Sigma 135mm

[Abitconfused]

With D10 how to get Mup and delay time simultaneously?

[Manfred M]

With D10 how to get Mup and delay time simultaneously?

You can't. Why do you need both functions at the same time?

[Abitconfused]

You can't. Why do you need both functions at the same time?

So there is no movement when pushing the shutter...?

[Manfred M]

So there is no movement when pushing the shutter...?

Aha - you don't have a remote release. That's what I use.

[Abitconfused]

Aha - you don't have a remote release. That's what I use.

Recommended model?

[William W]

Classic Newtonian physics. However, given the momentum of the mirror, whatever cushioning Nikon uses, and the enormous mass of the D810 + Sigma 135mm while mounted on a ball head and tripod that could support an elephant (yes I overbuy at times) I suspect the mirror slap effect is negligible.

What Manfred wrote.

Additionally, I've done a lot of field testing with various lenses (all Canon EOS gear), and the mirror makes a short (time) and small (distance) vertical movement through the lens and camera rig.

As Manfred mentioned a longer (i.e. physically longer) lens accentuates this issue.

The simple reason that the resultant blur is (noticeable) for the Shutter Speed range 1/100th to 1/4th second is because faster than 1/100th the Shutter is quick enough to not catch much of the movement and longer than 1/4th second the shutter is open for a relatively longer time, than the duration of the movement, thus the 'blur' constitutes on a small time period of the total exposure time.

In my testing I found (as a quick wrap) that:
> 1/20th to 1/4th was ‘the most dangerous range’ of Shutter Speeds;
> Camera to Tripod mounting was more susceptible than Lens to Tripod Mount via Lens Tripod Mounting Ring;
> Lighter lenses (mass) were more less susceptible than Heavier (mass) lenses, (for example 400/5.6 worse than 400/2.8);
> Not necessarily confined to “extreme telephoto” lenses and “big enlargements”, having produced a noticeable mirror slap blur using the EF 100/2.8 Macro for close up work and when not using the Lens’s Tripod Ring Mount – though “Close Up Work” is sort of like “big enlargement”.

Not sure of your Camera’s functionality, but with Canon EOS, the best practice is (with solid Tripod and Head):
Tripod Ring to Lens Mount (if possible)
Set Exposure, Frame and Focus
Set Mirror Up
Wait 1 second
Release shutter using Remote release; if you do not have a Remote Release, your camera might allow you to employ Delayed Shutter Release.

An alternate method is not use a tripod and to sandwich the lens between two sandbags, though using this method impacts on the ease of framing the shot.

Incidentally, as well as for the general stability of the rig, and for the poise and comfort of the Photographer, for slower shutter speeds (e.g .around 1/125) the mirror slap is another reason why you’ll see experienced Photographers leaning their left hand, full palm downward, at the top end of a long telephoto lens (e.g. a 500mm lens) when using that rig on a Monopod. This was more necessary with older cameras(e.g. SLRs) where (typically) the Mirror Box Assembly was not as well insulated for vibration and/or the baffles wore/deteriorated more easily.

WW

[Manfred M]

Recommended model?

Depends on your needs. I do some rather strange things so I tend to own some higher end, more talented units from a Vello Shutterboss III through to a CamRanger.

If you are looking for something cheap, one of the cheap wired 10-pin units that are compatible with the D810 are all you need. I know Vello makes one for under $10 and I'm sure you can get something for even less from Amazon or eBay.

[William W]

. . . if you do not have a Remote Release, your camera might allow you to employ Delayed Shutter Release. . .

Obviously not.
Sorry I was not up to date with the additions to the conversation.

[george013]

D4. mirror up, delay of 1,2 or 3 sec, exposure.
Further info of different combinations https://photographylife.com/exposure-delay-mode.

Classic Newtonian physics. However, given the momentum of the mirror, whatever cushioning Nikon uses, and the enormous mass of the D810 + Sigma 135mm while mounted on a ball head and tripod that could support an elephant (yes I overbuy at times) I suspect the mirror slap effect is negligible.

It's not the force on the camera, but the force on the tripod junction, the twisting on that. That depends on the stability of the tripod, the quality of the tripod head, the quality of the connection on the camera/lens, the weight of the camera lens, the division of that weight, the division of the size of camera and lens and even on the pixel size of the sensor.


George

[Shadowman]

Ed,

I've only used Sigma lenses a few times so not that familiar with the brand, at a recent photo exhibit I picked up a Sigma catalogue and looked through the technology/reference terminology (DG/DC/APO) and noticed that APO referred to ELD/FLD (low dispersion) glass and this was a design to counter chromatic aberration. In the link below you were asking about CA and I thought with your reference to the 135mm and other users positive comments that perhaps CA might be one of the factors that the 135mm was rated so highly. As you've found out for yourself other camera settings/accessories used with the lens can enhance the quality of the lens; also some lenses are more suited for a particular genre of photography although we'd like to believe that any lens should be capable of tackling any particular scenario.

Chromatic aberration... again!

[Manfred M]

John - CA is simpler to correct on a fixed focus lens than it is on a zoom simply because the lens designer only has to concern himself (or herself) in optimizing the design for a single focal length. CA is a result of the different wavelengths not focusing exactly on the same plane. Low dispersion glass and aspherical lens elements are some of the tools that the designer uses to accomplish this.

In a zoom lens, the situation is complicated not only by the subject to focus plane distance (which is also there in a fixed focal length lens), but also with the range of focal lengths that have to be dealt with.

[Shadowman]

John - CA is simpler to correct on a fixed focus lens than it is on a zoom simply because the lens designer only has to concern himself (or herself) in optimizing the design for a single focal length. CA is a result of the different wavelengths not focusing exactly on the same plane. Low dispersion glass and aspherical lens elements are some of the tools that the designer uses to accomplish this.

In a zoom lens, the situation is complicated not only by the subject to focus plane distance (which is also there in a fixed focal length lens), but also with the range of focal lengths that have to be dealt with.

Interesting that my 70-300mm lens has ED glass which is supposed to compensate for CA yet its DxO score for CA is 15 microns which is considered a somewhat poor score and my 85mm lens which doesn't have ED (or doesn't state that it does) has a score of 4 microns which is considered a good score. I know the DxO scores are subjective; especially with how DxO tests lenses (dots on glass) and how CA usually presents itself during my shooting events. I wonder if DxO scores would be different if each lens was tested on relatively the same scene/lighting conditions that resulted in CA.

[Manfred M]

Interesting that my 70-300mm lens has ED glass which is supposed to compensate for CA yet its DxO score for CA is 15 microns which is considered a somewhat poor score and my 85mm lens which doesn't have ED (or doesn't state that it does) has a score of 4 microns which is considered a good score. I know the DxO scores are subjective; especially with how DxO tests lenses (dots on glass) and how CA usually presents itself during my shooting events. I wonder if DxO scores would be different if each lens was tested on relatively the same scene/lighting conditions that resulted in CA.

This is not at all surprising John. Look at the focal range of the lens - 70 - 300mm versus the single focal length of the 85mm lens. A lot of reasonably fast prime lenses have been built over the years using nothing other than standard glass (flint, crown, etc.) without the need for fancy glass types or aspherical elements. My Leica Telyt 400mm f/6.3 lens is remarkably good and only contains a single Gauss doublet (two bonded pieces of glass). It is over 400mm long too.

Start building fast zoom lenses (f/2.8 and faster) or long focal length variations, retrofocal designs to decrease the overall size of the lens, etc. and the designer needs more in his or her toolkit to deal with those issues. While your 70 - 300mm lens might not rate that well on the DxO lab tests, it would have ranked even worse without those features.

[rpcrowe]

We don't always have the light to enable us to shoot at a high enough shutter speed to handhold many longer lenses (despite high ISO capability and a wide aperture). I really far prefer some type of image stabilization, in-lens, IBIS or both; when shooting with longer focal length lenses.

I use my 70-200mm f/4L IS lens 3-times more often than I ever used the non-IS version because with the help of Image Stabilization, I am no longer a slave to bright light or high ISO.

[Abitconfused]

Dr. King. Sigma 135mm,hand held -1 exposure compensation.

[Abitconfused]

Sigma 135mm saturated blues, desaturated greens & yellows.

[george013]

Did you read and understand post 49?

George

[Abitconfused]

The last two photos are examples of successful shots handheld. The bicycle shot had blues saturated in post-production. I an getting more experienced at holding such a heavy combo of camera and lens together but I am not as steady pushing 70 as a few years ago.

[Abitconfused]

Pipe Number Two. 135mm, f/1.8, 1/3200s, ISO: 100. The detail here is wonderful but I have been told that the 135mm's sweet spot is close to f/2.8.