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Lessons learned. Shooting tips
- Thread starter Guy Mancuso
- Start date
A couple of tips that are not really available in any documentation, but are kind of learned camera behavior. Not sure if these have been discussed here before; but these often seems to be news even to pro photographers arriving to Sony system (I'm a noob in photography but have used E Mount Sony for a couple of years and I'm sort of obsessive about learning all the quirks of the equipment). Related to low light shooting as I live in this dark miserable place; I think I only shot my A7R in 1st time in natural light with ISO 100 last weekend despite being among the first to get one in mid november last year.
1. One can put the A7(R) or pretty much any E Mount camera into "always focus wide open despite chosen aperture" mode by setting the Live View Setting Effect off. Works both AF and MF and makes AF a bit better/accurate (the biggest reason my 24-70/4 OSS went back was AF accuracy in low light/short distance, F/4 just did not seem to be enough for pixel level accuracy with the A7R when viewed 100%) and less prone to hunt with for example FE 55/1.8.
This also makes EVF less noisy for MF since the sensor is getting more light and thinner DoF makes it easier to place perfect focus while focus zooming. Obviously not applicable if one is trying to balance objects in different distances inside DoF, but if one want to be sure one specific thing in "36 megapixel perfect" focus this is a good tool. The seems not to be any focus shift at least with the FE35/55, it is in my TODO list to test this with the Focustune software.
When Live View Setting effect is "on" the E Mount cameras will open up some to focus in low light based on metering but this is quite inconsistent, I tried to find some patterns in this behavior but did not find any.
2. For most accurate MF in super low light set the Creative style to B/W and focus peaking to red. Color noise get reduced significantly and any potential peaking shows clearly. Gives B/W jpg sidecar but naturally the RAW is still normal RAW.
3. Relative to the disabling ISO wheel, the default UI of A7(R) has very very badly placed WB adjustment, the rear wheel "right" press. Press this accidentally a couple of times in a row and you have crooked whatever WB preset up you have selected. By pressing the same button repeatebly one ends up in tint adjustment for WB and sets it to extreme blue if I remember correctly. I think I've saved 3 or 4 A7(R) from going back to Sony with "WB color tint issues" with this tip. Obviously will not ruin RAW photos but makes EVF look really strange and makes hair drop off from a jpg shooter. Horrid UI decision from Sony here.
1. One can put the A7(R) or pretty much any E Mount camera into "always focus wide open despite chosen aperture" mode by setting the Live View Setting Effect off. Works both AF and MF and makes AF a bit better/accurate (the biggest reason my 24-70/4 OSS went back was AF accuracy in low light/short distance, F/4 just did not seem to be enough for pixel level accuracy with the A7R when viewed 100%) and less prone to hunt with for example FE 55/1.8.
This also makes EVF less noisy for MF since the sensor is getting more light and thinner DoF makes it easier to place perfect focus while focus zooming. Obviously not applicable if one is trying to balance objects in different distances inside DoF, but if one want to be sure one specific thing in "36 megapixel perfect" focus this is a good tool. The seems not to be any focus shift at least with the FE35/55, it is in my TODO list to test this with the Focustune software.
When Live View Setting effect is "on" the E Mount cameras will open up some to focus in low light based on metering but this is quite inconsistent, I tried to find some patterns in this behavior but did not find any.
2. For most accurate MF in super low light set the Creative style to B/W and focus peaking to red. Color noise get reduced significantly and any potential peaking shows clearly. Gives B/W jpg sidecar but naturally the RAW is still normal RAW.
3. Relative to the disabling ISO wheel, the default UI of A7(R) has very very badly placed WB adjustment, the rear wheel "right" press. Press this accidentally a couple of times in a row and you have crooked whatever WB preset up you have selected. By pressing the same button repeatebly one ends up in tint adjustment for WB and sets it to extreme blue if I remember correctly. I think I've saved 3 or 4 A7(R) from going back to Sony with "WB color tint issues" with this tip. Obviously will not ruin RAW photos but makes EVF look really strange and makes hair drop off from a jpg shooter. Horrid UI decision from Sony here.
Ben Rubinstein
Active member
Re your point number 2, if you also up the contrast and sharpness to max in the B&W setting it really helps for peaking and when you are in magnification. It also gives you a very good likeness of Tri-X in the viewfinder 
.
.So here are my custom key and fn (function menu) settings
View attachment 80626
View attachment 80627
View attachment 80628
As you can see I don't use the control wheel for any function as it is really to easy to change something by mistake
View attachment 80626
View attachment 80627
View attachment 80628
As you can see I don't use the control wheel for any function as it is really to easy to change something by mistake
I'm pushing the sharpness in Standard style, but did not like the contrast push there when I tested it, seemed to lose shadow detail and while that not matter with focus that was somewhat distracting. Need to revisit/test these for B&W, thanks.Re your point number 2, if you also up the contrast and sharpness to max in the B&W setting it really helps for peaking and when you are in magnification. It also gives you a very good likeness of Tri-X in the viewfinder
tn1, that WB had to go away fast for me too. ISO I still have on the 'silent wheel' on the a99 and it is a two stage process: call up the button then turn the wheel. So I am pretty addicted to 'the ISO wheel' on the a7r. I can zip from 400 to 6400 in half a turn..which can really help if it's your main control.
And to say that in low light (50% of mine is at ISO 6400) the FE55 still gets focus right almost all the time, even with LV On. Pretty amazing, but it is this way with the RX1 too. If I see much noise I check the histo, it is almost always U/E. Sadly for me maybe, LV is too valuable not to have On. And I agree re focus shift on this lens - I see none.
And to say that in low light (50% of mine is at ISO 6400) the FE55 still gets focus right almost all the time, even with LV On. Pretty amazing, but it is this way with the RX1 too. If I see much noise I check the histo, it is almost always U/E. Sadly for me maybe, LV is too valuable not to have On. And I agree re focus shift on this lens - I see none.
FE55 focuses quite nice in low light and if you are not stopping down hugely it does open up to focus, if you shoot say F/4 it often opens to F/2.2 or so with live view on. The biggest benefit of turning Live view off is with MF and slow paced shooting. I've been using a Gossen Light meter a lot lately (TTL delay in A7R is a pain so manual flash only) and with proper calibration to sensors RAW output the exposure, at least from technical point of view, is purrfect every time. With light meter the the Live View is not of much use. A few reviews have said the A7(R) metering has tendency to underexpose a bit and when using light meter to meter the camera meter often thinks I'm at least a 3rd of stop overexposed.
Thanks for this Guy.
I've only done a couple of "pressure cooker" shoots with the A7R so far … and admittedly haven't really committed this camera to muscle memory quite yet. In some ways, your going 100% forces the issue and gets the handling aspects and discovery down faster … where I'm still working with multiple platforms, and may not use the A7R for days or even weeks.
What is interesting is when you don't use the camera for a while and come back to it scratching your head … which goes to Mikal's point that such proprietary handling can be somewhat less than "intuitive". I've always believed that any camera is just a box with basic controls … but some of these newer e-cameras challenge that belief.
Perhaps part of the problem is the rapid advancement and ever more optional refinements that has us learning a new camera at ever shorter intervals of time. Sony is like a punch press spitting out cameras with each one being different is some way that requires relearning, then relearning, then relearning again. As Ben said, you have to become one with the camera to do something like a wedding for pay where fiddling around time is reduced to zero.
I'll tell you, moving from the A900 to the A99 was ergonomic shock of the highest order. I just sold my A900 to one of my assistants, and it took 5 minutes to show him how to use the camera … compared to Canon and Nikon cameras I had used previously, the A900 was one of the fastest operating cameras of them all. I could not use that camera for months and come back to it and instantly be in the fast work flow.
IMO, Sony nailed it with the A900, then wandered off into the woods … while they didn't succeed as they wished with the A900, I think they threw the baby out with the bath-water.
Meh, maybe I'm just a "closet luddite" at heart.:ROTFL:
- Marc
I've only done a couple of "pressure cooker" shoots with the A7R so far … and admittedly haven't really committed this camera to muscle memory quite yet. In some ways, your going 100% forces the issue and gets the handling aspects and discovery down faster … where I'm still working with multiple platforms, and may not use the A7R for days or even weeks.
What is interesting is when you don't use the camera for a while and come back to it scratching your head … which goes to Mikal's point that such proprietary handling can be somewhat less than "intuitive". I've always believed that any camera is just a box with basic controls … but some of these newer e-cameras challenge that belief.
Perhaps part of the problem is the rapid advancement and ever more optional refinements that has us learning a new camera at ever shorter intervals of time. Sony is like a punch press spitting out cameras with each one being different is some way that requires relearning, then relearning, then relearning again. As Ben said, you have to become one with the camera to do something like a wedding for pay where fiddling around time is reduced to zero.
I'll tell you, moving from the A900 to the A99 was ergonomic shock of the highest order. I just sold my A900 to one of my assistants, and it took 5 minutes to show him how to use the camera … compared to Canon and Nikon cameras I had used previously, the A900 was one of the fastest operating cameras of them all. I could not use that camera for months and come back to it and instantly be in the fast work flow.
IMO, Sony nailed it with the A900, then wandered off into the woods … while they didn't succeed as they wished with the A900, I think they threw the baby out with the bath-water.
Meh, maybe I'm just a "closet luddite" at heart.:ROTFL:
- Marc
Ben Rubinstein
Active member
Not really Marc, friend was in the studio today with his 5D3, I asked to hold it, wow but I'd forgotten what a joy it is to hold. Fits into the hand like a glove, really does. Rather unlike the A7r with the shutter release way too far back, buttons that can't be found, are hard to press and numb feeling and a control wheel which is at the same time impossible to find and too easy to move.
I still love the whole 'incredible IQ in a tiny package-ness' of the whole experience but honestly it seems like it was designed to be as you said, an E-Camera rather than a camera that a photographer ever held in their hand during the design stage.
Whatever, for how I'm using it, manual mode, auto iso and manual lenses, the only thing I ever change on the camera is the exp comp and sometimes front dial for shutter. Both of which are perfectly situated. With such a simplistic setup the camera does shine. It's only when I'm trying to access anything else that it gets annoying.
I still love the whole 'incredible IQ in a tiny package-ness' of the whole experience but honestly it seems like it was designed to be as you said, an E-Camera rather than a camera that a photographer ever held in their hand during the design stage.
Whatever, for how I'm using it, manual mode, auto iso and manual lenses, the only thing I ever change on the camera is the exp comp and sometimes front dial for shutter. Both of which are perfectly situated. With such a simplistic setup the camera does shine. It's only when I'm trying to access anything else that it gets annoying.
Godfrey
Well-known member
Sound like my experience every time I pick up the ancient Olympus E-1, Ben. A true classic in camera design, IMO. Everything falls exactly where I'd want it to be, and the things that do not ought not to. The E-M1 is close but not quite the same.
My hands have accommodated the A7 now and I've come to be happy with it overall, but only because, like you, I use it in a specific way and only with manual lenses. It's never felt all that tiny to me ... even though it's within mm of the same size as the E-M1, it feels larger, taller to me. It feels like a normal compact SLR used to be in the film days—Olympus OM-1, Nikon FM, Pentax MX—usually my favorite class of cameras.
I do switch back and forth between Av and M modes, and every time I do I have to remember to mentally switch the EV comp dial control location in my head too. That's the tough part: my head's controls are too inflexible... ;-)
My hands have accommodated the A7 now and I've come to be happy with it overall, but only because, like you, I use it in a specific way and only with manual lenses. It's never felt all that tiny to me ... even though it's within mm of the same size as the E-M1, it feels larger, taller to me. It feels like a normal compact SLR used to be in the film days—Olympus OM-1, Nikon FM, Pentax MX—usually my favorite class of cameras.
I do switch back and forth between Av and M modes, and every time I do I have to remember to mentally switch the EV comp dial control location in my head too. That's the tough part: my head's controls are too inflexible... ;-)
Ben Rubinstein
Active member
Yes it's sad that we have to call a camera small when in fact it is what we used to know as 'normal'.