When buying a new lens, a common dilemma is whether to go for a native or a third-party lens. The third-party lenses are usually much cheaper, but how good are they? In this video, Jay P Morgan and Kenneth Merrill compare two standard E-mount zoom lenses for full frame Sony cameras: an $879 Tamron 28-75mm f/2.8 Di III RXD and a $2,198 Sony FE 24-70mm f/2.8 GM. How do they compare in terms of sharpness, image quality, and autofocus for both photo and video? Check out the video below for more details.
No matter how much we learn or think we know about photography and light, there’s always a new tip or trick to learn. And Jay P Morgan’s series on the Laws of Light has been packed with them. The series is up to 17 videos now, and the latest deals with a subject that many people find difficult, and that’s how to light glass.
Glass can be a very tricky subject. But Jay P breaks it down into the bare basics in this video, showing you how you can light a drinking glass, by not actually lighting the glass, but by lighting the things that we can see through it.
With Nikon and Canon finally entering the fray and the whole Panasonic/Sigma/Leica alliance thing, it’s starting to get quite exciting in the world of full frame mirrorless. It feels a lot like when DSLRs first came into existence. Of course, we didn’t have Facebook then, so people were more concerned with shooting than measuring.
But these days, kit comparisons are inevitable, especially with the rate at which technology is advancing and new products are being released. In this video, Jay P Morgan looks at the Nikon Z6 and Sony A7III cameras. On paper, they’re pretty close, with both cameras having some slight advantages over the other in certain areas. Some of Jay’s results, though, are quite surprising.
One of the biggest issues when it comes to continuous LED lights is power. For photographers, they’re just nowhere near as bright as strobes, and for filmmakers, they want to know that they can replace their high power hot lights that they’ve been using for years. But LED manufacturers are often quite vague or confusing with their light output.
It’s not intentional, there’s just not really an easy universal standard when it comes to comparing constantly evolving LED technology with tried and tested hot lights. So, in this video, Jay P Morgan looks at some of the more powerful LED lights on the market to see how they really stand up to traditional hot lights.
If you’re new to film, pushing and pulling it when developing is a bit like ramping the exposure slider up or down in Adobe Camera Raw or Lightroom. Except, here you’re doing it with a purpose when you shoot. Sometimes it’s for technical reasons. At other times, it’s purely an artistic choice. In this video, Jay P Morgan at The Slanted Lens tells us all about the how, when and why to pushing and pulling film.
If you want people to take you seriously, whether it’s in a vlog or a simple video conference with a colleague or client, you need to have good lighting. As photographers or filmmakers we’re supposed to know this stuff. So, having bad lighting on ourselves doesn’t really set a great impression.
In this video, Jay P Morgan at The Slanted Lens takes a look at how to easily light for vlogging, or any other time you might want to point a camera at yourself for a quick video. And it doesn’t even have to cost a lot of money – or any at all.
Although meters in digital cameras have come a very long way and become extremely advanced, metering with film often isn’t so simple. With digital, even if your camera’s meter isn’t that great, you can quickly and easily see the results on the histogram to know if they’re right and adjust accordingly. But for film, we need to be a little more sure.
Should you switch from APS-C to full-frame? Or perhaps shoot large format? Does it matter? What will it change? Ah, so many questions. In this video, Jay P. Morgan and Kenneth Meryl have decided to test four sensor sizes side by side and give you the answers. They shot with a large format, a full-frame, an APS-C and a micro 4/3 camera. Here you can compare the images side-by-side and see for yourself how much of a difference there is.
The Panasonic GH5 has been a favourite of many video shooters since its launch early last year. Offering 10Bit 4:2:2 video, 5-axis stabilisation, decent stills quality and a whole bunch of other features, it was an instant hit. Earlier this year, Blackmagic announced the Pocket Cinema Camera 4K. Offering 4K DCI 12Bit RAW video and the same sensor as the Panasonic GH5S.