Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Reputation Activity

  1. Thanks
    Chrissie got a reaction from LHudgens in Help to blur background when objects further away   
    What can you do if your lens does not feature these "depth of field" markings? Let your camera's autofocus do the work for you. But how?
    Well, an autofocus will typically start moving the internals of your lens in an arbitrary direction. If it detects, that the area to focus gets more blurred that way, it will reverse the direction of its movement. If it detects, that the sharpness increases, it will continue its movement until it detects the first drop in sharpness. At which point it will retract a little bit and call this "in focus".
    If you want the autofocus to place you at the far end of the depth of field range (see my previous post), you will want to first manually focus something very near, without actually shooting, then switch to autofocus. In which case the autofocus will travel through the whole depth of field, starting at the near end, until it stops at the far end of the depth of field. Et voilá! that's where you want it to be. Shoot! 
  2. Thanks
    Chrissie got a reaction from LHudgens in Help to blur background when objects further away   
    Regardless of your camera's settings, you will always have a "depth of field", meaning, that the focus doesn't apply to just one precise distance from the camera, but rather to a distance range from the near end of the depth of field to far end of the depth of field. Everything in between those two distances will be in focus. Things nearer to the camera than the near end of the depth of field will be out of focus, i.e. blurred, and things farther from the camera than the far end of the depth of field range will also be out of focus.
    A wide aperture (low number) will give you a narrow depth of field range, while a small aperture (high number) will give you a wide depth of field range, as already many in this thread have said before.
    If you want to be in focus, while you want the background to be blurred, make sure you are as close as possible to the far end of the depth of field for your given settings. This will give you a crisp foreground, including yourself, while the blurred area will start "immediately" behind you.
    Since you are new to this topic, it may be tricky for you to find out just where the limits of the depth of field are for your lens and settings. On legacy lenses, there used to be some nifty engravings to that regard, like this:

    Image Source
    This sample lense is currently set to an aperture of 11 (left ring) , which is a rather large number, giving you a small aperture and a huge depth of field range, ranging from ~1,8m to infinity (center ring), all marked in blue. This is definitely not what you want. As advised, you would try to set the aperture to the lowest possible number, say: 2.8 (whatever the lowest aperture number is that your lens supports). I've marked that in green:

    Image Source
    This would give you a depth of field range ranging from ~3m to ~5m (marked in green). In that case, you would want to place yourself at a distance of ~5m from the camera, which is the far end of the depth of field for that setting.
    Remember: this is just an example. Actual values for your lens will probably vary. BUt the same principle applies nonetheless.
  3. Like
  4. Like
    Chrissie reacted to LiveShots in Dining with a Hawk   
  5. Like
    Chrissie reacted to Tangibledan in Is it possible to shoot in intervals below 1 second?   
    dbmiller and Chrisse, 
    Thank you for the quality replies, I wasn't aware that I could set the frame rate on the Burst mode, very useful, thanks for that. Also the wireless remote trigger could solve the problem on the interval timer, if say I can set a sustained burst of 5fps and the memory cards can sustain that for 1 minute, and the camera doesn't overtheat. But it's London in November so at least ambient temps are on my side
  6. Like
    Chrissie reacted to Tim Driman in I can see you...   
    Hi from  South Africa.
    I am a wildlife and surfing photographer, based in the coastal town of Ballito. (Upper east coast of South Africa).
    My wife and I were both formerly Canon shooters for 19 years, but we switched to Sony equipment in 2017.  
    My wife specialises in video ( Sony HXR-NX 80), and up to now I have specialised in stills, but that is now changing with the delivery of my SonyA7Siii today! Woopwoopwoop!.😝
    In 2017 the Sony A9i just blew me away with it's focus acquisition/tracking, and it's general performance, including its lightness, and comparative cost against my old Canon kit (1DX MKii / 5D MKiv / 7D MKii, and  200mm-400mm f4, and other white lenses)  It was Sony vs Canon , and the performance of the Sony A9i / Sony 70mm-200mm f2.8 GM +2xTC  just blew me away.  I confirmed totally, that it was a major inflection point in the world of modern photography.😲
    The big test came on the Zambezi River (Namibian side), documenting the 2017 breeding season of the erratic-flying  Carmine Bee-eaters. On our return to SA, I immediately sent all my Canon equipment to our  main photographic dealer, with whom we have dealt for many years, and I replaced all my Canon gear with a second A9i body, 100mm-400mm GM , 24mm-70mm f2.8 GM,... But since those days, I have grown incrementally with all the Full Frame Alpha bodies to my present A9ii, A7Riv and, as from today, the A7Siii.
    I have just traded in my magnificent Sony 400mm f2.8 GM .  *I have never been a great fan of long primes, and prefer the versatility of decent long zooms as they provide me with far more versatility for my kind of work, which is in the wilderness areas of sub-Saharan Africa, where we don't know what to expect around the next bush. 😉
    My "go-to" rigs are 100mm-400mm GM +1.4xTC (Always), 200mm-600mm G, on a  Gimpro Gear - double Pano Head  (One for stills, and one for video) , on a Monopod,  and next to me, for wider shots, either the16mm-35mm f2.8 GM / 24mm-70mm f2.8 GM / 70mm-200mm f2.8 GM.  
    This is my first post on this forum
    Sony A7Riv / Sony 400mm f2.8 + 2x TC
    Location: Okavango Delta (Botswana)

  7. Like
    Chrissie reacted to jmgul in Dolmen Lácara. Milky Way   
    Between Aljucen, La Nava de Santiago and Merida is located the Dehesa de Lácara with the Dolmen corridor. Thanks to its conservation and size it is worth a visit. There is only a slight detour from the famous Ruta/Vía de la Plata.
    The aim is to enhance the tumulus as well as the arch of the Milky Way over the horizon.
    The surroundings are still worth visiting by day...

    SONY A7II & SEL1224G
  8. Like
    Chrissie reacted to VTC in Advice Needed on A7Siii and External Recorder   
    Maybe it's time to look towards a different camera.
    You can't expect a dump truck to fly no matter how long a solution takes, Re: "Might need a firmware update though." and 4K really isn't 4K if it goes into crop mode Re: "Involves 10% crop".
    Well thought out and documented points brought up here but in the end It might be time to grasp that you can't plow 20 acres with a butter knife if "4K, 120, 4.2.2 can't be compromised" and find a different device to get you to where you need to be. Seems to me 7Siii can't reasonably hit all the points you require unless you start throwing money at it and tacking on additional hardware. 
    This isn't the first time 4k, 120, 4.2.2 has been shot by anyone has it? It begs the questions 1) How was it done before now? and 2) What was used to capture it? If you need to fly trying to do so in a dump truck merely because you have one isn't the best or only option. It's like making the introduction, "Mr. Square Peg meet Mr. Round Hole."
  9. Like
    Chrissie reacted to dbmiller in Bullseye Artifact on Long Exposures   
    Looks like the lens correction being applied for vignetting. And possibly then pushed in post?
    Try turning off "Shading Comp." on the camera. Google that and you'll find a bunch of info.
  10. Like
    Chrissie reacted to yaelhagg in Bird In Flight -- share your BIF photos here!!!   
    Crow just wouldnt let the Osprey go enjoy his lunch in peace! 
  11. Like
  12. Like
    Chrissie reacted to Singingsnapper in Summer Evening at Waterhead, Lake District   
    A fantastic day of light at Waterhead, Windermere...
    A7r4  FE 24 - 70 GM
    Evening Mist rising at Waterhead-2 by singingsnapper, on Flickr
    cropped from
    Evening Mist rising at Waterhead by singingsnapper, on Flickr
    Waterhead Summer Evening 1a by singingsnapper, on Flickr
    Hour after sunset, Waterhead, Lake District by singingsnapper, on Flickr
  13. Like
    Chrissie got a reaction from Dennisspeaks in Sony a6400 Lens Hood   
    While I like @tadwil's suggestion of how to determine the given level of vignetting via taking a picture of a white wall, I'm a little confused as to where 
    might be.
    If it's the object-facing tips of the lens hood petals, then grinding those down would not alleviate the vignetting, which is typically happening at the corners of a picture, caused by excess material at the transition between any two adjacent lens hood petals.
    If you're talking about the lens facing side of the lens hood, then grinding that circular face down would indeed be unnecessarily tedious, just to remove material from the object-facing areas between petals. Especially if the hood is made out of metal. My Sony ones are all plastic, and serve their purpose perfectly well.
  14. Like
    Chrissie reacted to Apollwnios in Bird In Flight -- share your BIF photos here!!!   
    Sony α9 + fe 100-400mm GM


  15. Like
    Chrissie got a reaction from Dennisspeaks in Sony a6400 Lens Hood   
    In extension to @Pieter's already perfect explanation, please note how the shape of a lens hood is tied to a specific focal distance / front element diameter combination by the following visualizations. The front element diameter corresponds to the blue tube diameter, which mathematically intersects with the viewing pyramid (aspect ratio being 3:2 as in your full frame sensor). See how a varying focal distance results in a corresponding change in the shape of the lens hood petals:
    Wide angle:

    intermediate angle:

    Tele angle:

  16. Thanks
    Chrissie reacted to Alan24601 in Bird In Flight -- share your BIF photos here!!!   
    Hand held with my shoulder mount rig, 1/4000 f7.1 Sony A6300 and Sony 200-600 Zoom at 600mm (900mm APC sensor)
    I modifies a MOVO shoulder mount bought used off Amazon for $38 so it has a chest pad and hook that fits over my shoulder. I programmed the C1 button for focus. Lens camouflage and turning off shutter click made a big difference with shot opportunities. 

  17. Like
    Chrissie reacted to SwissRob in Aperture dial not working   
    Hey all 
    just had the same issue and it’s a real easy fix. The click Aperture ring has a red ‘A’ after f/22. Turn it all the way so that this red ‘A’ aligns with the tick mark. 
    all works then.

  18. Thanks
    Chrissie got a reaction from SAW in 100-400 GM on A7III   
    Wildlife fotografy sounds like mostly low-light for me, for which the a7 iii is certainly better suited than my a9. That said, please see my earlier post on the 100400gm plus 2.0tc combo.
    I would expect kitesurfing to take place mostly in well-lit circumstances, so your odds at getting decent shots would improve. In both cases, I'd recommend the use of a sturdy tripod, to control the effect of hand shake at long focal reaches.
  19. Like
    Chrissie reacted to Shebco in Bush Fire 2020   

  20. Like
    Chrissie got a reaction from Pieter in Anyone with any real world experience upgrading from a6400?   
    What bothers me with people like you is the following:
    you don't really want to  _LEARN_  something. You are not interested in becoming smarter after an exchange. All you are looking for is a quick recipe to  _consume_ , preferably without gaining any understanding whatsoever.
    Well, good luck with that.
    No more recipes from side.
    Over and out.
  21. Like
    Chrissie got a reaction from Pieter in Anyone with any real world experience upgrading from a6400?   
    What the bloody hell keeps you from contemplating the good answer you already got?
    Why don't you follow that train of thought laid out in my previous answer?
    It's people like you that keep me wondering if it's really worth while the effort I put into my answers to newbies.
  22. Like
    Chrissie reacted to Ben in The Crescent Nebula in Cygnus   
    many forums and the "pros" once were certain that the star eater issue makes the Sony A7 Series unusable for astrophotography but I always had good results with my Sony A7rII. So I recently went ahead and had it astromodified. The thick IR-Block Filterglas was replaced with a thin Baader substitute that lets IR Light down to the h-alpha line and the sII line through to the sensor with high transmission. The results can be seen in detail on my google drive link here:
    I could write a lot of things that make the A7rII not the perfect camera for astro but suffice to say, it is still bloody capable. Cheers and CS,
    Ben - Instagram - AstroBin
    Technical stuff:
    Imaging telescope or lens : Meade SN-8 Imaging camera : Sony a7rII astro modified Focal reducer : TeleVue ParaCorr PLU1106 Filter : STC Cyclops Optics STC Astro Duo-Narrowband Filter Dates : May 28, 2020 Frames : STC Cyclops Optics STC Astro Duo-Narrowband Filter :  39x300" ISO640 Integration : 3.2 hours Darks : ~50 Flats : ~50 Avg. Moon age : 5.67 days Avg. Moon phase : 32.16% Bortle Dark-Sky Scale : 8.00 Processing was done with Adobe Lightroom Classic CC, Aries Productions Astro Pixel Processor APP and Adobe Photoship CC 2018. Stacked with sigma kappa clipping 3/1. Light pollution could not be removed automatically in A.P.P. and had to be done manually in Lightroom with local adjustments and a lot of fiddling. Both images have reduced star sizes with a minimum filter applied to masked stars. The masked stars color’s were also tweaked in order to bring them close to the feel of a normal broadband rgb distribution with colors between either aqua and blue or yellow and orange. I did however not manage to create a mask that includes the faintest and smallest of stars. If you look closely you see how the star colors are a little off, the smaller the stars get

  23. Like
    Chrissie got a reaction from Roy in Bird In Flight -- share your BIF photos here!!!   
    In addition to the photographic merit, of course: as a biker, I like the way how this bird is doing a curved flight, yet keeping his head perfectly aligned with the horizon.
    Pretty much like motorcyclists do it, too.

    Image source: http://www.ridesmart.info/img/blogs/leaning diagram.jpg
  24. Thanks
    Chrissie reacted to Makeev in Conquerors of Space   
    Sony SLT-A77V +  Sigma Art 24-105mm f/4
    Monument to the Conquerors of Space. Second highest among the monuments of the USSR/Russia. A 107-meter obelisk in the form of a rocket plume, with the supply of designer Sergei Korolev, lined with polished titanium plates. As well as many things made in the USSR, this rocket takes off high is a unique engineering design. Its authors are sculptor Andrey Faydysh-Krandievsky, architects Mikhail Barshch and Alexander Kolchin, as well as engineer Lev Shchipakin.
    On April 12, 1961, Soviet cosmonaut Yuri Alekseyevich Gagarin becomes the first human being to travel into space. This spacecraft name Vostok 1. Chief engineer Sergei Pavlovich Korolev.
  25. Like
    Chrissie reacted to Pieter in Sony 16-35mm f.4 Green Halo problem | ASTRO   
    I recollect reading a similar topic on this forum but can't find it right now. I'll look for it a bit more.
    That being said, there's no such thing as a magic trick to prevent noise by shooting low ISO and raising exposure in post. ISO doesn't cause noise: it is already there in your photo even at ISO 100 and is amplified by raising ISO just like Lightroom amplifies noise if you raise exposure. In fact, your camera is better at preserving dynamic range than what you would get by boosting exposure in post, especially when going over ISO 640.
  • Create New...