A lot of online reviewers say this lens is the same as the Sigma EX of the same specifications, and people are saying it's pretty good. However, on the camera sensor I tested it on (the Panasonic LUMIX S9) this lens isn't faring very well, for a number of reasons. Some of these problems were solved with my CUSTOM SETTINGS (and LUT) but some of them cannot be fixed, and I may need to sell it. First, I was expecting this to be a lens with a lot of SHARPNESS (because it's a MACRO lens) but on this sensor, it was not sharp enough. As an example, usually f/8 is the sharpest part of the lens, but as I was shooting around f/8, there wasn't enough SHARPNESS. Then, the weird thing is, the results were less sharp than a lot of the samples I saw of the Sigma version, that were shot at f/2.8 (and I know they were shot on different sensors, but it was strange to see that difference). Also (on this camera/sensor) the COLOR accuracy of this lens was lacking, as it doesn't seem to start with a full spectrum of color data, but the Panasonic LUMIX S9 sensor & color processing don't seem that accurate anyway. The COLOR was improved with my CUSTOM SETTINGS and LUT, but when you start out at default settings, in any picture profile, this lens-sensor combo doesn't deliver accurate color. Lastly, this lens isn't very well built...it's kind of PLAS-ticy, (which makes me think it will not LAST...likely). Any links below are affiliate links. FILTER: None Quantaray 50 2.8 MACRO ADAPTER: Minolta AF (Sony A) to L Panasonic S9 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4.5 SHARPNESS +1.5 NOISE -5 SATURATION -0 HIGHLIGHT SHADOW -5+4 iDYNAMIC OFF LUMINANCE LEVEL 0-1023 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE ? LENS @MID-ZOOM ? LENS @FULL TELE ? REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST ? IS THE CONTRAST "REAL"? SHARPNESS ? IS THE SHARPNESS "REAL"? NOISE ? IS THE NOISE "REAL"? COLOR ? IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: A lot of online reviewers say this lens is the same as the Sigma EX of the same specifications, and people are saying it's pretty good. However, on the camera sensor I tested it on (the Panasonic LUMIX S9) this lens isn't faring very well, for a number of reasons. Some of these problems were solved with my CUSTOM SETTINGS (and LUT) but some of them cannot be fixed, and I may need to sell it. First, I was expecting this to be a lens with a lot of SHARPNESS (because it's a MACRO lens) but on this sensor, it was not sharp enough. As an example, usually f/8 is the sharpest part of the lens, but as I was shooting around f/8, there wasn't enough SHARPNESS. Then, the weird thing is, the results were less sharp than a lot of the samples I saw of the Sigma version, that were shot at f/2.8 (and I know they were shot on different sensors, but it was strange to see that difference). Also (on this camera/sensor) the COLOR accuracy of this lens was lacking, as it doesn't seem to start with a full spectrum of color data, but the Panasonic LUMIX S9 sensor & color processing don't seem that accurate anyway. The COLOR was improved with my CUSTOM SETTINGS and LUT, but when you start out at default settings, in any picture profile, this lens-sensor combo doesn't deliver accurate color. Lastly, this lens isn't very well built...it's kind of PLAS-ticy, (which makes me think it will not LAST...likely). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

These are initial settings for use in my product studio (it's for eBay products on a white background) and so I'm not going to say these settings are good for everything, yet. Also, note that these settings are specific to using a very old Vivitar 2X MACRO teleconverter (Nikon F, AI vintage). STUDIO FLASH NOTES: To trigger the studio flash, we're firing a little flash from the hot shoe (pointing to the side) and using 1/160 shutter speed (to sync with flash) and using ISO 200 and an aperture value of f/8 (and the aperture is manually controlled on the lens barrel). Any links below are affiliate links. FILTER: None Nikon 50 1.8 D + Vivitar 2x MACRO ADAPTER: Nikon F/G-M43 Panasonic G95 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -2 SHARPNESS +1 NOISE +1 SATURATION -0 HIGHLIGHT SHADOW -3+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE NA LENS @MID-ZOOM NA LENS @FULL TELE NA REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST ? IS THE CONTRAST "REAL"? SHARPNESS ? IS THE SHARPNESS "REAL"? NOISE ? IS THE NOISE "REAL"? COLOR ? IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: These are initial settings for use in my product studio (it's for eBay products on a white background) and so I'm not going to say these settings are good for everything, yet. Also, note that these settings are specific to using a very old Vivitar 2X MACRO teleconverter (Nikon F, AI vintage). STUDIO FLASH NOTES: To trigger the studio flash, we're firing a little flash from the hot shoe (pointing to the side) and using 1/160 shutter speed (to sync with flash) and using ISO 200 and an aperture value of f/8 (and the aperture is manually controlled on the lens barrel). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

This is my preferred #2 camera (the G85 being my primary). The image from this camera matches the Panasonic G85 perfectly, and so the settings I use are almost always the same. The screen is one of the most accurate I have ever used (and is good enough to make focus, exposure and even color judgements). CAMERAS Panasonic GX85 (Keep in mind, the settings below are specific to this camera, paired with each lens listed below.) This is my preferred #2 camera (the G85 being my primary). The image from this camera matches the Panasonic G85 perfectly, and so the settings I use are almost always the same. The screen is one of the most accurate I have ever used (and is good enough to make focus, exposure and even color judgements). See YouTube Playlist CANON NIKON OLYMPUS PANASONIC SIGMA TAMRON TOKINA MISC. & M42 CANON Canon [FD] Canon FD 50 1.4 S.S.C. Canon FD 50 1.4 S.S.C. ii SETTING S Canon FDn 50 1.4 SETTINGS Canon FD n 50 1.8 + B OOST Canon [EF] Canon 50 1.8 SETTINGS Canon 50 1.8 ii + BOOST Canon 50 1.8 STM SETTINGS Canon 70-200 2.8 + BOOST Canon 75-300 Canon 75-300 ii Canon 75-300 iii Canon 75-300 iii USM NIKON Nikon [F] SETTINGS Nikon 18-55 SETTINGS Nikon 18-55 ii Nikon 18-55 VR +BOOST Nikon 18-55 VR ii SETTINGS Nikon 18-70 Nikon 18-105 3.5-5.6 Nikon 18-140 3.5-5.6 Nikon 18-300 3.5-6.3 Nikon 35 1.8 G DX SETTINGS Nikon 50 1.8 AIS +BOOST SETTINGS Nikon 50 1.4 D SETTINGS Nikon 50 1.8 D SETTINGS Nikon 50 1.8 G +BOOST Nikon 55-200 SETTINGS Nikon 55-200 VR Nikon 55-200 VR ii Nikon 70-210 4 E Nikon 80-200 4 AIS Nikon 70-300 D SETTINGS Nikon 70-300 ED Nikon 70-300 G Nikon 70-300 P SETTINGS Nikon 80-200 2.8 E D +BOOST Nikon 80-2 00 2.8D ED (opt ics same as v1) 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 Olympus 40-150 4-5.6 R Olympus 60 2.8 MACRO PANASONIC Panasonic SETTINGS Panas onic 12-32 3.5-5.6 (No MF) SETTINGS LUT Panasonic 12-60 3.5-5.6 Panasonic 14-42 PZ Panasonic 14-42 SETT INGS 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 LUT Panasonic 45-150 4-5.6 Panasonic 45-200 4-5.6 Panasonic 100-300 4-5.6 SIGMA Sigma SETTING S Sigma 17-50 2.8 + BOOST SETTINGS Sigma 18-50 2.8 EX SETTINGS LUT Sigma 18-35 1.8 Sigma 70-300 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 Tamron 17-50 2.8 SETTIN GS Tamron 17-50 2.8 VC SETTINGS Tamron 70-300 LD Di SETTINGS Tamron 75-300 LD TOKINA Tokina Tokina 11-16 2.8 (optics same as v2) SETTING S Tokina 11-16 2.8 ii Tokina 12-24 4 Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 Asahi Super-Takumar 50 1.4 SETTIN GS Asahi Super-Takumar 50 1.4 ii Asahi Super-Multi-Coated Takumar 50 1.4 Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 Konica Hexanon AR 40 1.8 Konica Hexanon AR 50 1.4 Konica Hexanon AR 50 1.4 ii Konica Hexanon AR 50 1.7 Konica Hexanon AR 50 1.7 ii Konica Hexanon AR 50 1.8 SETTINGS Minolta AF 50 1.7 SETTINGS Minolta AF 50 1.7 ii SETTINGS No vo f le x 1 05 4 B E LLOW S + BOOST SETTINGS Promaster 70-300 Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO Sakar 70-300 5.6 +BOOST SETTINGS Pentax Bellows-Takumar 100 4.0 SMC Pentax Bellows-Takumar 100 4.0 SETTINGS Vivitar Series 1 70-210 3.5 Vivitar Series 1 70-210 2.8-4 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® MIX = Filter Combination (e.g. VND & CPL) 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

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Canadian Geese Foraging in Grass at Angle Lake Park ©2026 SilverLight Photo Co. The above content is 100% REAL (and no A.I. or Photoshop tricks were used to make it). Canadian Geese at Angle Lake Park #1 < All Scenes Behind-the-Scenes SUPPORT US TO GET FULL BEHIND-THE-SCENES ACCESS (& PRODUCTION DETAILS) GET ACCESS GENERAL NOTES (Parking, etc.) As mentioned before, this location is easy to get to (it's right off HWY 99) and there's usually lots of free parking, unless the weather is really hot, but that doesn't happen too often here! This was my first time using a compact, carbon fiber video tripod (from SmallRig). I really like it so far, because it has a leveling head which is super easy to use, and also the head has smooth pan and tilt motion. With the Panasonic FZ1000 bridge camera, I had to add a top handle to increase the weight of the camera rig to help smooth out the shot, when panning, or moving. *As A.I. (artificial intelligence) started sneaking into the photo & video production industries, I decided to go for 100% realism in my work. What this means for me, is to shoot for realistic-looking photos and video content. My approach includes using custom, lens-sensor specific CAMERA SETTINGS (and sometimes lens-sensor LUTs when needed). I never use A.I. to generate images, and I don't do tricks using Photoshop. There are adjustments I make to produce more accurate PRINTS but my goal is to limit editing as much as possible.

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] Canon FD 50 1.4 S.S.C. Canon FD 50 1.4 S.S.C. ii SETTINGS Canon FD 50 1.4 Canon FDn 50 1.8 Canon [EF] Canon 50 1.8 SETTINGS Canon 50 1.8 ii + BOOST Canon 50 1.8 STM SETTINGS Canon 70-200 2.8 + BOO ST Canon 75-300 Canon 75-300 ii Canon 75-300 iii Canon 75-300 iii USM NIKON Nikon [F] SETTINGS Nikon 17-35 2.8 D SETTINGS Nikon 18-55 +BOOST Nikon 18-55 ii Nikon 18-55 VR +BOOST Nikon 18-55 VR ii SETTINGS Nikon 18-70 +BOOST Nikon 18-105 3.5-5.6 Nikon 18-140 3.5-5.6 Nikon 18-300 3.5-6.3 SETTINGS Nikon 35 1.8 G DX +BOOST SETTINGS Nikon 50 1.8 AIS +BOOST SETTINGS Nikon 50 1.4 D SETTINGS Nikon 50 1.8 D +BOOST SETTINGS Nikon 50 1.8 D +2X MACRO SETTINGS Nikon 50 1.8 G +BOOST SETTINGS Nikon 55-200 +BOOST SETTINGS Nikon 55-200 VR +BOOST Nikon 55-200 VR ii Nikon 60 2.8 MACRO N ikon 60 2.8 D MACRO N ikon 60 2.8 ED MACRO Nikon 70-210 4 E Nikon 70-300 D SETTINGS Nikon 70-300 ED +BOOST Nikon 70-300 G Nikon 70-300 P SETTINGS Nikon 80-200 4 AIS +B OOST SETTINGS Nikon 80-200 2.8 E D +BO OST Nikon 80-2 00 2.8D ED (opt ics same as v1) Nikon 80-200 2.8D IF-ED (optics same as v1) 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) SETTINGS LUT Panas 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 BARE CPL Sigma 17-35 2.8-4 EX SETTINGS Sigma 17-50 2.8 +BOOST SETTINGS Sigma 18-50 2.8 EX +BOOST SETTINGS Sigma 18-35 1.8 +BOOST BARE BPM14 Sigma 30 1.4 SETTINGS Sigma APO Macro 70-300 4-5.6 Sigma 70-300 4-5.6 D 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 SETTING S Tamron 10-24 3.5-4.5 LD Tamron 10-24 3.5-4.5 HLD Tamron 17-50 2.8 SETTING S Tamron 17-50 2.8 VC +B OOST SETTINGS Tamron 70-300 LD Di SETTINGS Tamron 75-300 LD TOKINA Tokina Tokina 11-16 2.8 (optics same as v2) SETTINGS Tokina 11-16 2.8 ii +BOOST SETTINGS Tokina 12-24 4 +BOOST Tokina 12-24 4 ii (optics same as v1) MISC. & M42 Misc. & M42 Pentax Super-Takumar 50 1.4 SETTINGS Pentax Super-Takumar 50 1.4 ii Asahi Super-Multi-Coated Takumar 50 1.4 Asahi SMC Takumar 50 1.4 SETTINGS Kiron 28-85 2.8-3.8 SETTINGS Koah 35 1.2 SETTINGS Koah 50 1.4 Konica Hexanon AR 40 1.8 Konica Hexanon AR 50 1.4 Konica Hexanon AR 50 1.4 ii Konica Hexanon AR 50 1.7 Konica Hexanon AR 50 1.7 ii Konica Hexanon AR 50 1.8 SETTINGS Min olta MD 28-70 3.5-4.8 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 Quantaray Tech-10 70-300 4-5.6 SETTINGS Qu antaray 70-300 4-5.6 LD Qu antaray 70-300 4-5.6 LDO CPL Rokinon 24 3.5 Tilt Shift 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 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® MIX = Filter Combination (e.g. VND & CPL) 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

[Vintage lens, so condition may vary.] (If you want SOOC, add +1 SHARPNESS, but if you're sharpening in post, leave it at -0.) When I started this test, I wasn't sure if I liked this lens, but after getting these SETTINGS right, I'm starting to like it. What was interesting was that the copy I am testing was NO WHERE near as good as my Nikon Series E 70-210 F/4 at the default settings (-0-0-0-0). This lens has problems with too little sharpness, a LOT of chromatic aberrations (blue, red and purple glows) and inaccurate color rendition, but again, after figuring out these corrective settings, I'm liking it! Any links below are affiliate links. FILTER: None Nikon 80-200 4 AIS ADAPTER: Viltrox NF-M43x (.71x) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -0 SHARPNESS +1 NOISE +4 SATURATION -2 HIGHLIGHT SHADOW -2+2 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST B IS THE CONTRAST "REAL"? SHARPNESS A IS THE SHARPNESS "REAL"? NOISE A IS THE NOISE "REAL"? COLOR B IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: [Vintage lens, so condition may vary.] (If you want SOOC, add +1 SHARPNESS, but if you're sharpening in post, leave it at -0.) When I started this test, I wasn't sure if I liked this lens, but after getting these SETTINGS right, I'm starting to like it. What was interesting was that the copy I am testing was NO WHERE near as good as my Nikon Series E 70-210 F/4 at the default settings (-0-0-0-0). This lens has problems with too little sharpness, a LOT of chromatic aberrations (blue, red and purple glows) and inaccurate color rendition, but again, after figuring out these corrective settings, I'm liking it! The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

Any links below are affiliate links. FILTER: None AUTO Mamiya-Sekor 55 1.4 ADAPTER: M42-M43 (MACRO) Panasonic GX85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST SHARPNESS NOISE SATURATION HIGHLIGHT SHADOW -3+2 iDYNAMIC OFF LUMINANCE LEVEL 16-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT RADIUS THRESHOLD Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE LENS @MID-ZOOM LENS @FULL TELE REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST IS THE CONTRAST "REAL"? SHARPNESS IS THE SHARPNESS "REAL"? NOISE IS THE NOISE "REAL"? COLOR IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

This lens was made by Sigma (but the version I tested was a Quantaray, one with green lettering). There are a number of versions of the 70-300 from Sigma that LOOK very similar, but there are a couple of differences, and a few ways to identify this version. First of all, this is not the MACRO version, and there is no MACRO switch (though it actually has the same little square panel where the macro switch is on some of the other models). Second, it is not the LDO version (Low Dispersion Optic version). So, is this version of the 70-300 lens a good lens? Well, I tested a very similar Sigma APO version on the same day (with the same camera, the G85) and the optics on the APO version were a lot better. I tested the MACRO version of the Sigma APO, which also made me not want to recommend this non-macro version, because it's just much more convenient to have macro available, if and when you need it. So, these CUSTOM SETTINGS do help make this lens better on the Panasonic LUMIX G85, but I do not recommend picking up this version if you can get either the MACRO version, or the Sigma APO version (I'm not sure if the Quantaray LDO is the same as the Sigma APO, as I haven't tested the LDO version of this lens yet). Any links below are affiliate links. FILTER: None LENS: Quantaray Tech-10 70-300 4-5.6 ADAPTER: Minolta AF (Sony A) to M43 Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS +1 NOISE +2 SATURATION -0 HIGHLIGHT SHADOW -2+3 iDYNAMIC OFF LUMINANCE LEVEL 0-255 Unsharp Mask* ADOBE POST-PRODUCTION AMOUNT ? RADIUS ? THRESHOLD ? Blur / Sharpen DAVINCI RESOLVE POST-PRODUCTION LENS @FULL WIDE ? LENS @MID-ZOOM ? LENS @FULL TELE ? REAL RATINGS After testing each lens-sensor combo, I like to know if the rendering is going to look realistic SOOC (S traight O ut o f C amera) or if it will need a LUT (to match the shots to other lenses and cameras). CONTRAST ? IS THE CONTRAST "REAL"? SHARPNESS ? IS THE SHARPNESS "REAL"? NOISE ? IS THE NOISE "REAL"? COLOR ? IS THE COLOR "REAL"? *Click here to learn more about "REAL" Ratings . These ratings are AFTER my custom settings are applied (most combos don't look real good with default settings). NOTES: This lens was made by Sigma (but the version I tested was a Quantaray, one with green lettering). There are a number of versions of the 70-300 from Sigma that LOOK very similar, but there are a couple of differences, and a few ways to identify this version. First of all, this is not the MACRO version, and there is no MACRO switch (though it actually has the same little square panel where the macro switch is on some of the other models). Second, it is not the LDO version (Low Dispersion Optic version). So, is this version of the 70-300 lens a good lens? Well, I tested a very similar Sigma APO version on the same day (with the same camera, the G85) and the optics on the APO version were a lot better. I tested the MACRO version of the Sigma APO, which also made me not want to recommend this non-macro version, because it's just much more convenient to have macro available, if and when you need it. So, these CUSTOM SETTINGS do help make this lens better on the Panasonic LUMIX G85, but I do not recommend picking up this version if you can get either the MACRO version, or the Sigma APO version (I'm not sure if the Quantaray LDO is the same as the Sigma APO, as I haven't tested the LDO version of this lens yet). The goal of our camera settings is to improve what we call the "lens-sensor relationship" by adjusting the contrast, sharpness, noise reduction and color to create an image that looks less digital and more organic (more like film, etc). Therefore, the first step is to apply the custom settings while shooting, and the second is to add a lens-sensor LUT, to finalize the image.

REAL REVIEWS Long-term reviews of budget photo & video gear. KIT PLAN RECOMMENDATION: [NOT IN KIT] DJI Power 1000 (Version 1) This image is 100% REAL, and no A.I. (or Photoshop compositing) were used to make it, and I know because I took it myself. Quality? LIGHT USE OK Yes MEDIUM USE OK Yes HEAVY USE OK ? Portable? POCKET No CAMERA BAG No BACKPACK No Affordable? AVERAGE NEW PRICE $ 699 *Indicates SALE price. Amazon AFFILIATE LINK AVERAGE USED PRICE ? **Indicates BUY NOW price. Ebay AFFILIATE LINK Common? ON AMAZON Yes ON EBAY ? Easy To Use? SKILL LEVEL EASY These reviews are just my opinion and are focused on my Q.P.A.C.E. packing method, so they're not comprehensive. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which didn't). If I said anything negative I apologize, as these products still may work well for you in your situation, but they were not Q.P.A.C.E (Quality, Portable, Affordable, Common, Easy-to-Use) enough for my budget filmmaking KIT PLANS .

REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) How do you get good audio for video production? The most important variables to control to get good audio are the mic placement/distance from sound source, the wind protection on the mic, and the quality of the mic itself. < Back to ANSWERS Key Variables for Good Audio To achieve high-quality audio, it is essential to manage the following factors: Microphone Placement and Distance: The correct positioning of the microphone in relation to the sound source greatly influences audio clarity and volume. Wind Protection: Using windshields or pop filters helps reduce unwanted noise from wind or breath sounds. Microphone Quality: The quality of the microphone itself is crucial for capturing clear and accurate sound.