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With all of the A.I. development going on, there is certainly enough "FAKE" content being put 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 CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL GEAR SETUP We'll help you get all set up for your photo & video gear. Camera Gear Consultation Access gear needs based on desired products and workflows, and provide multiple recommendations. Read More 2 hr 120 US dollars $120 SCHEDULE Audio Gear Consultation Access gear needs based on desired products and workflows, and provide multiple recommendations. Read More 2 hr 120 US dollars $120 SCHEDULE

REAL REWARDS Earn REAL Points. Get REAL Rewards. START EARNING REWARDS 01 Sign Up Sign up as a member to start enjoying the loyalty program 02 Earn Points Earn with a Purchase Get 10 points for every $1 spent 03 Redeem Rewards Spend on GEAR SETUP 1,000 Points = $25 off a specific service Spend on PRO ACCESS (Lifetime) 500 Points = $10 off a specific plan Spend on LUTs 250 Points = $5 off a specific category

After testing every piece of budget photo & video gear I could afford, I started to ask myself if I really needed the VERY BEST kit. It was like, I was following some sort of unwritten rule that I wouldn't be able to survive (or that I wasn't really a PRO) if I didn't buy the top-of-the-line gear. As soon I realized the answer to this question was no, I stopped worrying, started working, and made this list of the "best" photo & video gear...that I could afford! FAVORITES OUR BEST (BUDGET) GEAR THE VERY BEST LIGHTS, CAMERAS & AUDIO EVER? After testing every piece of photo & video gear we could afford, I started to ask if we really needed the VERY BEST KIT EVER. For some reason, I was thinking we couldn't survive without top-of-the-line gear! When we realized the answer was "No, we don't need THE BEST gear" we stopped worrying and started working...which made creating this list really easy. Sort by CATEGORY OTHER FAVORITES My Favorite Backpack is One That Fits a Multi-Cam Cage The multi-camera cage is so important to my production efficiency that I've abandoned normal photography bags, cases and backpacks for a backpack that will hold this cage (which is fully rigged) so I'm always ready to shoot. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). LIGHTS FAVORITES My Favorite #1 Video Light is (Possibly) a Portable COB I say "possibly" because I really like LED panels, because you can store them in the padded laptop section of a backpack, but most portable LED panels aren't powerful enough to be the #1 light. Hence, the (60w or higher) COB recommendation, and I use an older-style DSLR holster bag to transport it. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). LIGHTS FAVORITES My Favorite #2 Video Light is a 10-Inch LED Panel I use a 10-inch LED panel for my "T-Light" method. In this method, this #2 light is used as a combination background/3/4 backlight. I like this 192 LED version that has an internal battery from Raleno (and it's also available from Neewer). SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). LIGHTS FAVORITES My Favorite #3 Video Light is a Tiny, Square RGB Light In the position of a #3 light, this acts as an RGB accent light...but there's another reason to have a small, square LED video light: If you ever have to add a light to a small vlogging camera, this is the way to go (partially because you never have to decide between horizontal and vertical). SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS FAVORITES My Favorite #1 Camera (WIDE Shot) is (Full-Frame?) I'm still searching for a budget full-frame camera (under $1000 US) and there aren't many options, yet. You probably know that I really like M4/3 cameras for a lot of reasons, but I think my #1 camera needs to be a full-frame body, because there are some areas of work I'm studying that might require it (especially architecture). Also, I'm still trying to decide which (budget) full-frame cameras would work for my workflow (hybrid photo-video). My guess is I'll have to settle on a LUMIX that has 6K open gate. I had been considering a Nikon Z5 or Z6 v1, the Sony A7iii or maybe A7Rii, but all those don't have open gate recording, which really helps for capturing 3:2 aspect ratio stills (from video) which is a big part of a hybrid workflow. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS FAVORITES My Favorite #2 Camera (TIGHT Shot) is the Panasonic G85 You might be surprised that in some ways, I like the Panasonic G85 more than the GH5 as my #2 camera, so let me explain. First, if we were talking about a #1 camera, the GH5 is a better camera, but when we're talking about my #2 camera recommendation, the G85 works really well. It's mostly because it's smaller and lighter, and fits on top of my multi-camera cage, better than a GH5 does. The G85 is also a couple of hundred dollars cheaper than the GH5, so if I wanted to mount TWO cameras to the top of my multi-camera cage (total of 3) it's a lot easier to buy 2 of them...in fact, whenever people say they can't afford a 2nd camera (to follow my "Always shoot with 2 cameras" method) I recommend the G85. The G85 also uses the same batteries as my favorite #3 camera the Panasonic FZ1000, so that's good too. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). CAMERAS FAVORITES My Favorite #3 Camera (TELE) is the Panasonic LUMIX FZ1000 Before you get too worried (or excited) about this next recommendation to buy the FZ1000, a 1-inch sensor "bridge camera" here's a few things to keep in mind. First of all, most of the mid-range pro video cameras that use a 1-inch sensor have been considered professional tools for a long time (though our standards have been raised beyond "video camera quality"). It's true this camera isn't super good in low light and it works best as an OUTDOOR camera (though I've used it for hotel conferences, and it worked pretty well) but if you use my custom settings you can handle almost anything with it. It has a nice f/2.8-4 Leica lens that can do anything from a WIDE shot to a TELE shot...and go from one to the other in seconds (using the power zoom) and it has decent OIS (optical image stabilization). The last thing is, with the lens included it's smaller than a full frame camera with a kit lens. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). AUDIO FAVORITES My Favorite LAV (Lavalier) Microphone is the Zoom F2-BT I've been using the Zoom F2-BT and it's working well so far (as a lavalier and connected to a mini shotgun mic) but there are so many new wireless models coming out with internal, 32-bit float recording (in the transmitter) I'm not sure if the Zoom F2 is a good budget option any more, though I have seen good deals on these used. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). AUDIO FAVORITES My Favorite BOOM (Shotgun) Mic is the Comica VM-20 The shock mount isn't that good (I use a Movo SMM2) and the mic doesn't have wireless options or 32-bit float recording (so the VM40 is better) but for the low price, this VM20 is a solid, good-sounding mic. Also, it works REALLY well plugged into a Zoom F2-BT body pack...and so that's how you can get 32-bit float audio). SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you). AUDIO FAVORITES My Favorite X/Y (Stereo) Audio Recorder is the Zoom H1e Not only does this record a 32-bit float file IN STEREO and has built-in stereo microphones, but it can also be used as a passthrough to back up audio from any 3.5mm STEREO audio source (especially easy because it has a numerical headphone output control to remember the settings you use for each camera or device!) There's no other little audio recorder that can do all of this, better. SHOP ONLINE* VIEW REVIEW *As an Amazon or eBay Associate, I earn from qualifying purchases, which means I receive a commission if you make a purchase through a link (at no additional cost to you).

With all of the A.I. development going on, there is certainly enough "FAKE" content being put 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 CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL THINGS Realistic Product Shots (In-Studio or On-Location). 5 High-Key Product Photos Product photos of a small item shot over a white background (5 photos of same product, on same set). Read More 1 hr 55 US dollars $55 SCHEDULE 5 Low-Key Product Photos Product photos of a small item shot over a black background (5 photos of same product, on same set). Read More 1 hr 105 US dollars $105 SCHEDULE 10 Natural Product Photos Product photos shot on-location in their natural environment (10 photos shot on same set). Read More 1 hr 210 US dollars $210 SCHEDULE

With all of the A.I. development going on, there is certainly enough "FAKE" content being put 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 CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL CALIBRATION Improving lens-sensor relationships is what we do. Lens-Sensor Calibration Improve Live Webcast Shot Matching, Increase Exposure Accuracy, & Reduce Post-Production Time Read More 2 hr 120 US dollars $120 SCHEDULE

This is the first audio recorder I would buy. Not only does it provide a good learning experience (as opposed to getting into a 32-bit float recorder right away) but it also has a lot of features that make it a great tool to keep on hand, even when you grow out of it. The features I really like are the numerical gain control (more precise than a turn dial) single button start and stop, as well as it being small and lightweight (good to mount on a camera cage without adding much weight). AUDIO Zoom H1 (Remember, these settings are specific to this audio recorder, paired to each microphone listed below.) This is the first audio recorder I would buy. Not only does it provide a good learning experience (as opposed to getting into a 32-bit float recorder right away) but it also has a lot of features that make it a great tool to keep on hand, even when you grow out of it. The features I really like are the numerical gain control (more precise than a turn dial) single button start and stop, as well (BUILT-IN MIC) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (BUILT-IN MIC) (Built-In Mic) Zoom H1n (XY Mics) COMICA Comica CLO SE VLOG C omi ca VM20 (Shotgun) Comica VM30 (Wireless Shotgun) Comica VM40 ( Wireless Shotgun) Comica CVM-M-O1 (Lavalier) RODE Rode Rode Lavalier ii Rode Lavalier Go (Not Reco mmended) Rode VideoMic (Not Recommended) Rode VideoMic Pro (Not Recommended) CLOSE V L OG BOOM Rode VideoMic Pro R Rode VideoMic Pro+ CLOSE Rode VideoMicro SARAMONIC Saramonic LAV S aramonic SR-M1W (for Blin k 500) CLOS E VLOG BOOM Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure CLOSE VLOG BOOM Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) Zoom LMF-2 (Lavalier) OTHER Other LAV 7RYMS Lavalier (for iRAY DW30) LAV JK MIC-J 017 (Lavalier) LAV JK MIC-J 055 (Lavalier) C LOSE VLOG BOOM Takstar SGC-598 CLOSE VLOG BOOM Takstar SGC-600 Xvive LV1 (Lavalier) Xvive LV2 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) WIRELESS AUDIO 7RYMS iRAY DW30 I now only recommend wireless systems that offer on-board recording (like this one) because of the unreliable nature of some frequencies. This is one of the few wireless systems that does this, and yet it may be one of the least talked about (but it's becoming popular). I'm still testing but so far it's working pretty good (and it's a lot less expensive than the DJI and Rode options.) (BUILT-IN MIC) COMICA RODE SARAMONIC SENNHEISER SHURE ZOOM OTHER (BUILT-IN MIC) (Built-In Mic) LA V 7RYMS iRAY DW30 (Built-In Mic) COMICA Comica CLOSE VLOG BOO M Comica CVM-VM20 Comica VM30 (Wireless Shotgun) LAV Comica CVM-M- O1 (Not Recommended) RODE Rode Rode Lavalier ii Rode Lavalier Go (Not Reco mmended) Rode VideoMic (Not Recommended) Rode VideoMic Pro (Not Recommended) CLOSE VLOG BOOM Rode VideoMic Pro R Rode VideoMic Pro+ CL O SE Ro de Vi deoMicro ( Not Recommended) SARAMONIC Saramonic LAV Saramonic SR-M 1W (N ot Recommended) Saramonic SR-VM4 Saramonic VMIC SENNHEISER Sennheiser Sennheiser Professional MKE 400 SHURE Shure CLOSE VLOG Shure VP83 LensHopper ZOOM Zoom Zoom LMF-1 (Lavalier) LAV Zoom LMF-2 (Lavalier) OTHER Other LAV 7R YMS Lavalie r (for iRAY DW30) LAV JK M I C-J 01 7 (Not Recommended) LAV JK MI C-J 055 (Lavalier) Takstar SGC-598 (Shotgun) CLOSE VLOG Tak star SGC -60 0 Takstar TCM-400 (Lavalier) LAV X v ive LV1 (Not Recommended) Xvive LV1 (Lavalier) GAFFER TAPE SUPPLIED BY REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

For the money, I don't currently recommend this camera if you're just getting into budget filmmaking. I've been testing this in addition to the G7, GX85 and G85, and I would spend my money on a G85, GX85 (or even a G7) before buying a GH4. The GH4 screen is so inaccurate, you need an external monitor to use it (the GX85 and G85 are better, the G7 screen okay). You can get decent results from the GH4 (especially with my custom settings) but the lack of IBIS makes it a no-go for me. CAMERAS Panasonic GH4 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) You can get decent results from the GH4 (especially with my custom settings) but the lack of IBIS makes it a no-go for me. For the money, I don't currently recommend this camera. I've been testing this in addition to the G7, GX85 and G85, and I would buy a G85, GX85 (or even a G7) before a GH4. The GH4 screen is so inaccurate you need an external monitor for it (the GX85 and G85 are much better). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] DB Canon FD 50 1.4 S.S.C. DB Canon FD 50 1.4 S.S.C. ii DB SETTINGS Canon FD 50 1.4 SETTINGS Canon FD n 50 1.8 + BOOST Canon [EF] DB Canon 50 1.8 DB SETTINGS Canon 50 1.8 ii + BOOST DB Canon 50 1.8 STM DB SETTINGS Canon 70-200 2.8 +BOOST Canon 75-300 Canon 75-300 ii Canon 75-300 iii NIKON [F] Nikon [F] DB SETTIN GS Nikon 18-55 DB Nikon 18-55 ii DB SETTIN GS Nikon 18-55 VR DB Nikon 18-55 VR ii DB SETTINGS Nikon 18-70 DB Nikon 18-105 3.5-5.6 DB Nikon 18-140 3.5-5.6 DB Nikon 18-300 3.5-6.3 DB SETTINGS Nikon 35 1.8 G DX +BOOST DB SETTINGS Niko n 50 1.8 AIS +BO OST DB SETTINGS Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D +BOOST DB SETTINGS Nikon 50 1.8 G +BOOST DB Nikon 55-200 DB SETTINGS LUT Nikon 55-200 VR DB Nikon 55-200 VR ii DB SETTINGS LUT Nikon 70-210 4 E DB SETTINGS Nikon 80-200 4 AIS Nikon 70-300 D DB SETTINGS LUT Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P DB SETTI NGS Nikon 80-200 2.8 E D +BOOST DB Nikon 80-2 00 2.8D ED (opt ics same as v1) DB Nikon 80-200 2.8D IF-ED (optics same as v1) OLYMPUS Olympus Olympus 12-50 3.5-6.3 Olympus 14-42 EZ Olympus 14-42 ii R Olympus 25 1.8 Olympus 40-150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic Panasonic 12-32 3.5-5.6 (No Manual Focus) BARE BPM18 Panasonic 12-60 3.5-5.6 Panasonic 14-42 PZ Panasonic 14-42 SETTINGS Panasonic 14-42 ii Panasonic 14-42 iii Panasonic 25 1.4 Panasonic 25 1.4 ii SETTINGS Panasonic 25 1.7 Panasonic 30 2.8 MACRO SETTINGS Panasonic 45-150 4-5.6 Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma DB SETTING S Sigma 17-50 2.8 +BOOST DB SETTINGS Sigma 18-50 2.8 EX DB SETTINGS LUT Sigma 18-35 1.8 DB SETTINGS Sigma 18-35 1.8 + BOOST DB SETTINGS Sigma 70-300 D Sigma 70-300 DL Sigma 70-300 DG Sigma 70-300 APO DG Sigma 105 2.8 MACRO TAMRON Tamron DB Tamron 17-50 2.8 DB Tamron 17-50 2.8 ii DB SETTINGS LUT Tamron 70-300 LD Di DB SETTINGS LUT Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 (optics same as v2) DB SETTINGS LUT Tokina 11-16 2.8 ii D B Tokina 12-24 4 DB Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 DB Asahi Super-Takumar 50 1.4 DB SETTING S Asahi Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 DB Konica Hexanon AR 40 1.8 DB Konica Hexanon AR 50 1.4 DB Konica Hexanon AR 50 1.4 ii DB Konica Hexanon AR 50 1.7 DB Konica Hexanon AR 50 1.7 ii DB Konica Hexanon AR 50 1.8 SETTINGS Minolta AF 50 1.7 Minolta AF 50 1.7 ii SETTINGS Mi no lta M D 50 1.7 SETTINGS LUT Promaster 70-300 +BOOST Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Sakar 70-300 5.6 +BOOST SETTINGS Vivitar Series 1 70-210 3.5 SETTINGS Vivitar Series 1 70-210 2.8-4 INFO KEY: DB = More lens data at lens-db.com LENS FILTER KEY: SETTINGS or BARE = Unfiltered UV = UV Filter ND8 = Neutral Density (and #) VND = Variable Neutral Density CPL = Circular Polarizer BPM = Tiffen Black Pro-Mist® GG = Tiffen Glimmerglass® LENS ADAPTER KEY: + ADA PTER = Standard adapter (no optics, etc.) +BELLOWS = Macro bellows (plus adapter) +BOOST = Speed booster (i.e. focal reducer) +HELICOID = Macro helicoid (expands in/out) +SHIFT = Perspective control adapter (i.e. shift) +TILT = Tilt adapter (angles focus plane) +TILT/SHIFT = Focus plane, perspective control Read: " How I Adapt Old Lenses (for Micro Four Thirds) " REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

This is the first camera I would buy, because it has good IBIS (In-Body Image Stabilization) a decent sensor, weather sealing, a flip-around screen (for vlogging) and a mic input. The screen is pretty accurate (almost as good as the GX85) which I think is important when you're learning filmmaking (it helps you make focus and exposure judgements without the need for an additional monitor). CAMERAS Panasonic G85 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) This is the first camera I would buy, because it has good IBIS (In-Body Image Stabilization) a decent sensor, weather sealing, a flip-around screen (for vlogging) and a mic input. The screen is pretty accurate (almost as good as the GX85) which I think is important when you're learning filmmaking (it helps you make focus and exposure judgements without the need for an additional monitor). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] DB Canon FD 50 1.4 S.S.C. DB Canon FD 50 1.4 S.S.C. ii DB SETTINGS Canon FD 50 1.4 DB Canon FDn 50 1.8 Canon [EF] DB Canon 50 1.8 DB SETTINGS Canon 50 1.8 ii + BOOST DB Canon 50 1.8 STM DB SETTINGS Canon 70-200 2.8 + BOO ST DB Canon 75-300 DB Canon 75-300 ii DB Canon 75-300 iii DB Canon 75-300 iii USM NIKON Nikon [F] DB SETTINGS Nikon 17-35 2.8 D DB SETTINGS Nikon 18-55 +BOOST DB Nikon 18-55 ii DB Nikon 18-55 VR +BOOST DB Nikon 18-55 VR ii DB SETTINGS Nikon 18-70 +BOOST DB Nikon 18-105 3.5-5.6 DB Nikon 18-140 3.5-5.6 DB Nikon 18-300 3.5-6.3 DB SETTINGS Nikon 35 1.8 G DX +BOOST DB SETTINGS Nikon 50 1.8 AIS +BOOST DB SETTINGS Nikon 50 1.4 D DB SETTINGS Nikon 50 1.8 D +BOOST DB SETTINGS Nikon 50 1.8 D +2X MACRO DB SETTINGS Nikon 50 1.8 G +BOOST DB SETTINGS Nikon 55-200 +BOOST DB SETTINGS Nikon 55-200 VR +BOOST DB Nikon 55-200 VR ii DB Nikon 60 2.8 MACRO DB N ikon 60 2.8 D MACRO DB N ikon 60 2.8 ED MACRO DB Nikon 70-210 4 E Nikon 70-300 D DB SETTINGS Nikon 70-300 ED +BOOST Nikon 70-300 G Nikon 70-300 P DB SETTINGS Nikon 80-200 4 AIS +B OOST DB SETTINGS Nikon 80-200 2.8 E D +BO OST DB Nikon 80-2 00 2.8D ED (opt ics same as v1) DB Nikon 80-200 2.8D IF-ED (optics same as v1) DB SETTINGS Nikon 85 3.5 VR MACRO OLYMPUS Olympus Olympus 12-50 3.5-6.3 Olympus 14-42 EZ Olympus 14-42 ii R Olympus 25 1.8 Olympus 40-150 4-5.6 Olympus 40- 150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic Panasonic 12-32 3.5-5.6 (No Manual Focus) BARE BPM18 Pan as onic 12-60 3.5-5.6 Panasonic 14 2.5 Panasonic 14-42 PZ Panasonic 14-42 SET TIN GS Pan asonic 14-42 ii Panasonic 14-42 iii Panasonic 15 1.7 Panasonic 20 1.7 (Slow AF) Panasonic 20 1.7 ii Panasonic 25 1.4 Panasonic 25 1.4 ii BARE BPM14 BPM18 Panasonic 25 1.7 Panasonic 30 2.8 MACRO Panasonic 42.5 1.7 SETTINGS Panasonic 45-150 4-5.6 SETTINGS Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma DB SETTINGS Sigma 17-50 2.8 +BOOST SETTINGS Sigma 18-50 2.8 EX +BOOST DB SETTINGS Sigma 18-35 1.8 +BOOST DB BARE BPM14 Sigma 30 1.4 DB Sigma 70-300 4-5.6 D +BOOST Sigma 70-300 DG Sigma 70-300 APO DG SETTINGS Sigma 75-300 4.5-5.6 SETTINGS Sigma 75-300 4-5.6 DL TAMRON Tamron DB SETTING S Tamron 10-24 3.5-4.5 LD DB Tamron 10-24 3.5-4.5 HLD DB Tamron 17-50 2.8 DB SETTING S Tamron 17-50 2.8 VC +B OOST DB SETTINGS Tamron 70-300 LD Di DB SETTINGS Tamron 75-300 LD TOKINA Tokina DB Tokina 11-16 2.8 (optics same as v2) DB SETTINGS Tokina 11-16 2.8 ii +BOOST DB SETTINGS Tokina 12-24 4 +BOOST DB Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 DB Pentax Super-Takumar 50 1.4 DB SETTINGS Pentax Super-Takumar 50 1.4 ii DB Asahi Super-Multi-Coated Takumar 50 1.4 DB Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 SETTINGS Koah 35 1.2 SETTINGS Koah 50 1.4 DB Konica Hexanon AR 40 1.8 DB Konica Hexanon AR 50 1.4 DB Konica Hexanon AR 50 1.4 ii DB Konica Hexanon AR 50 1.7 DB Konica Hexanon AR 50 1.7 ii DB Konica Hexanon AR 50 1.8 SETTINGS Min olta A F 35-70 4 MACRO Minolta AF 50 1.7 SETTINGS Min olta A F 50 1.7 ii SETTINGS Minolta MD 50 1.7 +2X MACRO SETTINGS Novo f le x 105 4 B ELLOW S + BOOST SET TINGS Promaster 70-300 +BOOST SET TINGS Promaster 100-400 4.5-6.7 Pentax Bellows-Takumar 100 4.0 SMC Pentax Bellows-Takumar 100 4.0 SETTINGS Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Rokinon Cine 24 T1.5 Rokinon Cine 35 T1.5 Rokinon Cine 50 T1.5 SETTINGS Rokinon Cine 85 T1.5 SETTINGS Sakar 70-300 5.6 +BOOST SETTINGS Vivitar Series 1 70-210 3.5 SETTINGS Vivitar Series 1 70-210 2.8-4 SETTINGS Vivitar Series 1 70-300 4.5-5.6 INFO KEY: DB = More lens data at lens-db.com LENS FILTER KEY: SETTINGS or BARE = Unfiltered UV = UV Filter ND8 = Neutral Density (and #) VND = Variable Neutral Density CPL = Circular Polarizer BPM = Tiffen Black Pro-Mist® GG = Tiffen Glimmerglass® LENS ADAPTER KEY: + ADAPTER = Standard adapter (no optics, etc.) +BELLOWS = Macro bellows (plus adapter) +BOOST = Speed booster (i.e. focal reducer) +HELICOID = Macro helicoid (expands in/out) +SHIFT = Perspective control adapter (i.e. shift) +TILT = Tilt adapter (angles focus plane) +TILT/SHIFT = Focus plane, perspective control Read: " How I Adapt Old Lenses (for Micro Four Thirds) " REMEMBER TO "REFRESH" PAGE TO SEE NEW DATA

With all of the A.I. development going on, there is certainly enough "FAKE" content being put 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 CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). REAL PLACES Cinematic Real Estate, Travel & Architecture. 24 Real Estate Photos (OUTDOOR & INDOOR) Includes interior & exterior photos, professionally processed to HDR & available in 24 hours. Read More 1 hr 240 US dollars $240 SCHEDULE 36 Real Estate Photos (OUTDOOR & INDOOR) Includes interior & exterior photos, professionally processed to HDR & available in 24 hours. Read More 1 hr 360 US dollars $360 SCHEDULE 72 Real Estate Photos (OUTDOOR & INDOOR) Includes interior & exterior photos, professionally processed to HDR & available in 24 hours. Read More 2 hr 720 US dollars $720 SCHEDULE Home Builder Photos Includes 2 visits (10 photos of each visit) professionally processed to HDR & available in 24 hours. Read More 2 hr 425 US dollars $425 More Info Commercial Builder Photos Includes 4 visits (10 photos each visit) professionally processed to HDR & available in 24 hours. Read More 4 hr 800 US dollars $800 More Info

With all of the A.I. development going on, there is certainly enough "FAKE" content being put 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 CAMERA SETTINGS (& LUTs) that help make it easier for the cameras to render scenes accurately (with very little post-processing). MAKE REAL 100% real content, less post-production, no A.I. (ever). With all of the A.I. and Photoshopping going on, there's enough "FAKE" content out there, so we created a database of realistic looking CAMERA SETTINGS & LUTs that make it easier to capture photos & video almost SOOC using affordable cameras & lenses. REAL PEOPLE (WE DO ENVIRONMENTAL PORTRAITS, OF REAL PEOPLE) No fancy retouching here, just a raw and real look (but still artsy and beautiful). REAL PLACES (PLACES SO REAL YOU'LL WANT TO GO THERE) We love capturing beautiful but realistic architecture & scenes in our local area. REAL THINGS (WE ONLY SHOOT FOOD & PRODUCTS, TO LOOK REAL) We do make stuff look good but the truth is nobody likes fake photos anymore. REAL CAMERAS (INTERCHANGEABLE-LENS CAMERAS...NOT PHONES!) Most of our cameras cost less than a good cell phone, and they work better! REAL LUTS (WE ONLY MAKE REAL, LENS-SENSOR SPECIFIC LUTS) What seems to work best, is for LUTs to be specific to each lens-sensor combo.

LIGHT TYPE: Main LIGHT Make & Model LIGHT Magnifier (Fresnel?) LIGHT Diffuser (Method Name) LIGHTING STYLE @7 o'clock POSITION ON CLOCK 180 degrees ANGLE OF INCIDENCE @FULL OUTPUT (POWER SETTING) 6.6 feet DISTANCE (FROM SUBJECT) 5 feet HEIGHT (OFF GROUND) 3500 K COLOR TEMPERATURE Notes: (This pulls a single "Description" paragraph from my lens-sensor testing database) My goal for these camera settings is to improve the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color with the result that it produces an image that looks less "digital" and more "organic" (more like film, etc). The first step is to apply these settings while shooting (produces an image that looks pretty good straight out of camera) but keep in mind there may need to be slight color grading (or a LUT) applied to finalize each shot. SPECIAL THANKS TO