You may be thinking, "what an odd focal range," and you'd be right. It covers approximately 36-80mm in 35mm terms, with a significant overlap with the 32-64mm lens in coverage. Judged purely by the range, it's obvious this lens is designed for handheld portraits, covering the popular portraiture focal lengths of 35, 50 and 80mm. Judged by what the Fujifilm lineup lacked at the time of its release, it's also a potential landscape and all-purpose lens as it fills the aforementioned hole in the range, especially at 70mm, a focal length landscapists use often via the wide end of a 70-200mm or the long end of the 24-70mm. Priced at $2299 USD, just like the 32-64mm and 80mm ƒ/1.7, it's like you're getting stabilization for free. Should you own both lenses? Am I missing out by not owning both the 32-64mm and 45-100mm? That depends. If you deal primarily in portraits, fashion or travel, this could be the ideal, single lens solution. However, if you're into landscapes, astro or urban photography, it may not be wide enough for many occasions. I own all 3 zoom lenses and for the first 2 weeks of using the 45-100mm, I found myself carrying it with the smaller, lighter 23mm ƒ/4 prime lens rather than in tandem with the 32-64mm. For one, it cuts my filter pack to half as the two lenses share the 82mm filter thread, compared to the 32-64's 77mm diameter. Another convenience is being able to share the 23mm's lens hood; while the hood may be shorter, it still offers enough protection from both flaring and impacts to be useful on the 45-100mm, plus it helps to slim down my bag a bit. In the end, what I discovered was that I didn't miss the 32-64mm one bit by carrying this tandem.
For the past few years, I've been using my Gitzo Series 1 Mountaineer as my primary tripod. It served me well when my primary camera body was the Fujifilm X-T2, X-T3 and X-H1. Once I bought the GFX 50S to use alongside my X-H1, I became acutely aware of the tripod's shortcomings. The Gitzo Mountaineer Series 1 GT1542 is an excellent tripod. Combined with the lightweight Arca-Swiss p0 head, the tripod weighed in at just under 3 lbs and featured a very slim profile when folded down. The 25mm max leg diameter contributed to this slim profile, and while it works well with entry-level DSLRs and mirrorless camera bodies, the slim legs are just a bit too thin for a heavier, professional level body like the GFX 50S. Most people with a larger, heavier camera would be perfectly served with any Gitzo Series 1 tripod, as they only need it for single shots in adequate lighting. In my case, I use it primarily for landscape photography, astrophotography, night photography, etc... situations that require long exposures and/or multiple exposures for stacking, exposure blending or panoramas. This requires greater demands on my tripod as any movement between shots can ruin an exposure. It becomes difficult, if not impossible, to work with multiple, misaligned exposures in post-processing, thus a lighter-weight tripod can cause problems as any flexing will result in misalignment. While I haven't gotten rid of my Series 1 Gitzo, I recently bought a Gitzo GT3542 Series 3 Mountaineer.
So, I bought the URL "oakie.photo" today. I've spent the last few months trying to decide if, and how, I'd want to monetize the 4-5 photos I've taken that seem to hold value for people besides me. Why "oakie.photo"? Well, it's simple. That's it, it's simple. Simple to remember and promote. Two words, one dot, and it makes for equally simple subdomains and links. I considered the ubiquitous, "Name Here Photography" for a split second and quickly canned it; just adding 6 more letters to type into an address bar disqualified it, along with being a flashing sign of having no creativity. Sure, you could argue my choice is equally uncreative, but it's efficient and easy to remember. Lack of pluralization may compromise elegance for efficiency but who knows?
Waiting intensely for an ultrawide zoom lens for GFX, I was forced to get something, anything, for certain landscapes and astrophotography. So, until that lens appears I’ve decided on the only lens available: the GF 23mm ƒ/4.
So, it's barely Monday. It's a new moon. Comet Neowise is further down on the horizon. Jay and I are gonna camp at Stampede Pass, hoping to align the galactic core with Mt. Rainier and the west fork valley of the White River. Our last trip found ourselves literally behind the 8-ball, without a view of the summit, and under skies polluted with moonlight. Add to it the beginning of the work week, we're hoping we get the area to ourselves. Since we haven't scouted the location prior to today, we have no idea if Comet Neowise will be visible from our location and if there's anything interesting between us and it. I'll be bringing a 1200mm long setup just in case we do.
Back to gear... I got my 2 person tent and Shimoda Explore 40 back from Craig, a large version 2 camera unit from Shimoda and a 3 filter kit from PolarPro that integrates an ND and polarizer into a single body, allowing the combo to be used on wider angle lenses than previously. While that's the general benefit, the main goal was a set that fit my 23mm ƒ/4 lens and it's 82mm filter thread. The hope is the infrared response follows the same curve set by my Wine Country Cameras filter kit so I don't need to recreate presets for post processing. 10 days have elapsed and I've still yet to get any shots with these new filters. Initial impressions of these filters are on pause as I wait for an opportunity to really utilize them but even now I have a huge cartful of thoughts on them. The packaging alone spurred a thousand words but I wait so I can hopefully produce a measured reaction.
Today will be my first opportunity for an overnighter in the mountains near Mt. Rainier. During the extended offseason, I used the opportunity to upgrade most of my camping gear to reduce mass and improve efficiency. Much of this was forced as compensation for adding the larger, heavier Fujifilm GFX medium format camera system. The result of throwing money at the problem is an overnight kit that fits completely within my Action X70 backpack while still having 15-20 liters of space left over and weighing in below 20kg.
To demonstrate both the efficiency of my chosen gear and my packing skills, I made a short video of my unloading all of the camping gear from my backpack's expandable 35 liter cargo compartment.
There are some drawbacks though. Uncannily enough, they’re the same as with the Canon EF 28mm ƒ/1.8 USM: slight vignette with a hard vignette at infinity focus. At ƒ/8, it isn’t very prevalent as you’ll see in the samples, easily corrected with a 5:4 crop that retains 48MP. However, as the aperture gets smaller, the vignette hardens, as you can see at ƒ/32, but still works at a 5:4 crop ratio. The lens works fine with a 3:2 crop at full sensor width and in 35mm crop mode, so you can choose what works best for you.
Weirdly, the lens changes focus as you move in and out of playback mode on the GFX...
Widening out to an approximate 22mm in 35mm format terms, the Canon EF 28mm ƒ/1.8 USM does show some hard vignetting that is never fully resolved. It’s very, very slight and occurs at ƒ/4 and smaller at infinity focus. Vignetting is prevalent fully open, mostly disappearing by ƒ/4 at close focus distances.
If the vignetting is a problem for you, the EF 28mm ƒ/2.8 IS might be a better bet but isn’t on Canon’s list of preferred lenses for the 5DSR, so it may or may not resolve well on a 50MP sensor.
Out of the box, the Leofoto LN-324C made for an intimidating presence. Fully extended, it was clearly as tall as advertised and the weight seemed about right. Looking more closely, all the details looked right. Tearing it down exposed finely machined parts all around and a carbon weave that didn't betray it's "10 layer" claim; the weave was consistent throughout with no waviness or warping of threads and no pitting or cracks in the resin. All of the aluminum bits are finely milled with no tooling marks. Parts that may have originally been cast were finely machined to remove any casting seams and cuts into it were obviously milled. The anodizing is consistent all around and all of the included optional hardware is of similar quality. No flashes, splinters or metal shavings anywhere. Metal on metal contact points showed evidence of lubrication and glided through their movements smoothly.
The first three were taken before the penumbra even reached the moon. The weather had just begun to clear but a few clouds still managed to cross the sky before clearing moments before the Earth's penumbra began to cast itself upon the moon's surface. The full moon's glow and reflection on the passing clouds created an eerie look that was just too good to not photograph. All three were bracketed shots but the second is an HDR stacked in Lightroom. The first and third were fully recoverable from single images at the proper exposure.
went to Suncadia to take a week off from the city. being out near Cle Elum, it was also a chance to escape the light pollution of western Washington and attempt to capture the Milky Way Galaxy now that it's mostly above the horizon at my latitude. while I have ultra-wide lenses and fast lenses, I have not one that's both, so I chose to use the ultra-wide lens for increased opportunities for composition since I was shooting from a gap in the woods.