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Close up | Guide to the Fujifilm X series images
Author Jonny Helm Categories Close Up Posted on 0 Comments

Close up | Guide to the Fujifilm X series

Through three generations of the X-Trans sensor, through many sophisticated viewfinders, and through a smorgasbord of retro-styled camera bodies, the Fujifilm X series has come a long way. Comprising a mix of compacts and CSCs, the series blends vintage cool with serious imaging power.

If you’re new to the series, it’s easy to get lost just finding a place to begin. Read on as we break down the different camera lines within the series, and let us help you find the right Fuji X model for you…

The X100 series

It all began in 2011. Photographers and journalists alike were caught off-guard by one particular announcement at Photokina – a new compact camera from Fujifilm, eschewing the clunky, DSLR-style handling of previous models in favour of a sleek, retro-inspired design that would become the series’ hallmark. That was the Fujifilm X100, then known as the Fujifilm FinePix X100, an ungainly middle name that would swiftly be dropped.

Pairing a fixed 35mm lens with a 12.3MP APS-C CMOS sensor (the famous X-Trans sensor debuted a little later), the X100 uses a hybrid optical and electrical viewfinder, allowing the user to switch between the two modes at will.

The X100 was followed up in 2013 with the X100S, incorporating the second generation of the X-Trans CMOS sensor, with 16.3MP of resolution and no optical low-pass filter. The sensor allows for fast phase-detection autofocus with acquisition times as low as 0.08sec. Fujifilm also fine-tuned the controls, responding to some of the criticisms of the X100.

In 2014, Fujifilm updated the line with the X100T, which used the same sensor and lens combination as the X100S but added the option of an electronic shutter capable of shooting at up to 1/32,000sec, as well as built-in Wi-Fi, a more advanced viewfinder, face recognition and more.

Now, this is where it gets slightly confusing, but bear with us. In 2016 Fuji released the X70, which sounds as though it should belong with the X10, X20 and others of that nature, but doesn’t. Whereas those are small zoom compacts, the X70 sports a prime lens and is more like a mini-X100T. So, despite, the name, it really belongs with the rest of the X100 cameras.

The most recent model in the line is the X100F, which was announced in January 2017. The significant gap between models meant considerable improvements, among them the third generation 24.3MP X-Trans III CMOS sensor and the X-Processor Pro image engine. The X100F wowed reviewers and photographers with its fast and accurate 91-point autofocus system, and its large viewfinder with a 60fps refresh rate.

Fujifilm X100F

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
  • Burst speed: 8fps
  • ISO range: 200-12,800 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder

Fujifilm X70

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Lens: 18.5mm Fujinon lens (equivalent to 28mm on a 35mm format)
  • Burst speed: 8fps
  • ISO range: 200-6400 (expandable to 100-51,200)
  • Viewfinder: No

Fujifilm X100T

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
  • Burst speed: 6fps
  • ISO range: 200-6400 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder

Fujifilm X100S

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
  • Burst speed: 6fps
  • ISO range: 200-6400
  • Viewfinder: 2.36-million-dot hybrid viewfinder

Fujifilm X100

  • Sensor: 12MP APS-C sensor
  • Lens: 23mm Fujinon lens (equivalent to 35mm on a 35mm format)
  • Burst speed: 5fps
  • ISO range: 200-6400 (expandable to 100-12,800)
  • Viewfinder: 1.44-million-dot hybrid viewfinder

 

The X-Pro series

The Fujifilm X-Pro1 was the first indication that the X-series could be the real deal for pros, being the first X camera to take XF lenses. Launching in 2012, its sturdy, pro-quality build was an indicator of the quality within. It was the first camera to use the now-famous X-Trans sensor, and its resolutely dial-based control system won over legions of photographers who wanted a tactile handling experience. Reviews praised its high-ISO performance and its hybrid viewfinder, and the X-Pro1 was a deserved smash hit.

Photographers had to wait four long years for the difficult second album, but happily Fujifilm didn’t bottle the sequel. The X-Pro2 was an update with everything pro photographers wanted, delivering the latest X-Trans sensor to provide lossless compressed 14-bit Raw capture, as well as a wider ISO sensitivity range which could be used for both Raw and JPEG shooting (many previous X-series models would only shoot JPEGs) in the higher ISO bands.

Fujifilm X-Pro2

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Burst speed: 14fps
  • ISO range: 200-12,800 (expandable to 100-25,600)
  • Viewfinder: 3.69-million-dot hybrid viewfinder
  • Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps

Fujifilm X-Pro1

  • Sensor: 16MP X-Trans CMOS APS-C sensor
  • Burst speed: 6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: 1.44-million-dot hybrid viewfinder
  • Max video resolution: Full HD at 324p

 

The X-H series

The Fujifilm X-series has unquestionably been an enormous success for photographers, revitalising the brand’s fortunes with a superb selection of stylish cameras. However, there’s generally not been a lot to tempt videographers away from reliable workhorses like Canon or exciting upstarts like Sony.

The Fujifilm X-H1 represents the first real attempt to change that. Announced in 2018, the X-H1 is capable of 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps, with an HDMI out and a new dedicated video menu. Full HD video can also be captured at the super slow rate of 120fps, while there’s also F-log video recording direct-to-card available. All of Fuji’s film simulation modes can be used on video footage, and there’s an external microphone socket as well as a headphone jack for monitoring audio.

The X-H1 is also the first in the X series to come packing in-body image stabilisation (IBIS), and it has an overhauled design with a larger grip and new leaf-spring shutter release button. The shutter sound is also the quietest in Fujifilm’s stable.

The X-H1 represents an exciting move forward for the X-series, and promises that Fujifilm isn’t done innovating just yet.

Fujifilm X-H1

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Burst speed: 14fps
  • ISO range: 200-12,800 (expandable to 100-25,600)
  • Viewfinder: 3.69-million-dot hybrid viewfinder
  • Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps

 

The X-E series

After the much-hyped announcement of the X-Pro1, enthusiast and amateur photographers were very interested to know when they could get hold of an interchangeable-lens X-series camera that wouldn’t cost them the earth. That came in the form of the X-E1, a slimmed down X-Pro1 that gave prospective X-system users a second body option. It used an EVF instead of the hybrid viewfinder of the X-Pro1.

This was followed up with the X-E2, boasting 60 improvements over its predecessor including the X-Trans II sensor, built-in Wi-Fi and an improved EVF. Fujifilm refreshed this camera with a minor update in 2016 — the X-E2S, which boasted a few tine-ups such as a higher ISO ceiling, improved autofocus and a new electronic shutter offering maximum shooting speeds of 1/32,000sec.

The following year, Fujifilm delivered the X-E3, a more comprehensive update with the latest in sensor technology. A larger shooting buffer, a faster autofocusing algorithm for improved tracking, 4K video recording and a redesigned ergonomic body were just some of the improvements that made the X-E3 as well-received as the cameras that came before.

Fujifilm X-E3

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Burst speed: 14fps
  • ISO range: 200-12,800 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: 4K/30p 4:2:0 8-bit internal recording at a maximum of 200Mbps

Fujifilm X-E2S

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Burst speed: 7fps
  • ISO range: 200-6400 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: Full HD at 60p

Fujifilm X-E2

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Burst speed: 7fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: Full HD at 60p

Fujifilm X-E1

  • Sensor: 16MP X-Trans CMOS APS-C sensor
  • Burst speed: 6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: 2.36-million-dot electronic viewfinder
  • Max video resolution: Full HD at 24p

 

The X-T series

Following the success of the X-Pro1, Fujifilm set about bolstering its high-end offering with the release of the X-T1 in 2014. The 16.3MP X-Trans CMOS II sensor and X-Processor II are housed within a weather-resistant body designed for rugged, outdoor shooting, with 75 seals designed to keep out dust and water. Add on a beefed up LCD and viewfinder, an optional battery grip and improvements in burst shooting and AF speed (a lean 0.08 seconds), and you’ve got a camera with the imaging spec of contemporaries like the X-E2, but with the build, features and ergonomics required by pros.

Of course, not everyone can afford the pro price tag, and Fujifilm went about wooing those with a little less cash to flash by introducing a smaller counterpart to the X-T1 — the X-T10. Featuring the same imaging internals as its bigger brother, the X-T10 provides a compromise with a smaller viewfinder and LCD, as well as a generally smaller body that lacks weather sealing.

When it came time to update the X-T1, Fujifilm delivered the superb X-T2, outfitted with the latest-generation sensor and an overhauled AF system, as well as a viewfinder offering twice the brightness of the X-T1’s. The X-T2 was also the first member of the X series to offer 4K video recording, shooting a bit rate of 100Mbps and at a maximum resolution of 30p.

In a move that surprised nobody, Fujifilm also brought out a miniature version of the X-T2, the X-T20. It followed the format of the X-T10, using the same sensor as its bigger brother, but skipping a few features such as a second card slot and a fully articulating screen in order to deliver a smaller camera, for a lower price.

Fujifilm X-T20

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Burst speed: 14fps
  • ISO range: 200-12,800 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: 4K at 30p

Fujifilm X-T2

  • Sensor: 24.3MP X-Trans CMOS III APS-C sensor
  • Burst speed: 14fps
  • ISO range: 200-12,800 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: 4K at 30p

Fujifilm X-T10

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Burst speed: 8fps
  • ISO range: 200-6,400 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: Full HD at 60p

Fujifilm X-T1

  • Sensor: 16.3MP Fujifilm X-Trans CMOS II APS-C sensor
  • Burst speed: 8fps
  • ISO range: 200-6,400 (expandable to 100-51,200)
  • Viewfinder: 2.36-million-dot hybrid viewfinder
  • Max video resolution: Full HD at 60p

 

The XQ series

A selection of dinky, pocketable compacts, the Fujifilm XQ cameras are ideal for enthusiasts who need something light. Despite its size, the XQ1 manages to pack in some advanced features such as Raw shooting, while its successor the XQ2 adds the Classic Chrome film simulation mode and a retro black finish.

Fujifilm XQ2

  • Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
  • Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
  • Burst speed: 12fps
  • ISO range: 100-3200 (expandable to 12,800)
  • Viewfinder: No

Fujifilm XQ1

  • Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
  • Lens: 6.4-25.6mm Fujinon lens (equivalent to 25-100mm on a 35mm format)
  • Burst speed: 12fps
  • ISO range: 100-3200 (expandable to 12,800)
  • Viewfinder: No

 

The X-A series

The X-A compact system cameras are the cheapest interchangeable lens cameras in the Fuji line-up, designed with the entry-level user in mind. The range has gone through a fair few models: first the X-A1 in 2013, which offered a small and light body to use X lenses on, without the X-Trans sensor. This was followed by the X-A2, which was billed as a selfie camera thanks to its about-facing LCD screen and variety of selfie-modes. Fujifilm next bulked out the line with a more advanced offering, the X-A3, and a new slimmed-down entry-level model, the X-A10. Finally, in 2018 came the X-A5, which brought in phase-detect AF tracking and limited 4K functionality.

Fujifilm X-A5

  • Sensor: 24.2MP CMOS APS-C sensor
  • Burst speed: 6fps
  • ISO range: 200-12,800 (expandable to 100-51,200)
  • Viewfinder: No
  • Max video resolution: 4K at 15p (max 5 minutes)

Fujifilm X-A10

  • Sensor: 16.3MP CMOS APS-C sensor
  • Burst speed: 6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: No
  • Max video resolution: Full HD at 30p

Fujifilm X-A3

  • Sensor: 24.2MP CMOS APS-C sensor
  • Burst speed: 6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: No
  • Max video resolution: Full HD at 60p

Fujifilm X-A2

  • Sensor: 16MP CMOS APS-C sensor
  • Burst speed: 5.6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: No
  • Max video resolution: Full HD at 30p

Fujifilm X-A1

  • Sensor: 16MP CMOS APS-C sensor
  • Burst speed: 5.6fps
  • ISO range: 200-6400 (expandable to 100-25,600)
  • Viewfinder: No
  • Max video resolution: Full HD at 30p

 

The X_0 series

The X_0 cameras are another compact range, smaller and less prestigious than the X100 series, with zoom lenses rather than primes. With more affordable price tags, they are ideal for the beginning photographer or light traveller, and have actually been around more or less since the series’ inception, with the FinePix X10 debuting shortly after the X100 in 2011, sporting a smaller 2/3-inch sensor and a 28-112mm equivalent lens. This was replaced in 2013 by the X20, which sported a new 2/3-inch X-Trans CMOS II sensor and a new viewfinder, and then the X30 the following year, which ditched the optical viewfinder in favour of an electronic model.

Fujifilm X30

  • Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
  • Lens: 7.1-28.4mm Fujinon lens (equivalent to 28-112mm on a 35mm format)
  • Burst speed: 12fps
  • ISO range: 100-3200 (expandable to 12,800)
  • Viewfinder: 2.36-million-dot electronic viewfinder

Fujifilm X20

  • Sensor: 12MP 2/3-inch X-Trans CMOS II sensor
  • Lens: 7.1-28.4mm Fujinon lens (equivalent to 28-112mm on a 35mm format)
  • Burst speed: 12fps
  • ISO range: 100-3200 (expandable to 12,800)
  • Viewfinder: Optical viewfinder with 85% coverage

Fujifilm X10

  • Sensor: 12MP 2/3-inch EXR-CMOS sensor
  • Lens: 7.1-28.4mm Fujinon lens (equivalent to 28-112mm on a 35mm format)
  • Burst speed: 10fps
  • ISO range: 100-6400 (expandable to 12,800)
  • Viewfinder: Optical viewfinder with 85% coverage
Feature | Using Profoto strip softboxes by Nyla Sammons image
Author Jonny Helm Categories Feature Posted on 0 Comments

Feature | Using Profoto strip softboxes by Nyla Sammons

My go to light modifiers in general are a beauty dish or an octabox, which are generally the first types of light modifiers photographers buy after they have experimented with umbrellas and soft boxes, because of the nice quality of light those light modifiers produce. Recently I got to photograph Muay Thai boxer, Lawrence Brown and when I started planning the photoshoot, I knew I would want to light Lawrence with a four point lighting set up, which would include two strip boxes.

Why you may ask… well I knew I wanted to have the side Lawrence’s body illuminated and not lit in a flat way with one big light modifier. So I rented out two Profoto 1 x 6′ strip boxes. The long shape of the strip box, creates a unique light fall-off, which gives a soft, but dramatic light.

In controlling the spread of light and how it falls on the boxer, I created more of a dramatic mood. I did have a grid which I could have used, to control the light fall off even more, but when I did the test shots without the grid earlier on, it seemed to work perfectly. Although I didn’t need to use the grid, I do recommend you bring it on set, just in case you need to contain the spread of light.

When I set up lights for a photoshoot, I always build the lights one by one, so I started off with the right strip box and then the left strip box to get the right exposure for the sides of his body. I had the strip boxes in the boxing ring originally, but found that I didn’t get a nice light fall off, so I moved the strip boxes outside of the boxing ring. Once I was happy with the look of the light on the sides of Lawrence, I then exposed correctly for the back light and then the main light. Below is a photo of just the use of the strip boxes.

© Nyla Sammons 2018

I used a reflector as the light modifier on an Elinchrom light for the back light, to add light to his hair, so it wouldn’t get lot when I made the background darker in photoshop. I flagged the light at the bottom of the reflector, to reduce the light that was spilling onto his shoulders. I used a beauty dish, with silver on the inside, for the main light. I choose this light modifier to give a slightly contrasty look. I didn’t want to use a soft box and make the light too soft. Below is a BTS photo so you can see my lighting set up.

© Nyla Sammons 2018

The result that I was after, are shown in the photos below. A combination of dramatic lighting, but soft and flattering. The 1 x 6 long strip box, was a great choice as it pumped out enough light that reached some of the shadows, this allowed the transition between light and shade, more soft and gentle.

If you have time and access to a venue where you are doing a photoshoot, it’s always a good idea to check what the location looks like before the day of the photoshoot. Unfortunately I was unable to see the gym beforehand due to lack of time. So when I turned up at 7am, I was faced with a busy gym and a lot of boxers training. This then limited me to using one side of the ring away from people but I faced the problem of having the ropes of the ring next to a wall cluttered with posters and signs. At that point I made the conscious decision that I would darken the background in photoshop, to eliminate the distracting wall. Below are the retouched images.

© Nyla Sammons 2018

© Nyla Sammons 2018

For the next set of photos, I wanted Lawrence sitting down in the ring, I moved the lights to the other corner of the ring, because I wanted to get the look and feel of Lawrence in a boxing ring that was in a gym. This was the corner that would have me facing the problem of people walking behind Lawrence. I cut the ambient light quite a bit using high speed sync, but I didn’t want to kill off too much light, so I kept an eye to see when I could photograph safely. For this set up, I changed the colour temperature in camera to give a more cooler tone to the image. Again I used all four lights with the strip boxes working their magic on Lawrence to produce a dramatic and contrasty look.

You can see the retouched photos below.

© Nyla Sammons 2018

© Nyla Sammons 2018

To see more of Nyla’s work, have a look at her website here – www.nylasammons.com

 

Video: Nick Blackburn | Music: ‘I dunno’ by Grapes 2008 – Licensed under creative Commons Attribution (3.0)

 

Tips & Tricks | When should you clean your sensor? Image
Author Jonny Helm Categories Tips & Tricks Posted on 0 Comments

Tips & Tricks | Is it time to clean your camera sensor?

Its always a good time to check that your camera is in good working order and that all important sensor is free from dust.

As any professional photographer will know, the build-up of dust on a DSLR sensor can have an adverse effect on the final shot, especially apparent in light areas of the scene when a small aperture is used and the image is viewed at a high resolution. DSLR sensors are a magnet for dust so professional maintenance is very important. While there are steps that can be taken to avoid exposure, dust build-up is inevitable, which is why sensor cleaning becomes necessary on a regular basis.

We are often asked how often sensor cleaning is needed. There is no one answer to this question as it depends on the frequency of use and working environment that your camera is exposed to. We recommend you check your sensor by taking a picture of a clear background or blue sky with a small f-stop and checking the image at 100% on a computer. This should be done before any important job, event or trip away to make sure you have clear images when it’s most important.

Here’s a handy tip of how to keep your sensor clean for longer.

Attach a double-sided sticky tab on the inside of your body cap and rear lens cap. If any large pieces of errant dust are floating around on the back of your lens, or in the mirror box, they will stick to the tab and not the sensor.

Sticky tabs on the inside of body and lens caps will help attract unwanted dust.

Be careful not to use high-tack sticky tape or you’ll have issues removing it from the inside of your cap when it needs changing.

A Guide to the Sony Alpha series (E-mount) image
Author Jonny Helm Categories Close Up Posted on 1 Comment on A Guide to the Sony Alpha series (E-mount)

A Guide to the Sony Alpha series (E-mount)

Sony’s Alpha stable has been going from strength to strength since the introduction of the first Alpha 7 cameras in 2013, with a generous stable of models in both the full-frame and APS-C ranges. It can be a little daunting to sort through all the models available to suss out which one is for you. Fortunately, we’ve got a comprehensive guide to every camera in the system for you right here.

Read on to see which is the Sony Alpha camera for you…

Full-frame

Sony α7 III

This is the most recent camera to join the Sony alpha family. It’s the third iteration in the a7 series that started it all, boasting a 24.2MP sensor just like the two that came before it. New to this sensor, however, is a backside-illuminated architecture that improves its ability to handle noise, making for better low-light performance and a higher extendable maximum ISO of 204,800.

The sensor’s upgraded architecture also improves its readout speed, making for all-around faster performance assisted by Sony’s Bionz X processor. This means up to 10fps shooting with autofocus, and a generous buffer of 189 JPEGs, 82 compressed Raws or 40 uncompressed Raws in a single burst. Elsewhere you’ve got sophisticated 5-axis optical image stabilisation, an autofocus system with 693 points, and sophisticated monitoring options thanks to the 2.3-million-dot EVF and tilting touch LCD screen.

The a7 series may be the most straightforward of Sony’s full-frame mirrorless range, but as the a7 III demonstrates, there’s nothing basic about it.

Key features

  • Sensor: 24.2MP full-frame CMOS sensor with back-illuminated design
  • ISO range: 100-51,200 (expandable to 50-204,800)
  • Burst speed: 10fps
  • Max video resolution: 4K 30p (HDR video available)
Sony α7 II

Though the a7 II used the same sensor as its predecessor the a7, it brought a number of ergonomic and internal improvements to the table. It was the first of Sony’s full-frame mirrorless range to feature in-body image stabilisation, the 5-axis SteadyShot system that allows for significantly slower shutter speeds to be used handheld. The body of the camera also got a redesign, with a more pronounced grip to evoke DSLR-style handling without compromising on the small and light build that makes the mirrorless range so attractive.

Key features

  • Sensor: 24.3MP full-frame Exmor CMOS sensor
  • ISO range: 100-25,600 (expandable to 50)
  • Burst speed: 5fps
  • Max video resolution: Full HD 60p
Sony α7

It all began back in 2013 with a pair of true game-changers. This was one — the original Sony a7, a full-frame camera packing the power of a DSLR into the body of a CSC. A 24.3MP full-frame sensor working with the powerful Bionz X processor to ensure fast and high-quality shooting, the Sony a7 was an amazing camera for 2013, and to be honest it holds up pretty well today. It lacks the fancy features that would arrive on subsequent cameras, such as a touchscreen and the ability to shoot 4K video, but it was and is a superb step forward for mirrorless photography.

Key features

  • Sensor: 24.3MP full-frame Exmor CMOS Sensor
  • ISO range: 100-25,600 (expandable to 50)
  • Burst speed: 5fps
  • Max video resolution: Full HD 60p
Sony α7R III

The a7R cameras are the resolution beasts of the Sony stable, boasting massive megapixel counts on their full-frame sensors. They have earned the adulation and loyalty of plenty of landscape shooters ever since the first a7R.

The third iteration of this series keeps things mega-high-quality, with a 42MP full-frame Exmor R BSI CMOS sensor powered by the Bionz X processor. For a sensor like this you want the best-in-class in terms of monitoring, which the a7R III readily supplies in the form of a 3.69-million-dot Tru-Finder OLED electronic viewfinder, and a 3-inch 1.44-million-dot tilting touchscreen LCD. It inherits a few features from Sony’s speedster, the a9 (more on which anon), such as its dual card slots, its fast silent shooting (up to 10fps with nary a whisper) and its tough mechanical shutter. Built to last, the a7R III won’t let you down.

Key features

  • Sensor: 42MP full-frame Exmor R BSI CMOS sensor
  • ISO range: 100-32,000 (expandable to 50-102,400)
  • Burst speed: 10fps
  • Max video resolution: 4K 30p
Sony α7R II

This was the camera that bumped the a7R line up from 36MP to 42MP, with a backside-illuminated sensor that promised peerless image quality in another impressively small body. The a7R II also offered improved readout speed thanks to a worked-over sensor architecture, which used copper wiring instead of aluminium. This made for improved autofocus speed, as well as generally better performance in other areas.

Key features

  • Sensor: 42MP full-frame Exmor R BSI CMOS sensor
  • ISO range: 100-25,600 (expandable to 50–102,400)
  • Burst speed: 5fps
  • Max video resolution: 4K 30p
Sony α7R

This was the other of the first Alpha 7 releases, debuting alongside the original Sony a7 in 2013. The key difference between the two was in the sensor, which on the a7R carried a resolution of 36.4MP, with no anti-aliasing filter in order to squeeze the maximum potential out of it. Other bonuses included a 2.4-million-dot EVF and an external microphone socket for video shooters, while trade-offs from the lower-resolution a7 included a less sophisticated autofocus system and slower burst shooting.

Key features

  • Sensor: 36.4MP full-frame Exmor CMOS sensor
  • ISO range: 100-25,600 (expandable to 50)
  • Burst speed: 4fps
  • Max video resolution: Full HD 60p
Sony α7S II

The pro video world fell head over heels for the first a7S camera on its release back in 2014, and the a7S II builds on that success with a raft of improvements, as well as keeping what worked about the original.

The key to the a7S range lies in their sensors, which eschew the generous megapixel counts of the likes of the a7R for a resolution of just 12MP. This allows for much-improved low-light performance, and the a7S II is able to shoot at a whopping maximum ISO level of 409,600, and offers a wide dynamic range. Whereas the original a7S needed an external recorder to record 4K video, the a7S II does it internally, recording with full pixel readout without pixel binning, at a bit rate of up to 100Mbps. Advanced movie features such as the S-Log3 colour profile and 120fps Full HD recording make for a seriously comprehensive video package.

That’s not to say that stills shooters are forgotten about — as well as the aforementioned low-light prowess, the A7S II also provides a sophisticated, intelligent autofocus system with 169 points.

Key features

  • Sensor: 12.2MP full-frame Exmor CMOS sensor
  • ISO range: 100-102,400 (expandable to ISO 50-409,600)
  • Burst speed: 5fps
  • Max video resolution: 4K 30p
Sony α7S

The original a7S, arriving a little after the a7 and the A7R. Using the same 12.2MP sensor as the camera that would follow it, the a7S wowed photographers and videographers alike with its incredible low-light capabilities, and began a small video revolution. It was the camera that caused video shooters to start jumping to Sony in earnest, and it still performs well four years down the line.

Key features

  • Sensor: 12.2 MP full-frame Exmor CMOS sensor
  • ISO range: 100-102,400 (expandable to ISO 50-409,600)
  • Burst speed: 5fps
  • Max video resolution: 4K 30p (with external recorder)
Sony α9

Speed is the name of the game when it comes to Sony’s a9, which debuted in 2017. Its ability to shoot at up to 20fps with no viewfinder blackout is complemented by a 693-point AF system, which you can read more about in our autofocus guide [link]. Elsewhere, users can make use of the a9’s two SD card slots to ensure they don’t run out of space for all the files they’re creating, while the silent electronic shutter expands the a9’s usability for wedding work.

Using the electronic viewfinder, photographers can shoot at maximum shutter speeds of 1/32,000sec, while 5-axis SteadyShot image stabilisation and a maximum expandable ISO of 204,800 ensure that the a9 has serious low-light chops. Speedy and versatile, the a9 deserves the serious consideration of any pro photographer.

Key features

  • Sensor: 24.2MP Full-Frame Exmor RS Stacked CMOS Sensor
  • ISO range: 100-51,200 (expandable to 50-204,800)
  • Burst speed: 20fps
  • Max video resolution: 4K 30p

 

APS-C

Sony α6500

The APS-C flagship of the Sony stable, the a6500 is a sophisticated camera that should certainly not be dismissed just because of its smaller sensor. It’s an action powerhouse, offering a 425-point 4D focus system and an 11fps burst rate with a generous buffer able to capture 307 full-size JPEGs or 107 Raws, which represents a considerable improvement over its predecessor the a6300, which would manage 44 JPEGs or 22 Raws.

The a6500 is also the first of Sony’s APS-C range to gain in-body image stabilisation, while new algorithms improve noise reduction. When you add on 4K video and slow-motion video at 120fps, the a6500 really does start to look like a complete package. Definitely not one to count out.

Key features

  • Sensor: 24.2MP APS-C Exmor CMOS sensor
  • ISO range: 100-25,600 (expandable to 51,200)
  • Burst speed: 11fps
  • Max video resolution: 4K 30p
Sony α6300

The a6300 preceded the a6500 by only half a year, so there’s a lot of similarity, making for a potential bargain if you’re unfussed about some of the a6500’s flashier features. You still get that lightning-fast and sophisticated autofocus system, as well as 4K video and the generous ISO sensitivity range. The a6300 is still a very good buy.

Key features

  • Sensor: 24.2MP APS-C Exmor CMOS sensor
  • ISO range: 100-25,600 (expandable to 51,200)
  • Burst speed: 11fps
  • Max video resolution: 4K 30p
Sony α6000

The Sony a6000 was sold with the tagline “quicker autofocus than a DSLR”, though really its key USP was quicker everything. Thanks to the inclusion of the Bionz X processor, the Sony a6000 not only focuses fast, it also shoots fast and starts up fast. Its hybrid AF system of contrast- and phase-detection points isn’t much on its successors, but still works at an impressive clip.

Key features

  • Sensor: 24.3MP APS-C Exmor CMOS sensor
  • ISO range: 100-25,600
  • Burst speed: 11fps
  • Max video resolution: Full HD 60p
Sony α5100

The a5100 debuted to nestle comfortably between the a5000 and a6000 in the APS-C lineup, borrowing the sensor and hybrid AF system from the latter. While it lacks a viewfinder, the tilting touchscreen is a useful addition for monitoring, and five customisable buttons on the rear allow the a5100’s controls to be tuned to taste.

Key features

  • Sensor: 24.3MP APS-C Exmor CMOS sensor
  • ISO range: 100-25,600
  • Burst speed: 6fps
  • Max video resolution: Full HD 60p
Sony α5000

The a5000 refreshed the stale CSCs of the former NEX line, setting the stage for the sleek, compact-esque look of the APS-C models that would continue through to the a6500. It also added now-standard features such as Wi-Fi connectivity.

Key features

  • Sensor: 20.1MP Exmor APS-C CMOS sensor
  • ISO range: 100-16,000
  • Burst speed: 3.5fps
  • Max video resolution: Full HD 60i
Sony α3000

The first camera to arrive bearing the Alpha branding, the a3000 sticks out from the rest of the range thanks to its SLR-esque styling, which is more visually reminiscent of A-mount cameras like the A99.

Key features

  • Sensor: 20.1MP Exmor APS HD CMOS sensor
  • ISO range: 100-16,000
  • Burst speed: 3.5fps
  • Max video resolution: Full HD 60i
Tips & Tricks | Li-ion battery care image
Author Jonny Helm Categories Tips & Tricks Posted on 9 Comments on Tips & Tricks | Li-ion battery care

Tips & Tricks | Li-ion battery care

Lithium-Ion rechargeable batteries are responsible for running just about every piece of powered kit in a photographer’s arsenal, and let’s face it, most of us have at least a couple of spare batteries with our cameras.

Li-ion batteries don’t suffer the same memory problems as the old NiCad versions used to, but they still need a certain degree of maintenance to ensure they keep running as long as possible.

Brand new batteries

  • These will often carry a small charge straight out of the box, but should be fully charged before using and will often take 3 or 4 charges before they reach maximum capacity.

Ongoing care

  • If you’re not using your camera for an extended period of time, it’s a good idea to remove the battery from your camera, fully charge the battery and store it separately. Left installed in the camera, minute amounts of current flow will discharge a battery over time.
  • Remember the little plastic cover that shipped with your battery? It’s there to keep any dirt from fouling the connectors and reduces the chances of anything touching the contacts and potentially shorting the battery.
  • Tempting though it is, try and avoid charging a battery that already shows a full charge; you will shorten its life unnecessarily.

Cold weather

  • In cold conditions, the battery may require frequent recharging even when fully charged. It’s a good idea to keep a fully-charged spare battery in a warm place and exchange as necessary when taking pictures in cold weather.
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