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Top 3: Scenic Pro’s Lenses For Landscapes

Given the amount of flying, driving, and hiking landscape photography requires, finding gear that delivers both the quality and compactness my profession requires has always been a challenge. That is until I switched to Sony.

Now, I never leave home without my Sony 16-35mm f/4, Sony 24-70mm f/4, and Sony 70-200mm f/4 G lenses. These lenses more than cover the 20-200 focal range I consider essential for landscape photography, and they deliver uncompromising image quality in a very compact package. Not only does Sony’s extremely compact f/4 glass make my bag lighter, when the situation calls for it I still have room in my bag to add a second or third body and an extra specialty lens or two (macro, fast prime, ultra-wide, or long telephoto) without breaking my back.

FE 16-35mm f/4 Vario Tessar T* ZA OSS 

Spring Moonrise, Half Dome, Yosemite. Sony α7R. Sony 16-35mm f/4 lens at 21mm. 1.3-sec., f/11, ISO 80. Yosemite offers countless wide angle vistas that are made for the Sony 16-35mm f/4 lens. The colorful sky and soft reflection enhanced this always classic view of Half Dome reflected in the Merced River. My 16-35mm lens in vertical orientation allowed me to include lots of sky and water, reducing the rising, nearly full, moon to a perfect accent.

Sony FE 24-70mm f/4 Vario-Tessar T* ZA OSS

Electric Dance, Grand Canyon. Sony α7R II. Sony 24-70mm f/4 lens at 70mm. 1/8-sec., f.13, ISO 50. Delivering unmatched shutter-lag, Sony mirrorless cameras are the best lightning cameras in the world. My 24-70mm f/4 is my go-to lightning photography lens because its field of view is wide enough to ensure that I don’t miss the next strike, while its long end provides the flexibility to zoom closer when the lightning is more focused. I started this Grand Canyon scene much wider, but when it became clear that the lighting strikes were focused on one part of the South Rim, I zoomed accordingly.

Sony FE 70-200mm f/4 G OSS

Aspen Abstract, Lundy Canyon, Eastern Sierra. Sony α7R II, Sony16-35mm f/4 lens at 158mm. 1/125-sec., f/4, ISO 400. When I want to isolate an aspect of a scene, I reach for my 70-200mm f/4 G. Often my goal is to enlarge a distant subject, but sometimes I aim my 70-200 closer. On an overcast autumn morning in an Eastern Sierra aspen grove, I added an extension tube to my 70-200mm, zoomed tight on a single aspen, and opened the aperture all the way to highlight intimate aspects of the trunk against a soft background of color and shape.



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Top 3: Paul Gero Relies on Something Old & Something New

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