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The Shoot that FRIED my Godox AD600 Pro Battery- Sony A7iii by Jason Lanier

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The Shoot that FRIED my Godox AD600 Pro Battery- Sony A7iii by Jason Lanier

Join me for a shoot in the Florida Everglades where my Godox AD600 Pro Battery was FRIED and quit working on me. This was a crazy shoot where my muse Emily Rinaldo and I found ourselves shooting for a short time before the sun set on a dilapidated boardwalk in the swamp. This was also a shoot that resulted in me getting my legs eaten alive by chiggers that necessitated a visit to Urgent Care.

In this shoot I was using the Sony A7iii with the Sony 12-24mm, 24-70mm G Master, and Sony Zeiss 50mm f./1.4 lenses.

**Links to Gear:

*Sony A7iii- https://bhpho.to/30TJbej

*Sony 12-24mm- https://bhpho.to/30V4R9W

*Sony 24-70mm G Master- https://bhpho.to/30VO0E6

*Sony Zeiss 50mm- https://bhpho.to/312J6oY

*Godox AD600 Pro Flash- https://bhpho.to/30XUcv4

I was using the Godox AD600 Pro for only the second time with the Westcott Rapid Box XL. I placed the light in some bushes in the swamp area as he didn't have a c stand or lightstand with me. If the light had indeed gotten wet, or the battery was impacted by the environment I certainly would mention it and show it as I have done so in the past with other videos where I have broken gear. This wasn’t the case this time around. Below are the images taken during the shoot. Some with flash, the latter shots with natural light after the light failed.

During the shoot the light started beeping repeatedly and the fully charged battery completely died. Upon returning back to the hotel that night I left the battery charging overnight. Typically it takes about 2-3 hours to fully charge a battery like this one. The battery never took a charge.

Upon asking other users about this issue it appears to be a bigger issue not related to just my experience. I contacted Godox and asked for a replacement battery which they quickly sent.

I plan on trying the light and batteries out again to see if my experience is the same or better than what I experienced on this shoot.

We thank you in advance for watching and invite you to stick around and watch a few more videos while you're here. Don't forget to click on NOTIFICATIONS and SUBSCRIBE so you're updated every time we release a new video.

Thanks!

Jason

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The Canon Project Part #1- Natural Light Shoot at Death Valley with the Canon EOS R Mirrorless using the RF 24-105mm lens by Jason Lanier

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The Canon Project Part #1- Natural Light Shoot at Death Valley with the Canon EOS R Mirrorless using the RF 24-105mm lens by Jason Lanier

2019 has been a fun year for me so far. While I’m a long time Sony user I’ve been able to try out many of the new mirrorless cameras that are hitting the marketplace. I’m a big believer in mirrorless cameras .and have been for years. This year alone I’ve already tried out the Nikon Z7 and the Olympus OMD ii. So now it was Canon’s turn.

Partnering with B&H Photo I am able to try out gear for longer than a 1 time shoot. That’s critical for this experiment. See, I’m not a big believer at all in the concept of getting a camera in your hands for 1 day, trying it out, and then compiling a review and assessment on that camera.

It takes longer. To really know a camera you need to do at least 4 or 5 shoots with it. You have to use it over an extended period of time. You have to get to know what you really love about it and what you really hate about it.

So this is video number 1 of the 7 or 8 shoots that I’ve done with the Canon over the past month and a half all over the world. This was done in Death Valley, one of the most scenic places on earth. And we did this one shooting natural light so we could how the camera performed without adding any lighting to set a baseline for it’s performance.

We’re calling this our Canon Project. A comprehensive look at this camera in a variety of different challenging shooting conditions that most photographers would use this camera in…and a few many wouldn’t.

Once we’ve released all of the videos with the Canon you will see a final review which will encompass all of the knowledge gained from the shoots that we did. This will represent the most thorough comprehensive review anywhere on this camera. And we really put it through it’s paces using the RF 24-105mm, the RF 50mm, and the RF 28-70mm.

I purposely did this shoot with the Canon RF 24-105mm lens only. This is the perfect focal length zoom to use in a place like Death Valley where I can go from very wide shots to very tight shots with a simple twist of the wrist. I’ve never been a huge fan of that focal length but I’ll tell you what, I was pretty blown away by that lens. Below are the shots from the shoot and to say that I was impressed with the colors is an understatement.

Issues with the camera on this particular shoot? Well, really just the buffer was an issue. I was pretty surprised by how fast I’d hit the buffer and the camera wouldn’t be able to continue shooting. This happened when I put it into High continuous drive mode to grab some shots of Emily as the wind made her dress and a sheet that she was holding blow.

The focus wasn’t as fast as I get with my Sony cameras but I don’t think anything will be. That is where Sony reigns supreme. That being said it did very well and really was a lot of fun to shoot.

The performance from a portrait photographer’s standpoint was pretty awesome. The colors are noticeably different in the camera even when reviewing pics on location. I edited these shots using the same manner that I edit my Sony images and they do seem to be richer in the colors than what I get from my Sony cameras.

The 24-105mm lens? I really enjoyed using it. Focus was fast and consistent and you’ll even see that in the video because I included video footage shot with the Canon as well. I think you’ll also notice the colors in that footage as well because it’s completely ungraded and shows you what the camera was producing without any editing. I could see this lens being a big seller for wedding photographers out there especially for things like the ceremony. It will struggle in lower light like at reception due to it being f/4, but for well lit places it really performs like a champ and is very well made.

Does this mean that I’m switching brands and no longer shooting Sony? No, it doesn’t. I filmed this entire series on my Sony cameras and they did amazingly well. What it means is I now have the ability to shoot whatever I want and am able to connect and relate to all of my followers no matter what brand they shoot.

I also gotta tell you that it’s very fun for me. I’m very curious by nature and to be able to try out so many different cameras and lenses is a hoot. It also helps me as a photography educator to be able to relate to anyone coming to my workshops and to have a strong knowledge base in their camera systems as well so I am better prepared to help them.

A HUGE THANKS to my partner in crime Emily Rinaldo for the amazing styling she did to make this shoot possible. She’s a creative lightning bolt and is such a tremendous muse who helps me to create this work. Please give her a follow on Instagram at www.instagram.com/em.explores

For links to gear please see below:

*Canon EOS R- https://bhpho.to/2U8W4Cd

*Canon RF 24-105mm lens- https://bhpho.to/2FFqnWX

Thanks again for following along on this adventure of mine in the world of photography. There’s never a dull moment and I’m so grateful for all of your support as I seek to unravel some of the mysteries that exist out there and share them with all of you.

Until next time, never give up on your dreams, find the right gear that works for you and remember, you only have one chance to get it right.

XOXO

Jason

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Feathering Your Lighting- How to shoot your flash from the ground up by Jason Lanier

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Feathering Your Lighting- How to shoot your flash from the ground up by Jason Lanier

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!

Thanks,

Jason

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Snow Queen- studio shoot using the Broncolor MobiLED, Rotolight Neo and the Westcott Eyelighter

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Snow Queen- studio shoot using the Broncolor MobiLED, Rotolight Neo and the Westcott Eyelighter

Last week I had the opportunity to visit the Home Studio of Swng Productions in Austin, Texas while I was in town for the Imaging USA conference for PPA being held in San Antonio just an hour south of Austin.

The shoot wasn't planned at all.  The awesome guys over at Swng Productions follow me online and invited me to the studio to shoot.  As such we quickly put together a shoot calling upon models that we could find in about 3 hours notice.

We found the lovely Ashlyn Simon to be my model.  When she arrived I did what I normally do with my models and had her show me the wardrobe options she had available to her.  She showed me a fur coat that she had with her and we decided to shoot with it and a pair of shiny pants.

I started posing her and once I told her to put her arms up above her head I saw what I wanted to create....a Snow Queen shoot.  When she raised her arms above her head it gave her the appearance of wearing a headdress that was really neat.

So we set up the two Broncolor MobiLED lights with the Rotolight Neo and Westcott Eyelighter to create some truly unique images.  Since it was a studio shoot I knew I'd have to add some Photoshop magic to it to create my overall look.  Normally I'm an outdoor shooter and love using the location as my backdrop, but having the studio meant I had to create it in post.

Below are the shots taken during the shoot.  I also included samples of the same shot:

*Straight out of the camera

*Developed in Lightroom

*Edited in Photoshop

*Enhanced and Finished in Photoshop

Below are the other shots taken during the shoot edited and finished in Photoshop:

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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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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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