Autofocus is a powerful tool that in many instances, can make a photograph possible otherwise that might not be. Unfortunately, this power tool is misunderstood or misapplied in some small way so it’s not helping to its fullest the photographic situation. There are many variables in the Autofocus equation, autofocus mode, their settings, and what it requires to operate to being with. What I have here are the modes I use, the settings, and how I apply Autofocus. I hope this helps you use this great tool to its fullest in your photography!
Bitterroot captured by Z 6II / Z105mc @f25 1:1.2
A few weeks back, the Bitterroot started to bloom. Montana’s state flower, we have quite a few of them on the south slope of The Ranch. They are a really pretty flower a tad larger than a dollar piece best known from the Journals of Lewis & Clark (their Latin name is Lewis …). Sharon and I had seen a couple of our walks over the slope but noticed that they weren’t always open. Wondering how they propagate I looked up their biology. They have an unique biology thriving on dry, hot slopes opening up for a short period then closing to conserve moisture. Then the Nikkor Z105mc arrived and my appreciation for this flower went nuts!
Yep, I went looking for fresh Bitterroot with the new Nikkor Z105mc in hand! The first thing I noticed with the Nikkor Z105mc is the focusing is IF, the lens barrel does not expand or contract when you focus. It displays the reproduction rate you’re shooting at, in this case I set it to half lifesize. I used the Really Right Stuff B150-B Focus Rail to do the actual focusing on the pistil. It’s when the pistil first came into focus that I was blown away by the delicate pattern hidden inside. Though the temps were just hitting 90 degrees, I kept working the image, slightly rotating the tripod/camera to get the angle I liked the best. I then photographed it at various f/stops (and lucky for me, clouds started to float by diffusing the light, I didn’t have to use the scrim I had with me).
Getting back to the computer two things happened. First, my fast love affair with the Nikkor Z105mc was quickly solidified as the first 24×30 print rolled out of the Epson P7000 (printing the f/25 image). Simply bloody spectacular results for a guy who doesn’t do macro! The second thing is a love for our state flower. It comes in many shades, this being its white shade. This one was growing up through pine needles between two pine cones. Others on our slope are coming up in various other situations. For the last five days I’ve spent my morning when the temps starting hitting 85 degrees on our slope with my two new loves enjoying a new world. And all it took was a great lens and flower to get me there. I love this latest addition to my kit!
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Watch and rewatch it for 6 months afterwards!
Legacy Textured comes in sheets and rolls for printers like P900 and P7000
I wanted to find a special paper for my critters as I just don’t like “shinny” papers for fur and feathers. Asking my good friend Dano and he recommended I try the Epson Legacy Textured. Oh my, what a paper! It has such a depth just not with the inks (stunning with the P900!) but the textured of the paper as well. Already sent out prints to clients made with it and they were so blown away! Yeah, the images themselves didn’t suck but the paper brought them to life and that’s exactly what I was looking for. I wouldn’t use this paper for aircraft but for critters, it’s just brilliant!!!!
combined screen capture from Adobe Camera Raw
I love and depend on ACR, Adobe Camera Raw, for finishing my Raw files. Great new tool “hidden’ inside I think you should know about. You might know that if you hold down Shift and click on the White and/or Black Slider handle (the triangle), ACR will set your White Point / Black Point. Now, if you hold down the Shift Key, you will see “Auto” appear the first six sliders (as above). Double click on a slider handle (triangle) and ACR will Auto set that slider to what it thinks is right. This is a great tool to help teach you some simple bounds. For example, using this for Highlights and Shadows, yes, you will see it “fix” your image. Just as important you will start to teach yourself some limits for using these sliders for the finish you want without “corrupting” pixel quality. I highly recommend you check it out!
Many have asked me if the Z 1.4x is “worth the price?” Oh hell yeah is always my reply! At the moment, we only have one lens we can use it with, the Z70-200f2.8 but man, what a killer combo. I’ve photographed landscapes, aircraft, wildlife and yes, even macros with it and love it. I love it much much more than the F mount equivalent setup. Does it work with F Mount or FTZ Adapter – no. Does it vignette – no! Does it slow AF operation – not in the slightest! Does decrease sharpness – not even! Do I highly, highly recommend it – OH YES!
Zenelli CarbonZX & Arca Swiss B2
It’s a common question of late, “What head do you use for your long lens?” With all the options available these days, it’s a great question. Personally, I don’t think there is a right or wrong choice but there is most definitely a better or worse answer for YOUR photography! These heads are not inexpensive and support some of our most precious gear giving it the stability needed for our storytelling. Selection should not be taken lightly and definitely not on the cheap! All to often I’ve had to help a photographer who “heard” that this light tripod and/or head was the way to go as we pick their gear up off the ground. Let’s be practical for just a moment here. Going on the cheap when you attaching thousands of dollars of gear to a tripod/head makes no sense folks. Buy the best you can afford and do it right, the first and last time. This brings me to the two heads pictured above.
These are the best heads as far as I am concerned for my long lens photography, the best! Long lens for me is the Nikkor 800mm and the Nikkor 180-400VR (not like the 500PF or Z70-200, I use smaller heads for those lenses). The Zenelli CarbonZX is a physically light weight but incredibly stable and flexible long lens gimbal head. You can buy this brand new and you’ll never need another. The Arca Swiss B2 is an old studio rational-ball head made for 8×10 cameras (no longer available new). It weighs three times that of the Zenilli but is rock steady. Both of these heads are a solid platform for the big glass while providing free movement to follow any subject (both being outfitted with RRS Quick Release Clamps). They are never locked tight but when I take my hand off my gear, it stays where I left it. They are the key to the sharpness in my images. Why, if they do the same thing do I have two? See the size comparison of the two above, when I’m working in a more confined space say like a blind, I prefer the B2. If working space around the tripod is not limited, the Zenelli for sure. It’s that simple for me and my long lens photography.