Bird/Wildlife

FE 90mm F2.8 Macro G OSS | Capture intense wildlife shots | Review by Sebinster Francis

Harriman — Wed, 17 May 2023 04:03:01 +0000

FE 90mm F2.8 Macro G OSS | Capture intense wildlife shots | Review by Sebinster Francis

Harriman Wed, 05/17/2023 - 09:33

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Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F13 | ISO 320

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/1600 sec | F5 | ISO 400

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F22 | ISO 250

Nurturing a love for larger-than-life nature

Since my visit to Kerala, India, I've been fascinated with wildlife shots. There's natural beauty in the mammals, birds, reptiles and amphibians around us, and it's a pleasure capturing these sights on camera.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F22 | ISO 200

Looking through my albums, I appreciate how every photo has its own detailed story to tell – and also narrates my own growth and approach to photography. As my passion for photography and wildlife has grown larger, the subjects I've enjoyed photographing have gotten smaller.

I'm constantly inspired by the creatures around me – especially the tiniest ones! Amidst the beautiful colours and intricate patterns on their bodies, lie secrets that are waiting to be uncovered through macro photos.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F20 | ISO 200

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F13 | ISO 200

My favourite camera and lens pairing for macro wildlife shots is the Sony Alpha 7C and FE 90mm F2.8 Macro G OSS prime lens.

A prime lens is perfect for macro photography

When I shoot, I want to highlight the details every animal I encounter – whether it's a thumbnail-sized frog or a towering African elephant. The details of their eyes, unique colours and spellbinding patterns always amaze me.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F14 | ISO 250

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F22 | ISO 200

Capturing such detail requires a prime lens, as these lenses are well-suited for close-up photography.

Here's a quick look at why I choose the FE 90mm F2.8 Macro G OSS prime for macro shots:

1:1 magnification
Minimum focusing distance of under 1 foot
Incredible image quality and sharpness with optical stabilisation
Internal focusing

Beginner's guide to macro photography

Where should I start?
You can begin your macro photography journey from home! There are many interesting everyday objects that hide fascinating details, which you can uncover with close-up shots. Or take a walk into your backyard (or just outside your home) and observe all the tiny flora and fauna that most people miss, and snap shots of these.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/60 sec | F5 | ISO 500

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/80 sec | F4.5 | ISO 1000

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/1600 sec | F5 | ISO 400

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/100 sec | F4.5 | ISO 1000

This is great practice for polishing up your observation skills and finding beauty in the things we see every day (and often overlook in our busy lives).

Is a macro lens really necessary?
While modern zoom lenses with macro capabilities are available (and are good for snapshots), I've found that nothing beats the FE 90mm F2.8 Macro G OSS prime lens and its ability to deliver life-sized (1:1) magnification – which makes your macro shots truly inspiring.

Also, macro lenses allow you to get extremely close to your subject (under 1 foot away) and achieve an unmatched level of image clarity, quality and resolution.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/160 sec | F16 | ISO 200

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F14 | ISO 320

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/250 sec | F13 | ISO 250

Another reason – or two reasons – why I like the FE 90mm F2.8 Macro G OSS prime lens is its optical stabilisation and internal focusing, which help immensely with capturing incredibly detailed photos.

Getting the most of your prime lens
There are three simple things to note when taking macro shots:

Use the focus limiter
Get as close as possible to the subject
Aim for a 1:1 magnification in your shots

Keep these in mind while practising, and you'll soon have the basics down!

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F14 | ISO 320

What's the benefit of using a lens with an inner focus?
The advantage of internal focusing is that the lens remains the same length. Using an internal focus also reduces the chance of the front element of the lens disturbing the subject – or worse, accidentally hitting the subject as you're focusing.

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F13 | ISO 320

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/200 sec | F14 | ISO 250

Alpha 7C | FE 90mm F2.8 Macro G OSS | 90mm | 1/250 sec | F14 | ISO 250

Also, a lens with an inner focus – like the FE 90mm F2.8 Macro G OSS – is better protected against various weather conditions.

A giant passion for macro photography

What drives me to continue pursuing macro photography? It's the beautiful creatures I come across while on shoots, or when I'm just walking around in nature. Every animal, bird, reptile and amphibian inspires me – and it's especially exhilarating when I encounter a rare sighting.

Whatever your reasons for starting your macro photography journey, I hope this adventure brings you as much joy and fulfilment as it's given to me.

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Bird Photography Part 3: Take Flight into Bird Photography with These Awesome Tips

sneha — Thu, 16 Feb 2023 11:04:08 +0000

Bird Photography Part 3: Take Flight into Bird Photography with These Awesome Tips

sneha Thu, 02/16/2023 - 16:34

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Alpha 1 | FE 600mm F4 GM OSS | 1/4000 sec | F4.0 | ISO 1250

In our last two articles with Sudhir Shivaram (@sudhirshivaram), we discussed how he finds locations to shoot birds, and the equipment that tags along with him. In the final stretch of this three-part series, we sat down with Sudhir and discovered his secret notes and best tips for bird photography.

Sudhir Shivaram has a 'wild' side when it comes to his wildlife photography. A revered name in the wildlife photography scene in India, his photography is greatly loved and respected in the community. Sudhir even has a reputation as an inspirational role model and teacher among younger photographers.

In his youth, Sudhir was always fascinated by birds while jungle trekking. Being away in the forest gave him the opportunity to photograph nature, and his love for birds and bird photography bloomed. Consequently, Sudhir found himself visiting various bodies of water near his home, hoping to catch a glimpse of birds.

Alpha 1 | FE 600mm F4 GM OSS | 1/2000 sec | F4.0 | ISO 2000

Through the years, Sudhir has built a portfolio with his unique style. People instantly recognise his portraits and creative shots of birds. Using an 800mm+ focal length lens for bird photography also results in bokeh and a very clean and smooth multi-tonal background, which contributes to his signature photography look. By keeping his processing simple, Sudhir hopes to keep his photography looking natural and persist with his style.

As a master in bird photography, Sudhir advises young talents to adhere to 4 pillars. "Firstly, the key to bird photography is the comprehension of bird behaviour. Once you are familiar with the way birds behave, their movement becomes much easier to predict and you can easily identify their favourite perching spots. Often, you'll find that the birds are very cooperative with their presence, and this gives the photographer more time to shoot," said Sudhir.

"Secondly, photographers need to have good fundamentals. They need to understand various camera settings and learn the art of composition to make bird photography effective. It can be challenging to get birds in the viewfinder - especially lively and tiny ones. To overcome this, I use a technique with both my eyes open - my right eye through the viewfinder and the left eye looking at the bird. This method gets me a double super-imposed vision, that I can match to get the bird in focus. I use this same technique and it works very well when taking photos of birds in flight," explained Sudhir.

Alpha 1 | FE 600mm F4 GM OSS | 1/6400 sec | F4.0 | ISO 1250

"Thirdly, knowing how to work your camera, and making full use of its features for bird photography is a must. Having shooting techniques also involves knowing your accessories - tripods, various heads, using bean bags and panning pods. Other times, having handheld techniques also brings value to both wildlife and bird photography," said Sudhir.

As a seasoned photographer, Sudhir's approach is distinct from younger photographers. "When shooting, I pre-visualise the shot based on my understanding of the bird's behaviour and camera settings. Often, I would visualise the final edited photo in my mind and angle my viewfinder accordingly."

Alpha 1 | FE 600mm F4 GM OSS | 1/2000 sec | F4.0 | ISO 1600

The final pillar is mastering editing. "I attempt to represent the same image I saw out in the field - nothing more, nothing less. For me, post-processing is about image correction, and not image manipulation. Image manipulation, to me, falls into the digital art category; and while I do not have anything against this, I would advise beginners to work on their photography and keep their images natural instead of manipulated. Having taken so many photographs of birds, I can immediately spot manipulated bird images and unfortunately, such practices can cause a photographer to lose their hard-earned reputation. The most I would do during post, would be colour corrections in the simplest of ways."

With such stringent photography standards, Sudhir finds the Alpha 7 IV to be a breath of fresh air. "I have been a user of Sony Alpha 1 and Alpha series cameras, and I have found that it takes me less time to process my images. A simple colour correction, and photo after photo are stunning in every shot. Bird photography doesn’t get any better than this. With the right techniques, bird knowledge and equipment, anyone can dominate this category."

Don’t miss out on our earlier articles on bird locations and photography equipment!

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Bird Photography Part 2: A Bird Photographer's Kit to Capture High-Flying Birds

sneha — Thu, 16 Feb 2023 10:41:28 +0000

Bird Photography Part 2: A Bird Photographer's Kit to Capture High-Flying Birds

sneha Thu, 02/16/2023 - 16:11

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Alpha 1 | FE 600mm F4 GM OSS | 1/500 sec | F4.0 | ISO 6400

In our last article with Sudhir Shivaram (@sudhirshivaram), we talked about how the bird photographer planned his shooting locations to find and shoot bird activity. In the second of this three-part series, we learn more about the gear he uses to keep high-flying birds in focus without disturbing them at close quarters.

Camera

Being a bird photographer, Sudhir relies on a camera with superior AutoFocus (AF) speed and tracking. "Birds are normally fast, which makes focusing on them a huge challenge. That’s why you need a great camera body with an amazing AutoFocus system. The lens also needs to be fast enough to track the subject even under low light. The Alpha 1 handles capturing every movement and detail very well thanks to the low-light AF and high-noise ISO performance. Because birds are generally small, the Alpha 1's 50 MP lens helps me do a good amount of cropping while retaining a sharp image quality," said Sudhir.

Having control over the aperture, shutter speed and ISO settings are important to keeping the subjects nice and sharp. "I always shoot in Aperture Priority mode and keep the aperture setting to the lowest f number the lens can support. For example, with the Sony 600mm F4 lens, I always keep the aperture setting to F4. With the shutter speed, I generally try to keep to 1/250 seconds and above, but this can change depending on the subject's movement. For shutter speeds between 1/10 to 2 seconds, achieving a clear and sharp image requires photographers to adopt shooting techniques like using a tripod and a supporting fluid head. I also play around with the ISO settings to complement the shutter speed. Generally, this can vary between ISO 400 and above," said Sudhir.

Alpha 1 | FE 600mm F4 GM OSS | 1/160 sec | F4.0 | ISO 3200

Finally, the most important setting in bird photography is the AF settings. "I always shoot in autofocus continuous (AF-C) mode and use the Tracking: Spot S focus area with the bird eye feature enabled. The Tracking: Spot S setting helps me in locking on to fast-moving birds. For the photographer, it is just a matter of being fast enough to keep the birds in the white focus square. Once the subject is in focus, all you need to do is hit the shutter button and the camera eye's tracking technology will handle the rest. The best part of the feature is if your subject unexpectedly leaves the focus area, you can simply release the shutter button and continue tracking from there," said Sudhir.

Lens

Alpha 1 | FE 600mm F4 GM OSS | 1/2500 sec | F4.0 | ISO 1250

One of the toughest challenges in bird photography is approaching the subjects without disturbing it. Pairing his camera with the right lens is important in framing the birds without having to get close to them. "I typically use the FE 600mm F4 GM OSS along with the 1.4x Teleconverter Lens to get an additional reach. The thing I like the most about this lens is its light weight, which allows me greater mobility even while carrying more equipment. When it comes to capturing fast-moving birds, the lightweight lens also makes it easy to hold and balance the camera properly," said Sudhir.

Another attractive feature about the lens, according to Sudhir, is its sharp image quality. "The key aspect of the lens is the high-quality glass which can produce good contrast and extremely sharp images. On top of that, the AF is also quite fast. When combined with the 1.4x Teleconverter Lens, it does not jeopardise the image quality and focus speed," Sudhir added.

Accessories

Taking pictures of birds can take hours, which is why Sudhir packs extra accessories to assist him in his endeavours. "Apart from the camera and lens, I always carry a tripod with a fluid head that allows me to stabilise my shots, no matter where I am shooting from. I also bring a pair of binoculars to keep track of birds' activities and determine the right moment before picking up the camera," Sudhir said.

Other accessories he also carries include:

Additional memory cards and batteries: "You never know how long your photography session will take and how many photos you will capture. It is always good to prepare yourself for extended shooting. When buying extra memory cards, it is best to pick those that have a durable design with a high read and write performance that allows you to take continuous, high-resolution raw photos."
Laptop and card readers: "These two are essential for keeping track of your work and choosing the best photos for your portfolio."
Hat and sunglasses: "During hot, summer months, wearing a hat and sunglasses keeps you protected from the extreme elements so you can focus on your photography."
4TB SSDs: "Backups will help you restore your photographs on the off chance your data gets corrupted."
Sony Alpha 7S III and the 600mm lens: "I use this combination whenever I want to shoot high-quality movies about birds and wildlife."

Alpha 1 | FE 600mm F4 GM OSS | 1/1250 sec | F4.0 | ISO 800

With the right camera, lens and accessories by his side, Sudhir portrays captivating, eye-catching stories with birds. He has but one piece of advice for budding bird photographers, and that is to explore what equipment works for them. "No single set of equipment will work for every occasion, so consider how each subject will react during the shoot. In the case of bird photography, your kit needs to have fast-focus cameras with long focal length lenses that allow you to quickly bring fast-moving birds into focus in a safe and friendly distance. By considering these options, you'll be better prepared to control every shot," said Sudhir.

Check out Part 3 of this birding photography series for Sudhir’s tips to capturing great images, or Part 1 to learn about the best locations to shoot from.

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Bird Photography Part 1: Having An Eagle Eye for the Perfect Bird Photography Locations

sneha — Thu, 16 Feb 2023 10:17:27 +0000

Bird Photography Part 1: Having An Eagle Eye for the Perfect Bird Photography Locations

sneha Thu, 02/16/2023 - 15:47

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Alpha 1 | FE 600mm F4 GM OSS | 1/2000 sec | F4.0 | ISO 2000

Sudhir Shivaram (@sudhirshivaram) is a wildlife photographer from India with a passion for creating inspiring stories about birds and wildlife. A former IT worker, Sudhir left the corporate world to pursue his dreams of capturing the wild side of life. Now devoting his time to wildlife photography, Sudhir hopes to raise awareness on nature's greatest gifts and the need for people to protect them from extinction. He also operates a photography workshop where he helps beginners get their start in photography by imparting basic and advanced shooting techniques and principles. In the first of this three-part series, we spoke with Sudhir about how he planned his locations to create visually stunning bird photography.

Go where the birds go

Alpha 1 | FE 600mm F4 GM OSS | 1/160 sec | F4.0 | ISO 3200

Choosing the right location depends on what photography project Sudhir was going for. "My travel preparation is based on two factors - destination and species. Destination-based photography is straightforward. I would go to parks where I usually frequent, including Bandhavgarh, Ranthambhore, and Kanha, and start shooting. During certain seasons, I would ask my local contacts about what sightings are at the park before travelling. For species-based projects, I would do research on where the species resides and approach my contacts for more information," said Sudhir.

Seasons and physical features are also other factors Sudhir considers as they help to enhance the backdrop of his shots. "In the summer seasons, parks with significant bodies of water provide opportunities to capture wildlife activities. In the winter, I research the species of birds that are likely to migrate to the locale I am in. Usually, flowering or fruiting trees are where birds go for food and nesting when migrating, so these are worth keeping an eye out for. In my opinion, the best time to shoot photos of birds is during the winter, between November and February, when birds are migrating or between April or May when they tend to be in their breeding plumage," said Sudhir.

Alpha 1 | FE 600mm F4 GM OSS | 1/400 sec | F4.0 | ISO 2000

Sudhir's home country of India boasts many nature parks which are perfect for his style of bird photography. "Some of my favourite spots for bird photography include Keoloadeo National Park in Bharatpur, Little Rann of Kutch in Gujarat and Salim Ali Bird Sanctuary in Goa. Besides India, my other favourite locations are Costa Rica and Columbia," he said.

Techniques to soar in bird photography

Those looking to break into bird photography can create perfect shots of birds without leaving their home. "The best part of bird photography is that it can be done in the backyard of your house, so you do not have to go to remote or wild locations. Urban birding is one of the most popular among beginners due to its accessibility. In fact, I started bird photography near water bodies in the city. Check your city map to discover the location of the water bodies and visit them to get a look at the bird activity in the area."

For Sudhir, the right conditions and a good amount of patience goes a long way. "Wildlife and bird photography are similar in nature. The only thing that differentiates these two is how you approach the subjects. In bird photography, choosing the right focal length is one of the toughest challenges as you need to get the bird into frame without disturbing the birds. But the best part is, you will be able to work alone without any distractions and you have more flexibility in choosing shooting locations. Whereas in wildlife photography, you will mostly be in a safari vehicle and you can approach your subjects without scaring them away, but you can also encounter other vehicles which can make capturing the subjects as is difficult," he added.

Alpha 1 | FE 600mm F4 GM OSS | 1/5000 sec | F4.0 | ISO 1250

When taking the shot, great care must be taken when approaching the subjects to avoid disturbing them and scaring them off. "Photographers need to understand how comfortable the birds are in interacting with humans. In locations where birds do not usually encounter humans, I usually travel alone. However, if the birds are not at all bothered with photographers around, I may bring friends or clients from my photography workshop."

Ultimately, the key aspect to becoming a bird photographer is to understand birds and their behaviours. "Reading up on bird-related books will be an immense help in knowing how birds are likely to react under certain conditions. Another way is to become part of online birding groups and meet like-minded people who will be more than happy to give you information to help you get started on bird photography.”

For bird photographers, preparation is key to creating bird photographs that soar above the rest. "My first advice to those looking to pursue bird photography is to equip yourself with knowledge before picking up the camera. Study what birds will do, where they will reside and how they will react so that you can capture a bird's high-flying moments on camera. The second advice is to be patient. There may be times when things do not go your way so you should try and adapt to the situation. Eventually, you will be able to come across an unexpected moment that is perfect for your photo album," Sudhir said.

Check out Part 2 and Part 3 for Sudhir’s equipment and some tips to take your bird photography to the next level.

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Rediscovering the passion for photography

monika — Sat, 18 Jun 2022 06:41:50 +0000

Rediscovering the passion for photography

monika Sat, 06/18/2022 - 12:11

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In the past two years, the uncertainty of circumstances drove Indonesia-based nature photographer Harlim to pick up his camera and rediscover his passion for photography. In his pursuit of elevating his skills in his chosen field, he ventured into birding and deep sky object photography. Today, his newfound love for photography has inspired a community of Indonesian photographers to keep the passion alive amid the waves of challenges.

We sat down with Harlim to talk about his journey in expanding his knowledge of photography and how his work has helped a new generation of photographers.

You explored new genres of photography in the past two years. How did you rediscover your passion for photography?

I used to travel domestically and abroad to do nature photography. Traveling was a part of my daily life. In the past two years, we had to face travel restrictions and I was motivated to seek new opportunities that I might have missed pre-pandemic.

I took the time to learn new things and rediscover my passion for photography, especially exploring new genres of photography. I decided to make the best out of the situation and began to focus on birding photography and deep sky object (DSO) photography using FE 400mm F2.8 GM OSS (SEL400F28GM) and FE 600mm F4 GM OSS (SEL600F40GM) lenses with a magnitude of 1 to 14.1.

Alpha 1 | FE 600mm F4 GM OSS | 1/640sec | F4 | ISO 500

It’s great that even as a professional, you are still venturing out of your comfort zone in photography. Of course, this doesn’t come without its ups and downs. What were some of the challenges you encountered this period and how did you overcome them?

One of the challenges was not being able to travel around easily to practice nature and landscape photography. I delved into birding and Deep Sky Objects (DSO) photography because I can try it out without needing to travel a great distance. I did birding photography in the city forest, secondary forest, and nature reserve around my neighborhood. DSO photography was done on the outskirts of the city, where there is less air and light pollution. I also started still life photography, which can be done around the house.

Of course, I share my work through social media networks, which has gotten traction from the local photography community. I began to receive requests for private mentoring of birding photography to guide them in using the Alpha 7R IV and FE 200–600 mm F5.6–6.3 G OSS (SEL200600G). From one to two requests, my birding photography community has continuously grown since.

An opportunity for this profession (birding photography) has opened with the launch of the Alpha 1, which could detect AF/AE of up to 120FPS and 30FPS at 8K and 4K videos. It also has real-time bird eye detection on still images and AI-based real-time tracking on video.

Alpha 1 | FE 600mm F4 GM OSS | 1/1250 sec | F4 | ISO 500

How did you get into birding and DSO photography?

Birding and DSO are not new to me. I explored birding photography from 1996 to 2005. However, I decided to focus more on landscape photography after. Two years ago, I saw a lot of SEL200600G owners in my community who didn't have activities with that lens, and so I had the idea to start exploring birding photography again. It started with inviting one person and he shared his photos on a WhatsApp photography group, while I shared mine on Instagram. From then on, my Instagram followers in other cities wanted to try birding too.

Alpha 1 | FE 600mm F4 GM OSS | 1/800 sec | F4 | ISO 4000

Meanwhile, I started exploring DSO around 2019, and I used FE 400mm F2.8 GM OSS and FE 600mm F4 GM OSS lenses. I got to say, the FE 400mm F2.8 GM OSS lens is the dream of any DSO photographer, and this is something I’ve known even before I began using it. The brightness of objects in the sky is measured through a unit called apparent magnitude. The scale is backwards, meaning the larger the magnitude, the fainter the object. To give a better perspective, the apparent magnitude of a sun is -26.74. A 400mm lens is usually preferred by many DSO photographers since it can capture even the fainter elements with around 13.3 magnitude in the deep sky.

Other DSO photographers use a refractor telescope. This is similar to a telephoto lens, but it is not designed with autofocus, and significantly heavier in weight. A refractor telescope with 142-150mm diameter can weigh up to 10kg, whereas a telephoto lens weighs less than 3kg. Since both can basically capture the same apparent magnitude, a photography lens is easily the better choice.

Both birding and DSO photography motivated me to invite Indonesian nature/landscape photographers to explore these genres. Currently, Indonesia has an estimated 1,722 bird species, which means a wide array of birds to photograph. This makes it exciting to explore birding photography in the country.

Alpha 7S | FE 400mm F2.8 GM OSS | 30 sec | F2.8 | ISO 4000

Tell us about your experience on birding photography in the city?

In big cities like Jakarta, there are still a number of birds flying around, and some of them are still wary that humans will catch them. They tend to hide within clumps of leaves, which creates the challenge of distance and visibility.

Alpha 1 | FE 600mm F4 GM OSS | 1/4000 sec | F4 | ISO 2500

The best solution for this is to have a lens with a long focal length so that there is a longer time to take pictures, before the birds realize that a camera is pointed at them and fly away. When they are hiding behind the leaves, I remember to keep a light footing and to be very conscious of the noise made with every movement.

It’s interesting to observe how the birding community has grown over time. Can you share with us more about this?

I often share my photos on Instagram, and the birding community has increased since I started posting. There are different birding communities in every city, for example, wildlife birding and concept birding.

Members of these communities constantly upload their birding photos and videos online. The community is growing, and the members are especially motivated by the works of those who use the Alpha 1 or Alpha 7 IV.

Alpha 1 | FE 600mm F4 GM OSS | 1/8000 sec | F4 | ISO 2500

Birding photography invites us back to nature to breathe fresh air and relieve stress, especially pandemic-induced anxiety. The Alpha 1 and Alpha 7 IV make it easy for anyone to approach birding photography! Additionally, this hobby can even be developed into a profession.

It's also fun to dig up information about the species we spot in our shoots. The information is already available on the internet. In our community, I would also suggest studying birding ethics and animal protection laws in each country.

These new experiences significantly help in expanding your knowledge in photography. How do you think all this, including your experience in mentoring budding photographers, has changed your work as we ease into a new normal?

In late 2021, my birding photography community tried something new—birding videography—alongside the launch of the Alpha 7 IV, which has video capabilities with real-time bird eye autofocus. This is a new thing that I can incorporate more of in my work.

Alpha 7 IV | FE 600mm F4 GM OSS | 1/1600sec | F4 | ISO 640

Every change in life will create business opportunities and arrangements. During the lockdown period, we learned new things, which of course, made it easier for us when the travel restrictions were lifted. Since I was able to explore new genres of photography, I can take up not only nature photography, which I was already accustomed to, but also birding and DSO photography in all my travels.

As long as we don't stop trying, we can always use every opportunity to forge new paths.

What other genres of photography can you recommend to hobbyists or amateurs who are struggling with harnessing creativity and exploring other opportunities ?

In general, hobbyists have a big thirst for curiosity that they need to quench. I suggest looking at and studying other people’s work as an inspiration to find ideas on how they would want to execute their next photo shoot. The technical aspects can come next. Here are some examples of photography they can explore.

Sight painting
Still life
Videos for products / still life
Animations such as stop motion

The word “amateur” comes from a French word that means “lover” or “for love,” meaning it is from our love for something that we try to develop skills. I would like to encourage amateurs to join communities as a means of learning and sharing with constructive criticism. In the future, it might become a beneficial platform for you, this is something I have experienced before and have gained from the community.

Alpha 1 | FE 600mm F4 GM OSS | 1/6400sec | F4 | ISO 500

There are a lot of things around us that we may ignore because we are busy with routine activities and are in a comfortable zone. The important thing is to find the courage to dare and try new things.

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Discovering African Wildlife with Richard de Gouveia

monika — Fri, 06 May 2022 12:31:00 +0000

Discovering African Wildlife with Richard de Gouveia

monika Fri, 05/06/2022 - 18:01

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FE 70-200mm F2.8 GM OSS

Richard de Gouveia

Richard de Gouveia envisions his work to reconnect people with Mother Nature and her beauty. Being a wildlife photographer means every day is never the same with some days a little too close for comfort. Sometimes the most daring shots become the most unique ones. With his ever-reliable Alpha 1, it gives him the freedom to create while moving effortlessly between photos and videos. From being a boy dreaming of making a positive impact on nature, he now lives it to tell stories others rarely experience. Read on to find out how you can connect yourself with Mother Nature through photography and how to make your wildlife photos roar.

Alpha 1 | FE 16-35mm F2.8 GM | 16mm | 1/30 sec | F2.8 | ISO 3200

The silhouette of a magnificent baobab tree set against the glory of the Milky Way.

Please tell us a bit about yourself, and what got you into wildlife photography.

I have been drawn to nature since I was young and was fortunate to spend time doing safari with my family. As I grew older, my love for nature never changed and I wanted to leave a bigger impact. I studied environmental management and joined the corporate world with the goal to make a difference there. When I found that it was more of a paperwork exercise than anything else, I reconnected with nature through photography. My intuition was shouting louder than ever to get out of the city and make a life of nature. I sold everything, taking only my camera and my vehicle with me and off I went to guiding school. While studying there, I self-learned photography and found that I had a knack for it. As my guiding career blossomed, so did my photography and the passion for teaching it and sharing it with the world. Now I take people around the world teaching them about the wonders of nature and how to capture meaningful, magnificent images with their cameras.

Alpha 1 | FE 135mm F1.8 GM | 1/640 sec | F1.8 | ISO 3200

A male lion tests the urine of a lioness to see if she is in season. With his flehmen grimace, he is backlit by the spotlight of a vehicle creating a wonderful image.

What made you get the Alpha 1? Why is it the most suitable for your photos/work

I have always been a techno-geek and loved how technology has helped frame our view of the world. My initial change to mirrorless was a quantum leap in my photography and the release of the Alpha 1 would be the next. As a wildlife photographer, guide and content creator, the Alpha 1 was the perfect tool for my arsenal as it is the best camera for photography and videography. It gave me the freedom to create while moving effortlessly between mediums. The art of storytelling has made a strong migration toward video and whilst photography remains my chosen medium of storytelling there is no doubt that just having the Alpha 1 has given me greater opportunity to expand that storytelling to moving images.

The 50MP high-resolution images shows all the details of my subjects so that the viewers may feel like they are there with the animals, birds and landscapes. The speed of focus lets me concentrate on telling the story allowing the camera to track the eyes of my subject while I compose the image. The high frame rates mean the perfect moment is never missed for the story.

The effortless switch between shooting images to 4k video gives another dimension to my story creation. Now I film incredible moments in amazing quality, with pin sharp focus and at high frame rates to show the detail of the movement or interaction taking place in front of me.

Alpha 1 | FE 70-200mm F2.8 GM OSS | 400mm | 1/5000 sec | F2.8 | ISO 400

A zebra remains still as a massive gust of wind kicks the dust around him, putting him in this wonderful situation. I had a few moments to react as the wind hit us first and was heading towards him, so I quickly set up in hopes of capturing exactly this.

What project stands out as the most memorable from your portfolio?

It is special walking into nature with my camera, and every trip has a different highlight to look forward to. Going out for the first time with the Alpha 1 was a moment that stands out in my memory. We went out to see what this camera had to offer at Marataba Conservation Camps, an incredible lodge in a big 5 reserve in South Africa. With this single-minded focus, we set out to show what this high megapixel beast was made of.

Two moments stood out to me while we cruised the reserve in search of some suitable subjects. Firstly, was an interaction with a big bull elephant, feeding through the green plains on an overcast day made for dramatic and powerful imagery. Calm and collected as he moved across the plains with the mountains in the background, it was picture perfect and while moving closer, he showed us his dominance by shaking his head allowing me to capture every detail from the dust flicking off his head, to every crease, hair and mud splatter on his body.

Alpha 1 | FE 70-200mm F2.8 GM OSS | 113mm | 1/5000 sec | F2.8 | ISO 400

A massive elephant bull shakes his head as a warning to stay back. The dust spraying from his body and trunk pointing in defiance.

Alpha 1 | FE 70-200mm F2.8 GM OSS | 126mm | 1/3200 sec | F3.2 | ISO 400

A massive elephant bull is seen against the incredible backdrop of the Waterberg Mountain Range.

Alpha 1 | FE 400mm F2.8 GM | 1/2500 sec | F4 | ISO 640

Three very young lion cubs peek out from behind their mother to see the amazing Alpha 1 at work.

The next magical moment that we were privy to, was a lioness and her cubs coming for a drink. As if appearing out of nowhere, she waltzed out of the bush into the open, cubs in tow and trying to stay close to their protector. The opportunity as the cubs leaned out from behind mom to inquisitively stare at us, was one that didn’t last long, but the Alpha 1’s Animal Eye AF locked on and allowed me to capture the moment.

How does the G Master Lens complement the Alpha 1?

The G Master lenses perfectly complement my Alpha 1 because they work cohesively. Without the magnificent G Master glass in front of the camera, there would be a lot more work to do to get the image quality out of the Alpha 1. The speed of focus, the eye tracking and the pin sharp image was taken every time as it allows me to react quickly to these momentarily situations. The bokeh separated the subject from the background enhancing my image and storytelling and the versatility of the gear gives me the freedom to work in all conditions and concentrate on my art.

Alpha 1 | FE 400mm F2.8 GM | 1/1600 sec | F2.8 | ISO 800

A lioness moves in to groom her cub in a beautiful moment of affection.

When you are producing and curating your shots, what are the important/key features that you focus on?

For the most part, wildlife photography cannot be staged, moments arise and as a wildlife photographer, I have to be ready to capture the moments as they happen and tell the story within a blink of an eye. As a guide and naturalist, my knowledge of the animal’s behavior allows me to predict behavior, giving me the time to be ready for the moment and to capture it. Understanding the animal’s movement and having the freedom to position myself also permits me to create the image I want. All this is well and good, but I need my gear to think as fast as I do so that these fleeting moments can be captured.

I am always looking for the moment that says a thousand words, that conveys the complexity of the creature that I am photographing and shows of its magnificent evolution into being. Animals have personality, complexity of thought, power and politics as well as tenderness. Within this system, brutality is as necessary as beauty and is the yang to the ying which makes the circle of life so magical. So, I am always looking to capture all moments in a way that can teach the world about the incredible nature of Mother Nature.

What is the most challenging situation for you?

Weather poses its own problems and whilst it can create amazing images when you find the right subject, it makes it more difficult to find those subjects. Wind and rain particularly hamper one’s pursuits of wildlife as most animals will try and hide from the elements to protect themselves from exposure or their scent being wafted around. It is also a time when sound is cluttered with falling rain or rustling leaves resulting with animals less likely to put themselves in harm’s way by moving around. I have had many safaris where you don’t see a living thing as they all hunker down for hours on end until the weather becomes more accommodating.

Which is your favorite animal to shoot? What kind of environments do you like to shoot in?

I would have to say the leopard. It is an elusive super cat which is a master of camouflage. It took me the first 16 years of my life searching before I got to see a leopard in the wild and since working as a guide, I have become a glutton for these magnificent spotted cats. Its expressive eyes and perfect build make for a wildlife photographer’s dream.

Whilst throughout Africa, most animals remain similar, the scenery changes dramatically. My favorite environment to shoot in is one I haven’t shot in before as the creation of images becomes so unique that it is easy to point your camera in any direction and capture a new story.

Alpha 1 | FE 400mm F2.8 GM | 1/1250 sec | F2.8 | ISO 320

A young leopard exposes his killer profile as he locks on to a squirrel that would become his hunting practice, but without much success.

Have you ever been in a “too close for comfort” situation/ dangerous situation?

I remember once following a leopard in a vehicle off the road. To get good headshots as the cat is walking towards you, I would make big loops around the leopard. I needed to get to a point further down the animal’s path where I could capture its movement toward me and have solid eye contact. The male leopard I was following was marking his territory and after making a loop out in front, I leaned out over the door of the four-wheel drive to get a low angle and a little closer to eye level. The leopard approached the vehicle, walked right next the vehicle, and marked his territory. The only thing available was my overhanging elbow and head, which became the perfect point to rub his head on and spread his scent, thereby leaving me as his property until my next shower.

Alpha 1 | FE 400mm F2.8 GM | 1/1250 sec | F2.8 | ISO 500

A mother gives a loving lick to her leopard cub after feeding.

What constitutes the “perfect” shot for you? How long do you wait for your perfect shot?

My perfect shot is one in which the story told is strong and the subject photographed is made to look as majestic as nature intended or the power of the situation is enforced through the photography thereof. As a guide and photographer, there is less waiting around for shots to happen and more of having an idea of what I would like to achieve. From there the moments captured are based on luck of what you see, being prepared for a moment which may arrive and being able to trust that my equipment will help me capture the moment that presents itself. Through thousands and thousands of hours in the field, and many many more photographs taken, I have learned to craft an image to portray and demonstrates what nature has to offer. But you better believe that when the opportunity presents itself, I am going to be staring through my Alpha 1, ready to freeze that moment for the rest of the world to enjoy.

Alpha 1 | FE 135mm F1.8 GM | 1/800 sec | F1.8 | ISO 3200

A young gorilla watches in amazement as its older cousins swing across tree branch.

What do you want your work to say?

I have always been in awe of Mother Nature. Her power, Her interconnectivity and Her magical circle of life. I feel like the world has lost touch with Mother Nature and Her perfection in success and failure, beauty and brutality, life and death, and through my photography I wish to reconnect people to Mother Nature’s magnificence. No matter which side of the coin we look, people may need to bask in Her beauty through the small window of my viewfinder and find the desire to reconnect with Her in person.

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Nature is Unpredictable. My Sony's Alpha 1 is Not - Pete McBride

Jiawen — Thu, 14 Apr 2022 02:33:23 +0000

Nature is Unpredictable. My Sony's Alpha 1 is Not - Pete McBride

Jiawen Thu, 04/14/2022 - 08:03

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Nature is Unpredictable. My Sony’s Alpha 1 is Not - Pete McBride

For instance, when I am covering fast-action sports like skiing, I need lightning-fast focus tracking and high shutter speed to ensure I don’t miss a moment. The Alpha 1 has fast autofocus covering a wide area, including a tracking feature that allows me to follow a skier at 60km/hour down the mountain while maintaining precise focus.

Alpha 1 | FE 70-200mm F2.8 GM OSS II | F8 | 200mm | 1/1600s | ISO 250

When I am shooting one of my favourite subjects, aerials, the Alpha 1’s wide dynamic range allows me to capture not just the high alpine light on mountain peaks but also open up the shadows in the valleys below. The 50.1MP high resolution sensor also captures incredible detail for photographing the breathtaking landscapes I find myself in.

When training my lens on wildlife, one of the most critical challenges I always face is finding the right spot without stressing the animals or making any noise. Having a camera that has a silent, no vibration shutter option is absolutely key for wildlife photography, because nothing is worse than hiking for hours in quiet nature to the right spot, and then having a camera shutter click scare off the herd of elk or a sleeping leopard.

Alpha 1 | FE 600mm F4 GM OSS | F5.6 | 600mm | 1/200s | ISO 400

Another amazing element of the Alpha 1 for wildlife photography and videography: the ability to track focus on animals’ eyes. I often use eye-tracking focus for human portraits, but to have an option that tracks the often-darker and larger eyes of our wild, furry friends (or feathered or scaled or spotted) is game-changing. With the Alpha 1’s blackout-free shooting, I can find a fast-moving creature and know I’ll keep everything I need to in frame - and in focus -as I follow it with my camera.

No matter where I am in the world or what I am doing, I want to the ability to quickly transition from still photo mode to motion.

Sometimes I want to speed up time and create timelapses; On other occasions, I prefer to slow time down, requiring the ability to capture video in 60p or even 120p. Of course, I want it all in 4K – or higher when needed. In the past, slow motion options have often lowered image quality on output or cropped in on the sensor. Those issues no longer apply to my workflow, as the Alpha 1 offers stunning video quality up to 8K 30p and 4K 120p, 16-bit RAW output and 10-bit 4:2:2 colour, and amazing gamma profiles including HLG (Hybrid Log-Gamma) S-Cinetone, S-log3, so I know that whatever sequence I’m filming will end up looking just as good in the final video as it does in front of my eyes. Sometimes even better.

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Alpha 1 Rhythm of Life - Pete McBride

The amount of hard, often sweaty work and logistics that goes into getting the shot is formidable, so having a camera that lives up to the task is critical for me. And I don’t want to carry backpacks full of different cameras for different needs. I just want one, and that one camera for me is Sony’s Alpha 1. I have used Sony Alpha Cameras for years, and this body has improved ergonomics, menu, durability, no overheating issues, and amazing battery life.

Taking only a quick tap of a button or spin of a dial, the Alpha 1 goes from shooting photos at 30 frames per second to switching to 8K video with the simple touch of a button, or quickly changing between human and animal eye-tracking, or using the silent shutter or cranking up my shots per second, this camera makes light work of every circumstance.

At the end of the day the Alpha 1 does what I ask of it in every situation that I’ve thrown – and will throw – myself into.

In my many years working in the elements – from high in the windswept mountains or the heat of the desert to the bustling city streets swirling with culture, colour and music, I’ve learned that life, adventures and travel are all unpredictable.

I am grateful my camera is not. The Sony Alpha 1 is the one camera I grab no matter who or what calls me out the door.

Alpha 1 | FE 24-105mm F4 G OSS | F7.1 | 105mm | 1/320s | ISO 160

Alpha 1 | FE 600mm F4 GM OSS | F4 | 600mm | 1/125s | ISO 800

Alpha 1 | FE 100-400mm F4.5-5.6 GM OSS | F8 | 150mm | 1/640s | ISO 800

Alpha 1 | FE 600mm F4 GM OSS | F22 | 600mm | 1/400s | ISO 400

Alpha 1 | FE 24-105mm F4 G OSS | F11 | 105mm | 1/125s | ISO 400

Alpha 1 | FE 24-105mm F4 G OSS | F4 | 89mm | 1/400s | ISO 200

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G 系列全片幅標準變焦鏡頭

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G Master 全片幅超望遠變焦鏡頭

FE 600mm F4 GM OSS

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Sony 400mm F2.8 G Master Field Test: The Polar Bears Of Churchill

Aysu — Tue, 28 Dec 2021 07:14:34 +0000

Sony 400mm F2.8 G Master Field Test: The Polar Bears Of Churchill

Aysu Tue, 12/28/2021 - 12:44

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From the moment it was announced, I’ve been looking forward to using the Sony 400mm f/2.8 G Master. The lens set the photography world abuzz and, in my opinion, it established a new peak for what a super-telephoto prime should be. Over a full kilogram lighter than the competition, better weight distribution, three image stabilization modes, the fastest focus system ever – the list goes on and on. I knew the lens would be a game-changer, and I couldn't wait to take it out into the world for a hands-on test.

"For me the only way to really get a feel for a new piece of equipment is in the wild: inclement weather, fast moving subjects, and back of the mind desperation that this may be a once-in-a-lifetime shot." -Nate Luebbe (@nateinthewild)

Of course, it would have been easy to take a quick trip to my local boardwalk and fire off a few frames of seagulls and call it a day. But for me, the only way to really get a feel for a new piece of equipment is in the wild: inclement weather, fast moving subjects, and back of the mind desperation that this may be a once-in-a-lifetime shot. I can't judge a new piece of equipment until I've been faced with a wide variety of shooting environments and had to adapt on the fly. Thus hatched the plan of heading to Churchill, Manitoba for a week of photographing wildlife in the extreme conditions near the Arctic Circle. Nothing gets the blood pumping like being ground-level with the largest terrestrial carnivore on the planet, the polar bear, while also being under the thumb of a looming journalistic deadline. What can I say - I work better under pressure.

Sony α7R III. Sony 400mm f/2.8 G Master lens. | 1/1600-sec., f/2.8, ISO 400

One of the most important aspects of wildlife photography is trying to convey the personality of the animals - a prospect that's nearly impossible from an elevated platform or secure enclosure. To truly capture a polar bear in the wild one needs to be on the ground with them; eye-to-eye, as they go about their daily duties. Finding other people willing to go for a long hike in polar bear country during peak feeding season proved to be a real challenge, and only one guide company in Manitoba offers ground-level experiences. The experts at Churchill Wild graciously agreed to work with me for this project at the Seal River Heritage Lodge right on the shore of the Hudson Bay. This is one of the first places the ocean freezes every year, drawing a convergence of polar bears excited to get out on the sea ice and hunt. Colloquially known as the Polar Bear Superhighway, the lodge made the perfect pushing off point for this expedition.

The Gear

Although the Sony α9 is widely spoken of as being the best body for wildlife photography, I chose to go with the Sony α7R III for this trip. My reasons were three-fold:

Polar bears in the autumn are famously lazy, so needing 20 frames per second of burst shooting seemed quite unlikely.

Since I was intentionally limiting myself to a single prime lens, I decided it would be best to shoot the subjects smaller in the frame and allow myself a bit more wiggle-room for cropping later on. The α7R III’s 42 megapixel resolution would give me a lot of post-processing options.

Polar bears are white. Snow is white. Arctic foxes are white. Arctic hares are white. With all this white-on-white action, I figured the higher pixel-density of the α7R III would give me just enough added sharpness to help differentiate the subject from the background.

Sony α7R III. Sony 400mm f/2.8 G Master lens with 2X teleconverter. 1/3200 sec., f/5.6, ISO 640

Getting Set Up

The 400mm f/2.8 G Master has a ton of customization options, all of which are outlined on thousands of photography blogs around the internet, so there's no need for me to break down each one here. Instead, I'll focus on the ones I found most useful:

Focus Distance

The focus distance switch offers three settings:

7m - ∞
7m - 2.7m
Full (2.7m -∞)

This is supremely helpful, because having the lens hunt through an entire focus range from 2.7m out to infinity is inefficient and could cause missed shots. By selecting the expected range of the subject, I expedited the focus seeking and locked on to the subject much quicker which led to more keeper frames and much more fruitful photo sessions. Since this trip was centered on photographing 1,500 pound murder-machines with knife-fingers I kept the lens generally set to 7m-∞, because I figured if they were closer than 7 meters, I was going to have higher priorities in my life than finding a focus lock.

Sony α7R III. Sony 400mm f/2.8 G Master lens. | 1/2500 sec., f/4.5, ISO 800

Full-Time DMF

One of the coolest features of this lens is the ability to fine-tune the focus point with the focus ring without manually switching off the AF (either on the lens or on the camera). This allowed me to let the camera’s autofocus identify a subject (often the bear’s black nose as it's quite prominent in a scene of white), and then turn the ring to fine-tune focus onto the eye. On my first day in Churchill, I switched this on and I didn't turn it off for the rest of the trip. Autofocus continues to function as it’s intended until you turn the focus ring, and then the camera and lens seamlessly relinquish control to you.

Sony α7R III. Sony 400mm f/2.8 G Master lens. | 1/1600-sec., f/2.8, ISO 400

Image Stabilization

Since many of the best wildlife moments happen without any forewarning, I chose to forgo the tripod for the last few days of this trip, instead opting to shoot handheld to minimize my preparation time. Handholding a 400mm lens is no small feat. I was able to do this because of the reduced weight, the fact that since it’s designed for mirrorless Sony cameras, the 400mm’s balance point is much closer to the body than a DSLR’s 400mm, and because of the lens’ powerful image stabilization system. The image stabilization in particular was extremely effective and versatile. I found the only blurry photos in my catalog came from subject movement rather than stabilization issues.

Image Stabilization Modes  

- Fully stabilized

- Stabilization targeted towards panning shots and subjects moving laterally in the frame

- Advanced algorithm that provides optimal stabilization for dynamic and unpredictable subjects and fast motion

All three modes have their place so I won’t declare a distinct favorite here, but it’s worth noting that I found mode three to be most effective for hand-held shooting with unpredictable subjects. I was fortunate enough to have a few moments with a very fast arctic hare sprinting past me, and with the Optical Steady Shot switch set to mode two (for panning) the camera and lens not only kept a perfect focus lock on the hare, but the stabilization mechanics of the lens kept every single frame perfectly sharp.

Sony α7R III. Sony 400mm f/2.8 G Master lens. | 1/2500-sec., f/2.8, ISO 320

At first glance it may not seem impressive to discuss tracking a bunny hopping through the snow, but consider that I was shooting handheld, wide open at f/2.8, white subject on white background, and that an arctic hare is smaller than a football and runs at nearly 40 mph. The revolutionary linear focus actuator drives the focusing element in this G Master lens nearly five times faster than the traditional rotational focus systems found in nearly every DSLR lens. For fast moving wildlife, these lightning-quick focus mechanics are indispensable.

Extended Reach

I mentioned that I was shooting with just a single prime lens, but I did hedge by using the Sony 1.4X and 2.0X teleconverters. Shooting with a telephoto prime can feel a bit restrictive, but in seconds I could convert the 400mm f/2.8 to a 560mm f/4.0 or an 800mm f/5.6, with no discernible loss of sharpness, contrast or color rendering. I found this especially helpful for subjects moving towards me (slowly), allowing me to comfortably transition from wider shots that show context in the landscape to beautiful portraits of the animals’ face and body. Teleconverters of course cut the maximum aperture, which would usually be a pretty significant drawback, but since this lens is an f/2.8, even the reduced light gathering from using the teleconverter is more than enough for any reasonable shooting scenario.

Since my days with Churchill Wild were entirely spent exploring the frozen tundra on foot, the light weight of the Sony 400mm f/2.8 G Master + α7R III (a whopping four pounds lighter than a common DSLR alternative) saved me from some serious strain. By bringing teleconverters to extend my reach rather than a second lens further lightened my load and allowed us to cover significantly more ground each day - a massive bonus when trying to photograph rare wildlife in such vast wilderness.

Sony α7R III. Sony 400mm f/2.8 G Master lens with 2.0X teleconverter. 1/1600-sec., f/5.6, ISO 1000

The bottom line is that this is a premium lens for premium projects and the price tag reflects that. You’re paying for the lightest 400mm f/2.8 lens ever manufactured, with beautifully balanced internal elements, revolutionary focus mechanics and glass elements engineered to transmit the cleanest, sharpest images imaginable. Shooting with the α7R III, this lens had no trouble resolving a 42.4 MP sensor, and it’s clear that Sony built the 400mm G Master to be a lifelong investment. Since Sony is the world’s leading sensor maker, they’re able to design lenses for current and future sensor developments. I have no doubts that no matter what outlandish pixel counts or burst speeds the future may bring, this lens will be up to the task.

See more from Nate Luebbe at

This article was originally published on alphauniverse.com

Footnote

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Colours & features of the product shown may differ by model and country.
4K: 3,840 x 2,160 pixels.
Services availability depends on region. A part or whole of software/services installed into or accessible through the product may be changed, discontinued, removed, suspended, or terminated without notice.
Features and specifications are subject to change without prior notice.

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Bringing Wildlife Closer to You

Aysu — Tue, 21 Dec 2021 11:19:12 +0000

Bringing Wildlife Closer to You

Aysu Tue, 12/21/2021 - 16:49

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