In the past few days we have traveled from Colombo, Sri Lanka to Singapore to Auckland, New Zealand to Hobbiton to Rotorua. There have been several long flights and the jet lag has really been messing with my internal clock. We’re currently staying at an amazing lodge in a lush forest on the rim of an extinct volcano. This is the first Chance I’ve had to sit and collect my thoughts about our trip up to this point.
We’ve been on the road for about five weeks and we’ve traveled to nine countries. They are: Austria, Hungary, Czech Republic, Slovakia, Germany, India, Sri Lanka, Singapore and New Zealand.
The journey has been absolutely remarkable and neither myself nor Christy can pick one thing that stands out above all our other experiences. Everything has been a peak experience. However, all of our time in India with Rohit was joyous and special, it is something we will always cherish.
One of the great revelations of the trip was my new Fuji X-Pro2 travel camera outfit. It was a little rough to use on safari where I wished I had my Nikon with a longer lens but it did surprising well nonetheless. The Fuji performed flawlessly as an urban camera, for landscapes, documentary and street photography. I am currently writing a full review of the Fuji as a travel and expedition camera.
I have quite a bit more to say about our experiences on our third full around the world expedition so stay tuned.
I have been using this lens as my go to wide angle zoom since 2011. I own many other Nikon mount lenses yet continue to use this lens because it is has outstanding build, sharpness, rendering and value. Wide angle lenses are a Nikon specialty and the 16-35 f/4G ED VR is a fine example of that tradition.
The 16-35 f/4G ED VR was announced in February 2010 and was originally intended to be used for travel, architectural photography and photojournalism. It is a full frame G type lens featuring a metal barrel and weather sealing consistent with Nikon’s professional series of lenses. There is a rubber gasket on the rear where the lens attaches to the camera via the Nikkor F bayonet mount. The lens is 3.2 inches (82.5 mm) in diameter and 4.9 inches (125mm) in length. It weighs 24 ounces or 680 grams, has internal focusing, and a constant f/4 aperture with 9 rounded blades. The VR II image stabilization gives up to 2.5 stops of increased low light hand hold ability.
So how does the lens feel and function? It’s comfortable in the hand and balances well on both the D810 and Df bodies. The AF-S autofocus is smooth and reliable while autofocus speed is average, a lot of this depends on the camera. I don’t shoot fast moving sports or wildlife so I can’t tell you how fast it would be on a D5 or D500. The VR II works great and I love to shoot it in dim interiors and low light. The f/4 maximum aperture is plenty for a full frame wide angle lens for it’s intended use. I own the 24mm f1.4G and rarely if ever shoot it wide open under those conditions and if I did need that particular rendering and shallow depth of field, the 24 is the lens I would use. I might also take along a tripod, but that’s a different style of shooting and defeats the purpose of having a stabilized wide angle zoom.
For the sake of argument let’s take that f/4 maximum aperture and apply 2.5 stops of increased hand hold ability, f/4 f/2.8 f/2 f1.4. We end up at the same place. The f/4 with VR II has the same low light hand hold ability, under the same circumstances as the f1.4 prime. The question you have to ask yourself is “what are you trying to say with your photographs?” Which lens better suits your intended purpose under the conditions you intent to shoot?
The 16-35 f/4G ED VR is a walk around lens, it’s designed for shooting on the move and in this role it functions very well indeed. I’ve used it extensively for travel, architecture and street photography. In low light, no light, crap light, in the dust of the Sahara desert, on moving boats, in the rain, the back alleys and jungles of North Africa and India and just about everywhere in between. The lens just works and does what I want it to do.
Because I travel and photograph often under adverse conditions I value the fact that this lens is weather sealed and can stand up to heavy use. Are there better lenses on the market? Sure, I have access to several superb Nikkor and Zeiss primes, but then I’d be changing lenses more frequently and carrying more bulk and weight. The value of a rugged sealed zoom is that I don’t have to swap lenses and expose the interior of my camera to all the environmental junk that can foul things up. Certainly there is a time and place for gorgeous primes but I try to pick the appropriate tool for the job at hand.
The 16-35 f/4G ED VR has a 77mm filter diameter. I always use B+W XS-Pro UV filters on the front of all my lenses. The only other filter is use is a B+W XS-Pro Kaesemann Polarizer. I have two of them in different sizes. I have not had any vignetting issues on this lens with the XS-Pro filters.
All images in the post are hand held available light photographs.
What the heck is pre-visualization? This term was first popularized in the early 20th century by some of the great landscape photographers shooting their beloved large format view cameras. Changing environmental conditions and the fleeting moment required these photographers to have an exacting knowledge of the behavior and magical alchemy of light, lens, film, filter, process and print. It was always about the print. While setting up and exposing a single sheet of film they knew exactly what the end result would be when they pressed the shutter release.
Many people are familiar with the story behind Ansel Adams’ famous “Moonrise, Hernandez, New Mexico”. Adams saw the scene, saw the moon and loved the light. Getting out his gear he couldn’t find his light meter but knowing the brightness of the moon he set the exposure on his large format camera accordingly and exposed one of his most beloved photographs. He was a technically experienced photographer and through the process of pre-visualization he knew what he wanted and how to get it.
Some of the most admired and respected photographers in history came from disciplines other than photography. For example, Edward Steichen was trained as a painter, Paul Strand had first been a film maker and of course Henri Cartier-Bresson was a painter and sketch artist. Cartier-Bresson maintained that he never stopped drawing and that his ubiquitous Leica was an instant sketch pad. The point of all this is that these great photographers were visual thinkers, experts in non verbal communication and used the photographic medium to speak their particular language. Their artistic instincts, experience and training prepared them to look at the structure of a scene, the light and geometry and whether or not it was worthwhile pressing the shutter. It’s not an easy thing to do well.
If you find your photographs lacking, spend time looking at and learning from the masters, study the structure of their images, look at their interpretation of light, line, and rhythm. Cross train, pick up a pencil and draw something you see, write, let your creative juices flow.
Next time you start to press the shutter, take a moment to pre-visualize and ask yourself these questions. Does everything inside the frame contribute to the strength of the image? Is there anything I can do differently to improve the light, or geometry of the image? Contemplate what you are trying to say and ask yourself if the image would speak for itself when printed and framed on your wall.
How do you see? What angle of view represents your artistic “vision?” Recently I was having this discussion with some friends and I learned that we, as humans, have a visual field equal to about a 43mm full frame lens. This is why 35mm and 50mm lenses feel so comfortable. However, angle of view does not necessarily equal your artistic sensibilities or best lens option. Then of course, the question becomes, “what is the one lens that represents you”? This got me thinking. Pulling up Lightroom, I performed an experiment.
In Lightroom 5, I clicked on my good file in the left hand column of the “Library” module and placed the images into grid view. A filter menu appeared on top of the grid and I selected “all dates”, “all cameras” and “all lenses.” I wasn’t too surprised by the results. Greater that half of my “keepers” were taken in the 16-35mm focal length. This is how I see. The next block was taken with the 70-200mm and the third largest block with the 50mm prime, then 24mm prime and finally 28mm prime.
Ok, this makes sense since these are the lenses I use most, however I wanted to know more, so selecting “16-35 lens” and switching to the “Develop” module, I was able to look at each individual photograph in this folder, and it’s specific focal length and metadata. I did this by going into the “View” menu and selecting “Loupe Info” and “Show Info Overlay.” This allowed me to have a much closer and detailed look at my images and to my surprise, the majority of the keepers were taken between 18mm and 28mm with very few at the 35mm length.
Even though the 28mm prime was far down on the list, metadata revealed I used the 16-35mm zoom most often at the 28mm focal length. Interesting. It’s a funny thing but I’m reminded of the Robert Capa quote “if your pictures aren’t good enough, you’re not close enough.” After this little metadata experiment and my realization on how I use focal length, I appreciate his sentiment more and more.
Now the moment of truth, how do I see? What is my best lens for everyday photography and travel? Given a little wiggle room I would answer the 16-35 f/4 VR so all my bases are covered but that isn’t a satisfying response. The one prime focal length I would choose above all others would be a 24mm f/1.4. Why? Being midway between 18-28mm, it’s wide enough to convey strong graphic elements while inviting me to get in close. A 24mm lens has less problems with proportion distortion than wider lenses allowing more intuitive composition, yet it lets me photograph what I see in a spontaneous way. Also, a 24mm is easy to hand hold in low light.
Next time you want to travel light and grab that one lens, what will you choose?
How does traditional art influence your image making?
Mist covered mountains on paper and silk paintings have filed my imagination since my late father brought one home from a trip to Beijing long ago. He loved Asia and China in particular. I think it’s because of his influence that I have also had a special place in my heart for Asia and always jump at a chance to travel there. Although it wasn’t obvious to me when I took it, this particular photograph was inspired by the mythical China we see in traditional art.