The Phoblographer

Classic Chrome and Classic Negative have some big differences.

We took a look at what you folks were typing into our search engines. Apparently, many of you are curious about the differences between Classic Chrome and Classic Negative with Fujifilm cameras. So we headed into our archives of Fujifilm GFX 50R photos. These images were rendered in Classic Chrome and Classic Negative. Let’s talk about some of the differences.

Classic Chrome

Classic Chrome has a cooler and more vivid look in some ways. Certain color tones are a bit less saturated. The images above were shot on the GFX 50R. The photos below were on the XT2. It’s a bit hard to describe. Both provide lots of detail in the highlights and shadows. The shadows are lighter with Classic Chrome. (In my mind, it’s always been Fujifilm’s most difficult simulation to use.) With Astia, Provia, and Velvia, you can expect something specific. With Pro Negative, you’ll get some variant of the other three. But, there’s nothing like Classic Chrome on the market. The photos are hit or miss, but when they’re on point, they’re some of the best you’ll ever see.

Chrome film was designed to be shot during the day or with a lot of light. It was also very low ISO. But in my tests, I’ve shot with it at ISO 1600 and above, and I loved the render. You can’t really put a finger on it, but no matter what, give it around a stop extra of light.

Classic Chrome doesn’t necessarily lend itself to any specific genre. But we’ve done some really cool stuff with it and photographing animals before.

Classic Negative

Personally, Classic Negative is very easy to use. It’s always got a warmer feeling to it with auto white balance settings on. Even when you lock it, the images are going to feel somewhat more warm and purple. It likes to be overexposed or to have a lot of light. When there isn’t a lot of light, it reacts oddly. Classic Negative is sort of temperamental. Again, you want to give it a lot of light. But that doesn’t mean that you expose each scene the same way.

Classic Negative also naturally has a softer look to it. It’s easy to enjoy the render and it sincerely looks like an actual film emulsion.

We’ve used Classic Negative a lot with portraiture and street. It’s fun. And more specifically, it’s a look only Fujifilm has. It’s very sought after in the wedding and portrait photography worlds. Folks really enjoy it!

So which one do you use when? Truthfully, that’s tough to figure out. Part of the reason is because they look so different based on the exposures and the available light. Color Negative can take on a very pastel look when you overexpose it, and that’s how Classic Negative behaves. Classic Chrome is more or less the same throughout. It also likes a bit more light, but the way it renders it is more chaotic. It doesn’t render like the actual Velvia film at all, and it’s nothing like shooting with Kodak Ektachrome.

For years, I had a lot of significant back pain. It was only in my 30s that I realized how crucial exercise is. Couple that with the fact that we’ve reviewed the most camera bags of any publication on the web, and you genuinely need exercise. Thankfully, the back pain has gone away with exercise. But more importantly, what we found is that it’s all about exercising your core. If you’ve been curious about self-care for photographers, we invite you to dive in with us.

Why work on your core? Well, a robust and stable core can help with various things. It allows you to stand straighter and carry camera bags for longer periods of time. In our tests, we often walk for miles with camera bags. We don’t expect most photographers to do that unless they’re on a photo walk or hiking. So in that regard, our camera bag tests tend to go a bit overboard at times. But, as we’ve discovered by talking to various folks in the photo industry, core strength is super important.

I can tell you a lot of what happened to me before I lost weight and started working on my own core. I, like many photographers, spend a lot of time in front of a computer. This sedentary position means the body can become hunched over a keyboard for a long time. It also means that you’re not working the muscles you really need. This resulted in lots of back pain because my core just couldn’t handle heavy camera bags. Beyond just that, it meant that standing up with cameras slung around me also wore on my back and chest after a while. Basically, my body wasn’t strong enough to even do my job. You wouldn’t ask someone who can’t lift sheetrock over their head to do that job. So how can a photographer do theirs if they’re not physically fit enough to do it? Imagine doing this for a long wedding, an all-night party, or a day job shooting corporate headshots.

“Physical fitness, in particular core strength, is something I take very seriously,” says photographer Spencer Bentley. “The type of photography I specialize in requires me to work with athletes. I need to be able to match their energy, plus my style includes a lot of lower angles that can be challenging, especially with a lot of gear.” We’ve featured Spencer a lot on the site. And he’s always had to be fit for the work he does. He continued to reinforce that countless hours spent editing is also pretty bad for your back. In fact, he says it can wreck your posture.

“To ensure I get my workout in every day, I do it first thing in the morning when I wake up. I do a 30 minute yoga flow or dedicated core workout and sit in meditation for 15-20 minutes.”

Photographer Spencer Bentley’s workout routine

I can agree completely with Spencer’s routine. Personally, I beat obesity years ago through intermittent fasting, indoor cycling, and yoga. And for the past few years, I’ve maintained an overweight status while still being considered very fit for 34 years old and five foot six inches. Things change over the years too. This year I returned to doing yoga or pilates every day. Some days I do both. I also walk for around two miles when I go to the studio. But one of the most surprising things that I’ve done too is modifying my diet. I cut back a lot on meat after observing what all the extra hormones were doing to my cholesterol. (Still, you’ll need pry lamb shoulder from my cold, dead hands.) Even after a workout, though, I don’t need to have animal protein all the time. But that’s just my body; self-care for photographers can take on many different routines.

A while back, I wrote about the benefits of photo walking, self-care for photographers, and weight loss. It took lots of commitment, but I combined intermittent fasting, yoga, and indoor cycling to keep myself fit. In under a quarter of a year, I started to see results. Suddenly, my core could carry camera bags and shoot for longer periods of time again. It was so freeing. Going upstairs felt easier, my joints felt better, and my back didn’t hurt as badly.

Photographer Katia Repi...

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Ask yourself: have you ever felt so good about an image that it didn’t need post-production? Trust me, there’s no better feeling. In the past few years, I’ve given in. I’ve become so sick of staring at a camera screen to then stare at a computer screen. It’s superfluous. We should be able to get great photos in camera without post-production. It’s surely possible. Think about the way you edit. You most likely add contrast, adjust exposure, white balance, clarity, etc. You’re most likely making basic adjustments. But, you also may be messing around, not knowing what you want, and being happy when you find something. That’s fine.

However, lots of us know what we want. Don’t get me wrong, I’m not saying to not edit in post-production. I’m saying that it shouldn’t be your crutch. There are enough photographers who do this.

Kelvin Level White Balance on Your Camera

Everyone thinks that they’ll fix their white balance in post-production. But that’s sometimes an awful idea. You see, folks love talking about how dynamic range and high ISO output need to be better. But I’ve been saying for years that color needs to take a major step forward. If your white balance is too far to one corner or another, it’s going to be very hard to get the colors you might want in post-production.

To that end, why not get the colors correct in-camera?

I typically use two different white balances: 3200K Tungsten and 5200-5500K Daylight. These are based off of film, and I generally like the look of film.

Here’s the deal. You typically end up knowing how you like your images to end up, right? Lots of you think that Kodak Portra gives off a warm feeling, but it doesn’t. The processing does. So why not apply that white balance before you shoot?

Clarity

In the past few years, clarity has been made available in-camera. And trust us, there’s a world of difference. For Canon, Sony, and Fujifilm, you can apply it to the RAW file. That means both your JPEG and your RAW will have the edit. Truthfully, you really should apply clarity in-camera. But ask yourself first if you want sharpness, contrast, or clarity. All of them can be applied without problems. With Canon cameras, I prefer less sharpness and contrast. But with Sony, I prefer far less sharpness. And with Fujifilm, I want more clarity.

Clarity, for those who don’t know, has to do with the mid-tones. You bring them out more with clarity. Play with clarity as you need it in-camera.

Dynamic Range Settings on Your Camera

A few years ago, I loved using the dynamic range settings on so many cameras. Some folks say that it limits what your final RAW file will look like. But in real-life use, I haven’t found it to be problematic if you meter well. Some cameras have a setting like auto-light optimization and 400% dynamic range. Use them. You’ll often get images that you won’t need to edit at all.

Now don’t get me wrong; not every image needs to be a high dynamic range shot. But at the same time, not every image needs to have the range that a piece of slide film has.

Try it. Don’t believe me? Give it a shot!

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Rembrandt lighting refers to a very specific lighting style. More or less, if you think of a little triangle of light, think of Rembrandt. It comes from a painterly look, and in photography it can flatter your subject. Tons of tutorials out there tell you all about the history of it. So in this one, we’re diving into our archives to give you a practical idea of how to use Rembrandt lighting. We’re also going to give you some tips from experience.

Rembrandt Lighting in a Nutshell

Here’s an important quote from an article we did a while ago:

Rembrandt lighting is a technique that draws upon the principle of chiaroscuro: the use of contrasts in lighting to provide a dimensional sense to your images. It’s one of the most popular portrait lighting techniques because it works well for many different types of faces.

A subject lit using Rembrandt lighting is characterized by the following:

one side of the subject’s face is perfectly illuminated

most of the opposite side of the subject’s face will be in the shadows aside from an upside-down triangle of light that illuminates a portion of the subject’s cheek

When done properly, Rembrandt lighting can resemble window light and lends a natural look to your portraits. This makes sense, as that was the only source of light that was consistently available during Rembrandt’s time with the exception of candlelight.

More or less, Rembrandt lighting is all about getting that beautiful triangle of light to show on the opposite side of the face from the main light source.

The Angle: And Another Cheap Sheet

A big part of Rembrandt Lighting has to do with the angle of the lighting. Here’s a quote from another article we did a while back.

.we’re not talking about a right angle triangle here; we’re talking about hitting the correct angles. For the best effect, make the zoom head of your flash the widest it can be. If you’re using a softbox, you’ll want the light modifier to be to the side of the subject and just a bit in front of them a tad. This will help with aiming the light at the right spot.

If you’re facing your subject, and the left/right of your subject is 90 degrees, try to angle the light at a 75 degree area. Don’t make it fully go off onto the side unless the light modifier is huge. I think this is also a very big part of it; a six foot umbrella might project a very large lighting area, so you’ll need to move it further away.

But there’s more!

How to Create Rembrandt Lighting

Here’s another tip: have your subject turn their face a bit away from the light.

To start with, you’ll need the correct light source. If you’re shooting a portrait, this can easily be done with something as small as a hot shoe flash. In general, what you’re going to do is bounce the flash off of a wall or surface that is camera left or right. With the subject in front of you, you’ll have to consider the position of the light.

If the light is to the side of the camera and behind you, then you can have the subject turn their face or body slightly away from the light source. This is because of the angle that the light is hitting from.

We hope these tips are helpful to you!

We’ve done durability tests on cameras, lenses, bags, computers, lights, and more for years. And we know warranties don’t always cover the damage gear can sustain. Plus, accidents can happen too. That’s why we created a Photography Care Plan in partnership with Coterie Insurance. Photographers across the United States looking for extra security can get various protections to cover their craft. The Photography Care Plan provides peace of mind that you can bounce back from something gone awry when shooting, on-site, or on-location! And we’re making it super easy to get it done.

You can start by heading over to our special page.

Is a venue or studio requiring General Liability coverage for a shoot? Did a customer trip over your equipment on set and sue you? Was your camera stolen from your vehicle? Whether it’s a passionate side hustle or you’ve owned a studio for 20 years, this insurance policy protects your equipment and your bank account from a number of unfortunate events.

We’re able to do this through our partnership with Coterie Insurance, who specializes in Small Business insurance. Coverage depends on a number of factors – location, coverage amounts, prior claims, etc. Are you a freelance photographer? We’ll cover you. What about a freelance multi-media journalist? We’ve got you. The Photography Care Plan will protect you.

So what is the Photography Care Plan? It’s a Business Owners Policy (BOP) targeted at photographers of all types. It’s versatile and protects both a small business owner’s business and property in one package (typically combining General Liability and Property Insurance). This type of insurance for photographers can reimburse the policyholder for damaged personal property.

Start by heading over to our special page. Here’s just some of the info:

Quote and Bind a policy in under five minutes online

Satisfy Contractual Requirements: Some venues require a Business Owner’s Policy, which includes General Liability coverage

Up to $10,000 in Electronic Data Coverage: You have up to $10,000 of coverage if, for example, a computer virus attacks and destroys your laptop. This is just one example of the things covered.

On-Set and On-Location Protection: You’re protected if rental equipment gets damaged or stolen, or if there’s an accident on set.

Professional photographers, semi-professional photographers, and passionate hobbyist photographers can be covered with the Photography Care Plan. Here are some more stats:

Coverage for photographers located all across the United States, including Washington, D.C. Coverage isn’t available in NY or MA yet.

Protect your business from various problems photographers face.

Don’t wait for your gear to break and potentially endure long waiting periods for service repairs.

Once you let us know a bit of information about you, we’ll send you a quote.

Coverage under any insurance policy is determined by the facts specific to the situation, the terms of the policy and other forms, and the applicable law. These statements are not a legal interpretation and do not alter or supplement any insurance policy. Not all products are available in all areas, and certain restrictions may apply.

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Lots of photographers are shocked at how much really goes into macro flash photography. Macro photography in and of itself is already really complicated. We’ve featured tons of macro photography projects here on the site. They all end up needing to get very technical before being artistic. What’s more, macro flash photography has so many variables and things that can go wrong. But with the right setup, you’re guaranteed to not have problems. And lucky for you, we’ve tested everything you need.

Pro Tips for Macro Flash Photography

Here are some pro tips on doing macro flash photography:

Unless you plan on focus stacking, stop the lens down a lot. You’re then going to need to raise your ISO up and possibly get even more power and light. We recommend shooting with a macro lens outdoors or in a very well lit area. Then use a flash in addition to the ambient light. Otherwise, go for a much more powerful studio strobe.

Put the flash close or right on top of whatever you’re photographing. You need a flash instead of an LED. LEDs are way too weak when it comes to power output.

One of the key advantages in macro flash photography is, well, the flash. Flashes and strobes have something called flash duration. Flash duration acts almost like a second shutter speed and helps to prevent camera shake. LEDs don’t have that.

Modern image stabilization is very good. But it’s still not going to outdo what a solid tripod can do. You’re going to really, really need it at macro ranges. All your slightest movements are magnified tenfold.

True macro lenses shoot at a 1:1 ratio.

ExpoImaging Rogue Flashbender

The build quality is really amazing here. It bends and warps into various shapes and then can fold down pretty flat to be stored into a backpack or messenger bag. That’s a really awesome part of it.

ProMaster SP528K Tripod

Out of the box, the ProMaster SP528K is really easy to use and set up. Perhaps the most complicated part is the tripod head. That’s because it has a lot of different functionalities. You can do things like dial in how much sensitivity the ball head has. It also can let you tilt, pivot, etc. I expect this level of control from higher-end products, but the entire package together is cheaper than most camera lenses. One nice touch is the tripod legs. They aren’t rounded for a twist–which has its advantages all its own. It lets you be much more careful about how you’re setting up the tripod to take a shot. I think that both cityscape and landscape photographers will really like the ProMaster SP528K because of just how much it lets a photographer do in an affordable package. It lacks the sexiness of more modern tripods, but it more than does the job.

Flashpoint Zoom Li-on X R2

With just 75 watt-seconds of light output, the Flashpoint Zoom Li-on X R2 is obviously nowhere near as powerful as traditional studio strobes. This doesn’t mean you won’t be able to produce pleasing images with it though. As long as you understand how the size and intensity of light work in photography, you’ll be able to create some pleasing results using the Flashpoint Zoom Li-on X R2 as a light source.

Breakthrough Photography X4 Circular Polarizer

In our review, we state:

I have a love/hate relationship with polarizing filters. Their effect can be useful, however, they traditionally reduced exposure by a couple of stops. In addition to the obvious implications on exposure, this also hampers autofocus performance. I was thrilled to learn that new filters are made with a more transmissive polarizing film, and the Breakthrough Photography X4 Circular Polarizer lets through about a half a stop more light!

Buy Now

The Fujifilm 33mm f1.4 R WR LM is a lens that I had mixed feelings about when it was announced. Fujifilm’s reps flat out told us that this lens isn’t designed with the same character as the 35mm. That lens has a Sonnar design. Instead, the Fujifilm 33mm f1.4 R WR LM is designed for faster focus for photography and video both. It’s also weather sealed, slightly larger, and very sharp! If you liked the Fujifilm 18mm f1.4 R WR LM, then know that the Fujifilm 33mm f1.4 R WR LM has a similar design. We’ve reviewed nearly every Fujifilm X mount lens. and this is honestly one of the most essential purchases we can recommend to a Fuji user.

Too Long; Didn’t Read

Table of Contents

Mount the Fujifilm 33mm f1.4 R WR LM to your camera, and you’ll probably fall in love nearly immediately. The balance, the build quality, and the reliability all work together to make this a fantastic lens. Couple that with one of the great Fujifilm simulations and you’ll be very happy. It focuses incredibly fast in any situation you’ll need to it. And it also reliably tracks your subjects.

Pros and Cons

Pros

Weather sealed

Lightweight

Decent size, not too large or small.

Insanely fast on the X Pro 3 and XT4

Beautiful image quality

I’m glad this isn’t directly replacing the 35mm f1.4 because that lens has beautiful render.

Can be a fantastic wedding lens one moment and then a great fun lens the other moment.

Around $800 is pretty fair for what this lens can do.

Cons

Not going to lie, I miss the pull-back focusing ring. But the autofocus can keep up at this point. I’m really shocked.

Innovations

The Fujifilm 33mm f1.4 R WR LM doesn’t necessarily have innovations per se except for the linear motor design. This makes it incredibly fast. Even if you don’t nail the autofocus perfectly, you probably won’t care because of Fujifilm’s great film simulation render. And if you’re not using those, then you’re not using Fujifilm correctly as they apply to the RAW images. Couple that with the sharp image quality that this lens delivers, and you’ve got something great and innovative to the Fuji system. However, it’s not an overall innovation to the industry. By comparison, the Fujifilm 50mm f1 R WR is the world’s first autofocusing f1 lens.

Gear Used

We reviewed the Fujifilm 33mm f1.4 R WR LM with the:

Fujifilm X Pro 3

Fujifilm XT4

Flashpoint Zoom Lion R2

Tech Specs

Tech specs are pulled from the LensRentals listing.

Angle of View. Aperture Blades. Aspherical Elements. Autofocus. Brand. Diameter. Extra Low-Dispersion Elements. Filter Size. Focal Length. Format. Groups/Elements. Hood Included. Image Stabilization. Item Type. Length. Lens Type. Max Aperture. Maximum Magnification. Mfr. Model Number. Minimum Aperture. Minimum Focusing Distance. Mount. Weight.

46.9°

9, Rounded

2

2.6″

3

58.0mm

33.0-33.0

APS-C

10/15

Yes

No

Lens

2.9″

Normal Range

1.4

0.15x

16719201

16.0

1.0feet

Fuji

0.8 lb.

Ergonomics

The Fujifilm 33mm f1.4 R WR LM is a fairly standard lens as far as Fuji lenses go. You’ve got the big focusing ring that doubles as grip. For what it’s worth, this lens has an aluminum exterior. There’s also the aperture ring towards the mount. This also has an A-setting so you can control the aperture from the camera body.

Otherwise, the Fujifilm 33mm f1.4 R WR LM doesn’t have any other controls on it.

Build Quality

It’s hard to deny how great the build quality is on the Fujifilm 33mm f1.4 R WR LM. Of course, it’s weather-resistant. Fuji’s lenses are some of the hardiest that we’ve tested over the years. So if you’re hiking in the forest and get caught in a rainfall, you can just keep shooting with the camera as long as it’s weather-sealed. You’ll thoroughly enjoy it and the reliability it delivers.

Then there’s how the lens feels in your hand. If you adore the feel of Fujifilm’s older, shorter, chunkier lenses then you might need to adapt. The Fujifilm 33mm f1.4 R WR LM is one of their slightly longer and thinner lenses. However, it still feels great in the hand.

Ease of Use

Thi...

Halloween is here, and it’s the perfect time to make photographs! From costumes to parties, the spookiest day of the year brings out all the fun and frolic of human behavior. Because of that, almost every photographer wants to create images, meaning it’s extremely difficult to stand out. But below are some examples of photographers who nailed their Halloween photography and some tips for what you can do to do the same. Let’s go!

Want to get your work featured? Here’s how to do it!

Tips for Halloween Photography

Halloween photography covers several photographic bases. Candid photography, event photography, and portrait photography can all be explored during this time of year. Below are some tips for each one.

Candid Halloween photography: Street parties are popular during Halloween, and you should see more and more open up post-pandemic. Don’t just be a spectator who documents. Instead, aim to build your own narratives, tell your own stories, and create unique visuals. I’ve used on-camera flash for Halloween photography in the past: something I don’t normally use at other times throughout the year. The blend of costumes and light painting makes things look more bizarre and eye-catching.

Events: There are countless indoor events during Halloween. The main tip here is to stay away from the most popular events in town. While they may have fantastic productions and more people, every photographer will want to attend them. Instead, look for local events with small capacities and unique themes. The reason for this is to have the chance to create images nobody else is creating.

Portraits: Other than photographing those with the best outfits, portrait photography at Halloween gives you an opportunity to tell people’s stories. For many, Halloween has a deeper meaning than parties and candies. Some people see the spiritual element during this time of year. Speak to your subjects, tell their stories, and do some meaningful photography.

Useful Tip: Taking Better Photos of People in Costumes

An error many photographers make is not allowing their subjects to take center stage in their images. Instead, they position them in extravagant surroundings. But, the consequence is that the subject goes missing. Aim to pose your subject on a blank, neutral background. This way their costumes can really stand out, and so can the photograph you create! Read more about this tip here.

Examples of Awesome Halloween Photography

Aside from tips from The Phoblographer, below are some prime examples of how to shoot top-draw Halloween photography. Both photographers below were previously published on the site. While we had many to choose from, below are our most popular stories from over the years. Enjoy!

Lina Aster Turns to Cosplay at Halloween

Lina Aster took something as spooky as Corpse Bride and somehow managed to humanize it. In this cosplay Halloween photography series, Aster plays on love, pain, separation, and loss. What we love about this series is that fact that, although staged, it’s easy to feel empathy for the subjects. That’s not easy to achieve. Also, props to the makeup artist, who did a fantastic job in this series.

Andy Campos Shows the World Dia De Los Muertos

Dia De Los Muertos is an event that begins a day after Halloween. Although heavily linked, the two events are completely separate. Celebrated in Mexico, Los Muertos allows people to remember those who have gone before them. It’s a way to grieve and move forward. Andy Campos took elements of the theme, the creative attire that comes with it, and created this curious and mysterious portrait. You can read about his full creative process here.

Have Fun!

Halloween is one of the rare points of the year where things can get wild. It’s the only day people dress in such a way, so it’s perfect for shooting something different from the norm. Remember to be respectful, and during these COVID times, remember to wear a mask. (Just make sure it’s a spooky one!) Have fun, and feel free to send in y...

I’m aiming this article towards those who are at the birth of their photographic journey. However, there’s also value in this for the more advanced photographer. I will cover some skills and techniques that people tend not to teach to folks at the beginning of their photographic practice. Read any photography 101 article, and you’ll read the same thing. Well, today, we’re tapping into our rebellious side. We’re ripping up the rule book and sharing techniques you should try, even if you’ve just picked up a camera for the time.

What is Traditional Photography 101

When I think about photography 101, I think about techniques such as the rule of thirds and leading lines. I reminisce about sitting in a classroom being taught about framing and the rule of odds. Such methods are valuable; they’ve served as the anchor of creating sound, solid images for decades. But I believe creativity and technique are infinite. And every photographer needs their own rule book.

The standard techniques have remained at the forefront of teaching because few are prepared to question the masters of photography. They’re techniques that have been passed from generation to generation. But just because they were the early rules of photography, it doesn’t mean they’re the only rules, or even the best. Plus, the masters of photography are changing, and with it, what we believe solid photography to be is changing too.

Photography 101 Should Include Lens Blur

“I’ll help you create clean, sharp photographs.” That tends to be the main selling point of anyone tutoring photography. I get it. Students see huge billboards with super detailed photographs and begin to equate them to being the professional standard. Actually, making clean photographs isn’t overly difficult, especially when you begin to understand lighting.

Keeping your gear clean also helps you create “clean images.”, making sure you don’t “spoil” your photographs. I couldn’t disagree more.

Making a photograph that’s blurry and interesting is way more fun, and challenging. So if you’ve just picked up a camera and lens, don’t be so quick to clean up those inevitable smudges. Instead, use them to your creative advantage. See the images below for some inspiration.

Photography 101 Should Teach Shooting From the Hip

The way we hold a camera is important. A firm, tight grip allows you to steady yourself and get a sharp shot. But sharp shooting isn’t the only way to create an image. If you’re shooting candid photography, shooting from the hip can help you create compelling images. Not everything in photography needs to be tidy. A photograph that’s wonky, slightly out of focus, and breaking all those traditional photography 101 rules can also engage the viewer.

Photography 101 Needs to Embrace The Grain

I remember when I first began studying the craft. Grain, for whatever reason, was the outcast of the photography 101 society. “It spoils a photograph”, “here’s how to avoid grain” were the cliches of the time. Nonsense! I shoot digital, but in post-production, I often add grain to my photographs. It adds character, creates a retro vibe, and is its own beautiful entity. So, if a tutor teaches you, an early photographer, that grain is bad, ignore them. It can add further depth to an image.

Under And Overexpose Your Photographs

Perfectly exposed work is fine in most cases, but not in all. New photographers get hooked on their light meters and the idea of creating perfectly exposed photographs. But in many cases, it’s a better idea to either under or overexpose an image. The former can bring a bright, pastel look to your image, while the latter can provide a deep, dark, moody vibe.

Don’t get too sucked into thinking the pointer on your light meter must be in the center to create the best exposure. Often, the best exposure relates to the scene and the story you’re aiming to tell.

Shoot Out of Focus

Shooting out-of-focus images may sound like a sin, but it isn’t. When a photograph is out of focus, it adds a little m...

With Nikon’s announcement today of the new Nikon z9, there are some other cool things to support it. For starters, we saw the new Nikon 100-400mm f4.5-5.6 VR Z S lens in a closed meeting. That’s coming this year. There’s also the new 24-120mm f4 lens, which we’ve asked to test. Plus, there’s a new F to Z adapter coming; but that’s probably less exciting. But maybe the most crucial is the new 400mm f2.8 with a built-in teleconverter that is coming. Here’s what you need to know.

Table of Contents

Nikon 100-400mm f4.5-5.6 VR Z S

This is a big one for Nikon. They’ve needed it for a while. Competing lenses have been popular with the bird and wildlife community. And that’s precisely what we’re expecting with this. However, the Nikon z9 is the only camera that will be able to take advantage of bird AF at the time of writing this post.

We got to hold the Nikon 100-400mm f4.5-5.6 VR Z S in person. It’s pretty lightweight: far lighter than Canon’s mammoth 100-500mm and Sony’s 100-400mm lens, to my recollection. I played with it a bit on the Nikon z9, but we were indoors. A lens like this begs to be on a field. We’ll see how it performs. Features listed below are from Nikon’s press release.

The first super-telephoto zoom lens in the NIKKOR Z lineup that covers a focal length range from 100 to 400mm.

Multi-focusing system that utilizes two STMs (stepping motors), enabling fast, precise and quiet AF operation for both stills and videos.

2.46 foot minimum focusing distance

Employs an optical vibration reduction function with an effect equivalent to a shutter speed 5.5 stops faster, which is the highest among NIKKOR Z lenses.

While lateral chromatic aberration is optically corrected, axial chromatic aberration is also significantly reduced via the adoption of Super ED glass and ED glass elements, providing clear images across the entire frame from maximum aperture.

Nikon’s original Nano Crystal Coat and ARNEO Coat are adopted to effectively reduce ghost and flare effects even in backlit situations.

With the attachment of teleconverters, the focal length can be extended to 560mm and 800mm while maintaining high resolution.

Features the highest maximum reproduction ratio of 0.38x (at the maximum telephoto position) in its class that lets users shoot flowers and insects in large size, with a minimum focusing distance of 0.75M (2.46 inches) to allow users to get closer to their subjects.

The shortest rotation angle of 80 degrees in its class for the zoom ring enables users to rotate the zoom ring from the wide-angle position to the telephoto position in just one motion, without adjusting lens holding.

Features a design with consideration for video recording, including effectively reduced shifting of a focus position when zooming in or out and the angle of view when adjusting focus.

Superior dust- and drip-resistant capability4, high reliability that comes from both robustness and weather resistance, and excellent anti-fouling performance via the employment of fluorine coat.

$2,699.95

Nikon 24-120mm f4 Z S

Nikon is also announcing their new 24-120mm f4 Z S lens. I’ve been waiting for this one for a while. Nikon made this lens years ago for the F mount, and no one else ever made anything close. It could easily be one of the most innovative lenses for the Z system. There’s a voice in the back of my head that says, “It’s about time.” Seriously, this is the lens Nikon has needed for a long time now.

It doesn’t have image stabilization built-in, mind you. But the Nikon Z cameras have that. If you shoot photojournalism, this lens might be a good reason to get the Nikon Z system. For years, my 24-105mm was my bread and butter lens for weddings.

Features listed below are from Nikon’s press release.

An optimal lens for stills and videos that covers up to telephoto 120mm focal length while attaining high optical performance throughout the entire zoom range.

High maximum reproduction ratio of 0.39x at the maximum telephoto position and a short minimum fo...