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.
I'm obviously not a professional photographer. Now, some may take that to mean an enthusiast has no need for a "professional level" camera, but that is entirely untrue, even on a general level. What the GFX offers is resolution. 50.1 megapixels of it. What I offer my camera is a crippled body, unable to get the most from any camera body. I can not hike as far, climb as high or go as long as an average photographer. I also cannot drive due to the medications I need to operate from day to day. Because of that, the GFX's resolution returns to me an ability lost by my inability to drive: repeatability.
Today, despite watching others do this for years, I've finally started using it for its intended purpose: modifying photographs to create images that don't exist in real life. I guess you can infer by my tone that I'm not a huge fan of photo manipulation, and you'd be correct. There's a fine line between photography and art and I feel wholesale manipulation of the image to create something that cannot be captured in whole, within the camera, as dishonest. However, I draw that line at profitability. If you're profiting from a reputation as a photographer while creating digital art and misrepresenting it as a photograph, I take issue with that. If you're creating art for the sake of it and representing it as such, for profit or not, I have no problem. The gray area is of course the line between reality and art. What I did, while photorealistic, is what I would classify as art because you couldn't recreate my result in a single photograph.
My friend Craig and I have been planning to hit Keekwulee and Snowshoe Falls on the way to the Alpine Lakes Wilderness in Mt. Baker/Snoqualmie National Forest for 2 years now and it's never come to pass. However, I recently was able to hit Keekwulee Falls with my girlfriend last weekend. It would've been better with more water, say after the spring thaw or between autumn rains, but that would also make it far more difficult to reach as you have to ford the very stream the waterfall is upstream of. Despite the unimpressive flow, the granite formations were spectacular. There were also enough pikas running around and whistling to fill a Disney movie.
Single row panoramas have always seemed to thwart me. Either the scene was never appropriate or they wouldn't stitch for one reason or another. After getting the stuff I needed to establish the nodal point on a couple of my lenses, I decided to give it another go from Kerry Park.
First, and most importantly, know what genres of photography you enjoy the most and if that genre requires a tripod. Then, buy the largest, highest quality tripod you're willing to carry that fits in your budget. Specifically in that order; do not put budget ahead of any other aspect of the tripod. If you go too cheap, you may very well end up with a tripod that meets none of your needs when you're forced to replace it due to instability or fragility. The adage, "buy cheap, buy twice (or more)" applies here.
Just a few photos of the local deer on our last morning in Long Beach. They came by for breakfast, the doe bringing her two fawns, approaching our balcony as if she’d remembered that I was out feeding them apples the night before. They sat patiently below our balcony as we dropped bananas and apples for them, posing for photos before moving on to the next set of condos. These deer definitely have us trained well.
Went on another photowalk, this one being a bit more fruitful due to the weather conditions at the start time. Why do I do this to myself? I'm generally asocial and not very talkative, especially around people I don't know, preferring to operate alone. Despite that, it's hard to learn without someone to learn from and it's difficult to be inspired by my coffee table, so I fight my urge to run away for the sake of education and practice. Regarding the setting, while it wasn't ideal for golden hour, the cloudy skies and convergence zone did make for dramatic views and a highly textured backdrop to the humdrum scene. I hit the shutter over 40 times, but the result was less than 15 kept, fewer still that I liked and only 3-4 that I've processed to completion so far.
As for the evening, I took the Doc Maynard from downtown to West Seattle, meeting up with Kate Hailey and the attendees at Marination Ma Kai at Seacrest Dock. Two hours of rambling north, and then west, from the dock to Alki Beach as the sun set in the background behind a small convergence zone. Afterward, I jumped on the ferry back to downtown.