We’ve crammed a lot into the latest issue of Photography News, with tests, guides and - of course - all the latest news. Read all about the forthcoming Photo Video 24 event, which takes place in early June, get the lowdown on the Sony A7R V in our Big Test, and uncover a plethora of different ways to showcase your work. There’s also full details on new lenses from Sony, Samyang, Nikon, Sigma and Tamron, plus a guide to recording high quality audio on your videos. One not to miss!
ISSUE 105 14 Mar-10 Apr 2023 photographynews.co.uk
Pg10 Get inspired! / Award-winning pics to kickstart your creativity
Pg14 Sony A7R V / A big test on a
Pg27 Show and sell / Ways to showcase your work – and make money
full-frame model with big resolution
Photo Video 24 is go!
OUR ANNUAL IMAGE-MAKING extravaganza is back! For 2023, we’ve decided to mix things up with a new name, location and fresh opportunities to get great results. The event formerly known as Photo 24 is now Photo Video 24, reflecting an increasing interest in hybrid content creation. You no longer have to be a photographer or videographer – you can be both! And chances are you already have the camera to prove it. We’ve also decided to switch the streets of the capital for the more provincial surroundings of Cambridge, where Photography News is so lovingly put together each month! Our new location might be smaller, but that doesn’t mean fewer creative opportunities. There are a plethora of sights to photograph or film, and the opportunity to learn from experts how to make the most of them. This year, the event takes place on 3 and 4 June. As always, you’ll need to register to get involved. The number of places is strictly limited to ensure that it’s 24 hours to remember. Registration will be open by early April – keep an eye on our website and social media channels for more details. Unlike previous years, however, we won’t be holding a ballot: places will be awarded on a first-come-first-served basis, with a waiting list for any cancellations. “Registration will be open by early April – keep an eye on our website and socials for more details” The countdown is on for the biggest event of the PN calendar! Registration opens soon – don’t miss the chance to get involved Continued on page 3
Continued on page 3
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The imaging event of the year
EDITOR’S LETTER ROGER PAYNE
Continued from page 1
Our base for the duration of the event will be the Graduate hotel in the heart of Cambridge. It’s within easy walking distance of many of the city’s main attractions, and will be a hive of activity itself throughout the 24 hours. Event sponsor MPB will be hosting a series of sessions, plus you’ll have the opportunity to get your kit valued, or loan some equipment to take out with you into the city. So, what exactly can you expect? The Photography News team will be running a series of guided photo walks around the city, each one showcasing a particular location or type of architecture. There will be street photography workshops for those hoping to hone their skills, plus walks arranged around sunrise and sunset so you can make the most of the light. There will also be opportunities to get a bird’s eye
I don’t know about you, but I’m counting the days until the clocks change. When I was younger, I was never bothered about winter and its seemingly eternal darkness. But nowadays, I can’t wait for the days to get longer and the weather to start warming up. At least part of this is down to the fact I’m testing kit. Product reviews are harder work in the winter months, primarily because your days are spent constantly checking the weather forecast, hoping – praying – for a break in the clouds. As I write this, for example, I’m waiting for it to stop being overcast and miserable so I can get out and take some final shots for our Sony A7R V review. That starts on page 14, so if there are blank spaces you’ll know if I succeeded or not! The advent of British Summer Time (26 March, if you weren’t aware) doesn’t only open the door to before-and-after-work kit-testing forays, it signals the unofficial start of photography season. I haven’t spotted a single photographer while out product testing in the winter months, but I know I’ll see plenty of you during the summer. Be sure to come and say hi if you see me. Roger Payne
With all this talk of being out and about, it would be remiss of me not to mention the standout event of 2023: Photo Video 24. On 3 and 4 June, PN will be taking over our home town of Cambridge for a 24-hour creative extravaganza, and you’re all welcome! Be sure to sign up if you want to get involved. Elsewhere in the issue, find all the latest news and reviews, plus a guide showcasing inventive ways to output your work. You may have spent winter sorting through last year’s images? If there are some you’re especially proud of, why not turn them into something special? Page 27 has a bucketload of ideas, including prints, photo books and a whole lot more. But I must dash – the sun is about to come out! Enjoy your photography, see you next month.
“There will also be opportunities to get a bird’s eye view of the city” hours. Everyone who comes along will get a passport with tips, guides and challenges (including prizes!), and if you’re with us for the full 24 hours, we’ll give you a memento to remember your day. Updates will be forthcoming in every issue between now and the big day. Plus, if you can’t make it to the event itself, there will be a chance to get involved remotely via social media. For now, bookmark the website, follow us on Facebook, Instagram or Twitter and get ready for our biggest event of 2023. We hope to see you there! photographynews.co.uk
view of the city by climbing one of the church towers. While we’re still finalising some details, we already have plenty planned, with something happening in every single moment of the 24-hour marathon. At the hotel, we will be running portrait sessions and teaching you how to get better results. Not to mention Adam Duckworth, editor-in-chief of our sister title Pro Moviemaker , will be running a series of workshops to help you get to grips with video essentials. When they’re not out on photo walks, the PN team will be available to assess your images and give you plenty of guidance on how to improve. All of the walks and events will be bookable at the point of registration; some events will need to be paid for, but many are free. You don’t have to reach into your pocket if you don’t want to. And of course, you don’t even have to book any of the events, you can just come along, get involved and enjoy getting creative for 24
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TALE OF TWO CITIES Cambridge offers fantastic natural and built environments
What’s inside 03 News All the latest news from across the photo world, including lashings of lovely lens launches! 09 Samsung word search Find the missing word and you could win yourself a Samsung memory card! Plus, we reveal the winner from issue 103. Is it you?
10 Prize-winning inspiration Get those creative juices flowing as we round up a fantastic selection of images from recent competitions. This month, we focus on the Underwater and Natural Landscape
to products and services perfect for those looking to show off (or sell) their images 35 First tests Canon’s RF 100-400mm super-telephoto zoom, Tenba’s DNA 16 Pro Messenger bag and a range of ProGrade Digital storage solutions are put under the microscope by our experts
Photographer of the Year contests 14 Big test: Sony A7R V
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Boasting 61-megapixel resolution alongside a host of stills and video functions, this latest full-frame model looks to be a blinder. Find out if it lives up to the hype 21 Making movies Taking your first steps in video? This series is just for you. Here, we guide you through audio options and why you should move away from using your camera’s built-in mic
27 Buyers’ guide: output your work Make a mark by getting your best work off your hard drive and out on display! We’ve got a host of options, including prints and photo books, in this comprehensive guide
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News Hasselblad X2D 100C dual lens field kit now available The 100-megapixel medium format model now comes in a set paired with wide-angle prime lenses, targeted at travel and documentary photographers
Tamron X Mount zoom set for spring Recently announced by Tamron, a wide-angle zoom compatible with Fujifilm X Mount is in development. The exact launch timeline for the 11-20mm f/2.8 Di III-A RXD optic is to be confirmed, but it should be with us before the end of spring. The lens features a constant f/2.8 aperture throughout its range, offering the 35mm equivalent to a 16.5-30mm. At the shortest focal length, it focuses down to just 15cm – handy for creating wide-angle macro images. Highlights include a Rapid eXtra-silent stepping Drive (RXD) motor for fast and quiet autofocusing, a moisture-resistant construction and fluorine coating on the front element to help repel whatever the weather throws at it. Pricing is to be confirmed. transcontinenta.co.uk Sigma adds Nikon Z mount optics Sigma has announced it will soon produce lenses for the Nikon Z mount mirrorless system. The first three compatible lenses are designed as crop sensor optics for use on Z series bodies. The trio – 16mm f/1.4 DC DN, 30mm f/1.4 DC DN and 56mm f/1.4 DC DN – will form part of the Contemporary range and have been adapted to work seamlessly on Nikon’s mirrorless models. They feature specially developed algorithms to ensure optimised compatibility and deliver fast AF support for continuous autofocusing, as well as in-camera aberration correction on supported models. They are also rubber sealed for use in inclement conditions. Availability is still to be confirmed by Sigma, but these are likely to be the first of many more optics for the Z series, giving Nikon users further choice. sigma-global.com
“Together they can cover a range of travel scenarios – landscape, architecture and street, documentary and still life”
Hasselblad’s flagship X2D 100C medium format mirrorless camera has been paired with a couple of the company’s wide-angle prime lenses to create the new X2D 100C Lightweight Field Kit. This enticing proposition includes the body along with 21mm and 45mm lenses – weighing just 1810g in total, give or take the odd lens hood – making it ideal for long shoots, outdoor adventures or any creative wishing to travel light without compromise. Launched last year, the X2D 100C features: a 100-megapixel BSI CMOS sensor with 15 stops of dynamic range; a five-axis in-body image stabilisation system offering up to seven stops of compensation; phase detection AF across 97% of the imaging area; and a built-in 1TB SSD with a write speed of 2370MB/s for storage. The body, made from a single block of machined aluminium alloy, weighs just 790g.
77mm filters, it incorporates two aspherical elements to optimise results. Similarly, the XCD 4/45P, though longer in focal length, is the lightest XCD optic – tipping the scales at a mere 320g. With a minimum focus distance of 35cm, featuring nine elements in seven groups and using a built-in leaf shutter for flash sync at all speeds, it is great for general-purpose use. The only thing that isn’t lightweight about the X2D 100C Lightweight Field Kit is the price. It’s available now for around £11,440. hasselblad.com
The lenses – the XCD 4/21 and 4/45P – provide 17mm and 36mm full-frame focal equivalence, respectively. Together they can cover a range of travel scenarios, including landscape, architecture and street, documentary and still-life photography, but may also be used in the studio. XCD 4/21 is the widest Hasselblad lens to date and boasts 13 elements in nine groups. As with other X System glass, the 4/21 contains an integrated central shutter providing full flash synchronisation up to 1/2000sec. Weighing 600g and accepting
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News
Sony raises standard with new 50mm
Autofocus is said to be 1.9x faster than conventional lenses, thanks to the use of the company’s high-thrust XD linear motors and an advanced control algorithm. Weather proofing, including a fluorine-coated front element, completes the picture. Available now, the lens costs £1500. sony.co.uk
Sony added a fast-aperture 50mm standard lens to its G Master range. The FE 50mm f/1.4 GM is claimed to deliver ‘captivating quality and naturally rendered bokeh’, making it a perfect partner for the latest Sony cameras. The full-frame optic has an 11-blade diaphragm, with two XA and one ED glass element in its construction.
Fujifilm X Series users now have a lighter telephoto option in Samyang’s AF 75mm f/1.8 X telephoto. Offering the 35mm equivalent to a 112.5mm optic, the 75mm weighs just 257g and is only 69.3mm in length, making it a contender for photographers and videographers wanting compact glass. Optical performance is claimed to be strong thanks to two high-refractive (HR) and three extra- low dispersion (ED) elements in its construction. These ensure contrast is high with resolution consistent across the frame, while advanced coatings help deliver impressive sharpness. A nine- bladed diaphragm and the f/1.8 maximum aperture combine for smooth bokeh, plus the lens is sealed in five places to repel dust and moisture. AF is claimed to be fast, accurate and quiet, making the lens suitable for both stills and video use. Additional functionality is also provided via a two-position custom mode switch. These include a preset aperture control, allowing users to adjust depth-of-field more smoothly when recording video. The lens is primed for release next month for £474. Samyang has also introduced a manual focus adapter for its V-AF series lenses. The £438 V-AF Manual Focus Adapter fits on the front of the lens, granting a focus throw of up to 300° (depending on the lens it’s attached to) and offering precise control. samyanglens.com Samyang launches featherweight X Series telephoto Prime 75mm provides Fujifilm users with compact alternative
OPTIMAL PRIME The new G Master 50mm prime provides incredible performance in a lightweight and compact profile
Club news
On 24 February, North Fylde Photographic Society (NFPS) delivered an honorary membership to Ritchie McCulloch, one of the club’s co-founders. At 101, Ritchie is North Fylde’s oldest member, credited with merging the club’s two predecessors and helping to shape North Fylde into its current form. Paul King (chairman) and Neil Pascoe (external competition secretary) paid Ritchie a surprise visit to award his certificate. “He was in fine form,” said Neil. “It was a great pleasure for us.” northfylde-ps.co.uk 101 and counting
Get your images in the running at Cheltenham
Cheltenham Camera Club invites entries to its 11th Cheltenham International Salon of Photography (CISP 2023). There are five sections, with 141 awards up for grabs. Entries should be made online by 9 April 2023. Judging will be from 21-23 April, with an awards evening on 7 September. cheltenhamcamera club.uk
HONOURED Ritchie McCulloch (left) and Paul King (right)
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A Samsung memory card! WIN!
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VHASSELBLAD PVDEEPSOTOF L L A W E T I H W R N N M L I F I J U F O M GSAMYANGLTO F P V I D L Y G J O M SMAACZLSYLE HBHNNJSNOI D KAYHAGOZLGA HOHRKSUTMHR DTZNJOOABTG T T N I E C G N R W O E O L I A M E R I D R NRBNKEUYOCP BFOKYOCHUD I ANQVCBNQLTE D A H S I G M A D E D RMEPSONZBPM With the need for superfast, high-capacity memory greater than ever, the Samsung 256GB Pro Plus microSD card could be just the ticket – and here’s your chance to win one. Boasting up to 160MB/s read and 120MB/s write speeds, the card is ideal for expanded mobile device storage and capturing quality photos or 4K UHD video. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on puzzle@photographynews.co.uk with that word in the subject box by 10 April 2023 and the winner will be drawn at random from all the correct entries received. Only entries from UK residents will be accepted. Congratulations to Albert Greenfield, our winner from issue 103. The missing word from issue 104 was ‘memories’. samsung.com/uk/memory-cards
Prime time for Nikon Z series Travelling creatives and professional portrait shooters have gained new Z mount options
AS PREDICTED IN issue 103 of PN , Nikon has added two lenses – the 26mm f/2.8 and 85mm f/1.2 S – to its Nikkor Z mirrorless series. The 26mm f/2.8 is a wide-angle ‘pancake’ prime lens, and is Nikon’s smallest to date. Weighing just 125g and at only 23.5mm long, yet benefiting from metal construction and sealed against dust and water, this little lens will be a companion for on-the-go creatives. The 26mm focal length suits a range of subjects and styles, including street, landscape, architecture and interiors – and with a minimum focus distance of 20cm, it’s also appropriate for close-ups. Promises of high image quality even in low- light environments, minimal focus breathing and a silent control ring mean the 26mm f/2.8 should attract interest from photographers and videographers alike. The 85mm f/1.2 S sits within the premium S-Line of Nikkor Z lenses. It’s targeted at pro portrait photographers, with its wide f/1.2 maximum aperture and Nikon’s Nano Crystal
Coat, designed to prevent reflections and flare even in direct sunlight. The 85mm f/1.2 S features fast and quiet autofocus with responsive tracking and easily customisable controls for speedier operation. The lens is weather sealed to provide extra protection when shooting on location. The 26mm f/2.8 costs £529, while the 85mm f/1.2 S is priced at £2999. Both will be available in early March 2023. nikon.co.uk
Editorial team Editorial director Roger Payne rogerpayne@bright.uk.com Deputy chief sub editor Matthew Winney Sub editor Ben Gawne Junior sub editor Lori Hodson Contributing writers Will Cheung, Adam Duckworth, Samara Husbands, Katie Kasperson, Kingsley Singleton
Design team Design director Andy Jennings Design & ad production Hedzlynn Kamaruzzaman, Emma Di’Iuorio and Man-Wai Wong Distribution Distribution and subscription manager Phil Gray philipgray@bright.uk.com Publishing team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras
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Competitions
Prize-winning inspiration
We dive deep to bring you the best triumphant images from around the world, made by top photographers of land and sea
WORDS BY SAMARA HUSBANDS
Underwater Photographer of the Year
The Underwater Photographer of the Year contest celebrates the world beneath the surface of our oceans, lakes, rivers and even swimming pools. The first winner was named in 1965. Today, the competition is bigger than ever, attracting entries internationally; 2023 saw over 6000 images submitted from 72 countries. Kat Zhou’s captivating image of a pink river dolphin breaching the surface of the Amazon River was crowned this year’s winner. Chair of the competition judges, Alex Mustard, commented: “At first glance simple, then simply perfect. In dark, tannic waters, Kat has created a striking composition, capturing this rarely photographed and endangered species in a precision configuration. This is by far the best image we've ever seen of this species, whose numbers are declining at an alarming rate.”
HAVE A GO! › Open to All levels › 2024 closing date TBC
› 2023 entry cost £15, £30 or £40 to enter three, ten or 20 images across all categories › Website underwater photographeroftheyear.com
Ollie Clarke was awarded British Underwater Photographer of the Year, with his shot of a whale shark camouflaged within a bait ball of smaller fish. Alvaro Herrero won the Save Our Seas Foundation Marine Conservation award. His alarming image shows a starving humpback whale, unable to swim properly after having its tail broken.
ENDANGERED Award winners from 2023 capture incredible shots of rarely seen species residing in our planet’s boundless rivers and oceans
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Competitions
Natural Landscape Photography Awards
Now in its second year, the Natural Landscape Photography Awards (NLPA) was created to promote the very best in landscape photography, covering both digital and film. Truly valuing realism and authenticity, the competition has established important rules to avoid deceptive digital editing techniques.
A total of 10,700 images were submitted from 55 countries in a broad range of categories, including Grand Scenic, Intimate Landscapes and Abstract or Details. The top prize is awarded to the photographer with the best collection of six or more images entered in one single category. This year’s winner, Brent Clark, took home a $5000 cash prize. Jim Lamont and Philipp Jakesch were joint winners in the Photograph of the Year prize for the best single image, scooping $2000 each, while Daniel Mîrlea also won $2000 in the Project of the Year category.
HAVE A GO! › Open to All levels
› 2023 closing date 31 July, competition opens 1 June › 2022 entry costs $15-100 (1-18 images); $30 (projects of 6-10 images) › Website naturallandscapeawards.com
SUPER SCENERY The Lowell Glacier (above); Reykjanes Peninsula (right); one of Clark’s set of eight winning images (below)
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Fujifilm
ADVERTISEMENT FEATURE
Wedded to success York Place Studios reveals how the Fujifilm X-H2S is key to a happy marriage of stills and video EVERY WEDDING IS unique – and every moment is special.
Each celebratory day is a thousand, maybe a million, tiny fragments of fun, joy, sadness, silliness, love and nostalgia… thrown into this, what can photographers and filmmakers hope to achieve? How can they possibly capture everything in stills and video, binding the chaos into something meaningful and lasting? Making a success of weddings since 2006, York Place Studios – which consists of brother and sister Liam and Dom Shaw making stills, and their brother Alex and Dom’s husband Matt Thompson recording video – would seem to have the key. “Capturing all those moments is where the beauty of documentary photography and filmmaking comes into its own,” says Dom. “Liam and I were always thrilled by street and candid photography, and so they naturally formed the heart of our wedding style. Of course, we also
CANDID CAMERA Finding impromptu moments is York Place’s speciality
get all the ‘big beats’ of the day you would expect: the ceremony, cake cutting and kisses, but it’s really the in-between moments that clients choose us for.” Weddings, Matt and Dom agree, have changed over recent years, and so has their approach. “It’s true that many people like a less formal event these days, where they can concentrate on having a great time with family and friends,” explains Matt. “There’s less of the fairy-tale look people once wanted; they prefer honesty. As documentary styles show, life can be amazing enough without making things up.” But on a busy wedding day, which is rarely anything short of organised chaos, how do they go about their business? “We’re always looking for humour, candour and emotion in our shots,” Dom says. “What we love is the idea that people have spontaneous documentary moments on their wall. We never stage anything and don’t know what’s going to happen. We can only be aware of the possibilities. It takes a lot of concentration as we are always on the lookout, or anticipating how a situation may unfold. And we can also create by the way we compose. That’s certainly where working as a pair can be vital, as you have more time and more opportunities. “The optimum is capturing these layered images,” she adds, “where you have a frame that’s full of life. It can happen at any time – even within the regular formalities of a wedding, like people relaxing after a speech or a group photo. The trick is to find some balance, and make images as clean and easy to read as possible. For instance, no matter how busy the frame might be, subjects require separation, so you could almost draw around each person. It usually just means quickly moving your feet!” At other times, they will adopt a classic street approach of matching up aspects of a location with the people in it. “It’s the old difference of
X-H2S SPECS › Sensor 26.1-megapixel APS-C CMOS stacked › ISO Auto, 160-12,800 (expandable to 80-51,200 for stills, 160-25,600 video) › Image stabilisation In-body sensor shift with seven-stop improvement › Screen 3in free-angle tilting touchscreen, 1.62m dots › Shutter speed 15 mins to 1/32,000sec › Autofocus Intelligent hybrid AF, phase and contrast detection with 425 points
› Frame rates Up to 40fps (electronic shutter), 15fps (mechanical shutter)
› R ecording media 1x CFexpress Type B, 1x SD/SDHC/SDXC slot › Input/output Mic input jack, headphone jack, USB-C, 2.5mm sub-mini control input, 2.5/5GHz Wi-Fi, Bluetooth › D imensions (wxhxd) 136.3x92.9x84.6mm/ 5.4x3.7x3.3in › Weight 660g/1.5lb with battery and memory card
“There’s a lot less of the fairy-tale look that people once wanted; now they prefer honesty”
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Fujifilm
that was beautiful colours straight out of the camera. I started with an X-T1 and was using it so much that we knew we had to invest in backup bodies. The X-Pro2 came along next, realising we could use it just as well for weddings as street – and then the X-Pro3. With X-H2S, Matt and Alex were excited about its video features, but I wasn’t expecting it to be my choice for stills. I was wrong – it’s an amazing hybrid. “Because we’re so focused on spontaneity, we need cameras that respond as quickly as our minds,” Dom continues, “and the X-H2S takes speed to another level. Eye- tracking AF is particularly amazing, because it lets me follow a subject, “Subject tracking is just as good in movies as stills. I don’t even need to check if a shot is in focus – it always is!”
‘hunting’ or ‘fishing’ in photography,” Dom explains. “While most of the time we’re hunting and assessing a location to see what it might produce, at others, we might spot one part of a jigsaw and keep it in mind for later, like a prop or frame.” In video, it’s similar but different, says Matt: “Our style is quite fast, with three- or four-second edits, but within that time we still want to show something surprising or meaningful. The layering that Dom talks about is more difficult in video because it’s not a frozen moment, but we can do things stills can’t. We often frame with movement in mind and use motion to reveal situations, rather than showing the end product as in a still. Again, it’s about anticipation, and if we know something is about to unfold, we can reveal it by blocking parts of the frame to keep the viewer hooked. While we never set anything up, there is some choreography in telling the tale.” All members of the York Place team now work with the Fujifilm X-H2S, but their choice of camera has evolved along with the X Series itself. “We quickly migrated to the X Series,” says Dom. “A big part of
but also move focus away with a simple shift of the dial if I want it to be somewhere else. And I can switch in and out of those modes with the buttons on the body by default. “The tracking is incredible for dance floor images,” she goes on, “and because we don’t use flash, X-H2S’s ISO performance is vital. Pictures are clean and detailed even at the higher settings. By the end of the day, I’m thankful for the camera’s larger handgrip, too, which takes a lot of strain away – and makes handling a lot safer on the more boisterous dance floors!” As for video performance, it’s a similar story. “Using the X-H2S has let us work handheld a lot more,” says Matt. “It’s small, light and the in-body image stabilisation is brilliant. Previously, we worked with monopods, but now we roam more freely, which leaves us more likely to capture the moments we’re looking for. The camera’s tilting screen helps, too – and subject tracking AF is just as good in movies as stills, which lets me work with two bodies. I don’t even need to check if something is in focus – it always is!” The X-H2S’s 6K video mode has helped Matt. “We record in 4K most
TRUE COLOURS Pick up all the vibrant hues of a typical wedding scene with the X-H2S, thanks to Fujifilm’s world-renowned colour science
video and be straight into the right settings is amazing. We can all be second shooters, mix and match lenses, and with seamless colour and quality. That responsiveness is vital in our storytelling.”
of the time, which allows cropping to Full HD, but the 6K mode is a level beyond that. It’s so useful for ceremonies in particular, where I can crop in from an unmanned camera to fine-tune a shot, or make a new angle.” As a business, only needing one camera body is incredibly helpful, Dom confirms. “Even though the disciplines are distinct, the fact we can switch the camera from stills to
eshop.fujifilm-x.com/uk
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Sony A7R V
Big test
PRICE: £3999
SONY.CO.UK
If you seek high resolution, but don’t want medium format, this 61-megapixel Sony may be just the ticket. Time to find out if the numbers stack up
I REMEMBER WHEN Sony got serious about photography. Its first DSLR, the 10-megapixel Alpha 100 which launched in 2006, was the result of a collaboration with Konica Minolta. There was much talk of shared technologies, plus the fact that subsequent Alpha models would employ the Minolta bayonet mount, offering a lifeline to the 16 million lenses already out in the wild. I wasn’t wholly convinced, but although the company made unusual choices – DSLT anyone? – from these relatively modest beginnings, Sony has grown into a photographic superpower, which has largely followed the market shift to mirrorless. As Roman numeral fans will be aware, the A7R V is the fifth iteration of the A7R, which first appeared in 2013. The R range has always been the first port of call for those seeking a compact full-frame mirrorless with a hefty resolution. The first model boasted 36 megapixels back when 24 was considered the norm, and this version has 61 of the blighters – that means file dimensions of 9504x6336 in the largest 3:2 ratio. If you want to go larger than that, you have to consider medium format options such as the Fujifilm GFX 100S or Hasselblad X2D 100C, which represent a greater investment. That’s not to say the A7R V’s £4000 price tag isn’t a serious consideration, mind. While 61 megapixels is a sizable number, in reality the V uses exactly the same sensor as the model it replaces, so if you’re an existing IV owner, you’ll need to justify the switch elsewhere on the spec list. Don’t worry, there are plenty of options. One major change comes in the imaging engine, which for the first time is Sony’s Bionz XR unit – claimed to be up to eight times more powerful than its predecessor.
WORDS & IMAGES BY
ROGER PAYNE
SPECS › Price £3999 body only › Sensor 35.7x23.8mm full-frame Exmor R CMOS › Resolution 61 megapixels › Imaging engine Bionz XR › Sensitivity ISO 100-32,000 (stills expandable to 50 and 102,400) › Metering TTL 1200 zone with multi-segment, centre- weighted, spot (standard/large), entire screen average and highlight options › Exposure modes PASM, iAuto › Exposure compensation +/-5EV in 1/3EV steps › Image stabiliser Image sensor- shift mechanism with five-axis compensation, up to eight stops › Shutter speed range 15 minutes to 1/8000sec, plus B (mechanical), 15 minutes to 1/180,000sec (electronic) › Shooting speed Up to ten frames per second › Pixel Shift Multi Shooting Four- and 16-frame options up to 19,008x12,672 › Autofocus modes Automatic, single, continuous, direct manual, manual focus › Viewfinder 0.63in OLED with 9.44m dots and 0.9x magnification › Rear LCD 3.2in four-axis tilting touchscreen, 2.09m dots › Movie recording 8K/24p, 4K/60p, Full HD/120p › Storage media SD/SDHC/SDXC/ CFexpress Type A dual card slots, UHS-I and UHS-II compatible › Connectivity Bluetooth, Wi-Fi, HDMI Type A, USB-C, multi USB, 3.5mm audio in and out › Power NP-FZ100 battery › Dimensions (wxhxd) 131.3x96.9x82.4mm › Weight 723g with battery and memory card
“THE AF SYSTEM HAS A HUGE AMOUNT OF MODIFIABLE FUNCTIONALITY”
This has a number of advantages for movie and image processing, but also improves autofocus performance, particularly in the area of subject recognition and tracking. Much claimed improvement is attributed to the use of artificial intelligence and deep learning. This means the AF system is fed with information about how human beings move to help estimate poses and focus accordingly. In short, the camera claims to know someone’s next move before they make it. This tech has been expanded to other moving objects as well – animals, birds, various vehicles and insects. There’s also a remarkable amount of customisation available with this particular AF feature, all accessed through the subject recognition menu option. Choose ‘animal’, for example, and you can fine- tune tracking shift range, tracking persistence level, recognition sensitivity and even which part of the animal’s anatomy you focus on: eye, head and body; eye and head; or eye only. I didn’t delve too deeply into these sub-menus, but safe to
say when a helicopter flew overhead while I was out testing, I switched to ‘airplane’ and it followed it perfectly. The AF system has a huge amount of modifiable functionality on offer – I’d even go so far as saying there’s too much choice – but you can certainly tailor precisely how the camera behaves if you put in the groundwork to learn what each of the many menu settings does. While we are on the subject of menus, the Sony’s are colourful and largely easy to navigate. The menu button itself is rather awkwardly placed on the left shoulder of the camera, which demands two-handed operation – that’s not ideal when the camera is up to your eye – but it’s simple enough to reassign functions to different buttons. As a regular Fujifilm user, this meant the button in the centre of the vertical dial on the back of the camera; a much
more logical place to access camera menus, to me at least. Some aspects of camera handling aren’t customisable, though, the very busy nature of the body design being the most obvious example. For me, this has always been one of Sony’s shortfalls – a seeming inability to produce an aesthetically pleasing body design. The curved handgrip is day-long comfortable, but I found the main exposure mode dial to be a bit fiddly – you have to press the central button down, then turn – and then there are two dials near where your thumb comes to rest. One of these freely rotates to change settings, while the other is set for exposure compensation by default, but can be assigned a different function. This latter dial has a central button to lock it, which makes sense, but I would have liked to see the same type of control on the exposure mode dial.
IN PLAIN VIEW A 9.44m-dot EVF grants perfect clarity in composition
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GOING COASTAL The 35.7x23.8mm sensor grants up to 9504x6336 at 3:2 – though this is the same sensor as the A7R IV
PERFORMANCE: ISO
100
200
400
800
1600
3200
6400
12,800
A solid performance here, but nothing to get too excited about – largely because cramming 61 million pixels into a sensor the size of a frame of film is going to have a payoff. From the native ISO of 100 up to 1600, results are good. There is an increase in grain at 1600, but it’s manageable and, more importantly, colours stay true. Head north of ISO 1600 and it starts to get more interesting. Grain is obtrusive at 3200 and very noticeable at 6400, but colours are still accurate. Once you get past 12,800, colours start to shift, with an increasingly obvious green cast appearing as you head to the maximum native ISO of 32,000. Grain is excessive in extended ISOs, with the top setting of 102,400 really offering very little pictorial benefit.
25,600
32,000
51,200
102,400
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The back of the camera is also a little chaotic for my liking, but the important thing is I didn’t find it problematic in use. Once you’ve familiarised yourself with the location of everything, the A7R V soon becomes intuitive. I just yearn for less haphazard button placement. The rear LCD, on the other hand, is excellent. A frustration of vari- angle LCDs is that you can’t tilt the screen without folding it out to the side. Here, you can. The four-axis screen tilts up and down, can be pulled away from the camera body and also folds out, giving you a gamut of compositional options. The screen itself is bright, contrasty and – with 2.09m dots – detailed. The same applies to the EVF, boasting 9.44m dots. This is a big increase on the A7R IV’s 5.76m, putting it on par with the A1. The viewfinder is also huge – as a glasses wearer, I had no problems. functionality off. I’ve never got on with touch panels for image making, but understand their value for video. One neat touch is that you can select the touchscreen to only be active on playback. This suited me down to the ground, enabling me to quickly check sharpness of an image with a double- tap, smartphone style, on the screen. Although the rear LCD is a touchscreen, I switched this Sharpness is a key consideration when it comes to a camera of such high resolution. Camera shake will be amplified by the slightest movement, so a robust in-body image stabilisation system is a must. Here, the A7R V’s five-axis system delivers. Up to eight stops of compensation are claimed – and I have no reason to doubt that as I was easily able to THUMB TIED Button and dial layout isn’t the most intuitive to those not familiar with Sony models make handheld images at 0.5sec. Stabilisation is not quite so hot when recording video – the Active mode does reduce movement when walking and recording, but better systems are available. Lens choice is key for image sharpness, too. If you are going to invest in an A7R V, you should also consider the reality of needing to opt for Sony’s G series lenses to bring the best out of the sensor. A total of 61 megapixels will be very unforgiving on cheaper optics, so consider the costs of upgrading lenses if necessary. I used two G series lenses during the test – the 12-24mm and 24-70mm: both delivered outstanding results. Plus I tried Sigma’s new 60-600mm, which also gave great results – see a full test on this lens next month. There are plenty of options in terms of image quality, including HEIF, as a space-saving alternative to
DYNAMIC RANGE AI processing helps to achieve an accurate white-balance
JPEGs. HEIFs can be selected in 8- or 10-bit options, with both using less space than a JPEG. A modestly sized 16GB card, for example, will store 328 high-resolution JPEGs. Not bad. But switch to 8-bit HEIFs and you’ll get 667 frames on the same card, or 605 10-bit files. Raw and HEIF files can also be captured together, with modest gains. That same 16GB card will store 83 Raw and JPEG files, 96 Raw and 8-bit HEIF files and 94 Raw and 10-bit HEIFs. JPEGs and HEIFs also have four quality levels from Extra Fine to Light. There’s more choice with Raw files as well. Shoot compressed, uncompressed or three strengths of lossless compressed: either large, medium or small. Our 16GB card houses 112 uncompressed Raws, 206 compressed Raws and between 179 and 391 lossless compressed Raws, depending on file size. Any image quality conversation should be rounded off with the A7R V’s Pixel Shift Multi Shooting mode, which precisely moves the sensor to create a huge image file. You can choose between four and 16 frames, all of which are taken with a single press of the shutter release. Sony’s free Imaging Edge Desktop software is then required to knit the frames into a 240-megapixel file. The latest version of the software also has the ability to detect and correct for small pixel-level movements. Being honest, I was perfectly happy with the 61-megapixel images, especially after realising that the 16-image stitches initially create a 1.98GB file – requiring some serious processing power to generate the resulting 19,008x12,672-pixel images. One point to note is that the A7R V is susceptible to dust on the sensor. This applies to all cameras, of course, but the Sony does seem to get it worse than others. In an attempt to overcome this, the V can be set to close the shutter when the power is switched off. Despite this, I still managed to get a few specks on images that had to be removed in post. Not the end of the world, but frustrating all the same. As mentioned earlier, the Bionz XR processor offers performance
“LENS CHOICE IS KEY FOR IMAGE SHARPNESS, TOO. IF YOU ARE INVESTING IN AN A7R V, CONSIDER OPTING FOR SONY’S G SERIES LENSES TO BRING THE BEST OUT OF THE SENSOR”
ARTICULATE The touch-sensitive LCD screen has four-axis flexibility; it can be tilted up and down or folded out from the camera body and flipped around
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WhiteWall
ADVERTISEMENT FEATURE Show your true colours Spruce up any space with WhiteWall’s bespoke frames, made in collaboration with Studio Besau-Marguerre
artworks were often designed after the fact to match the frame, rather than the reverse. Frames have a symbiotic relationship with what’s within, guiding the eye and subtly altering the way a picture is perceived. Similarly, photography and design elevate one another as forms of artistic expression. With Design Edition, customers can enhance any photograph with a pop of colour, while still letting it speak for itself. “Giving frames colour might initially seem like a rather mundane task,” laugh Besau and Marguerre – but the creative process relied on an applied understanding of colour theory and how multiple aesthetic elements interact in a given space. According to Studio Besau- Marguerre, building the frames was an iterative and challenging operation. Firstly, the designers researched the history of frames, using their findings to inform a modern solution. Then, they tested each frame ‘prototype’ with various types of photography – travel, nature,
THE DAYS OF displaying your images in black, brown or silver frames could be over thanks to WhiteWall. Its new Design Edition frames, produced in collaboration with Studio Besau-Marguerre, offer a refreshing alternative in three vibrant colours: yellow, green and purple. The interdisciplinary studio, manned by Marcel Besau and Eva Marguerre, combines clean, contemporary design with high- quality craftsmanship. It brings a holistic, intuitive approach to each project, be it product or interior design, and capitalises on every client’s strengths. For WhiteWall, that’s premium products, in-house manufacturing and innovative printing technology. Design Edition prioritises the frame in a photograph’s display. During the late 12th through to the 16th centuries – the Gothic period – frames were considered works of art within themselves, and their makers would include their initials on the final product. Frames held a higher value than they may today;
“The frame becomes a special piece that engages in an exciting dialogue with the photograph”
range of sizes and styles. Frames start at just 15x15cm and go as large as 180x120cm – well-suited to both tight and open spaces, and ready to be mixed and matched. Photographs can be set behind acrylic glass, for example, or as a classic matted frame. Each measures 20mm deep, creating a three-dimensional effect. Display photos three ways and shift the mood of any room. Each frame can create harmony between light, furnishings and other interior elements. Brighten up your space just in time for spring and summer, or keep it cool with a more muted palette. “The frame is intended to become the hero, a special piece that engages in an exciting dialogue with the photograph,” Besau and Marguerre explain.
architecture, portraiture – as well as photos in colour and monochrome. Finally, they fine-tuned the technical aspects of the frames and settled on three colour schemes. Each scheme is derived from a single shade of yellow, green or purple. No two sides are the same, with each frame creating a colour gradient – or ‘family’. “Green is restrained, purple is strong and loud, yellow is trendy yet contemporary,” Besau and Marguerre explain. All three manage to be bold yet neutral, complementing an image and drawing attention without ostentation. The dark-to-light gradient creates an optical effect where each frame comes alive. Customers can choose from the three colour families, as well as a
The WhiteWall x Studio Besau- Marguerre collaboration, Design Edition, is available both in stores and online. Frames start at £59.95 and will deliver in an estimated 12 working days. Winner of the 2021 Technical Image Press Association (TIPA) award for best photo lab, WhiteWall offers a range of other products and services, including canvas and giclée prints, coffee table books, calendars and more. Visit whitewall.com or email info@whitewall.com for additional information.
whitewall.com
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priced media. Don’t expect tip-top performance, though. Video functionality is always something Sony cameras excel at, and while the A7R V is richly specified in this regard, there are better video-focused models elsewhere in the company’s line-up. More suited to occasional use than full-on video productions, 8K video is on offer here at 25p, plus there’s 4K/60p and Full HD at 120p. This all sounds great, but the 8K suffers from obvious rolling shutter, with verticals bending during panning. And 8K footage is cropped 1.24x, so if you want uncropped frames you have to shoot 4K. Full HD at 120p is also not outstanding for slow motion – 240p is usual on cameras at this price. Footage itself is very good, with plenty of advanced functionality on offer – including S-Log3 and focus mapping. Raw video is possible, too, via the full-size HDMI socket. PN
benefits across the board. The A7R V won’t win any speed awards, but the fact that you can record full-size compressed Raw files at up to 10fps is faintly ridiculous. Speed drops if you go for uncompressed Raws, but the camera will still let you keep up with most fast-moving subjects, whatever your file-size preference. Speeds are enhanced with the use of CFexpress Type A cards in the V’s dual slots, but these also double as SD slots should you want to stick with more modestly
PERFORMANCE: EXPOSURE LATITUDE Sony claims that the A7R V offers 15 stops of dynamic range, and on the basis of the exposure latitude test, this is one of the best-performing sensors I’ve seen in a while. Its tolerance to both under and overexposure is impressive – the latter being the real talking point. Most sensors will handle underexposure
almost imperceptible shift in colour. Only grain was more noticeable. The same can be said of the file overexposed by three stops. There was no real shift in colours and less of an issue with grain. Shadows were salvageable on the file that was four stops overexposed, but highlights started to bleed. Regardless, this is an impressive performance, with most other cameras only capable of rescuing detail from 1.5-2 stops of overexposure.
reasonably well – and the Sony’s is no different. A file underexposed by four stops was easy to pull back, with detail retained in both shadows and highlights, and an
WORKHORSE The V also has the video functionality to be a capable performer
Final word
Verdict There’s a lot to like about the A7R V. The images are great, it’s packed to the rafters with useful features and the dynamic range of the sensor is impressive. I’m not 100% convinced by the layout and handling, but it didn’t stop me thoroughly enjoying my time with the camera. If you primarily make stills and occasionally dabble with video, it’s a fine choice, but those looking for a serious contender to create both photos and movies would be advised to cast the net wider before making a final decision. 24 /25 FEATURES There’s nothing missing, and plenty that you may never use but is nice to have. The extra functionality over the A7R IV is also welcome, even if you don’t get a larger resolution
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21 /25 HANDLING
Great rear LCD, excellent viewfinder and comfortable handgrip, but the layout of the camera is a little chaotic for my liking, plus some of the controls are fiddly Outstanding stills images allied to a great AF system make this a strong performer. Video is also steady, but rolling shutter is pronounced up at 8K If this is the resolution you want and the features you’re after, this is the cost of entry. Be prepared to factor in lens upgrades and CFexpress cards for optimum performance An undeniably great stills camera, with impressive autofocus and features aplenty. Video doesn’t quite match the stills results, but if you’re only going to film occasionally – or not at all – this probably won’t be an issue
22 /25 PERFORMANCE
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22 /25 VALUE FOR MONEY
89 /100 OVERALL
THERE’S NEVER BEEN A BETTER TIME TO MAKE GOOD USE
PROS High-quality images, great feature set, impressive autofocus, wide dynamic range CONS Some aspects of handling fiddly, rolling shutter on 8K video, may require upgraded lenses as well, susceptible to dust on sensor
Where will your kit go next? Inspire others, earn some extra cash and make a difference. Sell your used kit and let someone else love it as much as you have. Make good use of your used gear. Sell yours today at mpb.com/sell
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