View allAll Photos Tagged NanoCoatings
Colorful coated windows of the building for Applied Sciences of the Delft University of Technology, Netherlands
Image taken with my new Haida NanoPro 100-Pro Series, a 15stops ND filter, circular polariser (CPL) & 3 stops Soft GND from their new NanoPro Series which adds a layer of nanocoating to the surface of the filters to keep them clean. Here is an example of the set up n how this works.
© Pat Law. All rights reserved.
Image taken with my new Haida NanoPro 100-Pro Series, a 6stops ND filter, circular polariser (CPL) & 3 stops Soft GND from their new NanoPro Series which adds a layer of nanocoating to the surface of the filters to keep them clean. Here is an example of the set up n how this works.
© Pat Law. All rights reserved.
This is the "official" vinniev headshot of the Nebelung Fur Gremlin , Gianni J. Cat. (I will admit he is my favorite of the two) The reason for the apparent stillness of a this other highly energized ball of fur that is either in motion or taking a nap in between inhaling food or pouncing on the other Nebelung Fur Gremlin , Valentino J. Cat is that I have the Nebelung fur gremlin memorized with his kyptonite. Boar's Head Honey Maple Glazed Turkey. In it's presence the wild Nebelung fur gremlin is rendered helpless. Pro Tip: Never enter the wild wilderness of a living room commandeered by Nebelung fur gremlins unless you armed with this. Your life and safety may depend on it.
Shot with a Nikon D850, 24-120mm nanocoated f4 @ 3600iso
Post processed with Capture NXD, Photoshop CC, Niksoftware OnOnesoftware.
#Nikon100 #NikonAmbassador #nikonlove #lexar #kelbyone #photography #onOne @NikonUSA #nikond850 #D850 #24-120mm f4 #NikonNoFilter #niksoftware #nikonUSA #Epson #wacom #xritephoto #onone #fineartphotography #iamgenerationimage #iamnikon #B&H #PhotogenicbyBenQ #lexarMemory #nikonLOVE @lexarmemory elite photographer #lexarmemory
Image taken with my new Haida NanoPro 100-Pro Series, a 3stops ND filter, circular polariser (CPL) & 3 stops Soft GND from their new NanoPro Series which adds a layer of nanocoating to the surface of the filters to keep them clean. Here is an example of the set up n how this works.
© Pat Law. All rights reserved.
Image taken with my new Haida NanoPro 100-Pro Series, a 3stops ND filter, circular polariser (CPL) & 3 stops Soft GND from their new NanoPro Series which adds a layer of nanocoating to the surface of the filters to keep them clean. Here is an example of the set up n how this works.
© Pat Law. All rights reserved.
Here in Kochistan, getting to fall is a real job this year but we got two days below normal. What a blessing. I found a mini-waterfall on this punk stream but this trickle is probably getting locked up in the first snow this winter, assuming we will have one this year. Egad, I have skied in a Colorado September before but this is a well into October. Good grief, the Denver TV stations are continually starting with weather panics. If they are newcomers to Colorado, they better get back out of town. We like our seasons here.
I returned to Rock Creek above Allenspark with my normal zoom lens to catch wider shots. I am not sure how wet I would get by wading in and walking across. I don't know how many of these logs fell naturally and how many were cut and dropped in place for the Paul Bunyans to camp across the water. Although it looks like a freshet cleared soil from tree roots, this mountain stream is closer to a trickle. it's trout population might be a fantasy although I ought to try it out. I HAD to maneuver to the right spot in order to compose this shot. I used my longer zoom last time I was in this particular spot.
I have been up there several times, the last time with eDDie and knew the area and the route. I am sure that he was not ready for the experience. He was astounded by the number of campers that could pack into this narrow gully by the nasty road/trail. That is why I returned during the week with my normal zoom. Again, I was stuck with my stream shots and ended up with enough for another series.
Actually, Rock Creek flows more directly down through Ferncliff instead of toward Allenspark. The road back to Allenspark follows the hillside while Ferncliff is downhill. There are a large number of possibilities up this creek (pronounced crick in the Rockies) and for me, it lead to the one-legged man in the trouser factory syndrome. As I opened the captures, I usually feel that I left shots behind.
This image was captured with a Nikon D-3x camera with a 24-70 Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software.
Black and White conversion was done in Photoshop CS4 using a combination of NiK Silverefex and the Versace multi channel mixer conversion technique. .
© Vincent Versace 2010
Please join my Welcome to Oz Group on Flickr!! Just click the link below
flickr.com/groups/633424@N23/
Panasonic Lumix LX7-Leica zoom F1.4 - 2.3 /24-90mm (35mm equivalent) Nanocoated. Sensor 1/1.7" (7.44 x 5.58 mm) CMOS
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
This image was captured in Australia with a Nikon D-200 camera modified for infrared. Enhanced color conversion done by LifePixel with a 28-70 mm Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software. Further processing was done in Phorshop CS 5 including running the Lazarus Effect action and Silver Efex Pro 2.0.
Final file is stored and scaled using Genuine Fractals.
© Vincent Versace 2011
Please join my Welcome to Oz Group on Flickr!! Just click the link below
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
This image was captured during my Palm Beach Photographic Workshops Burma workshop. with a Nikon D-200 camera modified for infrared. Enhanced color conversion done by LifePixel with a 24-120 mm VR II Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software.
Black and White conversion was done in Photoshop CS5 using a combination of NiK Silverefex 2.0 and the Versace multi channel mixer conversion technique. .
Final file is stored and scaled using Genuine Fractals.
he camera conversion was done by lifepixel. Enhanced Color Filter Their URL is www.lifepixel.com/affiliate/idevaffiliate.php?id=158
© Vincent Versace 2011
Please join my Welcome to Oz Group on Flickr!! Just click the link below
Pearl Nano Coatings from Pearl - PearlNano.com PearlUSA.net - Pearl Nano Base Coat Auto Body Glass Coating – This is the world’s only Non-Solvent SiO2/ ceramic coating product on the market. This means there are no harsh fumes and no respirators are needed. It is easier to use and will last for over 5 years. It is super-hydrophobic, meaning that is is allergic to the water. Water wont stick to it. It is glossy and forms a very durable coating on the painted surfaces. We have completed the pencil hardness testing that confirms the “Greater than 9H” hardness from SGS and Assured Testing Services.
Pearl Nano Pro (Top Gloss Coat) Auto Body Glass Coating – Similar to the Base coat, but the results are a more super-hydrophobic effect and a higher gloss finish. Water just wont stick to it! The combination of the Base coat and Top coat create a 3D matrix effect. These super durable and scratch resistant layers protect the surface for years and makes the car look awesome! It is also easier to clean and does not need to be waxed again.
Pearl Nano Glass Window Treatment – After cleaning your window and then priming it with our Pearl Glass Prep Cleaner, the Pearl Nano Glass Coating goes on with a microfiber applicator. This incredible product creates a super-hydrophobic effect on the surface of the glass that repels water and dirt for 2-5 years. Did you know that *&^%-X (top retail window product) only lasts a week or so? Pearl Bulletproof Glass lasts 250 times longer and works better. It makes driving in the rain much safer.
How does it work? It actually chemically and physically bonds to the glass. It coats the microscopic hills and valleys of the glass surface with a super hard, silica based coating that will last over 500,000 widow wiper passes. It is literally harder than glass. We have tried to remove it with gasoline and 10 other harsh chemicals with no luck. We washed it all off, and it was just as super-hydrophobic as before. This is one of the most amazing product I have ever seen and I cannot wait to share it with you! You are going to love to drive in the rain, just to watch it work! - Get our Sample Pack and Price list now!
Pearl Nano Coatings from Pearl - PearlNano.com PearlUSA.net - Pearl Nano Base Coat Auto Body Glass Coating – This is the world’s only Non-Solvent SiO2/ ceramic coating product on the market. This means there are no harsh fumes and no respirators are needed. It is easier to use and will last for over 5 years. It is super-hydrophobic, meaning that is is allergic to the water. Water wont stick to it. It is glossy and forms a very durable coating on the painted surfaces. We have completed the pencil hardness testing that confirms the “Greater than 9H” hardness from SGS and Assured Testing Services.
Pearl Nano Pro (Top Gloss Coat) Auto Body Glass Coating – Similar to the Base coat, but the results are a more super-hydrophobic effect and a higher gloss finish. Water just wont stick to it! The combination of the Base coat and Top coat create a 3D matrix effect. These super durable and scratch resistant layers protect the surface for years and makes the car look awesome! It is also easier to clean and does not need to be waxed again.
Pearl Nano Glass Window Treatment – After cleaning your window and then priming it with our Pearl Glass Prep Cleaner, the Pearl Nano Glass Coating goes on with a microfiber applicator. This incredible product creates a super-hydrophobic effect on the surface of the glass that repels water and dirt for 2-5 years. Did you know that *&^%-X (top retail window product) only lasts a week or so? Pearl Bulletproof Glass lasts 250 times longer and works better. It makes driving in the rain much safer.
How does it work? It actually chemically and physically bonds to the glass. It coats the microscopic hills and valleys of the glass surface with a super hard, silica based coating that will last over 500,000 widow wiper passes. It is literally harder than glass. We have tried to remove it with gasoline and 10 other harsh chemicals with no luck. We washed it all off, and it was just as super-hydrophobic as before. This is one of the most amazing product I have ever seen and I cannot wait to share it with you! You are going to love to drive in the rain, just to watch it work! - Get our Sample Pack and Price list now!
Not every person has the same kinds of talents, so you discover what yours are and work with them. Don't try to be Me , or try to be
Frank Lloyd Wright , or try to be I. M. Pei . Try to be yourself. You have to understand what drives people to build buildings. Frank Gehry
It is Best to View my Works Here
NB: Berne Convention for the Protection of Literary and Artistic Works
Pearl Nano Coatings from Pearl - PearlNano.com PearlUSA.net - Pearl Nano Base Coat Auto Body Glass Coating – This is the world’s only Non-Solvent SiO2/ ceramic coating product on the market. This means there are no harsh fumes and no respirators are needed. It is easier to use and will last for over 5 years. It is super-hydrophobic, meaning that is is allergic to the water. Water wont stick to it. It is glossy and forms a very durable coating on the painted surfaces. We have completed the pencil hardness testing that confirms the “Greater than 9H” hardness from SGS and Assured Testing Services.
Pearl Nano Pro (Top Gloss Coat) Auto Body Glass Coating – Similar to the Base coat, but the results are a more super-hydrophobic effect and a higher gloss finish. Water just wont stick to it! The combination of the Base coat and Top coat create a 3D matrix effect. These super durable and scratch resistant layers protect the surface for years and makes the car look awesome! It is also easier to clean and does not need to be waxed again.
Pearl Nano Glass Window Treatment – After cleaning your window and then priming it with our Pearl Glass Prep Cleaner, the Pearl Nano Glass Coating goes on with a microfiber applicator. This incredible product creates a super-hydrophobic effect on the surface of the glass that repels water and dirt for 2-5 years. Did you know that *&^%-X (top retail window product) only lasts a week or so? Pearl Bulletproof Glass lasts 250 times longer and works better. It makes driving in the rain much safer.
How does it work? It actually chemically and physically bonds to the glass. It coats the microscopic hills and valleys of the glass surface with a super hard, silica based coating that will last over 500,000 widow wiper passes. It is literally harder than glass. We have tried to remove it with gasoline and 10 other harsh chemicals with no luck. We washed it all off, and it was just as super-hydrophobic as before. This is one of the most amazing product I have ever seen and I cannot wait to share it with you! You are going to love to drive in the rain, just to watch it work! - Get our Sample Pack and Price list now!
This image was captured with a Nikon D-3x camera with a 70-200mmVR Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software.
© Vincent Versace 2010
Please join my Welcome to Oz Group on Flickr!! Just click the link below
flickr.com/groups/633424@N23/
This image was captured with a Nikon D-3x camera with a 70-200mmVR Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software.
© Vincent Versace 2010
Please join my Welcome to Oz Group on Flickr!! Just click the link below
flickr.com/groups/633424@N23/
This image was captured with a Nikon D-2x camera with a 24-70 Nanocoated lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software.
Black and White conversion was done in Photoshop CS4 using a combination of NiK Silverefex and the Versace multi channel mixer conversion technique. .
© Vincent Versace 2010
Please join my Welcome to Oz Group on Flickr!! Just click the link below
flickr.com/groups/633424@N23/
This image was captured with a Nikon D-3 camera with a 70-200mm f2.8 Nanocoated VR II lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software. Lighing was sunlight reflecting of of a black asphalt street bouncing off off a terracotta wall. Subject was sitting on the steps leading to my house.
Black and White conversion was done in Photoshop CS4 using a combination of NiK Silverefex and the Versace multi channel mixer conversion technique. .
© Vincent Versace 2010
Please join my Welcome to Oz Group on Flickr!! Just click the link below
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Sandia National Laboratories’ Hongyou Fan at work with nanocoatings in his lab.
Photo by Randy Montoya.
Read more at bit.ly/2MOfFCC
This image was captured with a Nikon D-700 camera a 28-70mm Nanocoated Nikon lens using the Nikon electronic file format (.Nef) Shot on Lexar 8 gigabyte UDMA Flash media. this file were post processed using capture NX 2.0 software and Photoshop CS5 using Nik SharpenerPro 3.0, ColorEfexPro 3.0 Tonal contrast, Silver Efex Pro 2.0.
Final file is stored and scaled using Genuine Fractals
Images were captured during the Focus on Nature workshop with John Paul Caponigro.
Find out more about Focus on Nature here. focusonnature.is/
Get Priority Status for all 2011/12 workshops now by emailing einar@focusonnature.is.
© Vincent Versace 2011
Please join my Welcome to Oz Group on Flickr!! Just click the link below
Pearl Nano bonds to clean glass only chemically and physically and cures at a 7Mohs hardness (equal to Quartz). 500K to 1M wiper wipes and it will still be they’re doing its job. This super hydrophobic coating will last for 2-5, maybe 10 years. Cars, Boats, Showers, Mirrors and many other glass items. Nothing comes close to the science and performance of this coating. I am currently helping a dozen people, in different cities; secure windshield-coating contracts with bus, trucking, EMS & taxi companies. You may want to consider the same. Let me know if I can help.
If you are interested to buy Pearl Nano Coatings, kindly contact David Elliott - USA dave@PearlUSA.net. Director of Marketing Waterless Car Wash Innovator Pearl Nano Coatings Division Manager.
Pearl Nano Coating Autobody formula contains both hydrophobic and hydrophilic properties, it’s application to vehicle paintwork will give you that “super hydrophobic” visual effect, along with superior scratch & abrasion resistance. Pearl Nano Base and Pro are both designed to provide protection and gloss that will surpass even the most particular clients expectations. If you are interested in purchasing the Pearl Nano Coating products, please contact Dave and set up a time/ date/ time to meet – On the phone or on Skype. Dave@PearlUSA.net., call 1-866-285-1051 or Visit us: www.pearlnano.com Ask about ordering a sample kit, our latest price list and the five 3-Pack special kit of Pearl Nano Coating products.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
D3x_GARY_KROLL
This image was Photo-Roto Photo Rueter Photo-Realized with a Nikon D-3x camera with a 70-200mm f2.8 Nanocoated VR II lens using the Nikon electronic file format (.Nef) Shot on Lexar 16 gigabyte UDMA Flash media. file was post processed using capture NX 2.0 software, Photoshop and Nik Color Efex 4. Lighting was sunlight reflecting off of a black asphalt street bouncing off off a terracotta wall, westcott 30" skylght reflector for keylight. Subject was sitting on the steps leading to the upper shooting deck of my studio.
inal file is stored and scaled using Perfect Resize AKA Genuine Fractals.
© Vincent Versace 2011
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Even though there are other water resistant phones in existence, the Xperia Z is the only one that also has a sleek and stylish design, an amazing 5-inch full 1080p HD display, and an advanced 13 megapixel camera. blog.pre-pay-as-you-go.co.uk/2013/03/09/sony-xperia-z-are...
Sandia National Laboratories’ Hongyou Fan at work with nanocoatings in his lab.
Photo by Randy Montoya.
Read more at bit.ly/2MOfFCC
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.
Over the span of summer, I've been wanting to secure a space for the Nikon in my kit by replacing my 50 1.8G for a "super 50mm" lens. I've been comparing the 58, the sony A7+ZA55 combo and the Sigma 50ART as candidates. Although the 50ART and the ZA55 rate many times higher than the 58 almost everything, I still went for the 58 for the way it renders life and from images I've shot with it (these are the first ones), it's plenty sharp for me. There are clearly no such lenses in the dSLR world that has autofocus and the rendering quality of the ZM C Sonnar 50mm f/1.5 (despite its field curvature problem) aside from the 58.
The way it brings the subject into the frame and the way it makes the background go wild in such interesting yet smooth yet undistracting way (so many ways) is perhaps the one reason why this lens exist and for those who truly understand its purpose can create images of the unique (all of this with the usual 2000$ Nikon lens goodies of Nanocoating and optical magical colors etc...)
Now to use this lens, you absolutely need an AF system that needs to keep up with it. Since the lens has the strong design intentions of Haruo Sato (well respected lens designer at Nikon), most of the emphasis has been put on balancing correction (aberations, glow) with rendering (colors, bokeh, etc) and has resulted in a very short depth of field focus zone that needs to be nailed wide open. I was fortunate to have the D750 to calibrate the lens with (it took a week or two to get it perfectly right to an absurd number).
If you are new to 50mm lens, by all means go for the 50 1.8g or go for anything else than this pricey one. You buy the 58 because you have tried all and you require the lens to accomplish something specific in which not many lens company has had the guts to make in this day and age of high technology, in this case bokeh rendering.