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Found 2 results

  1. I'll begin by stating that I'm not a wedding photography by trade. I shoot mostly commercial lifestyle and product professionally and landscape for fun. I've shot a good few event style jobs with Sony and back when I had Nikon, but this was the first wedding shoot on the Sony system. It was almost as if I was using a camera for the first time. I fumbled between the many prime lenses at my disposal (the sought after G Master 24-70 2.8 nowhere to be found) because I opted not to rent a second camera. I had a second shooter with two Canon bodies and delegated various things to him. What I brought with me for the A7Rii in my possession was as follows: - My 55 4/1.8 Zeiss (My favorite lens despite how long I have to spend de-fringing) - My 70 - 200 f/4 (which I didnt use as it's not fast enough...new 2.8 nowhere to be found!) - My 28 f/2 (which I used only during dancing and sparklers at the end of the night) - A rented 35 f/1.4 Zeiss (great bokeh, slow focus and horrible fringing on this body) - A rented Canon 85 f/1.2 with Metabones adaptor (insanely unreliable focus, softness, light leaks from adaptor, and notoriously horrible fringing) There you have it. I know I sound a little negative right now, but I'm only trying to emphasize the difficultly of said task in contrast to what I usually consider a fairly delightful shooting experience with Sony. I opted to stick mostly with the 85 and 35 rentals (silly perhaps) throughout the day and spend a great deal of time hunting for focus while my subjects bobbed about with the occasional calculated pose (thankfully). The camera encountered a deep internal error/freeze about 6-8 times while shooting with the adapted Canon and required about 15 seconds to turn off and back on. As you may or may know, turning the A7Rii on from a freeze often takes a great deal of time as it attempts to get itself back in order. I'm confident this was a Metabones issue. Not sure what version of its firmware I was operating, but it wasn't pretty. Sidenote: light leak from the adaptor could be solved by covering the sides of the adaptor with my hands (didn't have black tape available on short notice). The 35 Zeiss I've used before on several occasions. It's a pleasing lens with fairly slow focus as I mentioned above. My editing experience always proves to be a free-for-all of teals, blues, and purple variants--typically shades that Lightroom can't identify as fringing. Fun! Later in the evening this wouldn't be an issue, but midday and golden hour I spend a good amount of time shooting into the light with a plethora of lovely plants and trees scattered about my subjects. Once de-fringed, however, the lens delivers some great stuff. On par with the Sigma Art 35 roughly. Focus in general with the A7Rii (which is known to be lesser of mirrorless evils when it comes to this) is, of course, a bit of an Achilles heel. I depend on center focus to focus and re-compose as I've come not to rely on its otherwise abilities. With Sony lenses, the center focus bracket is rather large (is there a way to make this smaller and more precise I don't know about!?) when compared with Canon and Nikon DSLRs, so I'll often miss when trying to aim for a small subject at center frame. This leads to many mis-focuses in crowded environments with many subjects moving about. Another factor that made things difficult was how long the A7Rii took to buffer as I fired off large RAW files in burst (high speed of course because...well, I needed everything I could get). It would quickly fill the buffer attempting to write to my high speed cards, and when I went to chimp my shots I always had to wait a good bit until it was finished writing and could render a preview. I'm used to this (been shooting with the camera for 9 months now), but it was made painfully apparent during such a shoot. The large files rapidly filled up several cards (42 MP is certainly overkill for a wedding, but that's my choice). Exposure is another something I have trouble with at times. I find that the 35 Zeiss is a particular nuisance as it gives me unpredictable exposures when shooting on Aperture priority. I opted not to shoot manual very often as the lighting was constantly changing as we moved about the venue. I love the live-exposure preview feature of mirrorless EVF, but find that for me it seems inconsistent with the brightness displayed on the screen and a little too dark during daylight to get a feeling. In the EVF I could see details and the exposure looked nice, but when chimping on the screen (brightness turned up for day), highlights would appear very much blown out. I was shooting Ap-priority with my exposure compensation dial cranked to anywhere between (-0.75) and (-2.25) most of the day. Once back on my computer, I found that said underexposures did end up giving me typically slightly underexposed shots, but only by a small amount. I prefer this actually on the Sony, as I find that shadows recover more than its highlights in Lightroom. I think I have a good deal of great shots as I run through the catalogue, but there are likely a great deal less usables than if I had shot with a modern DSLR. Good thing i opted for that high-speed burst all day and had a second shooter! Overall, I love these cameras, I really do, but for professional use I really do think they should be giving those G-Master lenses away. Either that or these cameras ought to be sold for such a reasonable price that the G-Masters seem like a no-brainer. Really, I'm thankful to be able to use my Sony when shooting inanimate objects, landscapes, and slow-moving models. For scenarios such as this, I truly feel as if I entered a race and shot myself in the foot at the starting line.
  2. Greetings, I am in need of professional instructional lessons/tutorials. I have an A7 purchased 5 years ago for concert photography. I did not have time to learn to use it properly. I am reading "From Snapshots to Great Shots" by Brian Smith. However, Video learning is preferred. As of 2017 I am doing more drummer shoots where I would like to utilize the A7. I have worked for the Chicago Drum and Pasic. I am also a house photographer for Venue Works in Cedar Rapids, Iowa. Thank you Drummer Photographer Instagram: @drummer_photograher
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