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Samyang’s 14/2.4 XP

Haitong Yu

Photographer from China

 

Samyang FE35/1.4AF: an ultra-versatile performer

 



When Samyang announced the 35/1.4 AF for Sony FE, I became immediately interested. Not only because of the convenience of autofocus, but also because I have very high expectation for its usage in astronomy photography.

This might come quite unexpected. Most people might think that astrophotography relies mostly on fast, wide-angle lenses (for night sky pictures with landscapes) or telescopes (for deep sky pictures), and that a fast 35mm lens is best suited for environmental portrait and culture shot.

Personally, however, I found that the viewpoint of 35mm offers a great balance between the details of the Milky Way and the environmental surroundings for astro-landscape pictures, and that its large aperture enables unmatched low-light image quality among wide angle lenses.

 

 

 



 

Sony A7M3, Samyang XP 14/2.4, ISO800, F2.4, 30s







 

Sony A7M3, 35/1.4AF, ISO800, F1.4, 10s, multi-frame stacking

 



 

Above is a comparison of the milky way, shot with an ultra-wide lens (Samyang 14/2.4 XP) and the 35/1.4 AF. It can be seen that in the 35mm shot, the milky way shows visibly better detail (colors and veins) while the whole picture has lower noise. Also I feel that the center of the milky way, one of the most photographed section of night sky, takes a perfect portion in the 35mm picture. Of course, an even longer lens – 50mm or 85mm – might be capable of showing even finer details, but their long focal length means you have to shorten the exposure time to less than 10s or otherwise the stars will start to blur. I am more comfortable to use the longer lenses on an equatorial mount which cancels the rotation of the earth to enable longer exposure.

 

 

 

 


 

Sony A7M3, 35/1.4AF, ISO800, F1.4, 10s, multi-frame stacking

 



Apart from the absolutely brightness, another reason I prefer 35mm lenses to wider primes is that they often correct image aberrations more brilliantly. Image aberrations are the optical imperfections in lens design that makes image blurry and the stars not pinpoint any more in the resulting pictures. They can be particularly annoying in astrophotography, because you are most likely to use the fastest aperture and focus to infinity. In this scenario, the stars at the image corners will have strange shapes in a lens with aberrations like coma and astigmatism. Unpleasant colors will also appear around the brighter stars and at the edge of the image due to chromatic aberrations.

 

 

 



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An example of lens aberration wide-open. The 100% crop at upper-right corner shows the strange shape and colors of the stars.

 



The FE35/1.4AF, albeit being a very fast lens, shows very little aberration in this regard. Below is an example, where I deliberately filled the whole image with stars and shot the lens wide-open to see its performance.

 

 

 

 

 

Full image. Sony A7R2, Samyang 35/1.4AF, F1.4, 8s, ISO1600

 



Here’s a 100% crop at the image center (without any correction of chromatic aberration):

 

 

 

 


 

 

 


And a 100% crop at the upper-left corner:

 

 

 

 


 

 

 


It can be seen that in the image center, the brighter stars boomed out a little due to slight spherical aberration. Yet at the extreme corner, only the brightest stars showed trace of deformation. This is exceptional performance to me, considering these are 100% crops on a 42 megapixel sensor, which puts ultra-high demand on today’s lenses. Chromatic aberrations are not corrected as nicely, as you can see some stars have colorful fringes. I suggest some fine tune using the “defringe” function in Adobe Camera RAW to get rid of them quite easily.

As a side note, personally I like the lens’s reproduction of brighter stars with some “blooming” effect, because it helps to differentiate the brighter stars from the dimmer ones. This behavior is very similar to the naked eye, which helps to show the bright constellations, such as the famous Big Dipper (on the right of the image):

 

 

 

 


 

Wind turbine blowing towards the Big Dippers.

 




Another great way to use the 35mm lens for astrophotography is making panoramas. Not only does stitching a panorama image with multiple shots help to widen the field of view, it also has greatly improved details and lower noises when comparing to a single shot with a wider lens.

 

 

 

 


 

 

 

 

This image is made by 4 vertical images shot from right to left. The stitching is done with Adobe Camera RAW. You can also use more professional panorama tools such as PTGui.

 

 

 

 


 

 

 

 

Winter milky way over snow-covered hills. This vertical panorama is made with 3 images shot in horizontal (landscape) orientation.

 

As a final remark, I found the 35/1.4AF is an excellent and greatly versatile lens. Its superb resolution let me handle the themes like astronomy and landscape at ease. The addition of autofocus is silent and fast with the cameras I put it on (Sony A9, Sony A7R3, Sony A7M3), which means I can capture motion, street scenes and portrait with great freedom. I am very happy to have this lens in my camera bag.

 

Some more sample images with the 35/1.4 AF.

 

 

 

 



 

A pathway to the Jupiter. Sony A7M3, 35/1.4, F1.4, ISO640, 13s, brightened in post








Milky way before morning blur hour. Sony A7M3, 35/1.4, F1.4, ISO640, 10s, brightened in post




 



 

The national flag honor guard marching at dawn. Sony A9, 35/1.4, F1.4, ISO1600, 1/50s







 

Foggy terrace in early spring. Sony A7R3, 35/1.4, F5.6, ISO100, 1/125s







 

Girl in the field of flowers. Sony A7R3, 35/1.4, F1.4, ISO100, 1/2000s

 

 

 

 

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森养最佳标准画角提案解析

从人与人之间的关系乃至为了营造美丽的空间而布置装饰品时都需要保持适当的距离。那么,为了更好地欣赏美术或摄影作品,我们应该保持多少距离?

答案是相当于“作品框架对角线的长度”的距离。

표준화각 자료 이미지
표준화각 자료 이미지

为了将作品完整地纳入视野并予欣赏,保持相当于作品对角线的距离为宜。如果距离过近,将大于人眼可集中精力的50°视角而无法取的良好的欣赏效果。

为了最佳欣赏效果与最佳视角而保持理想距离也适用于摄影技术。在拍摄静止画像的摄影技术中,将等于摄像面对角线长度的焦距镜头定义为标准镜头。数码相机的全帧传感器尺寸为36x24毫米,其对角线距离约为43.26毫米,标准镜头应为多少毫米以下的最理想答案可以称为“接近43.26毫米的数据”,而难以断定是至今被视作标准镜头代名词的“50毫米”。

以往与胶片对角线长度相仿的45mm画角镜头较为常见,随着SLR相机大获成功,为了保留可容纳反射镜的空间,50mm被视作标准镜头。但是,最近随着无反相机底边大幅放大, 鉴于无反相机法兰距短的特点,需要将标准镜头的画角以45mm再度予以解释,由此开始研发AF 45mm F1.8 FE。 与35mm画角镜头相比,三阳的AF 45mm F1.8 FE将畸变现象降至最低,且比55mm画角拍摄范围宽,为人物、风景、建筑物及宠物等各种主题摄影呈献令人满意的效果。

什么是预设光圈功能?

在预设光圈功能中,光圈可以像”控制环操作音消除(De-click)镜头“一样丝滑驱动,为视频拍摄提供支持。

富士相机的设计根据最小曝光量(F-stop)控制光圈,当相机控制光圈时,会依靠短暂闪烁来调节曝光。而AF 75mm F1.8 X不会向机身传送光圈信息,这种刻意的“预设光圈功能”无需闪烁就可让平滑的曝光调节变为可能。只需控制光圈就可以使ISO和快门速度适应不同的曝光环境,因此即使采用1/2 F-stop也依然可以调节曝光。

什么是预设光圈功能?

在预设光圈功能中,光圈可以像”控制环操作音消除(De-click)镜头“一样丝滑驱动,为视频拍摄提供支持。

富士相机的设计根据最小曝光量(F-stop)控制光圈,当相机控制光圈时,会依靠短暂闪烁来调节曝光。而AF 75mm F1.8 X不会向机身传送光圈信息,这种刻意的“预设光圈功能”无需闪烁就可让平滑的曝光调节变为可能。只需控制光圈就可以使ISO和快门速度适应不同的曝光环境,因此即使采用1/2 F-stop也依然可以调节曝光。

有哪些预设光圈功能的使用建议?

预设光圈功能仅能在视频拍摄模式下运行。 建议在f/1.8光圈和A、M曝光模式下使用该功能。有关“预设光圈功能”的使用建议请参考上表。

* 预设光圈功能的使用方法

1) 设置相机机身
      AF模式 → 视频拍摄模式(“A”或“M”模式)→ 光圈值固定在f/1.8
(2) AF 75mm F1.8 X镜头设置
      将“自定义开关”切换为“模式2(M2)”
(3) 使用对焦环调整预设光圈

有哪些预设光圈功能的使用建议?

预设光圈功能仅能在视频拍摄模式下运行。 建议在f/1.8光圈和A、M曝光模式下使用该功能。有关“预设光圈功能”的使用建议请参考上表。

* 预设光圈功能的使用方法

1) 设置相机机身
      AF模式 → 视频拍摄模式(“A”或“M”模式)→ 光圈值固定在f/1.8
(2) AF 75mm F1.8 X镜头设置
      将“自定义开关”切换为“模式2(M2)”
(3) 使用对焦环调整预设光圈

Dolly shot是什么?介绍摄影办法

[Dolly Shot是什么?]

一般利用带轮子的车,根据调整相机变焦的速度前后移动拍摄的技术。这导致被摄体和背景的倍率差异,从而将梦幻效应记录在视频中。

[简单用手持拍Dolly shot的方法]

Tip.如果移动距离长,相机可能会晃动,请在35~100mm区间拍摄。
1.距离被摄体约1.5~2m左右。
2.将自定义开关切换到MF和Mode3后,将视角设定在100mm左右。
3.通过调节对焦环聚焦被摄物,然后将光圈设置为F8~16。
4.利用上身和手臂,将相机靠近被摄体,将变焦操作慢慢向左(广角方向)转动。
5. 完成Dolly shot!
※在与拍摄对象更远的距离拍摄时,使用卡丁车或万向稳定器等,可以更稳定地进行拍摄。

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D7500
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DSLR / Full Frame
Z6
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DSLR / APS-C
D7200
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D3300
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* Cameras released within 5 years from 2019 are tested.

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