FE 14mm F1.8 GM

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

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Reviews

Body Category

Alpha 7C

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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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FE 14mm F1.8 GM | Shoot Milky Way and time-lapse shots | Review by Jay Evans

Harriman — Thu, 18 May 2023 03:06:02 +0000

FE 14mm F1.8 GM | Shoot Milky Way and time-lapse shots | Review by Jay Evans

Harriman Thu, 05/18/2023 - 08:36

Article Categories

Reviews

Body Category

Alpha 7C

Lens Category

FE 14mm F1.8 GM

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 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 14mm F1.8 GM | 14mm | F1.8 | 15 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

The prime choice for astrophotography

A prime lens like the FE 14mm F1.8 GM provides a wider aperture, allowing photographers to capture more light.

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 sec | ISO 6400

While we can push our digital sensor to a high ISO, having a few extra stops of aperture can be the difference between capturing a dark landscape with the night sky in a single shot, or needing to snap multiple images and employ technical post processing techniques to create the image. This gives you more time in the field to consider composition and move around a scene, rather than focusing on stacking.

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 sec | ISO 6400

The outstanding resolution of the FE 14mm F1.8 GM means it can capture pinpoint stars when exposed (to account for the motion of the stars). Also, this prime lens has incredibly well controlled coma, so stars look really sharp across the entire image.

A moonless night in Australia's International Dark Sky Reserve

I set up my camera on the roadside next to a paddock of wheat, just after last light, and was facing west as the Milky Way set in that direction (at that time of year).

Capturing just after last light allowed me to get some residual colour of sunset on the horizon, with the stars and Milky Way visible above. A small low-lumen video light was waved across the scene for a few seconds while shooting to add some light to the foreground and tree. Venus is also visible in this shot.

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 sec | ISO 6400

Tips on distancing

The tree was approximately 15 metres away, inside the paddock. When composing astro shots and nightscapes with a wide-angle prime lens, it's important to consider your distance from your foreground subject. This not only ensures that your subject remains sharp in the hyperfocal range at a wide-open aperture, but also means that it'll work well in the composition.

Pro advice: Practise and safety

The biggest tip I can offer to any astrophotographer is to "just get out there" and shoot! You are unlikely to snap your "dream photo" of the night sky without getting some practice. So, even if you don't have a plan – on a clear night, just get outside, point your camera skywards, and see what you can capture!

Do remember that any outdoor photography involves an element of risk. This is accentuated at night, because of the darkness. Please ensure you are prepared, maintain a "safety first" mindset, and be aware of your surroundings at all times.

Time-lapse: Capturing the beauty of the night sky

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 | SEL14F18GM 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.

Observing the Milky Way at ACTA

Every month during the new moon, Australia's Commonwealth Scientific and Industrial Research Organisation (CSIRO) hosts an open night for photographers at the Australian Compact Telescope Array (ACTA) in the Paul Wild Observatory near Narrabri.

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 sec | ISO 6400

On this night, we were treated to an incredibly clear sky to watch the setting Milky Way behind some radio telescope dishes. This was a dark moonless night, with some green airglow, and residual orange light of sunset lingering on the horizon.

Here, the F1.8 aperture was very helpful in capturing residual light in a dark foreground, while keeping the colours of the night sky incredibly detailed.

Tips on distancing

The telescope dish is much larger than it looks, towering 15 metres into the sky! For safety reasons, we were not allowed within 15 meters of the base. However, standing at this distance provided the perfect opportunity to use the wide angle 14mm to great effect – with the Galactic Core and Milky Way band stretching across the sky.

Pro advice: Shooting in the dark

In astrophotography, you'll need to know how to operate your camera in the dark. So you'll want to learn how to change important settings like white balance, ISO, aperture and exposure – even in very low light situations.

You should instinctively know how to switch your focus to manual, and practise manually focusing on stars. Other important skills to know are how to change your lens and battery in the dark, as well as setting up your tripod and mounting your camera when light is at a premium.

The more your practise – even in daytime – the better you'll become. Eventually, these will be second nature to you.

Your aperture matters: How aperture changes exposure

These are shots of the satellite dish, taken at different aperture settings.

F1.8

F2.0

F2.8

F4.0

F5.6

Mountains and meteors

The Warrumbungles National Park and its ancient volcanic remnants is an idyllic location for astrophotographers. Here, you can capture stars across the volcanic formations of the Crater Bluff and Bluff Mountain.

Alpha 7C | FE 14mm F1.8 GM | 14mm | F1.8 | 15 sec | ISO 6400

This shot was captured during last light. A pink airglow is visible in the sky, with the lights of the regional city of Dubbo in the distance. I focused the camera to capture the southern arm of the Milky Way and the Magellanic Clouds of Mensa and Hydrus, which are clearly visible in the southern sky.

I was also blessed with a few meteors in this shot, something you often don't see until you review your images on a computer screen!

Tips on distancing

When shooting night scenes, always think about all the elements you might be able to capture. Everyone can photograph the Milky Way or a star trail, but there is so much more in our night skies that our cameras can see.

This brings us to one of the biggest benefits of the FE 14mm F1.8 GM prime lens – its amazingly wide angle. What's more, 14mm is one of the best focal distances to capture the night skies, as it provides a beautifully sized view of the Milky Way and other deep space objects, along with the landscape you're shooting.

Pro advice: These apps are your astrophotography buddies

Apps have contributed to the rise in popularity of astrophotography. You can use these to help plan your shoots as you'll be able to locate the Milky Way, the moon and other objects in the night sky – from any given location, and on any given date!

Some apps even use augmented reality, so you can see what a location will look like with the Milky Way composed onto it. These apps are must-haves for any astrophotographer, whether you're an experienced professional or a beginner who's just starting out.

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 14mm F1.8 GM | 14mm | F1.8 | 15 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 14mm F1.8 GM

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ECM-B1M

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SF-M64T

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Astro

Travel

FE 14mm F1.8 GM | Capture intriguing timelapse shots | Review by Phong Yap Hui

Harriman — Wed, 17 May 2023 06:51:04 +0000

FE 14mm F1.8 GM | Capture intriguing timelapse shots | Review by Phong Yap Hui

Harriman Wed, 05/17/2023 - 12:21

Article Categories

Reviews

Body Category

Alpha 1

Lens Category

FE 14mm F1.8 GM

The magic of time-lapse photography

Time-lapse photography is a fascinating aspect of photography that compresses long periods of time into minutes and seconds – allowing viewers to see how a landscape or environment can change as the earth revolves and nature unveils its wonders throughout the day or night.

The principles of shooting time-lapses are simple, yet highly intriguing. The fundamental principle is being familiar with the duration of the phenomenon you plan on capturing. For instance, when shooting sunrise or sunsets, you would learn that the process of the sun rising or setting, lasts around one hour. This understanding will allow you to better plan your shots, settings, camera battery management, and more.

My personal favourite camera and lens combination is the Alpha 1 and FE 14mm F1.8 GM prime lens, which are perfect for truly captivating time-lapse shots.

Sunset in Changbin

Alpha 1 | FE 14mm F1.8 GM | F16 | 1/2s | ISO 100

Alpha 1 | FE 14mm F1.8 GM | F8 | 1/3s | ISO 100

When shooting the sunset in Changbin, I estimated that the shot would take around 45 minutes – starting 15 minutes before sunset and lasting until 30 minutes after.

This is where calculations are helpful. 45 minutes is equivalent to 2,700 seconds, which allows me to take around 900 time-lapse photos at a rate of one shot every three seconds. Remember that extending the exposure time can reduce light sensitivity in exchange for better photo quality. In the Alpha 1 camera settings, you can find an ISO AUTO setting with a minimum speed of two. The ISO AUTO range value can be set to your personal preference. Personally, I recommend a setting of between 100 to 3,200.

Before sunset, you can reduce the aperture to F16 in exchange for more depth of field. As the sun sets, the light will gradually weaken, and the exposure time will gradually increase to two seconds. When this happens, increase the ISO to 100 – 3200 to maintain the quality of your photos.

When then ISO exceeds 200/400, adjust your aperture from F16 to F11 and the ISO will be reduced by half. Keep doing so until your aperture goes down to F2.8.

The beautiful blue tears phenomenon

Alpha 1| FE 14mm F1.8 GM | F1.8 | 15s | ISO 2000

Blue tears is a phenomenon that happens as a result of bioluminescence, and is ideally captured in extremely low light – preferably during a high tide, when the waves hit the reef and the glow of the algae is accentuated. This phenomenon usually lasts around three hours.

To create a time-lapse video with a high frame rate, shorten the exposure time so you can capture enough photos during this limited timeframe. Note that shortening your exposure time will cause your photos to be underexposed, so choosing a high-quality, large aperture lens (like the FE 14mm F1.8 GM prime lens) Is essential.

These shots are scenes of the blue tears at Dongju Island, Matsu. This seasonal occurrence typically happens from April to June each year. I chose to shoot when there was no moonlight, and when the Milky Way was visible. In addition to these considerations, you’ll also need to consider the wind direction (southern wind is best), temperature (18 to 22℃ is recommended) and weather (clear and fog-free).

Because the shooting environment will be almost completely dark, I recommend using Manual (M) mode with settings at F1.8, 15s and ISO 2000. If there is a fair amount of light pollution, you can lower your ISO to avoid overexposing your shots.

Quick guide: Timeframes and intervals of popular shots

Alpha 1| FE 14mm F1.8 GM | F1.8 | 15s | ISO 2000

To help you get started on your time-lapse shots, I’ve listed the timeframes and recommended interval times of popular scenes.

Timeframes of popular scenes:

Dawn and dusk: 1 hour
Star trails and galaxies: 2 to 4 hours
Hanging sun: 20 minutes
Rainbows: 15 minutes

When programming interval times, you can use this formula:

Longest exposure time of the scene + 1 second = Interval seconds

For example, the longest exposure time for dawn and dusk is 2s + 1s = 3s, and the longest exposure time in the starry sky and the Milky Way is 15s + 1s = 16s.

Additionally, scenes that lasts a shorter time (like rainbows), can be shot using an exposure time no longer than 0.5 seconds, with the interval time being 1 second. This way, you can take 900 pictures within the 15 minutes that the rainbow is visible.

For scenes like a "hanging sun", the long focal length and slow shutter speed can lead to shifts in focus that result in blurry images. I’d recommend setting your shutter speed to no lower than 1/30s or 1/15 seconds, with your interval time being 1 or 2 seconds (depending on the focal length and the stability of your tripod). If your shoot requires a long focal length that must remain stable from day to night, long exposure remains a priority – but first, ensure that your tripod is very stable and prepared for horizontal stabilisation.

My thoughts on the FE 14mm F1.8 GM prime lens

To be honest, I had waited for a lens like the FE 14mm F1.8 GM prime lens for over three years! I usually shoot outdoors, which makes a lightweight lens is a priority for me. I also often prefer shooting in 8K, and the incredible 8K image quality of the FE 14mm F1.8 GM always gives me confidence that the shots will turn out excellent.

What’s more, the small lens diameter is ideal for use in mountainous areas. Under the low temperature and high humidity of these environments, the small surface area minimises contact with cold air, which is a common cause of mirror fogging – and something I’m happy to no longer worry over.

The FE 14mm F1.8 GM can also be equipped with a 100mm filter system. This lets me easily balance image contrast in advance, and extend exposure times to capture higher quality images.

When paired with the Alpha 1, which has a very strong latitude and saves 16Bit RAW files, this is an ideal combination for time-lapse photography at all times of the day – both mornings and evenings. With the 16Bit RAW files, details in dark areas can also be restored in post-editing, which greatly enhances the quality of the final time-lapse shots.

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Alpha 1

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FE 14mm F1.8 GM

ไพรม์เลนส์มุมกว้างพิเศษ G Master สำหรับกล้องฟูลเฟรม

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Nature/Landscapes

Capturing Nature's Delights: Travel With Hybrid Shooter Jessica Li and Her Alpha 7 IV

sneha — Thu, 27 Oct 2022 11:45:20 +0000

Capturing Nature's Delights: Travel With Hybrid Shooter Jessica Li and Her Alpha 7 IV

sneha Thu, 10/27/2022 - 17:15

Article Categories

Reviews

Body Category

Alpha 7 IV

Lens Category

FE 14mm F1.8 GM

FE 55mm F1.8 ZA

Alpha 7 IV | FE 14mm F1.8 GM | 320 sec | F1.8 | ISO 3200

Hong Kong-based travel and nature photographer Jessica Li has always used photography to share her love for nature. Her interest in landscape photography has allowed her to showcase the unique and natural beauty of Hong Kong to the world. Throughout her career, Jessica has delved into hybrid shooting to showcase the wonders of the great outdoors in stills and videos.

"For outdoor shooting with the Alpha 7 IV, it is recommended to use the GM lens with a fixed focus and large aperture to create stunning wonders of Mother Nature. It is a lighter lens combination and is easier to carry around. The high-quality GM lens with a large aperture also helps to capture better images in low-light conditions,” said Jessica.

“The compact Alpha 7 IV provides high performance while offering flexibility, versatility and is light even with a FE 14mm F1.8 G Master or FE 55mm F1.8 ZA. This is sufficient for most scenes and provides good image quality while being portable," she added.

Why choose Alpha 7 IV for outdoor photography and videography?

"The new generation Alpha 7 IV offers 4K 60p, Super 35 Mode, 10bit 4:2:2 recording with S-Log3 and S-Cinetone support, making it easy to capture cinematic videos with smoother and more natural motion.

Alpha 7 IV | FE 14mm F1.8 GM | 20 sec | F2 | ISO 3200

The camera also delivers a new operating experience with the new dual dial that allows me to effortlessly switch between still and movie modes. Both modes can be adjusted individually so that I won't have to go back to adjust their settings anytime you switch between modes. It also has a new three-layer vertical menu that allows for a clearer display.

Alpha 7 IV | FE 14mm F1.8 GM | 13 sec | F2.2 | ISO 400

Last but not least, the Alpha 7 IV's electronic viewfinder and LCD monitor have both been upgraded to provide better colour and dynamic range. The 3-inch 1.03-megapixel side-flip screen on the LCD monitor makes it easier to take selfies and vlogs from multiple angles. If I am always shooting at a straight angle, the side-flip screen will make it easier to get a good view. If I can describe the Alpha 7 IV in one sentence, it is my ideal single camera partner for shooting photos and the world around me."

What makes the Alpha 7 IV better than other cameras?

Alpha 7 IV | FE 55mm F1.8 ZA | 1/1000 sec | F8 | ISO 100

"As I am a landscape photographer, I often use sunrise, sunset, and starry skies as my backdrop. Shooting in a natural environment places high demands on the performance of the equipment.

The Alpha 7 IV's new 33-megapixel full-frame back-illuminated CMOS offers a dynamic range of up to 15 stops and a new generation BIONZ XR image processing engine that boosts processing performance by 8 times. This allows me to capture a wide range of subjects, including travel, landscape photography, and more.

Even when shooting in low light, the image quality is better allowing the output of my landscape visuals to be more detailed. The camera allows me to achieve smoother and more dynamic images in high definition."

How has the Alpha 7 IV enabled you to navigate challenging terrain?

Alpha 7 IV | FE 14mm F1.8 GM | 1/10 sec | F14 | ISO 100

"When I am travelling or shooting landscapes, it is inevitable that I will have to travel up and down mountains and seas, hence the portability of the photography equipment is a very important element.

The Alpha 7 IV is light and handy while also offering high-quality photography and recording functions that meet my needs as a content creator. I mainly carry 1 camera and 2 lenses with a tripod, such as the FE 14mm F1.8 GM or FE 55mm F1.8 ZA. This is sufficient for most scenes and provides good image quality while being portable."

What is your advice for beginners looking to venture into hybrid shooting?

Alpha 7 IV | FE 14mm F1.8 GM | 6 sec | F14 | ISO 100

"For landscape photographers who are always on the move, having a camera that can take great still photos and high-quality motion without the need to bring another camera or camcorder will make your trip a much more relaxing experience. This way, you can focus on your trip and seize every opportunity to capture great images. I definitely recommend the Alpha 7 IV for outdoor photographers, as it gives you everything you need from a technical perspective to capture the most breath-taking photos and videos of Mother Nature.

In terms of lenses, I am a huge advocate of the G Master lens for outdoor shooting. Its well-engineered optics, including fixed focus and large aperture, offer incredible resolution even under low light. It is also lighter and easier to carry around."

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Alpha 7 IV

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Nature/Landscapes

Secrets to Award-Winning Astrophotography | Astrophotography with Luke Tscharke Part 3

sneha — Thu, 01 Sep 2022 05:35:32 +0000

Secrets to Award-Winning Astrophotography | Astrophotography with Luke Tscharke Part 3

sneha Thu, 09/01/2022 - 11:05

Article Categories

Featured

Body Category

Alpha 7 IV

Lens Category

FE 14mm F1.8 GM

Highly acclaimed photographer Luke Tscharke has always been fascinated by nightscapes, especially the Milky Way, and the thrill that accompanies shooting them. In 2014, he took the plunge and purchased an Alpha 7S. From then on, astrophotography changed for him.

“At that time, there were no other cameras like it. Its incredible low-light performance could capture night images that really stood out. It inspired me to travel to locations within 25 km from the heart of Sydney, where I lived, and photograph the night sky, including the Milky Way,” said Luke.

To support his camera, Luke took his time to research the lenses best suited for astrophotography and learned that Sony’s wide-angle prime lenses had all the requirements for taking his snaps of nightscapes to the next level. “I think a combination of finding the best equipment and researching the best techniques and locations has enabled me to capture images that I never could have dreamed of capturing at the start of my journey.”

Alpha 7 IV | FE 14 mm F1.8 GM | 1225 sec | F1.8 | ISO 3200

Galaxies, constellations, planets, and the moon are popular subjects of astrophotography. If you are into capturing astonishing nightscapes, you’re in luck, as Luke bares his award-winning astrophotography secrets.

Learning the techniques

Since astrophotography requires specific gear settings and techniques, it’s completely understandable to not perfect it on your first try. To help you get there, let’s dive into Luke’s gear settings and the most useful techniques used in astrophotography:

Camera setting for long exposure

Long exposure in astrophotography gives the camera sensor enough time to capture objects in the night sky in such low light conditions. A great setting to start with is around 20-30 seconds shutter speed. Luke suggests that for exposures longer than 30 seconds, you will need to shoot in bulb mode. To do so, select the manual mode on the camera and adjust the shutter speed way past 30 seconds until it says ‘BULB’. Next, find a way to open the shutter remotely as it will be difficult to press the shutter continuously for several minutes. Luke’s preferred method is to connect the camera to the Imaging Edge app, which allows him to control the exposure more conveniently and operate the shutter through a Sony Bluetooth remote.

“Once you’ve opened the shutter using the remote, you need to set a timer for the desired exposure time and then you can close the shutter once the time has elapsed,” he explained.

Lens setting for unlimited distance

Since these celestial bodies are a vast distance away, it may be difficult for the lens to focus on them. Putting the focus ring to infinity is a common astrophotography technique to set a sharp focus on them. For Luke, however, he prefers to manually focus on his subjects as this ensures that they will be as sharp as possible. “The easiest way is to focus on a light source farthest away, whether it’s a streetlight, the moon and, of course, even the stars themselves,” said the astrophotographer.

Alpha 7 IV | FE 20mm F1.8 G | 2.5 sec | F1.8 | ISO 10000

Delay shutter setting

Using a shutter self-timer delay is ideal, especially when shooting with a tripod. Generally, Luke sets it to a two-second timer, to avoid blurry images due to the slightest movement from pressing or releasing the shutter on the camera. The delay shutter allows vibrations or any forms of motion from pressing to dissipate first before the capture.

Post-production polishing

Editing is a significant part of night sky photography. Since it pushes the camera’s low light performance to its limits, it may introduce noise and other artefacts and reduce sharpness in detail. Editing the images removes these properties and enhances the overall quality of the image. It also allows the photographer to have better creative control and incorporate their personal style and vision.

In post-production, the most crucial thing to consider is to ensure that the image is already as sharp as possible when captured in camera as this cannot be fully corrected when retouching. Remember that a high-quality edited image needs a high-quality raw image to begin with.

“Fortunately, Alpha cameras have amazing imaging sensors that capture a wide dynamic range of light with low noise levels. This enables excellent highlight and shadow recovery in post-processing, giving a great deal of adjustment options. The sensors, along with the fantastic array of GM lenses, also capture sharp images at very wide apertures, allowing the sensor to detect more light, which is important when there isn’t enough light available,” he shared.

“I try to edit my images as minimally as possible—usually just image blending or colour adjustments and then sharpening for print and web. I don’t create composites, like moving the position of the subjects in post-production because I like to be able to say that the image accurately represents what the night sky looked like when I was there,” said Luke.

Alpha 7 IV | FE 20mm F1.8 G | 2.5 sec | F1.8 | ISO 10000

Luke mainly uses Lightroom and Photoshop for image editing. For him, Lightroom is the tool to ‘cut the diamond’, while Photoshop is the tool to ‘polish the diamond.’

He uses Lightroom to reduce the contrast of the image and reintroduce the contrast selectively to accentuate the subjects. It also adds a slight vignette using a radial mask, which centres the focus on where the interest is. “Avoiding too much use of the shadow slider can open up the darker areas of the image and reveal some noise. Instead, try reducing the contrast, which may produce a similar effect, but will maintain better noise levels.”

On the other hand, Photoshop is for curves adjustment layers and reintroducing the contrast across the image. It also ensures the darker and lighter areas of the image are more evenly balanced. According to him, “Photoshop is great for additional noise reduction, especially when using various plugins that specialise in that area. I also use it to balance colours and make sure that the overall colour toning is appropriate. I know I’m finished editing when each part of the image feels right, and the colour and contrast are well balanced.”

“Sometimes edits take several minutes but most of the time they take several hours. I generally sit down and start working, and don’t stop until it’s finished and I’m happy with the result!” Luke added.

Honing your skills

Alpha 7 IV | FE 14 mm F1.8 GM | 8 sec | F1.8 | ISO 6400

It may sound cliché, but the best way to truly improve your skills is through practice, according to Luke. The more you go out there and put your skills to the test, the more that you learn and improve for the next photography session. Having passion for what you photograph makes photography easier as it provides an insatiable desire to go out and capture the world. “I often find myself out in the freezing cold or on a big bushwalk to a location and think that I never would have been able to have pushed myself to do that without great passion. It’s what gets me out of bed at 3 AM despite being all snuggled up in a warm bed,” he shared fondly.

Additionally, the grit to always explore is another essential practice in elevating your skills. It’s important to learn new things in every session, especially when you’re trying something new, and apply all this on your next shoot. Watching tutorials online, reading blogs, and studying the works of the photographers you admire do wonders too.

Finally, your skills need support from best-fit gear. Astrophotography is no easy genre, so you’d need equipment that can meet its demands. Investing in the best possible equipment has immensely helped Luke along the way. The last thing you’d want is for your equipment to limit the potential you have to fully capture the moment. In night photography, having higher quality gear will always be worth the investment in the end.

Alpha 7 IV | FE 14 mm F1.8 GM | 1035 sec | F1.8 | ISO 3200

Now, before you go out there and photograph the captivating night sky, Luke has some reminders for you. “Get out there and keep exploring! Enjoy the incredible feeling of spending the night under the stars.”

Not sure where to begin in preparing for your astrophotography session? We’ve got you covered. Be sure to check out the first part of this astrophotography series to learn how to find the perfect spot for your shoot. Part two discusses the essentials to pack so you’ll always come prepared. Good luck, and we wish you clear skies!

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The New SELP1635G Is the World’s Lightest Full-Frame F4 Wide-Angle Power-Zoom Lens

sneha — Tue, 30 Aug 2022 07:59:09 +0000

The New SELP1635G Is the World’s Lightest Full-Frame F4 Wide-Angle Power-Zoom Lens

sneha Tue, 08/30/2022 - 13:29

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Lightweight and versatile, the newly released FE PZ 16-35mm F4 G (SELP1635G) offers refined visuals, quality, and control. It is designed with a new power zoom system contained in an ultra-light and compact lens that is ideal for small crews or solo shooting. The Mobile01 team recently got their hands on one and was thrilled to try out the world’s lightest full-frame F4 wide-angle power zoom lens.

“With the added advantages of the power zoom, internal zoom, and ultra-lightweight, and at a price that compares favourably with G Master (GM) lenses, not to mention its well-controlled breathing effect and infinitely variable aperture ring structure, it is likely to become the new favourite of dynamic photographers in the future!” the Mobile01 team said.

SELP1635G’s Appearance and Features

The SELP1635G may look like a regular ultrawide zoom lens but brace yourself because it will surprise you with powerful features. Let’s start with its exterior! The lens is enclosed in reinforced plastic to allow for better mobility and make it more lightweight. This exterior, according to Mobile01, “should be the norm for E-mount lenses, even the GM lenses.” The SELP1635G weighs only 353 grams and measures 88.1 by 80.5 mm.

Its lens is coated with fluorine and has an optical structure of 12 groups and 13 elements, two AA advanced aspherical lenses, one ED low dispersion lens, one super ED low dispersion lens, one aspherical lens, one ED low dispersion aspherical lens, and a multi-layer coating in the lens groups. With its seven aperture blades and magnification increased to 0.23x, users can delight in enhanced lens performance while enabling flexibility during shoots. For the Mobile01 team, this improvement is “much more practical than the previous 0.19x of the SEL1635Z.”

Alpha 7 IV | FE PZ 16-35mm F4 G | 35mm | 1/400s | F4 | ISO100

An example of optimum magnification and out-of-focus bokeh

Mobile01 recognized SELP1635G’s incredible zooming capabilities, including the physical zoom ring on the lens, the customisable buttons on the body, the on-screen touch and even the zoom paddle. Its zoom speed is determined by the depth the zoom paddle is pushed, but it can also be changed via the menu. The review article also noted the “focus hold button,” which enables users to create a better connection with their device by allowing them to customise its function through a menu of customised buttons inside the body. The lens also features a focus mode switch, designed to provide convenience in switching between Auto Focus and Manual Focus.

SELP1635G’s Iris Lock is also among the features that caught Mobile01’s attention. This assures the user that the aperture is completely controlled by the camera body. This prevents unwanted exposure changes while shooting. Mobile01 was in awe of this feature and predicted that “In the future, the Iris Lock structure is likely to become standard on lenses with a built-in aperture ring.”.

“The SELP1635G is designed to be dust- and moisture-resistant. The outer ring of the rear lens has a rubber ring that provides a tighter fit and reduces dust and moisture penetration. The lens is also very tightly integrated into the body,” Mobile01 said in the review.

Alpha 7 IV | FE PZ 16-35mm F4 G | 16mm | 1/300s | F4 | ISO 1250

Single-handed selfie

As an ultra-light lens, users will not need to make that much effort to take photos or even selfies. Even at an arm’s length, the user can still fit up to five friends within the frame because of its wide-angle capabilities. When paired with the Alpha 7 IV, the combined weight is just about a kilogram. “This is a great combination for mountaineering enthusiasts; it’s lightweight and the image quality is high. It is also great for recording when combined with a 3-axis stabiliser,” stated Mobile01.

Dolly Zoom

Dolly zoom is a visual technique where the camera dollies towards or away from the subject while the zoom lens zooms to adjust the angle to keep the subject in the same size within the frame throughout the sequence. In short, the person behind the camera zooms in while moving away or zooms out while moving towards the subject to create a sense of the scene being stretched. This lens technique has appeared in countless classic movies. Check out Mobile01’s videos below to understand the Dolly Zoom!

“We didn’t have a slider. Both videos were shot while controlling the focal length with power zoom by hand, and because the power zoom was used for the control, we were able to achieve a constant and fluid zoom effect,” the Mobile01 team explained.

COMPARISON (SELP1635G vs. SEL1635Z)

SEL1635Z was released in 2014, and easily became one of the leading full-frame F4 lenses. Mobile01 mentioned that both SEL1635Z and SELP1635G have a distinct feel to their lenses and compared them side by side. Let’s dive through Mobile01’s observations on the difference between the two! Let’s start with their appearance.

Appearance

With one look at both lenses, one can discern what their exteriors are made of. On the one hand, the SELP1635G is made of reinforced plastic, which makes its weight lighter. Meanwhile, the SEL1635Z has a strong metallic look, with the entire lens body including the focus ring and zoom ring made of metal. This significantly contributes to its weight.

“The SELP1635G is approximately 10.4mm shorter and 165 grams lighter than the SEL1635Z, and the internal zoom structure makes it easier to carry and work with, as the SEL1635Z zooms to 16mm, and the lens stretches further. Both lenses have a 72mm front lens opening. The SEL1635Z has built-in Optical Image Stabilisation (OSS), which is a rare feature for an ultra-wide angle lens.” the Mobile01 review stated.

Focusing Speed

The SELP1635G uses an XD linear motor, which supports the Alpha 1’s 30 frames per second (FPS) photo shooting and 4K 120P video recording. Mobile01 tested and compared the focusing speed of both lenses at 35mm focal length and found that the difference between the AF-S single focus was a bit indistinguishable. However, when switched to AF-C, the SELP1635G’s sensitivity was obvious as it was able to immediately and accurately focus wherever the focus frame pointed.

Check out the comparison below:

SELP1635G

SEL1635Z

Breathing Effect

Mobile01 also put the lenses’ focus breathing to the test and commended SELP1635G’s. “The SELP1635G’s management of focus breathing is outstanding, especially when paired with the Alpha 7 IV’s breathing compensation function,” its review said.

The team tested both lenses with the breathing compensation of Alpha 7 IV turned off to arrive at more accurate results. In the comparison, the team found that even SEL1635Z’s breathing compensation fares well, too, but mentioned that SELP1635G has better control. “It would have been even better if the Alpha 7- IV’s breathing compensation function had been turned on.”

SELP1635G

SEL1635Z

Wide-angle Extent

In the comparison of the wide-angle extent, Mobile01 noted that the physical focal length and angle of view of each lens differ from one another. While the team didn’t have the equipment to know for sure the exact difference in the angles, it mentioned that one can clearly see that the SEL1635Z is 1-2mm less. When the angle both set to 35mm, the difference is not too discernible. However, Mobile01 was thrilled to see that in the ultra-wide-angle setting, the 1mm makes a huge difference!

See the differences for yourself:

SELP1635G | 16mm

SEL1635Z | 16mm

SELP1635G | 35mm

SEL1635Z | 35mm

16mm Wide-angle Deformation

“Looking at the photos, the difference between the SELP1635G and SEL1635Z before and after calibration is obvious. This is the manufacturer’s strategy, as it is easier to rely on the camera for ‘lens compensation’ rather than ‘dispersion suppression’ for the barrel distortion,” said Mobile01.

Given this, the reviewers have concluded that SELP1635G renders more effort into suppressing chromatic dispersion since the camera will still result in a 16mm focal length without affecting the wide angle.

SELP1635G | Post-calibration

SELP1635G | Pre-calibration

SEL1635Z | Pre-calibration

SEL1635Z | Post-calibration

Resolution (Alpha 7 IV, 61MP)

To have a more accurate comparison test on the resolution, Mobile01 used a 61MP Alpha 7 IV for the project. “The following is a crop of the 720 x 480 area of the 61MP, and I was quite surprised by the results. The SEL1635Z, launched in 2014, doesn’t look any older than the Alpha 7 IV and is on par with the new generation SELP1635G. It’s amazing that such a high-performance lens could be released in an era when the maximum resolution was only 36MP (Alpha 7R)!” Mobile01 said, impressed.

The working aperture of SELP1635G at the wide-angle setting is between F4 and F16, which is easily comparable to the SEL1635Z. However, as Mobile01 extended the focal length to 35mm, the difference became obvious. “The SELP1635G can be used with the 61MP Alpha 7 IV at F4 to F16 with confidence. With the SEL1635Z, I would recommend F4 to F5.6, as the image quality deteriorates quickly from F8,” the team shared.

SELP1635G | 16mm | F4

SEL1635Z | 16mm | F4

SELP1635G | 16mm | F22

SEL1635Z | 16mm | F22

SELP1635G | 35mm | F4

SEL1635Z | 35mm | F4

Chromatic Aberration Suppression (Alpha 7 IV, 61MP)

The photos are 720 x 480 areas cropped from a 61MP photo. “The SELP1635G uses one ED low dispersion lens, one super ED low dispersion lens, and one ED low dispersion aspherical lens. However, these are both zoom lenses with a constant F4 aperture, not large aperture lenses, so dispersion should not be difficult to deal with,” explained Mobile01.

At the centre of the image at full F4 aperture, there is purple fringing captured by both lenses, but it is not noticeable. Meanwhile, from the F5.6, Mobile01 found that the dispersion is completely suppressed. It also noted that there is a slight horizontal chromatic aberration on the SELP1635G photo, and the SEL1635Z is a bit purplish until it gradually improved at F11 aperture.

SELP1635G | F4

SEL1635Z | F4

SELP1635G | F22

SEL1635Z | F22

Flare Resistance (Alpha 7 IV, 61MP)

In photography, it is known that wide-angle lenses are usually designed to be more flare-resistant to bright lighting, like the sun. In this section, Mobile01 compared Sony’s own multi-layer coating and the Zeiss T* coating, establishing that the T* coating is a noteworthy feature. The results showed that the level of flare varies between two lenses, and the reviewers declared that the SEL1635Z has a more subdued appearance in terms of light spots and ghosting.

SELP1635G | F4

SEL1635Z | F4

SELP1635G | F22

SEL1635Z | F22

Starburst Patterns (Alpha 7 IV, 61MP)

As mentioned earlier, both lenses have seven aperture blades. From Mobile01’s comparison test, the reviewers found that from F4 onwards, the SELP1635G has produced a slight starburst. Meanwhile, when they reduced the aperture to F5.6, it produced 14 starburst rays, with tails beautifully tapered, resembling the shape of a sea urchin. The SEL1635Z, on the other hand, produced a branching starburst at F22.

Mobile01 further noted that the starburst produced by the SELP1635G is the ideal starburst for landscape photographers.

SELP1635G | F22

SEL1635Z | F22

Conclusion

“I was a bit surprised by the appearance of the SELP1635G. After the last update of the FE 70-200mm F2.8 GM OSS II (SEL70200GM2), I remembered that it was time to update those GM lenses as well. I was expecting the SEL2470GM2 to be the first to arrive, but didn’t expect to see another ultrawide angle lens added to the range in recent years,” Mobile01 shared in the review.

It noted that the addition of the SELP1635G to Sony’s ultra-wide angle lenses lineup—SEL1635Z, SEL1224G, SEL1635GM, SEL1224GM, and the fixed focal length SEL14F18GM—makes it a comprehensive list to choose from. “This number of lenses is easily the largest in the MILC market, but it also seems to make it more difficult for second-tier lenses to enter,” the team said.

“Although it is not a GM, its capabilities are not to be underestimated, and the use of seven special lenses indicates the attention and expectations of the original manufacturer,” Mobile01 said. “The G lens adopts an internal focus structure. But it is rare to see one that comes with an internal zoom, especially with a power zoom paddle, and at 353 grams, recording is easy with the 3-axis stabiliser since the power zoom provides a stable zooming process and a more natural look on the screen.”

The SELP1635G is the ideal lens for content creators who produce both photos and videos. With the support of an Alpha camera, like the Alpha 7 IV that is packed with 61MP, the lens can help photographers and videographers achieve optimal results with high-resolution visuals.

Its XD linear motor is also among the many features that left Mobile01 in awe. Due to the XD linear, the AF-C has significantly accelerated, and continuous focus no longer feels like a chore, shared the reviewers. They reiterated how great it is to pair this spectacular lens with the equally ferocious Alpha 7 IV. However, the team also suggested trying it out with the Alpha 7S III and the FX3 if the user has more advanced recording needs.

“If you are looking for the ideal E-Mount ultra-wide lens and are not on a budget, I think the SELP1635G is the right choice. Since Sony Taiwan’s pricing has rarely disappointed consumers in recent years, I’m looking forward to a nice, sweet price for Sony fans when it goes on sale!” concluded Mobile01.

FE PZ 16-35mm F4 G SAMPLE PHOTOS

Alpha 7 IV | FE PZ 16-35mm G | 19mm | 1/80 sec | F4| ISO 800

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

Alpha 7 IV | FE PZ 16-35mm G | 31mm | 1/40 sec | F4| ISO 250

Alpha 7 IV | FE PZ 16-35mm G | 22mm | 1/320 sec | F4| ISO 100

Alpha 7 IV | FE PZ 16-35mm G | 35mm | 1/800 sec | F4| ISO 100

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Around The Block With Cityscape Master, Kohki Yamaguchi

sneha — Fri, 26 Aug 2022 07:26:06 +0000

Around The Block With Cityscape Master, Kohki Yamaguchi

sneha Fri, 08/26/2022 - 12:56

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Body Category

Alpha 1

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FE 14mm F1.8 GM

Kohki Yamaguchi (@kohki) rose to fame for his breath-taking photography. He is also the founder of @Discovertokyo which is a Tokyo based photography community. Having graduated from the University of Sydney in 2017 with a double major BA in Critical Thinking and Visual Arts, Kohki has since been freelancing in Tokyo, for many major brands.

Through his Instagram, Kohki has nurtured and groomed his love for cityscape photography with Tokyo as his primary subject. For him, Tokyo is one of the best cities in the world for its wide variations and distinct districts, making it a suitable destination for cityscape photography.

Alpha 1 | FE 24mm F2.8 G | 1/2 sec | F9 | ISO 125

Better Cityscapes with the Sony Alpha

According to Kohki, capturing Tokyo only gets better with his trusty Sony Alpha 7R III and his favourite prime lens. “I am a prime lens person, so I ended up owning most of them. For cityscapes, I prefer using the Sony FE 14mm F1.8 GM, Distagon T* FE 35mm F1.4 ZA and Sonnar T* FE 55mm F1.8 ZA.”

Kohki often carries the classic FE 16-35mm F2.8 GM lens for film shooting. However, as he can’t bring all these great lenses in one trip, he’ll rock the FE 85mm F1.4 GM or the FE 70-200mm F2.8 GM OSS, which works for both stills and videos.

Recently, Kohki is loving the Sonnar T* FE 55mm F1.8 ZA as it works not only for landscape photography but different genres as well, including portraits. “The Sonnar T* FE 55mm F1.8 ZA comes with me on 99% of my shoots, regardless of what I’m shooting. Its small and light weight combined with its excellent resolution and powerful capabilities make it a reliable companion during shoots.”

Alpha 1 | FE 24mm F2.8 G | 1.6 sec | F11 | ISO 100

For cameras, Kohki has entrusted the Alpha series to capture his visions and adventures. Its enhanced image processing, smooth autofocus performance, and comfort that supports tough workflow make it a phenomenal companion when shooting the outdoors.

“Any Sony Alpha camera is great for landscapes. I usually use the Alpha 7R III and I’ve tried the Alpha 1 –both possess the best dynamic range, making them perfect for cityscape photography. I would recommend the Alpha 7R Series or the Alpha 1 if you’re looking to capture breathtaking images or deciding to make printouts of your work in the future,” added Kohki.

Since cityscapes usually capture extensive views of cities with fine details of every structure, Kohki finds the Alpha cameras’ wide sensor to be ideal for cityscape photography. The Alpha 1, in particular, has a 50-megapixel sensor that is especially appealing for the photographer. This means printing works on a massive scale will not diminish the quality of the images. Given that cityscape photos are usually brimmed with details, the Alpha 1 is an ideal gear for this genre of photography.

“The 50 MP sensor allows me to crop original images that are perfect for social media without compromising the quality. I will still have a large and crisp file that I am satisfied with. It also enables me to create a vertical oriented image from a single horizontal photograph,” he added.

Alpha 1 | FE 24mm F2.8 G | 1.6 sec | F11 | ISO 100

From Filters to Technology

To get that smooth sky, Kohki would use a tripod with a VND filter (variable non-density filter) at midday, resulting in cityscape images with a trademark calm look. The filter allows him to lower the shutter speed, which will then result in a calming landscape that is similar to the brushstrokes used in impressionist paintings. To get a sharper image with glowing highlights, Kohki instead uses a pro-mist filter, as the filter will help take the edge off images.

Alpha 1 | FE 55mm F1.8 ZA | 1/100 sec | F8 | ISO 160

A digital native, Kohki has been using online resources to continually improve his craft. “I often use Google Earth to view and research a location, building layouts and visual layers before attempting a shoot. This provides me with a good sense on how the images will turn out, and the spot I should be taking the photos from. After a day of shooting, I refine and process the images in Adobe Lightroom and Photoshop.”

On Tourists and Timing

When it comes to popular tourist destinations, Kohki seems to have found the perfect solution. “When I want a clean photograph of a tourist spot, I will take the initiative to go early in the morning, before the tourists arrive.” He often compares photos from other photographers; and even challenges himself to take photos of locations that other photographers have not attempted, or from a time of day that others are less inclined to take. This way, he discovered that he was able to put himself to the test and craft amazing photos that are new and unique.

Alpha 7R III | FE 16-35mm F2.8 GM | 18mm | 1/50 sec | F5.6 | ISO 100

Photography, to Kohki, is about timing. It is about making sure you grasp the right time in the season, especially when capturing seasonal flowers or events taking place. However, he has found daylight savings, earth days or city light maintenance being hindrances, resulting in dimmer photos. When shooting cityscape, especially at night, he suggests ensuring first that the city lights are switched on at a landmark before beginning the session. Checking the haze index is crucial, too, especially for tourists who have limited time to capture the establishments. These can make or break a photograph.

Alpha 1 | FE 24mm F2.8 G | 1/50 sec | F3.5 | ISO 250

Lighting and Settings

Using apps, Kohki is also able to accurately predict the direction of the sun at a specific time of day - setting up lighting for day-time cityscapes. At night, he prefers to shoot under the new moon to avoid any reflections from the moon or exposure to any light. Additionally, Kohki strays away from locations with higher source of light pollution, such as the city or town.

His cityscapes are shot raw with standard colour profiles, as opposed to the style presets that may often come as a camera feature, since he is satisfied with the colour science in Alpha cameras. “When taking pictures of cityscapes and landscapes, I feel no need to rush. Single shooting helps me to take it slow and put heavy thought on every shot that I take. For this kind of shoots, I think it's important to always step back and take it slow,” he said.

His ISO is set at the lowest possible (100-400), while the aperture is set at F8 or even F11 for landscapes, with the shutter speed at the same as his focal length or up to two times the focal length.

Alpha 1 | FE 24mm F2.8 G | 1/100 sec | F8 | ISO 100

“I try my best to make sure my photographs carry a theme and make sure to nail the colour palette. I do this by focusing on a few colours only instead of having photos with wide variation. This sets the overall tone of my photos,” said Kohki. “Sometimes, I add blues to the shadows and highlights for a cooler tone. This results in a minimal and monotoned look without trying too hard,” he said.

All these have their drawbacks, as he is limited to what he can post thematically, and often must ditch photos that do not follow in aesthetics and tone balance.

A photographer can capture the cityscape from a variety of vantage points—whether from the middle of the street or from the view from the rooftop of the tallest building. One just needs to be creative in how they want to present the man-made wonders in front of them. While the camera, lens, and composition play an essential role in the end-product, it’s the photographer’s unique style that will ultimately stand out.

Alpha 1 | FE 24mm F2.8 G | 1/250 sec | F5.6 | ISO 100