Critique Yesterdays sundown at Cove Argyll looking to Ardentiny.

SFTPhotography

SFTPhotography

Ranger Smith
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Steve
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I managed to arrange another lift to a location I wanted to shoot a sunset with the new D800 and Ziess 21mm. I am really enjoying the paring and the fixed focal length is really making me work hard on moving around for the right composition. I soaked my little stopper, so had to go for long exp with failing light and low ISO (50)

1. _DSC0218 by SFTPhotography, on Flickr

2. _DSC0221 by SFTPhotography, on Flickr

3. _DSC0224 by SFTPhotography, on Flickr

4. _DSC0226 by SFTPhotography, on Flickr

To keep the sky from blowing out, I needed both a Lee 0.9hard edge and Lee 0.75hard edge to balance the exposure out from the front to the back. And no, I cannot put some more cloud in the sky.
 
Of these, #4 is the winner for me; that big square rock anchors things nicely and there's crisp detail in the smaller pebbles, which are nicely lit. The sky actually isn't so bad - I like the tones from top to bottom, and the whole thing is restrained and tranquil. Nice one.
 
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I really quite like these, and agree no.4 is the strongest, composition sets it apart from the rest for me. Lovely colours and good use of filters for all of these too.
 
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I like second to last, although it might be my eyes but the horizon looks a bit wonky?

I had to do a double take when I saw the thread come up, that location is not very far from me at all.
 
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Its a bit of barrel distorion and the way the horizon jinks in and out thats caused it, it was level ;)

I was more concerned as I've added a lot of filters to my bag and wondered if the strong level of graduation really was the right thing to do end result wise, exposure wise it was
 
I feel your pain with the filters Steve. I tend to shoot mainly water/seascape stuff at sunrise or sunset which creates a whole new problem of the extreme glare off the water which for me requires grads to be used in their normal way as well as upside down to calm the highlights in the water towards the horizon but graduate back so the foreground is still captured within the histogram (I do usually use Reverse grads but normal hard/soft work). This removes the issue of the grads being visible (as noted above) as well as stopping the "bleaching" type effect (water looking white) where the highlights in the water are brighter than the highlights above the horizon (if you know what I mean). You can also overlap the transition between the 2 filters at around the brightest point of the image to double up the ND effect. For me it really is a balancing act and I probably use my whole array of filters trying to find the perfect combination.
 
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Hi Rich, the D800 probably saved me, the dynamic range is mental but I've taken a few else where where the skies been fine but the clipping point has been the water, what I did here though was combat it but putting it well below the line of the sky, then the second above the sky, producing a 3 stepped image.I mainly do landscape stuff, not seascape, waterscapes, the discpline is really different like.
 
ST4 said:
Hi Rich, the D800 probably saved me, the dynamic range is mental but I've taken a few else where where the skies been fine but the clipping point has been the water, what I did here though was combat it but putting it well below the line of the sky, then the second above the sky, producing a 3 stepped image.I mainly do landscape stuff, not seascape, waterscapes, the discpline is really different like.
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It definitely is a bit of a skill to capture such a drastic dynamic range in one shot over water. I think you've done a grand job and you've made the best of what was probably not the best conditions.

If you haven't tried using the upside down method then give it a try Steve. I find I use the 3 stop for the sky and a stop or 2 less for the water works well generally.

BTW. what are your thoughts on the Zeiss???. I am currently in serious deliberation as to either this or the 24mm PC-E!!!
 
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I'd love a a tilt shift, I do a lot of architectural work too. I'll get one for that alone....

I've got a 24-70F2.8 which is an awesome lens...but...its not quite wide enough for certain situations and the Ziess is bonkers sharp, a D800 needs something that sharp, its not a camera that flatters poor glass
 
ST4 said:
I'd love a a tilt shift, I do a lot of architectural work too. I'll get one for that alone....

I've got a 24-70F2.8 which is an awesome lens...but...its not quite wide enough for certain situations and the Ziess is bonkers sharp, a D800 needs something that sharp, its not a camera that flatters poor glass
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That's what I like to hear :). I'm a sucker for sharpness and pixel peeping. It's a burden not a gift lol.
It's a bit of a double edged sword with choosing. They both have their advantages but I can only afford one (soon anyway) I am purely into landscape so not to worried about aperture limits. The out and out sharpness that I keep hearing about of the Zeiss has me swinging that way but then you have the sharpness though out the DOF of the tilt/shift!!!!!. Racking my brains reading all the user reviews and opinions on google lol
 
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The way you can alter the plane of DoF is also interesting with the TSE.

I'm very happy with the Ziess. It's a bit soft in the corners and the shorter focal length is ideal for landscapes. That said with a TSE you can tilt the lens one way then the other and stitch? I'd normally say get a 14-24mm but they don't take 100mm filters which I'm invested in, and a 16-35 won't be as sharp. In interested in optical quality, nothing less than the best glass will do me now...

On balance I'm happy with my choice but I will add a 24mm tilt shift for architecture.
 
ST4 said:
The way you can alter the plane of DoF is also interesting with the TSE.

I'm very happy with the Ziess. It's a bit soft in the corners and the shorter focal length is ideal for landscapes. That said with a TSE you can tilt the lens one way then the other and stitch? I'd normally say get a 14-24mm but they don't take 100mm filters which I'm invested in, and a 16-35 won't be as sharp. In interested in optical quality, nothing less than the best glass will do me now...

On balance I'm happy with my choice but I will add a 24mm tilt shift for architecture.
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Well I do have the 14-24mm but as you mentioned. No way of using filters unless I want to fork out about £1000 to replace all my 100's for 150's and the filter holder kit :confused:. I find that I only really use the 14-24mm for night time stuff now really which is a massive shame as the optical quality is awesome.

You have definitely left me in limbo now though Steve. More sifting through user reviews and experiences required I think lol :D
 
Where are you based, if in Glasgow and west I'd be happy to meet you and let you test the Ziess out? I'm always looking for lifts (not allowed to drive) so if you're up for an early am rannoch moor/glencoe sorti lemme know, you can try the lens and I get a lift?

My leaning for you would be to sell the 14-24 if you dont use it much, get the Ziess (it's a more IMHO useful focal length) and get a Samyang 14mm jobby. Maybe get the TCE if you are really into perspective control and a yearning for architecture.
 
ST4 said:
Where are you based, if in Glasgow and west I'd be happy to meet you and let you test the Ziess out? I'm always looking for lifts (not allowed to drive) so if you're up for an early am rannoch moor/glencoe sorti lemme know, you can try the lens and I get a lift?

My leaning for you would be to sell the 14-24 if you dont use it much, get the Ziess (it's a more IMHO useful focal length) and get a Samyang 14mm jobby. Maybe get the TCE if you are really into perspective control and a yearning for architecture.
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Cheers for the offer Steve but unfortunately im down south (to a degree) in Cheshire. Would love to pop up to your part of the world more often as it is stunning once into the more mountainous regions. Will give you a shout if I do :).

I do love the 14-24mm for what I use it for but a friend has a Samyang 14mm and that does a great job too for night stuff. I have been toying with the idea of getting the filter kit for it but I cant seem to find a reverse grad set that would work with it and this is a major draw back for me.
 
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I've never been overly successful in replicating the effect of a reverse via stacking the normal grads. I know you can probably achieve somewhere near what you get from the reverse but unless its going to be the same then I wouldn't be happy (coz im awkward like that:D).
 
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