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This morning we filmed our friend Ariel Dyer's entry for the Tiny Desk Contest. We shot with the Canon 7D and BMPCC with My Canon TV-16 25mm and Cosmicar 12.5mm. Here are my BMPCC grabs with quick and dirty color correction. Canon TV-16 25mm 1.4 (5.6/8 split, 200asa): Cosmicar 12.5mm 1.9 (wide open with ND, 800asa): The last one was a bit underexposed, so there's noise, but I like the rest of the image.

Then I sugest working in the marketing departement of a robot factory. Being a good photog will get you in the door faster.

These stats don't mean much to me, I'm based in Europe and am only talking about the scene I'm familiar with which happens to be (high) fashion: a $2.4 trillion industry ranked world's seventh largest economy. So what if 'glamorous females earning big bucks' only represent perhaps a tiny percent of pro photographers. it's a tier that matters and appeals to camera brands, similarly to what @BTM_Pix was saying about the importance of (camera) brand exposure at major sporting events. There is a reason why there is always a promo with fashion photographers during releases of pro cameras. And then there is the trickle-down effect, the amateur/enthusiast who wants to be associated with the camera brand/model used by pros. it's a vertical top-bottom business model where upper-class influences the lower. It's like Fender make their money off non-domestic guitar sales because average Joe musician wants to copy his favorite rock idol, even though he can't afford a $4K custom made in USA. But Fender would be dead if they didn't make pro models for pro musicians.. as pros would jump to another guitar maker and so would Joe. Same thing in Fashion.. ateliers spend months on a runway show displaying dresses only a happy few in the world can afford. in reality, dresses end up being rented by Hollywood actor stylists to be worn during red carpet events. All of this so your mother, sister, wife/gf can go buy $50 Dior/Prada/YSL perfume at the local beauty store. Cosmetics being the main department making revenue for these big fashion houses (sunglasses & accessories then follow).. So if we were to follow your logic, why should Fender make $4K guitars? pro guitarists are only 5% of musicians, and most pro guitarists are struggling to make a buck at a dive bar? Why should fashion houses focus so much time & energy on runway shows only 0.1% of the population can afford? 90% actors are underpaid/unemployed..? But see you have to understand trickle-down economics/theory & brand exposure impact before scratching your head at what so & so brand do and pulling arbitrary/irrelevant stats from the consumer end.

i know quite a few female fotogs and fwiw they're all on Canikon DSLRs. In the fashion street photography scene (big industry here in Paris) it's almost all Canon 5Ds / 1DXs. requirements are battery life, weather sealing & SOOC skin tones. Weather sealing because sometimes you're out on the street for hours shooting during downpour, SOOC skin tones because it's a race to get pics online and subjects must look good. Sony have improved battery life & ergonomics but weather sealing, color science & menus are still poor. IMO they mostly cater to enthusiasts, semi-pros & general fields. few examples: ..and no these aren't posers but actual pros who earn up to $5K-$10K during each fashion week (which if they travel is 12 events per year). so much for the poor old fat second-class citizen comment..

BLOCKER by Afternow A new way to previs with your phone. You can program which camera you'll be using, and different focal lengths. Drop in characters, adjust their height, and sun/light placement. Then figure out blocking. It has a few funky bugs but it's freakin amazing for a free app. https://itunes.apple.com/us/app/blocker-by-afternow/id1256222832?mt=8

I use a Blackmagic Video Assist 4K with the X-T2, and I have to start recording on both the camera and the recorder. If I don't press record on the camera, it sends out a worse quality signal. This step is easy to forget, I'm not sure if they fixed this on the X-H1. Also, when recording for a longer period, you will have thermal noise in your F-Log footage. It was not visible with the built in film simulations, only with F-Log. It basicly looks like a lot of hot pixels, but it's only visible in dark shots. Since the X-H1 manages heat better, I believe you won't have this issue there. The biggest problem with X-T2 is that F-Log is kinda broken, the red channel is very problematic, it breaks very easily, which rendered some my footage almost unusable. I tested F-Log coming from the X-H1 and it is WAY cleaner. This is something noone seems to talk about, I had to find this out myself. Oh and if you use film-simulations, the in-camera recordings will be full range, but when you send it over HDMI, it will be video range, so you'll have slightly less precision, if that matters to you. I can't really recommend an external recorder for the X-T2, but a smaller monitor like the SmallHD Focus can be very useful.

Sony FS5 Slog2 RAW 12bit 120 FPS->Shogun Inferno Pro Res HQ->DNxHR HQ 422 10bit REC2020 30P HLG. Yes, you only can get 4-second clips.

downloaded it. bought some expansion packs. awesome.

Yes that's an issue with the MLV App. I hadn't noticed till recently. I export to cdng so it can be corrected in Resolve, but would still be nice to get the right colour temperature from the start. Hope they can find a way to fix this. Here's another video I shot for my music with the EOS M whilst travelling to BVE expo: 12 bit lossless raw, crop mode at 1800x1024, using the EF-M 15-45mm and a Pentax 6mm f1.2 c-mount lens which vignettes slightly:

Woah awesome. Downloaded to my phone and tablet. Thanks!

Now that is a good idea. Start one up! And train them also to take Photos. You will be rich.

And to make matters worse most photographers work for a company. And guess who owns the rights to the photos, the Company. Ain't no money in stock photos unless you are nearly a household name that that people go to your website to buy stuff. And to get those type of shots, takes lots of money for gear, to pay models, to rent a Helicopter or fly to China on and on. You aren't going to shoot many Stock photos walking around your own town unless you live in Paris or Rome. And then you are in business, and being in business is not as glamorous as it sounds. Been there done that 3 times in my life. 2 of them incorporated. 10, 12 hours a day or more, maybe 7 days a week. As a Photographer if you are doing weddings, they are Always on the weekend, or own a restaurant etc you will be working 7 days a week. Good way to get divorced, or have a Heart Attack, or both LoL. Speaking of Stock Photos, I do like this one. It is on Adam Lillard's Facebook page.

Don't think I would need to hire a bodyguard when I have a factory building killer robots at my disposal.

Really hard porn there... 50 Shades of BTM !!!

I have to disagree here. Just try to separate visual from financial aspect - "think with two brains". Nothing wrong when getting financial compensation for good and hard work. Getting bread and butter on your table with passionate work is fine. Much better than pseudo appreciation with likes, views and thumb ups - because noone can eat this shit. The most valuable and objective appreciation of your visual work is the status of your bank account. Anything else is a matter of personal and subjective perception. Everyone makes his own luck. But working for stock portals is mostly a modern form of online slavery. That's the result of listening to propaganda puppies of the parasite industry, people who want others to work nearly for free while maximizing own profits. @User Just read this article on "stock photography parasitism" too: https://petapixel.com/2018/02/27/beware-500pxs-flexible-pricing/

Nicely played

He is indeed. Not long now....

Au contraire

Sadly not :-( But because I got it secondhand I don't mind, I got it at a very good price! :-D Not sure..... but I'm skeptical? As I half think it might be a teeny bit too wide. It would be a close cut thing though if it can fit?? Headed out in five minutes to shoot an epic shotgun comparison for my YT channel. "Cheaper". Only if you don't count labour! As if you do, then it is waaaaaaaaay more expensive than a Tentacle.

Thanks for the input. Yeah, I am sure that I was often blowing my highlights. When you say the first video they were way down under 100 IRE, about how far down do you think their highlights were? I have heard for cine 1 keep them at 95 (or below) even though Cine 1 is supposed to go to 109 IRE. Thanks for chiming in. I will have to try the silver reflector on the floor idea. When it is really bright outside, I can see using something in the foreground as a silhouette; maybe the tops of some chairs or some wine glasses on a dining room table...??? Yeah, setting up ply silver boards seems like a nightmare... heck, just putting them into my car seems like a nightmare (and I have a BIG car). It's a lot! But it is all about VALUE for the agents. I see some agents selling $5 Million or more homes using photos they took on their iphones. They can't be bothered to spend $100 on cheap run-and-gun HDR photos, let alone $200 for well-light photos.

That was relatively thorough, but oddly I was liking many of the images coming from the a7sii.

real estate video shooting is my day job. They have got crap loads of direct sunlight coming into that room. No lights needed! I did a stills shoot the other day for a property the total opposite of this: no windows other than the one the view was through, no direct sun coming into the room from anywhere. Total nightmare to shoot, ended up bouncing some light in with big reflectors. No way on earth a video camera of any flavour could handle it. To combat the sun you'd need a huge light. Even in stills a big room will swallow a 300W strobe. You'd need HMIs, but totally impractical for a real estate shoot. When faced with videoing places like this it's really OK to say to the client "there's no way to get the view and interior". You can shoot the view with something in the foreground to get a sense that it is a view from the house. This can work well with longer lenses on a track or gimbal. you can set the camera to auto and move from the dark room to the view. Or you can shoot a raw timelapse if the dyanamic range is within the range of your gear. one ritzy place I shot I set up 2.4x1.2 metre poly silver boards, but even with an assistant and sandbags they kept blowing over lol. I've never bothered again. Would be quicker to go back at dawn or dusk and get the light streaming into the room. Sometimes you can just chuck a silver reflector on the floor if there is sunlight coming into the room, that will bounce a fair amount of light back up, off a white ceiling.

Although it’s fun to experiment with different lenses, for the cost of a 3 day rental, you can be halfway to the cost of ai-s 35mm 1.4 or buy an ai-s 35mm f2 outright. Or it could be money towards a Zeiss 50mm 1.4 ZF.2 which has been reviewed as being pretty close to superspeeds for a still lens. Sure the Otus will blow away those older Nikkors and the ZF.2 but in the end, the owned lens will be a better investment.

And exactly how do you know that?

Unless you're renting an entire set there's not much point. Low end modern zeiss glass isn't very exciting (even the cinema variety). Until you go to Ultra Primes or Master primes they're all pretty dull and lifeless. Rent a 28mm Otus instead. Now that's a cool lens on both aps-c and full frame!

120p in a 30p timeline? That must’ve been some fast snow.

I dont necessarily disagree but for instance when I state that 'Pro photogs only make up around 2% of ILC camera buyers' do you really want me to explain that... The BLS data from 2016 shows 48,000 thousand professional photogs in the US... https://www.bls.gov/oes/current/oes274021.htm The CIPA data for 2017 shows 2.9m shipments of ILCs to the US... http://www.cipa.jp/stats/documents/e/d-201712_e.pdf So if you assume that every pro photog buys one camera a year, they represent 1.7% of the total ILCs sold....??

Luckily Fuji actually works with firmware updates.

In Seattle. Ever come south? I'm 44 now. You must always be on your toes to stay market relevant, especially if you live in a country with little to no social safety nets, like the United States. Fortune has little to do with anything. If your local state economy is shit, what exactly do you hope to gain from it? You have to be where the money is. Simple math.

As always, I think the experiences are largely going to be dependent on your market. I'm based in Vancouver right now. Definitely plenty of folks making money solely with photography and video. I'm far from rich but I've managed to pay my bills doing nothing but freelance video work for 5 years now. It's funny because there's more competition than ever thanks to increased desire and the low cost of equipment. But there's also more video/photo media than ever. It's possible to find your way, but it certainly won't be easy. I can also only speak on the industry in the last 8 years or so, since I'm in my mid thirties. I have noticed on a pattern on forums like these, where the older folks in their 50s and 60s have a different view on the current market. Seems it was easier to make a solid living then, where-as now it seems like there's the high end and a tooooooooooooooon of work at the low, barely scraping by end.

i like angry photographer but he knows zilt about video.. hell he's using a 80mm macro lens to do weird pans on buildings..?! anyways in my very brief testing of H1 yesterday, IBIS seemed really on point.

sounds like you guys are talking more about post-production wow factor tricks than actual camera inherent mojo.. it seems shooting super-slomo at super shallow DOF + a LUT gets instant mojo approval yet i believe there's also mojo on the hardware side. not that many cams have it imo.. it's a mix of color science, motion cadence, dynamic range, sensor type etc.. obvious mojo cams to me are Alexas, BMPCC 2.5K, 5D3 ML Raw, 1DC, Digital Bolex, D750, Fujis.. of course one shouldn't underestimate the lens pairing either..

When i started shooting (stills) all i did was grab the camera walk around the city where i live and try to look for interesting things happening around me and i do remember the feeling i had when i actually captured something nice! And at the time i was using medium format so i only had 12 chances to get something awesome, and i really miss the ritual of going out shooting and then developing those rolls just to find what came out of it, they werent always the best picture one could take but it was my own personal ritual which i think i will go back to.