Oct 052015


The Olympus E-M10II and 7-14 Pro Lens Review

by Steve Huff

Buy the E-M10 at Amazon or B&H Photo

Buy the 7-14 Pro at Amazon or B&H Photo

Seems like it was just  yesterday when I was reviewing the Olympus E-M10 (Mark 1) and shooting the streets of Las Vegas with it…thinking all along just how far we have come with camera technology. The E-M10 Mark 1 was a tiny little guy, but not too tiny, and it was as powerful as the larger more expensive Micro 4/3 cameras. It was a popular choice for those getting into the Micro 4/3 camera world due to its much more affordable price over says an E-M1 or even E-M5 II, and it offered plenty for most to really understand what micro 4/3 can do for them.


Now here we are today with the new E-M10 II and while not groundbreaking “new” as in, just came out today..I have been shooting with the E-M10 II and 7-14 for a couple of weeks and have grown to really enjoy this combo. Now, I am an E-M1 and E-M5 kind of guy as the size of the E-M10 is on the small side for my tastes but if you have small hands and want an easy, enjoyable and quality experience, the E-M10 II will give you just about as much as it’s larger siblings, the E-M5 II and E-M1.


Of course with the new Pro 7-14 f/2.8 lens attached, the camera is no longer “tiny” nor will it ever fit in a pocket, but what a combo this could be, for those who really enjoy soaking in the entire environment in a photo. Yep, even with the 2X crop factor of Micro 4/3, the 7-14 still comes in at an ultra wide 14-28mm focal length, and yes, light gathering is still f/2.8 and I find this the perfect ultra wide lens, in fact, with its fantastic solid but smooth build, its amazing lens performance which is sharp across the frame and its nice size which is bigger than most Micro 4/3 lenses but still smaller than a full frame ultra wide zoom (though better made) it is the perfect ultra wide, in fact, the best I have ever shot with.

DSC09020 DSC09021

When I factor in the size, build, speed, performance and equivalent focal length I can put it up against my Sony/Zeiss 16-35, which is a beautiful lens itself. It is smaller than the Sony/Zeiss, built better, and gives just as good if not better IQ. Color is also more “pleasing”…”warmer” with the Olympus, which many find more pleasing. So for Micro 4/3 shooters, using a lens like this you are not giving up a thing over a full frame sensor and ultra wide except maybe some overall crazy resolution (especially with a camera like the Sony A7RII or the new Canons).


With a lens like this, the 7-14 Pro and a camera like the E-M10 II with offers true 5 Axis image stabilization we now have an incredible thing. Already, using an ultra wide lens like this we really do not need much in the way of image stabilization, but turn on video shooting on the E-M10 II and wonder at the silky smooth performance that almost mimics a hollywood steady cam style rig. You can walk, run and shoot video and your footage will be smooth due to the combo of ultra wide lens and the 5 Axis IS. VERY cool as Olympus has seemingly perfected this tech now as it works so so well.

Night Shooting with the E-M10 II and 7-14 Pro

Middle of the night, AZ desert, some light painting with the E-M10 II in Live Time mode which makes it super easy to do light painting as you preview the progress on the LCD in real-time, and just stop capturing when the camera shows you the exact image you want. Genius and Olympus has been implementing Live Time and Live Composite now for a while, and its a great feature to have as it just works so so well.

Click images for larger view




Truth be told, while out in the desert shooting at midnight using the E-M10 II and 7-14 2.8 Pro I was very happy with the ease of use when it comes to long exposures. If you shoot at night, and want an EASY way to do long exposures look no further than Olympus. ALL of their Micro 4/3 cameras will allow you to do some very cool things at night using the previously mentioned “Live Time”, “Live Bulb” and “Live Composite”.

Late night, AZ desert. 7-14 Pro, tripod mounted, 97 seconds, f/3.5, 7mm (14 equiv). Give it a click!


E-M10 II – revolutionary or refresh?

If you missed my original review of the older mark 1 version of the E-M10, see it HERE. I have been reviewing Olympus digital cameras since their very 1st PEN, the E-P1 and have not missed any major release to date. The original E-M10 was revolutionary IMO as it was  tiny, had 3 AXIS IS and performed to a level of the larger and more expensive Olympus Micro 4/3 cameras. The new E-M10 II is an improvement in many areas but still more of a “refresh” than anything crazy new or exciting.

They added 5 Axis vs 3 Axis, which is awesome but the 3 Axis was also quite good. There is a silent mode for 100% silence when shooting and the electronic shutter has a capability to go up to 1/16,000 of a second, perfect for bright sunny days when you want that shallow DOF from a fast prime.


More features of the E-M10 II…with great features in bold..makes you really see how powerful this little guy is…

A high-resolution 16.1MP 4/3 Live MOS sensor pairs with the TruePic VII image processor to facilitate up to 8.5 fps shooting and full HD 1080p/60 movie recording, with a top sensitivity of ISO 25600. In-camera 5-axis image stabilization compensates for up to 4 stops of camera shake to benefit working in difficult lighting conditions and a FAST AF system employs 81 contrast-detection areas for quick, accurate performance with dedicated subject tracking modes. The retro-themed body incorporates a range of assignable function buttons and dials, as well as a 2.36m-dot OLED electronic viewfinder and 3.0″ 1.04m-dot tilting touchscreen LCD for clear image monitoring and playback. Besides the handsome appeal of the E-M10 Mark II’s design, its main assets lie in its versatility of shooting functions and performance to benefit photographers and videographers alike.

7-14 Pro. around midnight in the AZ desert in an old ruin that sits there with tunnels and passageways. 


Benefited by the range of imaging capabilities, the E-M10 Mark II also incorporates a variety of shooting modes to suit working in various situations. A Silent Mode utilizes an electronic shutter for perfectly quiet picture-taking, with shutter speeds up to 1/16,000 sec. available. Live Bulb and Live Time modes are well-suited to creative long exposure photography and a dedicated Live Composite mode lets you watch a long exposure gradually build up during the course of the shot. Built-in Wi-Fi allows you to pair the camera with your smartphone or tablet for wireless sharing and remote camera control, and an interval shooting mode can be used to produce in-camera 4K time lapse movies.

Left to right: Best friend since childhood Mike, then my wonderful Debby and me during a mid day beer/pub crawl event in Phx AZ which was LOADS of fun. 


When reading the above text, with features in bold, I say to myself “wow, this camera is offering a TON for $649 USD. I have shot with cameras costing up to $35,000 and down to $69. More expensive does not always mean “better”. I have had experiences shooting a $15k camera that was awful. I hated it. I had an experience shooting a $300 camera once that was delightful (though it was no where near the E-M10 II for capabilities).

This little E-M10 II, while not immediately different from the original E-M10 really shows its stuff when you are out shooting with it. I notice quicker AF, better low light, better IS, and well, an improved EVERYTHING. So I take back y :refresh” comment as it is more of an “evolution” of the wildly popular E-M10. It offers just enough that if I was shooting and only owned an E-M10 I would be pretty tempted to upgrade for these new features. In use and practice they are quite nice.

One new feature I did not yet mention is FOCUS BRACKETING, which is basically just like FOCUS STACKING. According to Olympus, this feature is really for Macro shooters as it allows you to get tack sharp macro shots without worrying about missing or having a part of your subject out of focus. The camera will take several shots, focused at different points and then you can use something like Helicon Focus and BAM you have a perfect, in focus, stacked image. This is the 1st camera I know of that offers to bracket focus for you in camera.

I expect the next pro Olympus, whatever it is called (E-M1 II perhaps) will have this feature as well and I also feel it is close to being time for a new E-M1 II, my spider senses are feeling it. ;)

So Olympus is continuing to do innovative things with every camera release, with this one it is the focus stacking/bracketing. More so than ANY other camera company, Olympus seems be on top of it when it comes to creating a camera that is polished, finished and works VERY well with just about any feature you could ever want. Focus peaking is always there, 5 Axis now standard, fast AF speed all around, gorgeous lenses (some of the best in the business) and an IQ that is pure “Olympus”.




Again, this is a quick review as my original E-M10 review cover more about what the E-M10 is all about HERE. This review is just to talk about the new lens and the new features of the camera. When I did that review I used the then new 12-40 f/2.8 pro lens. I like this 7-14 better as it seems to be sharper with better contrast and pop.

The 7-14 f/2.8 Pro

As already stated, I LOVE This lens. It is quite amazing really and the good press it has been getting is well deserved. In general terms, it is still small for an ultra wide, but this ultra wide is built to a HIGH standard while keeping it as small as possible for a super quality f/2.8 lens. It is dust, splash and freeze proof, and I tested this out in the desert at night while shooting some long exposures and self portraits. When I returned home my gear and clothes were COATED in dirt, grime and dust. I blew off the direct carefully from the lens and body, then once all dirt was off of the lens, it was cleaned gently with a lens cloth and the barrel was wiped down. Looks and performs as new.

This lens will offer you an amazing perspective and if you own a Micro 4/3 camera, it beats the old Panasonic 7-14 f/2 (that I used to own) in EVERY way from build, performance, AF speed, quality and of course Aperture speed.




It seems no matter what I wanted to capture, no matter how tight the quarters were or how much of the subject there was to capture, the 7-14 always pulled it in. Truth be told, I’d probably rather have seen a 7mm f/1.8 pro ;) If I owned this lens I think 99.9% of my images would be shot at 7mm. ;0 Even so, I know many would use the full range of the glass.

I have shot with the Nikon 14-24, the Canon 16-35 and the Sony/Zeiss 16-35. This Olympus pro, for me, beats them all in all areas. It holds up to the high quality tradition that Olympus applies all of its pro lenses and then some. While not cheap at $1299, it is priced accordingly and priced right.


The new E-M10 II and 7-14 f/2.8 Pro lens is a stunning combo and the set would set you back around $2000, or $1500 less than a Sony A7RII body only. ;) Think about that one.

While the E-M10 II can not compete with a full frame camera at high ISO, dynamic range or depth of field (shallow) it can take on something like a Sony A7RII for sharpness, color and FEATURES that make shooting FUN, ENJOYABLE and at times, THRILLING. I always seem to have a smile on my face when shooting with Olympus as the experience is just so user friendly and rich. The cameras never hold me back, no matter what I want to shoot..which is why I always have an Olympus M 4/3 camera on hand to go along with y full frame cameras. Sometimes, the job calls for things the Olympus would excel at, other times I need the full frame for the DR, DOF or richness.

I never have focus issues with Olympus cameras or lenses. I never have problems using these cameras and at the end of the day when I sit down to do image review, I am always pleased with what comes from a camera like the E-M10 II. They just “work” and if you are someone getting into photography, I HIGHLY suggest taking a serious look at the E-M10 II body with a lens like the 25 1.8 prime which would give you a 50mm equivalent field of view. So like a fast 50. See my 25 1.8 review HERE. 

In my experience Olympus, much like Sony, is on a roll in 2015 and going into 2016. They can do no wrong, and any of their current cameras are top notch from the PEN E-P5 to the still fantastic E-M1. Olympus also always rolls out MASSIVE firmware updates for all of their OMD line giving even owners of older models all of the new features of the newer cameras. Well, most of them. A sign that Olympus cares about its current base of customers instead of just releasing new cameras to fix issues.

While I am still partial to the amazing E-M5 II, I’d shoot the E-M10 II and be thrilled to if it was all I had. It’s a gem indeed.

$649 body only. Wow.


I would buy from B&H Photo HERE









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Oct 052015

Canon EOS M Review (Or Why I Learned to Stop Worrying and Love the Camera)

By Jonathan Acierto


Hello Steve and Brandon,

The Canon EOS M got a lot of bad reviews when it first came out. It was basically dead on arrival due to all of its shortcomings and perceived lack of effort on Canon’s part to design a camera that could rival the other mature mirrorless system cameras from Sony, Olympus, Panasonic, and Fuji. So when it came time to choose a mirrorless camera to carry around to replace my Sony RX100 compact, I chose the Canon EOS M. Why on earth would I choose the apparently worse mirrorless offering? I’ve been using it for a little while now and, even with all its shortcomings, let me explain why I’m happy with the EOS M.


When the EOS M was first released, it was originally priced for retail at about $800 for the kit with the 22mm f/2 pancake lens. Ever since the camera flopped, the price has been dramatically reduced to about $379 for the same kit on Amazon, and even less for the body only. You know what that means: really low used prices. Heading over to the fantastic KEH, I was able to get an EOS M with the 18-55mm kit lens for under $300, less than I paid for the RX100. Even compared to the entry level m43 cameras, the EOS M is a steal. Kudos to all of you who have enough disposable income to buy top of the line mirrorless cameras and glass from Leica, Sony, Fuji, Olympus, Panasonic, etc. Reading headlines of people who have multiple mirrorless cameras and can buy f/-1.0 lenses for all of them makes me jealous. But for the rest of us folks who have a limited amount of disposable income, price is and always will be a major factor.




While the photographic community has shunned the EOS M, the video community has embraced it and it has become somewhat of a cult video camera. I was originally looking to get a camcorder, but entry level enthusiast camcorders with relatively larger sensors start around $1,000. I simply wasn’t interested in getting a consumer grade camcorder due to the small sensors, hence the lack of DOF control. Entry level HDDSLR’s and high end superzooms (like the Sony RX10) have become a great value for getting professional looking video, but they are still relatively bulky and the ergonomics aren’t the best for video. Action cameras are tiny and can withstand all kinds of abuse, but they are just not designed for shooting everyday videos of your kids (unless your kids are surfing or riding a dirt bike and you want to get footage from their point of view).

The EOS M has became a popular camera to use for video because it has a large sensor which enables it to get the same DOF control as HDDSLR’s, it has a mic input so you can get better audio by connecting a much higher quality mic, and it is very compact and light weight, perfect for run and gun video shooting. Years ago I had a Canon Rebel T1i and I loved using it for video, but it didn’t have autofocus or tracking focus in video mode, so I had to manually focus. After a while, manual focus became a real chore. If I was a DP or first AC, I’d probably do a better job with manual focus, but I’m just not that good. The EOS M has auto and tracking focus in video mode. It’s not perfect by any means, and other mirrorless system cameras have better auto and tracking focus in video, but the EOS M is still better in most situations compared to my crappy mannual focusing. Keeping the aperture closed down a bit to get a deeper depth of field helps too. While having a razor thin DOF in a still photo is all the rage nowadays, having a razor thin depth of field for long lengths of time in video footage is now cliche and tends to get really monotonous and hard to watch. Video is a whole different art compared to photography, all you have to do is pay attention to what you see in movies and on TV. In the video world, shallow DOF is used very sparingly.



Operational Speed

Trying to use the EOS M like a DSLR or enthusiast camera sucks, and sometimes it can be painful (sounds like the complaints about the original Fuji X100, doesn’t it?). I’m used to just pointing the camera towards the subject, half pressing the shutter button to acquire focus, and pressing the shutter button all the way down once the camera gets focus. With the Sony RX100, I’m able to get focus and snap a photo or 2 of people on a sidewalk while I’m in a moving car. Letting the EOS M decide what to focus on is a crap shoot, it could focus on the correct subject fairly quickly, or it could take a while to hunt for focus. The slow focus is the main reason why the camera has been criticized so heavily.

Then I had a revelation: the EOS M was designed for regular consumers who are used to a smartphone touch interface. This may be obvious at first, and many reviewers mentioned this, but it’s easy to forget if you’re an enthusiast or professional who normally uses a DSLR, mirrorless system camera, or other more advanced camera. Once I started using the touchscreen to focus, the camera felt much quicker to use. Using the touch screen to focus, then pressing the shutter button to take the photo, works much like my iPhone. The EOS M also does a fairly decent job tracking the subject once you acquire focus via the touch UI. It’s also much quicker to change settings (white balance, ISO, etc.) using the touchscreen compared to using the physical buttons and wheel to dive into menus. People always complain that camera interfaces are stone age, but Canon designed a pretty good touch interface for the EOS M, and reviewers complained it’s too touch oriented for more serious photographers. Go figure.

The biggest slow down after getting over the touch UI focusing seems to be after pressing the shutter button all the way down. The camera takes almost a full second to write to the memory card. I’m not entirely sure why this process is so slow, as the camera can write 1080P video at 30fps to the card without any slowdowns. Is it annoying? It can be, especially when I’m trying to fire off 2 or 3 shots quickly as I do with the Sony RX100 or Canon 6D. Does the slow write speed stop me from shooting the moments I’m trying to capture? No. I actually think the slow write time helps slow me down and be more selective of my shots. With my Canonet QL17 GIII 35mm film rangefiner, I have to wind the film after every shot, so I’m used to not being able to take shots in quick succession. With the EOS M, I’m shooting more in the Cartier-Bresson, wait for the decisive moment style, rather than spraying and praying.

Hagerstown Road Trip 10-3-2015 - 1 of 1

Image Quality

It’s good, what more do you need to know? Just look at the photos. We’re at a point where any camera with a sensor 1″ or larger can take fantastic photos, the only limitation is the quality of the lenses. While the native EF-M mount lenses aren’t professional L glass quality, they’re good. I’d even say they’re better than the older, pre-STM Canon DSLR EF-S mount crop sensor lenses I’ve used. The EF-M 22mm f/2 STM (35mm full frame equivalent) is certainly as good as any of the mid level Canon EF USM prime lenses, it’s about 1/4 of the price, and it’s tiny. Putting this lens on the M makes it almost as compact at the Sony RX100. I don’t plan on using the EF-M 18-55mm IS zoom lens much for stills, but it’s more than good enough for shooting 1080p video. The image stabilization really helps to eliminate vomit-inducing camera shake.

Huntington Pioneer Festival 9-27-2015 - 1 of 1

Closing Thoughts

For all the talk of the convergence of stills and motion in one camera, it still hasn’t quite happened yet in the enthusiast/professional space. In the consumer world, I think the iPhone and smartphones have become the only camera normal people need for stills and videos, making smartphones true convergence devices. That leaves pros and enthusiasts as the only people left who are willing to spend money on a separate camera and/or camcorder.

Mirrorless system cameras have changed the stills world and HDDSLR’s have changed the motion camera world, so it makes sense that the newest convergence cameras will be a combination of those two devices. Mirrorless system cameras are gaining better video capabilities all the time, but Canon started the HDDSLR revolution, so they are coming at the mirrorless world from the opposite direction of taking the HDDSLR video capabilities and cramming them into the EOS M. They did a good job, all they need to do now is match the stills photography performance of their entry level DSLR’s. I think they’re getting there; the reviews for the third generation EOS M3 have been very good. Canon has had plenty of time to improve the M since the original was released 3 years ago. The reviews of the M3 have been so good that Canon decided to release the M3 in the US after initially announcing they wouldn’t. A couple more iterations of the EOS M and they’ll not only catch up to the other mirrorless cameras, but they may even surpass them. In the meantime, I’ll have my EOS M in hand, capturing fantastic videos and photos and having a blast.

All the photos included with this review were shot with the 22mm f/2 EF-M STM lens. For more of my photos, please visit my Flckr page:


Jonathan V. Acierto

Oct 012015


Leica is not just for Street

by Jesus

Hey Steve , love your website. I’ve sent you a few images in the past but never submitted any so here goes…

I recently had surgery for a torn adductor muscle so I’ve had time to do a little web surfing.

Funny thing most articles I’ve read  on the old inter web insist Leica rangefinders are strictly to be used as street photography instruments.

Apparently I didn’t get the memo. I’m a machinist by trade and I think that’s what drew me to the Leica M. I’ve been fortunate enough to own a dozen M bodies and 3 R bodies and around 50 lenses.


And I’ve never shot street photography.

I’m also amused by the comments that only dentist and doctors used Leica’s so here’s a few images that I’ve been fortunate enough to shoot with friends and live in muses

First Two Images

Leica M9 50 MM Asph



Amber Leica M8 75 APO



M9 50 Lux


And finally
Live in muse and friend

Leica M7
50 Lux
Agfa 100 APX


Abrazos ~ Jesus

Sep 282015

USER REPORT: A7RII + Zeiss 35 1.4 Distagon FE: A weekend in Connecticut

by Jesse Hsu

Hi Steve,

After falling in love with the A7s and using it extensively for the past year, I was curious about the A7RII’s low-light capabilities as well as its stabilization to see if it was worth the purchase. ​ Borrowed the A7RII for a weekend trip to Connecticut to assess its performance. I only used the Zeiss 35 1.4 Distagon FE lens.

This shot was taken in the backseat of a car going 75mph on the highway. I wanted to test out the 5-axis stabilization and took a quick snap of the biker in the lane next to us. Not the sharpest obviously, but not bad for a handheld shot.

1 - Biker

Went out to the backyard and snapped this photo. After opening it up in Photoshop later, I was blown away by the clarity and level of detail. Leaves and tree trunks were sharp and I was able to recover some shadow with ease. Note: No additional sharpening in post.

2 - trees

Went grocery shopping at a local farm for dinner and snapped a sheep who was patiently posing for me. Again, impressed by the clarity of the blades of grass as well as the wool of the sheep when zoomed in.

3 - sheep

As night fell, my friends were getting the grill hot and ready on the porch outside. A great opportunity to test the low light capabilities. There was one light source, an overhead lamp but the sensor performed with no issues as it captured the flames in action and preserved the details of the charcoal piled high in the chimney starter.

4 - grill

I took the next shot as the branzino began to crisp. Notice the criss-cross pattern of the fish scales as well as the powdery soot all over the grill.

5 - fish

Cornish game hens slathered in miso and gochujang were next on the grill.

6 - hens

The next morning we heard some chirping and found some baby birds camped out in the backyard gazebo. The wonderful minimum focusing distance of the 35mm 1.4 allowed me to get pretty close to the subjects and shoot wide open at 1.4 for a heaping of creamy bokeh.

7 - birds

Few friends came by for a dip and the fast boot up time of the camera allowed me to quickly freeze a moment in time. Note the cascading water droplets as clear as day.

8 - swim

Water-skiing in the late afternoon meant another great opportunity to test stabilization. All of the shots were taken on a boat going pretty fast and I was happy that there wasn’t much blur. No tripod used, all handheld. I shot some 4k video but haven’t had a chance to check out the footage in Adobe Premiere.

9 - lake

Conclusion: After putting the A7RII through its paces, I was happy with the results. It preserved amazing detail in low-light scenes and situations where there was considerable movement. I will be ordering the A7RII soon!

More photos (mix of A7, A7s, A7rII) here: www.instagram.com/scrumphsus

Sep 242015


The Sony RX1R around the world

by Dick Hoebee

Hello Steve,

The subject of this write-up is the magnificent Sony RX1R and some of the places I’ve taken it so far. Every photo you see here was shot in RAW and edited in Adobe Lightroom.

Positive points and general comments

Going to New Zealand was something I wanted to do for a very long time, and in late 2013 I finally had the means and time to do it. My trusty Canon Eos 450D was becoming unreliable after five years of heavy use, and I took this opportunity to go out and get a new camera. The logical choice would be a new Canon, as I had accumulated two nice lenses and a great flash. Mostly thanks to the raving reviews on this site, I checked out the Sony RX1R as well, and ended up buying it, to my own surprise.


It was either this camera, or an EOS 5D Mk. III. That’s not an easy choice to make, but I’m ultimately glad I went with the Sony. I was a little anxious about limiting myself to one lens, especially for the monumental price tag that the camera has (I bought it when it just came out, too), but that turned out to be unwarranted, as I never enjoyed a camera more than this thing.


New Zealand was the maiden voyage of the RX1R for me, and boy was I glad I took the plunge before going. This country has many sights that are truly awe-inspiring, and I recommend anyone visiting it at least once in their lifetime. I felt very small there many times. It is a humbling, unforgettable experience.


Besides the incredible image quality of this camera, I absolutely love this thing for its size and weight (or rather, the lack thereof). It is also built like a tank, which gives confidence to carry it all over the place. And I do. Because it’s so easy to take everywhere, I take it everywhere. I left my EOS 450D at home many times when I shouldn’t have, because I didn’t feel like lugging it around, and that’s even a small DSLR. Another advantage about its size is that it is an unintimidating camera to subjects. When you point a big, professional-looking camera with a large lens at people, they sometimes get self-conscious. The RX1R looks more like a cool-looking hobby-camera than the full-frame monster that it is. The shutter is completely silent, too. Most people have no idea what it is (including those who have nice cameras themselves), and some even think it is an analog camera. An older gentleman I met commented that it looked like his Leica M6.






At low to medium ISO settings, photos are incredibly clean. That said, the high ISO performance of this camera is one of the reasons I fell in love with it. I can take it out at night, and take hand-held shots without having to use flash in pretty much any situation. The results are great, and photos still look alive and punchy at ISO 6400 and even 12800. Things naturally get more grainy once the ISO goes up, but it’s nice-looking grain, almost film-like. I leave luminance noise-reduction completely off in Lightroom. With a tripod and long exposure + low ISO, it really shines, too.

I use the RX1R for landscapes, portraits, and as a walk-around camera. The dynamic range is really something else, and it’s possible to achieve some amazing results. Colors are wonderful, and black & white is rich and deep. It’s easy to pull tons of detail out of shadows and highlights, and I’ve never felt the need to pull tricks like multiple exposure HDR. RAW files have an incredible amount of headroom. After having owned and used the RX1R for two years, I still get blown away every singe time I load the files in Lightroom. The image quality is absolutely staggering, still in 2015.



Settings & usage

I shoot in Aperture Priority (the ring is nice) or Program most of the time, and I use Manual for long exposure shots and stitch-panoramas. The exposure compensation dial on top is a useful tool for quick adjustment. I assigned the little C-button on top to ISO-settings, which I usually leave on auto with a range of 100-6400. Sometimes I lock it when I want to go for a specific look. All 5 buttons are programmable, as well as the four-way buttons under the wheel on the back. I set metering to multi-metering, and it is generally accurate. The auto-focus does a great job most of the time. It sometimes has a little trouble in the dark, but it usually catches what I want after a try or two. I set it to one focus point in the middle. Focus speed isn’t super fast, but fast enough for me.

I never really use the flash (not needed) or video mode (I’m a photographer, not a video guy). The only accessories I have in my bag these days are a GorillaPod and an extra battery. It really feels like everything I need now.




The Carl Zeiss Sonnar T* 35mm f/2.0 lens is incredibly sharp at every f-stop, and it seems to be at its sharpest at f/5.6 and f/8. The photos are so sharp in fact, that Adobe Lightroom’s default sharpening-setting of 25 is too high and creates harsh edges. Usually I end up setting it around 10-15. Having a 35mm prime lens is easy to get used to, especially when it’s as great as this one. I love primes in general; they force you to get creative and walk around to find a good angle.





The battery-life is not great. I immediately turn the camera off after I’ve taken a shot, and I don’t spend much time reviewing photos already taken. I have an extra battery, but since Sony doesn’t include an external charger (at this price point, I’d say that’s strange), I need to switch them around while the camera is hooked up to charge them. The camera has a standard micro-USB port for file transfer and charging, which means it is compatible with pretty much every standard phone charger out there, which is convenient.




Manual focus is useless without a viewfinder (save for forcing infinity focus), as focus-peaking only works with a magnified view. I don’t know why this is, as the Sony A7 cameras are able to do this on the overview view. Another little quirk is that the camera always returns to infinity focus when it wakes up or turns on. This is something I’d like to be able to lock when I’m waiting to take a shot of something that moves. Both these things are fixable with a firmware update, but Sony doesn’t seem to do those with this camera for some reason.

I miss having an infrared shutter release. That seems like a more logical choice to build into this camera than an external mic-input.

The prices for accessories are ridiculous. I’d like to have the viewfinder (partially because using a circular polarizing filter is almost impossible with the LCD screen), but I’m not paying 500 bucks for that. Even their simple metal lens hood costs 200 bucks (check eBay for knock-offs for 1/10th the price). The only official Sony accessory I bought for it was the leather case. Although that hurt my wallet, I’m glad I got it. It provides good protection, and it really emphasizes the old-school cool look.



I’ve never been this happy about a camera, or any electronic device I’ve ever owned. It is not perfect (no camera really is), but the positives easily outweigh the negatives. The more I use it, the more I love it. The Zeiss lens, overall image quality, build quality and size, make the RX1R nothing less than a masterpiece.

I would probably still love this thing if it gave me an electric shock with every photo I take.

It is that good.

If you liked this write-up and my photos, check out my personal portfolio and blog. I update it constantly.

I also have a Facebook-page. Give me a “Like” and tell your friends, it always helps!

Or, follow me on Twitter if that’s your thing.

I will visit Australia in the near future and many other places after that, so keep an eye on my website and social media pages for new photos soon. Feel free to get in touch if you have any questions or comments, I’m always more than happy to talk.

Many thanks again, Steve, for allowing me to send this in. Keep the website going, I enjoy the hell out of it.


Sep 232015


The Voigtlander 35 1.7 Ultron VM (Leica Mount) Lens Review

By Steve Huff

We are living in a GREAT  time for our hobby or our profession or our obsession..no matter what you call it..it is Photography. Today we have some pretty technologically advanced marvel cameras, simple basic cameras, amazing mid level cameras and even fantastic lower end cameras. Today we have more camera tech available at our disposal than at anytime in history. Even though the worlds #1 camera today is the iPhone, if you are reading this article then that must mean you are here because you appreciate quality and the process of photography, something you lose with an iPhone as you main camera.


Today I will be taking a look at the new Voigtlander 35 f/1.7 VM lens (Leica M Mount) but I will be shooting it on the Sony A7RII as that is now my #1 camera around here, and for me, the best full frame 35mm mirrorless camera made today. With the new backlit sensor tech, Sony has eliminated mostly all of the old issues when using wider angle Leica glass, at least the color issues ;) This lens works very well on the Sony A7RII, so every image in this review will have been shot with that camera and this lens (as well as the Zeiss ZM 35 1.4 Leica Mount for comparison).

One of my 1st shots with the lens which was indoors so not a ton of light. I opened up the lens, focused and shot. To me, the color is very good as is the OOF background rendering. Smooth rendering with a sharp subject. No issues.


When Stephen Gandy, head dude over at Cameraquest emailed me and said “The new 35 1.7’s are in, do you want to review one”? Of course I said YES YES YES! I have been curious about this lens but I wasn’t excited about it as I “assumed” it would be average. Not sure why I thought that when the Voigtlander 50 1.5 Nokton hit it out of the park with bang for the buck. That little 50 1.5 came so close to the Leica 50 Summilux at 1/4 the cost it was a no brainer for those who wanted that fast 50 rangefinder lens experience without spending $4000. You can see my review of that lens HERE, well worth a read and look if you missed it as that lens is a stunner for the money. Then again, Voigtlander has always been known to be big on “bang for the buck” but what I have noticed over the past 7 years is that each time Voigtlander releases a new lens, it seems to be notch up in quality from design, build, operation and image quality. Yep, in 2015 Voigtlander lenses are kicking some serious bootie, and the new 35 1.7 VM is no exception.

My dog Olive who is a total ham. She knows when I am taking her picture, and when I aim the camera she sits and looks, as if to pose. She also watches full TV shows, interacts with animals on TV and sleeps like a human, on her back. Odd ball dog, but here she is at f/1.7 with the new 35 VM. 2nd shot wide open again!



Over the years I have reviewed many Voigtlander lenses on these very pages. Usually on a Leica M, but these days the Sony A7 series has improved considerably since the beginning about 2 1/2 years ago. While the Leica M is a gorgeous body, camera and the ultimate in “pride of ownership”, it is expensive and many are buying the Sony’s as an alternate to the full frame M and many M owners have an A7 of some sort as a backup and extra camera to their M. Many ask me daily how these lenses do on the A7RII, so this is where I will be concentrating. Of all the Voigtlander lenses I have used, reviewed, and tested the 50 1.5 is my fave, followed by this one. While I loved many of the lenses these two recent additions are really showing what this company can do when they set their mind to it.

The Lens Arrives


When I received the lens and opened it up I saw I had been sent the CHROME version, and it looks quite a bit like the 50 1.5 I have been speaking about here. This is good as it is a retro but cool design and it is easy to focus and change your aperture. Smooth yet solid, and the lens is a joy to use. It is also thin and small which is nice. MUCH smaller than the Sony/Zeiss 35 1.4, smaller than the Zeiss 35 1.4 ZM and while not as small as the Sony 35 2.8, it is a much different type of lens.

When I attached it to the camera and took my 1st shots I was happy to see the color performance was gorgeous and the lens was pretty damn sharp wide open. It offered that “Voigtlander Look” but to me, it seemed sharper, crisper, better bokeh and color than normal. I liked it. Maybe it was the Sony but what was coming out of the camera with this lens wide open made me happy :)

Both shots below were shot wide open at f/1.7. 1st one I had some natural light coming in, the 2nd image was different. It was much dimmer here than the 1st image but the fast aperture let me get as much light in as I could. 

CLICK them for larger



As I used the lens more and more over the 2 weeks I had it, I was liking it and decided that I wanted to see how it would stand up to the Zeiss 35 1.4 ZM that comes in at $2300. The Voigtlander comes in at under $900, so it is more than 2X less than the Zeiss. I would expect the Zeiss to come out ahead but had to see for myself what an extra $1300 would buy me ;)

Zeiss vs Voigtlander

The Voigtlander 35 1.7 next to the Zeiss 35 1.4 ZM


Below are some images comparing both the Zeiss 35 1.4 ZM and  the Voigtlander 35 1.7 VM, both Leica M mount and mounted to my A7RII with the Voigtlander close focus M adapter.

Click the images to see larger and full 100% crops. These are right from the camera with no tweaks at all. FROM RAW.

1st one is the Voigtlander, 2nd is the Zeiss. 



For this set the Zeiss is showing a tad more color pop and sharpness in the crop (click them for full crop)



At the end of the day, the Zeiss is a tad better for sharpness at 1.7 but I prefer the bokeh of the Voigtlander which also seems to be giving a more shallow DOF than the Zeiss wen using the same aperture. Very odd but I have seen this before with different lens brands. I love the Zeiss, and it’s about as good as it gets in a 35mm for Leica M mount (it has been compared favorably to the Leica 35 Summilux that comes in at $5500). The Voigtlander is really only a teeny but behind in sharpness wide open. Both are fantastic but one is $1300 less expensive and smaller. Hmmmm.

The Voigtlander also focuses closer than the Zeiss. 

Ultimately it is up to the user which one is preferred, if any. In the world of 35mm for Leica we have many choices from old to modern. For Sony FE we have a load of lenses as well that can be used, so they should be chosen like an artist would choose his brush or pencil. Choose the lens for the desired “look” or “character” of what you want to see in your final image. This lens will give you a creamy look with you subject popping from a 3D background when shot wide open. Just like a good fast 35 should do. It has a decent background blur (Bokeh) rendering and I find it quite pleasing, even better than the Zeiss. It is small, well made (feels leica-ish) and gorgeous in black or chrome. Can’t go wrong.

#1, mailbox at f/1.7. #2, Hula Hoopers at The Duce. #3, Mailbox up close (and the top is OOF due to the depth of field being so shallow, not a lens issue)




ONE MORE BIG COMPARISON – “Against all the others”

Left to right: Sony/Zeiss 35 1.4 Distagon, Zeiss Loxia 35 f/2, Zeiss 35 1.4 ZM, Voigtlander 35 1.7 VM and the Sony/Zeiss 35 2.8


Many have asked me just this morning to add a quick comparison to the Sony 35 1.4, Loxia 35, and Sony 35 2.8 in addition to the Zeiss 35 1.4 ZM. Well, see the image above for the size differences, and see below for the image samples with each lens! Your wish is my command! (sometimes, lol).

I am using the Sony A7s for  this one and below are full size images from camera (RAW) without any modifications. What I am looking at  here is sharpness of the subject (face of the bottle) and the Bokeh (background blur quality) as well as the color performance. What do YOU think? Leave a comment and let me know! For me, the ultimate IQ comes from the Sony/Zeiss 35 1.4 but it is huge. The 2nd fave of mine is now the Voigtlander, then the Loxia, then the Zeiss 35 1.4 ZM and then the 2.8.






So there ya go ;) Let me know in the comments which rendering you prefer. 


No wide angle lens will be perfect on the Sony A7 series, even the RII. While the A7RII has improved considerably with M lenses, there is still one issue that seems to remain. SOFT edges with some lenses. Instead of magenta side we now will be left with soft sides on many occasions. THIS only comes into play if you are stopped down and wanting perfect corner to corner sharpness. ON the Leica M it will work well, on the Sony not so much.

If you shoot this lens wide open you will never see it. That is where the character lies in this lens anyway. Stopping it down to f/8 will give you no better quality than almost any other 35mm that will fit on the Sony. For me it is a non issue, but for many they want that stopped down corner to corner performance. If that is the case, and you shoot with a Sony A7 series camera, I highly recommend the Sony 35 1.4 which is STUNNING but HUGE. See that review HERE.

You will also see some slight vignetting with this lens when wide open on the Sony A7RII or A7s or A7II, but you will also get that with the Zeiss 35 1.4 ZM on the Sony. You will also get the slight vignetting wide open when using it on the Leica M.

If you want perfection in 35mm, buy either a Leica M and a Leica 35 Summilux FLE or buy an A7RII and the Sony/Zeiss 35 1.4 Distagon. Both of those will offer you about the best 35mm performance you will see in full frame, no matter the type of camera. If you want a fun unique lens that also comes with a very cool and fun user experience of using an all manual lens all while getting massive character and IQ, take a look at the Voigtlander. I love it just as much as I do the 50 1.5 Nokton. I highly recommend it for Leica M or A7RII shooters!!! 




You can buy this lens at Cameraquest HERE. Best prices, and free filter and overnight shipping.  

They are the official USA distributor for Voigtlander and top notch all the way!! 




Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple, and no, I am not asking you for a penny!

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website, in money and time. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Sep 212015


The Olympus 8mm f/1.8 Fisheye Quick Lens Review

Well well. Olympus has been successfully creating cameras and lenses for decades now. When the original E-1 camera came out in 2003 (Four Thirds mount, NOT Micro 4/3) I loved it to pieces. For me, that camera had some magic at the time. While today that’d E-1 falls way short I do know some who still shoot with that camera every now and again and still treasure it. There is just something about Olympus that always keeps me with a body and a lens or two, no matter if I move on to bigger and better things (like full frame).

Even when I am shooting my Leica heavily, or my Sony heavily I always come back to Olympus in the form of the E-M1, E-M5 II or now the new E-M10II (currently reviewing). Olympus, for me, means I will always have a fun time shooting. It also means I will always get my shots as my Olympus cameras never seem to fail me, they offer a huge lens selection and they are fast and have some of the best features on the market. While not holding up to full frame image quality, the IQ from these little wonders is nothing short of astonishing when you consider the small sensor and size of these camera bodies.

Video showing off the 8mm Fisheye

So even today with the likes of the Sony A7 series, the Leica M, the Canon and Nikon’s of the photo world and all of the other amazing cameras out there today, the Olympus Micro 4/3 is still a solution for many of us who want the small size, some of the best glass (lenses) in the business and the largest selection of lenses for any mirrorless system. Speed, IS, color, and performance is top notch. Many pros are using Micro 4/3 and loving it.

That leads me to this new lens release from Olympus. The 8mm Fisheye f/1.8 Pro. Yep, Oly is listing this as a pro lens as it is dust and splash proof, and it offers a worlds 1st for a fisheye..an f/1.8 aperture. Usually these 8mm lenses come in with an aperture of f/3.5 but this one, at f/1.8, actually will offer you more creative possibilities than any other fisheye that I am aware of.

Olympus E-M10 II with the 8mm Fisheye Pro


I love fisheye lenses and while I only use them 3-4 times per year I find that owning at least ONE fisheye is well worth it. With so many less expensive fisheye’s out there today, most coming in between $250 and $350 with even the promo Panasonic 8mm fish coming it at round $600 how can Olympus charge $999 for this little guy?


Well, it is a PRO lens which means it will survive the elements. Rain, snow, freezing temps, dust.. this lens should survive any of that. It also has the worlds fastest aperture for a fisheye at f/1.8, and it has Auto Focus, something the less expensive models lack (and yes, you can mis-focus a fisheye). This lens is the nicest looking, feeling and well made fisheye I have ever used. I find it bitingly sharp contrary to one report I saw that said it was not that share wide open. My copy is VERY sharp wide open.

Next two shots, E-M5II and the 8mm Fisheye



If you have never shot with a Fisheye lens before, you are in for either a treat or disappointment. What a fisheye does is allow you to get massive surroundings into the frame. Usually offering a true 180 degree field of view, this means that it is WIDE..beyond ULTRA wide. It will also give you massive distortion, which is the character of these lenses, hence “fisheye”.



Micro Four Thirds System
16mm (35mm Equivalent)
Aperture Range: f/1.8 to f/22
1 Aspherical, 5 ED, and 3 HR Elements
Anti-Reflection ZERO Coating
High-Speed Imager AF with MSC
Expansive 180° Angle of View
Dust, Splash, and Freezeproof Design
Rounded 7-Blade Diaphragm


When used correctly (and it is very hard to do, I rarely can get a GREAT fisheye shot) the results can be spectacular. When used incorrectly, the shots are average. This is a challenging lens and if you slapped this guy on your M 4/3 camera and kept it there for one week, by the end of that week you will be much better with the lens than if you just use it sparingly.

This kind of lens can really put the viewer into the moment and scene.

1st shot E-M10 II, then E-M5II for 2 and 3




I have owned and loved the Panasonic 8mm f/3.5 but compared to this Olympus it was slower to Auto Focus and did not offer the pro build or the f 1.8 aperture. Coming in at $400 less I feel this Olympus is priced right for what it offers above and beyond that Panasonic. (speed, pro build, aperture). While not the fastest lens in the Olympus lineup for Auto Focus, it is fast for a fisheye. Imagine what the camera would think if it had a brain…

The sensor would see a MASS amount of information due to the ultra wide view…”what to focus on”?!?!? So this will not be as speedy to AF as a 25 1.8 or 12 f/2, rather it will be a touch slower but not slow enough to call it slow or sluggish. It is quite quick, and depending on light it can go from super fast to semi fast. So no worries on AF speed or accuracy. I remember my Panasonic would often times focus incorrectly and while many think you can not mis focus a fisheye, you very well can, ESPECIALLY when you have a faster aperture like f/1.8. Luckily the AF is working very well here.


While having this lens for review I started to really enjoy it..a lot. While walking through the catacomb like pathways of an old ghost town in the AZ desert I was doing some long exposures and the ultra wide view helped to show exactly where I was…THIS is when I found this lens invaluable. No other lens would have worked quite the same. I also have the 7-14 f/2.8 pro here and that lens did very well in these areas as well, but the fisheye really shows the viewer more of what I was seeing while in these spots.

E-M10II and 8MM Fisheye, long exposures. 




So at the end of the day, after 1st renting this lens for a week a month or so ago, and now having a review copy here I have a solid two weeks with this lens and I now want it for my Micro 4/3 lens collection. I sold my Panasonic month ago because I knew this was on the way, and it does not disappoint. I found ZERO weakness. No flare issues, no softness issues, no missed AF issues and no build issues. I even caked my review samples with massive dust and dirt while out in the AZ desert during a windy night where dust and dirt was blowing everywhere. The lens was coated but after a clean up that took 2 minutes it was good as new.



So now I must own this lens. Even for video it rocks – for Vlogging it does well though the distortion my bother some. I once did quite a few videos for public viewing using mostly a fisheye lens, and it works out great. In some tight situations, if shooting video, this lens would be fantastic (as would  the 7-14 without the distortion).

This lens mated to an E-M1, E-M5II, or E-M10 II or any of the other M 4/3 cameras out there will offer you a unique, different and sometimes surprising view of the world. While not an every day lens (no fisheye is) it is a lens that with selective use can expand your photo portfolio with shots that stick out. While not cheap at $999, I consider this lens to be priced JUST right for what it offers over other less expensive Fisheye lenses.




So once again I say BRAVO to Olympus for releasing yet another amazing lens for their M 4/3 system. The new 8mm Pro offers you a “no compromise” fisheye that can be used in nearly ANY situation and I find it to be a notch above the competition in every way. AWESOME! Highly recommended for those who have been itching for a Fisheye lens!!!

You can order the lens at my preferred Olympus dealers below:


B&H Photo – Olympus 8mm fisheye

Amazon – 8mm Fisheye




Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple, and no, I am not asking you for a penny!

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website, in money and time. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Sep 162015

Ireland with the Olympus E-M1. A Photographic Journey

by Tom Ohle

My name is Tom and I’m from Ireland. A few years back while visiting my beautiful fiance in Canada I kicked my love for photography into over drive!

Your site is fantastic and largely responsible for fuelling my love for photography. For me it’s the equivalent of a great cup of coffee first thing in the morning.

These next two images are from my favourite place of all. The west coast of Ireland in Co. Kerry just off of the Dingle peninsula at a little place called ‘Inch Strand’. It’s a spectacular part of the world with huge wide beaches as far as the eye can see.

EM1 + Nocticron
“The Kite”


EM1 + Nocticron
“Misty Beach”


The west coast of Ireland (particularly Co. Kerry) is known around the world for its spectacular cliffs. If you ever make it to this part of the world check out Sleigh Head.
This next one was shot overlooking the peninsula. I set out not knowing what to expect and stumbled across this huge hill that overlooked the main peninsula providing a stunning view. I improvised a quick fashion shoot – lighting was very overcast – perfect natural soft box!

EM1 + Nocticron
“He left me in Ireland”


For the most part I like street photography and travel portraiture but I try not to pidgeon-hole myself into a particular genre. I’ve taken my camera and lenses around Ireland and the great white North in Canada. From portraits of random people on the street to portraits of wolves and wolf dogs I generally always have a camera in my hand.

EM1 + Oly 45 1.8
“We need to talk”


I find that the images that I am most drawn to from your other writers tend to have people in them. Either obvious images of people directly or may not so obvious images of landscapes that show the mark of peoples involvement. In more recent times having read some of Neil Buchanan Grants posts here I’ve been inspired to approach my subjects and subject matter from the perspective of a travel photographer. Even in my home town I try to ask ‘ what would be really cool and interesting about this place that I could show somebody in a completely different part of the world ‘.

EM1 + Oly 45
“Who are you lookin at?”


Em1 + PanaLeica 25 1.4
“Violinist on the street”


Busking and street performing are very popular and a large part of Irish city culture. A walk down Dublin’s Grafton street on a Saturday afternoon is an explosion for the senses. Stilt walkers, dancers, acrobats doing back flips, fire breathers – it’s got it all. The shot of the busker was taken in Co. Cork – many of these performers are very street photo friendly and do not mind you taking their photo once you acknowledge them. No better way than by throwing them a few euro :)

“Rebel without a cause”


Dublin has a bunch of really cool locally owned coffee shops. Unfortunately we are seeing more and more big chain coffee shops pop up about the place but thankfully the locals still support the local businesses. Many of these coffee shops make a cool studio for european style impromptu photoshoots!

Sunset in (not on) the Liffey!


For me, a photo has not completed it’s journey until it has been developed and printed. The printing aspect is a recent discovery and I have very much fallen in love with this aspect of the creative process. I now shoot for the print.

Fine art giclee prints on fiber paper are gorgeous. I spend hours trying to get the balance between the choice of edit, the type of paper, texture, color calibration etc… holding a finished product in my hand is immensely satisfying.

I’m very much a learner with a lot yet to learn but I’d hope to have my first article published and open to constructive criticism and feedback from the community. Thank you for taking the time out of your day to look at my photos and I hope that you enjoyed them.

My flickr is : https://www.flickr.com/photos/24434110@N05/



Sep 152015


Over 100 Leica Weddings

by Philip Thomas

Steve- thanks for the opportunity to share my love of the Leica. I’ve been reading this blog for over five years and it was part of your early reviews that finally moved me to try a Leica M9.

Over a 100 Leica weddings have come and gone since I shot my first wedding with a Leica M9 and a Leica M(240). This post is not for readers interested in a review of Leica gear. Rather, it’s more about how I feel when I use it and how it’s shaped my approach to taking photos. Perhaps even making me a better photographer for it.



The small non-intimidating cameras have allowed me to go about my wedding work as unobtrusively as possible and not be seen as the ‘professional photographer’. You see, I don’t want to draw attention to myself much like a street shooter. Couples booking me know in advance my philosophical approach and the idea of a photographer not directing their day has a strong appeal. It’s not just opened my mind up to a patient way of seeing, capturing moments and geometry, but how I carry myself throughout a wedding.




A photographer for over 20 years, I’ve always had an interest in the Leica history. When I first got my hands on a Leica six years ago, I knew from that moment, somehow I had to get one without breaking the bank. Discussing this with my wife’s approval was part of the deal. My first camera was the M9 with a 35mm f1.4 summilux and from that point on I was hooked. Over a 100 weddings later, the M9 and Leica M240 are an integral part of my wedding day along with a few lenses. A 1957 M3 is also part of my personal gear.




My philosophy shooting weddings is to react and anticipate moments throughout a wedding day. I take a few quick group shots. Other than that, I capture the day unobtrusively avoiding those done and dusted wedding cliches. People just ignore me because the Leica is so small, no one takes any notice and those Uncle Bob’s, the often annoying camera enthusiasts at every wedding just do not approach. Compared to lifting a big SLR to my eye certainly gets people’s attention and unobtrusiveness is certainly not part of the vocabulary. Of course, none of this can really be achieved without the appropriate body language throughout the long day shoot.




My reasons why I use a rangefinder are multiple. Along with the obvious history and inspiration using Leica, my mind has opened up to a world that I didn’t always see before and I strongly believe that as a work in progress my images are stronger. The full manual focus (yes, I can focus more often than not quicker manually than auto focus), the simplicity of shutter and aperture give me complete control over the final images. If I mess up, then I cannot blame the camera. It’s basic aperture and shutter operation. My eye pre-visualizes the type of images I want to create vs the former method of shooting a DSLR and reacting to everything and then the momentary blackness of the shutter closing may mean missing the shot entirely. With the rangefinder, I don’t miss anything, other than the occasional physical finger action not quite paired with my brain.






I rarely look or monkey chimp the reviews after each shot or if I do it’s just to check the histogram. My mind already has the image before pressing the shutter. It’s shooting with purpose versus the temptation to machine gun images that a SLR offers. Sure you can shoot multiple images albeit at a slower burst rate, but that’s not what the Leica have been designed for, It’s more of a cerebral thoughtful approach. This all takes practice in getting efficient. A recent wedding client, a Leica aficionado was kind to marvel how quickly I could focus and shoot their images on par with a SLR, just not wasting files space on a card with multiple shots that look the same.





I have and do often shoot a full days wedding armed with just two Leica’s, a M9 and M240 using just available light. Not only does this approach work wonders for my ageing back but it keeps me nimble on my toes without having to drag a heavy bag around. I’ve always been a huge fan of Henri Cartier-Bresson who not only used a Leica and a 50mm lens but marveled at how in his documentary films that remain how he moved around like a cat on tip toes.






There are many wonderful rangefinder type cameras on the market today compared to just five to ten years ago. At the end of the day, the final image is still the most important, not the camera. But the tools to make that image, surely can inspire and motivate you to take your passion and craft to the top. For me, those sublime Leica lenses and little cameras do the trick. The Leica enables me to just concentrate on the subject and my consciousness is focused on the decisive moment, not what menu option I should have.







Thanks for reading. My site is www.philipthomasstudios.com

Warm regards,
Philip Thomas

W: www.philipthomasstudios.com
Blog: www.philipthomasstudios.com/blog/

Nominated Top 20 Wedding Photographer in Texas

WPJA-Wedding Photojournalist Association® Multi-award Winning Photographer.

Sep 112015


PRESS RELEASE: THE ALL NEW Sony A7SII is Announced! Ships October!

It appears Sony has secretly launched the A7sII over night, so to those waiting here is the press release on the new successor to the low light king!


Sony Expands Range of Full-frame Cameras with the Launch of Ultra-sensitive 7S II

New Mirrorless Model Features High Sensitivity up to ISO409600 with Wide Dynamic Range, 5Axis Image Stabilization, Internal 4K Movie Recording and more!

SAN DIEGO, Sept. 11, 2015 Sony Electronics, a worldwide leader in digital imaging and the worldกฏs largest image sensor manufacturer, has today introduced the latest addition to their award winning A7 lineup of mirrorless cameras, the A7S II.

Offering ultra-high sensitivity and wide dynamic range across the entire ISO range plus 5-axis image stabilization for greater shooting control, the A7S II delivers stunning image quality for photographers who shoot in the most challenging lighting conditions from the brightest of mornings to the darkest of nights.

Additionally, the new camera incorporates a host of professional movie functions including the ability to record full-frame 4K video internally with full pixel readout and no pixel binning, the worlds first camera to achieve this capability. The cameras unique balance of sensitivity, control of plane of focus and incredible image quality make it an especially effective tool for videographers and filmmakers.

Sony continues to lead the industry in terms of innovation in the mirrorless space,กฑ said Neal Manowitz, Deputy Vice President of Digital Imaging at Sony Electronics. With the new A7S II, weกฏve utilized many of our latest technologies to deliver a camera that will excel in all types of environments, producing still images and video content that will consistently amaze imaging enthusiasts, professional photographers and even Hollywood directors.

The A7S II delivers an awe-inspiring sensitivity range of ISO 50-409600 thanks to the unique combination of its 35mm full-frame 12.2 megapixel2 image sensor and BIONZ X image processing engine. The sensor works to optimize the dynamic range across the entire ISO range, broadening the amount of tonal gradation in bright environments and minimizing noise in dark scenes. The BIONZ X processor features an upgraded image processing algorithm that maximizes the sensors capabilities overall, in particular at the mid-high end of the ISO scale, and results in extremely detailed still images and movies with minimal noise.

Video Master

The impressive video credentials of Sonys new A7S II camera include the ability to record movies in 4K quality3 internally through use of the advanced XAVC S codec4, which can record at a high bit rate of up to 100 Mbps. Because information from all pixels is utilized without line skipping or pixel binning, the camera can maximize the expanded power of the full-frame image sensor and produce 4K movies with higher image clarity and negligible moir.

This full pixel readout without pixel binning is also employed when shooting Full HD video (24p/30p), where the camera collects information from approximately five times as many pixels that are required to generate Full HD 1920×1080 and oversamples the information, producing movies of extremely high quality and detail.

Also, in a first for the A7 series, the A7S II can record Full HD at 120fps at 100 mbps5 in full frame format, which can be immediately reviewed on the camera screen and eventually edited into appealing 4x/5x slow motion footage in Full HD (24p/30p) resolution.

Video functionality has been further enhanced with new picture profile settings; S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3, delivering wide dynamic range and simple color correction. The A7S II even offers impressive 14-stop latitude in the S-Log3 gamma setting, while also supporting other popular profiles for cinematographers including S-Gamut/S-Log2.

Other enhancements include the addition of Gamma Display Assist, a new function that allows users to monitor images or check focus when recording S-Log movies, and the improvement of the Zebra function for even greater control.

5-Axis Image Stabilization

The new A7S II is equipped with the innovative, highly acclaimed 5-axis image stabilization system from the A7 II and A7R II cameras. The system corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) which has the greatest impact on image quality and tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects night shooting and/or video recording.

Autofocus Accuracy

The autofocus system on the A7S II has been upgraded and now offers 169 AF points for fast, precise focusing with greater accuracy compared to the original model. The low noise image produced by the image sensor of the new camera enables the Fast Intelligent AF to detect contrast more easily and react speedily even in low-light situations (as low as EV-4), when itกฏs even tough to check focus with the naked eye. The AF performance is also twice as fast as the predecessor model during video shooting.

Electronic Viewfinder

The XGA OLED Tru-Finder in the A7S II has been upgraded and offers the worlds highest viewfinder magnification of 0.78x (roughly 38.5 degrees in diagonal field of view) and shows clear images across the entire display area. The use of ZEISS T* Coating ensures sharp reduction of reflections on the viewfinder. Unlike an optical viewfinder, the OLED Tru-Finder can be used to instantly show how exposure compensation, white balance and other selected settings are affecting the displayed image.

User Upgrades

A number of enhancements have been made to the look and feel of the A7S II to make it more user-friendly, reliable and intuitive. Its magnesium-alloy body is both light and highly robust and the grip and shutter buttons have been re-designed so that the camera feels more natural in the hand. Additionally, silent shooting mode can be activated at up to 5 fps continuous shooting and there is reduced-vibration shutter movement.

The lens mount has been further reinforced to ensure greater rigidity, particularly when attaching third-party lenses and users can now charge the camera via a USB power supply while the camera is in operation, thus extending battery life. The A7S II is also Wi-Fi® and NFC compatible and fully functional with Sonys PlayMemories Mobile application available for Android™ and iOS™ platforms, as well as Sonyกฏs growing range of PlayMemories Camera Apps, which add a range of fun creative capabilities to the camera. Learn more at www.sony.net/pmca.

Pricing and Availability

The Sony A7S II full-frame interchangeable lens camera will be available in October for about $3000 at a variety of Sony authorized dealers nationwide.
The A7S II is compatible with Sonyกฏs growing lineup of ฆม lenses, which now totals 64 different models including 13 native full frame lenses.

By early 2016, Sony will add an additional 7 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall lens assortment to 70 different models.

A variety of exclusive stories and exciting new content shot with the new A7S II camera and other Sony products can be found at www.alphauniverse.com , Sonys new community site built to educate, inspire and showcase all fans and customers of the Sony brand.

The new content will also be posted directly at the global Sony Photo Gallery and the Sony Camera Channel on YouTube

Sep 102015


Olympus E-M10 II and 7-14 in the house! Review coming soon!

Look what arrived!


Yep, the new Olympus E-M10 Mark II is here and it is SWEET! Man, I love Olympus and while I shoot Sony, Leica and others I always love Olympus cameras and lenses. Some of my all time favorites. The E-M10II is small, but packed with a powerhouse of features. It also now has 5 Axis IS, which works just as well as it does in the E-M1 and E-M5II. The old model only had 3 axis, so this is an upgrade. A silent shutter also makes its way to the E-M10II (though the mechanical shutter is very subdued and quiet). The EVF is large and beautiful keeping with the current trend that I like.


We also get other new features that I will go over in the review.

The new 7-14 Pro lens is astonishing so far from build and IQ. It is large but this is a 7-14 wide angle, and comes in much smaller than a DSLR equivalent. The build is top-notch and I will be reviewing this with the camera along with others lenses of course.


So stay tuned for my review, hopefully in about 10-14 days.

To see more about the E-M10 II or ordering, see B&H Photo HERE or Amazon HERE.  They are now in stock. 

Sep 082015


One Year Update! The Wotancraft Ryker Bag still going strong!

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Yep, the Wotancraft Ryker is still my daily bag of choice for when I am out shooting my Sony, Leica or Olympus kit. A little over a year ago I reviewed the Ryker in black, then in brown and ever since I have been using the brown Ryker every day and it looks as good today as it did a year ago. It may be a little more softer but other than that it is wearing in quite nice. This is a bag that will last you for your lifetime in my opinion. It is built to a high quality, it looks amazing and feels amazing and is very functional. All leather, gorgeous interior, and for me, it will hold an A7 body (ant of them) with 2-4 lenses (depending on size) and charger, batteries, iPad mini, etc. I adore this bag and look forward to how it will look in another 5-10 years as it wears in over time.

Screen Shot 2015-09-08 at 8.39.01 AM

See my video below of my one year update with the Ryker! You can see more about it at Wotancraft HERE! You can see my original review of this bag HERE.

Sep 082015

A Visual Review of the Sony a7RII

By Marc Weisberg

Steve and Brandon, thank you for the opportunity to post with you for a second time. What you do for the photography community worldwide, is raise the bar on awareness and vision and provide an opportunity to be seen and heard. I applaud your continued efforts. I know first hand that it takes a tremendous amount of dedication and passion to keep fresh content on your site, and that it is a labor of love.

I’ve always believed in picking the best tool for the job. Since selling all my Canon gear last January {and I had lots} I’ve slowly purchased many new tools. To wit: Sony a6000, Sony a7s, Sony a7II and recently I acquired the a7RII.

My Sony glass collection has also grown to include: Sony Sonnar T* FE 35mm f/2.8 ZA, Sony Distagon T* FE 35mm f/1.4 ZA, Sony FE 16-35mm f/4.0 Z OSS, FE 24-70mm f/2.8 Z OSS, Sony Sonnar T* FE 55mm f/1.8 ZA , Sony 90mm f/2.8 Macro G OSS {for me is a life changing lens} I use the 90 for portraits, landscapes and macro photography, and the Sony 70-200 f/4.0 G OSS.

You may be thinking….”Hey dude. Overkill!” However, I use everybody and every lens for specific purposes. I have five different photography sites and specialize in a broad range of photography. Broad range – specialize…oxymoron? As I mentioned above the right tool for the right job.

Recently I headed out on a 2,700 mile road trip with my family. Orange County, CA –> Moab –> Aspen–> Denver –> Albuquerque –> Sedona for twelve days. In the first two days I photographed over 128gb of RAW images on the a7RII. I brought two bodies with me the a7RII and the a7s and all my lenses, sans the Sony Sonnar T* FE 35mm f/2.8 ZA.

How is the a7RII Compared to the Sony a7II and Sony a7s?

The a7RII has a more pro feel to it. For all purposed the a7RII exterior body is identical to the a7II in feel and texture. Both have a more beefier grip than the a7s and the same matte finish. External buttons and controls are the same too with the exception of a lock button that now resides in the middle of the top wheel that controls M,S,A,P etc. Its what’s inside the camera that make the a7RII a megapixel beast compared to the a7II and a7s. I’ve never used the original a7R nor even held it in my hands so I can not speak to the differences between the original a7R and the new a7RII. The one thing that sticks out to me that is quite different is the shutter sound. Its more of a soft mechanical Shushing sound reminiscent of a mechanical film camera. A welcomed and reassuring sound.


The menu system has some welcomed upgrades {9 frame built-in bracketing, bracketing with self timer and many, many more,} a new full-frame backlit CMOS sensor, in camera stabilization, amazing dynamic range, 4k video capabilities and the 42.3 megapixels {which have the ability to capture stunning clarity and detail} that is sending shockwaves through the photographic community. And yes there are 399 focusing points, on sensor phase detection for faster auto focusing, as well as contrast detection. The a7RII also allows any lens, Canon, Nikon, Leica, vintage etc. to be used on the body via an adapter. Essentially making its usage available every person who delights in using their favorite lens or lenses.

To see a full list of menu upgrades head on over to my friend and fellow Sony Artisan Brian Smith’s (http://briansmith.com/ten-great-new-settings-on-sony-a7rii/) web page. And of course Silent Mode is built into the a7RII body so you can shoot in complete silence. No sound…not even a whisper.

The Proof

Although I pride myself on knowing the technical aspects and details of the craft of photography…for me the proof is always in the captured image. I’m simply blown away by the amazing detail and clarity of imagery I’m able to capture with the Sony a7RII and Sony lens line up. Now I know what all the fuss is with fan boys about medium format digital cameras. The detail and clarity is amazing. Each time I brought up an image on screen from the a7RII I would sit in front of my computer and go WOW! I’ve been photographing for 17 years now and for 15 years professionally. I started out with Canon 35mm, moved to a Hasselblad 503, then got the first Canon 1D when it came out. But never have I owned a camera this capable or seen this type of detail and clarity which is coming out of the a7RII.

Below I’ll share a few single capture images from the a7RII. Each image is captured RAW. I’m a RAW shooter period. Images are culled in PhotoMechanic and post processed in Lightroom 6.1.1 Crops are 100% to show the clarity, detail and dynamic range of each image. After the A7RII images I’ll discuss briefly why I have so many bodies and what I use them for.

IMAGE 1. Moab, Canyonlands National Park, Utah. a7RII, 90mm f/2.8 Macro G OSS, ISO 100, 1/125th/sec, f/6.3. Tripod.

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IMAGE 2. 100% crop.

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IMAGE 3. Maroon Bells, Aspen, CO. a7RII, FE 16-35mm f/4.0 Z OSS, ISO 200, 1/3 sec. f/16. Tripod.

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IMAGE 4. 100% crop.

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IMAGE 5. Independence Pass, Aspen, CO. a7RII, Sony 70-200 f/4.0 G OSS, ISO 400, 1.160th/sec, f/10. Tripod.

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IMAGE 6. 100% crop.

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IMAGE 7. Abandoned home, 1800’s Stage Coach town, Lake County, CO. a7RII, Sony 70-200 f/4.0 G OSS, ISO 400, 1/160th/sec. f/10. Handheld.

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IMAGE 8. 100% crop.

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IMAGE 9. Old silver and gold mining town of Leadville, CO. a7RII, FE 24-70mm f/2.8 Z OSS, ISO 200, 1/160th/sec., f/10. Handheld.

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IMAGE 10. 100% crop.

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IMAGE 11. 100% crop.

IMAGE 12. Enchantment Resort, Sedona AZ. a7RII, Sony 90mm f/2.8 Macro G OSS. ISO 200, 1/250th/sec., f/14. Hand held.

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IMAGE 13. 100% crop.

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The Verdict

The a7RII produces stellar, clean files with superb clarity and detail. I haven’t profiled the camera for my computer yet. But noticed that I do need to spend a bit more time getting the landscape colors where I wanted them. The files from the a7RII are almost 2x the size of my a7II and almost 4x the size of my a7s.

The only thing that I noticed on ingest into Adobe LR 6.1.1 is when building the previews, it took substantially longer than my a7II and a7s files. But that is to be expected when you are dealing with 42.3 megapixel files. When taking successive shots with the a7RII the buffer will take a while to store the images to the SD card. During this time menus can not be accessed. During my 12 days on the road and pressing the camera into use in severe locations with 102 degree temperatures I experienced ZERO glitches. The a7RII performed perfectly. Battery life appears to be the same for the a7RII as for my other a7 series cameras. Shooting in harsh conditions, sensor dust is expected and was easily blown off. Once during my trip I wet cleaned both sensors. Again, to be expected for 12 days of continuous outdoor shooting in harsh element.

The Proper Tool for the Job

As I mentioned above I have five different sites: my overall site, luxury real estate and architectural photography, pet photography, weddings and wine and food. During the course of a month I typically am photographing a weddings, family and children’s portraits, ridiculously wonderful pet photography ®, doing video and stills for wine and food, and several luxury real estate and architectural shoots destined for web and print. Often during the course of the month I’ll be photographing for magazines, both articles and cover images. And to satisfy my soul, I’ll throw some street photography into the mix.

Wedding & Family Photography

a7s can capture clean images up to ISO 51,200. Light is always changing and its my go to event camera. I may purchase a second a7s body. A7RII for portraits at weddings and for families and children – on a tripod. A7II is my back up camera for family portraits and children’s portraits – on a tripod

Luxury Real Estate Photography

a7s because of its low light capabilities and super clean files. a7RII for luxury real estate photography magazine work.

Pet Photography

a7s for quick focusing clean files in changing outdoor lighting conditions, and the a7RII, if it will be for a magazine cover work.

Wine and Food Photography

a7s for on location shooting 1080p video. And the a7RII for tripod macro stills and 4k video.

Personal Work and Street Shooting

The a6000 with the Sony Sonnar T* FE 35mm f/2.8 ZA. Super compact, highly capable set up and very discreet.

About Marc

Marc Weisberg is a photographer, photography educator and blogger based in Irvine, California. He specializes in a broad genre of photography including luxury real estate photography, wine & food, family events, and ridiculously wonderful pet photography. You’ll find Marc’s trademark – magazine style imagery published internationally in books and magazines. In early 2015 Marc aligned with Sony to become a member of the Sony Artisan of Imagery program. You can see more of Marc’s work at www.marcweisberg.com

Aug 312015


The Sony A7RII Camera Review. A real world look.

By Steve Huff

Buy the A7RII at Amazon or B&H Photo

Here we go! After a few weeks of use with this camera I can finally sit down and write about all of my thoughts on this incredible technological marvel, the new Sony A7RII. As of the end of August there are many who received their new A7RII and are enjoying it. I can state with conviction that I have enjoyed every second I have had with this stunning memory maker. I hope you enjoy reading my real world review as much as I have enjoyed creating it for you.

Zeiss Loxia 50 on the RII at f/2 – click it for bigger!



Let me start this Sony A7RII review by saying I have never shot, tested, used, owned or reviewed a camera in 35mm full frame format that competes with this one as an overall package. It does everything I need, and then some. It offers me fantastic low light abilities, fantastic video abilities, amazing snap and detail and beautiful files that print out as large as you would ever need, and look amazing as well. The camera is a true beauty, and one I expected to like not love (I usually steer away from mega megapixels due to the usual compromises involved).

55 1.8, late night low light with the A7RII – click it for bigger!


The A7RII, when announced, was something I thought was a “Uh Oh” moment for Sony. I assumed ISO would suffer, speed would suffer and the camera would  be cumbersome and slow due to the 42MP sensor (Like the original A7R was when compared to later models). Sony was promising a “no compromise” experience, the best of the A7II, A7R and A7s all in one camera almost…well, they did not say that specifically but hinted at it on more than one occasion or gave the idea that yes, this is one camera that can do it all.

Here is an image shot with the little Voigtlander 40 2.8 for the Sony system. See my review HERE. LOVE this lens on the A7RII!


The shot below was with the Zeiss 35 Loxia, another fantastic lens on the A7RII. Maybe not as brilliant as the 35 1.4 Distagon but so small and lovely to use. Shot at f/2 in a very dim and low light restaurant. The sensor of the A7RII sucked in the light and “lit it up” which is what my Leica M always seems to excel at. This lens renders a nice organic image on the A7RII sensor. 


When I finally was able to test this camera, I started to realize that their claims were true (no compromise). Here I was with a “much smaller than any full frame DSLR” beautiful camera in feel, build and looks and when I started shooting it I was blown away by the speed improvements, IQ, color, AWB, metering, ISO performance, video and EVERYTHING it was doing for me. Those 1st few days were great but I knew I was in the “Honeymoon Phase” and that excitement would eventually wear off, as it always does. That is why these companies cam make a new camera like this every two years, as many people (the ones stricken with GAS) love to upgrade for something new and exciting after some time and tech keeps evolving at a rapid rate in the Sensor arena, so companies like Sony who make these sensors are pushing strong with the hardware to go with these incredible imaging sensors.

Outside at night with the Sony/Zeiss 55 1.8 (at 1.8) and the A7RII


So I kept shooting and using the camera and every day my enthusiasm would jump UP instead of DOWN, which was odd while testing a new camera. The more I used it, no matter the light or situation, it never failed me in any way, and always delivered beautiful results. It was quick, it was easy to use manual focus glass on, it felt beautiful and with my wooden JB Grip, I had many asking me what kind of camera I was using as it looks stunning with a nice prime lens and that grip!

This one, the Zeiss 16-35 on the A7RII. Lovely lens that I am now addicted to for its amazing performance. Click for larger!


Then again, I also use the Voigtlander 15 4.5 III in Leica M mount and also adore it for its small size and brilliant performance. Click for larger! 


In any case, the more I shot this with Sony FE lenses, Zeiss FE lenses, Leica M mount lenses, Canon EF lenses..the more impressed I was. When I did this ISO test against the A7s I was blown away. When I shot it indoors, outdoors, in brutal full sun, in the magic hour or for portraits or landscapes, the A7RII just delivered the goods without muss of fuss. The Dynamic Range of this camera/sensor is astounding.

The 24-70 Zeiss on the A7RII


The Controversy

All the while I was enjoying the A7RII I was seeing forum postings about pixel peeping nonsense that has nothing to do with taking, displaying or printing photos. Was boggling my mind. If you believe what some who never touched the A7RII say, you would think you could not get a decent image from this camera due to the compressed RAW files. Lol. As you can see in this review, I see no issues with any of these images in regards to compressed vs non compressed raw files. I also do not see any issues in my huge prints I made. Hmmmm. The whole thing stems from pixel peepers and has nothing to do with the real capabilities of this camera as a serious or pro photo tool. I know pros using it without issue, at all, ever. So that is what matters. The real results.


With that said, I feel Sony should give an option of uncompressed RAW files just to please those customers who want it. Shouldn’t be too hard for them to do with a camera on this price level.

As you can already sense, I love the A7RII. Spoiler. Bam. BUT it is not perfect and I’d love to see a couple changes made down the road to get it closer to where perfect lies.

The 1st image below was shot with the Zeiss 24-70 at f/4. VSCO Filter applied. I found this lens to perform exceptionally well on the A7RII. The filter here crushed the blacks, but sometimes I like this look. 


Below, using the Canon 50 1.2 via a Metabones adapter. No more front or back focus with this lens ;) 


Before I get into all of the Nitty Gritty, I’d like to say that while I really liked the original Sony A7 and A7R, I never LOVED them for the long haul or when compared to the newer gen A7 series. Compared to what we have in the A7II and A7RII and even A7S the A7 and A7R were slow, clunky and LOUD. Todays A7RII is like a different camera when compared to the A7R of yesterday. Newer body style, better build, quieter shutter, silent shutter, 5 Axis IS, 4K video, 40% faster AF, much better C-AF, and the list goes on. Shooting the A7RII is very enjoyable so the usability factor is up there with this one, and that is unusual for a Sony camera as old NEX bodies were more like mini computers than cameras. The A7RII is very much a “camera” but one that is loaded with features and usable function.


Using it with a Canon lens was also enjoyable. The image above and below were both shot with the Canon 50 1.2 using a Metabones adapter, and the AF was faster on the A7RII than the Canon 5DIII using the same lens! Crazy but true, and verified by many who were with me. I loved the 50 1.2 Canon so much on the A7RII I put one in my Amazon cart right after testing it out. I never did buy it as it’s not a cheap lens but one day I just might as it seems to do really well on the A7RII.

Was much more enjoyable to use on the A7RII than it was on my old 5D from long ago (would always front focus or back focus on the 5D for me). This lens keeps its 3D character on the A7RII.


One more from the Canon 50 1.2 (see it HERE). Beautiful color, rendering and Bokeh.


It’s all in the details..

For me, I enjoyed the Sony A7s with intense enthusiasm (and still do) because those big fat megapixels on that big full frame sensor just delivered the goods. It was the 1st A7 body that really pushed on with speed, low light, video and user experience. Due to the 12MP on the huge sensor we were getting insane high ISO performance that was previously not possibly. We were close with the Nikon D4 and Df but the A7s pushed it over the edge for low light work. Video guys were using video at crazy high ISO and getting nice clean footage out of it. The A7s and A7II, for me, were the pinnacle of the A7 series. Until now. With the A7RII I am seeing the best of all previous A7 bodies rolled into one, and then some.

Click the image for larger view and enjoy the details ;) Taken from a Helicopter while in Portland.


With the A7RII we have a camera that is not only full frame, not only 40% faster than the previous A7R for AF and not only built to a higher standard, we have a camera that creeps somewhat into the A7s territory for low light high ISO work. We have a camera that is the technically best in the Sony line for video (though some overheating issues have been reported).

We have an improved 5 Axis IS (though it still is not up to Olympus E-M5 II levels of performance for the 5 Axis IS) so ALL lenses can be stabilized on this new massive sensor, even old Leica glass. We have a huge EVF that allows us to see what we do in real-time as in, “what we see is what we get”. We have a swivel LCD and a vast selection of native and non native lenses to pick from to use on this camera. We have an amazing street camera in the A7RII because while we do not need 42MP of resolution, with the camera being fast and good in low light, we no longer compromise here (huge MP used to mean crappy low light, not anymore). This also gives us great cropping ability with all of those megapixels.

Man, remember the days of 1MP cameras? Now we have 42 in a smallish full frame compact body. Crazy!

Take a look at the images below. Click on them and see them larger with a full 100% crop

1st a full size from RAW image, OOC

1st one, Zeiss 35 Loxia at f/2


Next, Zeiss 16-35 at f/4




Voigtlander 40 2.8


Image then a crop. Taken with the Batis 85 

fullhat hatcrop

Click it for 100% crop!


One more crop but you must click the crop to see it in its full size. 

alexfull alexcrop

It’s a pretty amazing thing what Sony has accomplished in such a short time span. About two years from the first A7r to the new A7RII and we have a camera that is BRILLIANT in almost every aspect.

Sure, there will be those who still prefer a DSLR, Optical VF and the DSLR way of shooting but for many, and yes there are many, this Sony represents the wave of the future for hobbyists, enthusiasts and pros alike. It is a camera like the Sony A7RII that is breathing new life into what was becoming a tired industry. This A7RII has shaken up things a bit, and for good reason. Even Leica is starting to really sit up and take notice as mark my words, they will be releasing a Sony A7RII competitor soon, they have to as this camera and the previous A7II and A7s have eaten away at some of their M sales I am sure.

ISO 8000, 55 1.8 at 1.8, Zero NR (I never use NR, always OFF)


Just look at the impressive specs below of the new Sony…


With a world’s first full-frame 42.4-megapixel Exmor R back-illuminated structure CMOS sensor, the Alpha a7RII Mirrorless Digital Camera from Sony is prepared to take mirrorless imaging to another level. This sensor design both improves low-light operation and speeds up data throughout, enabling fast high-resolution stills and UHD 4K video recording. Working with the BIONZ X image processor, these images can be produced at sensitivities up to ISO 102,400 and at a continuous 5 fps shooting rate. Five-axis SteadyShot INSIDE image stabilization has also been implemented, compensating for vertical, horizontal, pitch, yaw, and roll movements.

Speed has received a major boost with a 40% increase in speed over its predecessor. The AF system received its own massive upgrade with the use of 399 phase-detect points and 25 contrast-detect points for a speedy Fast Hybrid AF system which will offer extremely accurate tracking. The phase-detection points even extend to A-mount lenses when used with the LA-EA1 and LA-EA3 adapter.

Designed to last, the updated magnesium alloy body has improved weather sealing and a robust lens mount for working with large lenses. Also, the shutter has a reduced-vibration design, cutting down shutter vibrations by about 50%. Also, it now uses an electronic front curtain shutter and is rated for 500,000 cycles. Silent shooting is also available for a quiet shooting experience when needed.

Onto video, the major addition is internal UHD 4K 3840 x 2160p recording at 30 or 24 fps with the XAVC S format at 100 Mbps. This is possible using either the Super 35 crop mode, with no pixel binning, or the full-frame readout. Full HD 1920 x 1080p is still readily available at up to 60 fps and HD 1280 x 720p is possible at up to 120 fps. Additionally, the a7RII benefits from the inclusion of the S-Log2 Gamma and S-Gamut settings as well as fully customizable picture profiles.

Composing and reviewing your images as you work is handled with either the 0.5″ 2.36M-dot XGA OLED Tru-Finder electronic viewfinder or the 3.0″ 1,228.8k-dot tilting LCD monitor. The viewfinder offers 0.78x magnification and a 4-lens system with double-sided aspherical elements for comfortable viewing. The monitor helps in odd positions by tilting up 107° and down 41°. And, to stay connected, the a7RII packs in Wi-Fi connectivity with NFC for remote operation and transfer of images to a smartphone, tablet, or computer.

Zeiss Loxia 35 mid day sun – OOC


42.4 MP Exmor R BSI CMOS Sensor and BIONZ X Image Processor

The world’s first back-illuminated full-frame sensor, the 42.4-megapixel Exmor R CMOS sensor present in the a7RII works with the BIONZ X image processor to offer high-resolution stills and video while minimizing noise and improving speed. This sensor structure works with gapless on-chip lens design and an anti-reflection coating, as well as eliminating the optical low-pass filter, to improve light collection and enhance detail. Also, the copper wiring layer dramatically improves data transmission speed for creating high-resolution 42.4-megapixel stills at sensitivities up to ISO 102,400. Also, it enables internal UHD 4K video recording with a wide dynamic range using the full-frame sensor.

Zeiss Batis 25


5-Axis SteadyShot INSIDE Image Stabilization

Packed into the svelte a7RII is a 5-axis SteadyShot INSIDE image stabilization system. This compensates for five types of camera shake encountered during handheld shooting of still images and video. This allows users to confidently use any lens, even adapted lenses, for critical imaging without encountering blur from camera shake. This system will compensate for approximately 4.5 stops of shutter speed for working with a huge variety of subjects.

For long focal lengths, the system will correct for pitch and yaw adjustments. Macro and high magnification imagery on the other hand will benefit from the inclusion of horizontal and vertical shift compensation. And, all shooting styles will get usage out of the roll compensation. All 5 axes of stabilization will function at all times, even when used with third-party lenses and adapters or lenses with built-in optical stabilization.

When using lenses that do not transmit imaging data to the camera, manual settings can be used to input the correct focal length and ensure proper stabilization. Also, the viewfinder can be used to preview the amount of compensation by pressing the shutter release button halfway or magnifying the image.

Zeiss Batis 85


Fast Hybrid AF with 399 Phase-Detect Points

Lock onto your subjects quickly and without hesitation thanks to the revamped Fast Hybrid AF packed into the a7RII. It uses 399 on-sensor phase-detect AF points with 45% coverage along with 25 contrast-detect AF points in order to improve the speed, accuracy and tracking performance of the system. Faster readout thanks to the back-illuminated sensor structure also allows for tracking while shooting at the top continuous shooting rate of 5 fps. This can be captured in a burst of up to 24 frames when shooting in JPEG Fine L format at 42 MP and a continuous AF Display allows users to view the active AF points.

Another feature available with this AF system is a Lock-on AF tracking that will analyze more information from the scene to provide dramatically improved accuracy and stability. Eye AF is also available which will prioritize a subject’s pupil for excellent portraits even with a shallow depth of field.

Zeiss 50 Loxia


UHD 4K Video Recording in XAVC S Format

In addition to the first BSI full-frame sensor, the a7RII is the first full-frame camera to offer internal UHD 4K video recording at 30 or 24 fps. This is possible using either the full-frame sensor or the Super 35 format which uses oversampling with full pixel readout and no pixel binning. This limits moire and aliasing common with high-resolution sensors. Video recording also benefits from live tracking thanks to the 399 phase-detection AF points present in the Fast Hybrid AF system. An additional benefit of this camera is the ability to switch back and forth between NTSC and PAL operation for worldwide use.

When recording internally, users will record video with a 4:2:0 sampling at 8-bit, however, to even further improve image quality the a7RII has clean HDMI output for use with an external recorder. This allows users to capture 4:2:2 uncompressed video and save in an edit-ready format.




Timecode and User Bit Settings

The a7RII has multiple timecode recording options to meet different workflows. It has the standard ‘Record Run” mode that only advances the timecode when recording, as well as “Free Run” timecode that advances the timecode even when not recording, which can be great for syncing multiple cameras at live events. It can also record timecode in both drop frame and non-drop frame modes. When recording internally the a7RII is also able to output timecode via HDMI.


Customizable Picture Profiles and S-Log2 Gamma

To make sure the a7RII is able to use its extensive dynamic range while recording video it incorporates extensive customizable color and gamma controls. Users can adjust the gamma, black level, knee, color level, and more. Also users can use the same S-Log2 Gamma Curve that is found on high end Sony Cinema cameras that squeezes up to 1300% more dynamic range into the video signal then traditional REC709, for increased post-production flexibility.


3.0″ 1,228.8k-Dot Tilting LCD Monitor

With a higher 1,228.8k-dot resolution, the LCD screen will provide shooters with an excellent screen for composing images, adjusting settings, and reviewing video and photos. It also tilts upward 107° and downward 41° for working with multiple shooting angles. Use in sunlight is improved with the implementation of WhiteMagic technology which doubles the brightness of the display through a RGBW pixel structure.


0.5″ 2.36M-Dot XGA OLED Tru-Finder Electronic Viewfinder

With its 4-lens optical system using double-sided aspherical elements the viewfinder faithfully displays what will appear in your recording, including the effects of your camera settings. You’ll enjoy rich tonal gradations and improved contrast. High-end features like 100% frame coverage and a 0.78x magnification enable comfortable and stable eye-level composition.


Redesigned Grip, Shutter Release Button, and Controls

With a larger, more refined shape to the grip, users will find the a7RII to have a more secure feel and grasp even when large lenses are mounted. Also, the shutter release button has been reshaped and moved forward for a more natural shooting position and a decrease in camera shake. The controls also have been refined with new position for easier handling and improved operation. Button customization is available with the ability to assign any of 56 functions to any of the 10 customizable buttons for a more personalized setup.

Batis 25


Magnesium Alloy Construction and Robust Lens Mount

The compact form is well-built with a magnesium alloy top cover, front cover, and internal structure. The lens mount has been redesigned with a greater strength and rigidity for extra security when using larger or longer lenses. The body itself also features greater sealing for dust and moisture resistance, providing more protection when shooting out in the elements. Additionally, the optical filter on the sensor has an anti-static coating and there is an anti-dust mechanism to prevent dust from adhering to the sensor.


Reduced-Vibration Shutter & Silent Shooting

Cutting down on mechanical vibrations by 50% is the durable reduced-vibration shutter implemented in the a7RII. It has been tested to last for 500,000 cycles and also uses an electronic front curtain shutter. Additionally, a Silent Shutter mode is available for completely silent shooting when needed in certain environments.


Audio Input & Headphone Jack

The a7RII features a 3.5mm microphone input jack for compatibility with external microphones. And for users needing more the a7RII is also compatible with the Sony XLR-K2M XLR Adapter for recording professional balanced XLR audio signals with phantom power and adjustable mic/line inputs. For monitoring audio the a7RII features a 3.5mm headphone jack as well as real time audio levels for a visual reference.


Built-In Wi-Fi Connectivity with NFC

Built-in Wi-Fi connectivity enables the a7RII to instantly share imagery to mobile devices for direct sharing online to social networking, via email, and to cloud storage sites. NFC (Near Field Communication) is also supported, which allows for one-touch connection between the camera and compatible mobile devices; no complex set-up is required. Once connected, the linked mobile device can also display a live view image on its screen and remotely control the camera’s shutter.

Additionally, PlayMemories Camera Apps are also supported via the built-in Wi-Fi connection, and allow you to personalize the camera’s features depending on specific shooting styles. Apps are available to suit creating portraits, detailed close-ups, sports, time lapse, motion shot, and other specific types of imagery.


Other Camera Features

Picture Effect modes: Posterization (Color, B&W), Pop Color, Retro Photo, Partial Color (R/G/B/Y), High Contrast Monochrome, Toy Camera, Soft High-Key, Soft Focus, HDR Painting, Rich-Tone Monochrome, Miniature, Watercolor, and Illustration.

Creative Style settings: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, and Sepia (all with +/- 3 step contrast, saturation, and sharpness adjustment).


Color space: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Color.
Picture Profile parameters: Black Level, Gamma (Movie, Still, Cine 1-4, ITU709, ITU709 [800%], S-Log2), Black Gamma, Knee, Color Mode, Color Level, Color Phase, Color Depth, Detail, Copy, and Reset.
Scene Selection modes: Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, and Anti Motion Blur.

Face Detection is available to base exposure and focus on up to eight recognized faces. Furthermore, Eye AF can be used for even greater precision by maintaining critical focus on a subject’s eye.
2x Clear Image Zoom can be used to effectively double the magnification afforded by any lens in use with minimal image degradation. For even greater magnification, 1.5x and 2x Smart zoom is available, as well as 4x digital zoom.

Pre-flash TTL control with flash bracketing available and a variety of flash modes, including: Flash off, auto, fill-flash, rear sync, slow sync, red-eye reduction, hi-speed sync, and wireless control.


More of MY Experience with the A7RII

Here we are 3700 words in and I have yet to show you guys comparisons, Leica M mount results, High ISO performance…wow. From this point on I will try to be to the point and quick so let’s start with some high ISO results against the top dog in high ISO, the Sony A7s. I assumed the A7RII would be sub par at high ISO due to the massive 42MP sensor. Well, I was wrong, and this is good! So below I will get to high ISO, Leica M lens use, Dynamic Range and more. Let’s get to it!



Let’s take a look from ISO 6400 all the way to 102,800 ISO on both the new A7RII and the high ISO king, the A7s. WOW, this is 42MP? IT DOES QUITE WELL though I would only use it at up to 6400 comfortably with the occasional 12,800.

Text that says what camera is what is on each image, click them for larger and 100% crops!











So there you go. The A7s still beats the A7RII (as expected) at the extreme higher ISO’s but the A7RII did much better than I had thought here. ISO 12,800 is VERY VERY usable, which is unheard of in a 42MP sensor.

Also, When out and about shooting in VERY low light or near darkness the A7RII gave me no issues. I never ever ever use Noise Reduction, so EVERY shot you see in this review or any other reviews by me in the last 4-5 years will not have NR applied.

Two more high ISO shots in VERY LOW LIGHT! The 1st image we were in a DARK room and her face was lit by her iPhone, that is all. ISO 6400, Zero NR as always. Click it for larger and know this is what you can expect of the A7RII in super low light at 6400 ISO. The image shows much more light than my eyes saw! 2nd shot is also 6400.. Lens is the 55 1.8



ISO 12800, crazy low light room. 55 1.8


ISO 102,400 – Zero NR here. Zeiss Loxia 50



For being a 42MP sensor, this is extremely impressive.


Testing the Leica 28 Summicron and 35 Summicron up close, mid distance and at infinity. From what I understand, shooting at infinity is where these M mount wide angles pose the largest problems with the A7 series, so I was asked by a very knowledgable guy who loves his Leica glass to test these two lenses, and if they do well at infinity then it could mean the A7RII is fantastic with M glass.

Let us take a look and see how it went..1st up, a few images using the Leica 28 Summicron f/2 lens:

Looking at these snapshots with the Leica 28 Summicron tells me “no problems”!! No magenta edges, no off color, none of that..





In this next image you can see the searing on the left and right side of the image (the red wood) which is an issue if you want across the frame sharpness. In fact, I would recommend the Sony 28mm f/2 over the Leica as depending on how you focus (infinity or up close) there could be some soft corners…


Here is a shot with the 28 cron and a 100% crop, plenty of detail here..CLICK IT FOR LARGER and 100% crop! Corners have some softness but no color issues. 



The 35 Summicron also shows no magenta colors, edges or problems unless you are shooting something like a sweeping landscape using infinity focus, which is where you will see the softness/smearing on the sides of the frame.

This is the Sony A7RII with Leica 35 Summicron at f/4. Click for larger. No vignetting issues, no color issues but there is some edge smearing when shooting at infinity (or so it appears). 

The good news is that for 98% of uses, the 28 and 35 Leica cron work great on the A7II. So if you have one of them, they will do well on the A7RII unless you are doing critical landscape work shooting at infinity.


Few more snaps with the 35 Cron. Click them for larger. 

35 cron

Detail and snap looks as it should with the 35!




For wide open shooting up close and mid distance this lens is great on the A7RII





So at the end of the day, it seems the Magenta sides and color issues when using wider angle Leica lenses are no longer issues, as in 100% gone, which is fantastic. The new backlit sensor does indeed fix the #1 issue we had with M glass on the A7 series. Bokeh and character rendering all are the same as they are if shooting these lenses on a Leica M. In other words, if I shot a portrait using the 35 cron on the M and A7II, my guess is that no one would be able to tell me which was shot on which and the Sony may even produce a sharper image.

If I was buying an A7RII I would stick with native lenses for the most part, and would pick up vintage M mount lenses for their character here and there (the cheap ones). I would not invest $4-5k in a 28 cron or 35 summicron for the A7RII as I feel there are cheaper lenses that do just as well on the camera. The Sony/Zeiss 35 1.4, (the Zeiss 35 1.4 M mount is also fantastic), the Sony 28 f/2 is cheap and punches well above its price point, etc. There are some amazing Leica 50mm lenses I would consider like the 50 Summilux ASPH or 50 APO which work amazingly well on the A7S, A7II and now A7RII. Other less expensive 50’s I would buy for the A7RII in Leica M mount would be the Voigtlander 50 1.5 Nokton ASPH or the Zeiss 50 1.5 Sonnar. Both are spectacular on the A7s, A7II and A7RII,

If I already owned a few Leica M lenses I would 100% buy an A7RII to use them with as a backup to my M or whatever I was using. In many ways the A7RII beats the Leica M. In some ways the Leica M beats the Sony (Build, feel, design, RF use, simplicity).

So there ya go, and the new 15mm III from Voigtlander works VERY well with the A7RII, sharp across the frame, no distortion, tiny. :) The A7RII is a VERY versatile camera.



Dynamic range is spectacular just going by the fact that it is simple to NOT blow highlight and that shadow detail is incredibly easy to recover as well. The info is there, packed in to the file and if we under or over expose, we can easily fix the issues. Of course, underexposing is always easier but the challenge has always been when we pull out those shadows, we also pull out noise and in some cases, banding or other artifacts. With the A7RII, I had no problem recovering the shadows from the shot below which I exposed this way purposely. As always, click images for larger.



So as you can see, the DR of this sensor in the A7RII is rather good. I look forward to seeing DXO’s test of the sensor to see what the numbers are. I am not a huge DXO guy but I do like their Dynamic Range and ISO tests.

COMPARED TO the A7II and A7S and old A7R

Compared to the A7II and A7s (TWO cameras I adore) the A7RII is like having the best of both of those bodies into one. It beats the A7II for me as I prefer the image quality I am getting from the new backlit sensor in the RII over the A7II. With fantastic low light ability, fast AF and the ability to shoot any fast prime ever made (just about) the A7RII has taken the place of my A7s and A7II, and condensed it down to one body. The A7s still has a place in my heart as it is a unique camera and it is still on my shelf. LOW megapixels, easier to handle the files, easier to edit on a low horsepower computer and lovely color and speed as well as industry leading low light abilities.

The A7RII is not too far off from the A7s in low light, which is astounding and makes me think a new A7SII will have 1 million ISO possibilities. I could be wrong but I feel that is where we are headed.

To see my A7s review, click HERE

To see my A7II review click HERE

To see my original A7R review, click HERE

SO basically, for me, the A7RII is “IT”. It replaces the A7II for me, as there is no need for both. I still have an A7s and will keep that one around for when I want low MP and extreme low light use.


AF SPEED – MUCH IMPROVED OVER A7R and equal to or a tad faster than the A7II in my experience 

The AF speed is MUCH faster than the old A7R and its not subtle. If you have been shooting an A7R and move to the A7RII you just might be shocked in the 40% faster AF speed, AF accuracy and the shutter which is now MUCH quieter! The new body style is also more rugged and solid and feels fantastic. Sony really did their homework with this camera and while it is not perfect (no camera is), it is fabulous and quite a special machine. Well worth the investment if you are a passionate shooter like myself. It brings many levels of joy and with the new AF speed, I no longer miss shots as the A7R used to make me do with its dodgy AF, especially in low light.

Also, I feel I can AF faster with the A7RII than I can with a Nikon Df, which gave me many AF misses. With the EVF showing me exactly what is IN focus, if it did miss I could easily fix it on the spot. So yes, the AF is at the level of the A7II, maybe a bit faster (seems like it is)




This camera is WAY beyond my capabilities as a videographer but many have been reporting overheating issues with video recordings longer than 30 minutes. I remember having this issue with my old NEX-7, but I have not experienced myself with the A7RII yet, but my videos have been 15-20 minutes max. Seems Sony has some overheating issues with some of their cameras when shooting video. Should not be here in a camera of this level or price point so if you shoot video segments longer than 30 min at a time, you may want to dig into this issue deeper on other review sites that specialize in video reviews. All I can say is that the video I have shot so far (for my own personal projects) has been superb, especially with the new enhanced 5 Axis IS, which is in body. Shooting with a Zeiss 16-35 is so nice, it almost seems like a steady cam is attached when shooting at 16mm.

If I were buying this strictly for video work though I would investigate the over heating issues 1st!



Leads me to two more weaknesses with the A7RII, video overheating is one..and the 2nd and 3rd?


The EVF of the Sony A7RII is an upgrade from the old A7R but it is not without issues that some have been reporting all over the internet and camera forums. When using a manual focus lens, let’s say a Zeiss Loxia (which I love to death on the A7RII). Turn the focus ring and the A7RII will automatically magnify the EVF screen so you can critically focus. Press your magnify button again and it will blow up even bigger, but when this happens you will see some degradation in the EVF frame, something the A7II and old A7 series did not do. There is some sort of degradation which makes it hard to critically focus, so I never blow up the EVF image that large, as it is does the opposite of what I need, making it harder to manually focus.

Other than the Manual Focus issue with the EVF, it is fantastic. I still can easily manually focus my Loxia lenses, so do not think it makes it hard or impossible, it just makes it “harder” than it should be if you magnify the screen to its max level.



The weakness that has started with the original A7R continues..battery life. For some this is an issue. For me it is not at all as I get 350-400 shots per charge, and I have 6 batteries (but only carry two with me when out shooting) and batteries are cheap if you go 3rd party, very cheap.

Many want 2000 shots from a battery charge and many shoot their cameras like a machine gun. Me, I do not and if I am out for 8 hours shooting I may come home with 40 images. Many would come back with 3000. So if you are a massive frame rate machine gun shooter, you will need a few batteries or you will need to slow it down, or bring along a Nikon D4 with it’s massive weapon of a battery.

If you are like me, and getting 300-400 shots per battery is PLENTY, then this is a non issue. When shooting video you will use more power so the battery does suck down MUCH more when filming video. But the A7RII is just as impressive with still images as it is video. In other words, it is NOT a video specific camera, at all. I am more impressed with the photo side than video on this camera.

I slightly mis-focused this one with the Zeiss 35 Loxia




  1. Lovely build and feel
  2. 5 Axis IS is now enhanced for the new sensor
  3. Splash proof
  4. Compatible with ALL FE lenses and E lenses
  5. Compatible with all Leica M lenses, Canon and Nikon (with adapters)
  6. Nice big fat EVF
  7. Tilting LCD
  8. Gorgeous IQ and color
  9. Improved AF speed by 40%
  10. Much nicer AWB than previous model
  11. Pro level video features and capabilities.
  12. Feels fantastic in the hand
  13. High ISO is incredible for megapixel size.
  14. All buttons are customizable! Woohoo!
  15. Sony’s best digital camera ever IMO.
  16. Resolution can be mind blowing
  17. Near medium format feel at times (to the images)



  1. Expensive at over $3000
  2. Still some smearing issues with some wide angle Leica M mount lenses
  3. EVF degradation issue at max magnification for manual focus
  4. Battery life could be better, especially for video use.
  5. Could be simpler. I’d love to see an A7 series body stripped down  to basics, like a Leica. ONLY for photo, no video.
  6. 12 Bit RAW, they should make it 14 bit for those who want it.

ZEISS 16-35



Well here I am again writing a conclusion on another Sony camera. I remember vividly reviewing the early NEX-3 and 5 years ago. Both revolutionary cameras at the time that I loved back then. Today it’s all about full frame and pushing the limits of 35mm IQ, low light high ISO and even image stabilization. The latest and greatest camera in the mirrorless world is the A7RII and for me, it surpasses any and all that have come before, quite handily. Is it the best 35mm full frame camera in the world? Maybe not, but then again, maybe it is. Depends on your needs and wants, and for me, it is the one I would choose if I was buying ANY 35mm format full frame digital camera today. Here is why…

  • Massive resolution
  • Finally…fast AF speed
  • C-AF is quite good though not pro DSLR good
  • High ISO is up there with the best in the world
  • Video is outstanding (as long as we do not overheat)
  • Color, detail and image quality up with the best available in 35mm
  • Pro-ISH build and feel here, much better than previous A7R and A7
  • Large EVF, I prefer these to OVF’s today by FAR!
  • Camera handling, speed and response is fantastic
  • Hundreds, if not thousands of lenses can be Mounted and used. Limitless creative possibilities with ONE camera. It’s a beautiful thing.

The A7RII is one hell of a camera, and it’s not just me saying this. Many long time reviewer’s are praising it as well, and the reason is because it is the real deal. Many are complaining about the compressed RAW thing, and I understand the concern (on paper) but for me, I have never had any issue with any of my A7RII images that have been taken since using it in Portland at the Sony media event and now in my home. NOT ONE issue related to that, so for me, it is a NON issue. Though I do get it, and I hear Sony is looking into this as I write this.  If I ever have an issue due to having compressed RAW files I will let you all know. I do not expect to EVER have an issue as I do not pixel peep at 400%, or even 200%.

At the end of the day, the Sony A7RII is quite an achievement. Sony never gave up, never stalled, and they listened to what WE had to say. They implemented many of our needs and wants and we now have a NEAR perfect camera in the A7RII for those who just love to shoot, love photography and love when they see such amazing quality when they load the images.

Zeiss Batis 85 f/2


From Zeiss to Sony to Leica to Canon to Nikon to others…so many lenses can be used to great effect with the A7RII. With its in body 5 Axis Image Stabilization, its resolution and all the things I Just mentioned, there is really nothing NOT to like. For me, it’s the best camera in 35mm full frame format that I have ever used, tested or reviewed. This is my new #1 replacing my A7II. I will keep the A7s for those moments when I am in the “S” mood or need that extra bit of low light ability.

Sony 35 1.4 Distagon – Chris from the Phoblographer


If you want the best that 35mm can offer you in IQ and features and size and ease of use/joy of use, take a long look at the A7RII. It may be your dream camera. Now I have to try the Canon dream lens on the A7RII which I will then dub the “Dream Team”! Hehehe.

Where to Buy?

I would buy the A7RII at Amazon HERE or B&H Photo HERE. Two of the best retailers on the planet.

A few more A7RII Snaps…
















Purchase the A7RII at B&H Photo HERE

Purchase the A7RII at Amazon HERE




Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple, and no, I am not asking you for a penny!

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website, in money and time. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Aug 262015
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A Manual Approach to Wedding Photography

by Joao Medeiros

I’m not comfortable writing. Images, particularly photography are what drives me. Since very young Art was part of my life, I went from painting and waiting to be an architect to abandon everything for a life in the theatre, just to pursue a career in Jazz playing trumpet.

But at my twenties, I was struggling to make it and everyone was making sure I knew I had to earn money to be a successful individual. Money was never my interest, I’m passionate about Art, any form of it. But Photography had a degree of intimacy and control that I had never experienced.

I went to college to take a photography bachelor and complemented it with a bachelor in Fine Arts and a master’s degree in Visual Arts teaching, things went on for a while, drifting in teaching, corporate/event photography, restoration related jobs before I finally found the one area where I had complete creative freedom. A freedom that allows me to choose the gear that gives me pleasure while creating and expressing myself through Photography and eventually sharing my Vision.

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Weddings are something that has been with society since we had the need to express our love for our life companion. Happiness is something that needs to be shared and celebrated with our loved ones. And that’s what I like about them, it’s all about family and friends making the most of Life. When I was in college, I did the whole course with only an Olympus OM 1 and a 50mm, since then manual focus is second nature to me, even when I had top DSLR’s AF never grew on me. But when I used the first serious EVF (Panasonic GH2) I knew what I wanted and what I wanted to see while composing. Eventually, when I step up to weddings I needed the best dynamic range and colour I could get my hands on it, so I bought a Sony A99 and a Nikon D800e to figure out my needs. After a year the Sony won me, not because it was superior to the D800e, it was Sony’s approach to photography that made it. The fully articulated LCD, I. S and Minolta’s heritage all over the place made the A99 a superior tool in my hands.

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When the mirrorless Sony A7 appeared on the scene I had no doubts and bought one immediately with a set of Zeiss ZM and Voigtlander lenses with the VM close adapter. Since then, shooting has been a real pleasure. Nothing beats feeling your shots, even when we are capturing fleeting moments like kisses, exchanging vows/wedding rings or sharing a secret while on the dance floor at 4 am. Having a small, robust camera with the best glass in the industry makes me feel very confident and secure that when I get home, I have all I need to put together a body of work that reflect my vision. That’s the main lesson I learned, you really need to follow your own unique vision of things.

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We are all different, but you really need to push beyond the limits to reach for that inner voice. Recently I added the amazing sigma Art 35mm f 1.4 to my set, the only complain is its sheer size when compared to my little Zeiss ZM 35mm f2. My workflow is pretty straightforward, I use B&W mode to concentrate on composition and focus while having red peaking and magnify to guarantee that every moment is in focus. For 75% of all my work, I use the 35mm focal length with my Sony A7 and take advantage of the articulated LCD from the A99 to get more discrete and intimate portraits with the 85mm, also from Sigma. Just a little detail, I removed the slt mirror from the A99 and use it in manual focus, so it’s basically a big mirrorless camera. I’m more of a guest than a professional photographer, at least that’s how I’m perceived by my clients, family and friends. A friend who happens to make a living from photography. I really try to enjoy the wonderful day, conscious that I’m very fortunate to be at a private party while making a living. I’m always the first to arrive and the last to leave, it’s after all a body of work and not just a staged kiss with the golden hour moment. It’s people that drive me, the concept of family and friendship not staged moments.

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I’m looking forward to get the new Sony A7RII since it brings some new features like a new and stronger shutter that it’s better damped, the I. S, min. auto shutter, copyright embed info, better high ISO performance and even the silent shutter option although with some caveats.

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Thank you.


João de Medeiros


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