Urban Night Lights

Testing some new techniques right now to generate better … or stronger bokeh effects.  Have been looking for some elevated positions in Berlin to do this. These shots have been mainly done with some old Nikkor lenses but I also have the Sigma Art 1.4 series of lenses on my list to do more tests. So far happy with the Nikkor 50mm f1.2 and the 28mm f2 and 85mm f1.4 but clearly need to test the 20mm f1.4 and the 35mm f1.4 Sigma Art here. Especially strong wide angle lenses with a f1.4 stop are needed for this kind of shootings.

















Wave-Tube Power

The wave gallery from 2015 is online now. A selection of the best 300 shots mainly captured at the baltic sea and at the north sea coast of Skagen/Denmark in July/August 2015. Some shots were done with the Aquatech ELITE sports housing setup. This is a very small subset of lots of images. In summer 2015 I spend a lot of time in the waves testing perspectives, lenses and various exposure speeds with the D800. The online selection comes from the 10.5mm fisheye, the 14-24 wide and from the 300mm f2.8 – I never really managed to keep up with the constant stream of RAW files that summer. So over NewYear I made a first selection and finished last weekend with this extended gallery. This was a huge project in 2015 and I hope to extend this  with some new ideas in summer 16 on Crozon at the Atlantic coast.

Gallery goes here


Some “Micro-Waves” shots from Skagen are here:



Nikon AFS 400mm f2.8G VR Testing

Update: some nice bokeh shots with this lens (had half an hour yesterday with wonderful sun light to do some tests – its easy to send every for/background into a creamy bokeh fog with a 400mm f2.8 system. However the lens isnt a dedicated macro device – hence it will be important to see how the lens performs in the mid to far range shots and with full reflecting highlights. Especially the resolving power with very distant objects is usually a problem – even with these top-of-the-line tele lenses. My first impressions indicate that the 400mm f2.8 works fabulous with the TC14E II and also very good with the TC20E III but the AFS 300mm f2.8 mk1 wasn’t bad with the TC14E II either. The weak part was the resolving power focusing more distant things with more than 300m distance.






First tests with the new 400mm lens – the f2.8 AFS VR version – pretty much a dream tele lens and optical performance is just as what you would expect. First lens align tests seem to be spot on. The lens snaps to focus – clearly faster than my old 300mm f2.8 AFS Mk1. Some bokeh tests will follow.


The lensAlign target with the long ruler installed – approx. 20m distance – this equals 50times focal length. At f2.8 this gives a depth of field of 40cm and the lens is pretty spot-on on the 0-Mark of the ruler. No chromatic aberration  at all … . Damn cool lens – only point to think of right now is the how-to-story of “hand-holding” this lens, its just bigger than anything I used before.



Some bokeh shots:




*** 2014 ***

2014 was a good one …  thanks to all who supported this site. In fact 2014 was the most successful year so far for sailpower.de.  The concept seems to mature and this opens up new perspectives. Hopefully 2015 will follow that trend with new creativity. Plans so far are promising.

Best wishes to all of  You for 2015!  

Some iterations around multiple exposures from last night in the snow.





Mirabaud Yacht Racing Photo Contest 2014

As the regatta photo shooting seasons comes to an end – the Mirabaud Yacht Racing Photo Contest is a wonderful way to collect the most inspiring shots of the year. A jury defined preselection is now online and the public vote is now open. The “Hamburg” shot from my German Classics 2014 photo shooting made it into the Top70. The contest is two-fold – a public voting and a jury based selection of the best shots from this top70 is performed. So just move to


and select your favorite shots :)!  Sören


About the moment …


About the moment …

Nach all diesen Jahren gibt es immer noch Bilder, bei denen einem im Postprocessing eine Gänsehaut komme und der Blutdruck schlagartig steigt – man leise vor sich hinzischt: “perfekt” und sich gar nicht sattsehen kann. Wo alles zusammenkommt und eine nicht erwartete Perfektion sich bildet, wo Licht, Form, Glanz, Geometrie, Linien und die Welle eine völlig unerwartete Harmonie erzeugen – diese Überraschung – diese pure Energie, dass alles so wunderbar zusammenkommt, die einen umhaut. Man hatte das ja vor der Linse und hat es gespürt – das hier passt jetzt besonders, es gibt da ein paar schöne Linien, die Geometrien lassen sich sehr harmonisch positionieren und jetzt muss der Moment noch kommen, der richtige Zeitpunkt, bei dem die Welle noch das Wasser spendiert – es geht fix, der Moment verfliegt, die Welle ist vorbeigezogen, man dreht mit dem Zodiak weg. Es bleibt nur eine Ahnung, dass da ein paar kleine Juwelen auf der Speicherkarte schlummern. Später dann gilt es dieses Juwel zu schleifen und den letzten Glitzer zu entdecken. Das Rohmaterial hatte man ja schon gesehen, was sich jetzt aber herauspellt aus der rohen Bilddatei macht die Nachbearbeitung zu so einem Spass manchmal. Ich hab sowas hin und wieder in der Naturfotografie erlebt, aber da hat man oft viel mehr Zeit. Bei der Yachtfotografie geht es wirklich um Bruchteile von Sekunden, weil Wasser einfach ein unglaublich schnell bewegtes Medium ist. mtk, Sören

Die „Hamburg”, 23.8.2014, bei den German Classics 2014, Kieler Bucht (fullHD 1920 Version when you klick on the preview).


Erste (Segel)-Saison Wochenenden

Die Segelsaison in Berlin startet ja doch erstmal recht durchwachsen – wenig Wind und pünktlich zum WE auch dunkel winterlich beim WannseePokal. So ist ja mal Zeit etwas an den Teleconvertern zu feilen. Normalerweise sollte man ja keine Teleconverter kombinieren. Die modernen TCs sind jedoch derartig gut geworden, dass man das durchaus mal probieren kann: im Bild unten der Mond mittels 300 mm f2.8 + TC20eIII + TC14eII und stärkerer Crop vom D800 Sensor. Die Auflösung ist aber ganz ordentlich, wenn man auf f11 abblendet. Das Ganze ergibt eine 900 mm Optik und per 1.5 APS-C crop dann für 15 MP auf der D800 ein 1350 mm Äquivalent. Gar nicht so übel. Scharf fokussieren geht allerdings nur noch per Lifeview, da die Kombination aus irgendeinem Grunde immer etwas falsch liegt. Wer das nachmachen will muss aber am objektivseitigen Mount des TC14e den Sperrnippel wegfeilen. Der verhindert nämlich genau solche Kombinationen. Das macht man am Besten mit einem Dremel und bei demontiertem TC-Lensmount.

Moon on 300mm+TC20+TC14
Moon on 300mm+TC20+TC14

Nikon D800 – Pixels vers. Speed?

The Nikon D800 arrived at my door steps some days ago. As a late adopter none of the classic problems whatsoever (no left sensor issue, 10pin seems sturdy so far, no freezing of the software). Serial is 6097xxxx. Will do some testing at the next weekend (Eastern). Might be the next illusion of “the last camera” we buy. But first impressions are very good. With a Lexar 1000x the buffer seems to be ready as fast as with the D3. But compared to the D700 the ergonomic changes are a head scratcher. Mmh wait … the pixels, yes sooo plenty  – resolution at service. But I have more to comment in a week or so.

So long, Sören

Some “work of art” stuff:







Lightroom 4.1 with Axial Color Aberration Correction

The new Lightroom 4-1 Version is out. It supports axial(longitudinal) color aberration correction. The purple/green fringes usually appear with all f1.4 lenses at strong contrast slightly behind and in front of the plane of focus. In the past only CaptureNX/ViewNX was able to correct this effect. Now it is included in Lightroom finally. For me this is the most important post processing gap that has been closed now.  With high speed lenses you are constantly struggling with these CAs and there are only some very expensive lens designs that do not exhibit these types of CAs. Being able to remove these fringes within Lightroom makes the post processing workflow of large amounts of images much easier and faster.

Lightroom uses 4 sliders to do the job. The two “Amount” sliders control the strength of the purple and green removal, while the two “Hue” sliders control the range of hues (the min-max values) that are used for the correction. Usually you do not want other hues than those involved to be corrected  – so these sliders are important to reduce the correction down to you CAs and should be kept together as close as possible.

Adobe explains in more detail how this works in the Lightroom Journal.

Even with this very much against the light captured scene with very difficult illumination conditions (Kaiserpokal sailing regatta from 2011) it is easy to see how the bokeh ball fringing within the sun glint/reflections is reduced. This shot was done with a high speed Nikkor 300 mm f.2.8 lens @f2.8 and depth of field is very much limited here. Color fringing is very nicely removed:

The full subset with purple and green fringing before correction (click into image for a higher resolution version):

Subset after purple/green CA correction applied (default hue range, amount set to 15/20):