Canon 16-35mm f2.8 Mk3

Canon 16-35mm f2.8 Mk3

D8E6995 1 400x400 Canon 16 35mm f2.8 Mk3

Wow, it’s a bit big!  That was the first thought I had when getting hold of this lens for the first time – I thought for a second the lovely Leanne at Calumet Manchester had given me 24-70 by mistake.

It’s longer, fatter in the barrel and somewhat heavier than its Mk2 predecessor – but is it any better?

I suppose I can be a bit more objective than most reviewers of this lens when it comes to Canon wide glass because I never use it!

Canon has always seemed to have a different ethos to that of Nikon and TPMs such as Zeiss when it comes to wide glass design.

For sports/photojournalism they have always functioned perfectly well because they are usually quite light, fast to use, versatile, cheap(ish) and adequately sharp for the job -and they’ve sold millions over the years…and rightly so.

But if you wanted a high resolution wide angle with good micro contrast and superb sharpness then, as a landscape photographer for example, you’d be struggling.

Low resolution, poor contrast, vignetting, axial and lateral chromatic aberration, extreme corner distortion and coma are typical faults with wide angle lenses across the board, but Canon wide glass has had more exemplars of these faults than most.

Don’t get me wrong, Nikon have produced some real ‘dogs’ too – just not quite as many!

Let’s face it, no Canon wide could slip into a line up of of Zeiss glass and go optically unnoticed.

When Nikon brought out the 14-24 f2.8 why did Novoflex start flogging mount adapters to Canon shooters?

The only folk who will argue with me are those that have never tried Nikon or Zeiss.

As Canon WA glass goes, the 16-35mm f2.8 Mk2 does an OK job with landscapes, and for the most part produces results very much like the Nikon 24-70mm f2.8 when both lenses are shot at around 26mm to 32mm, but it leaves more than a bit to be desired when being shot wide open.

Its worst fault for me, shooting wide open, is the vile level of COMA.  There’s been many a wide-field astro shot consigned to the bin because if it.

D8E7003 400x400 Canon 16 35mm f2.8 Mk3

Canon 16-35mm f2.8 Mk3 with the Mk2 on the right.

So, is the new Canon 16-35mm f2.8 Mk3 an improvement – it needs to be for the price.

D8E6997 1 400x400 Canon 16 35mm f2.8 Mk3

Canon 16-35mm f2.8 Mk3 with the Mk2 on the right.

The Canon 16-35mm f2.8 Mk3 takes the same 82mm screw mount filters.

There is a newly re-designed lens hood.

Typical of this style of wide zoom, even though its an internal FOCUS lens, like its predecessor, it’s not strictly an internal ZOOM.  The front element moves in and out as the zoom ring is rotated, being furthest forward at 16mm, furthest back at around 26mm and then creeping forward again as we go to 35mm.

Designs like this have ‘compromise’ stamped all over them.  The legendary Nikon 14-24mm does the same sort of external zooming with its front element group, but is furthest forward at 14mm and furthest back at 24mm.  The Nikon is a super wide zoom while the Canon is a super wide to standard wide zoom.  Standard wide angle requires a different element design and layout – so COMPROMISE!

This moving front element makes all lenses designed this way ‘suckers and blowers’ so the cautious among you might want to put one of those lens protect filters on the front.

If you do, then PLEASE, don’t pay thousands for a lens and then be a cheapskate.  You lose light with every air/glass surface you place in the optical pathway.  And a lot of these filters SAY they are optically correct when they are most definitely NOT.  The finest lens in the world turns into a turd if you stick a cheap filter on it.

D8E7011 1 400x400 Canon 16 35mm f2.8 Mk3

Canon 16-35mm f2.8 Mk3 with the Mk2 on the right.

So let’s take a look at vignetting.  We’ll do that in two ways.

Firstly, let’s see how the vignetting at f2.8 changes with focal length, with the Mk2 on the left, and the Mk3 on the right:

Mk3f2.8FLVig 246x400 Canon 16 35mm f2.8 Mk3

Vignetting of the Canon 16-35mm f2.8 Mk II & III at various focal lengths at a constant f2.8

Next, let’s stay at 16mm focal length on both lenses and look at the vignetting through the aperture range:

16mmVgTest 1 407x900 Canon 16 35mm f2.8 Mk3

Vignetting of the Canon 16-35mm f2.8 Mk II & III at various apertures and a constant 16mm focal length.

Now these vignette results didn’t leave me in a state of shock and awe in the slightest.

You need to view the images at 100% to see the subtle improvements in the Canon 16-35mm f2.8 Mk3.

In the first test – maximum aperture vs focal length, the new variant looks equal to or slightly worse than the Mk 2 at 16mm.

But things begin to improve a bit once we are getting towards 24mm.

On the second test – 16mm vs aperture range, again we see the awful maximum aperture vignetting compared to its predecessor.

From f5.6 to f16 it’s perhaps a sliver better than the Mk2. But, notice that the images are a bit brighter.  This is most likely to do with the improvements made to the multi-coatings.

Canon 16-35mm f2.8 Mk3 vs Mk2 Image Comparisons

Let me begin by saying this – 16mm on the Mk3 is NOT the same 16mm that the Mk2 has!

1D9A6348 Canon 16 35mm f2.8 Mk3 1D9A6347 Canon 16 35mm f2.8 Mk3

Mouse over the slider – see what I mean?

Both shots are 16mm @ f11 on the Canon 5DMk4.  The camera was locked down on my heavy Gitzo, and the camera was triggered with a Canon TC-80N3 – in other words NOTHING moved!

The images have not been adjusted in any way – no lens correction profiles – as shot.

Notice the Mk3 image has greater ‘contrast’ and is less flat-looking?

Okay, so let’s look at the ubiquitous ‘brick wall’ test.

We are doing shots on the 5DMk4 using both Mk2 and Mk3 lens variants.

  • at 200ISO
  • at f2.8, f5.6 and f11
  • at 16mm, 25mm and 35mm
  • at a fixed ‘Cloudy B1’ manual camera white balance
  • manual focusing
  • the camera has been re-focused using x10 live view between each frame.
Screen Shot 2016 12 30 at 13.03.17 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window.

Screen Shot 2016 12 30 at 14.24.56 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 16mm @ f5.6

Screen Shot 2016 12 30 at 14.27.56 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 16mm @ f11

The above screen grabs give you a great ‘feel’ for all the differences in contrast and lens colour cast between the Mk2 and new Mk3 variants – these are quite significant.  Even more so when when you look at the vignetting, distortion and AoV differences.

Moving on to the full resolution comparisons:

Again, no adjustments at all other than Lightroom standard profile sharpening, and we are looking at the frame centers at 1:1 ratio:

Screen Shot 2016 12 30 at 13.19.28 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 16mm @ f2.8

At 16mm @ f2.8 (above) the Canon 16-35mm f2.8 Mk3 is noticeably sharper than its predecessor.

Screen Shot 2016 12 30 at 13.31.01 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 16mm @ f5.6

Stopping down to f5.6 @ 16mm yields a better sharpness on the older Mk2 variant.  Is there a tiny bit of improved sharpness on the new Mk3 – perhaps.

Screen Shot 2016 12 30 at 13.42.08 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 16mm @ f11

Now at 16mm @ f11 both lenses seem ever so slightly less sharp.  But that is not down to diffraction as you’ll see later with the 25mm and 35mm tests.  I could be an error on my part when focusing, but for me to make the same mistake on two different lenses is a bit of a long shot.  I’ve re-shot and got the same result – methinks it might have something to do with that ‘compromise’ I mentioned earlier on….or, it could be me!

Moving from 16mm to 25mm and 35mm:

Screen Shot 2016 12 30 at 14.32.48 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f2.8

Screen Shot 2016 12 30 at 14.33.04 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f2.8

Screen Shot 2016 12 30 at 14.34.28 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f5.6

Screen Shot 2016 12 30 at 14.34.47 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f5.6

Screen Shot 2016 12 30 at 14.35.32 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f11

Screen Shot 2016 12 30 at 14.35.46 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 25mm @ f11

Screen Shot 2016 12 30 at 14.36.28 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f2.8

Screen Shot 2016 12 30 at 14.36.44 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f2.8

Screen Shot 2016 12 30 at 14.37.24 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f5.6

Screen Shot 2016 12 30 at 14.37.38 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f5.6

Screen Shot 2016 12 30 at 14.38.21 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f11

Screen Shot 2016 12 30 at 14.38.36 600x375 Canon 16 35mm f2.8 Mk3

IMPORTANT – CLICK IMAGE to view at full size in new window. 35mm @ f11

Make sure you have viewed all the above screen shots at full resolution.

Okay, so we have visually covered iteration comparisons for the Canon 16-35mm f2.8 Mk3 and its predecessor in terms of distortion, vignetting, field/angle of view and sharpness.

In terms of stopped-down sharpness, on the Canon 5DMk4 at least, I’d expect to get into the realms of aperture diffraction around f14 to f16.

Wide open the Mk3 version stomps all over the Mk2, and I think it stays ahead through to at least f11 across the entire focal length zoom range.

Chromatic Aberration

The Mk2 16-35 f2.8 has a somewhat noticeable chromatic aberration problem, so how does the new Mk3 version measure up in comparison – both shots are 16mm @ f11:

1D9A6347 Edit 2 600x400 Canon 16 35mm f2.8 Mk3

Click the image and a full size jpeg (80% quality) will open in a new window.

1D9A6348 Edit 2 600x400 Canon 16 35mm f2.8 Mk3

Click the image and a full size jpeg (80% quality) will open in a new window.

Compare the lamp post on the right and the window and alarm box on the left of the shots.

Though still present, chromatic aberration is much reduced on the new Canon 16-35mm f2.8 Mk3.  Along the middle axes of the image – especially the horizontal – there have been big improvements.

The Lightroom ‘remove chromatic aberration’ function cleans the raw file up beautifully without having to go anywhere near the manual corrections – just tick the checkbox. But doing the same to a Mk2 image usually leaves vestiges of both red and green fringing at the frame edges at 16mm.

Coma Test:

What’s Coma? It’s a lens design flaw which renders ‘tails’ and ‘wings’ on off-axis points of light.

And here is a shining example, courtesy of the Mk2 16-35:

J6Q7329 Canon 16 35mm f2.8 Mk3

Coma on the Canon 16-35mm f2.8 Mk2 variant.

Mmmm…yummy!

It’s not exactly the best time of year for Milky Way astro shots here in the UK – New Year as it is.  But we ventured out at midnight the other night just to test this Mk3 version of the lens.

The area is fairly local and surrounded on all sides by huge light polution but it served the purpose of the test.

Shooting wide open f2.8 @ 6400ISO, stacking 8 shots done in quick succession here’s the truth about the coma on the new Mk3 16-35mm variant:

1D9A6327 18 600x400 Canon 16 35mm f2.8 Mk3

Click the image and a full size jpeg (80% quality) will open in a new window.

It’s not the best astro you’ll ever see, but it does show that the coma is still there, but it’s a lot less intrusive.

In Conclusion

So there we have it – the new Canon 16-35mm f2.8 Mk3.

Is it better than it’s Mk2 predecessor?  Well yes, it is – and in pretty much every aspect I’d say.

The vignetting at 16mm f2.8 is quite strong – nearly 4 stops darker than the image center.  This WILL cause you problems if you have peripheral deep shadow areas, as even on the 5DMk4, pulling 4 stops will make the shadow areas go a bit noisy.

I also think that 16mm is now more like 18mm, but what’s a couple of mills between friends ehh!

Would I buy one? Well, that depends.

If I had a Mk2 variant and needed the lens format then I would be looking to trade in immediately.

Wedding, street, sports/photojournalism and events photographers would be mad if they didn’t have one of these in their bag. And I think wildlife photographers would benefit as well – I reckon it would be perfect on the 1DX Mk2 for just about anything.

Not being a Canon shooter for anything below a 200-400 I won’t be putting it on my ‘wants’ list at all, but if you are ‘Canon-only’ then I strongly recommend you have a look at this lens.

As for landscapes and wide field astro, erm…..let’s just say there’s more than one way to skin a cat, and some are better than others.  Having said that, if you are a landscape shooter with a Mk2 variant and you can’t afford/ just don’t want a plethora of glass for specific tasks then it’s a big improvement on what you’ve already got.

Where to buy this lens in the UK – buy it here Calumet Photographic

Many thanks to Reece Piper, Leanne and Richard from Calumet for loaning this lens for the purposes of review.

And a big thanks to June Lown for the loan of the Mk2 to make the comparison.

17.5 hours that’s taken – Jesus, it’s like having a full-time job!  If this review has been useful to you then please consider chucking me a small donation – or a big one if you are that way inclined!

Many thanks to the handful of readers who contributed over the last week or so – you’ve done your bit and I’m eternally grateful to you.

Happy New Year everyone!

Camera ISO Settings

The Truth About ISO

Back in the days of ‘wet photography’, we had rolls and sheets of film that carried various ISO/ASA/DIN numbers.

ISO stands for International Standards Organisation

ASA stands for American Standards Association

DIN – well, that’s ‘Deutsches Institut für Normung’ or German Institute for Standardisation

ISO and ASA were basically identical values, and DIN = (log10)ISO x10 +1, so ASA/ISO 100 equated to DIN 21….nope, I’m not going to say anything!

These numbers were the film ‘speed’ values.  Film speed was critical to exposure metering as it specified the film sensitivity to light.  Metering a scene properly at the correct ISO/ASA/DIN gave us an overall exposure value that ensured the film got the correct ‘dose’ of light from the shutter speed and aperture combination.

Low ISO/ASA/DIN values meant the film was LESS sensitive to light (SLOW FILM) and high values meant MORE sensitivity to light (FAST FILM).

Ilford Pan F was a very slow mono negative film at ASA 50, while Ilford HP5 was a fast 400 ASA mono negative film.

The other characteristic of film speed was ‘grain’.  Correctly exposed, Pan F was extremely fine grained, whereas correctly exposed HP5 was ‘visibly grainy’ on an 8×10 print.

Another Ilford mono negative film I used a lot was FP4.  The stated ASA for this film was 125ASA/ISO, but I always rated it (set the meter ASA speed dial) to 100ASA on my 35mm Canon A1 and F1 (yup, you read that right!) because they both slightly over-metered most scenes.

If we needed to shoot at 1/1000th and f8 but 100ASA only gave us 1/250th at f8 we would switch to 400ASA film – two stops greater sensitivity to light means we can take a shutter speed two stops shorter for the same aperture and thus get our required 1/1000th sec.

But, what if we were already set up with 400ASA film, but the meter (set at 400ASA) was only giving us 1/250th?

Prior to the release of films like Delta 1600/3200 we would put a fresh roll of 400ASA film in the camera and set the meter to a whopping 1600ASA! We would deliberately UNDER EXPOSE Ilford HP5 or Kodak Tri-X by 2 stops to give us our required 1/1000th at f8.

The two stops underexposed film would then be ‘push processed’, which basically meant it was given a longer time in the developer.  This ‘push processing’ always gave us a grainy image, because of the manner in which photographic chemistry worked.

And just to confuse you even more, very occasionally a situation might arise where we would over expose film and ‘pull process’ it – but that’s another story.

We are not here for a history lesson, but the point you need to understand is this – we had a camera body into which we inserted various sensitivities of film, and that sometimes those sensitivities were chemically manipulated in processing.

That Was Then, This Is Now!

ISO/ASA/DIN was SENSITIVITY of FILM.

It is NOT SENSITIVITY of your DSLR SENSOR….!!! Understand that once and for all!

The sensitivity of your sensor IS FIXED.

It is set in Silicon when the sensor is manufactured.  Just like the sensitivity of Kodak Tri-X Pan was ‘fixed’ at 400ASA/ISO when it was made at the factory.

How is the sensitivity of a digital sensor fixed?  By the SIZE of the individual PHOTOSITES on the sensor.

Larger photosites will gather more photons from a given exposure than small ones – it’s that simple.

The greater the number of photons captured means that the output signal from a larger photosite is GREATER than the output signal from a smaller photosite for the same exposure value (EV being a combination shutter speed and aperture/f number).

All sensors have a base level of noise – we can refer to this as the sensor ‘noise floor’.

This noise floor is an amalgamation of the noise floors of each photosite on the sensor.

But the noise floor of each photosite on the sensor is masked/obscured by the photosite signal output; therefore the greater the signal, the larger the signal to noise (S/N) ratio is said to be.

In general, larger photosites yield a higher S/N ratio than smaller ones given the same exposure.

This is why the Nikon D3 had such success being full frame but just over 12 megapixels, and it’s the reason that some of us don’t get overly excited about seeing more megapixels being crammed into our 36mm x 24mm sensors.

Anyway, the total output from a photosite contains both signal and noise floor, and the signal component can be thought of as ‘gain’ over the noise floor – natural gain.

As manufacturers put more megapixels on our sensors this natural gain DECREASES because the photosites get SMALLER – they have to in order to fit more of them into the finite sensor area.

Natural gain CAN be brought back in certain sensor designs by manipulating the design of the micro lenses that sit on top of the individual photosites. Re-design of these micro lenses to ‘suck in’ more tangential photons – rather like putting a funnel in a bottle to make filling it easier and more efficient.

There is a brilliantly simple illustration of how a sensor fits into the general scheme of things, courtesy of digital camera world:

%name Camera ISO Settings

The main item of note in this image is perhaps not quite so obvious, but it’s the boundary between the analogue and digital parts of the system.

We have 3 component arrays forward of this boundary:

  1. Mosaic Filter including Micro Lenses & Moire filter if fitted.
  2. Sensor Array of Photosites – these suck in photons and release proportional electrons/charge.
  3. Analogue Electronics – this holds the charge record of the photosite output.

Everything forward of the Analogue/Digital Converter – ADC – is just that, analogue! And the variety of attributes that a manufacturer puts on the sensor forward of this boundary can be thought of mostly as modifying/enhancing natural gain.

So What About My ISO Control Settings Andy?

All sensors have a BASE ISO. In other words they have an ISO sensitivity/speed rating just like film!  And as I said before THIS IS A FIXED VALUE.

The base ISO of a sensor photosite array can be defined as that ISO setting that yields the best dynamic range across the whole array, and it is the ISO setting that carries NO internal amplification.

Your chosen ISO setting has absolutely ZERO effect on what happens forward of the Analogue/Digital boundary – NONE.

So, all those idiots who tell you that ISO effects/governs exposure are WRONG – it has nothing to do with it for the simple reason that ISO effecting sensor sensitivity is a total misconception….end of!

Now I’ll bet that’s going to set off a whole raft of negative comments and arguments – and they will all be wrong, because they don’t know what they’re talking about!

The ‘digital side’ of the boundary is where all the ‘voodoo’ happens, and it’s where your ISO settings come into play.

At the end of an exposure the Analogue Digital Converter, or ADC, comes along and makes a ‘count’ of the contents of the ‘analogue electronics’ mosaic (as Digital Camera World like to call it – nice and unambiguous!).

Remember, it’s counting/measuring TOTAL OUTPUT from each photosite – and that comprises both signal and noise floor outputs.

iso1 900x900 Camera ISO Settings

If the exposure has been carried out at ‘base ISO’ then we have the maximum S/N ratio, as in column 1.

However, if we increase our ISO setting above ‘base’ then the total sensor array output looks like column 2.  We have in effect UNDER EXPOSED the shot, resulting in a reduced signal.  But we have the same value for the noise floor, so we have a lower S/N ratio.

In principal, the ADC cannot discriminate between noise floor and signal outputs, and so all it sees in one output value for each photosite.

At base ISO this isn’t a problem, but once we begin to shoot at ISO settings above base, under exposing in other words, the cameras internal image processors apply gain to boost the output values handed to it by the ADC.

Yes, this boosts the signal output, but it also amplifies the noise floor component of the signal at the same time – hence that perennial problem we all like to call ‘high ISO noise’.

So your ISO control behaves in exactly the same way as the ‘gain switch’ on a CB or long wave radio, or indeed the db gain on a microphone – ISO is just applied gain.

Things You Should Know

My first digital camera had a CCD (charge coupled device) sensor, it was made by Fuji and it cost a bloody fortune.

Cameras today for the most part use CMOS (complimentary metal oxide semi-conductor) sensors.

  • CCD sensors create high-quality, low-noise images.
  • CMOS sensors, traditionally, are more susceptible to noise.
  • Because each photosite on a CMOS sensor has a series of transistors located next to it, the light sensitivity of a CMOS chip tends to be lower. Many of the photons striking the sensory photosite array hit the transistors instead of the photosites.  This is where the newer micro lens designs come in handy.
  • A CMOS sensor consumes less power. CCD sensors can consume up to 100 times more power than an equivalent CMOS sensor.
  • CMOS chips can be produced easily, making them cheaper to manufacture than CCD sensors.

Basic CMOS tech has changed very little over the years – by that I’m referring to the actual ‘sensing’ bit of the sensor.  Yes, the individual photosites are now manufactured with more precision and consistency, but the basic methodology is pretty much ‘same as it ever was’.

But what HAS changed are the bits they stick in front of it – most notably micro-lens design; and the stuff that goes behind it, the ADC and image processors (IPs).

The ADC used to be 12 bit, now they are 14 bit on most digital cameras, and even 16 bit on some.  Increasing the bit depth accuracy in the ADC means it can detect smaller variations in output signal values between adjacent photosites.

As long as the ‘bits’ that come after the ADC can handle these extended values then the result can extend the cameras dynamic range.

But the ADC and IPs are firmware based in their operation, and so when you turn your ISO above base you are relying on a set of algorithms to handle the business of compensating for your under exposure.

All this takes place AFTER the shutter has closed – so again, ISO settings have less than nothing to do with the exposure of the image; said exposure has been made and finished with before any ISO applied gain occurs.

For a camera to be revolutionary in terms of high ISO image quality it must deliver a lower noise floor than its predecessor whilst maintaining or bettering its predecessors low ISO performance in terms of noise and dynamic range.

This where Nikon have screwed their own pooch with the D5. At ISOs below 3200 it has poorer IQ and narrower dynamic range than either the D4 or 4S.  Perhaps some of this problem could be due to the sensor photosite pitch (diameter) of 6.45 microns compared to the D4/4S of 7.30 microns – but I think it’s mostly due to poor ADC and S/N firmware; which of course can be corrected in the future.

Can I Get More Photons Onto My Sensor Andy?

You can get more photons onto your sensor by changing to a lens that lets in more light.

You might now by thinking that I mean switching glass based on a lower f-number or f-stop.

If so you’re half right.  I’m actually talking about t-stops.

The f-number of a lens is basically an expression of the relationship between maximum aperture diameter and focal length, and is an indication of the amount of light the lens lets in.

T-stops are slightly different. They are a direct indicator of how much light is transmitted by the lens – in other words how much light is actually being allowed to leave the rear element.

We could have two lenses of identical focal length and f-number, but one contains 17 lens elements and the other only 13. Assuming the glass and any coatings are of equal quality then the lens with fewer elements will have a higher transmission value and therefore lower T-number.

As an example, the Canon 85mm f1.2 actually has a t-number of 1.4, and so it’s letting in pretty much HALF a stop less light than you might think it is.

In Conclusion

I’ve deliberately not embellished this post with lots of images taken at high ISO – I’ve posted and published enough of those in the past.

I’ve given you this information so that you can digest it and hopefully understand more about how your camera works and what’s going on.  Only by understanding how something works can you deploy or use it to your best advantage.

I regularly take, market and sell images taken at ISO speeds that a lot of folk wouldn’t go anywhere near – even when they are using the same camera as me.

The sole reason I opt for high ISO settings is to obtain very fast shutter speeds with big glass in order to freeze action, especially of subjects close to the camera.  You can freeze very little action with a 500mm lens using speeds in the hundredths of a second.

Picture buyers love frozen high speed action and they don’t mind some noise if the shot is a bit special. Noise doesn’t look anywhere near as severe in a print as it does on your monitor either, so high ISO values are nothing to shy away from – especially if to do so would be at the expense of the ‘shot of a lifetime’.

Gear Review 2016

Gear Review 2016

What bits of kit impressed me in 2016?

One or two for sure, but not as many as you might think, but here are the things that have made it into my office for keeps, or made my ‘wants list’!

Nikon D500.

Buy Here: Calumet Photographic

%name Gear Review 2016

Every time I grab hold of one of these 1.5x crop DSLR bodies I find myself wanting one more and more – cracking little camera.

I find the new Nikon auto focus system works better on this body than it does on the lamentable D5.

The 10 frames per second frame rate will drop noticeably to around 7fps with continuous dynamic tracking, but that’s not a bad thing really.

Get an XQD card (a big one!), and the battery pack with a D5 battery in it will give the auto focus that little extra ‘umph’.

Nikon 300mm f4 PF lens.

Buy Here: Calumet Photographic

%name Gear Review 2016

Les Peel (Hi Les!) turned up here the other day with one of these 300mm PF lenses on his D500 – and honestly, it blew me away!

I’ve seen very mixed reviews about this lens, and to be honest I’d not given it a second thought ever since it was launched.  But the D500/300mm PF combo that Les brought here staggered me in terms of sharpness and auto focus speed; I even slung the lens on my D800E, and got the same results.

Yes, I agree with with some of the negatives put forward by some; too many elements give give a certain ‘flatness’ to its images, and don’t even think about pointing it at the sun, because the fresnel will make a mess!  But in terms of sports/action photography the idea of using it is a more appealing thought than that of swinging a 300 f2.8 all day.

Please bare in mind though that my opinion is based solely on the use of ONE example.

Canon 1DX Mk2.

By Here: Calumet Photographic

%name Gear Review 2016

This camera isn’t just an ‘upgrade’ to the 1DXMk1 – far from it.  For me the Mk1 was a reliable, steady and highly predictable dance partner.

The Mk2 is a bit of an animal by comparison – like switching from a slow waltz at the local town hall to a full-on Argentine Tango with some sultry hooker in a down-town bar in Beunos Aries!

I took one to Norway back in September for a week (1DX that is, not the sultry hooker), and it mystified my for at least 3 days because I was treating it like a Mk1.

For me it needs a small firmware ‘fettle’ on the AF, but the level of performance with this Mk2 is exceptional.  And now the ADC is integral with the sensor (a la Nikons Sony sensors) the image quality has shot through the roof.

If you own a Mk1 and you are still debating the trade-in then STOP IT and get a move on – times a’wastin..!

Canon 200-400mm f4

Buy Here: Calumet Photographic

%name Gear Review 2016

Still ranks as my favored lens for wildlife photography, not quite the blistering speed and resolution of the behemoth below, but it’s a very close second.  The versatility of 200-560mm comes in mighty handy, and it totally wipes the floor with the Nikon alternative.

Canon 500mm f4 USM Mk2.

Buy Here: Calumet Photographic

%name Gear Review 2016

Oh my, what a lump of glass. Far lighter than its predecessor, and better balanced if you ask me; I can shoot this lens hand-held all day long – simply stunning image quality and so sharp and fast in the auto focus department that it makes me want to cry!

Both it and it’s zoom cousin above represent huge chunks of investment so you have got to NEED either one.  But both of them are worth every single penny if you ask me.

G-Tech G-Raid 8TB Removable Drive

Buy Here: Calumet Photographic
%name Gear Review 2016

I have to admit to being a bit of a G-Drive fan-boy – yep, they’re slightly pricey!

But if you spend thousands on your camera bodies and lenses, and your images are your lifes work, then wincing at the cost of somewhere bullet-proof to store said images is the action of an idiot.

My images are stored on two 4TB internal drives and both of these are cloned to an 8TB internal RAID 0 pair.  This RAID 0 pair is backed up to the 8TB G-Drive unit.  Being on a ‘cheese grater’ MacPro I have no Thunderbolt connections.  But this G-Drive unit is plenty fast enough for my needs across USB 3.0

It’s fast, reliable, very quiet and gives me dual backup for off-site storage for not a lot of money in the grand scheme of things.

 

G-Tech G-Drive EV ATC 1TB USB 3 Hard Drive

Buy Here: Calumet Photographic

%name Gear Review 2016

I’ve had a couple of these 1Tb USB 3.0 portable G-Drives for over a year now – I use them for storage and backup when I’m away, and they have performed flawlessly in that time.

Based around the modular G-Drive system the internal Evolution series drive can be easily removed from the ruggedised water-proof case with little or no effort.

To free up the usb ports on my MacBook Pro I’ve just upgraded the external cases to Thunderbolt (yes, my MBP is the sensible one !). So now the drives can be used on either my MBP or Richs’ Vaio.

Eizo ColorEdge CS2420 24.1″ Wide Gamut Monitor

Buy Here: Calumet Photographic

%name Gear Review 2016

As yet this baby hasn’t made it into my office because I don’t need a new monitor.  But in about another 3 to 4 months that’ll be a different story, because my back light hours are long-since past already, and the extreme right edge of my LP2475W is getting slightly dark.

But am I going to replace it with a ColourEdge or SpectraView Reference – am I heck as like!

No, it’ll be this CS2420.  Calumet Birmingham have one of these in permanent use – God only knows how old it is or how many hours it has on the back light.  But I calibrated it the other week using my ColorMunki Photo via the MBP running a 10 bit connection over Display port to mini Display port and was mightily impressed:

Screen Shot 2016 12 21 at 14.51.38 600x375 Gear Review 2016

The CS2420 (wire frame) compared to AdobeRGB1998 – impressive for under £600.

I must stress that I treat any monitor as ‘dumb’ – I don’t use any of the software-based calibration utilities that come with the monitor, nor do I use the silly little sensor that drops down from the top bezel on some Eizo CE’s.

When you have a print coming off the printer that looks exactly like the original image (not the damn soft-proof like some folk forget) then you know your colour management is set up perfectly.

And this CS2420 Eizo enables me to do just that – for under £600 – a bargain!

Speaking of printing, my last recommendation is a printing paper.

Brilliant Museum Inkjet Paper – SilverGloss Natural 300gsm

Buy Here: Calumet Photographic

%name Gear Review 2016

Brilliant by name, and rather brilliant by nature!

I love this paper. It’s quite heavy and substantial at 300gsm, and has quite a large gamut.  I use it all the time in my venerable Epson 4800 – and that’s with the ‘canned profile’ and Lyson ink for Gods sake.

It gives exceptional prints using Calumet/Brilliant own ‘canned’ profiles on the Canon 9500Mk2 and Pixma Pro 1, and the Epson SC-P600/800.  I’ve no reason to think it won’t work in other printers that have a profile listed on the Brilliant website, but I haven’t tried them!  And Canon actually produce their own Pixma Pro 1 profile for this paper too, links below:

Mac OSX El Capitan version

Windows 10/8/7/Vista version

You will find the profile in one of the sub folders in the download.

And speaking of the Pixma Pro 1

Buy Here: Calumet Photographic

%name Gear Review 2016

A 12 ink A3+ printer that I really do rate – for a ‘plastic fantastic’ desktop printer.

I know it’s been around for a while now, so it’s not new like the Epson SC-P600/800 printers – but then again, I’m not overly partial to either of those.  Not that there’s anything wrong with the printers – it’s just the stupid driver installations I can’t get on with – pathetically over-complicated.

Basically the Pixma Pro 1 is ‘plug ‘n go’ once the driver is installed and it produces the best quality prints I’ve seen out of a Canon DTP since the venerable old 3500Mk2 ended production.

The light weight head is supposed to help prevent clogs – though the real cause of head clogs is low humidity inside the printer.

No ‘plastic fantastic’ printer is designed for regular long print runs; that’s the purview of the big medium format jobs.  But for someone who wants to print a handful of A3 prints per week this printer should suit them down to the ground.

Canon 5DMk4.

A lot of you will be wondering why I’ve not mentioned or listed the Canon 5DMk4.  Short answer is I’ve not finished testing it yet – I do the job thoroughly!  No good saying it works brilliantly, then have the thing erupt in a ball of flame after 2 months a la S7 Edge is it?

I just need to do some final dynamic range testing on it, and to that end I’ll be using the new and older versions of the ubiquitous 16-35 f2.8

So there we go, 10 goodies of varying cost that I’ve considered as ‘wish list worthy’ in 2016; some new and some not so new.

Remember, these are just the opinions of some fat geezer in Cheshire!

SHAMELESS PLUG ALERT

I’ve just brought out my Basic Milky Photography Workflow training, available HERE

Add the discount code BLOG25DEC at the checkout to get 25% off all available downloads – either my Auto Focus Guide for Birds in Flight or my Milky Way Workflow, or BOTH!

Money – it’s such a dirty word, but we all need it!

I wish I could afford to give this training away, but I have to support a family and my photography and photo training are my only income.

I know most of you will try to shop around for bargains and not buy from the referral links in the above post – and that’s okay.

But these posts take time to produce when you type with two fingers like me, and that’s time I’m not earning money to pay the electricity bill et al.

If you could make a small donation via the DONATE button below it would mean a lot folks – seriously, it would.

This blog gets visited by a LOT of people from all walks of life and from all across the planet.  If just 20% of my visitors donated between £5 and £10 per year then I could go full time on reviewing gear in depth the moment it became available to buy or hire for a few weeks.

Manufacturers like Canon and Nikon will never ‘lend’ me anything for review simply because they can’t trust me to say nice things about them.

Retailers make very little in the way of profit on a per item basis. Especially on bodies and lenses, the margins are ridiculous, even your local green grocer couldn’t operate on some of the narrow margins.  So retailer sponsorship here in the UK isn’t a feasible proposition either.  Calumet are good in lending me items from their ‘hire stock’ but that just costs them money in lost hire revenue; which in turn leads to broken up and protracted review times.

So please folks, if you want me to find the bugs in something – so you don’t have to waste your hard earned cash and find them yourself, then please consider making a donation.

Many thanks and Seasons Greeting to all.

Canon 5D Mk 4 Auto Focus Performance

Canon 5D Mk 4 Auto Focus

2ppi 400x400 Canon 5D Mk 4 Auto Focus PerformanceLike Nikon, Canon never do me any favors!

But I do feel that I must say to the world that it ought to give this camera a bit of a break.  It’s had a good mauling in a lot of places, usually by idiots and no-nothings, who keep comparing it to its big brother the 1DX Mk2 – a camera not without its very own set of unique foibles!

The Canon 5D Mk 4 is NOT designed to be a “poor mans” 1DX Mk2.

It’s hardly what I’d call ‘cheap’ in the old purchase price department for starters, so ‘poor mans’ and ‘budget’ are not terms I can easily associate with it.

There are lot’s of things I need to delve into further on this camera to give you guys a fuller picture of the cameras overall performance – most of which is going to involve Calumet or Canon lending me more lenses.

But I can say that I’ve formulated a solid opinion on the Canon 5D Mk 4 Auto Focus performance, and it’s turned out to be a lot better than I’d first imagined.

These are the style of shot that really tells you if your auto focus is working and up to the job:

1D9A3561 600x400 Canon 5D Mk 4 Auto Focus Performance

“Joey” 1/3200th, f7.1, ISO5000

1D9A3410 600x400 Canon 5D Mk 4 Auto Focus Performance

“Joey” 1/3200th, f7.1, ISO5000

1D9A3454 600x383 Canon 5D Mk 4 Auto Focus Performance

“Joey” 1/3200th, f7.1, ISO4000

But before you can start producing the shots you have to go through the tedious bit of testing the AF first.  It was while testing the overall sharpness and accuracy of the AF system that I came across a little problem.

When photographing the old ‘brick wall’ static target I found the system was front focusing by around 40 centimeters at 30 meters.  If I added +4 on the AF micro adjustment (using the 500mm don’t forget) then everything was razor sharp.

This didn’t seem right in my eyes – I’ve never felt the need to use micro adjust on Canon gear to achieve sharp focus on a static target – perhaps I’ve just been lucky!

But after testing this body with another 500mm L IS II, and Calumets lens on 3 other bodies, all tests revealed the same necessary +4 adjustment.

MG 0202 Edit Canon 5D Mk 4 Auto Focus Performance

The difference is quite marked!

  • Bare in mind that all these ‘static tests’ MUST be done with the aperture WIDE OPEN (in this case f4).
  • I always use the high ISO capabilities of a camera to the maximum, which allows me the luxury of shooting at between f6 and f8 to maximise DoF and use a high enough shutter speed to stop the action.  Manual exposure with Auto-ISO is my usual method of shooting with long glass.  A noisy image that is razor-sharp will ALWAYS out-sell a low noise image full of motion blur!
  • At f8 hardly any of the ‘poor sharpness’ (above left) is visible in the image because DoF is doubled from 40cms to over 80cms behind the plane of focus at this distance.
  • If I was to swap out to a shorter lens then the required amount of micro adjustment would be less, and with a longer lens MORE!

However, when we come to photograph the likes of ‘Joey’ we have a BIG problem!

Adding positive micro-adjustment values is basically like adding BACK FOCUS – you are telling the system to focus BEHIND where it perceives sharp focus to be – in other words ‘focus further away’.

So with a head on closing target/subject the resulting AI Servo sequence of frames will all be back focused.  The camera will be focusing behind a subject that’s getting closer – it’ll never work!

What we need is the system to move the plane of focus AHEAD of the subject, so that when the shutter opens for the next frame, the subject and plane of focus are hopefully in the same place.  This is how PREDICTIVE AF works, and cameras like the 1DX Mks 1 & 2/Nikon D4/4S truly excel at it.

Dialing in an opposite value of -4, and using AF Case 4 settings with Zone AF for the AI Servo sequences of little Joey yielded good results, but the level of consistency was still below what I thought was possible.

And it certainly got even less consistent when I changed to Point Expansion or Point Surround AF modes.

But now I’ve settled on a custom setup that is NOT obtainable on any of the fixed AF cases; TS & ADT both at +2 together with -3 AF micro adjustment:

1D9A4149 Canon 5D Mk 4 Auto Focus Performance

‘Morgan’ 1/4000th f8 ISO4000 & -3 AF micro adjustment

I’ve just uploaded a new video to my YouTube channel where I discuss the performance of the Canon 5D Mk 4 Auto Focus system, and go through A LOT of full resolution images.

Note, some of you may get bored and think I examine too many images – shame on you! There are 4 sequences, and each one represents around 4 seconds in real time and are a ‘buffers worth’ of shots.  So all those boring shots took less than 20 seconds to acquire –  I have to show all the shots in a sequence to illustrate the level of consistency, and I show 4 sequences to prove none of them are a fluke – I DO THE JOB RIGHT – unlike some other reviewers!

You can view it at full size by clicking the YouTube icon bottom right once you press ‘play’, but be warned it’s 36 minutes long!

I’m not finished with this camera just yet I don’t think; I must admit that I do quite like it!

Is the Canon 5D Mk 4 Auto Focus capable of better performance than that of the venerable old 5D Mk3 ?  Yes, it is.

Is the image quality better than the 5D Mk3 – oh you betcha it is, by a country mile and just like the 1DX Mk2 advantage over the 1DX.

Are the G/T algorithms (ISO), sensor and ADC output better – from what I can see that’s a ‘yes’ too; but then I’ve not done any dynamic range testing yet – kinda hard when the only lens you’ve got is a 500mm!

I’m getting used to the ‘touchy-feely’ screen now, but the fixed 7fps HS frame rate pisses me off a bit, I’d like to be able to drop it to 6 or 5 to the AF system even further.

Take my advice and don’t be impressed with the ‘Duel Pixel Raw’ feature – it’s CRAP. It does absolutely bugger-all apart from slow the camera down and produce massive files that are not worth the time or effort.  And you can only ‘work’ them in that clunky DPP software which is a total abomination to try and use!

And old UHS1 SD card tech? The camera would be better with a CF slot in conjunction with a CFast2 slot ‘a la’ 1DX Mk2 – in my opinion of course.

1D9A4186 600x400 Canon 5D Mk 4 Auto Focus Performance

Great Tit. Canon 5DMkIV, Canon 500mm f4 L IS II, ISO 10,000 +4 AF Micro adjustment

logo simple Canon 5D Mk 4 Auto Focus Performance

Canon 5D Mk 4 from £115.96 per month – Click HERE

Canon 5D Mk 4 – First Thoughts

The Canon 5D Mk 4

Looking at the Canon 5D Mk 4 for Wildlife & Bird Flight Photography.

Part 1 – First Thoughts.

2ppi Canon 5D Mk 4   First Thoughts

The other day Calumet asked if I wanted to test the new Canon 5D Mk 4.  I’d just done an autofocus workshop in Birmingham and had been asked about this camera, so I thought it would be a good idea to take up the offer.

I’ve deliberately stayed well clear of any reviews of this camera while waiting for its delivery – don’t want to unbox it with any preconceived ideas do we??!!

I picked the camera up yesterday from Calumet Manchester, replete with the stunning 500mm f4 LIS Mk 2 lens – “Leanne, where’s the other two spare batteries you promised you’d ordered for me?”

The only Canon DSLRs I’ve used over the past couple of years are the 1DX marks 1 & 2, with the occasional ‘smattering’ of 5DMk3 when I’ve been out with clients – so this new offering from Canon has something of a ‘clean slate’ to start with in my eyes.

So it’s a bit of a shame it got off to a bad start when I pulled it out of its case last night and found that Canon STILL haven’t added a viewfinder blind – a major fault with the 5DMk3 in my opinion.

D4D7453 Edit Canon 5D Mk 4   First ThoughtsWhat the heck are they thinking?

D4D7456 Edit Canon 5D Mk 4   First ThoughtsThis camera is no 1DX Mk 2, and it’ll be bought by folk who want to shoot landscapes, seascapes, wide-field astro, a bit of studio work perhaps – it won’t be bought by folk like me who shoot big hairy-arsed beasties in zero light at ISO-stupid; yet the 1DX has one!

Come on Canon – think about the little things chaps.

Anyway, here’s the rig Calumet have supplied to me, just to see how far we can penetrate the domain of the 1DX Mk2/Nikon D5…

D4D7448 Canon 5D Mk 4   First ThoughtsAll those stupid straps can bugger off for starters – Jesus, they are a recipe for disaster.  But WAIT – if I take the camera strap off I’ve not got my stupid rubber flappy thingy viewfinder blind….

Now imagine I’m using this Canon 5D Mk 4 camera with a wide-angle lens shooting a low light seascape with a 10 stop ND and a 2 minute exposure.  That strap flapping in the wind and rattling on the tripod legs isn’t going to do much for image sharpness is it…it’s pathetic.

As a Nikon shooter the lack of a proper blind irks the heck out of me, but we’ll put it aside as I’m sure older 5D users are well used to the problem by now.

So moving on…

My two main interests in the Canon 5D Mk 4 are autofocus performance first, and ISO/low light performance a close second – being good at both is a prerequisite for wildlife photography, and in my mind this 5D Mk 4 is pitching its tent on the lawn belonging to the Nikon D810, so there’s a benchmark for it!

Setting the Canon 5D Mk 4 to my normal ‘Canon settings’ I nearly came a cropper before I started!

Not being used to the, shall we say ‘cheaper’ Canon DSLRs I pressed the DRIVE AF Mode button and flicked the front dial one click, assuming that this would shift the camera from the ONE SHOT mode the previous user had left it, to AI SERVO:

D4D7475 Canon 5D Mk 4   First Thoughts

D4D7512 Canon 5D Mk 4   First Thoughts

But NO…..WTF is this:

D4D7484 Canon 5D Mk 4   First ThoughtsAI FOCUS…..what’s that all about then?  So I did something that pained me greatly – picked up the manual – and wished I hadn’t.

So we hit the internet, and the the first hit in a Google search was:

Screen Shot 2016 10 20 at 15.01.19 Canon 5D Mk 4   First ThoughtsThat sounded so interestingly unreasonable that I tried it – and soon stopped!

Nahh… it’s not for me – unless I’m missing something major!

So just make sure you are in AI SERVO if you or your subject, or both, are moving.

It’s cloudy outside and about 1.5 hours before sunset, but let’s step outside and do my basic ‘car number plate’ AF test in CASE 1, just to see ‘the lay of the land’ with this Canon 5D Mk 4:

Screen Shot 2016 10 20 at 17.19.55 600x313 Canon 5D Mk 4   First Thoughts

If you want to download the full resolution jpegs – 700Mb zip file – please click hereThe file is at my Dropbox, so if this post goes a bit viral then it may take a while to download.

So there are 30 images, no processing done to them at all, and they are all either 5000 or 6500 ISO.

Shot hand held, 1/2000th, f6.3, manual exposure with auto ISO and back-button-only focus. Maximum frame rate was not quite 7fps (well it didn’t sound like it anyway), and I tried to shoot bursts of around 5 or 6 frames.  It was only on the last of these that I was concious of shooting in buffer overflow.

Single Point AF was being used, in Case 1 – which isn’t best suited to this particular job.  But it’s my standard test with any Canon, just to see how far off the ball the camera/lens combo is.

Shutter release priority was set to FOCUS for the first frame, and +1 focus priority for the second and subsequent frames.

And I have to say I’m pretty impressed.  It’s done a heck of a sight better than I was expecting in Case 1.

Yes the shots have some noise and it certainly can’t hold a candle to its big brother 1DX Mk2 in that department, but then again its not been designed that way. Neither do I regard the noise as much of a problem either because it’s evenly distributed and not overly present in shadows.

But from an autofocus point of view the biggest percentage of those shots are on the money so to speak, and where it has gone wrong it’s only by a whisker; always slightly behind the target – that’s to be expected with an accelerating subject and Case 1 Accel/decel tracking of ‘0’, using a long telephoto.

A considerable improvement over the 5D Mk 3 in both noise and AF performance in my opinion, neither do I think the Mk 3 would have managed 30 frames in the same amount of time.

Over the next couple of weeks I’ll be posting more of my thoughts and findings about the Canon 5D Mk 4.  Tomorrow I’ll do some ISO testing and a bit more on the autofocus if the weather and time permit, so expect another post shortly!

And yes, it’s official, Andy HATES the bloody touch-screen!  Boy am I going to get myself in trouble with that – perhaps I’m too old to cope with such fangled gadgetry!

But that is balanced out by the pleasant surprise that the camera allows exposure compensation in manual mode – up to now a luxury presented to nearly all Nikon users, but only 1DX and 1DX Mk2 Canon owners (to my knowledge anyway) – nice one Canon, it’s about time!

logo simple Canon 5D Mk 4   First Thoughts

Canon 5D Mk 4 from £115.96 per month – Click HERE

Workshop Report and Canon 1DX Mk2 first thoughts

Workshop Report and Canon 1DX Mk2 first thoughts

September 9th to 16th, Norway Musk Ox and Sea Eagles.

DSC 9620 Workshop Report and Canon 1DX Mk2 first thoughts

Left to Right: Mark Davies, Sigbjorn Frengen (our specialist Musk Ox guide for Dovrefjell), “Some Bearded Fat Git”, Mohamed Al Ashkar, Paul Atkins and Malcolm Clayton.

All four clients have been on numerous trips to Norway before, but for everyone, including myself, it was our first time in the Dovrefjell–Sunndalsfjella National Park and the magnificent Musk Ox that call the place home.

Firstly, I have to say a massive thank you to our specialist guide for the Musk Ox, Sigbjorn Frengen.

He’s a superb guide, the font of all ecological knowledge, has a driving passion for what he does, is as fit as the proverbial Butchers Dog, and is only in his mid 20’s.  He took guiding a bunch of geriatric old farts like us well in his stride; totally oblivious to the fact that we were all mighty jealous of his youth and fitness and secretly wanted to kill him for it!

And yes, I immediately booked him for the Dovrefjell part of my September 2017 workshop!

Musk Ox are animals not to be trifled with – they may look very benign but they weigh in at between 400 and 600 kilograms and can outrun Usain Bolt with very little effort.  They are quick to temper, but the signs of the oncoming rage are subtle and difficult to spot even at 60-70 metres. Subtle head-shaking and snorting are the main give-aways that you are causing some displeasure:

11I1683 2 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

A lone female Musk Ox snorts her displeasure at the presence of the photographer. She wants to rejoin the herd but the camera is in her way, so she blows mucus out of nose as a sign of annoyance.  Canon 1DX Mk2 + 200-400 @ 560mm 1/2500th sec @ f7.1 and 16,000ISO – YES SIXTEEN THOUSAND!

 

The above image shows brilliantly my other main task for the week – testing the Canon 1DX mark 2.

Most people know me as a Nikon shooter, and that I have a love-hate relationship with Canon – yes, I’m a troubled person!

I’ve waxed lyrical about the Canon 200-400 f4 many times on this blog and elsewhere, and the fact that I consider the Canon 61 point Reticular AF System to be the best on the planet.

You will also know that I loathe the sensor output of the original 1DX, and Canons daft refusal to give us the Uncompressed RAW Recording capability – spoilt see, Nikon user!!

I managed to get a couple of hours on the Canon 1DX Mk2 back in July and promptly set about testing the improved AF algorithms – by jingo was I impressed.  I was getting 40% less dropped shots on the Canon 1DX Mk2 at 10 frames per second than I was used to at 6 frames per second on the Mk1.

And as for the sensor output in general, the shadows adjustment latitude and high ISO performance – well, it was a revelation.

The Musk Ox above (click the image to view the full rez) has virtually ZERO noise reduction on it – none in post, and LOW on the in-camera High ISO NR menu setting.

11I3358 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

A baby Musk Ox lying by its mothers side on a soft bed of lichen, Erica and rare alpine plants. ISO 2500, 200-400 @ 560mm, 1/2500@f7.1

Why use such a high shutter speed Andy?

It’s brain-in-gear time folks – breezy conditions, lowish light levels, hair on the subject that’s over 1metre long, and wispy grass stems – all these move way faster than the bulky Musk Ox itself – under peaceful circumstances of course!. If these little tiny details suffer with motion blur it ruins the image – provided you have a sensor that can ‘deliver the goods’ at the resultant ISO-stupid.

I’m also shooting hand-held off the knee, with and effective 560mm angle of view on a 20Meg+ sensor, so I’ll need at least 1/1600th to combat the shakes, and I am indeed ‘testing’ a camera, so shooting at sub 1600ISO is not doing the job.

I’m using ‘spot AF’ and partial metering, and my AF point is bang in the middle of the point pattern.

This all neatly brings me to my first problem with the Canon 1DX Mk2 – or at least the one I was using – look at this image from a few frames before:

11I3352 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

A baby Musk Ox lying by its mothers side on a soft bed of lichen, Ericas and rare alpine plants.

If you examine the two shots closely you see something odd.

At this distance, around 70 metres, the f7.1 aperture should be generating around 1 metre of DoF.

In the first shot the AF pont was pretty much on babys head, but the DoF run-out is a lot greater beyond that distance than it is closer to the camera.  If the shot had been taken wide open at f5.6 then the subject would not be as sharp as it is.  More of babys body should be sharp, and less foreground sharpness.

In the second shot I’ve wavered slightly right, so now the focus point is on mums ass. This SHOULD push the plain of focus further back – and thus that 1 metre DoF.  And it does – a bit! There is still too much foreground DoF.

The point is this, the focus tends to ‘bounce a little’ rather like the fault with the Nikon D4. This was caused, in the D4, by ‘mirror bounce’. But in the Canon 1DX Mk2 I get the feeling that it’s due to a nano-second miss timing between the AF sensor and the mirror starting to move for the next frame.

Why do I think this?  Because if I drop the frame rate from 10fps to 7fps the ‘AF bounce’ disappears completely.

I could put more images up to illustrate my point further but that would be pointless as it could be a fault unique to the camera I was using.  Having said that, there was another Canon 1DX Mk2 with a 200-400 shooting right next to me, and that showed exactly the same characteristics!!

But there is ONE thing I truly loathe on the Canon 1DX Mk2 – and the D5 and D500 come to that – the rear screen resolutions.

They are all too high in resolution.

I understand WHY they have such high resolutions, but when you are shooting stills at long distance, where focus placement is super-critical, they CAN lull you into something of a ‘false sense of security’ when you use them to check fine focus tolerances at 1:1.

You check the images on the camera and they look sharp.  You get back to base and offload the images to your storage drives then review them on a 13″ MacBook Pro with a damn 227 dpi Retina display and the still look sharp.  You get home and view them on your 90-odd dpi 24″ Eizo – and some of them look a lot less perfect!

I suppose with use it’s something you’ll get used to, but if you are moving to a Canon 1DX Mk2 from an older Mk1 or 5DMk3 then bare it in mind and check your images VERY carefully if you’re using big glass under critical conditions.

Anyway, back to the stunning Musk Ox again:

11I3397 Edit 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

A solitary bull Musk Ox stands watch over his harem of females under the gloomy light of late afternoon in the Dovrefjell National Park in Norway.

11I2108 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

Stormy skies form a backdrop to a bull Musk Ox standing watch over two females in his harem, ready to chase away any other bull that he may consider a threat to his dominance.

11I2101 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

“Bam-Bam does Lunch”

Lack of Lemmings meant the Arctic Foxes were still up in the high ground, so with that and a very wet forecast for Sunday we elected to leave Dovrefjell a day early and do the 7 hour drive to Lauvsnes in order to gain an extra day with the Eagles.

Monday morning saw us in the boat at just after 6.30am and myself an “Mad” Mark Davies had one shot weighing heavily on our minds – Backlit Eagle!

Over the remaining days I have to say that we were spoilt something rotten with opportunities for this most enigmatic eagle shot, here is a tiny fraction:

11I4606 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

11I5847 Edit 2 600x400 Workshop Report and Canon 1DX Mk2 first thoughts 11I5845 600x400 Workshop Report and Canon 1DX Mk2 first thoughtsThe Canon 1DX Mk2 performed perfectly on this job, no one could have asked it to do more.  Shooting this at 10 frames per second was epic as it captures more of the ‘money shots’ with the spray trails.

Here is a continuous burst of 77 raw files at 10 frames per second, from when the eagle begins its approach to when I can’t basically be bothered any more:

Screen Shot 2016 09 24 at 16.26.31 600x357 Workshop Report and Canon 1DX Mk2 first thoughts

And they are tack sharp from the first:

11I5833 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

To the last:

11I5899 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

 

I won’t say that by the end of the Thursday session it was getting boring, because I never cease to marvel at these awesome birds – but the hit-rate of the Canon 1DX Mk2 was getting a tad monotonous.

While a ‘crossing’ subject is not so taxing on the AF system as head-on subjects, the huge amounts of lens flare you encounter when shooting the style of image are notorious for playing havoc with auto focus.  When you get to the point of maximum rim lighting neither you or the camera can see very much of anything at all, and most older systems will hunt focus for a frame or two if you are not careful with your settings.

I shot sequences like this using both AF Point Surround and 9 point Zone AF – both of which performed superbly.

I’ll have to add a caveat though – the camera only performs this well if your technique is SOLID.  If you struggle to keep your AF group on target, or are just plain bone-idle, and try Large Zone AF or God forbid Auto, the cameras AF system goes into melt-down doing this sort of shot.

And yet AUTO on the Nikon D5 does a very good job at these sequences – weird!

So after a week of working the Canon 1DX Mk2 quite hard here’s what I think:

First, if you own a Mk1 1DX you NEED to upgrade, if only for the much superior IQ of the sensor.

Canon will probably hate me saying this, but the Canon 1DX Mk2 is ‘a bit of an animal’.  You could ‘wobble around’ a bit on the AF tracking with the Mk1 and get away with it.  But the Mk2 will bite you in the bum for doing the same thing – and when you least expect it.

With head-on targets the AF can both surprise and disappoint, methinks there will be a firmware upgrade at some point that will tidy the systems response to rapidly closing subjects at shortish distances.  That’s what happened with the Mk1.

11I7114 600x400 Workshop Report and Canon 1DX Mk2 first thoughts

There some other settings I need to play with on this beast of a machine before I feel I can formulate a descent opinion, things that I never had a chance to try in Norway, and others that only occur to me when viewing images on a PROPER SCREEN!

There is more to this ‘box of tricks’ from Canon than meets the eye!

And has anyone noticed just how CRAP the manual is – Jesus, I don’t think I’ve seen such a ‘sketchy’ document since I perused the Nikon D5 manual….sometimes I get the impression that both Nikon and Canon are a little clueless as to how there own gear works!

Makes me smile – and that’s a good thing!  But then again, it’s not my money being spent here – it’s yours.

A big thanks has to go to Paul Smith for supplying his camera and lens for this first evaluation – Cheers Matey!

And as always a big thank you to my clients, Mark, Malcolm, Mohamed & Paul for being such good sports, making a fun group dynamic, and for having a damn good laugh for week – usually at my expense!  Cheers for your continued support guys.

And lastly, Ole Martin – thanks again for yet another great week. Only another 9 months and I’m back for two weeks solid – Christ, won’t that be fun!!!

Nikon D5 Autofocus Test

Nikon D5 Autofocus Test

On Tuesday afternoon I had the opportunity to do a short Nikon D5 Autofocus test, courtesy of Paul Atkins.

D4D6793 900x599 Nikon D5 Autofocus Test

Using Paul’s newly acquired D5, his Nikon 400mm f2.8 lens and his two crackpot Golden retrievers ‘Enzo’ and ‘Raffa’, his large lawn and a couple of tennis balls, I gave the camera some hard work to do.

Bearing in mind that attentiveness, obedience and eagerness to please, are not traits that figure greatly in either dogs mental make-up; I was pleasantly surprised as to how instructive the exercise was – well done puppies!

On a good run at the camera the dogs cover something like 28 metres in 5 seconds, starting out at around 31 metres away and ending just outside the focus limiter at around 3 metres.

The camera was set to my MANUAL EXPOSURE + AUTO ISO, 1/4000th and f6.3.

I should also stress that there was NO AF FINE TUNE set for these shots.

That silliness has been taken to a whole new level of craziness now – sweet Jesus it makes me so angry!

I set the AF up very much how I’d set a Canon 1DX or 1DXMk2, and then went through the majority of the AF modes.

Dynamic 9, 25 and 72, group, 3D and ‘AUTO’ – and I was totally horrified at which mode gave the best results, and I mean BEST by a country mile!

In this video I go through the full resolution sequence of 27 shots individually so you can see how the Nikon D5 autofocus performs as the two dogs get closer to the camera with every frame.  The images have only Lightroom default sharpening applied and have had nothing done to them except my standard contrast-lowering adjustments.

Don’t be silly – click the YouTube link in the bottom of the above frame and watch it at full resolution on my channel!

Please don’t take this as a definitive test of the Nikon D5 autofocus – I certainly don’t, and neither am I prepared to draw much of a conclusion from it.  But it works!

I know I’m not alone in finding the Auto focus mode to be ‘better’ in terms of consistent focus, but to my mind this should NOT be the case, especially on such a target moving in such close proximity to a long telephoto – even if it is an f2.8.

At this point I’m not going to bother showing the sequences from the other modes, just take my word for it that I was shocked at the distinctly poorer performance using the other modes I tried – except for GROUP, which has never worked well in this sort of situation.

A couple of things to note:

  1. I used the same settings at 12fps and the consistency level dropped by around 45%, so no change in that old chestnut.  The Canon 1DX suffered from it too, but with the limited testing I’ve done on the 1DXMk2, Canons idea of crafting and honing the existing AF system, as opposed to Nikons ‘chucking the baby out with the bath water’, seems to have solved the problem to a greater degree.
  2. The D5 raw files seem to have lost a little tractability in ‘lifting the blacks/shadows/exposure’ – something that I’ve always held typical .NEF files in high esteem for.  This I found quite surprising seeing as the camera was heralded as the ‘Prince of Darkness’.   It’s also the one thing above all else that I despise in Canon 1DX raw files.  But Canon have upped their game considerably on this front with the 1DXMk2.

Seriously folks, it’s like some sort of demented see-saw or merry-go-round with these manufacturers…

The new Canon is coming to Norway with me in a couple of weeks, and Mr. Paul is bringing his D5, so there will be quite a bit of performance testing going on throughout September and October.

Hope these shots peek your interest folks!

 

2009 Mac Pro GPU Upgrade

2009 Mac Pro GPU Upgrade

I’ve just had to spend some money and do a 2009 Mac Pro GPU Upgrade, mainly because of Photoshops new ‘Select and Mask” interface.

D4D6816 600x400 2009 Mac Pro GPU Upgrade

Ever since this new workspace was introduced it has caused me no end of problems with brush lag and general ‘hanging’.

And the fact that I need to run screen capture software at the same time, in order to feed the Tube of You, meant that for the last month Uncle Andy’s been unhappy..

For the last couple of months I’ve been toying with adding more RAM to the machine, so last week I sprung £200 at Mac Upgrades for 32GB of OWC RAM to replace the 16GB of Crucial that I installed a couple of years ago.

There’s nothing like the assembly of wide-field astro shots from a 36Mp camera to point out weaknesses in RAM capacity!

But the Select and Mask workspace in Photoshop show diddly-squat of an improvement with doubling the RAM.  It wasn’t until I happened across a note by Scott Kelby where he noted that this new workspace was totally GPU dependent.  No mention of this on anything from Adobe that I could see.

Now the thought of buying a new GPU for Mac should fill anyone with dread over the lightness of their wallet after the purchase.

Mac GPU’s are thin on the ground, of limited spec and HUGELY over-priced.

Mac Upgrades offer “flashed” PC GPU’s – AMD Radeons at an appalling £264 for a 2GB; that’s just daylight robbery in my opinion.

Flashing a mac-suitable PC GPU serves one single purpose – you can see your boot screen at start-up.

My boot screen lasts for about 7 seconds with my existing SSD system drive and the 64GB of new RAM – so I’m not so bothered about seeing it, especially if it can save me money AND steer me away from Radeon and on to an Nvidia chipset.

Opting for an Nvidia chipset allows a greater choice of GPU specification and performance.

So I’ve spent the last few days getting my head around the technicals, and they really are quite simple.

The PCIe slots in a 2009 Mac Pro 4,1 are only capable of supplying 75 watts of power.  However, lurking on the board are TWO mini PCIe 6 pin auxiliary power connectors, each capable of delivering 75 watts each.

So if you purchase a couple of these:

Apple Mac Pro mini pci-e 6pin to pci-e 6pin video card power cable

you can effectively drive a mac-compatible GPU requiring 3x 75, or 225 watts total of power.

And so I came up with this baby!

Screen Shot 2016 08 24 at 14.47.53 copy 2009 Mac Pro GPU Upgrade

4GB – not 2GB, and £179 not £264 – and it only requires 150 watts of power.

So this very morning made a trip to Overclockers in Newcastle under Lyme and once back in the office it took less than 15 minutes to have the 2009 Mac Pro GPU Upgrade done and working.

D4D6802 900x599 2009 Mac Pro GPU Upgrade

Just look at this bad boy in comparison to the GT120 it’s replacing – at least 8 times as useful!

If you fancy doing this to your Mac Pro 4,1 then there are a few things you need to do before you make your decision:

  1. Visit this page at Abobe to check for Lightroom GPU compatibility.
  2. IMPORTANT – you must download and install the Nvidia WEB DRIVERS from HERE if you are still running Yosemite or HERE if you are using El Capitan. You MUST do this BEFORE you turn your machine off to begin the upgrade – if you don’t you might be stuck with a machine that doesn’t turn the monitor on!

Install the downloaded web drivers and you will see the Nvidia drive manager icon at the top of your screen – click it and select driver manger preferences:

Screen Shot 2016 08 24 at 15.13.47 2009 Mac Pro GPU Upgrade

 

 

 

Why do I have to do this Andy?

The Mac OS has it’s own versions of Nvidia drivers (amongst others) but these are fairly crap, inefficient and far from up to date, and almost definitely won’t recognise you new GPU correctly.

Once you have checked that those web drivers are installed and up to date you should be clear to do your 2009 Mac Pro GPU Upgrade.

Once done you can power the machine on; you’ll hear the start-up chime but the screen will stay black for the time the boot screen would have been active – the screen will activate at either your account log in page if you have your machine set up that way, or it’ll go straight to your desktop.

Screen Shot 2016 08 24 at 16.19.33 2009 Mac Pro GPU UpgradeAnd there you are – one 2009 Mac Pro GPU Upgrade – DONE.

Now for some Adobe application setup.

Screen Shot 2016 08 24 at 15.36.47 900x677 2009 Mac Pro GPU Upgrade

  1. Fire up Lightroom and go to the preferences panel.
  2. Activate ‘Use Graphics Processor’.
  3. Click the ‘System Info’ button and check that the card is listed and is functioning properly:

Screen Shot 2016 08 24 at 15.37.23 2009 Mac Pro GPU Upgrade

Next, fire up Photoshop and go to Preferences>Performance:

Screen Shot 2016 08 24 at 15.38.34 2009 Mac Pro GPU Upgrade

 

 

 

Check ‘Use Graphics Processor’ and click the ADVANCED button:

You will see three options; Basic, Normal & Advanced.  It will most likely be defaulted to Basic.  I’ve selected advanced here but may have to change it ‘down’ if there is any fall-off in performance.

One final and very important item on the agenda, re-calibrate your monitor.

That’s it, a new lease of life given to a venerable old 2009 machine.

Apple is supposed to be dropping support for the 2009 Mac Pro 4,1 on the official launch of OSX 10.12 Sierra.

I’m not that bothered at the moment, it’s taken me up until July of this year to feel the need for 10.11 El Capitan – and that was only due to screw-ups with recent Adobe CC installers.

But sometime in the next 12 months I might avail myself of a Mac Pro 5,x.  This new 4GB GPU will transfer direct to that and I’ll turn this Mac Pro 4,1 into an image server – at least that’s what I’m telling myself !

IMPORTANT:  The procedure outlined here worked wonderfully for me – simple and fast.  But it might not go the same for you – I accept NO responsibility for any f***ed up equipment that might occur outside these office walls!

 

Twilight & Astro Landscape Photography

Twilight & Astro Landscape Photography

Everyone likes a nice moody sunset, but great images await those camera operators that start shooting after most folks have started packing their gear away and heading home.

For me, twilight is where the fun starts.

D8E5809 Edit Twilight & Astro Landscape Photography

The rock stack lying off the boulder-strewn beach of Porth Saint, Rhoscolyn Head, Anglesey.

The low light levels on a scene once ‘civil daylight’ has ended mean you get awesome light with lower contrast shadows, subtle skies, and nice long shutter speeds for dreamy water effects without needing expensive 10 stop ND filters.

However, that awesome light vanishes very quickly, so you have to be ready!  I waited nearly 90 minutes for the shot above.

But that time was spent doing ‘dry runs’ and rehearsals – once the composition was set how I wanted it, the foreground was outside of DoF, so I knew I needed to shoot a focus stack as well as an exposure blend…mmmm….yummy!

Once we have made the long transition from civil daylight end to astronomical daylight end the fun really begins though.

Astro Landscape Photography

Untitled1 Edit Edit Twilight & Astro Landscape Photography

The Milky Way over the derelict buildings of Magpie Mine in Derbyshire.

Astro landscape photography, or wide field astro as it’s sometimes known, is not as difficult as a lot of photographers imagine.

But astro landscape photography IS very demanding of your familiarity with your gear, and will require some expenditure on additional bits of kit if disappointment is to be avoided.

D4D6778 Twilight & Astro Landscape Photography

 

D4D6747 Edit Twilight & Astro Landscape PhotographyD4D6754 Edit Twilight & Astro Landscape PhotographyHere’s the kit I usually venture out at night with:

Dew Heater Band (A).

An essential bit of kit for astro landscape photography – it’s amazing how rapidly a lot of lenses, especially super-wides like the Nikon 14-24 f2.8 encounter a problem with dew at night.  This will in effect fog the front element, starting at its centre and if left unchecked it can spread across the entire face of the lens.

Heating the lens front sufficiently to keep its temperature above the dew point for your current location and time will prevent a ruined session – don’t leave home without one!

This dew heater is powered by a battery (C) via a dew heater controller (D) with is basically a simple rotary rheostat which controls the level of current driving the heater band.

I use mine at about 75% of ‘full chat’ and it seems to work just fine.

A final note on dew heater bands – these are designed for use by those strange folk who spend hours behind telescopes.  They tape the bands in place and leave them there.  As photographers we need to add or remove them as needed.  The bands can prove fragile, need I say more?

Yes, it pays to carry a spare, and it pays to treat them with care and not just throw them in the camera bag – I’m on band number 3 with number 4 in reserve!

Intervalometer (B).

You will need to shoot a long exposure of you scene foreground, slightly re-focuused closer to you, at a much lower ISO, and perhaps at a slightly narrower aperture; this shot might well be 20 minutes long or more and with long exposure NR engaged to produce a black subtraction.

Yes, a lockable cable release and the timer on your watch will do the job, hence (F) and (G) in case (B) stops working!

But an intervalometer will make this easier – as long as you’ve read the instructions..doh!

If you want to shoot star trails the external intervalometer is vastly superior to your cameras built in one.  That’s because the in-camera intervalometer on nearly all cameras except the Nikon D810A is limited to a 30 second shutter speed.

An hours worth of star rotation is barely enough:

Final 600x900 Twilight & Astro Landscape Photography

 

But at 30 seconds shutter speed you will end up with 120 frames at fairly high ISO.

Far better to shoot at ‘bulb’ with a 5 minute exposure and lower ISO – then you’ll only have 12 frames – your computer with thank you for the lower number when it comes to stacking the shots in Photoshop.

There is also another problem, for certain marks of Nikon cameras.  The D800E that I use has a stupid cap on continuous shooting.  The much touted method of setting the shutter to 30 seconds and putting the camera in continuous low speed shooting mode and locking the cable release button down does NOT work – it only allows you to take 100 frames then the camera just STOPS taking pictures.

But if you use an external intervalometer set to a 30 second exposure, continuous and just drop the camera in BULB and Single Shot then the D800E and its like will sit there and fill your cards up with frames.

Other Essentials.

Micro fibre cloths, bin liners and gaffer tape (B,I and J).

After a couple of hours of full darkness your gear (and I mean all of it) will most likely be wet with dew, especially here in the UK.  Micro fibre cloths are great for getting the majority of this dampness off your camera gear when you put it away for the trip home.

Bin liners are great for keeping any passing rain shower off your camera gear when its set up – just drop one (opened of course) over your camera and tape it to the tripod legs with a bit of gaffer tape. Leave the dew heater ON.

Also, stick the battery supply in one – rain water and 13 volts DC at 4000MAh don’t mix well.

Photopills on your iPhone (G) is incredibly useful for showing you where the Milky Way is during that extended period between civil and astronomical daylight end.  Being able to see it in relationship to your scene with the Night Augmented Reality feature cetainly makes shot composition somewhat easier.

Head Lamp (H) – preferably one which has a red light mode.  Red light does not kill off your carefully tuned night vision when you need to see some camera setting control lever or button.

Accurate GPS positioner (K).  Not entirely an ‘essential’ but it’s mighty useful for all sorts of reasons, especially when forward planning a shot, or getting to a set position in the dark.

D8E5969 Edit Twilight & Astro Landscape Photography

The Milky Way towering over the National Coastwatch Institution (NCI) station at Rhoscolyn on Anglesey.

 

I love taking someone who’s never seen the Milky Way out at night to capture it with their own equipment – the constant stream of ‘WOWS’ makes me all warm ‘n fuzzy!  This year has seen me take more folk out than ever; and even though we are going to loose the galactic centre in the next few weeks the opportunities for night photography get better as the nights grow longer.

D8E5420 Edit Edit Twilight & Astro Landscape Photography

The Milky Way over the derelict buildings of Magpie Mine in Derbyshire.

So if you want to get out there with me then just give me shout at tution@wildlifeinpixels.net

The Milky Way will still be a prominent feature in the sky until October, and will be in a more westerly position, so lots of great bays on the North Wales & Anglesey coast will come into their own as locations.

D8E3653 Edit 2 Edit Twilight & Astro Landscape Photography

The Milky Way over the Afon Glaslyn Valley looking towards Beddgelert and Porthmadog. The patchy green colour of the sky is cause by a large amount of airglow, another natural phenomenon that very few people actually see.

And just look at that star detail:

Screen Shot 2016 08 19 at 12.35.40 Twilight & Astro Landscape Photography

Over the next few weeks I’m going to be putting together a training video title on processing astro landscape photography images, and if the next new moon phase at the end of this month comes with favourable weather I’m going to try and supplement these with a couple of practical shooting videos – so fingers crossed.

Good Contrast Control in Lightroom CC

Contrast Control in Lightroom

Learning how to deploy proper contrast control in Lightroom brings with it two major benefits:

  • It allows you to reveal more of your camera sensors dynamic range.
  • It will allow you to reveal considerably more image detail.

ContrastControl Good Contrast Control in Lightroom CC

I have posted on this subject before, under the guise of neutralising Lightrooms ‘hidden background adjustments’.  But as Lightroom CC 2015 evolves, trying to ‘nail’ the best way of doing something becomes like trying to hit a moving target.

For the last few months I’ve been using this (for me) new method – and to be honest it works like a charm!

It involves the use of the ‘zero’ preset together with a straight process version swap around, as illustrated in the before/after shot above and in the video linked below.  This video is best viewed on my YouTube channel:

The process might seem a little tedious at first, but it’s really easy when you get used to it, and it works on ALL images from ALL cameras.

Here is a step-by-step guide to the various Lightroom actions you need to take in order to obtain good contrast control:

Contrast Control Workflow Steps:

1. Develop Module Presets: Choose ZEROED
2. Camera Calibration Panel: Choose CAMERA NEUTRAL
3. Camera Calibration Panel: Choose Process Version 2010
4. Camera Calibration Panel: Choose Process Version 2012
5. Basics Panel: Double Click Exposure (goes from -1 to 0)
6. Basics Panel: Adjust Black Setting to taste if needed.
7. Details Panel: Reset Sharpening to default +25
8. Details Panel: Reset Colour Noise to default +25
9. Lens Corrections Panel: Tick Remove Chromatic Aberration.

Now that you’ve got good contrast control you can set about processing your image – just leave the contrast slider well alone!

Why is contrast control important, and why does it ‘add’ so much to my images Andy?

We are NOT really reducing the contrast of the raw file we captured.  We are simply reducing the EXCESSIVE CONTRAST that Lightroom ADDS to our files.

  • Lightroom typically ADDS a +33 contrast adjustment but ‘calls it’ ZERO.
  • Lightroom typically ADDS a medium contrast tone curve but ‘calls it’ LINEAR.

Both of this are contrast INCREASES, and any increase in contrast can be seen as a ‘compression’ of the tonal space between BLACK and WHITE.  This is a dynamic range visualisation killer because it crushes the ends of the midtone range.

It’s also a detail killer, because 99% of the subject detail is in the mid tone range.  Typically the Lightroom tonal curve range for midtones is 25% to 75%, but Lightroom is quite happy to accept a midtone range of 10% to 90% – check those midtone arrow adjusters at the bottom edge of the parametric tone curve!

I hope you find this post useful folks, and don’t forget to watch the video at full resolution on my YouTube Channel.