Gary Pinto - Take Back Our World, now available in iTUNES and also www.garypinto.com
Saturday, July 17, 2010
Gary Pinto Solo Album Images
Gary Pinto - Take Back Our World, now available in iTUNES and also www.garypinto.com
Sunday, June 27, 2010
Thursday, April 8, 2010
Performance Imports ISSUE 120
This Ben Mahony's Nissan Fairlady 240Z, an absolute machine. A real work of art and this thing flys and handles like its on rails.
A great pleasure to shoot Ben's car.
Monday, April 5, 2010
Nikon 24-70G AF-S F2.8 ED review
Nikon brought out this lens at the same time as the Full frame D3 and the Cropped sensor (DX) D300.
This lens has replaces the 28-70 AF-S F2.8 which was regarded as one of Nikons Finest lenses. It was a massive lens for such a short focal range but produced some stunning shots on both Film and Digital. I never owned a 28-70 however I had hired this on a few occasions for specific jobs.
On a cropped body (such as the D2x, D300, D90’s), the new 24-70 AF-S sits at a strange focal length. 24mm on a cropped body would be 36mm, so we’ve lost that wide angle focal length. Nikon do have a lens alternative for the DX format. This is the 17-55DX AF-S which comes close to the FX 24-70. Ive hardly used a 24-70 on a cropped body so I cannot really come to a conclusion on how good this lens is on a cropped sensor. In anycase, the sensor is only using the sweet spot of the lens, I would assume that it would have excellent image quality.
As I had previously used a 28-70 AF-S, I can compare the difference in size & weight. The two lenses are pretty much identical in length, however the the 28-70 is bulkier and felt very heavy. The 24-70 actually is quite a bit skinnier than the older lens and weights a tad more, but it feels lighter. This could be that the 28-70 was slightly top heavy. The 24-70 definitely isn’t a small lens, but it does feel right on D3 series and D700. It definitely feels out of place on a D5000 (which is a entry level Nikon).
Ive only owned one “Mid Range” zoom lens. You’d probably ask why? Well with automotive photography, I’ve tended to use either the extreme wide end or the 70-200 along with a few excellent primes, such as a 24, 28, 35, 50 & 85mm as most of my auto work is static. It’s only recently I have sold some of my primes to make way for lenses such as the 24-70. The primary reason for fast zooms is for my wedding photography. However for a lot of indoor reportage style wedding work, I still use my excellent primes such as the 85mm AF F1.8 and 50mm AF. These lenses work are great for low light work, and feels less “in your face” to the people in front of the camera than say a huge mid range zoom like the 24-70. It’s important to know that the people you have never met before feel comfortable with you photographing them. Who wants to have a huge lens in your face for a candid shot? Anyways we’re going off track a bit here..
I have owned the 24-70 AF-S for 4 months now and I seldom use this lens often for my wedding work, corporate and editorial automotive work. It a fantastic lens, I think it’s an awesome when it comes to flare control (the 28-70 was not so good with flare control), as you can see in the Lamborghini pic. For wedding work I did find the long end slightly short,. If there was a Nikon version of the canon 24-105L, then it would be a no brainer and the slightly slower F4 is not an issue, as we can shoot the D3 at 3200 all day, everyday. The Nano Crystal Coat employed on these new lenses such as the 24-70 and 16-35 lenses are suppose to eliminate internal lens element reflection which mean less ghosting and flare. This could be true but it’s all a bit too technical for my liking….
Still, this lens is not for everyone. At $2250 (minimum) for this lens, its not cheap, and just because I use it, that doesn’t mean you need it. For the amateur or advanced amateur using a cropped sensor, a 24-70 doesn’t really make sense, however a 17-55 AF-S DX or for canon users with a 500/550D or 7D style sensor, a 17-55 F2.8 I.S would be excellent,. This is where choice of equipment is very important, you don’t always need the latest & greatest. For D3/D700 owners, this lens is a very versatile lens if you need a pro grade mid-range zoom.
Sunday, April 4, 2010
16-35 VR - Part II
Testing out the rig and doing a quick de-rig P.S job....
The D3 coupled with the 16-35 is a heavy combination for this rig.. the under-car rig is much stronger than this suctioned cup rig... but at least this shot is reasonably sharp and modifying each rig will probably give better results... this was at 16mm and you can see that the edges have vignetted due to the 2 ND's that i used.
This lens is still ok @ F18 but diffraction definately plays a part.......
Friday, April 2, 2010
NIKON 16-35 F4 AF-S ED VR N Lens Review
The New Nikon AF-S 16-35mm F4 ED VR lens has arrived from ECS (European Camera Specialists). I only had the 17-35 for about 4 weeks when i returned the lens due to the AF screeching when focussing. On the D3, the lens suffered from some very mush corners even stopped down and this is not what we need when shooting large groups at weddings. For Automotive photography the corners isnt really a concern.
A couple of weeks ago, i had a quick opportunity (see a previous blog post) to test out the 16-35. I found the borders much better @ F4 on this new lens than my copy of the 17-35. Considering the D3's ISO Capabilities, the need for a fast F2.8 ultra wide angle lens is no longer a neccessity.
Yesterday i walked around the city for pretty much one reason.... to see if this Vibration Reduction (VR) works..... well in short, it does, to an extent. I'd say that there a 1-2 stop gain with VR, so you could shoot as low as 1/4th sec. i was even successful at 1/3rd Sec but i'd say that was a fluke as my hands aren't the steadiest and when i tried again straight after i couldnt achieve the same feat.
Sharpness? I cant really speak for sharpness right now as i was testing out VR and many shots were taken past F11 or F13, which is where diffraction starts to set in..... however i can say that at F4, its looking promising. Distortion wise i already knew that this would be an issue, however for these snaps i didnt really look at the distortion side of things. Vignetting, its clear you can see them in the excavator shot (shot @ F4)
These shots are just a general idea to see what this lens is about and where my limits are when hand holding. Once i know this i can put this into practise in my line of work. Landscape & Street Photography is not something that i specialise in.
I will be putting this lens through its paces at a car shoot soon... that way i can see if this is ideal, eg. weight, sharpness, flexability.
Sunday, March 21, 2010
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