Astrophotographer Ian Norman of Lonely Speck recently got his hands on a Google Pixel 4 XL for testing, so he took it out to Joshua Tree National Park to see how well the “Astrophotography Mode” on this smartphone compares to shooting with a “real” camera.
Right off the bat, it’s important to note that Ian successfully shot some impressive smartphone astrophotography long before Google baked this feature into a flagship phone. Still, the improvements that Google has made in this area are significant, and at first glance, the resulting images are staggeringly clear.
Upon closer inspection, Ian did find that the images are definitely not as sharp as what he was capturing with his 12MP Sony a7S—perhaps due to missed focus, perhaps due to the optics in the phone—but when you down-res for Web comparison the results Ian shares in the video are still strikingly similar:
Ultimately, while the lack of creative control in Astro mode can be a bother—no control over things like white balance or shutter time, and limited control of focus—the Pixel 4’s fully-automatic Astro mode achieves something really cool: it makes astrophotography significantly more accessible. A “gateway drug” most astrophotographers can probably get behind.
Check out the full video up top for a full evaluation of the Google Pixel 4’s Astrophotography mode, complete with multiple sample images, workflow footage, and lots of 100% crops so you can see where the smartphone camera fails to keep up with its full-sized rivals.
And if you’re an astrophotography buff, definitely check out Lonely Speck. Ian’s educational content is second to none in that space.
In my early years of photography, I was very concerned with making “ART.” Each time I would pick up a camera I would be filled with anxiety, thinking that I need to bring home that “picture of the century.” I have to tell you, I seldom did.
One of the most important lessons I’ve learned over the years is not to worry too much about the end result—instead, I’ve learned to trust the process.
My Process
For me, the process often starts with either an idea or (more often) a vision. I have a flash of a visual sensation or an actual picture in my head that I want to create. I then ask, what do I need in order to create that image.
The first questions are: do I need subjects, a certain location, certain objects, a particular color scheme or type of light? And, if my idea is more editorial (i.e. “people who surf while standing on their heads”): will this require me to recruit or discover certain types of people?
The next list of questions are more logistical: what type of equipment will I need? Will this image require an unusual camera, grip and lighting gear? Will I need a crew or will my “one-man-band” be all that is needed?
Next, I envision and think about the final image and ask: will this picture I am trying to create require a different approach to the post-processing work? Often this question does not get asked until after the actual shoot.
At this point, the questions become more personal. Is the image I want to create an endpoint or the start of a visual exploration? These two different goals require different mindsets. If I am after a very specific image, the process becomes getting stuff out of the way. If I’m exploring, then I need to keep my eyes and my heart open to all possibilities.
“Do the Work”
In Julia Cameron’s book The Artist Way, she talks about how the job of the artist is not to critique their own work but to simply “do the work.” There are many, many souls who will offer their two cents and will be more than happy to build roadblocks for you. The photographer’s job, any creative person’s job, is to ignore these well-intentioned friends and pursue the vision.
I have found that if I follow my creative process then I need not worry about these often self-imposed barriers. In the end, I believe it is the artist job just to pick up that pen, paintbrush or camera and go do the work.
Living is learning how to be comfortable in one’s own skin. Living is learning when to trust and when to be wary.
I no longer get up in the morning and think, “I need to make great art today!!” Instead, I’ve learned to trust and follow my creative process. I’ve learned not only to focus on the outcome, but to also enjoy looking out the window during the journey and to trust that if I follow the process, I will often create something worthwhile.
About the author: Zave Smith is a passionate photographer who was raised and trained in the Midwest, and is now based out of Philadelphia and New York. You can find more of his work on his website, Instagram, and Facebook.
YouTuber Tyler Stalman recently got his hands on a review unit of both the Mac Pro and the Pro Display XDR, and while many tech YouTubers have reviewed these extreme (and extremely expensive) Apple products, he’s the first we’ve seen who’s evaluated them from the perspective of a professional photographer.
The full video speaks to all “professional creatives,” including video shooters, so it’s all there if you want. But Stalman starts off right away by reviewing the Mac Pro (with a nod to the Pro Display XDR) for studio photography.
Stalman explains that the review unit he has is “overspecced” for photography—with its 16-core 3.2GHz Intel Xeon processor, 192GB of RAM, Afterburner Card, and not one but two Radeon Pro Vega II graphics cards with 32 total gigabytes of VRAM—but he still enjoyed the ridiculous headroom this offered.
Despite processing 16-bit TIFFs in CaptureOne and Lightroom on one screen, messing with a 100MP photo in Photoshop on another, rendering a video out in Resolve, and playing back footage in Final Cut all at the same time, the computer never had to use more than 70GB of its RAM. Even when all of the CPU cores were at full load.
Lightroom Classic (surprise, surprise) did start getting a little jittery at one point, but that’s because it’s simply not well optimized. The computer’s hardware simply wasn’t ever fully taxed by the kind of work a professional photographer—almost any professional photographer—would do.
For photographers, the conclusion is pretty clear:
“There are very few photographers out there who can really tap into the potential of what this can do maxed out. The ultimate power in here is really for 3D or Video,” explains Stalman. “Even if you’re shooting on a Hasselblad or a PhaseOne and you’ve got 100MP+, it seems to handle it perfectly.”
Check out the video up top to see all of these tests in action and watch Stalman build his “ideal” Mac Pro for a budget conscious professional photographer. Of course, “budget conscious” is a relative term here (calm down PC enthusiasts), but it’s clear you don’t have to (and shouldn’t) get anywhere near the max price of $52,000 if you want a Mac Pro for studio work and photo editing.
Profoto has finally announced Android support for the battery-powered B10 and B10 Plus monolights, giving Android users control over almost all of their flash settings via the free Profoto Control app.
This feature, which has been available for iPhone users since the launch of the B10 (and later, the beefier B10 Plus), allows you to “easily view and control all B10 and B10 Plus settings from the palm of your hand,” as well as install new firmware updates instead of going through a huge cumbersome process.
Here’s a look at the app in action, so you can get a sense of what all is available:
It’s not a huge update, but it’s a welcome workflow perk for photographers who use Profoto and own an Android phone. To try it out for yourself, download the latest version of Profoto Control over on the Google Play store.
Portrait photographer Miguel Quiles recently released a two-part series on “portrait hacks” that might be his most popular series of tips ever. In the videos, he covers 10 tips from his years of experience shooting and teaching workshops—tips that he says “everyone wishes they knew sooner.”
Part 1 was released back in March of 2019 and became one of Quiles’ most watched videos; it covers the most basic tips that will help total beginners understand what they should focus on when shooting a portrait. Part 2 was released this morning, and it gets a little more advanced, covering hacks that fall into the “oh, I never thought of that” category.
You can watch Part 1 up top, and Part 2 below:
For those people who prefer reading to watching, the 10 tips/hacks are as follows:
Part 1
Fill the frame – Beginners tend to leave a ton of headroom above their subject, this isn’t necessary.
Pay Attention to Catchlights – There’s no better way to “hook your viewer” and “hold their attention” than great catchlights.
Eye Placement – Pay close attention to where your subject is looking. They don’t have to look at the camera, but the Iris of the eye should be more prominent than the white Sclera.
Focus on Lighting – Simple, but it has to be said. A great portrait is all about great lighting.
Draw Out a Great Expression – Don’t get so caught up in your location or the lighting or your settings that you forget to help your subject relax and get into the shoot.
Part 2
Use Continuous Drive Mode – Don’t limit yourself to single shot. Light permitting, shooting in Continuous mode can help you capture expressions that you might otherwise miss.
Develop Your Poker Face – Portrait shoots are stressful, but don’t let it show on your face! If you look stressed while you’re shooting or reviewing images, your subject will tense up.
Use the ‘Eye Chart’ Technique – Tell your subject to pretend like they’re looking at an ‘eye chart’ at an eye exam. This is a brilliant way to prevent that wide-eyed Deer in the Headlights look.
Tether Whenever Possible – Having a big screen to review your images gives you extremely valuable insights into how the shoot is going and how your images are turning out.
Role Play – Have your subject play a character. It’s one of the easiest ways to help someone get out of their own head and look much more relaxed and natural on-camera.
If you have the time, you’ll definitely want to watch the videos. Quiles dives into each of these tips, sharing sample photos, behind the scenes video, and stories from his professional work that explain why and how you should follow each piece of advice.
And if you like Quiles style, you can find more of his work on his Instagram, and many more tutorials over on his YouTube channel.
Image credits: Photos by Miguel Quiles and used with permission.
Nikon Japan has published a notice indicating that the long-awaited NIKKOR Z 70-200mm f/2.8 VR S lens will have to be awaited a tiny bit longer. The lens, along with its three main accessories, have been delayed and will not be shipping on February 14th as previously announced.
The $2,600 70-200 lens for Nikon Z-Mount cameras was announced on January 6th with an expected ship date of “February.” However, it seems the lens’ production in Japan either can’t keep up with demand or has hit an unexpected roadblock.
“The release date of the NIKKOR Z 70-200mm f/2.8 VR S lens, which was announced to be released on February 14, 2020, has been postponed due to production reasons,” reads the Google translation of the notice posted by Nikon Japan. “We apologize for any inconvenience this may cause to customers waiting for this product.”
In addition to the lens, its lens hood, lens cap, and lens case are also delayed, which is unsurprising.
Unfortunately, Nikon has not established a new ship date for the lens and associated products, saying only that, “the release date will be announced once it is confirmed.” We’ve reached out to Nikon USA to confirm that this delay will affect shipments world-side, as well as how long the delay might last, and will update this post when we hear back.
As a landscape photographer I’m a big fan of grand vistas and photographing with wide angle lenses. But sometimes the smaller things can be just as impressive. In this little article I’ll be sharing some tips that will hopefully give you some inspiration when photographing abstracts. And when you start to see them, you can’t stop photographing them. It’s very addicting!
1. Look down
We tend to look forward and see the bigger picture, but beauty is often just at our feet. Go low to the ground and look down occasionally. You’ll find all kinds of interesting things. Think of textures on stones, lines little plants, patterns, contrast. Lots of interesting abstract shapes can be found on the ground.
A simple mud cracks patternAutumn vegetation on the ground
2. You don’t need a macro lens
Abstract landscapes can be shot with any kind of lens. I usually shoot them with a 24-70 (close focus is a pre-requisite) or sometimes a longer lens to capture patterns in the distance.
Black sand ripples caused by the tide in Iceland
3. Look at lines
When looking at subjects, find lines and try to balance them in your frame. Lines going from a corner into the frame often work well. Flowing lines also give a nice feel to an image.
Interesting lines and textures on a hill in IcelandGrassy hills in KyrgyzstanLines on a piece of ice going from bright to dark
4. Look at color and contrast
A combination of two distinct colors or dark and bright tones often work well in abstracts.
A combination of colour contrast and lines on a close-up of a house in Burano, Venice.Little sand bumps hit by the sun turn to gold. The dark and bright works well here.
5. Lose perspective and scale
This has to do with looking at the smaller things in the “bigger” picture again. When photographing abstracts, it’s important to not show the surroundings. This way the viewer has no idea about the scale and perspective.
When you photograph a sand texture the right way, for example, it can look like a desert from above. It’s fun to trick the viewer and let them think about your photo.
This could be an image of a desert shot from a plane, but its actually just a shot of some sand ripples shot with a 24-70 lens.
6. Find single objects in negative space
Showing a lot of emptiness in the frame with a small subject makes for a nice abstract look.
7. Go to the beach!
The beach often has lots of sand textures. Especially when the tide is low, you can find patterns in the sand everywhere. They sometimes look like aerials, allowing the viewer to completely lose perspective.
A sand texture hit from the side by sunlight.
8. Water.
Water by itself is just incredible. Think of falling water from a waterfall or just the tap at home! Falling water in different strengths creates beautiful patterns. When photograph falling water, use an extremely fast shutter speed (1/1000 or faster) and just shoot away. You’ll see you come up with lots of interesting shots!
But not only falling water. Ripples in the sea can create interesting photos depending on how the waves are behaving and how the light hits. And then there is frozen water—frozen water creates cracks and interesting ice textures.
Falling water from a waterfallA frozen piece of ice from up close looks like a hallucination patternShapes in a frozen puddle
9. Harsh light and shadows.
Harsh light during the day is often not great for landscape photography, but it can be great for abstracts. By playing with shapes and lines in harsh shadows you can sometimes create interesting abstract looks.
Shadows, lines, shapes and contrast create a pleasing flow in this image of a piece of ice
10. Look up close.
Abstract landscapes are everywhere, you just have to learn to see them: textures in stones, lines in plants, clouds. The trick is to look closely. Look closer at everything you see in daily life and you’ll be surprised how many interesting things you see.
But be careful, it’s very addicting! :)
About the author: Albert Dros is an award-winning Dutch photographer. The opinions expressed in this article are solely those of the author. His work has been published by some of the world’s biggest media channels, including TIME, The Huffington Post, The Daily Mail, and National Geographic. You can find more of his work on his website, or by following him on Facebook and Instagram. This post was also published here.
The crash that killed Kobe Bryant, his 13-year old daughter Gianna, and seven others aboard a helicopter shocked millions around the world. Near the Staples Center in California where Bryant played for 20 years as a member of the Los Angeles Lakers, make-shift memorials appeared. And online, fans posted messages of grief and condolences on social media.
Unsurprisingly, images of Bryant were widely shared as if a way to collectively remember him through the most accessible and visceral medium available to us – photography. And photographers who had the opportunity to shoot Bryant during their careers expressed a connection for having done so. Even in the most public of settings, there is something intimate about taking someone’s photo.
Before delving into the topic more deeply, I want to acknowledge that Bryant was an imperfect man with a troubling incident in his past. In 2003, Bryant was credibly accused of sexually assaulting a 19-year old hotel employee, who subsequently dropped the charges despite a mound of physical evidence. Washington Post columnist Barry Svrluga articulated the confounding complexity of Kobe’s legacy:
“In any remembrance of Kobe Bryant, there is the obligation to mention his five NBA titles, his 18 all-star selections, his Academy Award, the sexual assault allegation against him, his MVP award, his four daughters, his second act as a Hollywood mover and shaker, when basketball became secondary. Add all those things up, and out comes the totality of a life — a life with layers, a life with chapters.
…To say that last point makes him “complicated” is a convenient way of minimizing the incident in a Colorado hotel room in the summer of 2003, when Bryant had sex with a 19-year-old woman…Fit that encounter and that admission into the totality of Bryant’s life however you want. In the scope of 41 years — of a basketball career and fatherhood, of a creative and competitive creature — maybe it shouldn’t be solely defining. But maybe, too, it shouldn’t be completely drowned out by the torrent of accomplishments and adulation.”
Barry Svrluga, The Washington Post
Why does a blog dedicated to photography need to cover this? Because photography and culture are inexorably intertwined. A “hero image” that lionizes Bryant can be used to put him on a pedestal, inspire millions, or sell shoes. A photo of him and his daughter can serve as both a memorial and as a shield against past transgressions. And when it comes to a public figure, we have to critically consider our reactions to portrayals of them.
It’s difficult to understate Bryant’s global reach. In China, his jersey outsold those of Yao Ming, and his popularity paradoxically rose in retirement. He was arguably the first global superstar in the age of social media, and if you’re not a basketball fan, it might be hard to understand why Bryant’s death has been so significant to many, and one of the few events to displace political coverage in the news cycle.
Bryant had an extremely long career with a single team (a true rarity in today’s pro sports world), which gave photographers ample opportunity to photography him throughout the years. It was a real treat to see how friends on social media dug up images from the archives to remember Bryant. The practice of posting photos (particularly selfies) upon someone’s passing has become social currency and social proof of both connection and personal relevance. The act might be construed as partially egotistical, but I think it’s mostly a human desire to feel connection to others.
Here are a few of my favorites:
In 1995, Al Tielmans received an assignment to photograph a high school kid who was entering the NBA a draft – a rarity then and now. His portrait of Kobe dunking is sublime.
Robert Beck is no stranger to California sports, and he covered both game action and portraits for Sports Illustrated.
The Los Angeles Times’ Jay L. Clendenin posted a haunting polaroid of a flag draped Kobe.
Michael Mueller’s photo of Kobe taking a bow earned him the cover of TIME.
If they visited the White House, Pete Souza has the goods. Most depictions of Kobe are in and around the basketball court, so it’s so great to see this image of him and President Obama.
Maryanne Golon, Assistant Managing Editor and Director of Photography for the Washington Post, posted this selfie from a newsroom visit. While imperfect from a technical perspective, the inclusion of her in an unplanned photo makes it all the more meaningful.
DOP/Director Vincent Laforet worked with Kobe for a Nike commercial, and recounted how they worked around Bryant’s broken knee for the shoot.
Andrew D. Bernstein serves as team photographer for the Lakers, Clippers, Kings and Sparks, and posted this portrait “when our journey started together.”
Back when Paul Morse worked at the LA Times, he caught Kobe looking out a window. A masterful candid.
Sports photography was and continues to be largely the realm of male photographers. Elsa Garrison is one of the exceptions, and an exceptional photographer. Her image of Kobe and Gianna is both beautiful and heartbreaking.
RIP Kobe.
About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.
Image credits: Cover image of the 2002 NBA Finals by Allen Murabayashi.
Kodak has inked a new deal with five of the six major movie studios, re-upping an initial agreement made in 2015 and ensuring that we won’t see celluloid completely replaced by digital in Hollywood any time soon.
The Hollywood Reporter broke the news yesterday ahead of the expected announcement at the Fourth Annual Kodak Film Awards last night. Details are slim, but we know that five major studios — Disney, NBCUniversal, Paramount, Sony, and Warner Bros.—have all committed to buying “undisclosed amounts” of motion picture film from Kodak moving forward.
How long this particular deal is set to last, or what kind of impact this will have on Kodak’s bottom line are unknown. But Kodak says that it “has seen a substantial increase in film sales each year for five consecutive years,” and these new agreements will ensure that this trend continues upwards.
Stills photographers with no attachment to motion picture film might be tempted to ask “so what?” at this point. But as our friends at EMULSIVE point out, a victory for motion picture film is a victory for all film: stills included.
Increased demand for film of all kinds helps keep the medium alive, whether that demand is coming from a younger generation of fresh film lovers, or Hollywood titans like Quentin Tarantino.
If you’re new to digital photo editing you’ve probably had this experience: you export a perfectly edited photo, but the JPEG looks all “wrong”—the colors are totally different! Actually, they not. As Unmesh Dinda from PiXimperfect explains, you just haven’t sorted out your color space properly.
Seasoned photographers and Photoshop users are well-aware of color space, but almost all of us made this mistake as a beginner. The issue, as Dinda explains in the video above, is that you probably exported your photo without first converting it to the most common and widely-supported color space: sRGB.
The three main color spaces used by photographers—sRGB, Adobe RGB and ProPhoto RGB—can each display a different range of colors. sRGB is the most limited, but it’s also the most widely supported; Adobe RGB is next; and ProPhoto RGB is so massive it actually covers colors that aren’t even visible to the naked eye.
Issues arise when you edit a photo in ProPhoto RGB or Adobe RGB, export the photo as is, and then try to post it online. Not all browsers, apps, or social media platforms will be able to display the wider color space, and will instead display the image as sRGB, leading to a dull or flat looking photo.
You can save yourself the trouble by converting to sRGB at export and ensuring the widest possible compatibility. In some cases, just embedding the ICC profile is enough, but for most web-based photo sharing, you’ll want to convert to sRGB at export unless you want a large percentage of people to see it all “wrong.”
To dive a bit deeper into this subject and learn how to make sure all of your exports look “right” no matter what app or browser or social platform your audience is using, check out the full video up top.
A Chicago couple is being flamed online after their email to a wedding photographer went viral on Reddit. The email asks the photographer to shoot a 10-hour wedding in exchange for promotion to “300 total wedding guests,” 117 of whom are unmarried and between the ages of 24 and 35.
Wedding photographers being asked for freebies in exchange for exposure is absolutely nothing new, but this request is unusual in its level of sheer demographic detail and how little value is even being offered. Even the wording sounds more like a PR pitch than a typical request.
“We are asking your help to sponsor 10 hours of continuous photography coverage,” reads the email, which has received over 900 upvotes on the r/ChoosingBeggars subreddit. “In exchange, we will be showcasing your company to: 3,000+ combined FB followers, 300 total wedding guests […] 117 unmarried guests between the ages of 24 to 35 years old, [and] 73 parents with unmarried children between the ages of 24 and 35 years old.”
Additionally, the couple promises to include the photographer’s logo and details in their “wedding brochure,” which will be “distributed to all 300 wedding guests.”
As you might imagine, the response on Reddit has been anything but kind. Several commenters pointed out that other guests would no doubt also ask for a freebie, while others balked at the idea of trading 10 hours of work—plus hours of post-processing—in exchange for “exposure” a social media audience of just 3,000… which probably includes everyone who was invited to the wedding.
You can read the full email for yourself here, and while we can’t be certain, it’s probably safe to assume this photographer decided not to take the couple up on their offer. Fingers crossed nobody else did either.
Yesterday, the U.S. Secretary of the Interior officially signed an order temporarily grounding all Chinese-made drones, solidifying a ‘pause’ that was first announced in October and drawing a heated response from market leader DJI.
The official order (embedded below) calls for the “temporary cessation of non-emergency unmanned aircraft systems fleet operations” in order to ensure that “cybersecurity, technology and domestic production concerns are adequately addressed.”
“In certain circumstances, information collected during UAS missions has the potential to be valuable to foreign entities, organizations, and governments,” reads the order. “Pending further guidance based on completion of an ongoing review, the fleet is grounded with the exception of emergency operations described in guidance to be issued by the Assistant Secretary – Policy, Management and Budget (AS – PMB).”
In a press statement posted to the DOI website, spokesperson Carol Danko clarified that this order only applies to “non-emergency operations,” so drones used for fighting wildfires, search & rescue, and helping with natural disasters “that may threaten life or property,” will remain operational during this investigation period.
DJI has been opposed to these rules from the beginning, and this latest update is no exception. The company quickly issued a statement yesterday saying that it was “extremely disappointed” by the order because it “inappropriately treats a technology’s country of origin as a litmus test for its performance, security and reliability.”
“The security of our products designed specifically for the DOI and other U.S. government agencies have been independently tested and validated by U.S. cybersecurity consultants, U.S. federal agencies including the Department of Interior and the Department of Homeland Security,” reads the statement, “which proves today’s decision has nothing to do with security.”
Instead, DJI is accusing the US of using cybersecurity as an excuse to stifle competition and give US-based drone makers a chance to catch up to the Chinese company’s market dominance.
“We are opposed to the politically-motivated country of origin restrictions masquerading as cybersecurity concerns,” concludes DJI, “and call for policymakers and industry stakeholders to create clear standards that will give commercial and government drone operators the assurance they need to confidently evaluate drone technology on the merits of performance, security and reliability, no matter where it is made.”
There is no official word on how long this “temporary” ban is set to remain in effect, but it will take a new order from the Secretary of the Interior to overturn it, so for now the answer is “indefinitely.”
Indian wedding photographer Ankita Asthana recently traveled to Rome for a shoot and brought along the $8,000 Nikon NIKKOR Z 58mm f/0.95 S Noct lens to test out. She shares her thoughts and a behind-the-scenes look at the shoot in this 7-minute video.
Priced at $8,000, the Nikon Z 58mm f/0.95 S Noct is the fastest NIKKOR lens ever.
“My first impression is that I am truly impressed by this lens,” Asthana tells PetaPixel. “Impressed by its optical image quality.
“The thing that makes this lens stand out is that it gives no chromatic aberration, no fringing that I could observe. Another thing is that it is almost absolutely distortion-free. You can capture really clean straight lines.”
“This lens also has a very close focusing distance,” Asthana says. “That helps in going close and capturing just the eye! At f/0.95, it gives a gorgeous bokeh and, if you nail the focus, a beautiful image.”
“It is completely manual focus, but I like that because it gives me a challenge when I shoot, and by not relying on autofocus, you can choose exactly where you want the focus to be,” Asthana continues. “They have given a digital display to help with the focusing, and you can set the focus at a distance that you want.
“It gives sharp edge-to-edge details, even around the corners of the image. The razor-thin depth of field is to die for!”
“I photographed a lot of my subjects at night after the sun went down and was surprised at what I could achieve with this lens in low ambient light,” the photographer says. “It is really true to its name — Noct, Nocturnal!”
“The downside is the weight of the lens, which is a lot, and it is not made for long hours of shooting handheld,” Asthana says. “If you use it right for a few specialty shots, though, it is quite manageable.
“The result more than makes up for its weight. After I shot for a few days on this lens, I almost didn’t feel like picking up any other!”
“Possible uses in weddings are in low light conditions and tight spaces,” Asthana concludes. “Also for engagement sessions and couple shoots.
“I can’t wait to try it at real weddings. I love the magnification of 58mm — not too tight, not too wide, it is the perfect lens for portraiture. It could also be put to good use while capturing nightscapes and astrophotography as well.”
