Bird

Sigma 150-600 Lens Review

[Editor’s Note: Today’s article comes from frequent contributor Ben Hendel – @wdw_ben about renting and using the Sigma 150-600 lens.  Having shot the Canon 400mm f/2.8 lens before at a High School football game, I can only imagine what it must have been like to lug a lens that long into Animal Kingdom.  But if I did have access to that lens, you bet your bottom dollar Animal Kingdom would be the place to shoot it at.  I’ve seen people at my local zoo with monster lenses like this one and I’ve always wanted to try that out.]

A few weekends ago I went to an airshow in Fort Lauderdale featuring some of the best jet teams in the world. Because of this, and some travel I have planned in the future, I wanted to bring along a super-telephoto lens to test before spending thousands on one. I had done a fair amount of research, and I settled on renting the Sigma 150-600mm f/5-6.3 Sport, shot on a full-frame Nikon D610. This lens does work on a crop sensor camera, however, your effective range is 225-900mm, with an effective aperture of roughly f/7.7-10. This does mean you can see into Wednesday two weeks from now, but you’ll need a lot of light to do so.

The Sigma is a beast! Weighing in at 6.5 pounds, it is a hefty lens for which you’ll want a tripod or monopod if you plan on using it for more than a few hours. But with that weight comes a lot of glass. The reach of this lens is incredible. Never having owned a lens with a focal range of over 120mm (my Nikon 80-200mm), having 450mm of range was useful. That being said, I mostly rented this lens for it’s ability to be pushed all the way out to 600mm and remain tack sharp. Fair warning, though, I did spend a night calibrating the lens to my camera using FoCal’s wonderful calibration software. [Editor’s note, I’ve talked Ben into contributing a future article about calibrating your lenses.]

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On a practice day in Disney’s Animal Kingdom the day before the airshow, I had a ton of success getting pictures I could only dream of beforehand. I spent a ton of time on both walking trails and walked away with a ton of keepers, especially on the animals most people want to see especially: the tigers and gorillas. The sharpness of this lens was incredible after calibration. When I zoom in on the eye of the tiger (I will not sing, I will not sing, I will not sing…) [Editor’s Note – I am now singing this for you.] , I am able to see the blue sky and even some white clouds reflected back at me. The bird houses were incredibly interesting, especially because the weaver birds were busy building little houses. I was able to get clear shots of any bird I wished, when they stopped flying around, that is! Tracking a subject at 600mm is a chore, but that’s not a flaw in the lens, that’s just being really, really tight. I quickly developed a technique at the airshow of being pulled all the way out to 150mm to acquire and begin tracking a jet, then pushing in to 600mm (or as close as I wanted to zoom) to set up for the shot I was looking to take. I did not take this lens on Kilimanjaro Safaris as it would have lead to a fantastic black eye and terrible photos.

Tiger

One thing to note, when it game to objects in motion, especially at the 600mm end of this lens, fast moving objects are incredibly tough to frame, even once you’ve acquired them. Flittering finches and fast moving (we are talking miles an hour measured in the multiple hundreds) jets don’t stay in your viewfinder long if you’re not panning. And panning this lens is a chore. I recommend, if you’re worried about framing, pull out 15 to 25 millimeters and firing in a “spray and pray” manner. A less tight shot will allow you more freedom after the fact to crop and adjust your framing. This was a tip passed along to me by Don Sullivan (@donsullivan, check out his incredible photography) and I am passing it along to you. For shots like the tiger and gorilla, I was able to work more slowly and properly frame before pulling the shutter.

In the category of “ooooh, that’s a nice feature” is the tripod collar. The downside is that this behemoth of a collar does not detach. It also has three different screw bosses in it, so you can balance it on basically any camera and tripod combination. That means the foot of the collar is huge. However, it does have a fantastic little “click” to it when you’ve hit 0, 90, 180, and 270 degrees rotation with the lens. It’s a nice surprise so you know you’re locking in your camera at one of those points, and if you’ve leveled the camera on your tripod properly with one of those markers, the others will also be level if you are spinning it from portrait to landscape, or back again.

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This lens has a lot of upside. It’s incredibly sharp, it’s very accurate when focusing, and it’s reasonably priced for a super-telephoto lens. What does reasonably priced mean? The Sigma 150-600mm f/5-6.3 Sport will lighten your wallet by 20 pictures of Benjamin Franklin – $2,000. This sum of money gets you a lens, a shoulder carrying case for it (no picture of that, I’m sorry), and a heck of a bayonet that screws on to the front of the lens. It also screws on backward for transportation. There is no lens cap to speak of, but it does come with a nylon-like cover that Velcros around when the bayonet is stored backwards, with a little cutout for the thumb screw. This lens also supports Sigma’s USB Dock for Lens Calibration and firmware updates, however, it is not included. That’ll set you back an extra $59.

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My biggest issue with this lens is the weight. I understand that in order to get good, sharp, super-telephoto glass you’re looking at weight. But all in, with a 1.5 pound camera strapped to the back of it, I had a package weighing 8 pounds that I was swinging back and forth on a beach in Fort Lauderdale for four hours. Monday was rough, I’ll say that much. My other big issue is that at 600mm, you get some crazy vignetting in your corners. While not noticeable on the camera’s LCD, they are prominent once loaded into a program like Lightroom. Thankfully, Lightroom contains automatic lens profile corrections for this lens, and that takes care of the corners quickly. When editing, it is the first thing I do to any photo before diving into deeper corrections. Finally, this lens does not accept teleconverters. Why you would want one is up to you (maybe you really do need a 300-1200mm lens for photographic the Church on the Blood from Nome), but this is a point to a lens I’m renting later this month.

Overall, I really liked this lens. It’s reach is fantastic, it’s fast for the price, the price is very reasonable, and it doubles as good help for bicep curls. But that last part is the biggest downfall for me. It is an incredibly heavy lens, especially when you are pointing it at an upward angle all day, like at an airshow. I would say the vignetting was an issue, but that was quickly and easily corrected in Lightroom, so it’s more of an annoyance than anything else. I would rent it again, should I need the reach at an airshow and should my upcoming rental of the Nikon 200-500mm f/5.6 not meet my needs for a super telephoto.

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Author’s note: There is a Sigma 150-600mm f/5-6.3 Contemporary also on the market for less money and weight. I have not shot it, so for a review, I’d recommend Tom Bricker’s excellent review here: http://www.disneytouristblog.com/

[Editor’s Note: Thanks for contributing the article again Ben!  Always interesting stuff!]

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Fireworks Friday

Here’s a post you won’t see every day from Disney Photography Blog…..a fireworks shot from aboard the Disney Magic.

On most Disney Cruises these days (I’m assuming since I’m not an expert) one of the days at sea features a Pirate Night.  The servers in the restaurants are decked out in pirate garb, there is a dance party out on deck, and a show featuring Captain Hook and Pirate Mickey.  It’s quite a blast.

Another part of the Pirate Night is a short fireworks show at sea.  You aren’t getting something like Wishes or Illuminations, but it is a fun little show.  If you get a chance to go on one of these cruises, you need to do better research than I did.

The Pirate Party takes place between the forward and mid-ships funnels and guests can watch the party / show from either Deck 9 or Deck 10.  I opted for Deck 10 since we would be up higher and there would be a clearer shot of the fireworks.

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Yes the Funnelvision screen is super blurry.  Only including the shot to illustrate where I was set up for the shots.  ProTip – don’t stand here.

As I was getting ready to set up for the show, I had it in my mind that I had seen the fireworks more forward of the ship.  To the right (or more properly starboard) side of the forward funnel.  So I set up on the port side of the ship (I wanted to get an image of the ship in the fireworks shots) and with my back to the midships funnel.  Well, either my memory was wrong or  I was seeing a doctored photo because I was only half right.  The fireworks were being shot off the starboard side of the ship, but they were behind me.

Shame on me for not doing better research.  I probably should have spent more time at the Disney Cruise Line Blog because I’m sure Scott has the right answer posted over there.  The fireworks are coming from behind the midships funnel, so to get any shots I had to quickly spin the camera around and shoot from there.  I don’t have a super wide lens so the shots only turned out so-so.  There was also a knucklehead iPad photographer trying to video tape the fireworks in front of me so I had to crop in and adjust the angle mid show to the moving / blurry white spot out of the images.  All in all though, I liked how the reflections appear in the windows.

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Shooting the fireworks on the ship is exactly like shooting them on land.  You’ll need a sturdy tripod, a remote shutter release, and in my opinion a good variable ND filter.  I don’t know why I was worried about this when I was planning the trip, but I was worried about the sway of the ship during the fireworks but it really wasn’t an issue at all.

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Lights, Motors, Action!

I’m back.  Sorry for being away so long.  My day job has been super crazy busy for the past few months but things are finally starting to slow down and I can get back to posting here.  Congrats to the Instagram account for passing 6,000 followers this week!

When it came time to plan out my Spring Break trip this past year, there were two things I really wanted to experience and both of them were at Hollywood Studios (I know, right?).  I’ll get to the other one in a later post, but the first thing I wanted to make sure I saw was Lights, Motors, Action!   I knew that LMA was going to be closing at the beginning of April and I realized I had skipped it the last time I was in the park.

When attractions close at Disneyland or Walt Disney World there is usually a groundswell of support online.  The usual discussions of starting a “Save This Attraction” campaign kicks in.  These discussions are trivial I know – since the powers that be have already slated the ride / show / park area to die and there is no stay of execution coming from the Governor’s Mansion.  But I was surprised that there really wasn’t much of a show of support for LMA.  In fact there were quite a few derisive comments as LMA was going down for the count.  Their were fans though, and I was among them.

 

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Stuntmen always fascinate me.  They do these incredible tricks and even set themselves on fire.

I usually don’t like to tell people they’re wrong, but I’m sorry they were.  It’s true the Hollywood Studios we have now is nothing of what the original mission of the Studios was to be (a working production studio), but with the closure of LMA, there is now only one attraction that tries to live up to that spirit.  Lights, Motors, Action! was at its very core, EXACTLY what the studios was meant to be.  I know, we still have a stunt show with Indiana Jones, but I will always think that LMA was a better show than Indiana Jones is.

You may recall I wrote here that I was upset that I didn’t have any good shots of the Osborne Lights before they closed. I didn’t want that situation to repeat itself with LMA so I made sure that I got some good action shots.  I actually misfired on the finale shot (shown above) when we attended the show the first time.  I had preset the camera up, focused on the right spot but I didn’t have the shutter speed dialed in and the shot ends up far too blurry.  I’m not sure what I was thinking.  When I looked at the back of the camera I knew I had blown it and was actually pretty down on myself about it.  As much as I like the show, I was in the parks with my family and I didn’t think we were going to be getting back to the Studios for another attempt at the shot.  Luckily I was wrong.

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Blown!  Worst attempt at the final ever.  Way to mess up the shutter speed.  Feel the blur.

Thankfully my family wanted to do a second day over at the Studios, so I was going to get a second shot at the show.  There was supposed to be a downpour during the late LMA show and it was predicted to rain the next day (LMA’s final performance day).  Since I’m not a local, I had no idea if LMA ran during the rain or not.  So I was determined to get the shot right this time.

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Flying through a wall of fire.

To get the shot you see at the top of this article I switched my Canon over to sport mode so I could get a lot of shots in a short period of time (the Canon 60D can hit 5.3fps).  Since I had seen the show a couple of days before the timing of it was better in my head and I could get the shot focused before the action (and switched the camera over to manual focus when I was ready).  I can’t emphasize this enough.  With shows like this that are repeating, having watched the show before is a big help for timing your shots and knowing where the action is going to be.  The shot you see at the top of the article still isn’t perfect.  The better shot would have been the first attempt where I blew the shutter speed.

As a side note, I would have thought the pyrotechnics during LMA were more precisely timed.  But take a look at the image just above this paragraph.  It looks like the pyros went off early as the car is jumping through a wall of flames.  I actually like the way that shot turned out a lot.  I wish the camera would have had a higher frame rate so I could have gotten a couple of frames before and after the above shot.

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Many of the crew were doing their last performances and took an extra bow at the end.

 

Well, it’s been closed for a month now.  The bulldozers and cranes have already started (if not finished) demolishing the stadium and the sets.  We have Toy Story Land coming in its place.  I’ve seen what a Toy Story Land can look like (having been to Hong Kong Disneyland) and I’m excited to see what the Florida version will be like.  But I’ll miss Lights, Motors, Action!

I’ll have another article on Wednesday, and maybe – just maybe – I’ll share the other thing I wanted to do at the Studios on Friday. All depends if I can get the shot edited in time.

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Nik is now free

Back in 2012, Google bought NIK Software and the photography community wondered what Google would do with their new found acquisition.  Well, they made the bold step of making it free as of this week.  Normally $150, this is a great deal.  Snap it up now and give it a whirl.

I’ll post some more details on using the software in the coming weeks, but I thought I would post an image that I edited with Nik’s HDR Efex Pro and Silver Efex Pro.  The image was taken at Hong Kong Disneyland.