Hands on Review of the Sony A6400- why it's the best crop sensor camera of the Sony Mirrorless lineup


Hands on Review of the Sony A6400- why it's the best crop sensor camera of the Sony Mirrorless lineup

When the Sony A6400 was announced I’ll be the first one to admit that I was a little confused as to what this camera had to offer. Just the name alone made it confusing for me to comprehend why Sony would release a camera that came in between the A6300 and the A6500. I mean, what’s the purpose of this camera?

A little while ago I had the opportunity to get my hands on one of them to give it a go. This camera quickly became my favorite of the Sony crop sensor cameras. To watch the entire review please click the video below:

The A6400 replaces the A6300 and while the body form factor remains relatively unchanged, there are some big changes on the tech side and the screen that make this a very interesting camera.

The big news from this camera is the update to the eye auto focus and the screen. This is Sony's first offering of a complete flip up screen that makes it useable for vloggers out there.

The other exciting news is that this camera has the same processor as Sony'f flagship camera, the A9. This makes it the fastest of any of the crop sensor Sony cameras and also improves the battery life nearly doubling the total expected shots from the camera on one battery charge.

Here are the things about this camera that really impressed me:

  • Eye Auto Focus- no need to hit a secondary button to engage the eye auto focus. This makes using this very valuable function easier than ever and also more accurate. You now even have the capability to toggle back and forth and choose which eye you would like in focus. THAT is COOL!

  • Flip Up Screen- Yay! We finally have a flip up screen on a modern Sony mirrorless camera. This makes it the first camera for vloggers and photographers like me who actually record a lot of video with their camera. One of the most annoying things for me personally is to keep having to go behind the camera to check for audio signals, to make sure the camera is recording etc. Having a screen that I can see as I record is a big bonus for me,

  • No Time Limit Recording on Video Mode- I always take a camcorder with me wherever I go because there are times when I need to record for longer than 30 minutes. The A6400 is the first Sony Mirrorless that now extends this video capability to a non camcorder body. This is one of the main reasons why I’ll be buying this camera. The ability to now use a camera like this with all of my pro level lenses is a big advantage for me over using the standard lens that comes on a camcorder and will up my video game for sure.

  • A9 Processor- The processor that is in Sony’s most advanced camera, the Sony A9, is now the same processor in this little guy which kinda blows me away. This results in much faster auto focus, better tracking, a better buffer and a much better battery life! This is the first breakthrough on battery life from the original small body cameras that we’ve seen and I’m sure will be celebrated by crop sensor shooters out there everywhere.

  • ISO Performance- I was really impressed that a crop sensor camera was giving me the ISO performance that I was able to get with some shots using this camera. Below are some shots taken at ISO 4000 with no noise reduction that shows some pretty clean images. This is the best I’ve found so far on the Sony crop sensor bodies.

  • Video Functionality- given the advances in auto focus tracking, no time limit on recording, better battery life, etc. this camera aims to be a vloggers dream. It also has 4k video with S Log which will make the more serious videographers out there very happy. It does NOT have IBIS (In Body Image Stabilization) which will disappoint some, but the lack of IBIS is one of the main reasons the camera costs less than the A6500. If you’re serious into video work you’ll most likely be using a camera like this on a gimbal anyways so you shouldn’t need it too much anyways.

Images taken at ISO 500

Images taken at ISO 4000

**Links to Gear**

Lighting: to receive 10% off and FREE shipping please visit www.rotolight.com and enter the promo code: jasonlanier10

*Sony A6400- https://bhpho.to/2IKCRBg

*Sony 135mm G Master- https://bhpho.to/2IPq3d5

*Sony 35mm Zeiss- https://bhpho.to/2IDrv28

*Sony 50mm Zeiss- https://bhpho.to/2FmytlK

Gear Used to Record the Video:

*Sony A9- https://bhpho.to/2oOdnGF

*Sony 24-70 G Master- https://bhpho.to/2tVmFpj

*Sony AX33 Camcorder- https://bhpho.to/2IBQOgP


Given the price, the improved technology and tilt screen, I believe the A6400 is the best crop sensor camera that Sony has to offer. I would buy and use it all day over the A6500 due to it’s flip up screen, improved battery life, faster processing, eye auto focus and more. It also is significantly cheaper which makes it a much more viable option for many photographers out there.

It is hands down a quantum leap in technology and performance over the A6000 and takes it’s place as the best bang for your buck in the Sony crop sensor marketplace. It will be the crop sensor camera in my bag and I’ll be placing the A6500 aside for now. Some people will miss the IBIS in the camera, but I think they’ll appreciate the drop in price more.

I hope this has helped. Make sure to take a moment to check out my Youtube Channel if you haven’t already. www.youtube.com/jasonlanierpros. Also make sure to give a follow to my Assistant Emily on Instagram at @em.explores as well.

So what do you think? Let us know by writing in the comments below. Thanks for visiting us here!



Making it RAIN!  Epic High Fashion Portraits in the Water using Off Camera Flash- 7 Foot Parabolic


Making it RAIN! Epic High Fashion Portraits in the Water using Off Camera Flash- 7 Foot Parabolic

Any photographer who’s been shooting long enough outdoors has had his or her bouts of shooting in the rain. While it can certainly be challenging, it can also be very rewarding to give you some results that are different than what you create on a regular basis.

Well, there are some studios out there that actually offer rain INSIDE of a studio setting. What they do is set up pipes that pass water through with holes in them that drop water down into a studio setting that has the proper drainage and water collection set up to make it possible to shoot with rain indoors.

I recently did a shoot with my muse Emily (you can find her on IG at @em.explores), at FD Photo Studio in Los Angeles. The obvious benefit to shooting indoors vs. outdoors is the fact that it allows me to set up lighting in ways that would be very difficult or impossible to set up under normal rainy conditions.

Here are some of the pics from the shoot:

**Links to Gear:

*Rotolight Products- to get a 10% discount and FREE Shipping on any Rotolight products please visit: www.jasonlanier.com/rotolight to get the promo code now!

*Sony A7Riii- https://bhpho.to/2zu1lJu

*Sony Zeiss 35mm- https://bhpho.to/2IDrv28

*Sony Zeiss 50mm- https://bhpho.to/2FmytlK

*Matthews Scrim- https://bhpho.to/2IE2HH9

*Westcott 7 Foot Parabolic- https://bhpho.to/2ICi3vP

This was a very fun shoot done at FD Photo Studio in Los Angeles. This was shot using the Sony A7Riii with both the 35mm and 50mm Zeiss lenses.

Lighting was set up using the Rotolight Aeos inside of a 7 foot parablic umbrella with a Rotolight Anova Pro 2 used as a kicker light and another Rotolight Aeos used as a fill light.

The model is the beautiful Emily Rinaldo who can be followed by going to Instagram and following her @em.explores.

We hope you enjoy the shoot and invite you to stick around and watch a few more videos while you're here. Don't forget to click on SUBSCRIBE and NOTIFICATIONS so you're updated every time a new video is released!




Creative Lighting using a Micro Four Thirds Camera- the Olympus OMD Mark 2

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Creative Lighting using a Micro Four Thirds Camera- the Olympus OMD Mark 2

Back in November 2017, the kind folks over at Olympus sent me a test kit for the EM-1, Mark 2, which is the OMD Mark ii. I was excited to see what it could do particularly because of it’s weather proofing body specs.

Well, like it can many times, life and career got busy. This little micro four thirds camera sat in my office for over a year. The people over at Olympus were more than patient and just urged me to give it a try when I found the time to do so.

**To receive 10% off any Rotolight product and get FREE shipping please visit www.rotolight.com and enter the promo code: jasonlanier10

Fast forward to the end of 2018 when the mirrorless marketplace was changed by Nikon, Canon, and Panasonic entering the full frame mirrorless sector.

These new cameras ushered in a renewed sense in me to try out some different mirrorless cameras. As someone who believes in the future of mirrorless I had devoted the past 5 years to Sony, the leader in the mirrorless game.

But, with these new cameras coming out, it made me think, why not try all of them? First I tried the new Nikon Z7, and then when preparing for a number of shoots in Los Angeles, I saw the Olympus bag sitting in the corner of my showroom.

I immediately felt bad for the gear feeling like I had neglected it for nearly a year and a half. So, on a whim, I picked it up and decided to give it a go at my studio shoots in lieu of my Sony gear. I still took my Sony gear in case I was unhappy with the Olympus, but I felt it was high time to see what this camera could do.

So my model Emily and I went down to FD Photo Studio in Los Angeles to do a number of shoots. We first planned on doing just 1 shoot with the Olympus, but it turned into a complete week of shooting with that little guy as I really put it through it’s paces.

This blog post isn’t a complete review on the camera but rather a post on just the creative lighting shoot I did with it. Why? Well, because most people (myself included) don’t usually associated micro four thirds cameras with shooting in lower lighting conditions.

Using the Rotolight Lighting system I set up the Anova Pro 2 as my key light, another Anova Pro 2 as my rim and accent light on the back wall, and a Neo 2 as a rim/accent light on my model Emily, placed directly behind her.

If you watch the video you’ll see the progression of the shoot as I share production shots showing how things were set up and how we ended up with the final results that you can see in the shots below:

All of these images were taken with the Olympus 25mm f/1.2 lens shot wide open at f/1.2. The lens actually performed really well and as always, the LED lighting by Rotolight was a perfect fit for the mirrorless system.

I fired all 3 lights using the strobe mode instead of continuous LED so I could get double the power output out of the lights.

To see the complete set up and shoot please make sure to click on the video to see how it all went down. I had a great time shooting with the camera and can’t wait to share more shoots with all of you.

For more information about my workshops and what we do please visit www.jasonlanier.com/register today! Don’t forget to click on SUBSCRIBE AND NOTIFICATIONS on my Youtube Channel to get updated every time a new video is released.



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Shooting a Nikon Mirrorless Camera?  My Shoot and FULL Review of the Nikon Z7


Shooting a Nikon Mirrorless Camera? My Shoot and FULL Review of the Nikon Z7

So, I switched to Sony mirrorless nearly 5 years as one of the early adopters and advocates of the Mirrorless wave. During the span of those 5 years one of the most common statements I’ve heard is, “Just wait until Canon and Nikon come out with their full frame mirrorless.”

To which my response has always been, “I can’t wait!” During those 5 years I’ve shot Sony exclusively and have purchased or used nearly every known lens that will work on the Sony system for both mirrorless or for their DSLT (their version of DSLR) system.

I’ve adapted Canon glass, Sony A Mount glass and used all the Sony mirrorless glass. I even attempted to use Nikon glass with adapters and famously had the Fotodiox adapter ruin my camera. Why do I say all of that?

Because I exhaust things. By nature I’m incredibly curious and as such, I just couldn’t resist the opportunity to try the new Nikon Full Frame Mirrorless system out when the opportunity presented itself.

Over the years Canon and Nikon have both had crop sensor or smaller sensor versions of Mirrorless cameras and those never appealed to me. It’s why I’ve still not tried Fuji, Panasonic, Olympus or others. I tend to stick to those camera companies that offer full frame.

So a little while ago I found myself in Richmond, Virginia for a workshop and I met up with a friend and fellow pro John Sichenze who offered to let me try his Nikon Z7 out. John has been shooting Nikon since 1972 and is a member of NPS, so having him tag along for the shoot was important to me as well. Getting his insights and opinions as to what I was discovering on the camera was helpful and a good way to bounce my findings off of him.

To REALLY get a grasp for how the shoot went, you gotta watch the video. You can read reviews all you want, but being able to watch how the camera performs is better when you…watch it lol.

In the video review/shoot I had the opportunity try both Nikon F mount lenses with the adapter and Nikon’s new mirrorless lenses. I tried it with flash, with LED, and natural light. I shot it with fast action and as a portrait camera in both daytime and night time conditions.

First observations:

The camera takes amazing pics. I never doubted this, even before I put it in my hands as you’ll see me say in the video. In this day and age of advanced camera technology I’ve always been a believer that virtually any camera can take great pics. What I enjoy about a camera is it’s ability make it EASIER for me to do so.

How fast does it focus? How well does it perform in low light? What’s the buffer like? How’s the black out time?


Below are some of the resulting images from the shoot:

Nikon 105mm f/1.4 using the Nikon mirrorless adapter

Nikon 70-200mm f/2.8 using the Nikon mirrorless adapter

Nikon 35mm Native Z7 lens

Thoughts of the Nikon Z7?

*Image Quality- Outstanding. I’ve always loved the image quality out of Nikon. It was the camera system I used for the first decade of my career. The Z7 definitely did not disappoint.

*Adapted Lenses- I was very impressed with how Nikon was able to adapt their DSLR lenses to their mirrorless system. They behave very similarly to when I adapt Canon lenses to my Sony cameras. This will make Nikon users very happy.

*Native Lenses- Both were pretty decent. Definitely not blown away. I enjoyed the 35mm f/1.8 more than the 24-70. It’ll be interesting to see if Nikon is really committed to providing a whole lens lineup for this new system.

*Focus system- the adapted lenses and native lenses focused and worked well during virtually all conditions except for flash. See below. I really do wish the cameras had eye auto focus.

*Buffer- I wasn’t very impressed with the performance of the buffer as it stopped after 19 shots.

*Blackout and Review- the camera lags with it’s blackout time and image review compared to the speed of what I’m used to with Sony.

*Flash- the camera REALLY struggles when using flash. Why does it struggle? It goes from dark to bright trying to acquire focus making using flash on this system very difficult.

*LED- the camera performed well when working with LED’s at night. Mirrorless and LED lights seem to go together very well so this makes sense.

*Screen- I really liked the touch screen to fire the shutter. Brightness and use seemed good.

*EVF- a little lacking compared to Sony in regards to responsiveness, but the EVF is something that makes all mirrorless systems superior to DSLR’s in my opinion.

*Video- I was impressed with the video output of the camera. It has a timer that counts down from 30 minutes and doesn’t crop in which I like. I don’t like that you have to switch to a movie mode to do so, but the quality of the video seemed very nice.

*ISO Performance- below are shots taken at 10,000, 16,000 and 25,600 respectively using the 105mm lens

The end of the video provided us with an opportunity to meet and shoot with a local who came upon us as we were doing our wrap up. It tells the underlying theme that at the end of the day the camera brand we shoot with is less important that what we do with the camera.

Am I switching to Nikon? No. The system just isn’t there yet. Sony is still the king in the mirrorless marketplace. But it’s worth noting that competition makes everyone better. It pushes the brands we use to have to be better and to not be complacent. I’m grateful we live in a day and age where we as photographers get to benefit from the competitive marketplace.

Last but not least remember, KEEP AN OPEN MIND. I’ve always believed in what I say at the end of every one of my videos. “Find the Right Gear That Works for You.”

To see the entire review and performance, please check out the video, it’s definitely worth a watch!

A big thanks to John for letting me use his camera and to the other John for filming.

The biggest thanks to Emily for just killing it as a model. She really brings so much to the shoots and I appreciate her so much. You can follow her on Instagram at @em.explores

For more information about what we do and to visit us for a workshop please visit www.jasonlanier.com/register.




Should Photographers Pay Money to Strangers when Doing Street Photography?  From the Streets of Ethiopia

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Should Photographers Pay Money to Strangers when Doing Street Photography? From the Streets of Ethiopia

Join me for my first experience on the streets of Addis Ababa, Ethiopia where I take on the question of whether or not photographers should compensate strangers when we’re taking their pictures as part of street photography or photojournalism.

Now, this is a complex question. You have to ask yourself:

  • Is it offensive to offer money to people when you take their picture?

  • Is it offensive when you don’t?

  • Is it messing up the natural flow of a shoot and what’s occurring when/if you offer money?

This shoot was done back in August, 2014 when I had first delved into the world of shooting Sony. All of these images were taken with the first Sony I ever purchased, the A6000.

I have to admit it was quite challenging to tackle this issue for myself. I was used to shooting weddings, portraits, landscapes and most things that photographer shoot. I had done work on local streets of the United States but never something to the magnitude of Ethiopia.

To find out how I handled it all and what I ended up doing, please watch the video that I made from this shoot.

To see the images from this shoot please check them out below:

The images in this video were taken using the Sony A6000 with the E mount 50mm f/1.8 lens and the 16mm f/2.8 lens.

As this is a touchy subject that many photographers need to answer, my attempt with this video is to show how I handled the situation so hopefully it helps others out there to determine what they would do if they were in a similar situation.

We thank you for watching and invite you to stick around and watch a few more while you're here.

A big thanks to the Out of the Ashes Organization for helping to make this trip possible. You can find out more information about them by visiting www.outoftheash.org

Don't forget to click on subscribe and click on NOTIFICATIONS so you're updated every time a new video is released.



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Shooting the Canon 300mm f/2.8 lens on the Sony A7Riii using the Metabones Mark 5 Adapter


Shooting the Canon 300mm f/2.8 lens on the Sony A7Riii using the Metabones Mark 5 Adapter

WOW! This was a FUN SHOOT! While I usually spend the vast majority of my time teaching and not shooting at my workshops, I’ve learned to do a demo shoot at every workshop to help my students understand exactly what I’m teaching. I’ve also received feedback over the years that for some of my students who are visual learners, the demo session of the workshop is invaluable to their learning experience.

The other thing that’s so much fun at my workshops is when I have fellow photographers who are attending bring lenses that I haven’t had the chance to use before. At my Houston workshop in December 2018 a photographer named Jose brought the Canon 300mm f/2.8. I was thrilled to be able to borrow it and see how it worked with my Sony A7Riii using the Metabones Mark 5 Adapter.

As an early adopter to the Sony Mirrorless system, I am very accustomed to using Canon lenses on my Sony bodies to be able to supplement the Sony lens lineup that was lacking when I first switched over. I currently own 7 Canon L lenses and have used the 400mm f/2.8 and the Canon 200mm f/1.8 on my Sony bodies….BUT, the 300mm f/2.8 was one I hadn’t gotten my hands on yet.

Until Houston.

Jose was so kind to let me borrow the lens and his Metabones Mark 5 Adapter. In the past I’ve always used the Metabones Mark 4 Adapter or the Sigma MC11 Adapter. To answer the easy question for those reading this and wondering…did I notice a difference using the Metabones Mark 5 over the others? No. So if you’re like me, you don’t need to rush out and spend money on it unless you currently don’t have an adapter.

But, back to the lens.

Yes, it’s heavy.

Yes, it requires an adapter to use.

But yes, it delivers some pretty stellar results. Check out the shots below from the shoot:

As you’ll see when you watch the video I tested this lens in a variety of ways. First I shot with it just doing portraits as most people would use it.

Then I decided to up the ante and added the Westcott Eyelighter to the equation with the Godox AD600 Pro light that I was using inside of the Westcott Rapid Box XXL.

And THEN I decided to add some ambience to the background of the shots by asking the photographers there to throw sand and leaves behind the model (@macanoniii). You’ll also see that I added a rim light to the back of the shot by having a photographer hold the light behind the model to illuminate not just the model, but also all of the particles flying in the air.

Throughout the shoot I used different focusing modes to be able to adequately acquire focus. Did the lens acquire focus as fast and reliably as using the Sony 400mm f/2.8 lens? No. It didn’t.

Is it more than usable in most circumstances if you have the lens and want to use it on a Sony? Yes.

I switched to manual focus and had the lens situated on my model for the last set of shots when a lot of stuff was flying in the air because I didn’t want the lens to hunt for focus and miss the eyes of my subject.

I hope this helps!

If you have any questions about the lens or how it performed make sure to notate it in the comment section below.

Thanks again for being here and if you like what you see, make sure to check out some more of our posts and videos!

If you’d like to join us at a workshop please visit www.jasonlanier.com/register.

We also do a podcast called Jason Lanier Unfiltered that you can find on iTunes, Spotify and more.

Thanks again for stopping by!



Feathering Your Lighting- How to shoot your flash from the ground up!


Feathering Your Lighting- How to shoot your flash from the ground up!

Most experienced photographers know that when you use artificial light you should place it above your subject. That’s because when you do so, you are creating a lighting pattern that casts shadows down on your subject.

But there is a lighting technique called Feathering Light. That technique is utilized by having the edges of your light paint light onto your subject. This is done to minimize the effect of using light with your subject and even more importantly on the canvas of your image.

For example, if you want to do a shoot and don’t want there to be light spill or shadows on the ground coming from the flash, you would feather the light. This technique can also include facing the light up or even placing it on the ground so the light is shooting up.

Check out the video above of the shoot that I did in the Everglades which shows exactly what I’m talking about. This was a crazy shoot with my Model Emily who painted herself up and used palm fronds on the ground to create an amazing outfit.

This was done using the Godox AD 600 Pro flash inside of the Westcott Rapid Box XXL modifier with three layers of diffusion; the deflector plate, the inner baffle and outer sock.

As you’ll see in the video I use the edges of the light modifier to cast light onto Emily vs. what I’d normally do which is use the center of the light source. Below are the resulting images from the shoot. I’m breaking them into categories based upon the lens used.

Shots using the Sony Zeiss 50mm:

Shots using the Sony G 12-24mm lens:

Shots using the Sony Zeiss 35mm:

I really hope this helps some of you out there to explore some alternative ways of lighting. The pros to lighting like this include creating some dynamic shots in a way that allows your ground area to remain dark. The cons are that you have to be careful of where and how your shadows fall on your subject.

Immediately following this shoot we did a live video blog/podcast. To check that out click below:

Thanks for visiting my blog. I really appreciate your support and thank you in advance for your comments and for sharing the content with someone you think can benefit from it. To learn more with us online please visit www.patreon.com/jasonlanierphotography.

To learn with us in person please visit www.jasonlanier.com/register.

We’ll see you soon!




Shooting the Lightweight Beast- my shoot with the Sony 400mm f/2.8 G Master lens


Shooting the Lightweight Beast- my shoot with the Sony 400mm f/2.8 G Master lens

I’m writing this blog in the early parts of December 2018. But once upon a time back in August of 2018, it was still VERY HOT. My Assistant Emily and I found ourselves in the middle of NOWHERE on the side of the road in Arizona. The temperature gauge inside of the car was telling us it was 115 degrees and boiling hot…but I digress.

Sony was gracious enough to lend me the 400mm f/2.8 lens for a few days for me to go out and test this thing. I already own the Canon 400mm f/2.8 so being able to play with this lens was a treat.

Questions abounded:

*If I already own a 400mm f/2.8, do I REALLY need to spend the amount of money as I would on a good used car to buy this lens?

*Is it really THAT much better than my Canon lens? I mean, this thing ain’t cheap.

So while driving down the road heading back to a cooler California, we saw this abandoned gas station and of course we HAD to go and shoot at it.

The first challenge was COMMUNICATION. I mean let’s face it, the 400mm wasn’t necessarily meant for doing portraits. BUT, I wanted a challenge rather than do the typical thing that most people do with this lens.

**Performance- From a performance perspective this lens hit all of the checkboxes. It focuses very sharp and very fast, has all the bells and whistles that you’d want on a premium lens and it is LIGHT! We weighed this thing and it was pretty much HALF of the weight of my Canon 400mm f/2.8. Why does that matter? Well, it actually makes the Sony 400mm f/2.8 the first lens in that range that can actually be used for handheld purposes. Why would you want to do that? Simple. It would be for the ability to be able to quickly change and shoot in areas like safari wildlife and sports. Having done both professionally in the NFL and in South Africa, I can attest to the fact that wielding a heavy lens and having to maneuver a monopod or tripod can mean missing some crucial shots.

Below are the images taken with the lens using the Sony A7Riii. The first three shots are with flash. The rest are without. If you’d like to see and know why check out the video above where the light takes a big FALL.

**VALUE- let’s not beat around the bush. This lens is EXPENSIVE. While it’s in the same stratosphere as it’s Nikon and Canon equivalents…all of these lenses are for the super pro who has a very particular need. So for pro wildlife and sports photographers who make their money shooting with the very best lenses this is a must have. For the average person out there the Sony 100-400 G Master is a great lens that is more versatile. The shots aren’t as special as they are coming out of the 400mm f/2.8, but they are very nice and the lens is about 25% the cost of the 400mm f/2.8. The other advantage of the 100-400mm is it is much more versatile for wider images which I did find very useful when I used it on safari in Kruger National Park in South Africa in July of this year.

A BIG thank you to Emily for braving the insane heat and giving me yet another epic performance. She is the BEST in every sense of the word. To follow her please visit www.instagram.com/em.explores today.

Please take a moment to let us know what you think by dropping a comment down below. Don’t forget to click on SUBSCRIBE AND NOTIFICATIONS so you’re updated every time we release a new video on Youtube. You can find our channel now by visiting www.youtube.com/jasonlanierpros. Please let me know what questions you have. If you have the money, this lens is phenomenal.




Shoot and Review of the Sony 24mm G Master Lens- the Mighty Mouse of the G Master line up


Shoot and Review of the Sony 24mm G Master Lens- the Mighty Mouse of the G Master line up

Early November 2018 I found myself in Manchester, England doing a workshop for Sony, Rotolight and Jessops Camera at the historic Chethams Library. Sony offered me the opportunity to use one of their 24mm G Master lenses to do some shooting fun with the newest G Master to the Sony family.

How could I say no? To watch the video from this shoot please click below:

This was an interesting lens for me. I’m not gonna lie, I originally had no intention on testing it out. Why? Well, it was simple. I have a TON of lenses. I mean I think I’ve blown my kids inheritance on lenses over the past number of years as I’ve purchased nearly ALL of the Sony E mount and FE mount lenses.

On top of that I already own a Sigma 20mm f/1.4 Art lens, so I just didn’t find myself in a position where I felt I needed another lens. But since I was already there, at the event, and since Sony was offering….I put it on my Sony A7Riii and decided to put it through it’s paces.

Initial thoughts when first handling it:

*Very light! I couldn’t believe how lightweight the lens is. I don’t know what Sony is doing with their glass but they are really breaking some new ground in delivering high quality, LOW weight lenses. This lens is right up the alley of the 400mm which is very light and high quality. This lens is HALF the weight of it’s bigger brother, the 85mm G Master.

*Feels solid- the lens like all the other G Masters the lens feels very solid and has all the stuff you want with a top of the line lens incuding an aperture ring, focus lock buttons, the ability to turn the focus on and off on the lens etc.

Thoughts when shooting with the lens:

*Very fast focus

*Makes no sound when using autofocus which could be good for video purposes for those who elect to use AF for their video work.

*Very sharp- I was impressed with the accuracy of the focus system, especially when shooting wide open at f/1.4 which as many people know, I shoot all the time.

Below are the images taken at the shoot:


*Performance- Works just as you’d expect a top of the line lens to perform.

*Lightweight- the lightest of all the G Masters.

*Affordable…kinda- it’s the most affordable lens of the G Master family. But not many people would consider $1,398 cheap lol.

*Portable- due to it’s size and weight it’s a better choice for a travel lens than the Sony Zeiss 35mm f/1.4.

*Versatile- this is the kind of lens that can do A LOT. I could see myself using this as a wedding photographer for wide angle portraits, reception shots, ceremony shots etc. I mean being able to crank down to f/1.4 for low light ceremonies and receptions could be a lifesaver over the 16-35mm G Master at f/2.8 for example. I could also see myself using this lens a lot for videography purposes.


*Other Options- to be fair there are other options out there, most notably the Sigma Art 24mm f/1.4. I personally own two Sigma Art lenses, the 105mm and the 20mm, both f/1.4 lenses. While they aren’t QUITE the level of the G Masters, they are pretty damn awesome, especially for the price. As a comparison the Sigma is $849 which is 40% cheaper than the Sony, so if you don’t have all the bucks for the G Master, the Sigma might look pretty enticing. It should be noted the Sigma doesn’t have the aperture ring which is very useful for videography work. But you’ll have to determine if that matters for you or not.


If you have the money and want a versatile lens I think this is a great choice. Let’s face it, I think all the G Masters could be summed up similarly. Some may not be versatile, but all of them are amazing if you have the money. I personally own all of the G Masters except for the 400mm…but I have shot with that one extensively as well. If you have the money and don’t want to compromise performance the G Masters are a safe bet. But if you aren’t fortunate enough to be able to afford all of them, it is good to know that other options are popping up in the marketplace like the Sigma Art series and also some new offerings by Tamron.

**Links to Gear in the video and shoot:

*Sony A7Riii-

*Sony 24mm G Master-

*Rotolight Neo 2- www.rotolight.com, promo code: jasonlanier10

*Rotolight Aeos- www.rotolight.com, promo code: jasonlanier10

*Westcott Halo- https://www.fjwestcott.com/45-round-halo?acc=1c383cd30b7c298ab50293adfecb7b18

I want to thank you for joining me on my blog for this review. Please drop a comment below and let me know what you think about the lens and if this review was helpful to you. Also let me know what gear you’d like me to review in future episodes.

Instagram links to the awesome models from the shoot:

*Emily Rinaldo- @em.explores

*Victoria Lucie- @victoria.lucie




Shooting the Corpse Bride- a Cinematic Story Telling Shoot at the Fitzrovia Chapel in London


Shooting the Corpse Bride- a Cinematic Story Telling Shoot at the Fitzrovia Chapel in London

On Halloween 2018 I had the opportunity to do a very special shoot with the Rotolight team at the Fitzrovia Chapel in London, UK. It’s always pretty surreal getting to visit and shoot in some of these exotic locations and we wanted to do something really fun for Halloween. Click below to watch the video of this shoot!

My model Emily and I arrived at the chapel that’s tucked away in the center of London. This is an old chapel surrounded by big modern buildings and can’t be seen from the street. You have to navigate the CRAZY traffic in London (I mean I really HATE London traffic), park in one of the crazy parking lots that charge $60 for a couple of hours and THEN you drag your stuff all the way to the shooting location.

SO, after doing all of that, you certainly hope that the location is WORTH it. Was it?




So I got Emily settled into the chair for hair and make up where she started the transformation into the Corpse Bride with her Corpse Groom Lawrence waiting for her:


The biggest challenge when first walking into the church was trying to figure out how to take the ambient lighting down as it was very warm and convert it into the kind of cold blue tones that you’d want for a corpse bride (day of the dead) kind of shoot. So we killed all of the lighting in there and started lighting it up with blue lighting from all of the lights from the Rotolight Ecosystem. In this shoot we used the Rotolight Anova Pro 2, Aeos, and the Neo 2.

The Motion Blurr teamed based out of London filmed the shoot for me and did a great job. Below are the shots from the shoot. I really wanted to craft this as a story and I believe the shots below show the story unfolding even more than comes across in the video of the shoot.

I can’t thank Emily and Lawrence enough for their hard work in making all of this happen. They both did a terrific job of getting into the characters and going for it.

Below is a list of the gear used in the video:

*Sony 85mm G Master

*Sony 35mm Zeiss

*Westcott Halo- https://www.fjwestcott.com/45-round-halo?acc=1c383cd30b7c298ab50293adfecb7b18

*Westcott Eyelighter- https://www.fjwestcott.com/eyelighter?acc=1c383cd30b7c298ab50293adfecb7b18

ROTOLIGHT GEAR: To receive a 10% discount and FREE shipping on the Rotolights used in this video please visit www.jasonlanier.com/rotolight


Jason Lanier Working with Sony, Rotolight and Jessops Camera in epic 2 week trip


Jason Lanier Working with Sony, Rotolight and Jessops Camera in epic 2 week trip

In November 2018 I was blessed with the opportunity to work with three amazing brands, two of whom I’m very familiar with…at some very historic venues no less, the Fitzrovia Chapel, Pinewood Studios, and the amazing Chethams Library in Manchester, UK.

This started a few months ago when I received a call and was asked if I’d be able to fit this event into my schedule….and I was like, “How do I say no to this?”

So I got my Assistant Emily with me on a plane to London following our workshops in Richmond, VA and New York City and we took off to the ever amazing United Kingdom.

Our first stop was an appearance at the Camera World Live Event where I did a speech for Sony and Rotolight called, WYSIWYG- What You See Is What You Get. I get to do a lot of conventions and events and I love them all…but getting to see so many people for some jam packed events was an honor I’ll never forget. We did have a security guard outside of the event tell me I wasn’t allowed to put my elbows on the couch…but that’s for a later conversation lol.


To check out the second of my two appearances there please click the video below:

Following the appearances at the convention some brave photogs ventured out into the very cold night air of London for a photo walk. We had a beautiful model named Sarah come out for that and we of course had the ever able Emily there as well.

IMG_5305 2.JPG

Following this event Emily and I made a quick pit stop down in Brighton for a fun photo walk on the pier that was a ton of fun! This was great as I’d never been to Brighton before. I’d say the toughest thing about this particular trip was the fact that the jet lag STUNK! Man with so many events the jet lag was tough to shake. Emily threw water on me a few times to get me to wake up. Be careful around here if you’re sleepy, she’ll use a defribillator on you! A big thanks to Darren Fellows for coming down to help with this photo walk as well.


Following Brighton Emily and I returned back to London to get ready for our Jack the Ripper Shoot! I have to give a lot of credit to Emily for this shoot. Without her efforts it just wouldn’t have happened. You can check out the shoot and video by clicking below:

That was seriously one of the most fun shoots I’ve ever had the privilege to shoot. But we weren’t done there! Rotolight had contracted me for a commercial shoot at the historic Fitzrovia Chapel that we did just a day later. A videography crew called Motion Blurr was hired to document the event. That video will be coming out soon….but in the meantime check out this image of Emily taken at the shoot! This was done with her and a male model named Lawrence and both of them did just great. It was in a chapel and they did play the part of a married couple so…..officially I’ve shot Emily’s wedding lol.


We ended that shoot and had a tight turnaround because the next morning we were due at the historic Pinewood Studios to give a full days worth of presentations for Sony, Rotolight and Jessops Camera. This was such a fun event where I got to work with so many talented and amazing photographers who were Jessops trainers who came there to learn more about the synergy between Sony cameras and Rotolight LED Lighting. This was a fantastic day to be indoors because the rain and cold were out in full effect that day. Many laughs were shared. And it was such an honor to have so many of the Jessops trainers that were a part of Fedora Nation.


After that it was a travel day from London to Manchester to get ready for our once in a lifetime event where I got to do workshops for Sony, Rotolight and Jessops at the historic Chethams Library. While the team was prepping for the event I was able to grab a few moments on the piano which was so exhilarating for me. Being able to play a grand Yamaha piano at such a historic place was something I’ll never forget, and I’m so grateful that my Assistant Emily was able to capture this moment with her phone:

Following that we did an event for two separate groups of photographers who came to learn about Sony and Rotolight, again working with the amazing folks from Jessops. It’s such a pleasure to be able to present for multiple sponsors when the products tie together so well.


This was a truly historic and fun event to do. I mean, how many photographers get to shoot in a library from the 1600’s that also has had scenes from Harry Potter shot there? Wow, what a blessing! We had some vintage clothing for all of the models. During the breaks between the two sessions I was able to quickly do some private shoots with the new Sony 24mm G Master with both Emily (my amazing muse) and another awesome model named Victoria.


Following the event at Chethams we went out with a few brave souls that were willing to go out into the cold for one last Photo Walk. This was quite a way to end the 2 week trek as we braved not only the cold…but also some drunk dudes, some unruly minors who liked to smoke, and some fans who wanted to say hello. But luckily the group was lively and we had a phenomenal time.


I can’t thank everyone enough for making this all possible. Emily was a tremendous help on this trip that was the longest of my career (because it was also tacked onto stops in New York City and Richmond before we even came to the UK). It wouldn’t have been nearly as successful as it was without her.

A big thanks to my sponsors Sony, Rotolight and Jessops. Sponsors can be such a tremendous support and help to open up doors. A super big thanks to my man Rod Gammons. He’s a real friend. Mark Baber, you know I love you! And last but not least my family at home. I couldn’t do it without the support of my wife and boys. I love you guys so much!!

Here are the production BTS shots from my time at Chethams Library. Thanks to Rotolight and Sony for taking these. Also stay on the lookout for more videos to come from these events.

I can’t wait to work with all of them again. Next up is speaking for Rotolight and Sony at the Profusion Convention in Canada!

Thanks for reading…:)




Jack the Ripper- Using Cinematic Lighting in the streets of London with the Rotolight Aeos and Westcott Halo

Just days before Halloween 2018 I had the opportunity to do a shoot of Jack the Ripper in the very streets where this once crazy serial killer roamed. My model Emily and I were in London for a number of events including the Camera World Live Convention where we spoke for Sony and Rotolight.

After the convention we had some free time before some of our other commitments started and I’d asked Emily to see if she could locate a shop for wardrobe in London. She found a place called Angels that completely outfitted both her and our Jack, a male model named Derek Martin.

I picked them up from the shop and Emily started doing her makeup as I location scouted in our rental car. The hardest part was driving around the crazy and completely chaotic streets of London. If you haven’t driven there before, you are in for a TREAT!!

We went to the White Chapel area of the city where Jack the Ripper once roamed. It was pretty surreal to be doing a shoot of Jack the Ripper in the very streets where he once walked. Creepy is an understatement.

After pinpointing on our GPS where I wanted to do the shoot we went to a restaurant in Brick Lane called All Star Lanes where we had a bite to eat with the team before the shoot. After a hectic day it can be a very good idea to relax for a minute or two before setting off to do a shoot. This gave me, the models and my helper Darren the opportunity to chat, eat, and relax a little before heading out into the very chilly air of the night.

Emily and Derek both changed into their costumes in the restaurant and then we were OFF to shoot! The most challenging thing about doing a period piece shoot is everything around you is modern. Cars, street signs, people, bikes etc betray the illusion that this shoot is being done in the 1800’s. You have to be careful with camera angles and where you choose to shoot if you want to try and pull off the look that it’s authentic.

We shot in two primary locations. A street with old windows and sheers and a nearby park. Using the Rotolight system with the Westcott Halo really gave me the ability to shoot a cinematic lighting effect. I put the Rotolight Aeos inside of the Halo and used Rotolight Neo 2’s for accent and rim lighting. Make sure to check out the video to see what I’m talking about.

Below are the shots from the shoot.

I hope you enjoy the shoot and thank you in advance for your support. As stated in the video I really tried to go out of my way to tell a story of what happened without glamorizing violence against women.

Don’t forget to click on SUBSCRIBE AND NOTIFICATIONS on my Youtube channel to be updated every time a new video is released.




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840mm!! Using a Crop Sensor Camera with a Full Frame Lens and a Teleconverter

Ever wonder what a crop sensor camera would produce using a full frame lens and a teleconverter?  Well that's what I did when I photographed the lunar eclipse from Cape Town, South Africa.  Check out this video to see what I captured!  

I was in South Africa doing events with Sony and happened to be there during the lunar eclipse on July 27, 2018.  I went up to the rooftop of the hotel where I was staying at and photographed the eclipse using the Sony A6500 with the 100-400 G Master lens.  I then added the 1.4 Sony Teleconverter to this combination to get an equivalent 840mm!

When you put a 1.4 teleconverter on a 400mm lens it makes it an equivalent 560mm.  When you multiply that by the 1.5 crop factor it gives is a 840mm FOV equivalency.

In the video I shot both with the teleconverter and without to give you an idea of what both look like.  You'll also be able to see the difference in ISO between the two since the teleconverter changes the maximum aperture of the lens from f/5.6 to f/8.

Here are the images taken:

Without Teleconverter

Images taken using the Teleconverter:

I was very fortunate to be able to shoot both the solar eclipse in August 2017 in the United States and less than one year later shoot the lunar eclipse in South Africa.  It's a pretty surreal experience to capture one of these events, but to be able to capture two in less than a year is special.

I hope this video and blog helps you to better understand how to shoot a lunar eclipse, and that it helps you to understand how a teleconverter can work on a crop sensor camera.

**Links to Gear**

*Sony A6500-  https://bhpho.to/2Oe516m

*Sony 100-400mm lens-  https://bhpho.to/2Bx8UkP

*Sony 1.4 Teleconverter-  https://bhpho.to/2nLhK4D

I thank you in advance for watching and invite you to stick around and watch a few more videos while you're here.  Please make sure to click on SUBSCRIBE and NOTIFICATIONS so you're updated every time a new video is released.  My Youtube Channel link is www.youtube.com/jasonlanierpros



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11 Essential Tips To Wedding Photography for Lead and Second Shooters

It's hard to make it as a new photographer.  Hard to understand what is required of you.  As a wedding photographer it's even more daunting because you are capturing a once in a lifetime moment....and you do NOT want to screw up!

Nearly every established wedding photographer has experience being a second shooter at a wedding.  Usually it's something they do when they are getting experience under their belts.  It's an invaluable way to learn how to be a wedding photographer without having the stress of the lead shooter.

As an experienced wedding photographer I've had the opportunity to be a second shooter for a few weddings when I first started.  I also have trained numerous second shooters over the years to help them become who they want to be as photographers.

Recently on my Patreon channel www.patreon.com/jasonlanierphotography my subscribers asked me to make a video about second shooters.  The do's and don'ts, with advice on how to make it all work well together.  So I got together with my Assistant Emily Rinaldo for a wedding of mine at the Stettenfels Castle in Germany and we recorded a video on lead an second shooters.

Below is a link to the video:

Here are the 11 Essential Tips to Wedding Photography for Lead and Second Shooters.  My assistant Emily helped me put this together...thanks Em!

  1. How Do You Become a Second Shooter?  Being a second shooter requires reciprocity. A lead photographer provides a second shooter with experience, opportunity, and exposure. In order to adequately reciprocate the exchange, the second shooter must ask themselves how they can benefit the lead photographer.   Pretty much what this means is a newer photographer needs to find a way to provide value to a more experienced, lead shooter.  If they can do that, they will be provided with more opportunities to shoot, learn and grow.

  2. How Should a Lead Shooter Handle Business with a Second Shooter?  It is highly recommended that the lead photographer initiate a contract. The contract should contain information that describes expectations. An expectation worth discussing includes: owning of images. A second shooter may ask, “are the shots I took mine?”. Well, yes of course they are; however, they were captured while working under the direction of the lead shooter.  The lead shooter set up lighting, posing, and hired the second shooter. As a result, the lead shooter owns the images. Does this mean that the lead shooter can claim the second shooter’s images as their own? Absolutely not - the lead photographer should most definitely provide credit where it’s due and vise versa, the second shooter should acknowledge that the images were captured when working with the lead shooter. Both parties should be mindful and considerate of one another.                                                   

  3. Can Second Shooters Use the Images in Their Portfolio?  Second shooters may use the images they capture for the lead shooter in their portfolio as long as the lead photographer provides consent to do so.  This will vary depending on the photographer.  When updating your portfolio be sure to annotate that the photograph was taken when working under the direction of the lead photographer.                                                                                          
  4. When should Second Shooters post the images they take?  As a second shooter it’s likely you’re photographing something new and exciting. With excitement comes eagerness to share on social media. Although it may seem tough, just remember to pump the breaks. It’s imperative that the second shooter waits for the lead photographer’s approval before posting shots. Approval may be dependent on different factors such as: when the client receives their shots and when the lead photographer posts their shots. It’s important to consider what it may feel like for the client to see shots of their wedding from a photographer who is not the lead. Just be respectful and wait until the lead gives the okay - if you’re not sure, just ask!                                                                                                                                                                                                                                                   
  5. What are the roles of a Lead and Second Photographer?  A lead photographer is just as it seems, the lead. This means that they hold all responsibilities (i.e. lighting, posing, composition, time management, communication repair, problem solving, etc). The second shooter must support the lead as requested by them. While supporting, please recognize that the pressure is not entirely on you. Utilize those moments to observe and attend to how the lead is running the show. Pay attention to gear used, positioning of subjects, use of communication skills, and tactics used to maintain a forward progression of events or the event’s fluidity.
  6.  What gear should Lead and Second Shooters use?  Lead shooters must clearly describe what gear the second shooter should use. To maximize the range of shots taken, it is recommended that the lead shooter encourage the second shooter to use glass that differs from theirs (i.e. the lead shooter will decide who uses the zoom lens and who uses the wide angle). Lead shooters should also express that the second shooter should attempt to frame different shots. Don’t be a shadow second shooter; photograph at a different angle to provide the lead photographer and client with an alternative look.

  7. Don’t Try and Be a Hero-  As a creative, there are going to be moments where you want to photograph your perfect dream shot (i.e. an image where the focal point is on a lovely rose pedal and the audience is blurred out, or the bride’s shoe as she steps out of a nice vehicle). Those shots may benefit your portfolio; however, you need to remind yourself that you are on the clock and on someone else’s time. Therefore, it is important to recognize that hero shots, as lovely as they may be, take time and attention to compose. As I quickly learned, weddings do not wait, so it is imperative that second shooters remind themselves to fulfill their expectations as requested by the lead shooter. Don’t get caught up in the moment - stay focused on the task at hand.

  8. Prepping Gear for the Wedding-  SYNC YOUR EQUIPMENT. Lead shooters, save yourself the headache and sync your cameras. This includes: date stamps, times, etc. You’ll thank yourself later when editing. Another consideration is to shoot in the same white balance. This helps to maintain consistency within the work. Lastly, the lead and second photographer can shoot with different camera makes; however, shooting with the same camera is preferable. These tips are not necessarily required but have been deemed beneficial when working with a second photographer.

  9. Setting Expectations Prior to the Wedding-  Lead shooters, it is recommended that you review expectations with the second shooter when you first book them to do the wedding with you. You should then have a follow up call/meeting to discuss specific details after you have finalized the wedding itinerary with the client.  Expectations are necessary for adequate task completion. They should highlight roles and responsibilities required throughout the event. Clear expectations should facilitate understanding of the task at hand. When both parties are on the same page, the room for error is likely to decease. Please refer above for a description of suggested expectations (i.e. who owns images, when to post images, where the second shooter should stand, what gear the second shooter will use, a moment in time that the second shooter should aim to capture).

  10. Shooting Together Before the Wedding Can Be a Big Help-  Lead shooters, please take the time to take pictures with your second shooter prior to the event. This gives you opportunity to familiarize, socialize, and provides insight on their shooting style. Second shooters, here is a chance for you to feel comfortable shooting along side the lead photographer. Don’t be afraid to ask questions. Just the other day Jason took me out to shoot for the first time. And man was I nervous! I felt like every shot I took was unflattering. I was so excited to shoot, I forgot some of the basics (i.e. composition, framing, negating unwanted space). I expressed my feelings and Jason provided suggestions. Once implemented, I immediately saw better results and my confidence raised again. Overall, I’m really glad we shot together before the wedding - it helped ease some of my excitement that I felt on the day of.

  11. Understand what your client needs vs. what you want-  Without a doubt, weddings are beautiful. They’re full of life, laughter, and emotion. It’s easy to get caught up in the moment but you need to remind yourself why you’re there; to serve your clients. Avoid sacrificing a shot that the client needs, for a shot that you want as a photographer. To understand shots that the client needs, please check in with them before, and on the day of the wedding. Find out what they wish to have photographed. Some clients may want to include a really special center piece or wine glass, while others may wish to have portraits with specific family members and friends. Whatever it is, just ask, check for understanding, and be sure to include in your finished work.

Thanks Emily for helping me write up the 11 points!  We certainly hope this helps and thank you for reading my blog.  This was all done as part of my REAL Wedding Workshop at the Stettenfels Castle in Germany.  If you'd like to join us for one of my workshops please visit www.jasonlanier.com/register today!



Image taken by me at the wedding using a wide angle lens

Image taken by me at the wedding using a wide angle lens

Shot taken by Emily using the 70-200mm

Shot taken by Emily using the 70-200mm



Updates to Privacy Policy- GDPR

Updates to the Privacy Policy

Hi Friends in Fedora Nation,

It's the fantastic time to do some privacy updates thanks to our friends in the EU...:)

In light of the General Data Protection Regulation (GDPR), agreed upon by the EU and set to go into effect today (May 25th, 2018), we wanted to revisit our privacy policy and make a few updates for you.  Already in full compliance for GDPR, we’ve simply added details and adjusted language in the Privacy Policy to be more transparent regarding our collection and use of your personal data.

Our privacy policy updates will give you more clarity and control over how we collect and use your personal data when delivering our world-class products and services.

Here's a quick summary of the updates we’ve made:

  • We wanted it to be absolutely clear that we have never and will never rent, sell, or lease your personally identifiable information to other companies or individuals. We agree, it’s your info, not ours.

We trust you'll find these updates helpful and want you to know that our continued commitment to your data’s privacy and security will remain a top priority.

To review the full Privacy Policy please visit:


Please note that by being part of the Meetup Group here, you've already agreed to the Privacy Policy on Meetup.  Today's updates maintain our privacy agreement with you and by continuing use of the services on or after today, you’ll be in full agreement with the updated policy. If you have any questions please contact us anytime at info@jlpros.com

We appreciate you and your business.  Hope you’re having a wonderful day!

Thank you,

Jason Lanier Photography


My First Shoot Ever using the Sony A7Riii- shooting in Raw at a Penthouse in NYC


My First Shoot Ever using the Sony A7Riii- shooting in Raw at a Penthouse in NYC

In late October 2017 Sony announced a camera that should be a big seller for them, the Sony A7Riii.  The predecessor to the A7Riii, was the A7Rii, a very popular and widely acclaimed camera.

While in town in New York City for the PhotoPlus Expo I was able to get my hands on the new Sony A7Riii with the brand new 24-105mm FE lens that was announced at the same time as the A7Rii and give it a go for a night.  I had my Photographer's Unite Event planned at a Penthouse in Manhattan and I used the opportunity to put on a live shooting demonstration in front of the crowd as they got to witness my first shoot ever with this camera.  Below is a video of the shoot:

But most of you are probably here to see the images that came out of the camera right?  Well, they are posted below.  All of the images were shot in raw, developed using Capture One, and enhanced using Photoshop.  I'll post the images by the lens that was used to capture them.  Settings for all the images are included in the video:

Images captured using the 85mm Sony G Master

Images captured using the 24-105mm Sony G lens:

Images captured using the Sony Zeiss 35mm f/1.4:

---Gear used for the shoot---

**Sony A7riii-  https://bhpho.to/2ztvVDo

**Sony 24-105 G lens- https://bhpho.to/2zs27qp

**Sony 85mm G Master-  https://bhpho.to/2A2V83D

**Sony 35mm Zeiss-  https://bhpho.to/2zsIUoP

To save money and get FREE shipping on Rotolight products please visit:

**Rotolight Neo- www.jasonlanier.com/rotolight

Below is a link to the models in the video:

*Maddi- www.instagram.com/lalunetta

*Jade- https://www.instagram.com/jade.gallowayy/

*Alyssa-  https://www.instagram.com/aly_182/

I thank you for watching and invite you to stick around and watch a few more while you're here. We have plenty more videos coming with the Sony A7Riii and will also devote an entire playlist to that camera, so make sure to check that out as well.

Don't forget to click on subscribe and notifications on my Youtube Channel www.youtube.com/jasonlanierpros so you're updated every time a new video is released.  Thanks for being here!!!



The Shoot between Jason Lanier and Ken Wheeler the Angry Photographer using the Sony A9 and the Fuji GFX


The Shoot between Jason Lanier and Ken Wheeler the Angry Photographer using the Sony A9 and the Fuji GFX

I gotta admit, this is a blog post I never thought I'd write.  I never thought I'd make two videos out of the experience, and I really didn't think any of this would come together....but I always hoped it would.

When I switched from Nikon to Sony it angered a good amount of people out there.  My chief and most vocal critic on the matter was Ken Wheeler, the Angry Photographer as he's known on Youtube.  You can go back and search for all the videos related to this subject that have been created over the last two years, but suffice it to say that me getting Ken to agree to shoot was not something many people out there saw happening.

I reached out to Ken while I was on the East Coast teaching workshops in Washington, DC and West Virginia.  Ken lives in Lexington, Kentucky so getting down to see him from West Virginia was feasible.  It required about $1000 in expenses, but I felt the opportunity was worth it to meet the man face to face that has railed against me and Sony for years now.

When I reached out to Ken he was very hospitable.  He accepted my offer to come down there and meet and seemed pretty excited about the prospect as well.  We agreed to meet at his local camera store in town called Murphy's Camera.  Don Baker and the team there were very welcoming and allowed us to shoot our first video together in the store.  This was filmed with no crew.  I set up 3 cameras on tripods and filmed it in 4K using the A9, A7Rii, and the A7Sii.  I felt that having no crew there would make Ken feel more comfortable since he wasn't using to having a crew watching him like I am.  Take a look below to view this initial conversation between the two of us:

This first meeting between us caught a lot of people off guard, most importantly some of our followers.  They really didn't see this meeting coming and were surprised we made it happen. The overall response however was very favorable.  Ken and I grabbed some dinner that night and then agreed to go out shooting together the following day.

We met up again at Murphy's Camera but this time we had a model and two volunteer assistants with us as well.  The two assistants are followers of mine who were local in the Kentucky area and agreed to come down and help out.  They aren't trained videographers but nevertheless they agreed to film Ken and I during out shoot.  You guys gotta understand, this all happened SO FAST.

I called up Ken a day before I was scheduled to leave West Virginia and then a day later I was in Kentucky.  There was no time to bring my crew that I normally travel with to this event.  The model that I had with me in West Virginia needed to go home, and my permanent videographer Jason Coccio was enjoying time off to attend a wedding in California.  So we made the best of it.

I was contacted by a local model named Tiffany Williamson who lived Knoxville, Tennessee and she agreed to come out for the shoot.  You can follow her at www.instagram.com/spacekittyxd. We agreed to terms and she then made the trip out to Kentucky for the shoot.

We left Murphy's Camera and went to the Kentucky Horse Park which is just gorgeous.  Below is the video created from our shoot together:

The video and the shoot are not intended to be a shootout, but rather a mutual shoot where we shared a great day together.  I think my favorite part was watching Ken get in trouble with the cops lol.  He really was initiated into my lifestyle as that always seems to happen to me as well.  Please take a few minutes to watch the video and you'll see two former rivals share a great day together.  Below are the images that we took at the Kentucky Horse Park:

For the shoot I used the Sony A9 with the 70-200 f/2.8 Sony G Master, using natural light only. Below are the images from the shoot:

Below are the images taken by Ken.  He used the Fuji GFX using flash and natural lighting:

For what it's worth, I'd encourage anyone watching this to focus on the coming together that this event facilitated vs. any rivalry that used to exist.  It took courage for Ken to agree to meet and to come out and shoot with me knowing the world would see everything we did.  I applaud him for these efforts and thank him for acting like a gentleman during our time together.

Thank you Ken.

Maybe more in the photography industry can do the same to come together.....:)




Sony A9 vs. the Sony A7Rii Landscape Shoot Resolution Challenge


Sony A9 vs. the Sony A7Rii Landscape Shoot Resolution Challenge

So many people know I absolutely LOVE my Sony A7Rii.  It's been my go to camera for the past 2 years and I absolutely love the beast.  When Sony came out with the A9, I was one of the first photographers to be able to play with the camera.  Given it's speed and many features, I pegged it as the ultimate sports and wedding photography camera in the Sony lineup.  And I assumed I'd continue to use my A7Rii for landscape, architecture and portraits.

But just to make sure, I decided to do a quick little shootout comparison of the two cameras while at Crater Lake National Park in Oregon.  I was there during a family vacation and that place is just breath taking.  Being that I was just there with the family and had no film crew etc. I had to make sure with filming a video using just a monopod and my ThinkTank backpack...and the use of my trusty son Michael as an Assistant.

I did the shoot using two different lenses.  The Sony Zeiss 16-35 f/4 and the Sony G Master f/2.8 70-200mm.  Both are favorite lenses of mine and I thought they'd give the viewers a good variety of shots and focal lengths to look at.  I also did some cropping in on both images to show how both cameras render an image when zoomed WAY IN!

I won't render a final judgment here.  Why?  I don't want to sway opinions too much....:) . I'll just let the results speak for themselves and let you guys decide what you want to do.  I'll just say the results surprised me, and I'll be more comfortable in just taking the A9 everywhere with me than I would've been before doing the test...the resulting images from the shoot are below:

Sony A7Rii

Images are as follows: 16mm, 16mm, 35mm, 70mm, 100mm, 200mm

Sony A9

Images are as follows: 16mm, 16mm, 35mm, 70mm, 100mm, 200mm

Here are the crop comparisons as shown in the video

*16mm SUPER cropped in:  A7Rii on left, A9 on the right

*35mm Cropped in- A7Rii on the left, A9 on the right

*70mm Cropped in- A7Rii on the left, A9 on the right

*100mm Cropped in- A7Rii on the left, A9 on the right

*200mm Cropped in- A7Rii on the left, A9 on the right

I thank you for taking the time to visit my blog and watch my videos.  I appreciate every single person who takes the time to give me a read or a view.  Thanks guys!  I hope this helps...:)



Portraits of a Cuban Tobacco Farmer using the Sony FE 100mm STF and 70-200mm G Master Lenses


Portraits of a Cuban Tobacco Farmer using the Sony FE 100mm STF and 70-200mm G Master Lenses

Recently I had the opportunity to visit Cuba for the first time.  Like many folks from the United States I was very excited to do so since it has been closed off for visiting for the last 60 years. One of the main things I wanted to do was to visit some traditional Tobacco Farms.  It isn't because I'm a smoker, because I'm not.  It's because Cuba is world famous for their Tobacco and I just had to visit the farms that create this product that is coveted the world over.

So my Assistant Brenda and I ventured into the beautiful countryside of Vinales on horseback where we found some beautiful people and locations to shoot.  I really recommend watching the video above to get a real feel for the shoot.  I also did a voice over in the video to explain everything going on and why I decided to use what lenses.

Below are the images taken during the shoot and I'm separating them by the lens used.  Both sets of images were taken with the lenses shooting wide open at 100 ISO with the Sony A7Rii.

Images taken with the 70-200 G Master Lens

Images taken using the Sony FE 100mm STF lens