![]() ![]() It exhibits almost no coma when shot wide open. This is the reason we love the Nikon 14-24mm f/2.8. Why? Because that’s what’s best for star-point and Milky Way photos. In night photography, we want fast ultrawide lenses in which coma disappears or is nearly nonexistent at f/2.8. All lenses have coma to some degree, but some lenses are certainly better than others. So the better alternative is to have a lens that doesn’t need to be stopped down to begin with. But that’s an aperture that’s not usually wide enough to create shutter speeds that can capture sharp stars in an astro-landscape image. The aberration is likely to sufficiently diminish by f/5.6. The easiest way to reduce or eliminate coma is to stop down the lens. It appears less so at the top and side edges, and is unlikely to (but could) appear at the center. When coma occurs, it is strongest at the corners of the image. The most common culprits are lenses with apertures of f/2.8 or wider, which are exactly the lenses that are best for astro-landscape photography. As I test, my primary criterion is-you guessed it-coma.Ĭoma most often occurs on fast, wide lenses. So I am testing a bunch of lenses to see exactly what I want to be carrying in my backpack. As I move fully to mirrorless on my Nikon Z 6, I want to replace all my F-mount lenses with native Z-mount equivalents. In fact, Lance Keimig was who first taught me about it. And I know my colleagues at National Parks at Night also care about it at the same level. Coma is one of those things that matters to me. When I got serious about astro-landscape photography, I paid attention to certain things that I believed directly affect the quality of the final image. LIGHTING PAINTING WINGS PIXELSTICK FULLTo be frank, I’d rather re-shoot with a better aperture or lens than correct a photo full of coma. I was quickly trying to get the exposure before these boys left or their balloons popped.While not impossible to work with in post, coma is tedious to repair (or to clone out, or to paint out with special brushes). so I simply adjusted the aperture to get the desired exposure.Ī side note here: the biggest enemy in my photography and I would wager in yours is panic. On my X-Pro2 I needed a flash sync of 1/250 sec. LIGHTING PAINTING WINGS PIXELSTICK MANUALOf course, all this is done in manual mode. Get it as dark or as light as you want it. ![]() What I have learned, (wax on) is to first expose your scene for the background. I quickly asked Nayoung to stand in as my model while I frantically tried to get the exposure of the sky correct. The boys were silhouetted against a late afternoon sky.his was too good to pass up. As we arrived I noticed two boys flying red balloons from fishing poles. Sometimes the best moments are serendipitous. Pete, Simon and their respective partners and I arrived early to scout the right location and set up the gear. We were a rather large group: Pete and his partner Nayoung, Simon and his wife Jayoung, Vijiakumar Shunmugam from a local Facebook photo group,and Chrysmic Qmin and her boyfriend Yaan Sin Lee. But the weather changes here by the minute, so who know? We risked it and drove to Vanilla Bay. It has rained every day here since arriving back to Malaysia in September. The only real issue is there has not been a significant sunset for many days. They suggested we go to the very southern tip of the island to a place called Vanilla Bay and shoot against the sunset. They wanted to introduce me to light stick called a Pixelstick. Simon has a new toy he is still learning to use. Simon and Pete invited me to try out light painting. They are more into creative techniques and photo magic such as light painting. These guys shoot a very different style than I shoot. Simon and Pete are both relatively new to the area they arrived here while I was away in the U.S. In this exposure, the flash needed a lot more power.įor the past few weeks, I have been getting to know a couple of new photographers in my town, Simon Bond, and Pete DeMarco (another Pete). When shooting in manual it is just a matter of making an exposure then adjusting it. ![]()
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