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The Definitive Sony B&W Images Thread

Audii-Dudii

Active member
So I finally performed a proper field trial with my latest camera project last night and as expected, everything worked fine! :D



Of course, there are a few minor things that I'll likely tweak going forward, but it's fully functional as it exists right now.

Also, while the fixed amount of front tile that I've applied is fairly small, it really is proving to be helpful, as this photo proves. Look closely and you'll see that everything from the concrete at the bottom of the frame to the fence far in the distance at the right of the frame is sharply in focus. I can easily read the writing on the garage door if I zoom in on the full-size, 16-bit .TIF file in Photoshop.
 
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scho

Well-known member
July has been very wet and with un-settled weather. Lake is again about to flood at the south end with record high water level for this time of year. Looking north from south end of Cayuga Lake. A6000M 16-50 + B+W Orange filter.

 

scho

Well-known member
Osprey nest. One of the parents had just dropped off what looked like a rat and then headed out over the lake to look for fish. A6000M + 16-50

 

Audii-Dudii

Active member
Four from Sunday night's outing:









A7R / (modified) Cambo WDS / Sigma 35/f1.4, plus a small amount of front downward tilt

I don't usually "work" a scene, but take a photo of whatever it was that initially caught my eye. This time, however, I couldn't decide which of the scenes-within-a-scene I liked best, so I photographed them all! :D
 

mediumcool

Active member
I don't usually "work" a scene …
I think I do a mix of the two; if a strong picture presents itself, I often shoot just one or two frames—this works most of the time. If I encounter something that simply catches my eye, I will work the scene harder, using change of distance, focal length, and angles; it is my strong opinion that zoom lenses have made too many photographers lazy—they stand in one place, and zoom in or out to make an in-camera crop, not considering the effect of perspective in the slightest.

Twenty years ago I taught some multimedia subjects at tertiary level, and created a student assignment where perspective was the very point. [pun] Students were required to photograph a person—or object (a rubbish bin?)—so that the subject was about the same height in each frame at a number of focal lengths, achieved by moving towards and away from the subject. Affordable digital was a contradiction in terms, but we had a class camera with a reasonable zoom range.

I had all single-focal-length lenses (24, 35, 50) for my Sony a7, but acquired a Rokkor 35–70 (also badge-engineered for Leica) recently, but tend to zoom lenses for μ43.

I must start making tripod-bound night shots around my suburb, but that will have to wait until Spring!
 

Audii-Dudii

Active member
I think I do a mix of the two; if a strong picture presents itself, I often shoot just one or two frames—this works most of the time. If I encounter something that simply catches my eye, I will work the scene harder, using change of distance, focal length, and angles; it is my strong opinion that zoom lenses have made too many photographers lazy—they stand in one place, and zoom in or out to make an in-camera crop, not considering the effect of perspective in the slightest.
By and large, I treat zoom lenses as adjustable primes; i.e., I pick the focal length I want and then adjust the camera's position accordingly. Which isn't to say that I won't slightly tweak the focal length to perfect a composition, of course, but I am much more likely to pickup the tripod and move it around than I am to change the focal length setting of the lens.

I must start making tripod-bound night shots around my suburb, but that will have to wait until Spring!
Hey, if I can successfully photograph during the three-figure heat of an Arizona summer night, then surely can you successfully photograph during the cold of an Australian one?!

Besides which, you have more dark available at this time of year than I do! If anything, I'm actually looking forward to the return of winter weather here. :D
 

Audii-Dudii

Active member
A silver, Chevy coupe parked at the marina. A6000M + 16-50



I rarely comment on the photos posted here, because I'm largely an intuitive photographer. I do what I do because the results somehow look correct to me, not because I have any great understanding about composition, artistic technique, etc. (That said, I am very well versed in technical matters, for better and worse!)

Which, unfortunately, means I rarely have anything more offer than "that's cool!" or "I like it!"

But I've noticed that, more often than not, the tonality of the photos you post here attracts my attention ... and I mean that in a good way! The two above are particularly good examples.

I long ago took to rolling my own B&W conversions because I wasn't happy with the results I achieved with any of the pre-packaged software solutions available, so I'm curious as to how you're doing yours, since they are very much to my taste.

Inquiring minds need to know!

JG
 

scho

Well-known member
I rarely comment on the photos posted here, because I'm largely an intuitive photographer. I do what I do because the results somehow look correct to me, not because I have any great understanding about composition, artistic technique, etc. (That said, I am very well versed in technical matters, for better and worse!)

Which, unfortunately, means I rarely have anything more offer than "that's cool!" or "I like it!"

But I've noticed that, more often than not, the tonality of the photos you post here attracts my attention ... and I mean that in a good way! The two above are particularly good examples.

I long ago took to rolling my own B&W conversions because I wasn't happy with the results I achieved with any of the pre-packaged software solutions available, so I'm curious as to how you're doing yours, since they are very much to my taste.

Inquiring minds need to know!

JG
Hi JG,

The raw images from the A6000M were simply imported directly into LR CC with a preset applied during import. Simply sets camera profile to Adobe Camera Neutral, clarity+20, Vibrance and Saturation both to -100, Sharpening amount 60, radius 0.5, detail 70, masking 20, minor exposure adjustments as needed. I tried AccuRaw monochrome initially, but ran into some artifact problems so opted for this simple processing routine instead. Vivek suggested the vibrance/saturation settings based on his experience with the Nex 5N-M.
 
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