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Are These the 10 Best Lenses for Sony You Can Buy Right Now?

Are These the 10 Best Lenses for Sony You Can Buy Right Now?

There are a plethora of lenses available for Sony’s E-mount, especially when you factor in both APS-C and full frame. Here’s a list of the ten best that you can buy as we approach the end of 2021.

Sony user Arthur R has put together a list of his favorites, all of which he has bought himself and uses regularly. Viewers will be pleased to see that he’s not chosen a ton of Sony’s most expensive glass but has instead opted for a raft of more affordable options that typically perform beyond what you would expect given their price. Also, seeing this list, you appreciate how much of the heavy lifting has been done by Sigma in terms of making Sony’s APS-C cameras a solid choice in the long term for both photographers and filmmakers.

One lens that I’d personally add to this list is the Tamron 17-28mm f/2.8 (currently $100 off at $799), adding a wide-angle zoom to Arthur’s gear. Given that Tamron has just overhauled its ludicrously successful 28-75mm f/2.8, we might see an updated version of this popular lens as well sometime in the next 12 to 18 months.

Which other non-GM lenses would you include? Let us know in the comments below.

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topsyrm’s latest blog : 52 for 2021 week 47 3 tors and widgery cross

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52 for 2021 Week 47 3 Tors and Widgery Cross

28 Nov 2021 10:32AM  
Views : 71
Unique : 58

This week, once again accompanied by Mrs T, I headed off in very changeable conditions to see the famous Widgery Cross on Brat Tor then out via Arms Tor to Great and Little Links Tors. Although the forecast was for clear skies we did encounter some very low, and very cold, cloud whilst up on Great Links Tor.

Widgery Cross.

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That low cloud.

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We set off from the car park behind the Dartmoor Inn on the A386 in bright almost cloudless skies over High Down Ford towards Brat Tor and Widgery Cross.

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The skies were so clear that we could see last night’s Moon as we looked back over the Ford.

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We were soon on the steep climb up Brat Tor to the Cross, again clear skies with the occasional aeroplane leaving its trail above the Cross.

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Once on top of the Tor the Cross stood out well against that clear blue sky.

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From the high vantage point of Brat Tor there are spectacular views 360 degrees.

Looking Southwest towards Brentor Church with Cornwall in the distance.

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Looking Northwest towards our next destination, Arms Tor, with Lydford Common in the distance.

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It wasn’t long before we were on Arms Tor amongst its many amazing rock formations.

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From Arms Tor we headed up towards Great Links Tor and that low cold cloud.

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The cloud was moving quickly on a strong wind from the North.

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The cloud was still evident on Great Links Tor these shots were less than a minute apart.

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We had lunch at Little Links Tor (the small one on the left of shot) sheltering from the wind before moving off back to Great Links and heading back to the car.

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We worked our way back from Great Links towards Arms Tor again the cloud still evident.

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The views from up here are grand indeed.

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Looking far to the East you can just make out Rippon Tor and Haytor Rocks in the far distance.

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We skirted past Brat Tor on our way back via High Down Ford, looking back from the bridge we saw a very different cloud formation over Brat and Arms Tors.

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The cloud was quite spectacular looking South towards the car park.

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That’s all for this week folks, as always comments welcome.

Tags:
Dartmoor
Landscape and travel
Widgery cross
Photowalk
Great Links and Arms Tor

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Best Black Friday Deals on Lenses 2021

Best Black Friday Deals on Lenses 2021

November 26, 2021

As well as rounding up all the best Black Friday offers for photographers, we’ve found some cracking deals on lenses, with money off new lenses, cashback available on others, and even money to be saved on used kit!

It’s also worth seeing what else is on offer from the retailers when buying, as you can get a free memory card with orders over £350 with Park Cameras, or be entered to win a £500 voucher with Clifton Cameras!

So without further ado, lets have a look at some of the best black friday deals on lenses:

Sigma lenses

Canon RF Lenses

Fujifilm XF and GF lenses

Olympus Micro Four Thirds lenses

Sony FE lenses

Nikon lenses

Pentax lenses

Tamron lenses

Samyang lenses

Used lenses

Voigtlander, Zeiss and others

  • RobertWhite – 5% off Hasselblad, 10% off everything else (exclusions apply)

Lens Filters and related accessories:


Make sure you check out the other Black Friday deals and offers we’ve found:

Plus there are even more offers available:

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This research telescope will use 168 Canon lenses

The Dragonfly Telephoto Array installed in New Mexico

The Dragonfly Telephoto Array is a scientific telescope designed by an international research team from Yale University and the University of Toronto. It’s made from 48 off-the-shelf Canon EF 400mm f/2.8L IS II USM lenses. But it’s about to get a lot bigger: Canon USA has just agreed to provide another 120 lenses as well as ongoing technical support. 

About the Dragonfly array

Dragonfly Telephoto Array in action.
The Dragonfly Telephoto Array in action. Image by Pieter van Dokkum, Yale University

The Dragonfly Telephoto Array was designed by Professor Roberto Abraham of the University of Toronto and Professor Pieter van Dokkum of Yale University. It was commissioned in 2013 and started off with just three Canon EF 400mm f/2.8Ls, though it was quickly expanded to 10 lenses. 

In 2015, Canon USA provided 40 additional lenses so the array could be expanded to 48 lenses with 24 telescopes on two separate mounts. 

Since all the lenses are aimed at the same point in the sky, each added lens increases the light gathering capacity of the whole array. With 48 lenses, it’s the equivalent of one giant 400mm f/0.4 lens (or a refracting telescope with a 39-inch diameter objective lens). 

What the Dragonfly array does

Photo taken with the Dragonfly Telephoto Array. The moon is shown for scale.
A photo captured with the Dragonfly Telephoto Array. The moon is shown for scale. Image by Pieter van Dokkum, Yale University

According to Professor van Dokkum, “the Dragonfly Telephoto Array is the pre-eminent survey telescope for finding faint, diffused objects in the night sky.” This means it is used to search for “ultra-diffused galaxies and other low-surface brightness phenomena,” and in particular, “elucidate the nature of dark matter.”

In almost a decade of observations, it’s found galaxies like Dragonfly 44, which is composed of almost 99.9% dark matter, and NGC 1052-DF2, which is “nearly entirely lacking dark matter.”

It’s really fascinating to see what the Dragonfly team has been able to achieve with off-the-shelf components. They used the Canon EF 400mm f/2.8L because the anti-reflection coatings on the lens elements “mitigate the effects of light scattering, overcoming the limitations of conventional telescopes in detecting faint structures.”

What’s next for the Dragonfly array

A rendering of the full array of 168 lenses that will be constructed.
A rendering of the full array of 168 lenses that will be constructed. Canon

The Dragonfly array is about to get a lot bigger. 

Canon USA is providing the project with another 120 lenses for a total of 168. The lenses will be configured with six separate mounts each with an array of 28 lenses. This setup will give it the power of “a refracting telescope 1.8 meters (~71 inches) in diameter” and make it “the most powerful wide-field spectroscopic line mapping machine in existence.” The team plans to use it to study the faint gas believed to exist in the gaps between galaxies. 

Oh, and if you’re wondering what it would cost to build the Dragonfly Array yourself. The Canon EF 400mm f/2.8L IS II USM has been discontinued, but its successor, the Canon EF 400mm f/2.8L IS III USM, costs $12,000. 168 of them would set you back just over $2 million.

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dark_lord’s latest blog : presentation styles

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Presentation Styles

25 Nov 2021 7:54PM  
Views : 96
Unique : 90

This is a related topic to my previous blog concerning image style. How we present our images has an effect on how they’re perceived.

The vast majority of images are viewed online these days, or at least on an electronic device. The way images are presented on screen and in print can be very different. Some ways work just as well, others suit one or the other medium better. Better is a subjective term of course, it’s that some ways are more effective than others. So I’ll look at some examples with some general guidance.

Let’s first consider online images. Most are displayed on a web page as is. Often this is fine, and for general sites where images are purely informational you don’t need any more. For photographic sites, and sites where the image is important it can help if the image is demarcated in some way. Many poto sites have black or dark grey backgrounds. That in itself is a presentation style and with good reason, as the images, especially colour, appear more vibrant that way. Strongly coloured or darker images need something to contain or define the extremities and a thin keyline does help. Equally with pale or high key images on a white background.

The question then becomes how wide a keyline to use. Thin lines are often sufficient. Black or white keylines often work best as they don’t fight the image for attention. There is a school of thought that says avoid coloured lines. But they are worth a try, for example a sepia line around a sepia toned image may be less stark than black or white. Bright colours work less well, or rather suit fewer subjects. But don’t feel constrained. Simple keylines look good on printed images.

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The next step is a border. They can be used for effect, to simulate the white border you used to get on prints years ago. Given that screen area is an issue, borders can make the displayed image small and thus lss engaging for the viewer. Great if you have a 4K screen but phone and tablet viewers will be at a disadvantage. With print there’s more freedom to choose, though as a viewer I’m not a fan of small images floating in a sea of white as I feel cheated that I cant enjoy the image to it’s fullest extent. Certainly with prints though, some border, whether that’s space on the print itself or the use of a mount, can set the image off in a frame. Mount colour is important, and generally pale neutral tones suit most images. Darker mounts can complement an image, for example dark green surrounding a woodland image though the important thing is that it’s complementary. If you have a bright subject you may want to try a bright mount, but I’d say it’s much harder work. Or maybe you prefer he image going right up to the frame edges?

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There was a trend when digital photography first became popular for wacky borders, from multiple lines to ornate frames. Multiple lines are a big distraction, and just because it’s possible doesn’t mean it should be used. It could work on occasion, for example a stark graphic mono image with several alternating black and white mini borders, but it’s so much the exception. Over the top borders so draw attention from the image.

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Talking of frames, why use an ornate classical looking gold frame for online images? I can understand that if you’re selling frames or framed prints and need to show them in context. I’m not saying don’t use one but for online viewing a cleaner look is better appreciated, and again remember you’ve limited screen space.

Photobooks are yet another area and really deserve to be treated separately as you’re into numerous layout options. Suffice to say that they are smaller in format so you have similar issues to screen size.

The important thing to remember is that it should be the image that takes centre stage and keeping presentation simple is the most effective way.

All text and images © Keith Rowley 2021

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Tennis Shoes, Camera Lenses, and My Problem With Overconsumption

Tennis Shoes, Camera Lenses, and My Problem With Overconsumption

During an effort to rid my house of excess belongings this weekend, I stumbled upon an analogy that should help inform my gear buying decisions going forward.

Now, will this newfound common sense trickle down into my business acumen? Probably not. But the parallel was clear, just the same, and I thought I’d share. So, what was this big realization? I have way, way too many pairs of shoes. Let me explain.

I like sneakers. One of the big bonuses of my job as a photographer, specifically one who shoots a lot of activewear campaigns, is that I get to wear sneakers to work. As someone who has had many a day job that required a three-piece suit and shiny black dress shoes, being able to walk around all day in the same shoes I’d wear to go to the gym is a major plus. Seeing as though many of the athletic brands that I shoot for officially/unofficially require that I be wearing their brand of athletic shoe on set, I can even make a business case for why I have no choice but to plunk down the money for a new pair of Air Jordans.

But, if we’re being honest, I’ve had way too many pairs of sneakers since the days long before visible logos became an issue. As much as I like shoes, what I seem to enjoy is buying shoes. The collecting seems to be as much fun as the actual wearing. I’m pretty sure I’ve never walked past a discount shoe sale without stopping to check out the bargains in my life. And, it’s safe to say that when it comes to options, I’ve got all my bases covered. More than covered. Does anyone need six different pairs of green hightops?

Yet, try as I might, despite my love of shoes, I have, up to this point, still been unable to grow more than two feet. This means that, unless I decided to put shoes on my hands, it’s fairly certain that I can only wear one pair at a time. No matter how cool a pair of shoes might look on the rack, only one can be in action at any given moment. If we are being honest, despite the wide variety of options available, it does tend to still be the same handful of pairs that tend to get worn day-in and day-out while the majority of the pairs sit in my shoe closet collecting dust. Yes, I have a closet for sneakers. I told you. I have a problem.

Tennis Shoes, Camera Lenses, and My Problem With Overconsumption 1

So, what does all this talk of sneakers have to do with photography, you might ask? Well, if I look into my buying behavior for lenses closely enough, I can spot many of the same troubling trends. This time, however, they come with a far higher price tag.

The concept of selective spending is particularly relevant to me these days because the camera market is currently in the midst of change. If you’ve read my columns over the years, you’ll know that I am a DSLR diehard and that, in many ways, I’m being dragged kicking and screaming into mirrorless. But, despite what my optometrist might tell you, I am not blind. I do understand that mirrorless cameras are on the rise and that soon enough even my beloved D850 will become a rotational player rather than a starter. Maybe even upon the arrival of the Z 9.  

As a lifelong Nikonian, I’ve slowly acquired a wide range of F-mount glass over the years. With everyone rushing to trade in their old glass, I’ve even bought more F mount lenses in recent years at ridiculously low prices via the used market, which has finally allowed me to “complete” my lens lineup to cover every focal length from wide to long that I could ever conceive of ever needing. But, of course, new camera mounts come with new camera lenses. And while you can certainly adapt most older lenses to the newer mirrorless bodies, at some point, you are likely going to want to maximize the new technology with native glass.

Well, just like I’ve never seen a pair of shoes that I didn’t want to own, lenses tend to tickle my fancy. They are technological marvels and getting to know the feel and balance of a new piece of glass is one of my joys in photography. I want them all. But, do I need them all? Probably not. Regardless of what I may or may not have available to me at the moment, much like my well-scuffed go-to sneakers, I tend to stick with the same one or two lenses to shoot 99% of my work, while the others only make it out of the lens case for special occasions.

So do I need to keep buying glass? I think a case could be made that I need the mirrorless equivalent of my go-to lens, the 24-70mm f/2.8. This is the lens that tends to live on my camera and is always the first lens range I invest in when buying into a new system. I own both the Nikon F and Z versions, the Canon RF version, and even the Fujifilm GF equivalent, the 45-100mm. So, whatever body I end up using, I’m pretty well covered with the best possible lens for my use case. Perhaps the 70-200mm and a 40mm walkaround pancake would also fall into the category of heavy rotation. But beyond that? Do I need to buy something new? Or, considering that most of the other lenses in my case are only used in limited situations, would it make more sense to simply hold onto the older lenses I own and use the adapter?

Tennis Shoes, Camera Lenses, and My Problem With Overconsumption 2

The logical answer seems pretty clear to me. Whether common sense will win out over my urge to collect things is yet to be seen. I’m sure, in your situation, you can think of the lenses that you positively need to purchase and at least one or two that have found their way into your collection that is simply there to collect dust.

So, this weekend, as I continue my cleaning and attempt to purge my house of belongings that no longer “spark joy,” at some point, I will most likely find myself staring at a shoe rack filled with rows of sneakers that rarely get worn and consider if there isn’t a better shoe and lens investment strategy I should employ going forward. Just like I can only wear one pair of shoes at a time, I can only mount one lens at any given moment. And as the transition to a new camera system begins, it makes sense to step back and have a look at which of those lenses is going to be worth the investment and which are going to end up just sitting around collecting dust next to that pair of lavender Reeboks.

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New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs

New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs

It seems like all photographers can talk about these days is how sharp this lens is versus that lens. I miss the days when blurry photographs were charming.  

Do you remember those days? If you are about my age, all anyone would let you use for photography was a disposable camera that you would take to the local drug store and in one hour, have processed and printed in duplicate for only $5 with the coupon you got off the seal from the prints envelope you got from your last roll. In those days, blurry, out-of-focus photographs were par for the course. Assuming they were not so blurry that you would ask yourself “what even was this supposed to be,” there could actually be an endearing quality to ever-so-slightly blurry images. Right? Perhaps it’s just me; however, I don’t think it is. 

New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs 3

People that shoot film today (like myself) should know what I’m talking about. There is a “magic” to film, right? What exactly do people think that “magic” is? I bet just about anyone who shoots film would choose one of a small number of attributes. “Every shot is so much more important when you are stuck with only 36 exposures per roll” and “there is a much more tactile feel to shooting film” are the two most common responses that I hear. For me, however, the charm of film comes from the photos that are perfectly imperfect. By that, I mean that there are photos that slightly miss the mark of being sharp or are framed the way you wanted, and it is from these shortcomings that you end up with something more reflective of the real world.  

New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs 4

New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs 5

All Joking Aside

I do love a nice and crisp photograph. Who doesn’t? Even for most photographers shooting film, we often gravitate to 120 or even 4×5 for the added resolution. I would even go so far as to argue that for an 8×10 print, 645 negatives with Portra 400 can achieve an indistinguishable level of sharpness compared with digital work. That said, even with medium or large format, not every shot is perfectly in focus, and given the inability to see the image immediately after you take it, there is a non-zero chance of your image being just ever so slightly out of focus. I would argue that those are often still some of my favorite images. 

New Cameras and Lenses Are Ruining the Charm of Out-of-Focus Photographs 6

I am currently test driving the sample Sony a7 IV (review coming soon) as well as a sample Sony 70-200 f/2.8 Mark II, which achieve absolutely stunning levels of sharpness even shot wide open. In nearly every test I’ve performed, I’ve tried to push the limits of these two pieces of gear, and yet, the images are still superbly sharp. And it isn’t just the insane amounts of detail rendered by this combo. The focusing is insanely fast and nearly 100% accurate, which means that gone are the days of delightfully out-of-focus photographs. Such is life. I suppose there are always manual focus lenses for that!

What are your thoughts? Does near 100% accuracy in focusing start to make things feel a little boring? Are you too a fan of the occasional out-of-focus photograph?

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Tamron’s New Secret Weapon: Smarter Lenses

Tamron's New Secret Weapon: Smarter Lenses

If there’s one area of photography that has stagnated with regards to improved tech, it’s lenses. That isn’t to say they haven’t improved, but by nowhere near the rate at which cameras have. Perhaps that’s about to change.

We have seen important additions to lenses in the forms of autofocus and Image Stabilization, for example. However, great glass from 50 years ago, if kept properly, is still good today. The technology in and around lenses hasn’t needed to improve by any great degree as the camera does the heavy lifting, but there are opportunities for added functionality to be baked into lens hardware; it seems Tamron are taking their first steps towards it.

I will be brutally honest: I first bought a Tamron lens zoom lens because I couldn’t afford the Canon L version. It was in the 24-70 range and the Tamron was less than half the price at the time if I recall. It ended up being such a great lens that when I could afford to upgrade to the Canon, I didn’t. In fact, when I moved to Sony cameras, I sold my Tamron and bought… another Tamron: the 28-75mm f/2.8 Di III RXD.

Now, Tamron’s newest version of that lens, as well as their headline-grabbing 35-150mm f/2-2.8 Di III VXD, have a USB-C port on the barrel with software that will allow customization of the lens and several new features.

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angi_wallace’s latest blog : still life progress

angi_wallace's latest blog : mindfulness and photography

Still life progress

23 Nov 2021 3:08PM  
Views : 97
Unique : 89

Following on from my previous blogs re Still life photography which can be found via my website ( see July & October 2020 plus Feb 2021)

I have continued to experiment and try to develop my own take on still life photography. This year I have concentrated a lot more on lighting as well as aiming to improve compositions and coordinating the set ups that I create. Yet again I have thoroughly enjoyed immersing myself in this genre and found it a most useful pastime during the months where we were required to stay home more during lockdown. Spurred on by my previous success of a highly commended image in IGPOTY ( International Garden photographer of the year), I yet again aimed high, hoping to get another image placed in the competition this year.
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ABOVE A summer fruits and wildflower still life – using colours to pull it together

This summer I created a couple of home made Gobos out of cardboard, these are simply a piece of card with shapes cut out so the light and shade hits my background or subject the way that I want it to. I mostly used a couple with squares cut out so it appeared as if sunlight was streaming through a window that was split into squares ( apparently called a Muntin). My challenge was to light by subject in the way I wanted whilst also getting the gobo lit backdrop, all in a small room – this was EXTREMELY challenging, with all sorts of things balanced around the room to keep my Gobo in position, to block the Gobo lighting affecting my still life scene negatively, whilst using Flags to stop light bouncing in certain places and reflectors to help bounce light back into the scene etc.
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Above – A simple Summer wildflower still life setting, making use of crinkled paper to go with the crinkled Poppy petals I used back/side lighting to light the Poppy petals up, allowing it to also fall on the strawberries

This year I aimed for a bit more of a themed approach to many of the still life images I created, choosing to use mostly wild flowers that most people can obtain easily, many from our own gardens.
My reasoning was to be able to pull together a portfolio of 6 images to enter into IGPOTY and as I am also considering subjects for possible Fellowship panels I decided this could be one of two subjects I would work on this year with the Fellowship aim in mind. Last year we had decided to plant lots of wild flowers in our own garden to help wildlife and the environment, so I had access to quite a few.
I had also built up a small collection of vases, ornaments, dried items from nature, other props plus materials to use in the fore and background.
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ABOVE Using a GOBO for the lighting, a mushroom I made from Polymer clay specifically for my still life photography, adding snail shells for extra interest and textures in the vase plus muslin.

Once I had my set up created I usually found myself starting with adding my first light from behind and to one side of my subject ( even though I only had about 2-3ft of space behind) this was often using a gridded diffuser to keep it directional. This kind of created a little bit of a lift to my subjects, helping them stand out more, but keeping this light coming from the same side as my Gobo so that it would appear more natural. Once I was happy with the light hitting the back and side of my scene, I would add my second light – often through the Gobo. This light needs to be a small source so I used a speedlight, unmodified. Again, space was an issue – I only had about 1-2ft of playing room to move my light within, plus balancing the Gobo in precarious positions whilst trying to keep it outside of the scene. Sometimes I would only use this light to hit my backdrop, other times I wanted it to hit my subjects as well. Even with these two lights the whole scene was often not fully lit how I wanted. For most sets lit this way I needed to introduce reflectors to bounce light back into the shadows and/or a 3rd light. My 3rd light was usually modified with a white shoot through umbrella pointed away from the scene and towards the white ceiling or walls to bounce just a small amount of light in to lighten the whole scene slightly, reducing shadows too. With all the lights it is crucial to note if any are causing unwanted reflections or glare off any shiny, wet, metallic or glass item which can be distracting. In the middle image below you can see a distracting glare on the jug caused by introducing a 2nd light, this was easily resolved by moving the muslin material. Another way to help reduce glare is spraying hairspray or specialised photography spray on the surface – I use a very light spray of dry shampoo sometimes. The series below is an example of how things can progress as I build lighting and sets/composition.
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ABOVE Using grasses and root vegetables, I liked the colours, shapes and textures so tried to make the most of those with my lighting.

Looking back on last years images compared to this years, I can really see a difference in my approach. Now I am using lighting to focus attention on the details that I want to stand out – at least in many of the images. I will also take a lot more time in creating a set, putting a lot of thought into what subjects I want to use and why, the composition and relationship of the items to each other, the textures, colours, shapes, vessels, materials, background. I am paying attention to the tiniest of details and can sit in our dining room / mini makeshift studio contemplating my scene, changing things around and altering lighting for long periods of time, often leaving it and returning to the project the following day. This suits me nicely, having so little energy, I can spend just a few minutes at a time faffing and rest, there is no rush as little will change over the course of a couple of days providing my flowers are watered and kept well.
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ABOVE This image demonstrates for me how my approach to lighting has changed, taken last year, it was one of images I was most happy with then. It is pleasing enough but I think i could improve on it so much now by changing the lighting. Never the less it still did well in two competitions. NOTE I used dry shampoo sprayed on the pewter vase to reduce glare in this one.

After playing around with all the points mentioned above, I did manage to pull together a portfolio of 6 images which I have entered into IGPOTY Portfolio category this year and will eagerly await the results – usually announced in February the following year. I did also enter a few single images into the IGPOTY Still Life category and I was thrilled to at first discover that I had 7 images shortlisted. I was even more overjoyed when the winners were announced!

Imagine my delight when I logged on to the winners gallery and saw one of my images at the top of the page in first place! I was quite surprised and even more taken aback as I scrolled down the winning images to learn that I had images awarded 3rd place, finalist, highly commended and 2 commended!!!!
I was in complete shock – 6!!! images placed in that one category and the overall winning image! I still find it hard to believe. It just goes to show what can be achieved from messing around in your dining room, using flowers that many consider to be weeds. I hope my results might inspire others to try out different genres and entering competitions, if I can manage this as an unwell, disabled person then Im sure most others can too. So here are my winning images Smile IGPOTY STILL LIFE WINNERS

Watch this blog to see how my portfolio does in the competition and to see how I progress in pulling together a possible Fellowship panel ( also see my next blog on Fungi photography – the other subject I have concentrated on for a possible panel and entered into IGPOTY)
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Tags:
Flowers
Still life
Flowers and plants
Still-life
Still life photography

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johnriley1uk’s latest blog : the attack of the killer ducks

johnriley1uk's latest blog : the cameras with the wonderful lenses

The Attack of the Killer Ducks

21 Nov 2021 9:32PM  
Views : 133
Unique : 119

We were at Pennington Flash earlier, looking at the Earth from orbit, and saw a line of ferocious ducks heading our way. Well, heading towards the Earth that is.
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Fortunately, they missed the Earth and passed silently by, probably on their way to a small planet somewhere in the vicinity of Betelgeuse. But putting my small fantasy aside for a moment, this artwork is currently floating in Pennington Flash for the next few days, and it attracted quite a crowd, but not an overwhelming crowd. The website would have us believe that entry is free up to 4pm, and still free but by ticket after 4pm. However, all tickets are sold out, so that’s that. Except that Pennington Flash is impossible to cordon off and nobody was checking tickets. This is not the first time I have seen tickets for sale at no cost where in fact no tickets were looked for at the venues in question. Very strange.
Anyway, here’s the Earth a little later.
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