Nov 242015


From Canon to Fuji Sony. An A7RII User Review

by Ben Jacobsen – See more: and his flickr:


The Sony switch… As most of you know I’m a long time canon shooter that made the mirrorless switch to fuji last year. The majority of my photography business is based around shooting architecture with a UWA zoom. My switch to fuji happened as soon as their 10-24mm was available (as well as their XT1 promising fast AF). I shot with a complete fuji setup last year for weddings, architecture and landscape work as well as for my personal images. While I was happy with my switch away from canon (I wasn’t using my DSLR for anything but paid work because of it’s size) I wasn’t quite happy with the AF speed and files quality I was getting. They were good enough but I wasn’t 100% satisfied. Then last year at photo expo in NYC I stumbled into the Sony booth and saw their brand new 16-35mm f/4. This lens paired with an a7r was practically the same size as my XT1 and 10-24mm but it had a full frame 36mp sensor… Then I walked over to their dark room focus torture test and saw how well the a7s could focus in ridiculously low light and I was sold…


I got home and ordered an a7 thinking it’d be the best all around camera for me. I’d been more than happy with my 5DIII’s 24mp so it seemed like the best compromise with better AF over the a7r and more resolution than the a7s. When it arrived I noticed a flaw in the sensor and AA filter design that caused it to have what I call “green ghost flares” where the flare from a light source gets this very weird green flare. This is NOT lens flare and it is a huge issue for me with architectural images. So I tried the a7r next… and LOVED it’s sensor (and w/o an AA filter the green flare was gone) but it’s AF was far too slow to shoot people with for me. Next was the a7s which was great, crazy high ISOs, good enough AF and no ghost flares. But before a week was up with it the a7II was announced and I was hoping they’d fixed the green/ghost flare issue so I preordered it and waited… It came and is/was a GREAT camera. Middle of the road MP, great DR, good enough ISOs, and the best AF to date (the a7rii beats it but came out later). The reworked sensor and AA filter fixed the ghost flare issue. I was happy. Then the a7rII was announced and I knew that the combination of the best AF in the series in combination with the best sensor would be the best fit for me. Not only does the a7rII have the most MP but somehow it’s ISOs are cleaner up high -vs- the a7II. I’ve had it since August 6th (3 months, 7,517 shots taken) and I’m here to share my thoughts!


That Sensor!

Let me start off by saying that I’m thrilled with the sensor in the a7rII and it’s AF has done nothing but impress me so far! While I’ve always said I don’t need more resolution -vs- what my canon or fuji have provided in the past, it does make for some GORGEOUS prints! I have a 32″x48″ canvas from the a7rII in my house and the added detail is noticeable if you look for it. You also get dynamic range that the canon couldn’t dream of touching and it’s ahead of the fuji as well. I’ve had some architectural shoots where I’ve bracketed a shot thinking I’d need to HDR it and in post I can +99 the shadows and blacks of the shot with the best detail in the highlights and get basically the same look! Sure there’s some noise in the shadows when you do this but it’s just insane as a former canon shooter that you can do this without seeing crazy patterned noise. Now the ISOs are also very good. I shoot up to 12,800 without a concern. There’s luminance noise at that point and you lose some of the pop from the colors but there’s zero chroma noise at all! On top of all that without an AA filter there’s no green or ghost flare issues with the a7rII.



Now this can’t be a proper a7rII review without at least mentioning compression of the raw files! Personally I haven’t had a problem with the 14-bit compressed files we’ve had since the beginning. I know you have to shoot with the camera in single shot mode, no bulb, no long exposure noise reduction and no high ISO noise reduction to get true 14-bit files. This is how I shoot my landscapes. Sony has now released an uncompressed option that’s basically putting the 14-bits into a 16-bit file which means the files go from ~45mb to ~90mb… It’s up to you if you need it. I’m using 14-bit compressed for landscape and architectural work and then 12-bit for weddings. I don’t need the extra depth there and the files are smaller and faster to process in 12. I use either silent shooting mode or either L or H FPS modes to “force” the camera into 12-bit mode as needed.

Auto Focus

The auto focus on the a7rII is amazing. I know a lot of guys will say that it can’t keep up with a pro series DSLR but at this point it really makes me wonder. I’m not saying it’ll track a subject that’s moving quickly at 11fps because the body can only shoot 5fps. What I am saying is that in just about any light I’ve had very little problems with the AF with this camera and I’m coming home with much fewer out of focus shots. Even -vs- my old 5DIII! I remember shooting wedding receptions with my 5DIII (once we’d given up on ambient light and gone all flash) where I’d switch to my 16-35mm 2.8 only because it focused a lot quicker in low light -vs- my primes. With the sony I can shoot with my 25mm f/2, 55mm 1.8 or 85mm 1.8 and they all lock on and stay locked on during low light reception shots with little to no lag at all. I’ve been VERY impressed! I’m coming home from weddings with hardly any shots that are out of focus. I’m talking less than 5% (and some of that can be blamed on me pressing the shutter before it locked).



That’s not to say it’s perfect though. Sony has added so many bells and whistles to it’s AF system it can be very confusing at first. Face detect, eye AF, center lock on AF, expandable flexible spot, the list goes on and on! While it’s taken a little getting used to and some manual reading (yes, I admit it) and I STILL don’t know all the functions of this AF system, I will say it works really well. The other odd thing I’ve noticed is out of focus shots when shooting architecture. With my canon and fuji setups I would manually focus the first image and basically leave the lens alone for the rest of the shoot and I’d be all set (focused about ~6′ into a scene stopped down to f/16 on full frame). With the sony I’ll AF the first shot and I’ve noticed every once in a while when I go to the next shot the focus will be way off (nothing in focus at all, even at f/16). This happens in both MF modes and AF modes. I’m not sure if I’m bumping the focus ring or if it’s refocusing on something at a bad distance or what. I’ve learned to just ALWAYS use the AF after each new shot to be sure and I’ve been fine since, but it’s worth mentioning…


Manual Focus

Some of you need to just skip right past this section as you won’t all use manual focus. I manually focus a lot of my landscape and architecture shots. EVFs and LCDs have made this easier in some ways but the “focus by wire” design of the lenses make it much harder at times. If you’re coming from a canikon DSLR your lenses are not drive by wire. You physically move a ring that moves the elements inside the lens to make it focus. This works with the lens on or off a body (without power). With mirrorless cameras they use the camera’s power to move the parts inside the lens. The ring you move is just telling the computer in the camera to move the elements in the lens in a certain direction. It’s a bit slower and harder to get “perfect” vs the old way… I find myself getting really close to just right pretty quickly but then I go back and forth from too far to too close a few times before settling in on “good enough”. Peaking can help in a lot of situations but it can also hurt in others (it won’t work at all for stars). The camera also has a function called “bright monitoring” that basically uses a very slow frame rate so it can gather more light and show you a very dark scene better but it’s very laggy (due to the slow frame rate) which means it’s hard to see your focusing changes because there’s a much longer delay. This function is also only available on the full view (ie you can’t zoom in). I’ve since learned to focus stars accurately you need to turn peaking OFF (yes off), then zoom in on the brightest star in the frame and manually focus until it becomes the smallest point it can. Peaking needs to be off because it works by showing you points with good contrast because those tend to be in focus. Even with peaking set to the minimum it’ll tell you a star is in focus well before it is as well as long after it’s no longer sharp. Simply turning it off and zooming in will get you great results.




My other complaint with manually focusing on the sony cameras is the information they show on the rear LCD is terrible. You get a gray bar on the back of the screen with head on the left end (for the close end) and a mountain on the right end (for far). There’s then a white bar that moves back and forth as you focus the lens and it tells you the distance you’re focused at. This bar is always the same thickness at all times. It should get wider if you stop down and it should also get wider as you focus further away! They also only tell you the distance you’ve got your lens focused at but they do not tell you the near or far limits of the DOF (and it’s in meters only with no way to change to feet that I’ve found?). If you’re focusing for a landscape image you want the most DOF possible. To get this you want the far end of your DOF at infinity. With sony’s display it’s impossible to know where this is without using a DOF calculator of some sort (app or website) which is a PITA. Colby Brown shared with me that setting the focus distance to the first number displayed that’s less than infinity seems to work pretty well for him (and I agree). If the lenses had a scale on them physically it would help a lot. Zeiss has OLED screens on their lenses that do this. Their display also shows you the near and far limits as well as the distance you’re set to. It’s as simple as focusing until infinity is on the long end and you’re done with one of the batis (I’d kill for them to remake the 16-35mm with sony and remove the OSS and add in the OLED!).

The body

The sony full frame cameras are built “good enough”. They’re strong and solid and great but not quiiiite as solid as my old 5Diii. They’re sealed though as are all their lenses and I’ve certainly had no issues with them. The II version have a much nicer grip on them as well as IBIS or in body stabilization. For a lot of you IBIS is probably a huge deal and crucial. Personally I’m either shooting people where I’m using a shutter speed well over 1/focal length or I’m using a tripod. That’s not to say I’m not a fan, I’ve just been happy with it in my lenses in the past. What really confuses me here is if all three of the current bodies have IBIS why’d they build OSS into a lot of their lenses (my 16-35mm, 24-240mm, and 85mm all have it)? It’s extra optics and cost and weight… I will say however that the fact that the sensor moves makes it a LOT harder or maybe just weirder to clean your sensor. It moves now! The SD door on the a7rii is also nice and firm now. I mention that because they changed it’s orientation on the II versions. The a7/a7s/a7r were rock solid, but the a7ii had a tendency to open on me. The a7rii’s door is a bit more solid now and I’ve yet to have an issue with it.

The viewfinder is bigger and better but it’s still not as nice as fuji’s. I’m a fan of EVFs but sony’s doesn’t have the tricks and display modes that fuji has baked into theirs. Remembering AF points for vertical -vs- horizontal compositions would be great! The eye cup on the a7rII also seems to be better built -vs- the a7II where the rubber liked to pull away from the frame. The tilt out screen is WONDERFUL for architectural and landscape shooters. I’ve gone from preferring the simple slide up/down style sony’s used on the a7 series to wanting one that flips out with a side hinge so it can work for vertical shots as well… One complaint with the EVF/rear LCD is the sensor for the automatic switch is far too sensitive on these cameras. When I’m backed into a corner of a room it’ll see my chest with the sensor and switch to EVF mode even though I’m ~6″+ away from it. I’ve assigned the viewfinder switch to C2 so I can cycle it back to the rear LCD but if the sensitivity was just turned down a bit (to fuji levels) it’d be great.



The Customization options on this camera are almost perfect. There’s two custom buttons up top near the shutter (I have mine set to the brightness monitor and switching between the EVF, LCD and auto display modes). Then on the back there’s C3 (set to focus magnification), AF/MF (set to switch between AF and MF for me), AEL (hold to AF, release to stop AFing) and the C4 button (eye focus). I’ve got the 4 way buttons set as labeled but down is set to face detect for me. The center button is set to “default” which means pushing it allows me to then move the AF point with the 4-way which is great (and hitting delete short cuts to the center AF point). The reason this setup is NOT perfect is because the list of things you can assign to buttons is limited. You can not for example set the aps-c option to any button in the camera (it can’t even go on the Fn menu). This is something I use quite a bit and would LOVE to have on a button! You also have to OK the options once you hit the button. You should have an option to have them be quick changes where one button press changes the setting if it’s only got 2 options.


A lot of people like to say that the sony menus are a hot mess. While they’re certainly not as good as they could be I don’t really see them as a mess. I’ll add to this though that I’ve been a sony/NEX user since the very first NEX5… The old NEX menus were terrible… The new tabbed layout is very similar to canon and works quite well. I will say it’s missing a “my menu” option where I can pick a page worth of options for myself and to have that always be the first menu page that comes up when I hit menu. Sony will argue that the Fn menu handles this task but it only allows about half the options from the full menu to be put as options in it (and it’s crucially missing the option for APS-C/super 35 crop to be on or off!!!). I’ll add that I prefer sony’s menus over fujis. You can learn where everything is in either over time but I prefer sony’s. The Fn menu itself should allow you to set ANY function to it’s 12 spots (and I’d personally like an option for 1 2 or 3 rows, you’re locked into 2). Some of the options need some help as well. I have steady shot set to my top left spot so I can turn it off when needed. The next spot over is then the setting for automatic or manual focal length detection (if you’re using non E or FE or adapter A mount lenses you need manual), then the THIRD spot over is for the focal length if using the manual option…. Why all three of these functions couldn’t be part of the same steady shot menu I don’t know (steady shot options: off, on-auto FL, on-manual FL with a list).


Necessary Accessories

There are always a few accessories that you need to complete your system but there are a few with mirrorless cameras in general and specifically the Sony system that I’d say are must haves. The first on the list would be a great battery charger and plenty of spares. I’ve had a watson dual desk charger since my fuji days and it’s a life saver. Charge a battery that’s close to full in the provided wall charger and it’ll be blinking full almost immediately. Toss it in the watson and it’ll tell you the % it’s at an actually top it off to full power. Before the watson I’d use 6~8 batteries at a wedding with my X-T1. With the watson this has gone down to 4. The sony now uses the same 4 batteries as I’d use with the fuji. The great thing with the watson is that it takes ~$2 plates to change it from a sony to fuji to ricoh to canon charger! Of course put extra batteries in this section as well. I have ~7 sony batteries at last count. I keep 1 in each camera (I also have an a6000) and 4 in my think tank photo battery holder. The dual battery wallet is also nice for family outings.

Second up for me would be grips and plates. When I shoot a wedding I use the neewer (mine says meike on it?) battery grip. I’ve never really been a grip user with DSLRs (I have always preferred smaller lighter cameras). With these mirrorless cameras getting as small as they are and shooting with it all day at a wedding the added grip is great but the fact it doubles the battery capacity is awesome. I have noticed though that my grip will change the aperture setting when in Av w/o me touching it… For this reason I generally leave it’s buttons switched off and I’m considering the $300 sony version… Switching the buttons off isn’t a deal breaker for me though as I’ve never really used a grip much so I’m not used to the second shutter button but the other very strange thing is once you get used to using the EV dial on the body it’s very odd not having it near the second shutter on the grip. Whenever I’m not shooting a wedding specifically I’ve got my neewer L-bracket on the camera. L-brackets have been on all my cameras for years now as it makes switching from a vertical to horizontal composition a snap with my tripod head. I’m using the neewer l-bracket that came in a kit with the grip for $85. It’s $63 for just the battery grip, and $22 for just the l-bracket.

The third accessory I’d call a “must have” if you use flash would be any flash with a “Multi-Interface Shoe”. This is what sony calls their hot shoe with the data connection at the front. The reason this is important is it tells the camera there’s a flash involved. You can use “dumb”/manual flashes without this shoe without an issue (I do with my neewers) but because they don’t have the data connection the camera doesn’t put itself into two crucial modes: Flash WB and “setting effects off” for the live view. The first should be pretty obvious. Without knowing you’re using a flash the camera will be in AWB mode and the flash results won’t be consistent. Yes it’s an easy fix in lightroom by syncing the images and telling LR they all need flash WB but it’s much easier when the camera does this for you. The second and much more important option is that the “setting effect off” means the camera will artificially boost the ISO so you can see through the EVF to compose the shot. If this is left on, when you dial in your flash exposure you’ll be looking at a very dark (black!) viewfinder. With a normal/dumb flash you have to switch this mode on/off every time you mount/remove your flash. But with a “smart” flash with the correct shoe it’s automatic. For me this makes the nissin i40 the obvious choice as it’s TINY! It’s slightly less powerful -vs- the big speedlights but I’ve found with 1/8th power (and 1/4 when needed) it keeps up recycle time wise and I don’t need to boost the ISOs too high.


If you’re a landscape shooter or the thought of a flash just seems silly to you, then I’ve got a different option for you… Filters! I’ve got a full set of Lee filters I carry in my mindshift filter hive. I’m also using some great new filter adapters from “the filter dude” on amazon. They’re $20 and the same as the wide version of the lee adapters (that cost ~$68) with the exception that the filter dude rings also have a set of threads on the outside of the ring so you can mount a traditional filter to them once they’re on your lens. Let me explain it this way: you’re shooting a waterfall and your panel or 105mm CP gets spray on it as does the front element of your lens. If you’ve got a 77mm CP in your filter hive you can thread it onto the filter guy ring with the ring still on your lens and there won’t be any way from spray to get onto anything but the outside of the round filter! I use this trick all the time shooting waterfalls! Once you’ve got the ring on your lens, don’t bother ever taking it off. Get some of these Lens Coat medium lens caps and use them over your rings. Makes it much easier than dealing with lens caps and threading on a filter ring in the cold dark morning before your coffee has kicked in. For any of you who’ve made it this far into a section about filters, grab some gaffers tape and tape over the logos on the front of your lenses… Those obnoxious white logos will reflect back at your filters and you’ll be able to see the text in the images (bottom right corner in the rocks there’s an orangish semi circle that’s the reflection of the words on the lens)!!!

sensor cleaning supplies… If you’ve ever made the jump from an APS-C body to full frame before you know full frame sensors collect dust at a much faster rate. If you’ve ever made the jump from a DSLR to a mirrorless/EVIL body before you know that EVIL’s have their sensor hanging out in the open when you change lenses… Combine the two and it’s a recipe for dust! I’ve got three things I use to work on the dust issue: 1) Sensor pen and loupe, 2) rocket blower, 3)gel stick. The gel stick is new to me and so far it’s been amazing. Make sure you get the orange sony version. The rocket blower gets off the easy stuff but I’ve found if the camera’s sensor cleaning function can’t get it off the rocket air usually can’t either.


Big and fast SD cards… 42mp files can chew through a lot of space in a hurry. With the new uncompressed option they’re now twice as big (~90mb now -vs- 45mb uncompressed). Make sure you get cards with a ~90mb/s read AND write time! A lot of the cards offer that as a read speed but not write which is what matters most to the camera. I wish sony had used the faster tech fuji has in the XT1’s SD slot (250mb/s). I’ve got three 64mb 90mb/s SD cards that I’m happy with so far. I keep them in a “lenscoat memory card wallet SD9” that can hold 9 SD cards. I used to be a big think tank pixel pocket rocket user in my CF card days but the lenscoat SD card option is much smaller so I prefer it. Whichever wallet you go with MAKE SURE YOU KEEP A FEW BUSINESS CARDS IN IT!!! If you ever lose it you’ll at least have a chance at getting it back. The think tank option does have a nice strap on it so you can secure it to your bag but it’s a velcro closure which I don’t like at weddings. The lenscoat wallet uses an elastic that just loops over the end so it’s dead silent.

While we’re on the subject of memory let me talk about importing these massive files into your computer! Having a fast card does you no good if you don’t have a fast card reader to go with it. I’m a mac guy and I’m using an older iMac with the original thunderbolt port and USB 2.0 ports (or maybe even originals). Thunderbolt is my fastest option. I have a drobo 5D running on a thunderbolt connection. I then have this awesome lexar workflow hub withthree SD card readers (which can be used on their own with their supplied USB cord when you’re away from your desk). I have three readers because there’s a lot of times when I end up with three cards to import from between the drone, the a7rii and the a6000.

I also use the trick Dan Carr taught me about importing from more than one card at a time in LR which is a LIFESAVER!!! The one problem I have is that the lexar hub is USB3.0 so in order to take advantage of it’s speed I need to adapter it to thunderbolt so I’m using this belkin dock. I know these parts aren’t cheap (it’s about $500 for the hub and reader before you get to my external storage) but even since I upgraded to this setup last year my import times have become comically fast. Even with three filled cards. Of course it still takes lightroom forever to build previews but that’s another story. LR is slow to work with these monster files so be ready to throw some money at your computer if it’s not up to the task… I’ll be getting a new machine in a few months (retina iMac) and can’t wait.

The last accessory I’ll talk about is how moving to a mirrorless system can change your whole system in terms of tripods and bags. I’ve added a small travel carbon fiber tripod to my kit since going mirrorless. The camera is enough lighter I get enough support from a much smaller tripod and it can now fit inside my camera bag! This has also meant (for me) that I’ve moved to larger camera bags. Not for the camera, but because it means I can use one bag to carry all my gear for non photography purposes as well as my photo kit in a single bag. So rethink your bags and support, going to a bigger bag with a smaller tripod might mean everything can now fit inside one stealth bag!

Some notes:

  • 42mp is OMG WHOA! resolution… Even if you use the 18mp aps-c mode it’s still an amazing file with plenty of detail.
  • The DR of this sensor is crazy. The a7ii I’d been using was good, better than canon and fuji (no pattern noise like canon) but the a7rii is a level above that easily.
  • ISOs are ALSO really good and easily beat my a7ii, 5Diii and the fujis.
  • For a full frame body this thing is amazing small. I switch to fuji because I never used my 5Diii unless I was on a paid shoot due to size. This body brings the best full frame sensor in the market (all around, MP, DR, ISOs) to a tiny body. It’s the same size with the 16-35mm as my old X-T1 was with fuji’s 10-24mm.
  • AF is very good even in low light at wedding receptions… Canon has the “red ring of fire”, well sony has the “green boxes of focus”. It just works.
  • AWB feels like it’s maybe not quite as good as the a7ii? I’ve never shot them side by side though but it’s a gut feeling I get…
  • My AF buttons setup has the AF turned off on the shutter button. AEL is my focus but only when held down. It’s the basic rear button AF from my DSLR.
    all custom buttons
  • Fn Menu row 1: SS on/off, SS Adjust (manual/Auto for non sony lenses), OSS FL (for non sony lenses), Focus Mode, Focus Area, Center Lock-on AF
  • Fn Menu row 2: Silent Shooting, Peaking Level, White Balance, DRO/Auto HDR, Quality, Smile/Face Detect
  • Custom Keys: Shutter AF off, C1 = bright monitoring, C2 = Finder/Monitor Sel., C3 = focus magnifier, C4 = eye AF, Center button = standard (lets me choose AF point), left = drive, right = ISO, down = smile/face detect, AEL button = AF on, AF/MF Button = AF/MF control Hold
  • Battery grip is great for weddings, but the neewer version adjusts the aperture w/o touching buttons on me….
  • AEL button is hard to feel on the neewer grip. Awkward with EV dial only usable in horizontal mode…
  • you “need” to use a sony shoe capable flash. With a “dumb”/manual flash the flash doesn’t sit right in the shoe (too far back) but it also doesn’t auto switch the camera to flash WB and it also doesn’t change the viewfinder setting from
  • “live view display: setting effect on” to off for flash (setting is in the gear -> page 3, option 1). Using the nissin i40 does both automatically!
  • get a watson charger NOW!
  • get a nissin i40 for any on camera flash NOW! It’s tiny and light and perfect. Just don’t turn it up above 1/4 or the recycle time gets slow (but we have plenty of ISO on the a7rii). 1/8th is great.
  • magnification during replay is painfully slow!
  • buy a 90mb/s write speed SD card…
  • battery life is what it is but with a watson charger it’s 4 batteries for a wedding even at 2.5k+ images… You can also charge via the USB port WHILE SHOOTING for timelapse guys or if you’re hurting and out of normal sony batteries…
  • SD card door tighter -vs- a7ii where it opened on me quite a bit (but never on the a7/a7r/a7s because it opened the other direction).
  • eye cup rubber/shape is better than a7ii.
  • silent shutter is DEAD silent… subjects will actually keep posing after a shot because they’re waiting for the noise.
  • sigma and tamron need to start making their lenses in FE and E versions. They offer a mount conversion process for existing lenses which suggests the lenses are all the same and the mounts are the only difference. This makes me wonder if sony/minolta has some weird difference in their mount that makes it so making just the mount for the existing lenses doesn’t work? I’d prefer mirrorless specific versions anyway though (so they can be smaller/lighter).
  • Sony needs to make either the 70-300 or 70-400 in an FE mount. The longest FE lens right now is the 24-240mm (which has terrible sun stars but is a great travel all in one otherwise).
  • I’ve seen some very weird hunting with my zeiss batis 85mm in vertical/portrait mode that goes away instantly once the camera is horizontal but comes right back again when back to vertical. I’ve spoken with zeiss and sony about it and zeiss has been able to replicate the issue (only happens in super low light).




Things to fix via a firmware:

  • APS-C mode (setting -> gear -> tab 6 -> option 4) should be allowed on the Fn menu or as a custom key. I use APS-C for weddings a lot as I don’t need more than 18mp there (I used mRAW on the 5Diii for 10mp).
  • mRAW options? You can force 18mp via the APS-C mode but there should also be smaller RAW options that use the full frame.
  • Add the option for a third row in the Fn menu (and also the option to drop to 1 for those who’d want that). There’s a LOT of menu options I use a lot and I need more space than the 2 rows provided for what I use regularly.
  • Add a “my menu” option similar to canon’s that gives me a traditional menu page where I choose everything on it but I get to choose from ANYTHING in the menus… Also, don’t limit it to a page (let it scroll if I want more than 6 options) and let me set it up so pressing menu always brings up this screen first.
  • EVF auto switch sensitivity is too high. I’ll be in a corner doing architecture work and it’ll see my body and switch to the EVF from the rear screen. EVF switch should NEVER activate when the rear LCD is opened either way (because if it’s open you’re using that and not the EVF).
  • The added 14-bit uncompressed option is great for those screaming for it (I never felt the compression caused any issues?). I’d love to see true 14-bit with lossless compression as well. Personally I’d also love to see an option for force 12-bit when you want it as well. For weddings I shoot RAW but don’t need 14 bit so I use the slow FPS mode to force 12 bits most of the day, then silent shutter mode during the ceremony (turning on long exposure noise reduction, high ISO noise reduction, bulb, any burst mode over single shot or silent shutter all force 12-bit mode).
  • During a long exposure the rear LCD is still powered on but black. This wastes power from a camera that uses a lot and uses small batteries already. Please turn OFF the screen during an exposure! -or- give the option to have it show a counter for the shutter length so I know when a 30s exposure is almost over. During bulb count up with that counter!
  • The manual focus distance scale display is terrible! It’s always a white line of a set width that doesn’t get thicker (showing more DOF) as you go wider with focal length, farther with focus or stop the lens down. It’s always the same size!
  • The zeiss batis lenses have GREAT OLED displays with GREAT info shown, copy that on the rear screen! Also make the white bar/line get thicker as you change settings accordingly (like fuji does).
  • allow the use of the manual focus assist view (magnified live view) to be used with “bright monitoring” (where it drags the shutter is super low light so you can focus) so you can use both and really nail MF in pitch black settings.
  • allow users to turn off the non whole stop ISOs for faster ISO selection… going from auto ISO (how I shoot wedding w/o flash) to ISO 800 (how I typically shoot reception shots) is 13 button presses when it would be 4 if the non whole ISOs were out of that list. Canon and fuji both allow this.
  • option for a quick delete w/o needing to “ok” anything…
  • Option to turn off some of the AF points. I always “watered down” my 5Diii to just the more sensitive points and the ones in the corners. Something like 25 (5×5 grid) would be perfect with the a7rii. But 399, especially when you use the small box makes it slow to move your selected AF point from one side to the other.
  • To go with the above, allow the user to “wrap” the AF point selection from one side of the frame to the other. IE if I’m using a point on the left side of the frame and I press left again it should “wrap” around to the point on the far right.
    allow customization of the dial directions. The shutter speeds on the rear dial in M are backwards for me… I’m re-learning but it’s taking a while!!!
    faster read and write speed. Feels like I’m waiting for the red light quite a bit. And the A7rii takes longer to write it’s 18mp aps-c files than the a6000 does to write it’s 24mp aps-c files… Use the UHS-I U3 cards that fuji put into it’s X-T1.
  • create a hyperfocal AF mode where the camera looks at the focal length and aperture and keeps the focus dialed into whatever distance puts infinity right at the far edge of the DOF. This would be a huge advantage for landscape shooters.
  • Allow the viewfinder to store which AF point is used for vertical and horizontal shots separately (canon and fuji do this).

Current (Fall 2015) Sony Kit:

I’m currently shooting with an a7rii with both the Meike/neewer battery grip (for weddings/events) and the Neewer L-Bracket for everything else. Lens wise the Sony (by Zeiss) 16-35mm is my go to wide angle zoom and what I shoot my architecture and landscape work with. I have the sony 24-240 as my light weight long reach lens and the tamron 150-600 as a no compromise I need reach lens with a Sony LAEA3 adapter. For wedding work I have the Zeiss Batis 25mm f/2, Sony (by Zeiss) 55mm 1.8 and the Zeiss Batis 85mm 1.8. I shoot weddings using the aps-c crop mode 95% of the time so this trio works out to be 35mm/85mm/135mm effective. I’ve basically added the Zeiss 85mm as a longer option -vs- what I shot with both canon (35/85) and fuji (23/56).


The other great thing with this setup is I can shoot the 25mm in full frame mode for those few shots where I “need” a wide prime and the 16-35mm becomes a pretty versatile mid range zoom for those reception flash shots at the end of the night. For flashes I still have my Neewer TT850s with their awesome Lion battery packs (that last for ~600 shots!) with their wireless transmitters but I only use those off camera now (they’re massive on this smaller platform). I picked up the nissin i40 for on camera (bounced) which is great because it automagically switches the camera’s WB setting to flash as well as setting the viewfinder mode to NOT reflect your settings (since the flash isn’t flashing as you compose you end up with a black view if settings are reflected). It’s also pint sized and light which is great, but also just powerful enough I can use 1/8 or 1/4 when needed to keep recycle rates fast enough and it’ll survive and entire reception with one set of AAs for me. I’ve also kept two aps-c wide angle lenses that play nice on full frame. The first is the sony 10-18mm f/4. It’s meant to be an effective 15-27mm f/4 lens but it also covers full frame from 12mm to 16mm and is nice and small! It’s a great lens for shooting milky way shots for me as I need the added width there. I’ve been toying with it on arch shoots where 16mm on full frame isn’t quite wide enough as well. The other aps-c wide lens I’m using is the rokinon 8mm fisheye. You’ll notice shots of the 12mm fisheye in the gallery below as well. I tried both and while the 12mm is slightly nicer optically (perfect sun stars) it’s just so much bigger and bulkier that it won’t get brought along as much and you can’t use a lens you don’t have! The 8mm is tiny and lives tucked away in a corner of my bag.


Wrap Up…

Sony has a long way to go in terms of dialing in this camera to the extent that I have zero issues with it. BUT! The vast majority of these items are very minor details (which way dials turn etc). The camera is a great tool and the more I use it the more I learn and adapt to how it’s different and the less these issues matter. That’s not to say I don’t want them fixed (and please, via firmware so I don’t need to buy my sixth a7 body in a two year span!). It’s that I can work with what I have. The sensor and the AF are fantastic and will keep me in this system for the long haul. Sony is catching up with lenses (70-300 next please?!) and each new firmware update brings new features. It’s an exciting time to be photographer!

This camera finally delivers better image quality than what I had with my DSLR (5Diii) in terms of dynamic range, clean ISOs AND more resolution. It also gives me auto focus I can trust in pretty much any situation. I have more issues manually focusing thanks to the focus by wire design and the uninformative display. All in all I’m the happiest I’ve been with a camera since the 5Diii (my only complaint there was size/weight).

You can buy a Sony A7RII at Amazon or B&H Photo 

Nov 232015

Leica SL Review COMING! Update..

Hey guys! Just an update to let you know I am working my behind off on the Leica SL review as well as the Sony RX1RII review. These will not be rushed, as I really am digging in getting to know these cameras very well as both of these are tops in IQ and quality in today’s mirrorless market. I do feel the SL review may be published first, followed by the RX1RII and then a new SLR Magic lens for E-Mount (Though I have an M mount version), the 50 1.1 that comes in at under $400.


I have been shooting these daily, and loving every moment of it. The RX1RII for its small size, great build and feel and IQ which is about as good as it gets in 35mm.

The SL has been a true workhorse. Battery life is off the charts as I am on the same charge as when I received the camera with 3/4 life left! The EVF is a thing of beauty, as is the camera. Hard to put into words unless you really feel/handle one yourself. AF is speedy, and everything FEELS pro.

Below are two shots from the Leica SL that show fantastic IQ and details.

Both were shot with the 24-90 Zoom which is a pretty stunning lens. Not nearly as heavy as you think either.

Click images to see true 100% crop and how it is meant to be seen! 



Nov 222015

DRONE Reviews to be added to Steve Huff Photo! SOON!


With the soaring popularity of photo/video drones I will soon be incorporating them into the site in the form of new reviews. Some of these Drones are absolutely amazing in their ability to be easily flown and capture GORGEOUS video and photos from above. I took delivery of a DJI Phantom 3 Professional and am THRILLED with everything about it from control, quality, ease of use, solid construction and the camera included is phenomenal. In any case, look for the 1st Drone review soon (DJI Phantom 3 Pro). My 1st real test flight below with Brandon, by my home.

Nov 192015

Sony RX1R Mark II – Detail Test Shots with Crops

Hey hey! Happy Thursday to all! I have been housebound most of the day as I have some work getting done around here so have to stick inside the house. While doing just that I was answering some emails about the new RX1R II that I have been getting. It seems some are concerned about details and sharpness after a certain test at showing the RX1RII lacking in details and sharpness compared to other cameras. When I saw the test I immediately knew something was wrong with either their camera or their test as the RX1RII is AMAZINGLY detailed, just like the original, maybe more so.

The RX1RII is a special camera. With the faster AF, EVF and new sensor, it is quite incredible and so small and stealthy, you can shoot it anywhere. It’s also silent.

In any case, after the emails I went out to my backyard to get some detail shots and since there is no Adobe profile yet for this camera I shot ALL JPEG, so what you see below? All OOC JPEGS, and the details there are amazing for JPEG’s. RAW conversions will ramp up the details dramatically but what I am getting in JPEG from this camera rivals most full frame cameras RAW files. 

Take a look and you will see corner to corner sharpness, fantastic detail and great overall rendering and color. For those whose only criteria is overall IQ, the RX1RII is at the top of the heap from DR, Details, Depth, color, pop, etc.

MUCH more to come in my full review soon..


1st one, just some pavers as my yard is all dug up right now due to some construction going on. But click on the image and you will see a 100% crop embedded and remember, this is an out of camera JPEG. 


As you can see here, corner to corner sharpness. No soft corners with the RX1RII.


One more with 100% crop..


And again, just a snap to show how great the color is as well as the sharpness. 


One more OOC JPEG with crop. Click it to see it! This one at f/2


As I shoot more and more with the RX1RII, Sony A7RII and Leica SL it is clear which one is giving me the top overall IQ, and that is the RX1R II. It keeps the look and signature of the Mark I while giving us those extra things we wanted as well as more resolution with the new sensor and an adjustable low pass filter. Off or On with settings. If you are OK with only a 35mm lens, this could be the magic ticket!

The RX1RII ships starts shipping any day now and can be bought at Amazon or B&H Photo. My full review will be up soon!


Nov 182015

What camera (if any) is on YOUR Wish List? Tell me!

With all of these hot new cameras out in 2015, for many it has been tough deciding on what to get or go with. I receive e-mails daily asking “what should I get”? and I can never really answer those!

Unfortunately only YOU can answer that as a camera is a very personal thing. I always say “go with what feels right for you”….”the one that speaks to you the most”. This is a great way to pick because usually there is one camera that pulls you in more than another when trying to decide. So do you go with your heart or brain? Go with the technically best specs or the body and lenses that really pull at your heart-strings?


I always say GO WITH YOUR HEART. These days, all cameras that are released for our market, the enthusiast, hobbyist and even pro, are all fantastic. They vary in size, shape, speed and performance but all are GREAT. The reason Leica stays in business is because most Leica users buy with their HEART and pay more money for the name, the history and the prestige of Leica. It also doesn’t hurt that their cameras they are releasing now are some of their best ever in their digital history. The Leica Q, the Leica SL, the M… all wonderful and while more expensive than other cameras, they are all built and made to a higher level than their competitors (especially the SL and M).

So buying with your HEART instead of worrying about tech specs will make for a more enjoyable shooting experience. It is important to truly love the cameras you shoot with because if you do not, it will never leave the house. So it is always good to go with a camera body that you truly love.

Leica speaks to many passionate photographers.

Then we have Sony who is breaking new ground and paving the way for new tech and performance hikes  – leading the way actually with the largest market share in the mirrorless market. Say what you will about Sony but they are innovating and releasing top-notch cameras like the A7II, A7sII and the masterpiece A7RII. While their bodies can not compete with the Leica SL or real “Pro” level bodies, I am sure something will come from Sony in the form of a true pro body…eventually. The rumored A9 maybe ;) Who knows, I do not so it is just a guess but bettering the A7 or RX1 series is going to be tough for any camera manufacturer entering the mirrorless world. They do so much and do it so well.


Then we have Fuji with their X-T1 and X-T10 but I see them losing some ground as they do not offer anything but APS-C cameras, no full frame. Those who wanted to upgrade and move up, well, many went to Sony for the full frame sensors with superior DR, ISO and Resolution. Fuji is cool and still doing well, and MANY love them and the IQ from the X-Trans sensor. I am looking forward to what the X Pro 2 brings.

This brings us to Olympus and Panasonic who both offer high end Micro 4/3 bodies. The Olympus E-M1 is their pro body followed by the E-M5 II and E-M10 II. Then Panasonic has the G series and the new GX8 which is their best M 4/3 photo camera ever IMO. The lenses available for M 4/3 are beautiful and small and they pack a huge WOW for much less cash than others. The Micro 4/3 bodies have a smaller sensor but are usually faster and more responsive than the large full framers. They also suffer at high ISO because of the smaller sensor size (when compared to full frame).


Then we have Nikon and Canon and Sigma and Samsung who also are creating mirrorless cameras (though nothing to get uber excited about just yet).

The Holiday season is among us and many buy cameras for Christmas, either for themselves or for their loved ones. In fact, every year I get emails from wives asking me about a camera purchase for their Husband for Christmas.

A few snaps from the latest hot mirrorless cameras..must click them for better view and to see them correctly!

1st two, The Leica SL



Two From the new RX1R Mark II



One from the A7RII and 35 1.4 Sony/Zeiss Distagon


The Leica Q


Sony A7s – 12,800


So what cameras is on YOUR radar or wish list this year? ANYTHING? if you could have any camera made today, what is the one that tugs at YOUR heart and soul? Remember that all mirrorless reviews here are listed at “MIRRORLESS CENTRAL” here. Easy to find in case you want to refresh :)

Leave a comment below and let us all know what camera YOU want (IF ANY). Thanks!

Nov 132015

REVIEWS COMING: Sony RX1R Mark II and The Leica SL

SITE UPDATE: Before the end of this year I will have three major reviews written and published.

Screen Shot 2015-11-13 at 9.59.11 AM

First, the Sony RX1R Mark II which I will be starting on next week. My 1st look video and samples will be up next week Wednesday, the 18th, and a full review to follow 2 weeks later. This will be my last Sony review of the year as almost all of Sony’s new releases have now been reviewed here (A7II Here, A7RII Here, A7SII Here, RX100 IV Here and the RX10 II will be in Jan sometime)

Screen Shot 2015-11-13 at 10.00.26 AM

THEN, I will start getting to work on my Leica SL review which will be a big one. Due to many requests, comparisons to the M 240 and A7RII using a 50 Summilux ASPH for all three will be included. Will be shooting the SL like mad to give it a proper review. I am looking forward to this one ;) I expect this review to be out mid December after some serous shooting time with it.

There will also be one more review for a still un-announced camera before the year’s end as well. Hmmmmmmm ;)

Stay tuned! New videos coming as well.


Nov 132015


Hold Fast Gear has announced a new strap, and it looks lovely. Hold Fast makes some GREAT gear..bags, pouches, leather goods, straps, and this one looks to be another fantastic strap from them. I will be ordering one soon (in Red Bison) because I love how they are offering them in various lengths. I am not a fan of short straps, so the ability to order in the perfect length sold me. Below is the blurb from….

“HOLDFASTGEAR.COM has just released a new classic camera strap, the Maven. The Maven Strap is the culmination of HoldFast’s design ethic: classic and uncompromising. Crafted from legendary American Bison leather and lined in cream glove leather, the Maven lives up to its name, offering unparalleled sophistication you can see and feel. HoldFast’s custom brass u-hooks with Bison leather pad allows easy and quick installation without scarring your camera. Can be worn over the neck in front position or cross body.”

More Info Here:



Nov 112015

India 2016, a photographic travelogue

By Mark Seymour

Mark Seymour, Nikon UK wedding ambassador 2013 -2015 and Nikon Trainer trainer, has spent two weeks travelling India to develop his documentary street photography training courses. The first week was spent in the romantic region of Rajasthan, visiting the Blue City of Jodhpur, before leading a week long workshop on the streets of Kolkata in association with Nikon UK Training School and The Hope Foundation who fund several projects in the area.

‘I had been inspired by other photographers’ images of Jodhpur and I was not disappointed by my own visit here. Although I often present my documentary street photography in black and white, there is so much vibrancy in the colours of India, the people, building, flowers, spices and material, that most of the images remain in colour. If you haven’t ever travelled to India it is hard to convey the overwhelming assault on your senses that will confront you; physically, visually and mentally, the heat, sounds, sights and smells, the number of vehicles and people all trying to access the same space, what appears to be random and chaotic actually has rules and order, everything hits you in intense waves.’



‘There are some incredible backdrops against which to capture portraits, including the indigo washed walls of the old city and the steps of the water. I spent some time recording two men in the city whose faces had real character and to me symbolised traditional Jodhpur. I also captured the traders on the street, where they live and work, creating the baskets and pottery that they sell, and making the various street food and chai tea.’

‘We were lucky enough to be taken by a guide out to the rural villages and farmland outside of Jodhpur where I photographed a couple of nomad families and the herdsmen, looking so impressive in their white robes and red turbans.’




‘Moving on to Kolkata, a growing city, where construction cranes and the outline of tower blocks fill the horizon, was another shift in gear, even crazier and busier, the sound of horns seemed a continual backdrop as you made your way around the city. The number of street communities that have grown up along disused water ways and along train tracks is why Mother Teresa and now the Hope Foundation make Kolkata a centre of their charity work, rescuing children and vulnerable adults from the streets and providing them with education, health care and homes.’




‘We arrived as the city prepared for Diwali so the potters were busy making hundreds of statues of the Goddess Kali, and the city has many incredible locations that are perfect for documentary street photography, including the Flower Market and College Street. There are still the remnants of colonial India, in sharp contrast to those families making their homes on the streets below.’

‘We visited some of the Hope projects including the hospital and I was invited to meet with the Punjorbin Boys photography club, a great group of young men eager to turn their lives around and create new opportunities for themselves by becoming professional photographers.’




‘If you have ever wondered about visiting India I would encourage you to do so, it is everything and more than you imagine, and if you’d like to photograph these incredible places I would love you to join me on my workshops next year.’

The daily travelog can be seen here

Nov 102015

New Leica 0.95 Special Edition Noctilux and D-Lux

Screen Shot 2015-11-10 at 9.18.01 AM

Look at what Leica has announced, “a special run of 95 “Edition 0.95” Noctilux lenses is being produced. The limited run lens will feature a unique domed knurled focus ring, blacked out engravings (except for the 0.95 in white), all in a glossy anodized black finish. This limited edition lens will be available exclusively through Leica Stores for a price of $13,950.”

If you want  this special edition Noctilux, you can pre-order it at Leica Store Miami HERE.  

—– also sells Leica as does Ken Hansen.

Leica also announced a special edition version of the current D-Lux Typ 109, in grey with a silver lens..

“Leica also proudly presents the Leica D-Lux (Typ 109) Solid Gray, an additional color to the existing D-Lux (Typ 109) range. This new option has a solid gray lacquered housing, silver lens and buttons, and comes packaged with a gray leather strap.”

Screen Shot 2015-11-10 at 9.18.21 AM

Nov 102015

The Sony A7SII Review. The King of The Night gets updated.

By Steve Huff

You can buy the A7sII at Amazon HERE

You can also buy it at B&H Photo HERE.

It seems that every time I sit down to write a review lately it is for a new Sony camera, and believe me, as much Sony as you see written here and all over the web (due to so many new cameras coming from them before the Holidays), it is not stopping here. With the RX1R Mark II on the way within days Sony is like a runaway freight train, except instead of crashing and burning at the end of the road I think Sony is hoping for world domination in the world of Mirrorless cameras. I have to say, their plan is working well for them as I know so many who are shooting with the latest generation A7 bodies these days, and they all love them. The A7II, A7RII, and now the A7SII are fantastic full frame 35mm digital cameras that can do it all. With impressive image and video specs, the new breed of a7 cameras are stunning and surpass the 1st gen A7 bodies by a large margin IMO.

But this review is for the newest Sony in the A7 line, the new and improved a7SII. If you missed the original a7S review, see it here as this will not rehash the things that are the same there. 

Empty Swings – A7SII, Voigtlander 35 1.7 Ultron – Click for lager. 


After reviewing the INCREDIBLE a7R2, it became my #1 go to camera. It pushed aside my old A7s and A7II as it offered the best of both of those bodies. With the A7SII, Sony’s most sensitive low light camera as well as an amazing video machine, Sony has taken the proven sensor and has now put it in the new body which is more solid, with a  better control layout than the previous A7, A7s and A7r. This body is the same as the new Mark II versions, and as I have said before, it is a pretty substantial improvement. After shooting the new a7sII for a while, it was tough to go back to the old A7s body as it felt so much different…not as nice and the shutter button placement on the new body is so much better and natural it is tough to go back to the old style after using the new breed for a while.

But at the end of the day, did Sony pack enough in the Mark II to make it a worthy upgrade to someone who has an a7S already?


Well, maybe. Maybe not. That all depends on YOU and what you want. If you want the new body style, then yes. If you was 5 Axis IS, then yes. If you want even better AF performance and new processing then YES! What you will not get in the new A7SII is a new sensor or better low light performance than its older sibling. It is still the tried and true 12MP sensor from the original A7s, which means low light performance will be about the same and IQ should be about the same. Even so, in my shooting I have found that I was getting slightly better color and pop with the new A7sII, though it could have been because of the lens I was using for much of the review..the Excellent Voigtlander 35 1.7 in Leica M mount.

The uber cool Voigtlander 35 1.7 works so well on the new Sony A7 bodies…and the Leica M of course!


This particular lens gives a “Leica Look” and it has no issues on the A7RII or the A7SII. It’s small, manual focus is easy and the quality is not far off from the Leica or Zeiss 35’s. When I switched back to the standard Sony lenses, I see the familiar rendering of the original “S” model, unless I used the one Sony/Zeiss lens that also gives this look, the 35 1.4 Distagon. When I use the 35 1.7 M mount, I see images that remind me of the old Leica M9, which is legendary in its image rendering. Nothing like it, even today. That lens can be seen at HERE. My review of that lens is HERE. 

The Color, Pop, Depth and overall IQ of the A7SII is stunning. This are all JPEGS out of camera! EXIF is embedded. I have not seen rendering like this since the Leica M9 ;) 

Click them for larger and see them correctly! 




Away We Go! 

So after a couple of weeks with the new A7SII, and while still owning the original A7s I was critical of the new body, mainly because I have bonded with my original. Yep,  it has been here since launch. These cameras are not cheap, so I wanted to see if I would pay the upgrade fee for the SII over my old S Mark 1. Before I get into that, let me tell you what Sony improved in the new A7SII over the A7s Mark 1.

  1. New body style. The new A7SII now has the A7RII and A7II body style. I LOVE the new body style and prefer it to the original in a big way. It feels more solid, it feels more comfy and the controls are laid out more natural for your hands. a7SII WIN. 
  2. Seemingly faster AF. While the original A7s was the best A7 body for Auto Focus the A7sII seems to step it up as I was seeing slightly quicker auto focus and it still has the uncanny ability to focus in the dark, even  when I do not use the Af assist. This is the one Sony a7 body with the best AF performance. a7sII Win!
  3. Slightly different IQ out of camera. It seems the colors and snap and pop are slightly different, in a good way. Many shots remind me of the old Leica M9 in rendering, just with a crazy ISO capability. Could be the lens choice as Leica M lenses seem to give more color saturation and pop.
  4. Improved video specs for the video pros. I am not a video guy, but this camera can shoot pro level video without question and I have shot at ISO 200-400,000 and had results I could actually use. It sees in the dark, without question! Video is fantastic. a7SII Win!

Here is what Sony says about the A7SII sensor and BIONZ processor…

“A 12.2MP full-frame Exmor CMOS sensor and BIONZ X image processor work together to enable an expansive dynamic range with minimal noise and notable sensitivity from ISO 100-102400, which is further expandable to ISO 50-409600. Coupled with the large individual pixel size the 12.2MP sensor affords, this camera is well-suited to use in low-light conditions.

The sensor’s design also features a new-generation RGB color filter array, as well as a gapless on-chip lens design. Together, these two technologies enable truly efficient light-gathering abilities that further reinforce the low noise, high-sensitivity design. Furthermore, an anti-reflective coating has also been applied to the seal glass of the image sensor to minimize surface reflections, glare, and ghosting for contrast-rich, color-neutral imagery.

The sensor and processor combination also avail a wealth of performance-related benefits to still shooting, including a Speed Priority continuous shooting rate of 5 fps, or a 2.5 fps shooting rate with continuous AF.

The Fast Intelligent AF system employs 169 AF points (up from 25 points of the original) , which is comprised of 25 contrast-detection points and nine central AF points that have been split into 16 segments each, in order to provide both speed and accuracy in low-light conditions down to -4 EV.

So in a nutshell, the Af is better and faster than the previous A7 body and that one was already the best A7 Af system out there, and the new a7SII focuses without an issue in just about any light I have had it in.

I also have been enjoying shooting in B&W with the a7SII as I find it does very well in this area. These were all shot B&W in camera, all JPEG up to ISO 25,600

1st two with the Voigtlander 35 1.7 Ultron, 3rd with the Zeiss 24-70 f/4 and the last with the gorgeous 35 1.4 Sony/Zeiss






The a7sII is what some would call a “niche” camera as it has a lower megapixel count than what is generally accepted today by pros and pixel peepers. I find 12 to be great for my uses and I would take a guess that 90% of shooters who read this page would be fine with 12MP in the real world as well. Posting images online, making prints up to 16X20 and general use does not require any more than this. I see many friends who just shoot JPEGS casually yet they are using 30-50 megapixel cameras. I see their images on Facebook and as small JPEGS or prints. For that, nothing more than 12MP is needed. If you want to make huge prints on your wall with detail and finesse, you will want a higher MP camera, but for the average shooter, hobbyist or enthusiast I feel there may be more to like from the a7SII than even the fantastic a7RII, but with that said, the mighty a7RII is not that far off in performance from the A7sII when it comes to AF and ISO.

The a7SII focuses faster. It will focus in the dark. It has amazing low light video capabilities and can shoot in places you never could before…of course once you start cranking the ISO past 60,000 or so you will get some offensive noise, but I have images shot at even the max, as a torture test at 409,000 in NO light (only in B&W) just to see what that setting would yield.

High ISO. One strength of the a7s and a7SII both. Same sensor, same ISO capability. 

Now if shooting at 409,000 forget about shooting in color. Turn that camera to HC B&W (high contrast) and take a shot in the dark, literally. The image below was shot in DARKNESS. As in, where I stood I could not even see the ocean! The camera, at this setting gave me an image full of noise and grit but at the same time, it reminds me of some fast film I used to shoot. ISO 6400 film, but this is 409,000 ISO! I can see someone doing a very moody portrait session on the beach at midnight, no lights or flash…may not be ideal but could yield interesting results. I am not afraid of grain, never have been which is why I turn off all noise reduction as soon as I get a new camera. 


If we step down the ISO a tad…

1st two, 128,000



ISO 102,800


Color at 256,000 and lit by the moon


25,600 at night…


All samples above were without any noise reduction, zero. All were out of camera JPEG’s, so nothing here is from RAW as Adobe has not updated their software yet for this camera at the time I did teh review. Also, be sure you click the images for the real deal, to see them larger and better and to see the real noise.

Overall the a7SII keeps with the tradition of amazing low light performance, and for me, even after trying all of the others that do well in low light (yes, even the Nikon D750, Canon’s, etc) nothing can do what the a7S series is really capable of. By the time you hit 12,800 on the others you want to stop..with the a7S II you can keep working…yes, with some noise, but you can keep working or maybe even get shots no one else could even dare to try and get. It’s that kind of camera and makes you want to push the crazy limits.


I even shot some personal video on the beach at ISO 256,000 and 409,000 and it was useable.. I was amazed at what it was doing for me in no light. The a7RII was not too far behind, but it couldn’t match the SII in the dark, focus wise or with ULTRA high ISO as the RII stops at 102,000 ISO. The SII can go up past 400,000 but expect serious grain at that level. In other words, the RII is close  to the SII in Af speed and ISO but the SII does indeed edge it out in both areas.

But it’s just as good in GOOD light!

So while many feel this camera is a one or two trick pony (low light or video) it offers so much more like class leading AF speed and AF in the dark, it offers 5 Axis IS, it offers solid build and great button placement and amazing video. Oh, and it also does DAMN well in great or good or decent light!

Loving the color and pop of the a7SII files..EXIF is embedded on all images but these are shot with a mix of the New Voigtlander 35 1.7 and Sony Zeiss 35 1.4, two fabulous 35’s for the A7 series. OOC JPEGS!







As with the original Mark I a7s, I see the character and almost medium format look of the files. Many were afraid of this camera due to the 12MP sensor (too low for many) but to the friends I know who bought an a7S, they LOVED it tremendously and created some amazing images with it. Believe me my friends, there is nothing to worry about with the a7S or a7SIi. If you like shooting in low light, or lower than low light, you should seriously consider this camera as it opens up a whole new “nighttime” world where flash or light is not needed. It’s a cool thing and even though other cameras today can shoot in low light or even lower than low light, none of them can do it like this “S” series from Sony. I can only image what they will be doing in 5 more years.

ISO 4,000 with the Sony/Zeiss 35 1.4 at 1.4 – OOC JPEG, zero NR


But is it worth the upgrade if you own an a7S?

Even after 2 weeks with the a7SII I am still not 100% sure I would spend the extra on the new version. The a7s sells for $2200 and the new Mark II is $3000. That is a $800 difference. If you already own an A7s, then trying to sell it means you will get around $1400 for it and then have to pony up $1600 MORE for the new version. If this is the case, you have to ask yourself if you want the following:

  • New body style and control layout
  • New 5 Axis IS for image stabilization in video and photos
  • Faster AF, best AF in the A7 line
  • Better video specs over the original  – 4K capable now in camera

Speaking of video, here is the blurb for the new video specs:

“Internal UHD 4K Recording and Full Pixel Readout – Internal recording of UHD 4K movies is possible in multiple frame rates up to 30 fps and, based on the 12.2MP resolution, full pixel readout is possible that is void of pixel binning for higher quality imagery with reduced moiré and aliasing. Full HD 1080p recording is also supported in frame rates up to 120 fps, and both resolutions utilize the 100 Mbps XAVC S format contained within an MP4 wrapper with 4:2:0 sampling. The high-speed, 120 fps recording also enables 4x and 5x slow-motion movie recording with the frame rate set to either 30p or 24p.

In addition to high-resolution internal recording, uncompressed HDMI output also enables the use of an optional external recorder for clean 4K recording with 4:2:2 sampling.”

So you get the 120fps slo motion features as well over the a7s. With the new firmware update from Sony, the a7SII can also shoot uncompressed RAW files. Just what everyone has been asking for.

A7s vs A7sII vs A7rII – QUICK IMAGE COMPARISON for Color and ISO at 25,600. 

Many would call this a silly test. I mean, who shoots at 25,600 ISO? Some do, but not many. The a7SII can go on to ISO 400,000+ so 25,600 should be a piece of cake. This was in my office, late afternoon, one light on in the corner BEHIND the dog toy. Each file is from the camera, as a JPEG. The a7RII file has been resized down to 12 MP so it is a fair fight. Click each one to see the OOC file (again, a7RII was downsized to 12MP)

They all look pretty similar showing the RII hanging with the big boy in the high ISO arena, at least at 25,600!





As you can see, the a7S and a7SII are about the same, while the a7RII is hanging right in there! Not too shabby!

So, again..would you buy an A7sII if you have an A7s?

So while I enjoy the hell out of the new a7SII, I do not think I would sell my a7s and pay $1500 more to get the new version. $700 maybe, $1500 no.

If I was new to the a7 family, I would 100% go with the a7sII over the old model simply due to the fact that 12MP is plenty for me, and I prefer the faster AF, and the best low light performance I can get. It’s got everything one would need BESIDES massive resolution. and while the new A7rII is no slouch in low light, its not quite at the level of the a7SII once it gets darker and  the ISO gets cranked past 25,600.

Few more images with the a7SII. Even in low or mixed light, the camera does very well. Remember, I have all noise reduction OFF. I use NONE. These are all OOC JPEGS. 









My Final Conclusion

Sony seems to be really shooting for the stars as these new Mark II series of A7 have all been phenomenal. Mirrorless is taking off in a huge way. DSLR sales are down, way down..mirrorless sales are UP, way up. I remember when the A7 arrived, the original..many predicted the doom of Mirrorless while I was predicting the slow death of DSLR’s. The slow death of DSLR’s IS happening as many have been switching to mirrorless  – some do it every single day and companies like Sony, Olympus, Panasonic and now even Leica are leading the way for those who want a great mirorrless experience with not many limitations.

In the case of the Sony a7SII, the ability to shoot in any light, with almost any lens made and having 5 Axis IS inside with a great EVF and LCD along with perfect button and control placement, well it just makes it a cool and very capable camera. Nothing quite like it out there right now.

If 12MP doesn’t bother you, I see no reason to go for the A7II or RII over this one. With some M mount lenses this guy will give you an almost Leica M9 feel, not 100% but close. The color pops, OOC JPEGS are fantastic and in the hands of someone with uber talent there would be nothing this camera can’t do..well, even today these cameras are not better than a DSLR for continuous AF but I feel we will be there within a year or two, so sports shooters..I’d stick with your DSLR even though these cameras are plenty fast for just about everything else.

With cel phones taking over as the most used camera in the world, us enthusiasts and hobbyists are becoming a niche breed ourselves. Me, I can’t stand using a phone for any real serious shooting. As good as the iPhone camera is, it does not match something like the Sony A7 series or Leica or Olympus or most other serious cameras. I will take a real camera anyway over a phone, and always will. There will always be a desire for REAL cameras and while one day they may get close to extinction, they never really will. Kind of like Viny Records. They are still being made today for most new music releases. Yep, good old records and they sound GLORIOUS and give a much more “real” experience over digital files or CD. Same way I see a real camera vs a phone. :)









Pro’s and Con’s of the A7sII


  1. New body style, better controls and more solid feel
  2. 5 Axis IS inside!
  3. Improved video specs over the original A7s. 4K, slo motion, etc..
  4. Improved AF speed, also focuses in extremely low light
  5. Beautiful IQ with saturated colors and 3D pop 
  6. Built in mics for video are fantastic
  7. Low light capabilities are best in class, without question
  8. Sony has many lenses available now for the FE mount system
  9. Almost any lens can be used here, and M lenses work well with the SII



  1. Same sensor as the original so do not expect ISO improvements or massive changes to IQ
  2. Battery life not the best, as with all Sony A7 series bodies.
  3. $3,000 it is not cheap, but IMO worth it if you want versatile camera that can shoot anywhere, anytime
  4. No real weather sealing here
  5. Continuous AF could be improved to get to pro DSLR level

So should you buy an a7SII? Well, that is up to you.

This review was shorter than my normal 7-10K word reviews because this is basically an a7s but with a few nice improvements and upgrades along with the new body style. Nothing revolutionary or mind blowing over the original but still enough for many to lust for and want to shoot with this beautiful camera, and it is a beautiful machine. As I shoot it I think back to just 10 years ago at what we had in the digital camera market and if someone would have told me that today in 2015 we would have cameras doing 4K video, ISO 400,000+ and using live view EVF’s that are actually usable..I may not have believed it. We are living in that future and the choices are here. It’s an amazing thing and I can only imagine what the next 10 years will bring to the digital photography world.

Bottom Line: If you want an A7 body, I’d go for this one or the RII. Both are “End Game” cameras, at least for a few years until the next big thing. I still have the original A7s and love it. With the SII and RII, there would be no situation you couldn’t cover.

Oops! Sony did it again!


You can buy the A7sII at Amazon HERE

You can also buy it at B&H Photo HERE.

Both shops 100% recommended by me!



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 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!

Nov 082015

Screen Shot 2015-11-08 at 9.29.33 AM

Checked out Lately? Deals everywhere…

I visit every single day. Why? Well, sometimes I see some GREAT deals there and you never know when you will see something you have been waiting for a good price on. has been around for A LONG time and Tony, the owner, is another long time Leica dealer that everyone and anyone in the Leica world knows well. If you want Leica, Fuji, Olympus or almost sure to check them out as their prices are very fair and they often have specials with great discounts.

My 1st order with PopFlash was many many years ago when the Leica Digilux 2 was new & hot. Remember that one? I believe I bought one, then bought a 2nd one a while later as I enjoyed it so much.

PopFlash currently has some cool deals, so go check them out! With the Holidays coming up you just might find that perfect gift for someone special :)

Nov 062015


Sony Adds Uncompressed RAW and Phase Detect AF for Faster and More Precise Autofocus to α7 II Full Frame Camera
New Features to be enabled via firmware update available November 18th

SAN DIEGO, Nov. 4, 2015 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has announced plans to release a free firmware update for α7 II cameras on November 18th that will add uncompressed 14-Bit RAW image capture and activates phase detection AF for faster and more precise autofocus with lenses designed for interchangeable-lens cameras including Sony’s α mount system.

The α7 II becomes the latest Sony full-frame camera, along with α7S II, α7R II and RX1R II to offer uncompressed RAW capture, which becomes a selectable feature (uncompressed/compressed RAW) within the menu system.

Additionally, it becomes the second Sony camera, along with the flagship α7R II, to offer fully-functional phase detection AF to A-mount lenses in addition to E-mount lenses. The firmware update activates the 117-point focal plane phase detection AF sensor on the α7 II for lenses beyond just the native Sony FE lenses. This includes Sony’s extensive collection of A-mount lenses, which can be utilized along with the LA-EA3 mount adapter.

“We’re continuing to innovate, with a clear focus to ensure we are meeting the needs and demands of Sony α customers,” said Neal Manowitz, Vice President for Digital Imaging at Sony Electronics. “The addition of Uncompressed 14-Bit RAW processing and the activation of phase detection AF brings a level of performance and versatility to the α7 II that is well beyond any camera in its class.”
In addition to these feature upgrades, the MOVIE button can now be assigned to a custom button.

The new firmware, version 2.0, will be available for download at no cost through Sony’s e-support site on the product page for model “ILCE-7M2”.

The α7 II is compatible with Sony’s growing lineup of α -mount lenses, which now totals 64 different models including 13 native ‘FE’ full frame lenses. In 2016, Sony aims to build the native FE lens lineup to over 20 different models.

A variety of exclusive stories and exciting new content shot with the new a7R II cameras plus other Sony α products can be found at, Sony’s new community site built to educate, inspire and showcase all fans and customers of Sony α brand.

Oct 312015

Gorgeous Sony RX100 MK IV video

by Baris Parildar


Just saw this video that a user posted to my Facebook page.. He used the Sony RX100 MKIV for this entire video and it looks gorgeous. Shows the quality that can fit in your pocket these days! My RX100 IV review is HERE if you missed it, but check out Baris’s video below!

“We recently made a road trip from LA to Portland. I just wanted to see what I could create with my Sony RX100m4 and DJI Phantom 3 Standard along the way. I was mostly concentrated on photography and doing some behind the scenes type of videography on the side.
I was checking the footage today and thought it might be a good idea to make a short clip. So here we go…
I hope you like it!”


Oct 292015

The 30.001th Last Post

By Dirk De Paepe

1914-1918: World War 1 and the Ypres Salient

One hundred years ago the whole world was in the grip of the biggest and deadliest conflict in its history. From July 28, 1914 to November 11, 1918 the First World War claimed the lives of more than 16 million people. A total of approximately 70 million soldiers were deployed. More than 1.5 billion people lived in countries that were involved in the conflict. They made for more than 80% of the world population, that at that time amounted to approximately 1.8 billion. The Great War (as WW1 is often referred to) paved the way for major political changes in about all participating countries. As such, it included the end of the prewar German, Russian, Austro-Hungarian and Ottoman Empires.

One of the main war zones, The Western Front, was largely situated in Flanders, Belgium. From October 1914 to October 1918 the battlefield was located just a few kilometers from the center of the medieval city of Ypres. The trenches were situated from north to south in an arc around the city: the famous Ypres Salient. During the four-year war the ancient city in the heart of the Ypres Salient was literally razed to the ground, totally destroyed. From the beginning of May 1915, nobody lived anymore in Ypres. Early 1919, residents reluctantly turned back to their former grounds and little by little they started the rebuild of their city. Many buildings were even reconstructed identical to the plans of their medieval example. After the earlier destruction during the invasion of famous historical Belgian cities, such as Leuven (with the complete demolishing of the world-famous university library), the inhabitants of Ypres had collected many plans of their important medieval buildings. Thus, eg. the famous Belfry and the Cloth Halls could be restored in all their authentic glory.

Picture 1: The medieval Belfry and Cloth Halls are faithfully rebuilt to their original examples

01 Belfry+ClothHalls

In that famous Ypres Salient, no fewer than five bloody battles were fought. A few months after the enemy invasion of Belgium on August 4, 1914, the front stagnated, which resulted in the first battle of Ypres. On April 22, 1915, the Second Battle of Ypres began with the first major gas attack ever. The chlorine gas choked thousands of allied soldiers, mainly French troops and many North Africans. It was the first time in history that a weapon of mass destruction was being used. Later in the war, the Ypres Salient proved to be an experimental battlefield on several occasions: it is here that, in July 1915, flamethrowers were deployed for the first time. In July 1917 the terrifying mustard gas appeared, also appropriately called “Yprite”. And from July 31 to November 10, 1917 raged probably the most terrible battle of Ypres, in its final stage sometimes referred to as the “Battle of Passchendaele”. (Passchendaele is a village near Ypres.) It was a massacre unprecedented. The sense and nonsense of this offensive are still under discussion to this day.

In the trenches and in the no man’s land around Ypres, about half a million soldiers were killed in action between 1914 and 1918. In addition to Germans, French, British and Belgians also Moroccans, Algerians, Tunisians, Senegalese, Canadians, Australians, New Zealanders, South Africans , Chinese, Indians, Jamaicans and many other nationalities were included. But especially the troops of the British Empire yielded around Ypres a very large contribution to the resistance against the enemy invasion. As the victims were often horribly butchered, many bodies could not be identified. But also many of the survivors suffered serious irreversible injuries, with often amputations of limbs and even parts of the face as a result.

Picture 2: even 100 years later, all kinds of explosives are still found on a daily bases by farmers in Flanders Fields

02 WW1Explosives
Picture 3: some of the trenches are maintained

03 Trenches
Picture 4: inside a shelter in the trenches

04 Inside Trench Shelter
Picture 5: outside a shelter in the trenches

05 Outside Trench Shelter

Tyne Cot and Menin Gate

In Passchendaele near Ypres lies the largest military cemetery of the Commonwealth War Graves Commission (CWGC): the “Tyne Cot Commonwealth War Graves Cemetery And Memorial To The Missing” is dedicated to the First World War dead of the British Empire, which fell in the Ypres Salient of Flanders Fields at the Western Front. Here also all missing soldiers and unidentified war dead are specially remembered and honored.

The land on which the cemetery is located, was voluntarily donated forever by the Belgian people to all those who are commemorated here. The names of the missing soldiers are engraved on the walls at the edge of the cemetery on the one hand, and on the other hand also on the walls of the Menin Gate in the city of Ypres, which was built by the British as a special memorial for their missing, even before the Tyne Cot Cemetery monument. In the Menin Gate, the names were engraved of 54.896 Commonwealth soldiers who died here, but whose bodies have never been identified or recovered. When it became clear that there was not enough space on the Menin Gate to engrave the names of all the missing soldiers, the arbitrary cutoff date of August 15, 1917 was chosen and the names of 34.984 more British missing after this date were inscribed on the walls of the Tyne Cot Memorial To The Missing. In total, therefore, 89.880 names of fallen soldiers are engraved. An incredible number, especially when you consider that this relates only to those soldiers of the British Empire who fell in the Ypres Salient and whose bodies have not been identified or not recovered.

Picture 6: Group arrival at theTyne Cot Cemetery

06 Group at Tine Cot
Picture 7: Grave of an unknown Australian soldier at Tyne Cot

Picture 8: Locals at the Menin Gate

08 Locals at the Menin Gate
Picture 9: The Menin Gate Memorial monument

09 Menin Gate Memorial Monument
Picture 10: 54896 names engraved

10 54896 names engraved

Never forget

The First World War is still very present in those Flanders Fields, where still every day unexploded explosive devices are found by local farmers. One hundred years later!

The Menin Gate, Tyne Cot Cemetery, the town of Ypres and the entire surroundings are an area of remembrance – for the Flemish, but certainly for so many British, especially those who cherish the Menin Gate and Tyne Cot Cemetery as the only place where they can commemorate their missing family members of yore, relatives who never could get their own grave. Their name on a wall, among those of their fallen comrades, is the only thing left of them.

Every day, visitors arrive from all over the former British Empire, of course most coming from England, visiting the cemeteries and the Menin Gate. Often it concerns young people, along with their parents, to come looking for a name of a family member on the walls of Tyne Cot or Menin Gate and place a little wooden cross with a poppy, or who are making a school trip to learn about the importance of those commemoration symbols. Every visitor, without exception, is heavily struck by the symbolism of these historical sites.

Picture 11: Looking for a name.

11 Looking for a name
Picture 12: He’s there!

Picture 13: Body language speaks volumes

13 Body Language
Picture 14: Nobody rests untouched

14 Nobody untouched
Picture 15: Comrades in death

15 Comrades in death

The Last Post Association

The “Last Post” is a tune of the British regiments, played on clarion, that announces the end of the workday. At the Commonwealth cemeteries, the performance of the Last Post stands for a final farewell to the fallen soldiers.

Out of gratitude for the tremendous efforts of the troops of the British Empire around Ypres, residents of Ypres founded the “Last Post Association”. The Last Post Association in Ypres is therefore a volunteer organization. The association was founded in 1928 and since then it executes the Last Post ceremony every evening at 20:00h, including the performance of the Last Post tune under the Menin Gate, by at least four buglers. The association has eight buglers among its members. Every day, four of them come to play the Last Post under the Menin Gate. They do this in an endless week regime, on and off.
The Last Post Association sets itself as its target to keep this tradition forever preserved and to contribute to anything that can enhance the significance of the tribute. The association also wants to arouse reverence for everything the Menin Gate represents: the sacrifice and suffering, but also the solidarity, the sense of duty and heroism of the soldiers who took part in the battle. Only during the occupation of the city by Nazi forces during World War II, this tradition was interrupted – for obvious reasons. But the very day that the Menin Gate was liberated, the tradition was taken up again, even though at that time some parts of the city were still in Nazi hands.

The buglers of the organization traditionally wear the uniform of the volunteers of the local fire department to which they belong. But the Association itself is separate from the Ypres fire brigade.
In the decades after WW2 the significance of the ceremony was expanded. The performance of the Last Post now commemorates not merely the casualties of the British Commonwealth, but also those Belgian, French and other allies who contributed to the battles at all costs. But also at the “other side”, many soldiers lost their lives. The enemies of yore, are now amongst our best partners and friends in today’s united Europe. Thus the Last Post under the Menin Gate represents not only a look at our past, but also a signal of hope for the future.

Picture 16: Four buglers of The Last Post Association perform The Last Post tune under the Menin Gate in the city of Ypres, Flanders, Belgium

16 Four buglers
Picture 17: Those volunteers have been playing every single day at 20:00h sharp since 1928, only interrupted by the Nazi occupation of the city during WW2\

17 Volounteers
Picture 18: The traffic under the gate is put to halt to allow for this daily event

18 Traffic to halt
Picture 19: Playing towards the Belfry for the 30001th time, before a daily audience

19 Playing towards the Belfry
Picture 20: Four common guys with exceptional commitment just played the clarion

20 Four common guys

The 30001th Last Post

Every day, a little before eight o’clock in the evening, the Ypres police puts the traffic to halt at the Menin Gate. Daily life stands still to return through the Last Post ceremony to 1914-18 and to remember and honor the fallen soldiers. The Menin Gate was specifically chosen for this daily event, because it was here that all the soldiers marched towards the front, many of them never to return.

On July 9, 2015 this performance took place for the 30 thousandth time. To this occasion, a special ceremony was organized, named ”Tribute to the Tribute”, upon which representatives from the at the WW1 Western Front warring countries signed present and laid wreaths under the Menin Gate. Already for many years, I had attending to the Last Post performance under the Menin Gate on my bucket list. And when, on July 9, I heard the radio journal about the solemnity of the 30 thousandth performance, I realized that the right moment had come.

But more than an elaborate ceremony in honor of a special commemoration, I’m more impressed by the fact that this performance takes place on a daily basis since 1928 – every single day, irrespective of temperature or weather, always with (at least) four buglers. Volunteers… There have been chilly winter days in the past, when the buglers were virtually alone and performed the Last Post anyhow, in all modesty. But, with the increased tourism and especially with the larger numbers of British visitors to the Ypres area, today this daily ceremony is attended by many. After the visit of the WW1 museums and cemeteries in the area, people gather in the evening under the Menin Gate, to enjoy the performance of the Last Post with the special acoustics, provided by the building that is so fraught with symbolism. These people of the Last Post Association do an incredible job here, with exceptional commitment, fully aware of the importance to continue this tradition. The lesson we should draw from both world wars and thus the importance of resolving conflicts through respect and tolerance, negotiation and cooperation, absolutely needs to be kept alive. Since 1945, we manage this fairly well, here in Europe. In the countries situated around the battlefields of the Western Front of WW1 and where during so many centuries the population was almost constantly plagued by so many military conflicts, nowadays the peoples work together, aware of the otiosity of war, and they experience an unknown period of already 70 years of mutual peace. More and more countries have joined the European Union, attracted by the success of this project. Often the cooperation is difficult and needs lengthy negotiations to reach an understanding. Sometimes even, for some it may seem as if the cooperation is about to burst, as has been recently in respons to the Greek crisis. But the union always ends up resolving the problems, because all parties agree to continue to negotiate firmly, to continue to cooperate, because everyone realizes that this is the best, indeed the only path to peace and prosperity. We can only hope that this will inspire more and more countries around the world.

Performing The Last Post commemoration literally every day, thàt is the true uniqueness of what happens at the Menin Gate in Ypres. And so I wanted to capture this ceremony – not the one of the 30.000th performance, but the one of the next day, a typical day like the other 29.999. On July 9, I saw the ceremony on TV and I thought the time was right to go to Ypres. So I rearranged my schedule for July 10 and we left after lunch to the Flanders Fields of the former Western Front, where we arrived around 16:30h. In Zonnebeke we visited the Memorial Museum Passchendaele to see the trenches, which are still kept in tact. Tyne Cot is just a stone’s throw from there and was our next stop. At 19:00h we arrived at the Menin Gate in Ypres, where there were already a lot of people gathered, to attend the Last Post performance. The 30001th, on a day like any other.

I hope (some of) my images can tell you something about the subdued and compelling atmosphere that prevails here, at the Menin Gate, but also at Tyne Cot. None of the visitors remains untouched here. Their body language speaks volumes. The symbolism really works.

Picture 21: The British Empire was the largest world power in those days

21 British Empire
Picture 22: One of the corridors of the Menin Gate

22 One Corridor
Picture 23: In remembrance of Benjamin Walker, killed in action on September 9, 1915. 100 years ago, Benjamin had only fews days to live. His family was here.

23 In remembrance

Picture 24: Sharing family feelings

24 Family feelings

Every day, without exception, and no matter what, four buglers perform the Last Post at 20:00h sharp, in honor of all fallen soldiers of WW1 and to promote peace and cooperation amongst all peoples. Thàt’s the special thing about the Menin Gate in Ypres. Therefore, it was not the special ceremony on July 9 that I wanted to attend. But I wanted to be there on the next day. Because there they were again! Like they were on every single day, since 1928. Four volunteer buglers of the Last Post Association. Along with a lot of people who visited Ypres and its historical sites and concluded their day here under the Menin Gate, to take part in the striking daily remembrance of what took place here one hundred years ago. The photographs in this report are taken on July 10, 2015, in honor of the 30.001th Last Post under the Menin Gate in Ypres. A Last Post like any other Last Post. Like on any other day. Unique.

Picture 25: The Menin Gate, monument for those with no known grave

25 No known grave


If you want to know more about the events, just google “Ypres”, “Ypres Salient”, Menin Gate or “Tyne Cot”.

All pictures were shot out of hand with the Sony A7r, most of them with the Canon FD 20mm, some with both the Zeiss Loxia’s. You can find those pics in full size here on my flickr pages (, where you can check the lens that was used in the tags.

Oct 292015

Oh my dog!

by Brigitte Hauser

Your blog is always a great Inspiration. Thought I share some of my dog photos. (Sorry, no cats!) I have taken them on my holidays in Italy (except the monochrome one). What I have noticed is, people are really proud if you take a photo of their dog. The picture I like most is the one without dog. The portrait of an old hunter. I met him on a hiking tour on the island of Elba. His hunting dog just has disappeared somewhere into the bushes… The last photo shows my own dog.

It’s a mix between terrier and hunting dog and he also likes disappearing sometimes:-). I used Leica Q, except for the monochrome picture. I sold my beloved Sony RX1 for the Q. I prefer the built-in EVF, the faster AF and the handling. And I think I prefer the look of the Q pictures, too. But perhaps it only seems so to me for justifying my change and the loss of money… What I don’t like is the lens cap of the Q. Mine has already broken, because it’s not fitting on the lens with the lens hood.










Many thanks



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