Sony a77ii quick shoot

Since receiving my Sony a77ii last week (while I was isolating at home with my second bout of Covid), I've been itching to get out and shoot with it. If only to set me mind at ease, due to my experience with the a57 (see here).

Given that I'm still in the Covid recovery phase, all I really want to do in the evenings is rest after a day at work. But I was determined to take some photos with the a77ii. And with bad weather forecast for the next week, I decided to go out last night (as I write this) and make the most of the good weather.

We've been having some stunning sunsets here on the West Coast recently, and I was hoping that this evening would be no exception. The conditions looked promising - but alas, it was not to be.

Cobden Beach. Sony a77ii with Zeiss Vario-Sonnar T* 16-80mm f/3.5-4.5 ZA DT (SAL-1680Z)

The above image is pretty standard stuff - nothing to get too excited about. But it's the first photo taken on my 'new' Sony a77ii, with my 'new' Carl Zeiss Vario Sonnar T* 16-80mm ZA DT lens (wow, that's a mouthful)!

Again, nothing special - the spectacular lighting never eventuated. But it is sharp (shot at f11), has good detail, and the colours look natural. So I'm happy.

Rusty wheel. Sony a77ii with SAL-1680Z. f/5.6 @ 1/30th, ISO 100

Taking landscape shots with the camera focused to infinity is all well and good. Even the a57 could do that. It was with subjects at closer focusing distances where the sensor alignment issues on my previous a57 showed up. So I found a subject to focus on, set the a77ii up on a tripod, and used the central spot focus area to lock on to the rusted wheel.

Result - pin sharp focus exactly where I wanted it. Whew! I can breath a sigh of relief. My Sony a77ii has no sensor alignment issues and is focusing perfectly on where I'm aiming. Great news 😀

In fact, I'm very pleased with the sharpness, although I guess I shouldn't be surprised - given that I was using the 16-80mm Carl Zeiss Vario Sonnar T* lens. You should expect nothing but stellar results from a Carl Zeiss designed lens, and I'm happy to report that that appears to be the case. I'm pretty sure this lens will remain practically glued on to the front of this camera, given its fantastic 24-120mm focal range and fairly good f/3.5-4.5 aperture. I will write a more in-depth review of the lens in due course...

Cobden Tiphead Sunset. Sony a77ii with SAL-1680Z. HDR blend in Photoshop

As previously mentioned, the brilliant sunset colours never eventuated. Which is a shame, since the clouds were looking very dramatic. The image above is really as good as it got, and even this had to be created from a two-shot blend - one for the highlights and one for the shadows. 

Soon after taking this image, and having only been out for about 20 minutes, it actually started to rain. The a77ii is weather-sealed, but I wasn't that keen to test that out just yet (and also, the lens is not). So my first landscape outing with the new gear was unfortunately cut short. It was long enough to show that everything seems to be working ok though. So I'd say despite the weather, lack of light, and average images, I'd call the first outing a resounding success! Onwards and upwards...

Micro adjusting your DSLR

I've got my 'new' Sony a77ii and a whole bunch of lenses. Now comes the fun part - taking them all out and testing them in the field.

I enjoy testing cameras and lenses - always have. But I'm not really the 'brick wall and colour chart' kind of tester. I'm more of a 'how does it actually perform out in the real world' type of guy.

With one exception - the micro adjustment of lenses. For this sort of testing you kinda have to resort to some charts to be a little more 'exact' in your results. You are, after all, effecting the autofocusing results of said lenses.

Having said that, you don't have to spend hundreds of dollars on the fancy lens calibration charts that you need a degree in origami to be able to fold in exactly the right angle. A simple downloaded focusing chart off of the interwebs will do. Just do a google search and you'll come up with plenty of them.

But before we get underway with all of this AF micro-adjustment palaver, the question needs to be asked - "do I need to micro adjust my lenses?" And that's a very good question. The answer to which may very well be a resounding 'no'!

Are you happy with the results from your lenses? Do they look sharp to you? Do you have any fast (f1.4 - f2.8) lenses where autofocus will be critical? Or are all your lenses zooms, with an f4 - f5.6 range? If you don't have any fast glass, then chances are the aperture ranges you are using won't show up any 'slight' autofocus alignment issues.

But if you aren't happy with the sharpness you are getting out of your lenses, or if some seem sharp while others not so much, then maybe you need to consider in-camera micro-adjustments for certain lenses? That is, of course, if your camera actually supports such a thing. Many don't.

In-camera micro adjustment is a feature in more hi-end enthusiast or professional level DSLR's. You won't find this option on any of your Canon Rebels. And mirrorless cameras don't need to be micro-adjusted, since autofocusing happens directly at the sensor level, whereas DSLR's use separate AF modules. Sometimes these can be ever so slightly out of alignment, necessitating micro-adjustment. In the 'good-old-days', you would have to send you camera and lens(es) in to Canon/Nikon etc to have them calibrated if you thought the autofocus was 'out'. Photographers' talked of their camera either front or back focusing - especially portrait photographers who would lock the AF onto the eye of a model, only to find that the camera had focused ever so slightly in front of, or behind, the point of focus.

I haven't started using my a77ii yet, so I can't say that I'm having any focusing issues whatsoever. But I do have some very nice, fast, prime lenses for it. So I thought it was worth going through the motions, just for giggles. First up, the Minolta 85mm f1.4.

As mentioned earlier, their are lots of different suggestions online as to how to go about micro-adjusting your lenses. I decided to try a couple of different options, to see if they gave me the same results. Firstly, I found a chart where you set the camera up at a 45 degree angle and then focus on the chart laying flat, at a horizontal line with measurements down either side. Access your micro adjustment menu (check your manual since it will be different for each make of camera), and then shoot at a series of steps (I did 0,5,10,15,20,-5,-10-15-20) with your camera locked down on a tripod, 2 sec timer, aperture wide open, all stabilization turned off (since you are on a tripod). Take the images into Photoshop, enlarge to 100%, and check the areas of sharpness. It will soon become very evident as you go through the images whether this particular camera/lens combination is front or back focusing (or not).

It may be tricky to tell from the above re-sized image for the web, but the a77ii with 85mm f1.4 was ever-so-slightly front-focusing. On initial inspection a +10 adjustment looked the sharpest, but then I refined the process by shooting from +5 to +10 and reviewing the results. After inspecting this set closely, I determined that +7 was the sharpest of the lot.

Not totally convinced, I tried a second method. The 'flat-image-on-a-wall' test. This time you shoot some text on a wall with the camera parallel to the words. Same procedure with the camera (tripod, wide-open, self-timer etc). And wudda ya know - same result! It must be true 😀

Again, it might be hard to tell in these low-res images, but trust me - '0' was nowhere near sharp enough, and +7 sharpens things up nicely. Job done.

My a77ii can retain up to 30 lens adjustments - automatically. Meaning once you have adjusted the lens, the camera will remember it again once that particular lens is mounted on the camera. Brilliant. And I don't know about you, but I think even I might struggle to have 30 lenses to worry about?

So yes, it would seem that at least some of my lenses will benefit from micro-adjusting. And it also seems that either process will give you the exact same results.

But don't take my word for it. Download the charts, grab a fast prime, and try it yourself (as long as your camera supports micro adjustments). You may just breath some new life into that 50mm f1.8 that never quite felt sharp enough?

Sony a77ii. Getting serious about Sony A mount.

I'm not going to beat-around-the-bush with a long teaser introduction to this post. I'm too excited.

I've done it. I've purchased a Sony a77ii. And in doing so, I've placed my stick in the ground, so to speak.

From the beginning of this year when I started getting into macro photography (fungi in particular), using the Sony a99, I already had a foot in the Sony camp.

Then in February I jumped in, boots and all, and traded in my Olympus E-M1 for a Sony a57. And while the a57 was certainly no a99, I did enjoy using it, and took some of my favourite landscapes from this year with the camera.

As it transpires, the a57 had a problem with the sensor being out of alignment. Not noticeable when the camera was focused at infinity (for landscapes), but very obvious if you tried to focus on a subject closer.

So unfortunately the a57 went back, and my E-M1 was returned to me. I started using the micro four thirds system again, and that would have probably been that. Had it not been for a recent phone call.

I had been 'borrowing' the Sony a99 from a friend, together with a 50mm macro lens, and this is the kit I'd been enjoying using for macro fungi photography. Although I had also used the E-M1 with standard lenses as well. Stewart is a professional photographer who has been transitioning from Sony a-mount to Sony e-mount for a while. He rang to ask me if I was still interested in using a-mount gear, and would I like any of his? Of course I said 'yes', and in doing so, my fate was sealed.

Stewart has a load (and I mean a load) of a-mount lenses that he can 'give' me - basically on permanent loan. That's good enough for me - Stewart is definitely a man of his word. But lenses are no good without a camera body to go with it. And the a99 is really in no fit state to guarantee continued performance, or build an entire system on. So I needed a camera body. In my price range. Enter the Sony a77ii.

The Sony a77ii is, to all intents and purposes, a 'baby' a99. It has a 24 megapixel CMOS sensor (rather than full frame), a superior 79 point autofocus system, and the same design and layout. Including the same excellent flip up, down and around articulating lcd screen that I love on the a99. It has a solid magnesium alloy body, is weather resistant, only has one SD card slot (nevermind), and shares the same excellent OLED viewfinder. It is Sony's last, top-of-the-line cropped sensor camera, with fast 12fps shooting and a superb autofocus system. As such, it became very popular with sports action and wildlife photographers looking for the extra reach that an APSC cropped sensor can give. All I had to do now was find one for the right price!

The Sony a99's and a77's don't seem to come up on the used market as regularly as other cameras. And when they do, the seller is often asking a ridiculously high price for them. And I do mean ridiculous. There are a couple on TradeMe (an NZ online auction site) for almost NZ$2k for an a77 and almost NZ$3k for an a99 - both mark 1 versions! No thank you.

Fortunately, if you are patient (I've been watching the market for over 10 months), a bargain will eventually appear. One such bargain showed up recently in my watchlist. But even then I didn't pull the trigger straight away, since I don't really have the money to purchase the camera.

A couple of questions emailed to the seller indicated that he was happy to wait for a little while for me to get the $$ together should I win the auction. And then, a timely query for a paid photography job sealed the deal and I bid on the camera in the dying seconds of the auction. And I won. For the starting price (which was actually less than I put in an early offering bid for but which was rejected by the seller). Score!

The images in this blog are of the actual camera I have won, taken from the auction site photos. So yes, it looks in pretty good shape. It also comes with two standard Sony lenses - the 18-55 and the 55-200mm kit lenses. Probably won't use them that much (if at all), but hey, they come with the camera. So that's a bonus. It also comes with a charger (obviously), two Sony batteries (yay), two remote controls, and a Peak Design Capture camera clip for placing on a backpack strap. Never used one of those before, so will be keen to try it out.

All for a lot less than any of the other a77 mark 1 cameras on TradeMe presently. Bargain! At least I hope it is!? We'll see when I have it in my hot little hand. Which should be no more than a couple of weeks away?

I'm already eyeing up an after-market grip for it so I can extend the shooting time and have a vertical shutter release. I would prefer an original Sony one, but these are even rarer than the cameras on the secondhand market, so a third-party offering will have to do.

Super-excited to be getting the Sony a77ii, and using it next fungi season for some serious macro photography! Oh and yeah, I also have a wedding to shoot early next year. Could be a good season of photography coming up! I'll keep you posted.

OM Systems OM-5. Ho hum.....

Despite my recent (and not so recent) plethora of posts on the Sony a-mount, I am still an Olympus micro four thirds shooter. My camera is the venerable Olympus E-M1, with a couple of Panasonic kit lenses. So I am, to a certain extent, invested in the Olympus micro four thirds eco-system (although for how much longer I'm not too sure).

Earlier this year, OM System - Olympus' new owners - introduced their flagship model, the OM-1. There was, of course, much wailing and gnashing of teeth from the internet trolls who hated on the camera. But honestly, I thought it was a pretty solid release and a worthy successor to the E-M1 line. I wrote about it in a blogpost here.

Now, towards the end of 2022, OM System have introduced their second camera to the fold - the OM-5 (surprise, surprise).

Unlike the OM-1, which still bares the Olympus name on the front, the OM-5 is the first to be branded with OM System. And fair enough too.

But apart from this visual clue as to change of ownership, what else have OM System done to the existing E-M5 Mk3 that it replaces in the lineup?

Well, not much - at all - if we are being brutally honest.

Other than the name-change, the OM-5 and E-M5 Mk3 bodies are exactly the same. Nothing has changed. Same design and button layout, same sensor, same AF system. Same battery. Same accessories. Same-old same-old. It even has the old menu system and doesn't benefit from the upgraded menu that appeared in the OM-1. Bugger!

Ok, perhaps I'm being a little disingenuous (maybe)? It does have a new image processor - the same one as in the E-M1 Mk3, which allows for some extra computational power not before seen in the E-M5s. This includes Starry Sky AF, hand-held hi-res shooting and built-in 4 stop Live ND (the E-M1 Mk3 with the same processor can do 5 stops).

The OM-5 also has better weather resistance than the E-M5 Mk3 - with the same IP53 rating as the OM-1, as well as slightly better (as in 15% better) image stabilisation. But really, for the OM-5's target market, the weather sealing and image stabilisation was perfectly adequate as it was. Still, a little better is preferable I guess?

In a nutshell, the new OM-5 is an E-M5 Mk3 with Starry Sky AF, hand-held hi-res mode and a 4-stop Live ND. Yawn...

Unfortunately it could have been (and I would argue should have been) so much more! Where's the upgraded menu system already incorporated into the OM-1? It would have been such a simple thing to implement. Why not dual card slots (finally) in a 5 series camera? Or a joystick controller on the rear of the camera? Do something to make it look like you tried to give us a different camera!

But no. It really does feel (and look) like OM System really couldn't be bothered. Which is sad. And a little worrying.

Look, I appreciate that this has felt like a bit of a dump on OM System. And maybe it is? But I don't do it simply to be mean. I'm rooting for them. Really, I am. And I thought that their OM-1 was an excellent introduction - I really did. The OM-5 though.... not so much.

If this is your first ever OM System (Olympus) micro four thirds camera, then you'll absolutely love it! And please don't get me wrong, it will be a great camera. But if you were looking to upgrade from the E-M5 Mk3, then the OM-5 isn't the camera for you. A lightly used OM-1 would be a far better upgrade path. Or even a new E-M1 Mk3. That would be where I would put my money.

Pre-focusing for action photography

Every year in the town where I live, they put on a motorcycle street race event. It's always over a long weekend (Labour Day here in NZ), and it's always a great day out. Especially if we get a warm spring day.

Fortunately, the weather Gods were smiling on the event this year, and the weather couldn't have been better. So I decided that I was going to attend this year and use the chance to get in a full day of photography - a very rare occasion nowadays. 

Catch me if you can. Sony A7iii with Sony G Master 100-400mm.  f/5.6 @ 1/2500, ISO 400

In my previous post I talked about scoring a bunch of Minolta lenses from a friend (thanks again Stew) to use for the event. Specifically the Minolta 100-400mm f/4.5-6.7 Apo and a Sigma 180mm f/3.5 macro. I was looking forward to using these on my also borrowed Sony a99.

I have shot this event several times over the years, with a lot of different gear, so I knew that lenses in the vicinity of 200mm would be about right if I wanted to get close to the action. In fact there are places around the track where you can get so close as to almost reach out and touch the riders as they hurtle past at 100mph. I kid you not! I, however, like to keep a slightly safer distance from the action as it unfolds. So the 100-400mm and even the 180mm macro were going to be about perfect for the whole day.

The observant among you (I'm sure that's everyone who reads this blog) will have noticed by now that the opening image in this post was not taken with the a99 in combination with the two lenses I've just discussed. It was taken with much newer gear that I also had a chance to 'play' with. More on that later.

Knee-scraping action. Sony a99 with Sigma 180mm macro. f/4 @ 1/1000th, ISO 200

It may, at first glance, seem unusual to take a macro lens to a motorsport event. Macro lenses are for close up photos of bugs and flowers - aren't they? Well yes, they are. But they can also be used as a 'normal' lens. And they also tend to be reasonably fast, and reasonably sharp. For a 180mm focal length, that's a pretty slick combination.

The one thing they maybe aren't, however, is extremely fast focusing. And neither is the 10 year old Sony a99. 6 FPS (frames per second) isn't what you would call blazingly fast. And its continuous autofocus isn't anything spectacular either. It's a fantastic landscape camera. But for fast sports action shooting - not so much.

But then again, I knew this wasn't going to be a problem. Because my favourite technique for shooting these extremely fast action sports is rather old-school. It's known as pre-focusing, and was used by all the sports photographers before this snazzy thing called autofocus tracking was invented. And it's pretty easy to do.

Bascially, just put your camera into manual focus (yes, I know, manual focusing is scary - but bear with me), 'pre-focus' on an area that you know your subject is going to move through, and then fire a burst of images as they move through the pre-focused zone. All in manual focus. Simple. And very effective.

All concentration. Sony a99 with Minolta 100-400mm Apo. f/6.3 @ 1/800th, ISO 640

There's really only one drawback using this method. You have to take a lot of images to make sure you get the sharp frame you are after. Unfortunately this dramatically increases the processing you need to go through afterwards. And I mean dramatically. For example, to get a decent 'hit rate' using this method, I took over 3500 images on the day. That's not a typo. 3500 images! And of that, around 80% are out of focus and will needed to be deleted. I'll probably end up throwing away 3000 images. But at least I'll be left with about 500 sharp ones.

Despite the tedious post-processing that this technique requires, I'm very happy with the results. If you don't have the latest and greatest gear, or a camera system that isn't optimised for fast action autofocusing, then this really should be your go-to technique.

Of course there is a better way. And it's not going to please the 'gear doesn't matter' brigade. Because for some types of photography (in fact for most types) the gear does matter. This was made abundantly clear to me later on in the afternoon.

Out in front. Sony A7iii with Sony G Master 100-400mm. f/5.6 @ 1/1600th, ISO 400

My mate Stewart turned up in the late afternoon to see how I was getting on. We chatted for a while, I told him that I was using the pro-focus technique, and he asked me if I would like to try using his Sony A7iii with Sony 100-400 G Master lens for a while?

Who am I to turn down an offer like that! So of course I said yes - thinking that I would fumble my way through, making a terrible hash of trying to follow and capture the action. OMG - was I wrong!

You can always hear the roar of the bikes approaching before you see them so you have some time to prepare. Stewart told me he had the camera set to focus tracking with a wide autofocus area, so all I needed to do was point and shoot. Yeah - right!

And yeah, he was right! As the first riders came screaming around the bend, I held the camera up to my eye, the focus points instantly locked onto the front rider, and they all lit up green. Click-click-click, the shutter fired in blazingly quick succession, and I had a series of tack-sharp images. All of them!

Need for Speed. Sony A7iii with Sony G Master 100-400mm. f/5.6 @ 1/2000th, ISO 400

I almost couldn't believe the speed and accuracy of the autofocus on the A7iii, paired with the Sony G Master 100-400mm teleophoto. It was mad, crazy, unbelievably fast. And the results were so much sharper than anything I got with the Minolta 100-400mm or Sigma 180mm. Period! I've never used anything quite this fast and accurate before. It was scary good - and exhilarating - I'm not gonna lie. 

It also happens to be over NZ$7k worth of kit! So yeah, there's that.

If you can afford it, and if you need it, then absolutely go for it. If I was doing this for a living it would be a no-brainer.

And for the rest of us mere mortals? Well, there's always the pre-focusing technique. Which does work. It just requires a lot more computer time in order to find the 'keepers' from the rest. 

Oh well. I'd better get back to post-processing then, I guess?

Alive and kicking

It's been 6 months since I last posted on this blog! Why so long?

Well, as my last post described I had a bit of gear trouble, which took a couple of months to work through. My Sony a57's sensor was out of alignment, resulting in blurry images no matter what I did (unless the camera was focused to infinity). The camera store was really good about working this out with me (thanks Greg and the team at Photo & Video in Christchurch). They tried to find me another a57 (or equivalent) to replace the faulty camera - since it wasn't really worth repairing the sensor alignment issue.

Anyhoo - long story short - they couldn't find me a replacement, so I took my Olympus E-M1 back (with two Panasonic kit lenses). I dived back into micro four thirds, and even started a new Wordpress blog about it. So I may not have been writing about photography on this blog, but I have been writing on another.

So why this new post here? What gives?

Greymouth Street Races 2022. Sony a99 with Sigma 180mm macro. f/4 @ 1/1000th, ISO 200

A few reasons spring to mind -

A) it's about damn time I wrote something on this blog!

B) the Wordpress experiment didn't go all that well. I didn't really enjoy Wordpress as a platform.

C) things are starting to happen again in my photography sphere, and I want to write about them.

and D) it's about damn time I wrote something on this blog!

First things first, you'll notice that the above image, of last weekends (as I write this) street races, wasn't taken on my Olympus E-M1. I still have the Sony a99. And I still enjoy using it. And I still have access to some fantastic lenses for it. So no - I still haven't given up on using the Sony A-mount system. Things have, in fact, got even more muddy in those waters recently. Let me explain....

No.74. Sony a99 with Sigma 180mm macro. f/4 @ 1/1250th, ISO 200

Stewart - my photographer friend who I can borrow all this Sony gear from (hi Stew), called me recently and asked if I was still interested in using the Sony A-Mount gear. He has moved over fully to Sony E-Mount now, and was wondering whether I wanted his A-Mount gear!

That would be a YES!

We left it at that, but with the Greymouth Street Races coming up, I had an excuse to spend a full day on photography (a rarity). I got back in touch with Stewart and asked if he might have any telephoto lenses I could borrow for the a99. A couple of days before the event Stew turned up at my house with a bag full of lenses and proceeded to hand them to me. Two stood out as useful - a Minolta 100-400mm APO f4.5/6.7 and a Sigma 180mm f3.5 macro. But he also 'gave' me a Minolta 100mm macro (fungi photography here I come!), a Minolta 28-75mm f2.8D (gorgeous), and a beautiful Minolta 85mm f1.4.

See what I mean about being able to get good glass for the Sony A-Mount system! There's no way I could afford to get the equivalent lenses for my Olympus - or any other system, for that matter. I feel very blessed, and very spoilt. But I can't lie, I'm also now a little confused.

No.99. Sony a99 with Minolta 100-400mm APO. f/6.3 @ 1/800th, ISO 640

I've written before on this blog about how much I enjoy using the Sony a99. It's a full-frame beast of a camera, with a tonne of great features, and is a joy to use. But, (there's that but) I've also said that it isn't a camera body that I could base a system around, given that it's had a lot of professional use and is certainly nearing the end of its rated lifespan. So I would need to get another, lighter used a99, or similar, to seriously consider it as my new system going forward.

And there in lies the rub.

For some reason, Sony users here in New Zealand who have mint condition a99's, expect ridiculous prices for them. Far more (and I mean FAR more) than I would expect to have to pay for one. I know they are a good camera, but come on people...

And it doesn't stop their either. I would also consider getting an a77 - their top A-mount APSC body, if not for the fact that it too tends to fetch crazy-stupid prices on the secondhand market. What is it with these Sony users?

No.54. Sony a99 with Sigma 180mm macro. f/4 @ 1/1000th, ISO 200 

I guess I'll just have to bide my time and wait for something to come along at the right price? I'm sure it will? 

And even though the Sony A-Mount is a 'dead-end' (discontinued a year ago by Sony), for me it's practically the ideal camera system. I love the weight and feel of a traditional DSLR, but I also really love the 'new' technology that includes electronic viewfinders. The Sony SLT (single lens translucent) technology has both.

I think at this point I'd be crazy not to be thinking about going down the Sony A-Mount route. With my Olympus E-M1, I have the camera body and two Panasonic kit lenses. That's it. With the Sony A-Mount, I have the full-frame a99 (admittedly on its last legs), a Minolta 28-75mm f/2.8D, Minolta 24-105mm f/3.5-4.5D, Minolta 16mm f/2.8 fisheye, Minolta 50mm f/2.8 macro, Minolta 100mm f/2.8 macro, Sigma 180mm f/3.5 macro, Minolta 100-400mm f/4.5-6.7 Apo, and last, but by no means least, a Minolta 85mm f1.4. See what I mean.

If I sell my Olympus E-M1 kit, I still won't have enough for a used a77 or a99. Not without selling some other gear, or subsidising the purchase some other way. Like getting money from doing some photography. Which I will be doing shortly 😄

BTW - my next post will be about my day spent using the a99 and various lenses to actually take the street race images that accompany this post. It was an enlightening experience. But that's a story for next time...

Oh no! My Sony a57 is a 'lemon'!

Houston, we have a problem.

In my last post I gave a fairly positive review of the Sony a57 as a landscape photography camera. And I stick by that assessment 100%. On the whole it's well designed, has the right buttons in mostly the right places, and is packed with everything you need. But... there is a problem....

Rapahoe Beach, West Coast. Sony a57 with SAL18250. f/11 @ 4 secs, ISO 100

If you go back over my last few blogposts where I use the a57 as a landscape camera, the above image will be typical. A wide vista, shot at infinity, with a decently small aperture. Can't go wrong really. And the images, as you can see, look great.

But I haven't always loved the images I've been getting out of the a57. Case-in-point, my very first outing when I used the SAL75300 lens to photograph birds (read about that here). I shot about 100 photos that evening, and only came away with two that I thought were even approaching sharp. Not a great hit rate. And in the article, I put it down to the lens not being a stellar performer. 

I've tried a few more times since, photographing birds with the 75-300mm - I even shot using a tripod. And I still couldn't manage a sharp image. So I sold the Sony 75-300mm, thinking that it just wasn't a very sharp lens.

I decided last weekend that I needed to go out and have fun with the a57 - and play 'tourist' for the afternoon. Take a couple of decent lenses (Minolta 17-35mm f/3.5 G and Minolta 28-105mm f/3.5-4.5) and go out shooting hand-held. Surely with this glass, in decent light, the images would look fantastic?!

Lake Brunner, Moana. Sony a57 with Minolta 17-35mm G lens. f/8 @ 1/250th, ISO 200

I decided to go to one of my favourite places to test out new cameras - Lake Brunner at Moana. It's a beautiful location, at any time of the year, and it's hard to not come away with some 'nice' images. As can be seen from the photo above. I'm a sucker for a jetty, leading out to a lake, with a mountain in the distance (Mt. Te Kinga). Lovely image. Especially when viewed, as it is here, on a website.

But look a little closer - at 100% - at the area where the camera was focused, and the picture tells a different story. Because it's not sharp. At all.

The mountain, at infinity, is in focus - as you would expect it to be. But the jetty, in the place where I actually focused the camera (and received a green confirmation focus light in the viewfinder), isn't sharp. Not even close. And this is with a 'G' lens, at f/8. It should be tack - and I do mean 'tack' sharp! Damn! After studying this in Lightroom, and going over the other images I took that afternoon, the story was depressingly similar with all the shots. At infinity, not a problem. But where I actually focused the camera - not so sharp. Looks to me like my a57 has a sensor alignment issue!

Rapahoe Jetty Stumps. Sony a57 with SAL18250. f/8 @ 1/10th, ISO 100

Then, of course, I started going back over some of the other images I had taken with the a57, at other locations. And unfortunately, time and again, the same problem with missing-focus occurs.

Once more, in the example above, the camera's autofocus point was placed directly over the largest stump in the foreground. And again, the stump just isn't in focus. And this is with the camera locked down, on a windless evening, on a sturdy tripod. The 1/10th of a second exposure was simply not a factor. This isn't camera shake. It's just plain missed-focus.

I've got loads of other examples (unfortunately), and I won't bore you with them all. Because they all tell the same story. And it's a pretty depressing story, truth be told. 

Basically, I'm left with a camera that can only really work at infinity focus, since the sensor is out of alignment. I've done all this lens testing with it, especially with the SAL75300 and SAL18250 (see previous posts), concluding that these lenses weren't very good performers (i.e. not very sharp), when all along it was the camera body itself! This bums me out a little, considering I went and sold the 75-300mm because I thought it was a crap lens! Although having said that, I'm also glad that it perhaps isn't as bad as I thought it was, and the new owner might be getting some decent images out of it 😄

Be that as it may, it stills leaves me with a camera that isn't focusing properly 😞

I thought about my next course of action for a few days (I'm obviously not happy that I've got a 'lemon'), considering I've only had the camera for a couple of months. I thought about just selling it on-line, but I couldn't do that in good faith, knowing that it doesn't focus properly. So in the end, I did the only thing I could under the circumstances - I contacted the owner of the store I got the camera from and let him know what was going on.

It took him a couple of days to reply (he's a busy guy, in a busy store), but when he did he was totally understanding - didn't question my conclusions at all - and basically agreed that 'yes, I've got a lemon'. So now he is looking out for another Sony a-mount camera for me, in the a57 vein.

Trouble is, Sony didn't make a lot of SLT models, and it might not be as simple as just 'finding' another a57? Greg (the store manager) has come up with a couple of options already, but unfortunately they weren't SLT models. I've said I really want the SLT technology - for its DSLR handling and its EVF functionality. But I don't want to go backwards (with the 3 series of cameras), and I also don't want the a58 'upgrade', since Sony (in their infinite wisdom - or should that be stupidity!?) gave the a58 a plastic lens mount! Plastic! So that really only leaves another a57, or the a67 and a77 - both upgrades from what I've already got (the a77 is a considerable upgrade, the a65 not so much).

Maybe he will have some luck getting me another a57? Maybe he won't? I've already sowed another seed though - mentioning that my original contact was over the Fujifilm X-T200, and suggesting that I maybe should have gone with that in the first place? Don't know whether that will prompt a look in the Fuji direction as well or not? We'll see. 

Sony SLT a57 review

Despite what I have written recently about my desire to move to a full-frame sensor, my journey with the Sony APS-C a57 A-mount camera system continues.

Call it the ravings of a delusion mad-man (I have just recently had Covid) or the sad musings of a hopeless GAS (Gear Aquisition Syndrome) addict if you like. I don't mind. It's probably both.

Yet despite my recent obsession with full frame, I have also concurrently been growing and developing my skills (and accessories) with the a57 DSLT.

It has come with me on my last two landscape outings (I've made myself leave the a99 at home), and I have - for the most part - enjoyed using it as a landscape camera. The camera has a lot of things going for it that I like, and a few that I don't like.

I have owned, and used, probably hundreds of different cameras over the last 35+ years. So I don't need to spend months getting to 'know' a system before giving my thoughts on it. I know what I like, and don't like, about a camera after shooting with it a couple of times. So what follows is my review of the Sony a57 - from my perspective. What I mean by that is simple - but deserves to be stated. I'm not a fast action sports, wildlife, product or portrait photographer - I'm a landscape photographer (mainly). So that will be where I place all of the emphasis on my thoughts and opinions. I don't shoot video, so I'm not even going to mention its video capabilities. And I don't need 20fps. So if you want to know what the a57 is like for sports photography, you may need to look elsewhere. Nuff said.

Cobden Beach Sunset. Sony a57 with SAL18250mm. f/11 @ 1/8th sec, ISO 100

Having got that out of the way and off my chest, what do I think of the Sony a57 as a landscape camera? Well mostly, it's positive. Mostly the a57 and me get along just fine out in the field, and it is creating some very fine landscape images. So yes, generally, my experiences and feelings towards the camera have been good.

It is an all polycarbonate body, that isn't weather-sealed - so in one respect that's a tick against it for a landscape photographer. And if you are the kind of landscape photographer who loves to be out in howling gales, getting you and your gear completely battered by the elements, then no, the a57 probably isn't for you.

I'm not that guy. I don't actively look to shoot in bad weather. In fact I actively avoid it. You don't have to shoot in the pouring rain to get moody and atmospheric landscapes. So I don't. I have occasionally been caught in a downpour when out photographing, so I put my gear away. I'm pretty sure that the a57, even though not weather-sealed, could handle exposure to a quick downpour. So no, I'm not bothered by it's all polycarbonate non-weather sealed body. Your mileage may vary.

Rapahoe Beach, West Coast. Sony a57 with SAL18250. f/11 @ 1/3rd sec, ISO 100. Grad ND filter

What I do appreciate about the Sony a57's polycarbonate body is that it is relatively light (yet with a decent heft) and relatively small. In fact, it's something of a 'goldilocks' camera for me in terms of its weight and size. It's bigger than the a55 that preceded it, fits perfectly in my hand without the need for an extra grip, and has excellent fit and finish. Nothing creaks or flexes (that shouldn't creak or flex) and all the buttons are in logical places.

My one gripe, maybe, around button placement, is to do with the positioning of the exposure compensation and ISO buttons directly behind the shutter button. They can require a bit of finger-gymnastics to reach, especially if you keep the camera up to your eye and want to do it by 'feel'.

And yet I say 'maybe' because it's really only a gripe when using the camera hand-held. When the camera is on a tripod - which it will be for 90% of my landscape shooting - then the issue goes away. It's also not an issue when shooting in manual mode, which I am also doing 90% of the time now. In full manual I set the appropriate ISO and then leave it, and of course don't use the exposure compensation button at all. Exposure is controlled instead by varying the shutter speed from the excellently placed front dial.

Rapahoe Beach, low tide. Sony a57 with SAL18250. f/8 @ 2.5secs, ISO 100. Grad ND filter

So yes, I'm very happy with the overall handling of the Sony a57 when out in the field. Especially for a more 'enthusiast' mid-level camera.

Except... for the articulating LCD screen. At 920,000 dots it's clear enough, and seems reasonably colour accurate (enough for me anyways). And it is an articulated screen. But therein lies the 'slight' problem. Because it articulates downwards, and not sideways (see the image of the camera on my tripod above). Since the screen angles down, the tightening mechanism on the universal ball head I'm using gets in the way of the full articulation. I've got around this by reverse-mounting the camera to the ball head, so that I now tighten the mount from the front of the camera. This works, but it means I've had to re-learn which way around to use the ball head. A minor annoyance, but an annoyance nonetheless.

Also, a quick word on the 1.4million dot evf. No, it's not the most modern out there. And yes, it's an RGB sequential device and not OLED. Some people have complained of  'tearing' of the image as they look around the display. But I haven't noticed this at all. And I find the viewfinder big, bright and perfectly fine to use. So no, no issues there.

Golden Hour, Cobden Beach. Sony a57 with SAL18250mm. f/11 @ 1/100th, ISO 100

At the end of the day, what do we really care about though? That's right IQ (image quality). And really, the Sony a57 doesn't disappoint here either. Some will say that it's 'only' 16MP - and APS-C at that. But it's an excellent 16MP Sony sensor, with very good dynamic range, and the resulting RAW images have a decent latitude for post-processing. I'm very pleased that the native ISO is 100 (as opposed to 200 on my Olympus cameras) - it just feels right shooting at ISO 100. The files are clean (noise free) at base ISO, and 'useable' up to 3200 or even 6400. For what I do, which at the moment at least is 99% web-based, the 16MP sensor in the Sony a57 is MORE than enough.

I don't crop hard on the computer - preferring to do all my cropping in-camera (or at least as much as I can). So quite frankly, more than 16Mp is probably a waste. And yes, I do understand the irony of that statement given my last few posts.

Would I prefer it had the 24MP full-frame glorious sensor in the a99? Yes, of course I would. But do I need a 24Mp full frame sensor? No, I do not... 

Rapahoe inlet. Sony a57 with SAL18250. f/11 @ 30 seconds, ISO 100. Grad ND filter

As befits a 21st century camera, the a57 is packed with whiz-bang techno stuff that I will never ever use. Panoramic sweep mode (in 2D and 3D - whatever that means), auto portrait framing, clear image zoom (apparently), numerous creative colour modes (for jpeg-only), lens correction - the list goes on.

The technology that I will use comes in the form of in-body image stabilisation (Sony call it 'Steady Shot') and full-time phase detection AF (due to the translucent mirror technology). Most of the time, if I'm using a tripod, the Steady Shot will be (should be) turned off. You don't need to stabilise a camera on a tripod. But I like the fact that image stabilisation is built into the body itself. This means that every lens you attach - even old Minolta lenses - are image stabilised.

The phase detect AF seems reliable and quick - certainly quick enough for landscapes. I'm also sure that it's quick enough for most other forms of photography too - with the exception of motorsport? The only other complaint I have with the a57 (although 'complaint' might be too strong a word - maybe 'niggle' is better) is with the AF points. There are 15 of them, in the same pattern as in the a99, which doesn't offer a very wide coverage. It's certainly not edge-to-edge like I'm used to with the Olympus system. There's no 'touch' to focus (it's not a touchscreen at all), and so AF is somewhat limited to the central portion of the image. Having said that, the same is true of the a99 as well, so it's not just an a57 issue. And again, manual focusing will get around this issue, especially for landscape work.

Rapahoe bonfire. Sony a57 with SAL18250.  f/11 @ 4 secs, ISO 100

Fortunately, manual focusing implementation is very good on the a57, as it is now with most modern digital cameras. The a57 has image magnification and focus peaking to aid in manual focusing, so nailing focus over the entire image area couldn't be easier.

Really, what's not to like? Battery life is very good (around 550 shots per charge using the lcd screen), the menu system makes sense and is easy to navigate, handling is (mostly) excellent, and IQ is stellar for a 16MP camera.

Overall, the Sony a57 makes for an excellent landscape photography camera and is a joy to use. I also get the feeling that I have yet to see it reach its full potential. My first few weeks with the camera have seen me use it exclusively with the SAL75300 and SAL18250 lenses - both of which aren't stellar performers. The 18-250 is ok, especially at the wide end for landscapes. But I have yet to try it with the Minolta 17-35mm f3.5 G lens that I've had paired with the a99. I may find that using this lens on the a57 bumps the IQ up a notch or two? It will be interesting to see...

Time to rethink things a little...

Ok, so I got Covid...

Millie. Sony a57 with SAL18250

I'm just coming out of the worst of it now, and feel sufficiently 'human' enough to be able to sit down and write this. But it's taken over a week.

I won't say it's the worst I've ever felt in my life - I've been worse. And I guess being triple-vaccinated against it helped (at least I hope it did). But still, it wasn't great.

How did I get it? Well, the adorable little bundle of fluff pictured opposite had 'something' to do with it. And BTW - she might look adorable, but don't let that fool you. My wife and I are deciding whether she is the devil's spawn or not at the moment!

Anyway, since we do now have her, we had to fence our back section so she could roam around. A builder friend (hi Ian) said he would come over last weekend and give me a hand building one - and long story-short, Ian had Covid. And passed it on to me...

So while I was convalescing and feeling sorry for myself, it gave me time to mull over my last few posts. It also gave me time to rethink my current kit - in light of those posts - and the possible ramifications going forwards. Whatever that means...?

I'm rambling. I'm delirious. I'm recovering from Covid. Let me see if I can make something coherent out of all this head-space mess - shall we?

First - my continuing thoughts around full frame. I had assumed, now that I am using (and enjoying) the Sony system, that I would 'upgrade' to a full frame Sony mirrorless. Something like the a7ii. These can be found fairly regularly now for around $1400NZ on the second hand market. Sony are the king of full-frame mirrorless and dominate that space with the a7 line, so it was a natural decision to make. Well done me 😄

And then I tried one. And I wasn't blown-away using one. In fact, just the opposite really. Enter the first roadblock. Yet, undeterred, the 'research' continued.

Then I realised that, for not much more $$, I might even be able to get a brand new mirrorless full-frame camera! Something like the Canon EOS RP that retails for $1985.00NZ body-only. Even these are beginning to appear on the used market, which means even more savings can be had. 

Notice, however, how the above price is for 'body-only'. Getting a decent lens for the Canon R system, even second hand, is not a cheap prospect. Even the 50mm f1.8 RF lens is over $400NZ new. So maybe 'new' isn't the way to go?

And maybe mirrorless isn't the way to go full-frame either?

Both Canon and Nikon have been producing full-frame DSLR's for over ten years now. Plenty of time for the second-hand market to see its fair share of full frame offerings. In Canon there is the famous 5D line of cameras, as well as the 6D (Mk 1 and II). 5D Mk 3's and 6D Mk1's can be found online for even less than a Sony a7ii body. They even often include a lens, a grip, and spare batteries! 

The same is true with Nikon - where D600s, D700s and D800s are regularly turning up on TradeMe. Especially now that their owners are switching to the new mirrorless systems.

So yes, there's a plethora of great full-frame DSLR's to choose from now. In fact you could argue that it's the perfect time to be 'getting into' a full frame system.

But then... THEN... maddeningly, annoyingly, frustratingly, there is a part of my brain that says "Why bother? Why go full frame at all? What's really so bad with APS-C?" (Or micro four thirds for that matter).

What's so bad, for example, with a Fujifilm XT-2, with grip, and Fujinon 18-55mm XF lens - available on auction here in New Zealand as I write this, for only $875.00! Yes please! I'll have some of that!

That would be an incredible mirrorless kit, at a fraction of the full frame price. And I have to say, I'm sorely tempted! Because lets face it, there's nothing bad with APS-C. Especially for what I do, what I need it to do, and what I might want it to do in the future. And the Fujifilm system is an amazing eco-system to get into. Much better, it could (easily) be argued, than the now defunct Sony A-mount system I find myself a part of. Why, oh why (part of my brain bemoans) am I still not shooting Fujifilm? The XT-2 with grip looks right up my alley!

And then... THEN... strangely, weirdly, uncontrollably, I go on to TradeMe (our internet auction site here in NZ) and add a Sony flash and leather grip to my existing a57 kit! At the same time that I have put the Sony SAL75300 and Sony SAL18250 lenses online to sell! 

Because there is another part of my brain (how many parts do I actually have!?) that keeps saying to me "Be content with what you have. There's nothing wrong with the images you're getting out of the a57. Use what you've got and stop looking elsewhere!"

And I would agree with that part of my brain. It is, after all, the same part that convinced me to get the a57 in the first place. And yes, on many levels, the a57 (or at least the Sony SLT system) is my 'ideal' system. I love the feeling of an SLR style body. It just feels so right in the hand. Tick for the a57. I also love an evf, and seeing all my information, histogram and changes through the viewfinder while I compose the image. Another tick for the a57. I love an articulating screen and a good live-view implementation when I'm shooting landscapes. Tick again. In fact, it's the only system that ticks all these boxes - apart, maybe, from the Panasonic micro four thirds cameras that are designed to feel like a DSLR.

Why, then, have I put two lenses up for sale? Well, it was an easy decision getting rid of the 75-300mm f/4.5-5.6 - it's just not a great lens. I got it for birding and extreme telephoto images, but based on my testing of this lens, it's not likely that I will ever use it. It's just never sharp enough (for me). Selling the 18-250mm was a tougher decision, since it's actually a decent performer up to 100mm, and a great travel lens. But I also have those focal lengths covered with other (better) lenses, so really I'm just giving up the convenience factor. And with the money I hope to get from selling them both, I might look at getting a Sony 70-300mm f/4-5.6 G SSM to replace the SAL75300? Should be a much better lens.

So no, I haven't given up on my a57, or the Sony SLT a-mount system  - just yet at least. And I may not give up on it at all? Full frame might remain just a philosophical thought - for the time being 😆 I really am going crazy....

A weekend with the Sony a7iii

Life is a funny old thing. You never quite know what might happen next. Case-in-point, this weekend just gone (as I write this).

It just so happens that over this last weekend, our daughter and her partner had planned an 'elopement' here in Greymouth. We knew about the elopement - just the parents were invited - so we were 'planning' a wedding - and getting ready for grandkids, a new puppy(!), catering for a small gathering etc.

I was going to be doing 'some' of the photography on the day (just try and stop me) - the getting ready at our home and the bridal party photos afterwards. A friend of the family would be covering the actual service and family photos.

Leading up to the day, I looked over my photography gear to decide what I might use. Of course I have the recently acquired Sony a57, with SAL18250 lens, which is decently sharp from 18mm up to around 100mm. This should cover most bases on the day, together with the 50mm f2.8 macro. I also have the Sony a99, which I could pair with the 50mm for a low-light option indoors. So I figured I could manage pretty much everything on the day with this setup.

Unfortunately, rain was forecast. So I thought things might get a little 'gloomy'. Since I haven't got a flash for the Sony's, I thought I would ask Stew (from who I have the loan of the a99) if he had a flash that might work? I also explained the 'elopement' scenario. Wasn't really expecting his reply though....

"Yeah, I've got a flash that will work with the Sony's", he said. "But why don't you just use my a7iii for the weekend? You could use it with the Zeiss 24-70mm f/2.8 and have the whole day covered".

What's a guy, whose been reading up on the a7's for the last month and wondering what it would be like to shoot with one, supposed to say to that!? Except, of course, YES!

Those who have been following along with my blog (shame on you if you haven't), will know that I have seriously been considering my next camera move. And that my next camera move is most likely to be full-frame. And that top of my list for 'affordable' full frame options, is the Sony a7 line (more specifically the A7ii or A7Rii). Check out my last few posts if you haven't already.

Anyways, as much as it's wonderful to 'dream' about this stuff, and play around with 'what-ifs', it's another thing to actually have the gear in your hands. And it's even better if you can get to spend a decent amount of time actually using said gear out in the field. Now, it seemed, I was going to get to do both...

Daddy & daughter time. Sony a7iii (ILCE-7M3) with Minolta 85mm f/1.4 - f/2.5 @ 1/400th, ISO 200 

First of all I want to preface everything I'm about to say with the following statement - image quality from the 24MP sensor on the a7iii is simply gorgeous! There, I've said it. The dynamic range of the sensor is excellent - about 14.5 stops - allowing details to be retained and recovered in both shadows and highlights. The above image was very contrasty, with a lot of bright highlights and deep shadows in the RAW capture, but the recovery of both still looks very natural. A truly great result. So not surprisingly, no issues with IQ whatsoever.

Ok, here it comes...

BUT, I didn't really enjoy shooting with the camera. Unfortunately. For a couple of reasons. One that might be fixable, but the other - maybe not? Let me explain...

First - the fixable issue. The weight. At one level I can't (and shouldn't) complain - because I got to borrow and use some truly amazing glass with the a7iii. I mostly (95% of the day) used the incredible Vario-Sonnar T* 24-70mm f/2.8 ZA SSM II (SAL2470Z) lens (pictured right), and as already stated above, IQ is outstanding. But... it also happens to be an A-mount lens, therefore requiring an adapter to fit the E-mount, and it also happens to be unbelievably heavy (about 1kg including adapter). The camera body itself is a solid 650grams - so the total package comes in at around 1.65kgs. 

Pretty hefty to be carrying around all day, and you certainly know that you have some gear with you. But I did say that this was 'fixable'. And of course it is. Just use lighter lenses... Easy. And, of course, also having dedicated E-mount lenses would  help eliminate some of the weight by getting rid of the adapter. Fair enough.

Emy and Emily. Sony a7iii with SAL2470Z

But, what if your E-mount lens happens to be the equivalent FE 24-70mm f2.8 G, at 886grams? That's still about 1.5kgs to be carrying around. Not insignificant.

You could, of course, say "harden-up you big sook and be a man! If you want to go to full-frame, then heavier cameras and lenses are par for the course. Grow some muscles and get over yourself"!

To which I would say - fair enough. I agree. If... if it wasn't for my second (and major) gripe with the a7iii - it's handling and ergonomics.

Because I also happen to have another full frame camera at the moment. The Sony a99. And it, too, is not a lightweight camera. In fact, it's even heavier than the a7iii (at 812grams). But, when I attached the aforementioned SAL2470Z lens to the a99 - with a total weight of almost 2kgs - it felt so much better to hold and use than the a7iii. Where the a7iii was cramped, sharp, and angular, the a99 was comfortable, rounded and relaxed. Even with the weight. The a99's ergonomics are such a superior experience, it's like night and day.

Ok then, what about a grip? The a7iii will take a grip that will increase the hand space and therefore make it more comfortable to use (playing devil's advocate).

Yes, this is true. And I would absolutely get the grip attachment for an a7 if I go down that route. I do agree that it should/would improve the handling significantly. It's unfortunate that it's another thing to have to buy - but there you go. I'm getting used to this with mirrorless systems.

Of course the added grip would also help by including a shutter button when the camera is in portrait orientation - another bonus - and increase the already excellent battery life (of the a7iii at least).

Mrs Emily Hunt. Sony a7iii with SAL2470Z. f/4 @ 1/500th, ISO 200

Which brings me to my last gripe. Which also has to do with the ergonomics of the camera. And which won't be fixed by adding a battery grip. And that's the exposure compensation dial on the camera. It's awful. Truly awful. I don't know about other versions of the a7, but on the a7iii it's way too stiff and hard to move, and it actually hurt to use it. The dial is sharply ridged (presumably for better grip), but because it's so hard to turn, it very quickly started taking skin off of my thumb! I ended up switching out exposure compensation to the control wheel next to it, which was so much easier to use. So yes, again another work-around. But really!? If the exposure compensation dials are of the same design, and the same stiffness to use, in all the other a7 cameras, then I really don't think the Sony a7 line is for me?

Maybe it's just this copy of the a7iii? I've done a little research, and some people on-line complain that it's too easy to change accidentally on the a7ii? So maybe they made it a little stiffer on the A7iii? And I could always just shoot fully manual and forget about the exposure compensation wheel altogether? Which is an option.

But the menus also drove me a little crazy as well. Not very intuitive to use (and this from someone who used Olympus for years).

I guess I just didn't love my time with the A7iii as much as I'd hoped that I would? I did love the images it produced though. And maybe all the other stuff is just, well, stuff? A grip would help, for sure. And a slightly less stiff exposure compensation wheel. And if I got used to the Sony menu system...

So maybe I haven't counted the Sony a7's out completely. But there are some caveats. Poor ergonomics is something that has plagued the a7 series from the very beginning. And there is no doubt that there are better handling cameras out there. But is there better value? Or a more filled-out system? Or better IQ than the Sony's? Probably not.