Sigma 16mm f/1.4 and A7r2 in Zion & Vincity, Utah

Hin Man

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Really like that high cliff shot! What a view!
Thank you my friends. The lens hefty weight is actually well balanced on A7 body. It is bigger and heavier than other primes that I own but in my view, it is well worth money if one look for a wide angle with great bokeh, decent color and dependable image quality.



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Hin
 

Hin Man

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Artist Aaron De La Cruz at work painting mural and I got asked by my colleagues with few pictures. Again, I bring my recent favorite lens choice of Sigma 16mm f/1.4 and the companion lens that I bring is the Sony E 35mm f/1.8. All shot in aps-c mode.



Artist In Action

by Hin Man, on Flickr




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And the Sony E 35mm f/1.8 works like a normal lens that fill the gap with closer shot



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by Hin Man, on Flickr

Someday I wish I have saved up enough to get a number of critical FE lenses such as the FE 85mm f/1.8, Tamron 28-75mm f/2.8, Sony FE 16-35mm ZA f/4.0 or Sony FE 12-24mm f/4.0, a choice undecided on the range of 70-200mm lenses. Until then, I try to be frugal and use my aps-c and FF adapted lenses to fill the gap with Sigma 16 f/1.4, Pentax FA 77mm f/1.8 with TechArtPro, Sony SAL 28-75mm f/2.8 and Sony E 55-210mm. Suggestions and comments very welcome and needed

Cheers,
Hin
 

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Hin Man

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At night with manual focus to see bokeh. Likely still in FF mode,



Oregon & Washington 2018 Summer Trip

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The most problem I have on the lens is the focus by wire to manual focus on shooting the night sky



Oregon& Washington iPhone edits

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1/10 of a second and f/13, would have better if I have a tripod



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Oregon & Washington iPhone edits

by Hin Man, on Flickr

Likely off focus on my first light using the lens on manual focus and all manual mode. It is a different experience to shoot in the dark in pitch black darkness. I had two lanterns and one head lamp and it was still felt too dark to operate with ease. I actually have a video in walking the field in Lassen National Park South Lake to get to the edge of the lake



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by Hin Man, on Flickr

Again in 12 days in Lassen National Park, Oregon and Washington, all that I use is 1 single lens with the Sigma. It hurts to know the lower resolution. But until I can find an FF equivalent, the sigma satisfy my needs enough plus a lot of good surprises.



20180707-DSC01596

by Hin Man, on Flickr
MacArthur Burney Fall in 1/6 of a second hand-held

Cheers,
Hin
 
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Hin Man

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Hin Man

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When the light was intense and too much contrast and with the tricky exposure on the white running water, what do you use to have a better balance on the shot and avoid overexposure while keeping the shadow detail, please share your thoughts. This picture below is overexposed and I always like to salvage it to b&w. But I actually prefer to know how to shoot the waterfall in contrast scene, is ND filter or if there is other means to help



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by Hin Man, on Flickr

Thanks,
Hin
 

bdbits

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ND filters can definitely be very helpful. I try to underexpose in such situations to preserve highlights, or bracket your shots and merge them in post. Zebras can help you avoid clipping highlights. I find I can pull up sufficient detail from the shadows in most cases and I am only on an A7ii. (I am assuming you are shooting RAWs for maximum recoverability.)
 

WNG

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I agree. If you don't have filters on hand, then always under-expose as blown highlights can't be recovered, but with the Sony sensors, details can be pulled out of the shadows.
I'm just an enthusiast shooter no expert, but here, I'd pick the smallest aperture that retains max sharpness, expose for the water. Two ways you can go about this, spot metering on the water and lock it via AEL. Or matrix metering for the whole image. I set zebra for when it goes over 100%. If the image shows zebra striping on the water, twist the E dial to negative until the zebra goes away. The image won't be blown out and the shadows can be seasoned to taste in post.

BTW, beautiful location and lovely shot.
 

Hin Man

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I finally find a chance to use my Sigma 16 f/1.4 on my A6000. I thought the 16mm may be too wide for portraiture. But I like the experience in shooting single and some group pictures for memories.



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by Hin Man, on Flickr

I use it more on my A7r2 with crop mode but there is no excuse not to use it on aps-c.

Cheers,
Hin
 

Hin Man

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I could have cropped it out but I just leave it there in b&w.

I set 'aps-c' mode to off and shoot in f/13 to f/16 with A7r2



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by Hin Man, on Flickr

With the Sigma, I normally would shoot it in crop mode. But in b&w and sometime when an exaggerated view is a plus, I go for the full frame mode. I have not experimented a 16x9 crop to see if more suited in full frame mode.

Cheers,
Hin
 
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Hin Man

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20190512-DSC07919-Edit

by Hin Man, on Flickr
shot in f/1.4 and edited with Silver EFex Pro with Kodak TMax 100 simulation with darker contrast

The full frame mode vignette is left untouched. I actually adds black frame in Silver Efex to smooth out the vignette to look natural. In B&W, indoor and dark situations, I find the full frame mode to be more than usable with the Sigma aps-c 16mm f/1.4. I really enjoy this lens very much on my A7r2 and I am sure it will work well for other variants to A7 series.

In aps-c Auto crop mode:



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by Hin Man, on Flickr

In full frame mode with aps-c in OFF setting


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It has the effect in seeing through a window. Sometime very odd but I like this one with the sun-star effect. At f/16, the blocking is most pronounced.



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by Hin Man, on Flickr

And the sigma is good for closeup with decent bokeh



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by Hin Man, on Flickr
Dogwood Trees in Big Trees State Park in California



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by Hin Man, on Flickr
The giant sequoia tree

Cheers,
Hin
 

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