More geeking out time! Here’s the Sony Alpha 700 with a Kenko 2x teleconverter, Tamron 1.4x teleconverter and Tamron 200-400mm F5.6 (to reach 1100mm F16). On it is the Sony HVL-F56AM flash just for kicks.

On the very day that I got the A700, I shot this with the Sony A100. Without flash, that is. Unfortunately we’d need someone to point a light at his/herself to see anything. 1100mm F16 1/320s ISO800.

Hey man what’s cooking? 1100mm F25 1/80s ISO800.

Traffic stopper. 1100mm F20 1/125 ISO800.

Sony A700 at KLCC Park. Finally I came early enough to catch some people at the KLCC Skybridge! 1100mm F16 1/250s ISO1600.

I revisited the Vivitar Series 1 28-105mm F2.8-3.8 when I sold my A100 and kit lens. The out-of-focus areas are relatively creamy. Delectable! 105mm F4.

The A700 with its ISO6400 and low-light AF capabilities make way for new types of shots, like cats in streetlight. 50mm F1.4 1/60s ISO6400.

The Sigma 24-70mm F2.8 EX! I quite like the Sigma yellow here. Its focal range is nice for APS-C, and even better on full frame.

What a chunk. It takes 82mm front filters!

I remembered that I had a Vivitar 24mm F2.0 OM-mount lens at home, so I tried to hold it in front of the camera like a tilt-shift lens.

Given the proper tilt, I can get a bigger zone of in-focus area even when the lens is wide open.

Given the interesting bokeh in the top-right corner, it might be worth doing a mount operation.

I also tried holding my Auto Chinon 135mm F2.8 K-mount manual focus lens in front of my A100. Flare is because I had to move the lens further away from the body in order to focus nearer, and light would leak in.

That said, it is also tempting to remount this lens.

Back with Version 1 of the Sony A700 firmware, I experienced hanging when I shot this with DRO+. I’m guessing that DRO+ chokes on complex highlight/shadow data like this.

Same for this. However, with Version 2 I didn’t notice it freezing up with complex subjects.

Thanks to Brian for discovering this – when you shoot a flourescent-lit scene at fast shutter speeds, you may get inconsistent lighting. This is because flourescent lamps pulse at the same rate as your electricity supply e.g. 50 Hertz. The orangey bit is natural light, while the white bottom part is from the flourescent lamp. 50mm F1.4 1/500s ISO1600.

Guess how I did this!

I turned my A100 with Sony HVL-F56AM flash on it, on manual mode, to point at the orange wall to my right. The flash then triggered my Nikon SB-28 coming from my left.

A different white balance for a cooling effect.

This was all possible with an optical slave trigger, then sitting on a tripod. Note the battery pack strapped to it, as Nikon threw away the battery cover when it was sent for servicing.