15:23

Article Categories

Reviews

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Alpha 7S III

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FE 12-24mm F2.8 GM

The ideal equipment for capturing high octane racing

One of my favourite videos involves a car racing down the streets, both at night and during the day, which I shot in collaboration with Sony. When selecting my equipment for the shoot, I chose my trusted Alpha 7S III camera and FE 12-24mm F2.8 GM zoom lens.

Alpha 7S III

My first introduction to Sony's Alpha series of cameras was with the Alpha 7S II, the predecessor to the Alpha 7S III. I was deeply fascinated with the camera's high ISO and low noise, which made it seemed like the camera was “born for videos”.

So, when the Alpha 7S III was launched with features that included 4K 120p shooting with 10-bit 4:2:2 colour depth and a highly accurate focus system, I was all on board! These are movie-level specifications that allow creators to be completely immersed in our craft, without worrying about hardware limitations.

FE 12-24mm F2.8 GM zoom lens

For a high-speed, action-oriented video like this, your choice of lens is crucial. Some questions I asked myself were:

Can the lens properly showcase the vehicle and scenery?
Will the lens express a thrilling sense of speed?
Is F2.8, the quality of the bokeh, and light intake ideal for this video?
Does the 12-24mm lens give me the flexibility I need?

I've been filming racing-themed videos since the early days of my career, covering D1GP professional drifting events in Japan. In my experience the FE 12-24mm F2.8 GM is a lens I can count on to create an inspiring sense of space.

Creative effects: Deformation and first-person perspectives

The FE 12-24mm F2.8 GM's ultra-wide angle focal length and its ability to capture fast moving backgrounds produces a surreal “deformation effect” when the vehicle is in motion – and especially if it's performing an overtake or leaving the frame.

For this video, in addition to the usual perspectives, I also included a first-person perspective to enhance the richness of the scenes. I found that mounting the camera and lens on a helmet gave audiences the feeling of driving the car themselves, thanks to the first-person view. This effect was possible because of the ultra-wide angle of the FE 12-24mm F2.8 GM lens.

Setting your aperture

When focusing only on the car, when the aperture is sufficient, it isn't necessary to open the aperture to the maximum. But if the background is also an important part of the scene, you can narrow the aperture and set the shutter speed to record at twice the frame rate (of 30 of 60fps). This produces better motion blur, creating a dramatic sense of speed.

On the other hand, when shooting at night (or in darker places within the car), F2.8 comes in handy. You won't even need to adjust the ISO on your Alpha 7S III to get ideal lighting results when shooting.

In cases where the conditions in the background aren't so favourable, shooting the car with a 24mm focal length and large F2.8 aperture could blur the background further and increase the sense of compression – making this zoom lens far more flexible than any fixed focal length lens.

Getting the best picture quality

When it comes to picture quality, some questions to consider when choosing your lens are:

What is the lens resolution and how does the lens perform at that resolution?
Is there edge distortion suppression?
What is the performance of the lens under backlighting (often created by car lights)?

This is where a high-resolution lens really shines. During the editing process for your shoot, many scenes will need to be enlarged and cropped – and secondary composition will be necessary to achieve the appropriate lens position of medium and close-up shots.

Generally, enlarging your images and videos also sacrifices their quality – but thanks to the outstanding resolution and imaging capabilities of the FE 12-24mm F2.8 GM zoom lens, the clarity remains fantastic even all throughout the editing process!

How edge deformation creates a sense of speed

The edge deformation seen with the FE 12-24mm F2.8 GM is absolutely perfect – not too exaggerated like a fisheye lens, but enough to give viewers a feeling of grandeur from the panoramic effect.

When the car is about to overtake the camera vehicle and leave the frame, the slight distortion on the edges truly captures the tension of the moment – and creates a sense of speed that will leave your views on the edge of their seats.

Keeping your shots perfectly in focus, even at high speeds

Focus is extremely important when shooting fast-moving cars, so your equipment selection is key. Here's an interesting fact: This shoot was done on a day with a typhoon, which brought about variable weather that shifted between cloudy, sunny and rainy – making focusing trickier, but still very possible with the chosen camera and lens.

Once you've picked capable equipment, all that's left to do is to trust your equipment.

The key to captivating car videos: Creative shots

For this video, we took on the challenge of shooting exclusively with the Alpha 7S III and FE 12-24mm F2.8 GM zoom lens. In addition to getting low angle shots and shots that followed the speeding car, we also used a variety of new camera positions that the team had never attempted before – like shooting directly above the tyres or capturing the steering wheel from a first-person perspective.

Creative shots like this can add challenge to your shoots, but the reward is surprising viewers in interesting ways. Just remember to get permission for these shots from the vehicle owner prior to shooting, and choose a camera and lens that you trust!

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Alpha 7S III

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FE 12-24mm F2.8 GM

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Filmmaking

The Architect Turned Photographer

sneha — Wed, 21 Sep 2022 12:39:01 +0000

The Architect Turned Photographer

sneha Wed, 09/21/2022 - 18:09

Article Categories

Featured

Body Category

Alpha 7R IV

Lens Category

FE 12-24mm F2.8 GM

Seasoned architect Kris Provoost, with his Master’s Degree in Architecture and his breadth of expertise in the field, acknowledges that his years of experience have provided a springboard for him to pursue architecture, interior and infrastructure photography. Thanks to this head start, all he had to do was to learn the rules of photography. Then, he knew that fusing these two interests together was going be smooth.

Alpha 7R IV | FE 12-24mm F2.8 GM | 24mm | 1/160 sec | F2.8 | ISO 100

Building The Shot

As a trained architect, Kris was taught that the design of a building tells a story. When he eventually became a photographer, this idea of a story became the foundation of his approach to shooting buildings.

"With the equipment available to photographers today, there's no limit to what is possible. The right lens depends on the story I wish to tell. For cityscapes, a telephoto lens is indispensable as it helps capture a part of the scenery while letting you focus on the subject. In dense cities like Hong Kong, it singles out the subject and keeps the background mellow."

Alpha 7R IV | FE 12-24mm F2.8 GM | 24mm | 1/800 sec | F2.8 | ISO 100

Kris often researches and plans his shoots in advance, and tests out different shooting angles for the building before returning to the location at/during golden hour. Despite the thorough preparation, Kris emphasises the importance of having dependable equipment. "Lighting is everything in architecture photography. Light gives contrast and depth to buildings and is part of the storytelling. You can't control the sun or the weather, which can be frustrating, but it is also an opportunity to shoot something out of the ordinary. That's why having key equipment that is completely trustworthy is necessary, as I know I can rely on them from simple shots to switching lenses instantly according to my needs," added Kris.

The Alpha 7R IV has been a tremendous help in Kris’ photography journey. Among the multitude of features that allows him the creative freedom to add his personal style to his shots, its high pixel count is one of his favourites. Its 61-megapixel image quality enables him to produce larger photos while having the flexibility to crop an image as appropriate to tell a different side of a story. "A cropped photo still turns out breath-taking even when printed on a large scale, and that's why I'm a fan.It ultimately means being able to reuse your photos with just a simple creative twist!"

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 200mm | 1/60 sec | F2.8 | ISO 640

Lighting Sets the Mood

That being said, Kris is careful not to over plan. "There needs to be an element of surprise that sets the photo apart from the rest. That sudden spark from the sun, or the sudden reflection, or a moving object with perfect alignment can all make your photos stand out."

Taking advantage of the different lighting provided by different sunlight, like warmer or cooler colours, can affect the mood of a building photograph. Lighting plays an active role, and it is essential for cityscape photographers to learn how to play around with it. According to Kris, different types of light can result in a totally different mood. While he often avoids midday lights, he enjoys taking full opportunity of the early morning light, late afternoon to golden, as well as the blue hour.

Alpha 7R IV | FE 14mm F1.8 GM | 14mm | 1/80 sec | F1.8 | ISO 400

Having studied natural lighting for quite some time, he has established that the early morning light brings a level of excitement to the photo, where it visibly translates that it is a new day. The softer afternoon light, on the other hand, adds in a relaxed atmosphere since the hustle and bustle of work is finally over. A couple of hours later, is the much-awaited golden hour. For Kris, the contrasting light, alongside the colour gradient in the changing sky, is what makes the magic happen.“After a whole day of shooting, this hour is where I'm totally in-tune with my photography and the movement of light. This has resulted in my best work yet," said a proud Kris.

Alpha 7R IV | FE 12-24mm F2.8 GM | 22mm | 1/400 sec | F2.8 | ISO 100

Architecture photos, except those captured under the blue hour, tend to have a warmer colour temperature because of the sun. Due to this, Kris maintains that it is crucial for photographers to first decide which mood they want to imbue in their photos. While post-process gives slight control over the hues, he personally prefers to do less digital editing to create more real representations of the structures.“There's no single colour temperature that is considered correct, and it is up to the photographer to control each frame—from reflections, building surfaces, and even building material to achieve the desired effect."

As an architecture photographer, Kris relies heavily on a tripod. Its stability allows him to hit lower ISOs and get photos with less noise, while the slower shutter speed grants him flexibility to capture visual movement. Kris has found that a slower shutter speed provides absolute sharpness when it comes to the buildings and shooting at a higher f-stop ensures the whole photo, edge to edge, is thoroughly crisp.

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 70mm | 1/60 sec | F2.8 | ISO 400

Highlight your perspective

For photography freshies, Kris' advice is to focus on your story. "Sometimes, shifting your horizon or balance slightly is enough to avoid making your photos look like the other million images of skylines online. Learn how to use foreground and background objects to guide the viewer's focus back to your story. I always go back to buildings I've done to see if I can put a new perspective on things," quipped Kris.

Alpha 7R IV | FE 12-24mm F2.8 GM | 23mm | 1/500 sec | F2.8 | ISO 100

Some photographers can be so eager to tell their story, that their photo can become cluttered with too many things. For him, a singular story requires restraint, and calls for the photographer to think things through and portray the essence of their subjects. Picking the right theme and sticking to it means that elements that don't echothe same message have to be cut. For Kris, having the discipline to focus on the story he wants to tell means the resulting work is more purposeful and impactful.

"You can never be fully prepared or fully anticipate what can happen. Don't be afraid to experiment, and it's ok to limit yourself to 1 lens, as limitations force you to think on your feet and might even help you step into a new perspective. The spontaneity in shooting buildings is what drives me," concluded Kris.

Alpha 7R IV | FE 70-200mm F2.8 GM OSS II | 178mm | 1/60 sec | F2.8 | ISO 400

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Alpha 7R IV

กล้องฟูลเฟรมพร้อมความละเอียดสูง 61MP

FE 12-24mm F2.8 GM

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FE 70-200mm F2.8 GM OSS II

เลนส์ซูมเทเลโฟโต้ G Master สำหรับกล้องฟูลเฟรม

FE 14mm F1.8 GM

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Architecture

Cityscape/Nightscapes

Gear Up For Out Of This World Photography | Astrophotography with Luke Tscharke Part 2

sneha — Thu, 01 Sep 2022 05:12:16 +0000

Gear Up For Out Of This World Photography | Astrophotography with Luke Tscharke Part 2

sneha Thu, 09/01/2022 - 10:42

Article Categories

Featured

Body Category

Alpha 7 IV

Lens Category

FE 12-24mm F2.8 GM

You can take astrophotography with most cameras available today. However, if you want to achieve marvellous photos, you’d need one that performs ferociously well in low light conditions, supported by lenses that deliver unrivalled focus and image quality. Renowned photographer Luke Tscharke, who loves to capture natural beauty around him, relies on his full-frame Alpha 7 IV to capture the allure of objects light years away from us.

Alpha 7 IV | FE 12–24 mm F2.8 GM | 24 mm | 20 sec | F2.8 | ISO 6400

Let’s take a peek inside Luke’s bag to learn more about the gear he never leaves home without.

Luke’s Equipment for Astrophotography

Alpha 7 IV: Luke usually uses the Alpha 7 IV, a full-frame hybrid camera that delivers groundbreaking performance in both still and video recording. Its commendable performance in low-light situations allows clearer and brighter exposure for the celestial bodies in the sky.

“For best results, I choose a full-frame camera because of its large sensor that provides a lot of surface area to collect the light. In terms of lenses, those that have wide apertures are ideal because they enable the most amount of light to penetrate the camera,” said Luke. “The Alpha 7 IV delivers better exposure of the stars than many other cameras, whilst having enough resolution that allows me to print my works in large sizes without compromising the image quality”.

Alpha 7 IV | FE 12–24 mm F2.8 GM | 12 mm | 20 sec | F2.8 | ISO 6400

FE 12–24 mm F2.8 GM (SEL1224GM): The lens’ sharpness across the zoom range alongside its ultra-wide 12 mm perspective is what makes it stand out, according to Luke.

FE 14 mm F1.8 GM (SEL14F18GM): Compared to similar lenses, this lens is lighter and more compact, allowing for better mobility and flexibility during shoots. Its image performance and focal length make it an ideal length for astrophotography.

FE 20mm F1.8 G (SEL20F18G): Luke prefers this lens when capturing the Northern Lights as its longer focal length increases the Aurora Borealis’ presence in the photos. He claims that its wide aperture of F1.8 also produces better images at lower ISO values and performs exceptionally well in optical standpoints.

FE 24mm F1.4 GM (SEL24F14GM): This lens is Luke’s go-to whenever he needs to get closer to the action as it provides excellent details. It delivers well for aurora photography too! The fast F1.4 maximum aperture is simply unbeatable, said Luke.

Camera Settings

Aperture: For astrophotography, Luke needs lenses with wide apertures as it allows enough amount of light to pass through. Generally, his aperture is set at the maximum when shooting pictures of the stars and galaxies.
“I find the Sony lenses perform incredibly well at the widest aperture (lowest F-number). This means I won’t need to close the aperture (highest F-number) to produce sharper images. Other lenses also have wide apertures, however, they are usually not sharp enough to produce clear photos of the night sky. This is a huge advantage, thanks to Sony lens engineers!” he said.
ISO: Luke’s ISO values are sometimes dependent on aperture settings but are oftentimes set at ISO 6400. “If some elements of the image look to be overexposed, I will reduce the ISO right down to as far as ISO 800 and increase the exposure in post-processing while protecting the highlights,” stated Luke.
Shutter speed: To achieve this, you’d need a short shutter speed to avoid capturing the stars trailing. Longer focal lengths mean capturing a smaller area of the sky, so this requires a shorter shutter speed. Short shutter speed does not capture the stars trailing, delivering pin-point stars, which is the ideal result for many photographers. Wide angle lenses, meanwhile, require longer shutter speeds as each star appears relatively smaller. “I usually set 15-20 seconds shutter speed for 12-14 mm range lenses, while around 10-13 seconds for 20-24 mm lenses,” said Luke.
Focus: In night photography, manual focus is crucial as there isn’t enough light to provide contrast for the autofocus mechanism to focus on. Luke uses a focus magnifier set at 10x to enlarge his preferred portions of the sky. While watching his subject, he rocks the focus ring back and forth until narrowing it down to the smallest pinpoint possible. “Focus peaking can help in this situation quite well too. Among the cameras I’ve used, I find the Alpha 7 IV to be the easiest camera to focus on stars,” he shared.

Focus comparison

Must-haves in Luke’s Bag

In addition to the camera and lenses, Luke has a few other items in his bag that he absolutely won’t do without:

Sturdy tripod: A sturdy tripod is essential as it prevents any shake or vibration whenever the camera takes a long exposure. Without it, you will end with blurry stars in the picture.

Head torch: A head torch is good for two things: keeping your hands free to handle the camera and the tripod and ensuring your safety on location.

Ultra-dim fill light: This light up the night scene in the photo, illuminating the moonlight better and allowing a bit of texture in the shadows of the image.

Air blower: An air blower is a tool to blow the dust off camera gears, including cameras, lenses, and filters.

Phone: Make sure to fully charge your phone so you can make phone calls for emergencies. In some cases, it is also handy for controlling the camera.

Food: High-energy foods like nut bars, and sometimes lollies and sweets, are packed in Luke’s bag. Water is another essential, along with coffee whenever shooting in the morning. “It’s good to have food that is easy to eat because in the dark you could end up wearing it!” he said.

Now you have a sense of astrophotography essentials, brace yourself to be amazed by the natural beauty of the universe and document it with jaw-dropping photos! Before you go ahead, though, remember to plan ahead as conditions may leave you disappointed. Check out Luke Tscharke’s guide to perfecting the time and location for astrophotography to learn more!

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Finding the Right Place, Right Time For Starry, Starry Nights | Astrophotography with Luke Tscharke Part 1

sneha — Thu, 01 Sep 2022 04:32:53 +0000

Finding the Right Place, Right Time For Starry, Starry Nights | Astrophotography with Luke Tscharke Part 1

sneha Thu, 09/01/2022 - 10:02

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Back then, there were only advanced telescopes, made available to some, to capture a clear picture of the night sky. Today, high-powered cameras capable of creating stunning photos of celestial objects are available on the market, providing the opportunity for anyone to try their hand at astrophotography.

For Tasmania-based Australian photographer Luke Tscharke, this has given him the means to deepen his lifelong fascination with planets, star clusters, and galaxies thousands of light years away from our solar system. Award-winning snaps and regular contributions to the Australian Geographic Magazine, litter Luke’s portfolio of breathtaking photos of the night sky’s natural beauty.

In this first of the three-part astrophotography series, journey with Luke as he delves into the secrets of finding the perfect time and location to capture awe-inspiring photos of celestial bodies:

Alpha 7 IV | FE 12-24mm F2.8 GM | 14mm | 25 sec | F1.8 | ISO 3200

Avoid any sources of light

Light sources, especially cities, can create extensive light pollution, which can obscure the night sky and the natural sparkle stars, planets, and galaxies emit.

“In finding a location, there are a few key elements that we should consider. The most essential among them is that it should be away from a city or any massive light sources as this will make it difficult to get a clear image of the deep sky objects you want to capture,” said Luke.

Luke prefers shooting nightscapes, a form of astrophotography that captures landscapes at night. This means that the locations he chooses are those that can also make beautiful daytime photographs. His favourites are sea stacks, mountains, and built structures like lighthouses.

“As a general rule, if it wouldn’t make for an interesting photo during the day, then it probably won’t be as interesting as a night photo as well,” Luke said.

There are online websites that that provide information on areas with minimal light pollution that Luke uses to scout new locations.

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

The clearer the skies, the brighter the stars

Keep an eye out for weather forecasts and ensure that the sky will be clear on the night of the shoot. Summer, generally, brings clearer skies, but it’s still important to consider external elements like bushfire smoke and other atmospheric particulates that can make the view hazy. On the other hand, winter provides crisper and cleaner skies, but clouds can still hinder astrophotography.

“The weather will always vary. It can be cloudy in the summer or have clear skies in the winter. It’s best to be flexible and check out cloud forecasts to know whether it’s a good time to shoot the stars before going out,” said Luke.

Find the perfect timing

Think of the Milky Way setting and rising the same way the sun does. The time the galaxy rises from the eastern horizon gets earlier by just under four minutes every day. This means it will rise earlier and earlier over the entire year.

If you want to shoot the eastern rise of the Milky Way, the best times to catch it are the nights of April to June. The western fall of the galaxy, on the other hand, is best captured from September to November.

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

“Since the night skies vary throughout the year, it is important to do your research first. It may also depend on which part of the globe you are in, so make sure that you ensure this before you go on location to avoid disappointment,” the photographer suggested.

Consider moon luminosity

The moon, being the brightest object in the night sky, significantly impacts the visibility of the stars. As it moves from a full moon to a new moon, the sky gets darker throughout the month. According to Luke, approximately 10 days per month around the new moon phase there are enough dark skies for astrophotography. Ideally, a moon luminosity of under 25 percent is low enough to provide clear night sky images with brightly lit stars and other deep sky objects.

“It’s also worth noting that sometimes the moon only rises after the ideal time for viewing the Milky Way. So, take advantage of the time with no moon in sight because the skies will be dark for you, and you’ll get photos with bright celestial objects,” he said.

Take inspiration from other people’s works

The easiest way to find a good location is to go to the locations you see in other photographers’ works. In the event that you do so, find a different angle or new spots to make your photo unique and stand out. Inspiration is everywhere, and it’s never wrong to recreate a shot you liked. What’s important is that you know how to add your own twist on the ideas of other photographers you admire.

Alpha 7 IV | FE 12-24mm F2.8 GM | 14mm | 15 sec | F1.8 | ISO 5000

“Take inspiration from other people’s works but remember to always add your own take on it. Get your creative juices flowing and find out how to present the same location in a way that is unique to you and your style,” said Luke.

Photographing the night sky in the city

While shooting on location is preferred, astrophotography in the city is not at all impossible, according to Luke. However, since it is a great source of light that may interfere with the ideal sky luminosity, it must be taken under specific conditions. If you live in or near a city and just can’t wait to go on location to try astrophotography, fret not! Here are Luke’s tips on taking photos of the night sky in the city:

Chance upon cloudless skies with as minimal atmospheric haze and light as possible.
Around 2-3 AM is a great time to take photos, as most people are asleep and many establishments are closed, ensuring that light pollution is at a minimum.
The moon phase should be close to the new moon or at least not in the sky during shooting time.
Use a light pollution filter over your lens which helps block a certain amount of light that washes out the night sky from your camera.
Face away from the brightest light source near you. Heading to the coastline and facing the ocean is a great way to start as there are minimal to no light visible.

While finding your own location for astrophotography can be tricky and the weather may not be in your favour, versatility is key! As Luke shares, “you can still turn things around by finding other fun things to photograph, like light painting for instance. Ultimately, it all comes down to strategic planning and thorough research. Go forth and seek clear skies!”

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6 Tips for Next-Level Photos of Your Furry Friends

sneha — Tue, 23 Aug 2022 09:21:27 +0000

6 Tips for Next-Level Photos of Your Furry Friends

sneha Tue, 08/23/2022 - 14:51

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Professional pet photographer Yeum Ho Young has worked with a lot of canines in his career through his studio Ordinary Dogs, where he takes dog photos to promote the adoption of abandoned dogs. While dogs are always picture-perfect no matter the occasion, pet photography requires you to be adaptable. You’d need your combined expertise in photography and understanding dog behaviour. Ho Young shares his personal tips and tricks for fully capturing the spirit and exuberance of our furry friends.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/200 sec | F6.3 | ISO 100

The Alpha 1, paired with the FE 12-24mm F2.8 GM (SEL1224GM) ultra-wide lens, introduces new ways to elevate the creative direction of a shoot. Ho Young believes that this duo perfectly captures a dog’s dynamic movement and facial expressions that are hard to capture. Here are his top dog-shooting techniques using the Alpha 1 and SEL1224GM:

1. Communicate with your canine subjects

If you want to capture the true personality of dogs, you need to learn to communicate with them. Clear communication with your pet subjects can create a natural scene, which puts the spotlight on your dog better. Ho Young does this by approaching them in a low position to be eye-to-eye with them comfortably. He will then offer them a snack to help gain the animal’s trust.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/200 sec | F8 | ISO 100

“While shooting animals, I try to communicate by looking into their eyes. I try to find my alter-ego when I look at myself reflected in those eyes,” said Ho Young.

2. Safety should be of highest priority

In scouting for shooting locations, you must consider the safety of your furry friends. While it is important to find venues that look good in photos, remember that how the dogs will fit into the location is of utmost priority. For this particular shoot, Ho Young’s filming locations were the woods and seaside of Jeju Island. Both locations have natural scenery and give the dogs enough space to play and dash around.

On your next shoot with your dog, think about its favourite things to do and ensure that your location is dog-friendly enough for them to do these activities. Once this is assured, take your time to play around with your surroundings and your camera settings.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/200 sec | F2.8 | ISO 200

3. Perfect your camera settings

Since dogs are naturally active creatures, Ho Young sets his camera to autofocus continuous (AF-C) as default so it can easily lock focus on the dog even when they are running around. With the Alpha 1, you would be able to smoothly follow your subject while keeping them in focus. In such instances, Ho Young suggests setting the shutter speed at 1/800 sec or higher to freeze their movement.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/200 sec | F2.8 | ISO 200

“While focusing on the scenery’s brightness, I suggest using the top right exposure compensation dial of the camera and adjusting it to -2, lower than the average exposure. Then, I use flash to refine and perfect the lighting of the shot. Since dogs are sensitive to flashes and sounds, be sure to turn on flash synchronization and set it on silent mode to prevent stressing them out,” Ho Young suggested.

4. Be attentive and watch out for the right moment

Dogs are naturally a thing of beauty. However, it is worth noting that there are still perfect moments you need to watch out for. For example, a simple dog sneeze can be captured a few different ways, but only one photo will stand out, based on how interesting or funny their expression is in a split second. When having a fun photo shoot with your furry friend, make sure not to miss the best moments.

“Even in studio shots, various expressions from the dog can help freeze the precious moments,” said Ho Young. “Scenes such as dog performances with coloured powder or eating snacks are especially difficult to witness in normal situations, but the brief moment when the dog opens its mouth with a funny expression would make a great photo.”

You should also take into consideration that dogs normally concentrate for up to 10 minutes and may feel bored or stressed if it goes even longer. So, you need to focus in a short time span and take your shot. Ho Young suggests setting the shooting mode to aperture priority to ensure that the photo will be recorded at a flash-synchronised speed.

“This will bring out the natural scenery and the dog would appear clearly,” he explained.

5. Don’t hesitate to experiment and try new things

As a professional photographer, Ho Young has done dog photo shoots countless times. Despite his prolific experience in the field, he has never been one to be afraid of checking out new trends or introducing new technologies in his work. For this particular shoot, he challenged himself to use a wide-angle zoom lens for the first time for picture day with his animal friends.

For him, shooting animals is more than just taking pictures. It is about bringing out and highlighting the characteristics of the dogs through visuals. Usually, he tries to get as close to the dog as possible to capture its expression. But he found that the wide-angle zoom lens worked just as well in this regard.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/200 sec | F8 | ISO 200

“The SEL1224GM is lightweight and has a dust- and moisture-resistant design. This relieved many of my worries because I used to film for long hours when working with dogs. A difference of 1mm at ultra-wide angle focal length is more impactful than you would expect,” he added.

Like Ho Young, you can try experimenting with a wide-angle zoom lens, to help widen the angle of view in your photos. Or, if you feel like it isn’t for you, at least try to explore something you haven’t tried before!

6. Choose the gears that support your skills

“It was difficult to shoot before, but Alpha 1 has an active Eye AF for Animals reliably pinning on the animal’s eye. A fast autofocus tracking and Eye AF function is very important in animal photography,” said Ho Young.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/2500 sec | F3.2 | ISO 100

For any kind of photography, it goes without saying that gaining skills is crucial if you want to create the photo you want. However, your photography skills need support to bolster your desired profile. The right equipment is essential to complement your creativity and expertise.

“The camera’s small size is easy to operate and has a fast readout speed. It makes results stand out by shining light on your preferred areas. The majestic nature that contrasts with the dog's cute expression comes alive with the excellent resolution,” he added.

Alpha 1 | FE 12-24mm F2.8 GM | 12 mm | 1/400 sec | F14 | ISO 100

Man’s best friend is a perfect subject for pet photography. No matter the angle, lighting, or environment, dogs are likely to give you an interesting photo. Shooting portraits of your dogs is a great way to capture them in action and bring out their whole personality. Of course, the results of these shoots will surely be a set of memories you will treasure forever.

“A photo produced from deep love can fully capture the character of the dog. If you truly know your canine subject, look eye-to-eye and build trust, they will be comfortable and will enjoy the shoot. Genuine moments like this are the ones that you’d like to preserve in a photo,” Ho Young said.

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Veron Ang’s Guide to Perfecting Architecture Photography

sneha — Wed, 17 Aug 2022 11:26:06 +0000

Veron Ang’s Guide to Perfecting Architecture Photography

sneha Wed, 08/17/2022 - 16:56

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In addition to providing utility, architecture serves as large art installations that define cultures and societies. It’s easy to think of architecture photography as the mere capturing of structures, but it’s more than that. It is an artistic pursuit and must thus remain visually interesting for the viewers. But how does one make it so?

Alpha 7R IV | FE 12-24mm F2.8 GM | 24mm | 1/200 sec | F13 | ISO 100

For Singapore-based architecture photographer Veron Ang, capturing these iconic art pieces in the streets requires more than just snapping away in front of buildings. “When shooting for leisure, I will simply look for a building that has an interesting facade or details and then try to make it as visually interesting as I can. Shooting for assignments is more complicated. I usually do a little study of the architect and his creation to understand the inspiration and look out for special features on the building,” Veron said.

“On the actual shoot day, I will walk through every part of the building to avoid missing out on any interesting perspectives. I usually go twice a day, morning and late afternoon, to catch the building from a different light at that time of the day.”

Veron’s camera guide

In photography, skill and equipment must go hand in hand. Excelling in photography means knowing how to play around with the subject and having the right gear to help realise the creative vision.

Architecture photography requires the right set of equipment and the cooperation of external elements like time of day and the weather. When she’s out shooting, Veron sets her ISO to 100 under manual mode, unless shooting in low light conditions, to ensure the quality of the photos. The rest will always be set depending on the situation, with no fixed settings.

Alpha 7R IV | FE 85mm F1.4 GM | 1/250 sec | F14 | ISO 100

Veron shares that she enjoys shooting with the FE 12-24mm F2.8 GM (SEL1224GM), as it allows her to capture the beauty of the building in its entirety. Meanwhile, for shooting intricate details of a structure or the equally visually complex cityscape, she prefers to use the FE 85mm F1.4 GM (SEL85F14GM).

The Alpha 7R IV’s 61MP and 16-pixel multi-shift shooting capabilities enable her to obtain crisp photo quality with accurate colours. “With the Alpha 7R IV, I can do major editing and still maintain the quality. The sharpness of the pictures also helps me produce high-quality prints.”

The Alpha 7R IV’s sensor capabilities can guarantee great results in all kinds of situations, said Veron. Even when shooting in low light conditions, using auto mode, the photographer will only need to focus on the composition as they know that they can rely on the gear for sharp picture quality.

Alpha 7R IV | FE 12-24mm F2.8 GM | 18mm | 3.2 sec | F13 | ISO 100

“Once you get a well-composed picture, then you are ready to start exploring other functions of the camera, such as long exposure light trails, panning for fun shots or beautiful bokeh for portraits,” Veron said, relaying personal tips to beginner photographers.

3 steps to creating simple but impressive visuals

1. Find good natural lighting

During a shoot, one of the most important things Veron looks for is good natural lighting. In this regard, it is also important to do your homework and check the weather forecast before going on location. There were some cases, Veron shares, where she had to return to the same location daily just to chance upon the right natural lighting for her.

In architecture photography, the weather is among the most crucial elements. It takes patience to find the natural lighting that accords with your vision. Veron’s work, however, is a demonstration that it will all be worth it in the end.

“Two years ago, I had a project for Changi Airport. It was during the rainy season, so I had to go back after around three weeks to get the right natural lighting for my shoot. Sometimes, I do think that architecture photography is hard work,” she said.

2. Play around with composition

“To me, composition plays a big part in creating good images. You can get very sharp images with good technical skills but if you are unable to compose, your pictures will not be able to stand out. It will be another normal sharp picture,” she shared. “Additionally, if you have good composition but poor focusing skills, it will be futile too as the images will be blurry. Hence, to create good visuals, good composition and technical skills have to come together.”

Alpha 7R IV | FE 12-24mm F2.8 GM | 12mm | 1/80 sec | F11 | ISO 100

Playing around with the elements presented to you can help you capture a striking photo. It is evident in her architecture photos how Veron uses the geometry of the structures to create remarkable visuals. In general, geometry plays an important role in architecture photography. Shapes like squares and rectangles form interesting repeat patterns, while unconsciously giving the viewers the feeling of conformity and order. Triangles, on the other hand, are great in drawing a person’s attention to a subject, and circles bring the attention inward.

Alpha 7R IV | FE 12-24mm F2.8 GM | 12mm | 1/200 sec | F6.3 | ISO 100

To get better at composition, Veron suggests beginners to “Get the right camera, learn from other photographers about composition, and start shooting!”

3. Learn to find your own style

“As architecture is a fixed structure, any new perspective can easily be copied. Unlike street photography where a smile or a scene is unique, architectural photography can be replicated. So, finding your style and honing your craft goes a long way to growing your trade,” said Veron.

Alpha 7R IV | FE 12-24mm F2.8 GM | 12mm | 1/200 sec | F14 | ISO 100

Finding her style did not come overnight. Like many other photographers, Veron ventured into photography with zero knowledge, using a phone camera. Since then, she has not stopped snapping. Given all the photos she has taken through the years, she admits that there had been a lot of wasted photos with compositions that did not seem to pass her own standards. This learning process, including the great number of self-rejected photos, significantly contributed to gradually forming her own style.

Through practice and constantly training herself to improve in the craft, she has learned to see and shoot architecture with a unique perspective. This has brought other aspiring photographers to use her work as a means to learn about composition, copy them, and soon develop their own style.

Alpha 7R IV | FE 12-24mm F2.8 GM | 12mm | 1/200 sec | F6.3 | ISO 100

For beginners, Veron suggests continuing to explore the world of photography and experiment with their creativity to learn what works for them and what does not. “Never stop clicking, the more mistakes we make the better we will get and the fastest we will find our own style. Happy clicking, happy learning.”

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Through the Viewfinder of a Hybrid Content Creator

monika — Wed, 06 Jul 2022 05:02:56 +0000

Through the Viewfinder of a Hybrid Content Creator

monika Wed, 07/06/2022 - 10:32

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Hybrid photographer Edo Lo

Tell us how you first got into hybrid shooting. Did you practice both photography and videography at the same time?

At the age of 15 in the 90s, without knowing anything about cinematography, I picked up a pocket film camera and a camcorder mainly to document my personal life, from daily to snowboarding activities. Later in 2010, I started my photography and cinematography journey due to my own fashion brand. The work required a lot of products and image shots as well as creating brand commercial videos. That was my beginning.

Alpha 7 IV | FE 20mm F1.8 G |1/640 sec | F2.8 | ISO 125

When you first started hybrid shooting for your fashion brand, how did you learn to integrate both photography and videography?

As a clothing brand, taking product photos and model shots (lookbooks) were necessary parts of operations. However, these were not popular for smaller fashion brands.

2010 was a time when cameras were innovating towards filming movies. I created stylised short-form films, in addition to photos, to give my brand an edge in terms of marketing. While people were gaining interest in shooting videos, not all understood how to create a film or video, which meant that consumers would find it fresh and interesting, increasing our brand familiarity.

I was always interested in creating images, whether video or photo, and at that point in time, I received good responses and feedback after making several films. I produced 3-4 films every season/collection, and soon enough, caught the attention of advertising agencies. I gradually started a career in shooting as a profession. That was how I ventured into hybrid photography.

Shot with Alpha 7 IV

How often do you document your life? Where are your usual shooting locations for both still and video?

I shoot my videos everyday regardless of its length. Whether it is a sudden idea or just feeling my surroundings, I will document it in a video or a series of photos. Different from my job as a commercial director, my content now is mostly travel documentations and vlogs, among others. I even recently got into street photography.

I like to shoot wherever I go. Whenever I have a couple of hours to spare, I'll hit the streets for some photos, or even shoot a vlog-style video at home or around the neighbourhood. Other times, I make plans with friends and will shoot some of our activities – my camera follows me wherever I go.

Since the birth of my newborn, Dola, my shooting location is not set on a specific place but what happens on the daily.

Shot with Alpha 7 IV

As a hybrid photographer, you have a breadth of experience in photography. What are the gears you usually carry with you during shoots?

I try to carry as little as possible for my family shoots. My usual go-to gears will be a camera, one lens that complements the location of the shoot, a light tripod stand, a diffusion filter, an ND filter, and a microphone. With this minimal set up, I don’t even need a camera bag, and I can carry everything in my hand. For the choice of lens, I usually consider the most suitable focal length depending on the place I will go and the possible situations.

If I plan to shoot at the beach, which means increased activity, I will choose the Sony FE 35mm F1.4 GM, or the Sonnar T* FE 55mm F1.8 ZA lens. For indoors, I usually use a wide-angle focal length, like the Sony FE 20mm F1.8 G or the Sony FE 24mm F1.4 GM so I can capture more in a tighter space. For accessories, I like to use the Sony ECM-B1M microphone and the Sony GP-VBT2BT shooting grip.

Meanwhile, if it is for my personal travel experiences, where I tend to shoot more photos, I will go out with a large camera bag because I will carry along more lenses.. The three extra lenses that tag along are the Sony FE 70-200mm F2.8 GM OSS, Sony FE 24-105mm F4 G OSS Lens, plus a suitable prime lens. Prime lenses are my personal favorite and I used the Sony FE 20mm F1.8 G and FE 24mm F2.8 G. For zoom lenses, the FE 24-105mm F4 G OSS and FE 70-200mm F2.8 GM OSS deliver a comfortable image quality. The FE 24-105mm F4 G OSS, in particular, remains my personal favorite.

How do you manage the camera settings when shooting?

For photos I usually shoot my photos in manual (M) mode but at times switch to aperture (A) mode because family photography tends to have many sudden and spontaneous moments. The aperture modes help in deciding the exposure, so it allows me to better focus on capturing the story. If children are the subject, I will use the continuous shooting mode because it is the best for quick moments.

I usually film my videos with the following camera settings:

1. Colour Profile: I like to shoot using S-Log-3, 10-bit depth and 4:2:2 colour sampling. These options make the post-grading a comfortable experience, or dare I say a fun time! Occasionally, I will use the S-cine tone as it gives the best skin colour performance and a nice colour tone with just slight adjustments.

2. Video Resolution/Frame Rate: 4K resolution with 24fps is perfect when done using Sony Alpha 7 IV’s 7K oversampling as it produces a more realistic and organic feel. To add flavor and variance to my videos, I occasionally shoot in high frame rate of 60fps to capture slow motion, which is best in emphasising emotion.

3. Autofocus: Focus speed set at 4/3. It’s best to turn on flexible focus control for a smoother focus when switching focus. I also take advantage of the focus assistance function, which is convenient. All it takes is a quick flick of the focus ring and the camera will automatically switch to manual focus. It is a handy feature for precise focusing.

Alpha 7 IV | FE 20mm F1.8 G | 1/2000 sec | F2.5 | ISO 125

You mentioned that both photography and videography are methods of storytelling, and you love both these methods. How has your first steps into hybrid shooting in 2010 help to build a foundation for your current projects and improve on your story telling?

This is an interesting question

I once talked to a well-known photographer who did photoshoots for artists. He picked up the camera again with a freestyle approach because he was inspired by how I took them. To him, my photos were unique, and he figured it was due to me being a filmmaker. He felt that the details in my work always brought out a sense of curiosity. “Do filmmakers think differently, hence the final product is different?” he asked. Hearing these words from an industry expert was delightful but it made me pause and question, "Is the perspective of a still photographer different from that of a motion/videographer?”

Alpha 7 IV | FE 24-105mm F4 G OSS | 38mm | 1/250 sec | F4.0 | ISO 100

My still shots are mostly street and lifestyle photography. For me, stills are meant for capturing powerful stories. A vivid or lively photo gives the viewer an opportunity to imagine how the image and subject moved in the photo.

So, when I am shooting, I try to use light, shadow, lines, shapes, space, and composition as much as possible to capture vivid "stories.”

Sometimes a single image can tell a story, but there are many times when we also need to combine different fragments and pieces to tell a story. Other times, it takes a dozens of shots to tell a story. Circling back to film, when we are planning for a good shot, we must consider light, shadows, lines, shapes, space, and composition, to complete and produce a dynamic film/video with a communicable and effective perspective.

These two skills, when you look at them from a certain angle, are similar – although the execution and the results are not. I feel that with hybrid shooting, I have the freedom to switch between both mediums and learn from both.

How can amateur hybrid shooters start to tell a compelling story? What do you think are some strong elements that will help amateur hybrid shooters express their stories better?

There are a few important points that we can pay attention to when taking pictures and videos:

For Photos

Good photos need to have an objective to attract attention, therefore we can think about what elements of our picture are attractive, which becomes the "theme" we want to present in a photo. Following the first point, rather than snapping the next shot randomly or casually, we can think about how to design the shot so that we can more accurately depict and bring out the theme for the viewer to quickly feel the story.

Here are three important elements that we can consider:

1. The Composition of the picture can guide the viewer to discover the story.
2. The Effective use of light, shadows and lines to make the theme clearer.
3. Meaningful use of colour theory—Let the colour speak for itself. The colour of our subject should echo or contrast with the environment. This is crucial because when looking at a photo, people respond the fastest to contrasting colours.

Alpha 7 IV | FE 35 mm F1.4 GM |1/250 sec | F1.4 | ISO 2500

Try to learn from experienced people. Whether it is a photography book or community-based work, we need to refer and find our favorite works from them. When we are ‘creating,’ we can try to take pictures with the same feeling. This is what I call ‘sampling art.’ Through this practice we can find and build up our own creative habits and preferences in the process. With practice, we can then slowly cultivate our own creative style by continually adjusting our processes and our preferences.

For Film

To be honest, the process is the same as photography, the only difference is that the content that we shoot moves, nothing more.

Start practicing with a static shot, whether shooting handheld or using a fixed tripod. Record the story in the scene with a photographic perspective. These kinds of exercises will help us think about all the details in the picture. Once you are accustomed to capturing stories with a fixed lens, everything becomes much simpler when your lenses move.

Accumulate creative experiences in life and make the equipment and gear become a tool or prop to learn. For example, I use the Sony Alpha 7 IV because it is a camera that can take pictures and shoot movies. In switching between photos and films, the two modes of shooting mutually interacts so that, we can try to condense strength in a photo when taking pictures and try to extend the story when shooting films.

Alpha 7 IV | FE 35 mm F1.4 GM | 1/160 sec | F1.4 | ISO 200

How have the features of the camera helped you in hybrid shooting? Can you share with us specific experiences during your shoot where the Alpha 7 IV helped you in realising your visions?

In the opening shot, my profile setting was PP11 S-CINETONE, which was close to the darkness of the environment. When colour grading in post-production, I brightened the sky a tinge, but kept the darkness of the ground and the people. I find it quite comfortable to use S-CINETONE when doing color grading during post-production. It allows me to create this sense of contrast and lets me adjust the colors of the sunset according to my preference.

Shot with Alpha 7 IV

The clip at 0:53 - 0:56 was shot handheld, and I found that the picture of the mother and the child in the vast scenery was very beautiful. I thought that if it was a fixed shot, it would be even better. I didn't have time to prepare the tripod, so I quickly ran to the fixed-point, turned-on IBIS and lowered my hand to bring the camera close to the sand. This created a very stable shot that is remarkably similar to shooting with a tripod, while keeping an ultra-low angle shot.

There is a long shot in the video that was shot handheld whilst walking. Thanks to my Alpha 7 IV, the picture is unexpectedly very stable, and the slow motion brings out the details of the picture more clearly. The aperture is set to F1.4, yet the autofocus can focus accurately on the human eye and the fluidity of the focus is amazingly comfortable. The settings in this video were set to S-Log-3, 4k 60p, AF-C, and with IBIS ON and activating the breathing compensation.

Alpha 7 IV | FE 12-24 mm F2.8 GM | 19mm | 1/250 sec | F2.8 | ISO 3200

During the shoot, the baby was moving fast and running to pull the curtains. I quickly crawled under the table and caught the picture, everything happened quickly, but the Alpha 7 IV’s eye autofocus feature completely captured the glint in the baby’s eyes.

Alpha 7 IV | FE 35 mm F1.4 GM | 1/250 sec | F1.8 | ISO 100

When the mother and the child entered the frame, I took this photo by tapping with my finger on the camera LCD screen to track on the touched subject. The touchscreen function is very helpful for shooting moving objects, especially to focus and track movements. Also this photo was in 33 megapixels high-resolution, I was able to crop it during post-production and adjust the photo to a more ideal composition layout.

Edo’s Closing Thoughts

Edo believes that both photos and videos are different creative modes that are good practice for any content creator. With the realisation of photographers around him filming more and videographers snapping more images, he believes that hybrid shooting plays a significant part in capturing the most important and spontaneous moments of life.