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sony alpha

Using the Sigma MC-11 Adapter with Sigma and Canon Lenses

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Using the Sigma MC-11 Adapter with Sigma and Canon Lenses

I get lots of questions about the adapted lenses that I use.  Should I use the Sigma MC-11 Adapter or the Metabones Adapter?  Well recently I had the opportunity to shoot with the MC-11 Adapter during my commercial shoot for Mia Bella Couture.  

First I used the 20mm f/1.4 Art lens that I was really excited to try.  It's the fastest aperture wide angle lens on the market that also does Auto Focus.  It's a canon mount lens made by Sigma and I have to say...it is truly a nice lens.  Very sharp and when paired with the MC-11 Adapter it behaves as close to a native Sony FE lens that you will find.  Below are some of the shots taken with the 20mm Art lens on my Sony A7Rii.  All shots were taken at f/1.4:

I then wanted to get some shots a little bit tighter so I put the 85mm Canon L lens on it and shot it wide open at f/1.2.  The adapter performed at the same level as the Metabones adapter which was really nice to see.  Below are shots taken with the 85mm:

The sun was close to being all the way set so I quickly put on the 200mm Canon L lens which also performed very well.  These were all taken at f/2.8:

All in all it was a great shoot and the MC11 performed very well.  Please take a moment to check out the video to see how the shoot went.  Flash was the Flashpoint Xplor600 with the Westcott Rapid Box XL as the modifier.  For links to the gear that was used please see below:

*Sony A7Rii-  

*Sigma MC11 Adapter-  

*Sigma 20mm f/1.4 lens-  

*Canon 85mm f/1.2 lens-  

*Canon 200mm f/2.8 lens-  

*Flashpoint Xplor600 monolight-  

*Westcott Rapid Box XL-  

Thank you for taking the time to visit my blog.  I truly hope the information is useful.  Please click on subscribe so you're notified everytime we have a new blog post...:)

Thanks!

Jason

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Wedding Bridals in Balboa Park

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Wedding Bridals in Balboa Park

So in my career I've shot 250+ weddings all over the world.  In recent years my wedding workload has diminished quite a bit due to picking up commercial work along with my teaching and speaking schedule.  But when I got the opportunity to do a commercial shoot with Mia Bella Couture shooting wedding gowns, it took me right back to my roots as a wedding photographer.

We went down to Balboa Park in San Diego which is an absolutely beautiful location.  Using a reflector and the Flashpoint Xplor 600 I started shooting with my Sony A7Rii and the Canon 200mm f/2.8.

My mail goal with this shoot was to create a very light, bright, romantic type of a shoot.  The model was Daryl Rene and she did a truly fantastic job in helping me create these shots.  The mood of the shoot was created by the combination of using the off camera flash with a beauty dish on it (the Westcott Rapid Box XL) and the reflector on the other side.  It should be noted that this shoot took place at around 1pm on a day where the lighting was very harsh, so controlling the light by overpowering the sun was crucial.

Below are some of the shots created by using this lighting set up under a row or lattice work and columns in Balboa Park;

We then tried something new and I fired the Flashpoint through the Scrim Jim just to see what effect it would give.  The thought was in essence to create a giant outdoor softbox.  I thought the shots came out pretty cool and created some very soft light.  You can see these shots below:

It was a really great shoot and I hope you take a moment to watch the video as well so you can see how these were created.  A big thanks to Mia Bella Couture for hiring me to do the commercial shoot.  If you'd like to get in contact with us for wedding or commercial photography please contact me at jason@jlpros.com.

**Links to Gear:

*Sony A7Rii-  

*Metabones Mark 4 Adapter-  

*Canon 200mm f/2.8 lens-  

*Westcott Scrim Jim-  

*Westcott Rapid Box XL-  

*Flashpoint Xplor 600-  

Thanks!

Jason

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First Shoot with RAW files on the Sony A6500 with wild ocean seals in La Jolla, California

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First Shoot with RAW files on the Sony A6500 with wild ocean seals in La Jolla, California

I was very fortunate to be provided a loaner Sony A6500 from Sony for two days in late November.  The news came quick that I'd be able to use it so I called my Assistant Brenda asking her to organize a shoot as quickly as she could.

She organized a group of models and crew to meet down in La Jolla, California which is an absolutely beautiful area.  To be specific we went down to the area called the La Jolla Cove where not only is the coast line beautiful like many areas in Southern California, but you'll also be able to interact with some amazing wildlife.

So we went to set up the shoot on the rocks where the ocean meets the land and while setting up we were visited by an amazing seal.  The amazing creature came right out of the ocean, crawled up onto the rocks and started posing for me.  Now he didn't know he was posing....but he sure did a great job of letting me take his picture.

At the moment when he came up we weren't even fully set up and ready to shoot.  I'd just pulled the A6500 out of the box and had put in a card.  My mic was also not even tucked in but luckily it was on.  I told my videographer Jason Coccio to start rolling the minute I saw him.  So while my plans were to shoot a model for my first set with the A6500, it ended up being a beautiful seal.

Since I was planning on doing a model fashion shoot I had the Sony 85mm G Master on the camera, not a traditional wildlife lens.  But I decided to go with it and shoot the seal in a similar manner to how I'd shoot a model portrait session.  I could have easily stopped down and shot it at f/2,8 or even more narrow, but I accepted the challenge to shoot it wide open at f/1.4.

Navigating around slippery rocks wasn't the easiest thing to do with a loaner camera and a $2,000 portrait lens, but it did result in some pretty awesome shots.  The first thing I noticed was just how FAST the camera focuses.  People say it's the same sensor as the A6300, but all I know is it tracks and finds focus faster....which is saying a lot because the A6300 is already fast. The seal gave me the very unique opportunity to really test the tracking because a seals head moves up and down and side to side like a rocking boat.  It is NOT easy to track.  Luckily the A6500 did a great job of finding and keeping focus.

Below are some shots taken with the A6500 and the 85mm G Master:

I then quickly placed the Sony 90mm macro lens on my camera and tried to get some detail shots of the seal.  Again, focus was achieved very quickly which enabled me to get some great shots.  

Below are shots taken with the Sony A6500 and the 90mm macro lens

So after shooting for about 15 minutes with the seal, it became sick of doing a photoshoot and meandered up the rocks to join the other seals that were there.  It was a great shoot and we quickly moved on from it to shooting with the models.

My initial thoughts from my first shoot with the A6500 was that it performed remarkably well. The buffer in Raw was significantly better than any other Sony camera I've ever used.  The auto focus was faster and it responded well in so many ways.  I even filmed some footage of the seal with the camera and noticed the benefit of having the IBIS on the camera. 

Below are some links to gear if you'd like to add one of these to your gear bag.

*Sony A6500-  

*85mm G Master Lens-  

*90mm macro lens- 

Thanks!

Jason

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Using Manual Focus for Fast Action Shots to get Amazing Results using the Sony A7Rii and Canon 200mm f/1.8

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Using Manual Focus for Fast Action Shots to get Amazing Results using the Sony A7Rii and Canon 200mm f/1.8

San Francisco- so my team and I drove up from So Cal up to the Bay area to do some shooting. We found ourselves at the ruins of the Sutro Baths where the waves crash into the rocks and ruins with some pretty dramatic results.

I had my Sony A7Rii and Canon 200mm f/1.8 lens with me and wanted to see just what we could capture with our model Kyli and the waves coming in.  While I'm used to great auto focus from this combo of camera and lens, I'm also aware of the fact that shooting a solitary object like a model can be difficult to get consistent sharp focus on when things like waves and mist fly in front of her as it did in the shooting scenario we did here.

So using Focus Peaking (which I love by the way), I focused in on the model to get tack sharp focus.  Since my camera and lens were on a tripod, and the model was in a set position, I was able to set the focus and make sure it was on her so no matter what flew in front of her, the focus wouldn't change.

Well the waves didn't disappoint.  They rolled on in crashing on the rocks beneath her giving off some amazing spray as well as background.  One particular set was so strong the splash of the wave completely filled the frame behind the model giving it a truly beautiful effect.

So if this kind of work is of interest to you, you might just want to try this technique so you can create some really cool shots of your own.  I hope it helps!  Below are the pics from the shoot.  I truly hope it helps.  Don't forget to subscribe to my blog by clicking below!

Thanks,

Jason

Shots taken at 1/6400 sec, f/1.8, ISO 50 at 200mm

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What Pro Photographers Images Look Like Raw, Unedited or with Lightroom Edits Only

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What Pro Photographers Images Look Like Raw, Unedited or with Lightroom Edits Only

So I get asked a lot about my images and work.  People wanna know how much of it is editing vs. what I capture in camera.  While I'm not opposed to photographers editing their images, I do take great pride in what I'm able to capture and create in camera vs. relying on post processing wizardry.  There's something so old school about creating it in camera.  I personally feel it's more gratifying and is also a greater challenge.

Maybe I get this attitude due to the fact that my roots are based in being a landscape photographer.  That's why I've always incorporated so much of nature into my work.  So from time to time I'll create posts and videos where I not only show my finished work, but also my completely unedited raw and straight out of the camera work as well.  Now for those wondering I won't be posting my raw files onto these posts.  Why?  Because I don't want other people taking my work and editing it for their use or pleasure.

Sometimes folks post raw shots for others to see.  But those are for the viewer to get a look at how a lens or camera performs for example.  Or the shot is posted so people can download it and try a certain photoshop technique.  This isn't that kind of a post.  This post is about showing how much I capture in camera vs. what I create afterwards and I hope it helps to shed some light on what I do.

To start off I pretty much use Lightroom for ALL of my work.  This is largely in part to time.  I'm not opposed to Photoshop in any way and kudos to those who choose to use it for their work.   But with a full time photography company and full time Youtube Channel, I just need the streamlined workflow of Lightroom to get my work done quickly.  The only times I would use Photoshop would perhaps be for images being submitted to a competition etc.  The work you see on Youtube and on my website is all Lightroom only.

So I did this shoot with a beautiful model named Jazmen Parker in Oceanside, California.  I used the Sony A7Rii with the Rokinon 14mm f/2.8 lens.  I used the Flashpoint Xplor600 in High Speed Sync for off camera flash.

To be able to illustrate how my shots look in Raw I did screen captures of select images from the shoot while open in Lightroom.  These shots are seen in the gallery below:

I then exported these same shots as shown in the screen captures as completely unedited (SOOC) jpegs.  This gallery is below:

And here are my shots that were edited using Lightroom only

I truly hope this post helps to shed a little light on what images look like out of the camera for a professional photographer.  Links to gear are included below:

**Links to Gear:

*Sony A7Rii-  

*Rokinon 14mm f/2.8-  

*Flashpoint Xplor 600-  

*Westcott Rapid Box XL-  

Jason

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My Sony A6500 will NOT Overheat...no matter how hard I tried to get it to!

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My Sony A6500 will NOT Overheat...no matter how hard I tried to get it to!

Well, I tried.  I really gave it an honest try.  With all the hubbub over the A6000 series cameras overheating, one of the first things I wanted to try out when I got my hands on the A6500 was how well the new camera responded to overheating.

With earlier cameras like the A6000 and A6300 there were issues for some when shooting video and the camera overheating.  Now let's set the record straight on something that should be common knowledge but isn't.  Unless a camera is classified as a "video camera" like the Panasonic GH4 is....it will NOT exceed the 30 minute time frame.  Companies do this quite simply to save money.  Video cameras are taxed at a higher rate than still cameras...it's a fact.

So when any still camera stops recording at the 29:50 mark, it isn't overheating, it's simply obeying the law based upon if it's a video camera or a still camera.  The REAL question that needs to be answered is, "Once it stops, can you immediately hit the RECORD button and start recording again?"

When I first got the A6000 nearly 3 years ago and took it with me to Ethiopia, the video would overheat after about 20 minutes or so and the camera wouldn't turn back on until it cooled off.  The A6300 was better, but it did indeed overheat at about the 25 minute mark when recording 4k video.

So when Sony added IBIS (In Body Image Stabilization) to the A6500, conventional wisdom would indicate that there would actually be MORE heat going on inside the camera body, not less. So I was ready to be disappointed with how well the camera handled heat.

BOY, was I surprised.  I got a loaner camera for Sony and was able to shoot with it for two days.  I was so busy trying to crank out shots and test it as much as I could that I really didn't get a chance to just leave it recording for an endless amount of time.  On top of that, I couldn't just leave it recording through the middle of the night because it will stop at 29:50 no matter what. Meaning I'd have to be awake and hit the record button every 30 minutes.  Plus, I wanted the footage to be REAL.  I wanted to test it in conditions that I would actually use the camera in.

I see so many tests online that simply are ridiculous.  Tests where people set a camera in hot sand or on a hot rock that's roasting in the sun and then are shocked that a completely metal object like a camera would get hot.  That's honestly laughable.

Like all of my reviews and tests, I care about how it will perform in the real world, not sitting on a rock in the desert.  Because after all, who in the world is gonna use it like that?  Nobody...unlesss you're a desert hermit without a tripod who vlogs I guess.

So I started recording on this camera.  Predictably it stopped recording at the 29:50 mark.  But to my happy surprise when I immediately hit the record button again, it started recording immediately.  But then....it kept recording.  And wouldn't overheat.

I could NOT get the A6500 to OVERHEAT!!!  I shot it in 1080p (yes I tested in 4k as well but that's for another post), and it would NOT overheat.  You guys seriously have to watch the video to see what I'm talking about.

It got to the point where I had models and my photography crew standing around waiting for the darn thing to overheat so we could start shooting with it.  It got so bad that I was WANTING it to overheat lol.

IT NEVER OVERHEATED.  Barely got warm.

At the 2 hour and 2 minute mark I said enough was enough.  My memory card was full and I'd gone through 2 batteries.  It simply would not overheat.  I had one of the models come over to the camera (that was in direct sunlight for hours by the way) and her words were that the camera was "barely warm".

So how did Sony do it?  Well, they removed the constraints that were placed on the camera.  You can go into the menu and turn off the limiter that prevents the camera from shutting down when it overheats.  But that being said, it was never even physically hot.  It felt like a camera normally feels when you've held it in your hands for a good 10 minutes....just a mild warmth.

I can't completely explain how Sony did as I'm not one of their engineers and I simply don't know. And to that end I really don't care how they did it.  I just care that they did.  I hope to see the same advancements in future iterations of their other cameras.

Stay tuned for the 4k test as well!!!

**Links to Gear:

*Sony A6500-  

*Sony 35mm Zeiss-  

*Feisol Tripod- 

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Commercial Photography Photo Shoot and Workshop for Mia Bella Couture by Jason Lanier

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Commercial Photography Photo Shoot and Workshop for Mia Bella Couture by Jason Lanier

Recently I had the opportunity to do a commercial photo shoot for a beautiful gown company called Mia Bella Couture.  When they first contacted me to do the shoot they knew that I sometimes allowed some of my followers to attend my shoots as part of a workshop and asked if I'd be interested in doing so with them.  I thought it would work out well so we booked the shoot.

When we got to the shoot down in San Diego it was truly awesome.  This is a shoot that you truly have to watch the video to see how we handled it.  We started off the day at 11am and my clients wanted to shoot in a specific location that was beautiful, but given the time of the day it was not ideal for lighting.  So we had to bring out a ton of diffusers and reflectors to make the lighting work.

This shoot was done using the Flasphpoint Xplor600 with a bunch of different gear that is showcased in the video.  This is just Part 1 of the shoot as we crammed so much into one day that I needed to break up the videos to show it all.

A big thank you to the beautiful models Lauren Lebouef and Tiffany Brock as well as Daryl Rene for the amazing work with Hair and Make Up.

I hope you all enjoy the video and I can't wait to share the other parts of the shoot with you as well.  Beautiful gowns, gorgeous models, and my team all came together to make it a tremendous shoot.  

**Links to Gear:

*Sony A7Rii- 

*Canon 200mm f/2.8- 

*Metabones Mark 4 Adapter- 

*Flashpoint Xplor600- 

*Westcott Rapid Box XL- 

*Westcott 8x8 Scrim Jim- 

Below are some images from the shoot taken with my Sony A7Rii and the Canon 200mm f/2.8 lens using the Metabones Mark 4 Adapter.  Stay tuned for Part 2!!!

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The Holy Grail of Lenses- my first shoot ever with the Canon 200mm f/1.8 lens and the Sony A7Rii

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The Holy Grail of Lenses- my first shoot ever with the Canon 200mm f/1.8 lens and the Sony A7Rii

WOW!  I've heard about this lens.  But as a longtime Nikon shooter that transitioned over to Sony two years ago, shooting Canon glass was just well...blasphemy.

But when Sony came out with the A7Rii, that changed everything (which will be covered in a separate blog post).  That opened the door to shooting Canon lenses with near native autofocus capability on my Sony cameras!

So recently I had the opportunity to acquire this lens and when I did, I jumped on it.  I chose the 200mm f/1.8 version over the 200mm f/2 version simply because the f/1.8 is a little wider and faster.  Why didn't I choose the lens stabilized versions of the lens with the f/2 versions?  Well, since 5 axis image stabilization is built into my camera, I simply didn't need it on the lens.

So I got my crew and a model together and went to Venice Beach to test this lens for the first time, and boy it didn't disappoint.  While the lens is used, it performed like a champ!  The autofocus was fast and it was unbelievably sharp.  Anyone who knows me knows that I love shooting wide open and I did this entire shoot at f/1.8.  All shots were edited using Lightroom only.  Below is a video of the shoot and some images as well.  I absolutely love this lens and can't wait to knock out some more shoots with it.  I hope you enjoy it!

I adapted the Canon lens to the Sony A7Rii using the Metabones Mark 4 Adapter.  It's simply the best adapter I've found for Canon lenses on Sony bodies.

**Links to Gear:

*Sony A7Rii-  

*Metabones Mark 4 Adapter-  

*Lastolite Large Rapid Kit-  

*Flashpoint Xplor 600-  

*Westcott Rapid Box XL- 

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