From the pits, crowds and stages
Most photographers, your author included, will admit to a nagging case of lens lust. Fast primes, ultra sharp zooms, and monster telephotos are marketed as must have. No doubt, the modern professional lens is required equipment for demanding client work, but do we always need the biggest and fastest to get the job done? A promise of mirrorless has always been a smaller piece of equipment, and the new line of G primes from Sony (24mm f/2.8, 40mm f/2.5 and 50mm f/2.5) were designed to make good on that pledge.
I recently received my copy of the 50mm G and have spent enough time with it to put some thoughts to Internet. I was curious if this “baby GM” could do the work of the larger fast 50mm primes in situations that don’t depend on low light, ultra-fast aperture performance, and specifically, would this compact everyday 50mm satisfy for portraiture?Read More
Back in 2012 I was clicking around the Instagram of that era (Flickr) and stumbled upon images taken with the Sony Zeiss ZA 135mm f/1.8 lens on the 24mp Sony a900. Those impressive images eventually led me to a full platform switch from Canon to the Sony A-mount system and Sony Zeiss prime lenses. I’ve always loved Zeiss optics and the fact that I could shoot them natively on Sony’s platform sealed the deal.
There is a “journey of focal lengths” photographers take on the road from beginner to expert. In the film era, you would start with a normal 50mm lens and then move to longer or wider focal lengths, eventually settling in on a preferred way of seeing. For many, that favorite FOV is 35mm – a classic and flexible focal length, well suited for landscapes, street, reportage, weddings, fashion or portraits. 35mm is a desert island lens – the one you would keep if you could have no other.Read More
Spoiler alert – if you’ve researched anything about the Sony G Master 24mm f/1.4 lens prior to making your way here, prepare for further confirmation of its greatness. If you are a lover of compact, fast primes, this is a lens you are going to want in your bag.Read More
Last week, Sony unveiled their new campaign, entitled “Be Alpha”. For the uninitiated, the term “Alpha” is a brand holdover from the legacy Minolta days and their line of ground breaking Alpha SLR cameras. When Sony purchased the Konica Minolta camera business in the mid 2000s, the Alpha product name came along for the ride.
Across the world, the communal experience of gathering with thousands of like minds to celebrate your favorite bands has become an annual rite. Music festivals have become larger and more popular, with no sign of slowing down. And while the largest of the festivals offer much of the same – large grassy fields, mega crowds and hundreds of acts scheduled over a long weekend – the smaller, boutique festivals are making their mark and winning fans by providing something different.
A few weeks ago I received a message from Sony Artisan of Imagery Gene Lower, team photographer for the Arizona Cardinals. Gene is one of those guys that gives freely of his knowledge and has been offering up very special opportunities to shoot NFL games to his fellow Sony Artisans. As an advisor to the Tokyo based product team, he was also an unsung force in the development of the acclaimed Sony a9. So when Gene presented the chance to shoot the Cardinals at their away game in Houston, I didn’t hesitate.