Thanks to Model Jacquie Boose for the gorgeous images
For every review that I have watched or read on the Sony 85mm f/1.4 G Master, it is always mentioned that there are other options that are just as good at a better price point. Some in the photography community over-analyze instead of judging a lens on their own qualities. I am not going to compare this lens to any other I’m simply going to provide you with what I think about a lens that I recently picked up.
The Sony 85mm f/1.4 G Master is part of Sony’s line of a professional-grade lens for their mirrorless cameras. There’s no need to run all of the specifications of this lens because you probably know them like the back of your hand. But there are some features that are never really highlighted and make a lot of sense that is not offered by the other choices that are currently available.
Take for example the rubber gasket on the Sony 85mm gm. With the launch of the A7r4 Sony is moving in the direction of building all of their high-end cameras with weather selling. G Master lens is already prepared for this change. With the addition of the rubber gasket shooting out in wet conditions will no longer be a reason not to shoot. Even on the A7r3 85mm f/1.4 G Master did not miss a beat. It allows me a little extra time to keep shooting before I had to retreat back to the car with the model I was working with that day.
Prior to picking up 85mm f/1.4 G Master, I used a Sigma 85 f/1.4 HMS a-mount version on an adapter. With the latest stream of Sony firmware updates for a7r3 this land is performed very well in the autofocus department. Despite that I was still missing too many shots. 85mm f/1.4 G Master demonstrated superior autofocus the first time I attached to my a7r3. Even in darkening and rainy conditions, the 85mm f/1.4 G Master lock on to my model's eyes. While I agree that the autofocus may not be the fastest in the world no one can say that it is not consistent.
In the past, I have had problems with lenses that were sharp in the center but completely fell apart towards the end of the frame. That problem seems to be a distant memory with the 85mm f/1.4 G Master. Oftentimes I stepped back and shoot full-length portraits from head to foot. Combined with in-body image stabilization the 85mm f/1.4 G Master delivers sharp revolts from one end of the frame to the other. This provides more flexibility and creativity when I am shooting. It is simply another problem that has been addressed that with past lenses could strain the type of shots that I can deliver to my clients.
Sony is often criticized for its colors science. What is not understood is that color science can be a result of a number of different factors. These factors can include the way the sensor reads data, the way that light travels through a lens and the environment in which an image has been shot. The 85mm f/1.4 G Master handles color very well. Colors often look neutral and provide an excellent starting point for post-processing.
Every lens that I have ever used has had differing levels of CR. The 85mm f/1.4 G Master delivers some of the best control on CR that I have seen. Let me put it this way I can comfortably shoot at F/2 and reasonably expect that I will be able to correct most of the CR in post. If I stop down to f/2.5 or f/2.8 most of the CR is gone. There is the possibility of seeing some slight green fringing in heavily backlit situations. In most cases, it is so minor that you have to look extremely hard to find it.
Here are the facts the 85mm f/1.4 G Master is built for long time usage. Right now I cannot verify Sony’s claim that this lens can handle up to a 100-megapixel sensor. Even though some of these sample images I’ve seen with this lens on the A7r4 shows that he can handle 60-megapixel sensors pretty well. What I do know is that this lens is a sturdy consistent tool that is making my work as a portrait photographer more efficient. While I understand that there are a variety of different options sometimes it is better spent a little bit more for a tool that is going to last longer.
It is important that cosplayers are empowered to be able to pick a photographer that will be professional while we are working with them and able to deliver excellent results. To this end, I have a few ideas to help cosplayers pick good photographers.
I have nothing against new photographers. Eight years ago I was new to photography and cosplay. But it is fair game to ask if a photographer has experience shooting with cosplayers. Understanding, the cosplay community, the different types of characters and how to successfully pull off photo shoot at conventions are important skills for any cosplay photographer to have.
2. Work Product
Professional Photographers always want to ensure that their clients receive the best results that they can produce. Most of the photographers that I have met over the last eight years they are always striving to deliver excellent results regardless of the skill level. Work product in many ways the subject, but as long as a person believes that the work they have received their photographer is of high quality than all the matters.
3. Positive interaction
It is crucial that photographers have positive interactions with working with cosplayers. Ensuring that your photographer makes you feel comfortable and free to take all the images is the mark of a great photographer. This means that the photographer is welcoming of you and your friends doing a photo session. Making sure that they are talking to you and letting you know what it is they are doing during a photo shoot. This is not approaching or touching their subject in an inappropriate fashion. And that they are respectful and appropriate when they are talking to you.
4. Customer Service
Especially for photographers who charge for photo shoots at conventions, customer service is a key factor. Showing up to a photo session on time, excellent communication with cosplayers and timely delivery of images are important elements to providing good customer service.
I always tried to keep in mind, that we are all human and sometimes make mistakes. I know I have. It is important that those individuals make mistakes and learn from and improve from those mistakes. As a community I I believe that if a person is trying to improve that we should not hold their mistakes against them. But if there is a pattern of behavior, where individuals are engaging in both illegal and immoral behavior in serious question raised about that individual.
This is by no way an exhaustive list of what is a great photographer. This is just my opinion and I hope that helps you to find a good photographer that will get you results that you are looking for.
I have owned the Sony A7 R III for a little bit more than two months. This camera has been widely reviewed and tested since it was launched one year ago. However, I have seen no tested for review from a cosplay photographer. I'm not writing a full review I'm simply offering my thoughts on how this camera operates for cosplay photography.
The autofocus system performed extremely well in a variety lighting situation. You can expect that for the most part, you will get extremely sharp photos, especially in the eyes. Many cosplayers utilize context lenses in their cosplay projects. The eye autofocus does a really good job and locking on such to those contact lenses.
Personally, I like to shoot manual focus during my photo shoots. The A7 R III provides a full suite of manual focusing options. Focus peaking is a key tool that I use during a photo session. It works even better than form prior Sony cameras. In a case that a Lens refuses to cooperate when it comes to autofocus, switches the camera into manual focus mode with peaking engaged will allow me to get solid images.
One of the downsides shooting in manual focus is the possibility that the slightest movement, while you're trying to focus, will introduce slight motion blur into your image. The steady shot system increases the likelihood that more of your shots are be in focus whether you're using autofocus or manual focus. When I shot with the original Sony A7 are often lost too many images because they can have no way to compensate for the slights of movements while I was trying to lock focus. The A7 R III dramatically increase the hit rate images shot with auto and manual focus. This is key, because you may never get a chance to shoot with specific cosplayers again.
More often than not, you will see cosplay photographers and comic or anime conventions. Overall camera performance is critical when you are in a convention hall where thousands of other people are walking around. Admittedly, prior Sony camera bodies have sometimes have been slow to activate. The A7 R III makes dramatic improvements in operational performance. It turns on very quickly and is ready to shoot very quick. This performance has even improved with the recent version 2.0 firmware update for the A7 III and A7 R III.
When shooting, the buffer is very quickly even when shooting the two memory cards. It goes without saying that faster memory cards will dramatically increase buffer performance. Another critical weakness of prior Sony bodies was the dreaded battery. The new z battery is a key improvement. Let me put it this, I can still have over 40% of the battery after filling up three 32 gig memory cards.
I agree that the menu system on this camera continues to be a weakness. I remember shooting with the first E-mount body the NEX-3. That menu system was atrocious. The good news is that the A7 R III, A9, and A7 III offer an important work around. After familiarizing myself with all of the menu options is set up in my menu tab. Now doing a photo shoot I can quickly access the most common menu settings without having to date under page after page of options.
When it comes to color or color science, cosplay photographers have a unique perspective. It is very common for cosplayers to have on a variety of colors. This could be from makeup, to face and body paint, wigs, costume, and props. In my view, I find that the A7 R III does a fantastic job in capturing accurate color. The debate over color science makes little sense. Color is subjective this is why all of my photo shoots are shot in RAW. I would rather color grade my images instead of allowing the camera to make those decisions.
The A7 R III really shines when his current post process RAW files. At launch Sony 's claims that this camera had of the 15 stops of dynamic range. I cannot verify that this is the case, but I can say that I can turn a dark picture into a well lite portrait. With proper editing skills, files from the A7 R III can unlock new levels of creativity in cosplay photos that a magazine will want to publish. Files from the camera offer that level of flexibility which will allow you to color grade, crop or do almost anything else that you would like.
This camera delivers the goods for cosplay photography. It checks the box on practically every concern that a cosplay photographer would have. A top-of-the-line autofocusing and manual focusing system. Improved performance with the batteries, memory, and startup times make the A7 R III a good decision for any cosplay photographer.
As many of you may know I have shot Sony cameras my entire photography career. This is why I did not mention cameras by other manufacturers. I have simply not had the opportunity to spend any significant time with those cameras.
I recently wrote an article responding to a Petapixe article that examined Sony color science. The writer for that article recently posted a comment on Facebook on my article. I would like to share with you his response.
Usman Dawood- Petapixe writer
" Hey read your article, we disagree and that’s perfectly fine . I wrote the Petapixel article.
Get the gear that works for you, I agree, both Canon and Sony work for me for differ t reasons. There is a difference and Sony is better in many areas like video and dynamic range but colours are still a bit crappy. No camera is perfect for everything.
It would seem more people prefer colours from Canon cameras than they do from Sony because I’m seeing a bunch of false colour coming from many of my Sony files. Having said that, both systems are incredible I use and love both. I simply point out my findings and compare the systems I use. Sometimes my articles are positive towards Canon sometimes they’re positive to Sony because they both have their respective advantages and disadvantages.
Using both systems allows me to make comparisons that are relatively objective."
Here is a link to his article :
Here is a link to my article :
I recently read an article on the petapixel's website which examined Sony's color science. I find it extremely concerning that individuals are allowed to write articles that are based on inaccurate and extremely biased information. Let's talk about the so-called professional photographer. The author of this article specializes in architecture and interior photography. This presents a major problem, how can you make intelligent, comments for any type of photography that you don't even practice. That's like me trying to do a critique sports photos.
When did Canon color science become the gold standard in color accuracy? It is certainly a fact that Canon has built fantastic products over the years. It does not mean that Canon is perfect. I have seen beautiful images from every camera company. That includes Sony, Nikon, Fuji, Panasonic, and Canon. What you will learn is that every company has a different way in which their cameras interpret, process and render color. Just like in all art, color is in fact subjective.
I have been a Sony shooter for several years. My first camera was the A57. I have owned multiple Sony bodies including the A99, NEX-3, A7 and now the A7RIII. Like other camera owners would have been with their preferred company for multiple years, there is something about that particular system that you like which is want to continue to purchase products from them. The author makes it seems as though Sony products are deficient when compared to Canon. Of course, he is mistaken. I would never suggest that Canon cameras are deficient. They are simply different from Sony. That's the same with Nikon, Fuji, and Panasonic.
Jason Lanier said this a lot "find the right gear that works for you." This is something that photographers should remember. There are some people who do not like Sony color science. There are two option, 1) you need to make adjustments to the color profile in the camera or in post 2) is simply to choose to purchase from a different camera company.
As a photographer who shot for a number of magazines, online publications, advertising agencies, and many clients; I can confirm that Sony cameras undoubtedly deliver excellent professional results. To suggest otherwise is bias has completely misleading.
When an animator or writer sits down to develops the new character, there are many different things that inspire the development of that character. This is the same for a cosplayer choosing which character they want to dress up as. In cosplay photography, many photographers try to capture images that reflect the character that is being cosplayed in the way they are presented by the writers and animators who created them. This approach tends to put the focus on trying to re-create the character over again but in a different form. My approach is to capture how the cosplayers view the character they decide to emulate.
While in grad school, I wrote a research paper on cosplay. One of the things I learned is that when a cosplayer chooses a character, there is something about that fictional individual that the cosplayer can identify with or something that they may desire to be. This is why in the last few years, I tried to capture the individual attempting to make themselves with a character that they have identified with. To me, it's interesting to see people become completely different than what they would normally present to society.
Admittedly, my approach is very difficult to pull off. The challenge is why I continue to try. Certainly, many photographers are very skilled and creative at what they do. I believe that it is important that we must keep cosplay photography relevant and interesting.
A few weeks ago I had a conversation with a fellow convention and cosplay photographer. We talked about how we were disturbed that too many in the cosplay community wanted photos without paying for them. There are other cosplay photographers who have noted that conventions are "oversaturated" with cosplay photographers. Taken together I believe the real issue is much more important. I have to question whether or not the bar on the quality of work produced by cosplay photographers has affected the entire cosplay community.
When I first started in photography, I was working for the Eastern Echo(Eastern Michigan University student paper). I became frustrated because it was only a few times where I was able to get my work published by the paper. What I didn't understand at the time was that the editor-in-chief was trying to protect the quality of each issue that was produced. Without this the reputation of the paper would suffer and those who work for it their reputation would suffer. This is one of the critical elements that are missing from too many cosplay photographers. Quality of a photographer's work is more important than the quantity.
Photographers involved in sports, weddings, professional portraits and modeling all understand that clients expect a very high quality result. And many of them are prepared to put their money where the expectations are. Unfortunately, this is not something that is seen in the cosplay community. Cosplayers have unfortunately interacted with too many photographers who emphasize the quantity over quality. I have literally worked with too many people who have expected me to dump my memory card of every image. This is something that I am just unwilling to do. Not every image that I take is something I want others in the wider world to see. As Jared Polin aka "Fro knows photo " has noted that you should display your photos that are "the best of the best of the best with honors".
When this is not done it lowest expectation of what a cosplayer should expect from a photographer. I don't know about anyone else but I know that when I'm spending my hard-earned money on something or a service that I expect the highest quality that I'm able to pay for. So if you are planning on going to a convention I wonder why you can't book more paying clients it's either one of two things: your own work is not a level where people can justify paying you or cosplayers don't expect that they will receive high-quality images from photographers.
Now this is not to say that there are not skilled photographers out there. The difference is that a skilled photographer will do everything within their power to maintain a high level of quality. Take for example one of the best cosplay photographer that I have seen Martin Wong. (facebook.com/MartinWongPhoto). Every time I view his post, his photos demonstrate a commitment to high quality. Shot after shot has excellent color, contrast and sharpness. His composition and mood in his images I think our class leading.
He's not only one. Bananzers (facebook.com/bnnzrs) is a cosplayers and photographer. She does a very good job at being in the front and behind the camera. In her shots, she delivers a very consistent feel among all of her images. Her images of very bright and colorful.
You do not achieve results like Martin and Bananzers without constantly trying to improve your work. There has to be a willingness on the part of all cosplay photographers whether you are new or seasoned to only want to improve with every time to hit the shutter.
Every cosplay photographer should commit themselves to improving skills like framing, lighting, posing, shooting technique and post-processing.
If all cosplay photographers improve the quality of their work we together can raise the bar on what good cosplay photography looks like. I believe that people not wanting to pay for photography services will be less of an issue.
Photos of Onehellofawaifu Cosplay
Write something about yourself. No need to be fancy, just an overview.