Thank you AnthonyM for bringing this up, and thank you SalvageDiver; you taught me too.
Thank you for posting. I ordered one. It should work perfectly with my panorama setup, which includes keeping the "L" bracket on my camera.
Sorry to say I am still playing with my oak leaves, the fascination seems endless. I do hope some will like it. Thanks for looking RBorud
I like your concept. In fact, you have inspired me to try something along these same lines.
One suggestion I have is to slightly blur and reduce the contrast of the cloud background to separate it from the leaves.
Thanks for the inspiration.
I have a Sony A6000 and there is a menu setting that switches the Live View WYSIWYG "on" or "off". I set it to "off" when working with flash in the studio to see what the lens sees.
Me too. Thanks for the heads up.
Thank you for sharing this. What a beautiful home and garden setting.
When I bought my A6000 I skipped the kit lenses and ordered it with the Sigma 30mm f/2.8 in the Sony E-mount. Although it works fine in AF mode, I prefer to shoot in manual mode, including manual focus. I have since added the 19mm and 60mm lenses, at about $200 each, and they are all sharp as a tack.
Nice photo Al. I love stormy skies. Do you plan to do any editing on this photo, and if so, what?
Gene51, I understand the difficulty of explaining the Zone System in a forum like this. When I bought my first 4x5, a used Kodak view camera, in the early 60s, I also bought a skinny little, 100 page or so book titled "The Negative" to learn what a properly exposed negative looked like and how to get them consistently.
It took a lot of head scratching and experimenting to understand what Ansel was teaching, but it was well worth the effort then and still applies in spades.
I try to expose the highest value in the image to be just on the edge of blowing out to blank white. This is ETTR at the extreme. To do this, I have calibrated my hand held one degree spot meter with my camera to give an exposure compensation (+3.7 stops in my case) that will prevent over exposure but will also give adequate exposure to the low values (usually.)
I have been experimenting with my in-camera spot meter to do the same thing. So far so good, but there is a difference. The hand held meter is always one degree, but the angle of the in-camera spot varies depending on the attached lens. I may have to back down to +3.3 stops when using the in-camera meter because the highest value might be averaged with lower values in the larger spot area. Think bright edge of cloud next to not so bright.
Thanks for posting. Very refreshing review of a part of our past.
I believe this is a question of lines per millimeter. How many l/mm can a 50 mp FF sensor resolve? Then which lenses can resolve that many l/mm? Does anybody, ie DXO, provide that information?
Thanks for posting. Great refreshing humor.