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I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! BEHIND-THE-SCENES PRO ACCESS: PHOTO VIDEO SORT by CITY If an image is black & white, final photos or videos are in post-production (check back, and refresh page). Des Moines Overlook of Des Moines Marina Pier SHOT #1 300mm SHOT #2 --- SHOT #3 --- SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. SeaTac Canadian Geese at Angle Lake Park SHOT #1 80mm SHOT #2 ? SHOT #3 ? SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Burien View of Seola Beach Towards Alki SHOT #1 SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Tacoma Research Boat by Browns Point SHOT #1 485mm SHOT #2 135mm SHOT #3 592mm SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. SeaTac Angle Lake Park 1 SHOT #1 37mm SHOT #2 170mm SHOT #3 --- SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. SeaTac Angle Lake Park 2 SHOT #1 37mm SHOT #2 85mm SHOT #3 --- SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Tacoma Fishing by Browns Point Lighthouse SHOT #1 530mm SHOT #2 592mm SHOT #3 37mm SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Pier Yellow Sunset SHOT #1 412mm SHOT #2 592mm SHOT #3 592mm SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Sunset From Park Bench (Overlook 2) SHOT #1 32mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Tukwila River by Interurban with Blue Heron SHOT #1 300mm SHOT #2 --- SHOT #3 --- SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Walk & Orange Sunset SHOT #1 35mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Walk by the Big Tree SHOT #1 24mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Pier with Orange Sunset SHOT #1 50mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Pier with Yellow Sunset SHOT #1 24mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Waterfront Boat Dock at Sunset SHOT #1 12mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines Sitting on Bench at the Beach Park SHOT #1 18mm SHOT #2 SHOT #3 SCENE DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

I love to help people (from beginners to "old" photographers alike) discover that photography and video can be easy...and affordable! BEHIND-THE-SCENES PRO ACCESS: PHOTO VIDEO SORT by CITY If an image is black & white, final photos or videos are in post-production (check back & refresh page). Also, as an Amazon Associate, I receive a commission from qualifying purchases if you buy after you click on one of our links (and there's no additional cost to you). 300mm Des Moines Overlook of Des Moines Marina Pier FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 80mm SeaTac Canadian Geese at Angle Lake Park FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Burien View of Seola Beach Towards Alki FILTER: None SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 485mm Tacoma Research Boat by Browns Point FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 37mm SeaTac Angle Lake Park 1 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 37mm SeaTac Angle Lake Park 2 FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 530mm Tacoma Fishing by Browns Point Lighthouse FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 412mm Des Moines Waterfront Pier Yellow Sunset FILTER: None LENS: Leica 25-400 2.8-4.0 ADAPTER: None (Integrated Lens) SENSOR: 1" (Panasonic FZ1000) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Renton Coulon Pier from Right of Stairs FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Renton Coulon Pier with Stairs (2/3 Frame) FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Renton Coulon Pier with Stairs (1/3 Frame) FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 32mm Des Moines Sunset From Park Bench (Overlook 2) FILTER: None LENS: Sigma 18-50 2.8 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines View from Top of Cement Stage FILTER: None LENS: Sigma 17-35 2.8-4 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines #1 Coin-Operated Binocular at Marina FILTER: None LENS: Sigma 17-35 2.8-4 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Des Moines #2 Coin-Operated Binocular at Marina FILTER: None LENS: Sigma 17-35 2.8-4 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Seattle I-5 Overpass on Holgate to N (MID) FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. Tukwila Interurban Bridge to Allentown FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 300mm Tukwila River by Interurban with Blue Heron FILTER: None LENS: Quantaray 70-300 4-5.6 LD ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 24mm Des Moines Overlook at Des Moines Marina FILTER: None LENS: Panasonic 14-42 iii ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GH5) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 35mm Des Moines Waterfront Walk & Orange Sunset FILTER: None LENS: Nikon 18-55 ii ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 24mm Des Moines Waterfront Walk by the Big Tree FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 50mm Des Moines Waterfront Pier with Orange Sunset FILTER: None LENS: Sigma 18-50 2.8 EX ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 24mm Des Moines Waterfront Pier with Yellow Sunset FILTER: None LENS: Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 12mm Des Moines Waterfront Boat Dock at Sunset FILTER: None Panasonic 12-60 3.5-5.6 ADAPTER: None (Native Mount) SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor. 18mm Des Moines Sitting on Bench at the Beach Park FILTER: None Sigma 18-35 1.8 ART ADAPTER: Nikon F/G to M43 SENSOR: 2x (Panasonic GX85) SHOT DATA PRO ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

Our goal is to make budget filmmaking cameras create a more film-like image by using custom, Lens-Sensor SETTINGS & LUTs for each of the lenses we test. We mainly do affordable lenses, because this is the main "focus" of SilverLight Photo Company (making good stuff on a budget). ABOUT EVERY LENS NEEDS "LENS-SENSOR" RECIPES (& LUTS ) LEARN WHY EVERY LENS & SENSOR CAN DO BETTER & WHY RELATIONSHIPS MATTER... LENS-SENSOR RECIPES (& LUTS) FOR BUDGET HYBRID CAMERAS Schedule a Calibration (in Seattle area) or check out our database of CUSTOM RECIPES & LUTs ABOUT Why Use Custom, Lens- Sensor Recipes? The main reason to use custom "Lens-Sensor Recipes" (& LUTs ) is that every lens sends light to a sensor differently. Some sensors like sharp lenses (especially those with an optical low-pass filter) and some don't like a lot of sharpness. Some sensors love lots of color saturation, yet some can only take a little. Before I knew this, I was searching (for years) to find the perfect lens-sensor combo...until I realized that they need CUSTOM SETTINGS (now called Recipes ). So, I began testing every lens I could afford, and taking notes for each lens-sensor combination. I finally realized I would need a database to store all of this information, so I made this website (and now I offer a local LENS-SENSOR CALIBRATION SERVICE too). READ MORE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link CAMERAS Lens-Sensor Recipes Here's is a list of all of the cameras we've tested. When I started out, I was using extremely low budget hybrid cameras like the Panasonic GH2, G5, G7, GH4, GX85, G85, and GH5 and soon realized they could produce really good footage (as long as you figured out the right CUSTOM SETTINGS ). So, I began taking notes of all of the CUSTOM SETTINGS that worked for each lens...and had to make this website to access the information fast, on-location. SEE SETTINGS Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link LUTS Lens-Sensor LUTs Thank you for trying out these LUTs! It's super important to realize that these LUTs are the #2 step of the method (and that without our CUSTOM SETTINGS these LUTs won't do much). The goal for our "Lens-Sensor LUTs" was to help get the most out of budget lenses & cameras, by customizing the CUSTOM SETTINGS & LUTs to every combo. So remember, you need to use the lens-sensor camera settings while shooting (and then add a LUT during post-production). SHOP LUTS Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link BLOG 100% REAL Budget Photo Video Blog When some people say "BUDGET" they still talk about cameras that are WAY MORE expensive than we can afford, but this blog is actually a low-budget blog. When I started out I was using super-low-budget filmmaking cameras like the Panasonic GH2, G5, G7, GH4, GX85 and G85...but I soon realized they could produce really good footage (as long as you use CUSTOM SETTINGS, LOL). READ BLOG Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link REVIEWS 100% REAL Budget Gear Reviews These are real, long-term reviews of gear I actually use. Keep in mind these reviews are just my opinion, and are not supposed to be comprehensive or the final say about these products. These are mostly to help me remember what items worked for me, and what didn't. So, the product may work for you and your needs, but it didn't fit into my Q-P-A-C-E system. VIEW REVIEWS Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link PHOTOS 100% REAL Photos & Videos Our goal is to create 100% REAL photos & videos (without A.I.). So, we came up with our "Lens-Sensor" CUSTOM SETTINGS (& LUTs ) to process the images. The reason we do this, is we think it renders a more realistic-looking image (than using heavy post-processing) and the key ingredient in these settings recipes is to use custom camera settings, specific to each lens-sensor combination. VIEW PHOTOS Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link REAL Our Content is Always 100% REAL With all of the A.I. development going on, there is certainly enough "FAKE" content out there. So, not only did we decide to never use (generative) A.I. when creating images, but also to use realistic-looking LENS-SENSOR SPECIFIC CUSTOM SETTINGS (& LUTs ) to make it easier for the cameras to render scenes accurately (with little post-processing). LEARN MORE Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy link

INTRO: Have you ever thought about shooting SOOC, but were worried the dynamic range would suffer? Well, I don't want to be that confrontational guy who says "Don't ever shoot in LOG" but I will say, I've been working on a solution that can not only make SOOC video work, but that can help improve the relationship between the lens and the sensor (because each lens sends light to a sensor differently). So, in this blog post I'll cover a few of the reasons I use "I-Cs" (In-Camera Settings) and why I think it's a better option for those of us who aren't experts in color grading (vs. shooting flat or in LOG). You'll have to admit shooting SOOC is a lot more fun, but you're probably wondering how it will affect your "dynamic range". Well, you may be surprised how good it can be when using my custom (lens-sensor specific) settings . ABOVE:  This blog post will explain why I use custom (lens-sensor specific) camera settings and an SOOC workflow, and how it not only makes it easy to color grade  (compared shooting "flat" or in a LOG profile) but makes the whole experience more enjoyable, overall. WHAT IS "SOOC FOR VIDEO"? You may not have heard the term SOOC in the context of shooting VIDEO. Or, you may have HEARD of it, but never thought it was legit idea for video capture. So, let's go over the definition, and my take on using it for video. SOOC means "Straight Out of Camera" and as I mentioned, it's been primarily used by "lazy" still photographers who didn't want to shoot RAW (and process their images later). You might say, the photographers who do this are "fake" photographers, and Jared Polin (@froknowsphoto) and his clever series of "I Shoot RAW" t-shirts, made this idea into sort of a religion. On the other hand, for those who shoot SOOC, it's kind of an anti-post-production movement of sorts, of which I understand some of the applications (a lot of news, sports and other quick-turnaround jobs require shooting in JPEG, etc.) The real question is then, are there any benefits to an SOOC workflow for VIDEO? I guess the first, and most obvious application is LIVE video, but beyond that you might ask "What's the point?" The short story is, I figured out a way to make SOOC video work but the long story is, I had to create a library of custom settings to make it work. ABOVE:  In the video above, I'm showing a test of how using CUSTOM (lens-sensor specific) camera settings can improve the image SOOC (this blog post will explain why I use what I'm calling an "Almost SOOC" workflow). WHAT ARE "LENS-SENSOR SETTINGS"? So, you probably already knew what SOOC meant, but you may be wondering what "lens-sensor settings" are. This, as I mentioned, has been a long story, but I've published a lot of podcast episodes about it (plus some YouTube lens-sensor settings test videos) that tell and show more about this concept (links at the bottom of this page). So, go ahead and check out those resources first if you want additional info. Why I Shoot SOOC (vs. Log or "Flat") IT'S EASIER TO JUDGE EXPOSURE IT'S EASIER TO JUDGE COMPOSITION IT'S MORE INSPIRING THAN "SHOOTING FLAT" IT'S A LOT LESS EXPENSIVE IT MAKES POST-PRODUCTION SO EASY! REASON 1 IT'S EASIER TO JUDGE EXPOSURE I'm not sure how to say this, but the people who tell you that you need to be able to read a histogram, and set your "zebras" correctly to judge exposure, are a bit idealistic. Most of us didn't know how to do these things when we were first starting out, and even after we learned, we'd still would mess up our exposure while shooting in log modes. So, who's to say that using your screen to judge exposure, doesn't work? You DO need a camera with an accurate screen, but if it has that, I think this method can be more accurate than mentally decoding a histogram into the light and dark areas that make up a scene. It's especially important if you're using a stepless (de-clicked) aperture or a variable ND to adjust exposure, (because you'll need to see the actual image, as you make these adjustments). Then, if we are telling people to use "zebras" to avoid highlight clipping, I would say we can do that by looking at a non-log version of the image on the screen. Who really wants to have those little zebra lines all over our image when shooting anyway? I think that can destroy creativity even more! That leads me to my next two points about composing your image, and about just plain feeling inspired in the process. ABOVE:  Getting the exposure right is much easier when your image is WYSIWYG  (What You See Is What You Get). Using my custom SOOC settings makes the image on the camera monitor a lot closer to the final image, and it's therefore easier to judge exposure. REASON 2 IT'S EASIER TO JUDGE COMPOSITION Trying to compose a shot can be tricky if the screen you're looking at is all grayish. My first tip was a bit technical (judging exposure, etc.) but this one (and the next) fall more into the "artistic" category...yet the same principle applies: It's MUCH easier craft an image, when you're not looking at a screen of grayish-looking, log footage! You might say "It CAN be done, You're just LAZY!" but my point is that it can't be done AS WELL, because you're not looking at an image that is accurate to the final image. It feels almost like going back to shooting film, when you have to imagine what your final image will look like, not being able to see the image you're actually recording. It also reminds me of the early days of digital (still) cameras, where the best advice you could give an aspiring photographer was "Don't trust the screen on the back of your camera, and make sure to look at your images on a good, calibrated computer screen." So, to make composition easier, use my custom camera settings and get your image looking good, in-camera. ABOVE:  My custom (lens-sensor specific) camera settings  make it easier to "get artistic" while you're trying to compose your image, because you'll see exactly what you're getting. REASON 3 IT'S MORE INSPIRING THAN "SHOOTING FLAT" This point is almost a repeat of the last, but this one is more focused on the struggles artists go through creating an image. It emphasizes what we call the "intangible" aspects of the craft of filmmaking, the part that is art (there's more to capturing a good image than having a technical mindset). So, if you're an "ar-teest" shooting with my SOOC videos settings should make your job a lot more enjoyable...but, I know you're probably still waiting for me to prove your dynamic range won't suffer (more resources are below). REASON 4 IT'S A LOT LESS EXPENSIVE There are a number of reasons why using the SOOC method (and not relying on RAW and fixing stuff in post-production) is less expensive. The first is that you don't have to buy a camera with RAW video (or just 10-bit) capabilities. I'm looking forward to the day when said cameras are actually affordable, but until then, I think we can make 8-bit work better than it has been (at least while we're in our Fake Filmmaking stage of growth). Another reason it's less expensive to shoot SOOC is that (if you have an accurate screen on your camera) you don't necessarily have to buy an external monitor that can load a LUT. You can, and you still might want to (just to have a larger screen and focus-peaking assistance) but my main point is that using my SOOC settings makes it possible to use your camera's built-in screen if you need to. Then, if you add an external monitor for some reason, you really don't need to load a LUT, because my CUSTOM SETTINGS usually get you pretty close (it will depend on each lens-sensor combination). Furthermore, there are a number of other technical things that can be easier when using the SOOC technique, such as getting your white balance right (not saying you shouldn't buy a Color Checker if you can afford it). REASON 5 IT MAKES POST-PRODUCTION SO EASY! This is the part that will make you feel lazy, but shameless plug here: my "lens-sensor specific" camera settings are what make it all work (and the LUT does the final tweak). If you're not familiar with the concept of my CUSTOM SETTINGS check them out on my Budget Filmmaking CAMERAS page. How it works is that (after I calibrate each lens for each camera sensor) you simply use my custom settings while shooting, then apply my mild LUT (to finish the image). You'll need to adjust for exposure, add sharpening and check white balance, but there's not much else you need to do (so much easier than a LOG workflow)! ABOVE:  My custom (lens-sensor specific) camera settings help make video footage look as close to what I call "real" as possible...SOOC (Straight Out of Camera) but I am working to make a "finishing LUT" for each combination also.  SUMMARY: If you're skeptical about shooting SOOC for video, go ahead and try some of the settings on my website (if you have the same camera and lenses I have). After you try some, I think you'll see they can do a pretty good job in the area of dynamic range, and the workflow is SO much faster and easier than shooting flat or in log! If you want more information about this process and why I think SOOC video can work, check out some of my podcast episodes (and other articles on my blog) listed in the links below, and I hope we meet again. To learn more about how and why I create and use Lens-Sensor LUTs & Camera Settings check out the following podcast episodes: MORE INFO: Lens-Sensor LUTS: Every Lens Has It's Own Story Why and How I Shot Match (Using Lens-Sensor LUTs) Why LUTs Should Be Lens-Sensor Specific When I Use Camera Color Settings vs. LUTs Using Camera Color Settings In Addition to LUTs The Easy Way to Use LUTs (Introducing Base LUTs) The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh?

INTRO: As I’ve been testing budget camera systems—especially Micro Four Thirds (M4/3) and 1.5x crop sensors—I started looking for a simple, reliable way to set up shots regardless of the "format". I wanted a method I could repeat, whether I was shooting photos or video. So, after lots of testing I’ve found something super easy that’s really streamlined my shot planning : treat the wide, medium, and telephoto shots as separate “jobs,” then assign each job to a lens & sensor combo that does that specific job the best. This has really opened up a new way of thinking about different sensor sizes (see my other article regarding that topic) and now instead of trying to figure out how to make one sensor size do everything (sorry Micro Four Thirds-only groups) I'm now playing to the strengths of each format, separating them into my 3 Simple Shots (that I call a WIDE , TIGHT and TELE ). BTW, this post may contain affiliate links, which means we receive a commission (at no cost to you) if you make a purchase through a link. There's a difference between the wide shot on an action camera and a REAL camera...but exactly why does the (wide angle) shot look so different? It's a combination of both the sensor size AND the lens focal length. Why “Wide, Tight, and Tele?” Most people use the classic language: wide, medium, and tight shots. I like to say wide, tight, and tele. The reason is that a “tele” shot always uses a telephoto lens, while “tight” and “medium” aren’t always clear about what lens you need to use. And in practice, what matters is both what the shot looks like and how you get there—lens and sensor size together. Hollywood technically names shots by how much of the subject is in the frame (not just the lens), but as someone trying to systematize real-world setups , I think it makes sense to focus on both how the scene appears and the tools we use to get there. Table of Contents: PART 1: The Myth of "Equivalent" Focal Lengths PART 2: The WIDE Shot = Full Frame is King ? PART 3: What's Wrong With Wide Angle? PART 4: The TIGHT Shot: Any Sensor Works (1x, 1.5x, 2x) PART 5: The TELE Shot: Micro Four Thirds! PART 6: The Importance of Working Distance PART 7: Use Multiple Cameras PART 8: Extra Tips The Myth of "Equivalent" Focal Lengths A lot of advice online says things like, “A 25mm lens on M4/3 is like a 50mm on full frame.” That’s not quite true. Even though the field of view may match, those are totally different designs, and they produce different distortion and subject/background relationships. For example, the “non-distorting” focal length—what looks most like what our eyes see—is about 42.5mm on full frame. Go wider (lower numbers: 35, 28, 24mm), and you start leaning into wide angle optics, which distort to capture more scene in the same physical sensor size. It’s the lens, not the sensor, that’s bending the image. The sensor crop mostly just determines how much of the lens’s image you’re recording (like cropping), but the lens decides how the image looks in terms of distortion. So when you use different sensor sizes—say, 25mm on M4/3 and 50mm on full frame—the images just aren’t the same, even if you’re “covering” the same area. Focal Length & Sensor Size: Focal length affects field of view and the degree of background compression or distortion. Sensor size determines how much of the lens’s image is captured (the “crop factor”). Even if the field of view is similar; optical rendering and perspective differ (based on optical characteristics). The WIDE Shot: Full Frame is King? Now, for wide shots—the kind that cover a whole room, landscape, or scene—full frame shines. Why? Because full frame sensors let you use more “normal” focal lengths (35mm, for example), which naturally distort less. On M4/3, a 35mm becomes your tight shot; on full frame, it’s a true wide shot with realistic proportions. That realism is why photojournalists historically loved 35mm on film: It was wide, but not crazy. Full frame simply gives you a more honest, un-distorted view for wide shots than any crop sensor or phone (which rely on intense wide-angle distortion to get more in frame). Why a Full-Frame WIDE Shot is More Realistic: Full-frame sensors can produce wide shots with less distortion at moderate focal lengths (35mm–42.5mm). This can result in a more natural, immersive view with accurate proportions. Historically, 35mm on full-frame has been a standard for photojournalism due to its perspective. Most people don't see wide angle distortion unless it's pretty extreme (as is the case here). The reason is that we've seen so many half-way distorted images, that we don't know it's not normal. What's Wrong With Wide Angle? Wide angle lenses stretch the image out at the edges and make subjects in the center look smaller. Classic “fisheye” lenses are an extreme case—think of old peephole door viewers, where the middle is tiny and the edges are curved and stretched. More “rectilinear” wide lenses (the kind that try to keep straight lines straight) didn’t arrive until the late 80s/early 90s, and even those can’t escape every bit of distortion, especially as you shoot wider than 14mm. This distortion is obvious in real estate photography; small rooms look huge, doors look unnaturally wide, and buyers wonder why reality doesn’t match the photos. That’s the lens at work, not a “lie,” but definitely a stretch. I’m currently experimenting with ways to minimize this, including tilt-shift lenses, but the key takeaway is: Sensor size and lens type have a huge effect on how wide shots feel. Wide Angle Distortion & Architecture: Ultra-wide lenses are often used to make spaces look bigger, but this can misrepresent reality. Distortion may cause features like doors and windows to appear stretched or out of proportion. This effect can be noticeable in real estate photography, where rooms may appear larger and features like doors and windows may look distorted. Wide-angle lenses (24mm and below) can stretch the edges of the frame, making objects near the edges appear larger and those in the center smaller. Tilt-shift lenses may help correct perspective and reduce stretching. Tilt-shift lenses** can help correct perspective distortion, maintaining straight lines and accurate proportions. Using moderate wide angles and correcting distortion in post-production are also options. The TIGHT Shot: Any Sensor Works (1x, 1.5x, 2x) For basic tight shots—think from the waist or chest up, or showing half a room—M4/3 and APS-C (1.5/1.6x crop sensors) are where it’s at. They give you a wide choice of affordable 25–50mm lenses (vintage or modern), and you can control working distance easily. Full frame cameras lag here: The lenses cost more, and you have less reach for a given size and price. Unless your full frame camera can crop into APS-C mode on demand, I’d give this job to crop sensors (with a slight edge to M4/3 for value and no recording limits on many Panasonic bodies). About Medium ( Tight ) Shots: Focal lengths of 25mm–50mm on micro 4/3 (50mm = 100mm equivalent) are commonly used. Full-frame cameras may have limitations such as shorter recording times or overheating. Micro 4/3 cameras may offer longer recording times and good value for this purpose. The "TIGHT" shot (which most call the "Medium" shot) is pretty easy to capture with all sensor sizes. If you're on a full-frame sensor, you'll need to use a little telephoto; I prefer a crop-sensor with a less-distortive 50mm. The TELE Shot: Micro Four Thirds! For tight and telephoto shots, especially things like distant details, you need a lot of “reach.” On full frame, getting a true 600mm-equivalent telephoto is both outrageously expensive and really heavy. But put a 300mm vintage autofocus lens (from the bargain bins!) on a Micro 4/3 body, and you get the same field of view for $30–$50, and a lot less weight. Another bonus: In-body image stabilization (in cameras like the Panasonic G85 or G95) is really effective with those older, non-stabilized telephoto lenses. With M4/3, keeping your subject in focus is actually easier at high “equivalent” focal lengths, since they don’t have razor-thin depth of field like 600mm on full frame. M4/3 simply does telephoto and tight shots best for cost, handling, and results. Why Micro Four Thirds Works for Telephoto Shots: Micro 4/3 sensors can provide a 600mm equivalent field of view with a 300mm lens. Lenses for micro 4/3 are often lighter and more affordable. In-body image stabilization (IBIS) on certain Panasonic models can be helpful with older, non-stabilized lenses. Some vintage 70-300 lenses (the Tamron, Promaster, Quantaray 1:2 MACRO version) are a really good value. Cost, size, and weight are why I like Micro Four Thirds for TELE shots. This shot was taken with a vintage Nikon AI-S 80-200 that only cost around $40. You could get this on a full-frame camera too, but not at this distance. The Importance of Working Distance Another crucial factor is how far you need to be from your subject to get the shot. For portraits, you hear the advice: use 85mm or 100mm, not 50mm (for full frame). Why? Because on a 50mm, you need to get closer for a head-and-shoulders crop. Closer means faces start to look distorted—noses grow, features warp a little—even with “normal” lenses. Working distance matters for macro/close-ups, too. With a short lens, you have to get close, which blocks light, startles insects, and creates practical issues. So, the right lens/sensor combo isn’t just about field of view, but how you physically work. How Sensor Size Influences Working Distance: Micro 4/3: A 50mm lens may require standing 7–10 feet from the subject for a tight shot. Full-frame: Getting a tight shot with a 50mm requires getting closer (sometimes results in big noses) Portraits: Lenses such as 85mm or 135mm on full-frame are often chosen to avoid distortion and provide flattering compression. The last question is: What's the solution to all of this madness? What I do is use multiple cameras (change your camera, not your lenses!) P.S. I use a lot of adapted Nikon-mount lenses, so they work on full-frame too! Using Multiple Cameras One of the things I try to avoid at all costs, are "jump cuts". Jump cuts are abrupt changes in framing that occur when a person only used a single camera for a talking head shot, and edits things out of the footage. This can be very distracting in interviews or narrative work...and the solution is to "Always shoot with (at least) two cameras". Using two or more cameras allows for simultaneous capture of WIDE, TIGHT, and TELE shots . This can provide more flexibility in editing and help create a more dynamic final product. Extra Tips:  TIP  1    MATCH CAMERA (SENSOR) TO SHOT TYPE Telephoto: Micro 4/3 for reach, stabilization, and affordability. Medium/Tight: Micro 4/3 for flexibility and longer recording. Wide: Full-frame for minimal distortion and natural perspective.  TIP  2    SELECT APPROPRIATE LENSES Vintage lenses can be useful for telephoto work on micro 4/3. Tilt-shift or moderate wide-angle lenses may be helpful for architectural photography. Fast, sharp primes are often chosen for tight shots.  TIP  3    UTILIZE IN-BODY IMAGE STABILIZATION Panasonic micro 4/3 bodies are noted for effective stabilization, especially with manual lenses.  TIP  4    PLAN FOR MULTI-CAMERA SHOOTS Using at least two cameras can be beneficial for interviews or dynamic scenes. Consistent color and exposure settings across cameras can simplify editing.  TIP  5    DON'T BE EXCLUSIVE TO ONE SENSOR SIZE Each sensor size and camera system has its own strengths and limitations. Assigning each task to the most suitable tool may be more effective than relying on a single system.  CONCLUSION: When you stop trying to make one camera do everything, everything else gets simpler. Give each sensor size the job it does best. You’ll spend less, your shots will look better, and you won’t be wrestling with the limitations of any one system. Breaking down the workflow down this way—by matching the right tool for each shot type—has taken away a lot of pointless complication. Instead of worrying which focal length “matches what on another sensor,” I just ask: Which setup does THIS job best, at a practical price? It’s made things faster, easier, and more consistent, and freed me up to focus on the creative work (while keeping the image looking REAL ). So, next time you plan your shoot —whether it’s corporate interviews, documentaries, interiors, or anything else—consider splitting the load: WIDE, TIGHT, and TELE ... and let each camera and lens do what it does best. The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh?

INTRO: The first thing to ask yourself is "Do I really need autofocus?" If you don't or you don't mind just experimenting with manual focus, read on. The good thing is, SOME old lenses can not only be very affordable, but very good...even better than some of the newer options, especially with newer (and sharper) camera sensors. So, lets get into exactly HOW I adapt old lenses (to Micro Four Thirds) and if you're wondering "Isn't adapting lenses as simple as buying an adapter, and putting it on the camera?" Well, it kind of is, but what I'll be talking about is the decision-making process that led me to coming up with the information you'll see in my notes below. It's about how I keep the image quality high, even when using smaller sensor (Micro Four Thirds) budget filmmaking cameras .  WARNING: I no longer recommend focal reducers/speed boosters FOR CAMERAS WITH I.B.I.S. (In-Body Image Stabilization). The reason is, I dropped my camera (with a Viltrox NF-M43x on it) and the sensor got scratched (I'm pretty sure it was because the optic of the speed booster sticks into the lens mount more than an OEM Panasonic lens). There are a ton of options when it comes to adapting lenses to Micro Four Thirds, as you can adapt almost ANY lens mount (because of the small sensor size). WHY ADAPT OLD LENSES? Adapting vintage lenses can be a cost-effective way to enhance your image, especially if you're working with budget cameras (around $600 or less). I’ve found that many vintage lenses have characteristics that can help you produce great images (when paired with the right camera and CUSTOM, LENS-SENSOR SETTINGS ). Adapting vintage lenses is one of the most rewarding things about using Micro Four Thirds, as you can unlock new looks with the unique image qualities of vintage lenses. Oh, and when I say "vintage" I include the late 80's and early 90's AF (autofocus) lenses, so keep that in mind. Why Some People Go Vintage: Character: Vintage lenses often have distinctive color profiles modern glass can’t replicate. Manual Control: A tactile, hands-on shooting experience with manual focus and aperture rings. Affordability: Many high-quality vintage lenses are available for a fraction of the price of new. Build Quality: All-metal construction and solid mechanics are common in older lenses. Flexibility: Adapted lenses can give you access to focal lengths and apertures not available natively on MFT. I actually consider AF lenses from the late 80s and early 90s to be "vintage". The Minolta AF mount (now called Sony A) has a number of super good lenses...and they're affordable too! HOW I ADAPT LENSES: INDOOR VS. OUTDOOR When adapting old lenses to Micro Four Thirds, the first thing I think about is what environment I'll be shooting in. I start by separating INDOOR vs. OUTDOOR situations, then I categorize the choices into my " 3 Simple Shots " which are based on my Top 3 (Budget) Lenses for Filmmaking  (WIDE, TIGHT and TELE). HOW I ADAPT TO M4/3 (INDOORS) WIDE = "BOOST" (unless "SHIFT" or AF follow) TIGHT = "BOOST" (almost always) TELE = "BOOST" (almost always) HOW I ADAPT TO M4/3 (OUTDOORS) WIDE = "SHIFT" (unless AF follow) TIGHT = "HELICOID" (macro adapter) TELE = "HELICOID" (or "BOOST"*) ABOVE:  My most important tip regarding adapting lenses to Micro Four Thirds INDOORS is "Boost whenever you can". However, there are a few exceptions to this rule (see below). INDOORS WIDE = BOOST Indoors (or in low light situations) Micro Four Thirds sensors often need a +BOOST (i.e. a focal reducer). There are two reasons they need this: 1.) They need a wider max. aperture to expose the sensor to more light, and 2.) They may need a wider angle (a shorter focal length) to get everything in the shot. However, if there is enough light indoors, I would always prefer to use a SHIFT adapter  #ad (for correcting architectural distortion) but that can only work if your lens is both wide enough, and it has a decent maximum aperture. (This is why I love using the Tokina AT-X 11-16 2.8  #ad   ). The other reason I wouldn't use a +BOOST would be if I needed to "follow" using touchscreen AF (autofocus). ABOVE:  When using Micro Four Thirds INDOORS I like using a speed booster, but not because of low light (you can add light indoors) but to create a background blur in smaller spaces. Bad news is, now I DO NOT RECOMMEND USING SPEED BOOSTERS WITH IBIS , so I only do it with my GH4, G7. INDOORS TIGHT = BOOST The first reason I use a +BOOST indoors is simply to increase the amount of light being sent to the sensor. This allows me to use a lower ISO (which is really important for Micro Four Thirds cameras). Also, the indoor "TIGHT" shot is usually used for a "talking head" people shot, so the speed booster helps to create shallower depth of field (i.e. more background blur). INDOORS TELE = BOOST Since there really isn't any (affordable) telephoto lens that is as fast as F/1.4, I almost always add a speed booster for telephoto shots (INDOORS). There aren't many BUDGET options for low-light telephoto lenses either, so that makes this situation even worse. There are expensive F/2.8 options (and even a 50-100 1.8 from Sigma) but I often need something in the range of 70-300 for telephoto, especially after applying the 0.71x focal reduction of the speed booster. So, in many cases, the 200mm at the long end of a 70/80-200 2.8 isn't enough, even on Micro Four Thirds with a 2x crop factor. So, what do I do? Well, this is one of those rare times when I push my ISO up (to 800 max.) and add a +BOOST (speed booster). With a BOOST, even an F/4.5-5.6 70-300 zoom can (often) work in low light. I rarely push my ISO up to 800 when using Micro Four Thirds (and never higher) because the smaller sensor and the higher ISO will create a grainy image and/or overly noise-reduced image. ABOVE:  My When adapting lenses to Micro Four Thirds OUTDOORS, the first thing I do is add a "SHIFT" adapter to the WIDE shot, and then macro "HELICOID" adapters to the rest. OUTDOORS " WIDE" = SHIFT I love "SHIFT" adapters so much that I try to use them whenever possible (for "WIDE" shots). Also known as "perspective control" adapters (taken from "perspective control lenses") they can keep architectural lines of buildings straight, which ends up adding realism to the shot (in my opinion). There's more detail in my book on Amazon  #ad   ( has a special section about using shift lenses for Micro Four Thirds) but I can quickly say that once you use a shift adapter or lens, you'll never want to go back. (You'll probably be able to see why I even try to use them in low-light situations where I would normally use a speed booster, etc.) Now about why I say not to use the shift adapter if you're doing a "follow" is that I " Always Shoot With 2 Cameras " and when doing so, I find it's much easier to control 2 cameras when 1 of the 2 is using touchscreen autofocus (because you're manually focus-pulling on the other shot). This even works on my Panasonic M43 cameras, if using Single Shot AF. ABOVE:  I can't tell you how much I love using an inexpensive ($123 US) tilt/shift adapter    #ad   on Micro Four Thirds. What this means, is you can turn almost any (Nikon F/G mount) lens into a TILT/SHIFT lens, including variable focal length (zoom) lenses! OUTDOORS " TIGHT" = HELICOID (MACRO) If you haven't noticed from my lens test videos (on YouTube ) I like to be able to shoot macro anytime I'm outdoors. There's a number of ways to do this, but the way I like to do it is to use a macro helicoid adapter  #ad . The reason I like this approach (instead of buying a macro lens) is that it allows me to test almost ANY lens at a macro distance , even though they weren't designed for this. It also means I can use more low-light capable lenses, such as a 50mm 1.4, and be ready for both INDOOR and OUTDOOR situations (compared to most macro lenses being an F/2.8, F/3.5 or even an F/4.0). OUTDOORS " TELE" = HELICOID (MACRO) The reason I add a "BOOST" to a telephoto lens OUTDOORS, is that sometimes these tele lenses can be heavy, and my focal reducer ("speed booster") has a tripod mount on the adapter which bears the weight of the lens, instead of the camera's mount. Lighter lenses such as the 70/75-300 4.5-5.6 variety (from the early AF era in the 90's) don't need this special mount, so I use a macro "HELICOID". (If someone would design a macro helicoid adapter WITH an integrated tripod mount, THAT would be great!) ABOVE:  When shooting OUTDOORS, there are so many moments you can miss if you don't have a MACRO lens! To be prepared for this, I like to always have a  macro helicoid adapter    #ad  on hand. These are golden as they pretty much turn ANY lens into a MACRO! SO, WHAT LENS MOUNTS DO I PREFER? I’ve tested a variety of lens mounts, but I only want to discuss those I’ve personally used. I believe in sharing experiences rather than speculating about products I haven’t tried. This post will not cover every vintage lens mount but will focus on the ones I’ve tested and found noteworthy. CANON FD First of all, I will only quickly state here (because I have an entire podcast episode about it ) that there are some nice Canon FD  lenses I really liked (especially the FD 50 1.8, not the 1.4) and so I've purchased several of them. However, it seems like more than half of the Canon FD lenses I've had have problems with mold ( which can contaminate other lenses, etc. ) but if you find one that smells clean, it might be worth it trying. MINOLTA MD (& AF) One of my favorite lens brands to adapt are Minolta  lenses (the company that Sony bought in 1995 to boost it's camera department). I especially like the older manual focus Minolta MD series, and I think they're certainly worth considering. The Minolta 50mm f/1.7 is an optical jewel, and the build quality is good. Also, the autofocus era Minolta lenses (from before they were purchased by Sony and called Sony A mount) are also really good, and what I really like is that most of the Micro Four Thirds adapters give you a de-clicked/stepless aperture (which is especially good for video production). NIKON F Nikon F  mount is probably my top recommendation for adapting vintage lenses (if you only had one mount). The clickable aperture control on the Nikon F lenses makes them easy to adapt to other systems, including Canon EF. For Nikon F-mount lenses, I particularly recommend the first autofocus generation (and the D-series) such as the Nikon 50mm f/1.8 D, which is a fantastic bargain at around $50 to $60. The build quality of these lenses is pretty good (not as good as the manual focus era, though) but the main point is they have great optics. Optically, I think the 1st generation Nikon AF lenses are one of the most color-accurate lens lines ever (not so with the next generation of Nikon lenses from the 1990s). The older (manual focus) Nikkors do have better ergonomics with larger manual focus grip area, but the optics on a lot of those older lenses wasn't very accurate or complete (Nikon glass seemed like it didn't render the full spectrum of color, and had a warm bias). Also, another thing to note about Nikon lenses is they focus in the opposite direction of most other brands (filmmakers complain about this the most, because of their focus-pulling habits). OLYMPUS OM Olympus OM  lenses were the first adapted lens I ever tried (and why did I ever sell it)! The 50mm f/1.8 is excellent optic. This lens is so good I had a DP from the Discovery Channel look at a shot I had set up with this and say "Wow!" So, the old manual focus Olympus OM lenses are well-known for their optics. Plus, I really like that they have the aperture control on the front end of the lens, which is not only easier to use, but it means they can be easily adapted to Micro 4/3 cameras with a cheap adapter (and they can also be adapted to Canon EF too, if you need to). PENTAX K So then, about Pentax . I've only tried the super-vintage Super Takumar lenses, so I should probably not say much more. The Super-Takumar that I tried had to be de-yellowed (because of the radioactive elements in the coatings) and so I didn't want to spend much time getting custom settings figured out for it, since the lens was probably going to change. Oh, I also tried tiny Pentax 110 lenses, and that was fun (but the edge sharpness isn't going to be there). So, maybe I'll come back to them later. ARE ANY AF LENSES CONSIDERED VINTAGE? If you don't mind stretching the definition of "old" (or "vintage") I think some of the best lenses (good quality, for not much money) were actually from the early AF era (when AF/autofocus was in the 1st generation). This would make the lenses be from around the 1980s, when I think Nikon and Canon produced some of their best lenses. The Nikon AF and AF-D lenses are probably some of the most color-accurate, realistic-looking lenses I have ever used! The second thing to be aware of, is some of the OLDER vintage lenses might have problems with fungus...and fungus is no fun ( I almost lost a lens to it ). IF THERE'S NO MULTI-COATING, I DON'T BOTHER So, buying (and hunting for) vintage lenses can be a lot of fun, but before you get too addicted, there are a few things to keep in mind. The first is that there was a time when vintage lenses weren't very good when they didn't have multi-coatings. As interesting as they may look, those kind have rarely (pun not intended) been worth my time. Therefore, the general rule I follow to stay within the multi-coated era is to not buy lenses from before World War 2. ABOVE:  There are some really great old lenses out there, but before you get too excited, smell it (like Jared @Fro Knows Photo  does) and inspect it for fungus. You don't want it spreading to other lenses. The following ads help fund THIS BLOG  (Click one to send me money for  100% free ) I know, sometimes these ads look the same... ...But I figure if I'm trying to make money, so why not post 3  of them eh???