[TESTING...] Any links below are affiliate links. FILTER: None Tamron 70-300 4-5.6 LD Di ADAPTER: Nikon F/G-M43 Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -3 SHARPNESS -0 NOISE +3 SATURATION -3 HIGHLIGHT SHADOW -0-0 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 CUSTOM SETTINGS LUMIX G7 Tamron 70-300 4-5.6 LD Di with CUSTOM SETTINGS (SOOC, no LUT). CUSTOM + LUT LUMIX G7 Tamron 70-300 4-5.6 LD Di with CUSTOM SETTINGS + LUT (click "Go to link" for LUT). 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 C IS THE SHARPNESS "REAL"? NOISE ? IS THE NOISE "REAL"? COLOR D 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: [TESTING...] 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 a gallery of some of the neat cars & trucks I've been able to do photos & videos of...and what's really neat it they're not all expensive, but that isn't always what makes a vehicle good. I've also done scale models! COMING SOON SELECT YOUR FOCUS: CARS TRUCKS SCALE MODELS SELECT A CITY This is a gallery of some of the cars & trucks I've been able to take photos & videos of in the Pacific Northwest area, and the cool thing about this database is it shows the exact settings AND GPS LOCATION of each shoot. Des Moines A Suped-Up 2016 Ford Mustang MAKE: Honda MODEL: 2016 Ford Mustang MODS: None (Original) MILEAGE: 123,456 SHOOT DATA GET ACCESS *Shot composition/framing is based on both the lens focal length and the sensor crop factor.

It's good to have questions while you're learning, that's the only way to learn! However, if you go ask A.I. for answers, the question is, do you get REAL answers (to your REAL questions) or do you just get a mix of popular opinion, untested ideas, and smarty-pants quotes? Well, that's a good question, so we compiled a list of the most frequently asked questions (about photography & video production) sourced from REAL people who've actually tested the ideas. REAL ANSWERS Answers from REAL people with REAL experience (not from A.I.) Got Questions? While you're learning, it's good to have questions , and it doesn't mean you're not smart! Select a Category LIGHTS What are good lights for FOOD photos? GET ANSWERS CAMERAS (DSLRs) Are DSLRs good for video production? GET ANSWERS LIGHTS What are good lights for ARCHITECTURAL videos? GET ANSWERS CAMERAS (M43) Is the Panasonic LUMIX GH2 Good for Video? GET ANSWERS CAMERAS (Bridge) Is the Panasonic LUMIX FZ1000 Good for Video? GET ANSWERS CAMERAS (Full-Frame) Is the Panasonic LUMIX S9 Good for Video? GET ANSWERS LIGHTS How do I set up lights for FOOD photos? GET ANSWERS LIGHTS What are good lights for FOOD videos? GET ANSWERS LIGHTS How do I set up lights for ARCHITECTURAL photos? GET ANSWERS LIGHTS How do I set up lights for FOOD videos? GET ANSWERS LIGHTS What are good lights for ARCHITECTURAL photos? GET ANSWERS LIGHTS How do I set up lights for ARCHITECTURAL videos? GET ANSWERS CAMERAS Why can't you take photos from video? GET ANSWERS CAMERAS What cameras and lenses are good for portrait photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for wedding photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for family photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for sports photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for wildlife photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for landscape photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for architectural photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for street photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for food photos & video? GET ANSWERS CAMERAS What cameras and lenses are good for product photos & video? GET ANSWERS AUDIO What microphones do you use for video production? GET ANSWERS AUDIO How many microphones do you use for video production? GET ANSWERS AUDIO How do you set up microphones for video production? GET ANSWERS AUDIO What audio recorders do you use for video production? GET ANSWERS AUDIO How many audio recorders do you need for video production? GET ANSWERS AUDIO How do you set up audio recorders for video production? GET ANSWERS AUDIO How do you get good audio for video production? GET ANSWERS AUDIO What is MONO audio recording (and what is it for)? GET ANSWERS AUDIO What is STEREO audio recording (and what is it for)? GET ANSWERS AUDIO What is SURROUND SOUND audio recording? GET ANSWERS CAMERAS (GoPro ILS) What lenses are good for the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) What is the crop factor of the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) How big is the sensor on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Does the GoPro ILS have autofocus? GET ANSWERS CAMERAS (GoPro ILS) Can you use Canon EF lenses on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Can you use Canon FD (manual focus) lenses on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Can you use Minolta MD lenses on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Can you use Minolta AF (Sony A) lenses on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Can you use M42 screw-mount lenses on the GoPro ILS? GET ANSWERS CAMERAS (GoPro ILS) Can you use Nikon F/G lenses on the GoPro ILS? GET ANSWERS We call these "REAL" answers because they're from real people who are making the claims (instead of an A.I. summary of all of the opinions). it seems like when AI answers a question, it formulates answers based on popularity, but it can't actually test the ideas it formulates.

This lens is too sharp for this sensor, as with the SHARPNESS turned all of the way down (to -5) plus the NOISE REDUCTION turned all of the way UP (to +5, which I do to reduce sharpness even more when needed) the image still has a lot of aliasing. This sensor also renders more compression-related artifacts when a lens is too sharp (which adding NR can help with) but since we've maxed out those 2 settings, we're left with a lens-sensor combo that is bound to be a problem in certain lighting situations. This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, the "focus breathing" is not good for video (image changes size as you focus, etc.) and lenses such as the Promaster 70-300 I've been using, are MUCH better for video (even though the aperture is not constant, but with this breathing, you can't zoom while shooting ANYWAY!) it's also heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best. NOTE: With a non-optical adapter, I set the contrast to -2 (instead of -1). Any links below are affiliate links. FILTER: None Nikon 80-200 2.8 D ADAPTER: Viltrox NF-M43x (.71x) Panasonic G7 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -1 SHARPNESS -5 NOISE +5 SATURATION -1 HIGHLIGHT SHADOW OFF 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: This lens is too sharp for this sensor, as with the SHARPNESS turned all of the way down (to -5) plus the NOISE REDUCTION turned all of the way UP (to +5, which I do to reduce sharpness even more when needed) the image still has a lot of aliasing. This sensor also renders more compression-related artifacts when a lens is too sharp (which adding NR can help with) but since we've maxed out those 2 settings, we're left with a lens-sensor combo that is bound to be a problem in certain lighting situations. This used to be a top-of-the-line telephoto zoom (it was the first AF 80-200 2.8 Nikon produced) and the build quality is excellent. However, the "focus breathing" is not good for video (image changes size as you focus, etc.) and lenses such as the Promaster 70-300 I've been using, are MUCH better for video (even though the aperture is not constant, but with this breathing, you can't zoom while shooting ANYWAY!) it's also heavy and slow to operate. It's slow because of the push-pull zoom, and because of the focus (there is a focus limiting feature that helps with that). Optically, it's a great lens, and though each lens-sensor combo usually needs some work to look its best. NOTE: With a non-optical adapter, I set the contrast to -2 (instead of -1). 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.

view from coin-operated binoculars at des moines marina 1 ©2025 SilverLight Photo Co. If image is black & white, final photos or videos are in post-production (check back). #1 Coin-Operated Binocular at Marina < All Scenes Behind-the-Scenes SUPPORT US TO GET FULL BEHIND-THE-SCENES ACCESS (& PRODUCTION DETAILS) GET ACCESS GENERAL NOTES (Parking, etc.) *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.

My #1 AUDIO tip for budget filmmaking AUDIO is to "always back up your audio (passthrough)" one of the most important things is to have an audio recorder that is small and light enough to sit on top of the camera (or cage). So, while there are other good audio recorders out there, these are my favorite (budget) options for backing up your audio, with this system. REAL AUDIO Mic-Specific Settings for Synchronous Audio. The Custom Settings Method Zoom H1essential Zoom H1n Zoom H1 Zoom F1 Zoom F2 Budget Filmmaking AUDIO Zoom H1essential Okay, the Zoom H1essential is now my #1 budget recommendation for an audio recorder. I used to recommend the original H1 (even when the H1n became available) but the 32-bit float feature of the H1e made it an easy decision. One underrated thing I like about the H1essential is the NUMERICAL headphone out level (perfect for a passthrough!) SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom H1n I actually like the older H1 (because of the numerical gain and the "lock" switch) but this recorder is small and lightweight and can be a good tool as well. Most of the time I use this as a "passthrough" to back up audio coming from an external microphone (on the way to the camera) but its stereo mics can be good for capturing "ambient" nat. sound (just make sure to use a furry windscreen). This version doesn't have a "LOCK" feature (as version 1 does) so I would so don't leave the recorder in someone's pocket, where the REC. LEVEL dial could get moved. SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom H1 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). SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom F1 This recorder has the perfect form factor for mounting to the top of a camera cage, so I can use my #1 tip for audio recording: "Always back up your audio (using a passthrough)." I would prefer more numerical gain steps (0-100) vs. the LOW, MID, HIGH increments. It doesn't include built-in stereo mics (like the H1, H1n) but Zoom does offer a variety of add-on mics. P.S. The battery door is a pain. SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search. Budget Filmmaking AUDIO Zoom F2 Okay, so I just got this little audio recorder (and have big plans for it). The first thing I'll say about this recorder, is that even though it records a 32-bit float file, it does NOT use dual A/D converters to capture as high of a "dynamic range" as say the Zoom F3 or F6. Having said this, I've still got a few experiments to try because I believe this thing could have a real impact on my audio workflow. (More to come on this, but you can listen to my podcast about this for a teaser.) SEE SETTINGS AMAZON* #ad EBAY* #ad OFFER UP* *The Amazon, Ebay buttons are affiliate links (#ad) but the OFFER UP link just initiates a used item search.

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, On-Location Product Photos & Video. 5 Natural Food Photos Food photos shot in their natural environment, not styled (5 photos shot on-location, single set). Read More 1 hr 305 US dollars $305 SCHEDULE

In the future I may try adding a Tiffen GlimmerGlass or Black Pro Mist filter to attempt to control the dynamic range, etc. Any links below are affiliate links. FILTER: UV (Promaster HGX) Canon 70-200 2.8 ADAPTER: Metabones XL (.64x) Panasonic G85 Natural "PHOTO STYLE" LENS-SENSOR LUT CONTRAST -4 SHARPNESS -4 NOISE +4 SATURATION -3 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 ? 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: In the future I may try adding a Tiffen GlimmerGlass or Black Pro Mist filter to attempt to control the dynamic range, etc. 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.

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REAL Q&A When you ask REAL people (not A.I.) they don't always agree! How many lights do I need for VIDEO? These "REAL Reviews" are just my opinions and are focused on my Q.P.A.C.E. packing method, so they aren't supposed to be comprehensive or the final say about the products. I wrote these mostly to help me remember what items worked for my KIT PLANS (and which ones didn't). If I said anything negative about any of these products, they still may be good for you in your scenario, but they weren't Q.P.A.C.E. ("Portable, Affordable & Common") which is essential for my KIT PLANS to work. We call these "REAL Answers" because they're from real individuals who are making the claims, instead of A.I. summarizing all the opinions. it seems like, When AI answers a question, it selects answers based on popularity and/or consensus, but it can't actually TEST the ideas that it repeats.

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