VLOGGING GUIDE | SONY A6500

Vlogging Guide | Best Cameras For Vloggers

Thinking of starting a YouTube channel, or sharing videos of your exploits on Facebook, Instagram or another social media platform? Then you’ll want to pick up one of the best cameras for vloggers.

Welcome back to our vlogging kit series, where we run through some of the best cameras and other equipment that’s out there for prospective vloggers right now.

You may or may not have been tempted by the idea of vlogging before, but even if you’ve never considered it, we’d definitely recommend giving it some thought. Vlogging tends to demand less production value than other types of video, and as a professional working in stills or video, you already have a wealth of material to vlog about with a built-in audience. What kind of kit are you using for your shoots – what do you like about it, what do you wish were better? How do you approach different kinds of shoots and subjects? People are interested in this stuff, and being able to connect with them through vlogs is a great way to open up new opportunities and even potential revenue streams.

Previously in this series we’ve covered the Nikon D7500 and the Fujifilm X-T2. Today in the hot seat is the Sony A6500, part of the tech giant’s APS-C camera range. Confusingly, it is not the newest of these – the A6400 was released a little later. Why? We don’t know. No one knows.

Cameras in this series are principally known for being super-fast and relatively affordable do-it-all cameras, with snappy burst speeds and autofocus systems to match. So what makes this one such a good choice for vlogging?

Let’s dig into its feature-set and find out.

Why the Sony A6500 is perfect for vloggers

The street-style, lightweight Sony A6500 fits perfectly with the others in the series that have come before it. That means that one of its big concerns is a fast, comprehensive autofocus – and it doesn’t disappoint, with an autofocus system that uses a combination of 425 phase-detect points and 169 contrast-detect points. This absolutely massive focus-point density means it’s able to acquire and keep its subjects near-instantly, and stands you in good stead for any and all vlogging you might want to do – minimal awkward moments were the camera hunts for focus after a sudden change in viewpoint.

The guts of the camera consist of a 24.2MP Exmor APS-C CMOS sensor paired with a front-end LSI and Sony’s Bionz X processor, all of which ensures the camera provides superior fast operation. While previous models in the series didn’t carry the capacity to produce 4K video, the A6500 happily shoots 4K UHD, and can also capture Full HD at up to 120fps for super-slow motion footage. While many vlogs are uploaded and watched in Full HD, being future-proofed is no bad thing, and the fact that the A6500’s 4K footage is oversampled, with no pixel binning – it’s captured at the equivalent of 6K – is another feather in its cap.

The A6500 is the first APS-C Sony camera to come packing 5-axis image stabilisation, which works with or without Sony’s stabilised lenses. Video recording is also made easier with Touch Focus, and serious video users can make use of the S-Gamut/S-Log modes to produce footage with a wide dynamic range, perfect for colour-grading in the edit. A Gamma Display Assist mode also makes it easier to ensure you’re getting a correct exposure while shooting in these modes.

The A6500 isn’t perfect. Frustratingly, its screen does not flip all the way around, making it difficult to monitor your shots if you’re filming yourself. It is also still quite a pricey camera, and you may find smaller and tidier options to be more to your liking from Canon, Fujifilm or Nikon. It only has one card slot, not two, and while it’s certainly more affordable than the full-frame Alpha 7 models, it’s still not exactly a cheap camera. These factors are worth bearing in mind before making any decisions.

Sony A6500 rigged for video

An ideal vlogging setup with the Sony A6500

If you want to maximise the production value you get out of the Sony A6500, then it’s worth thinking about the best accessories to use. It doesn’t have to be a massive outlay of cash – a few well-chosen accessories can make a massive difference in the quality of your videos, not to mention the ease of producing them, and luckily for you, we’ve picked out a ready-made list of the best ones around right now. While this list isn’t exhaustive, it also isn’t compulsory – even just a few of these will really see your vlogging improve.

So here’s what we reckon you should get:

– A good all-encompassing lens. You ideally don’t want to be faffing about changing lenses too often. We’d say something like the Sony 16-70mm f/4 will cover a solid focal range that should give you all the coverage you need for the vast majority of your vlogging.

– A good shotgun microphone. A no-brainer here for improving the sound quality of your videos – there’s a reason we recommend it in all of our vlogging blogs. A RØDE VideoMic will suit your purposes fantastically. For more audio control you can use the Sony XLR-K3M XLR adaptor kit, pictured above, with your choice of XLR microphone from shotgun mics to radio lavalier kits ideal for interviews.

– A fast, large-capacity SD card. You might be able to save some money here, as the A6500 isn’t able to take advantage of UHS-II cards, a UHS-I card will do fine. Something from the SanDisk Extreme Pro range will suit you fine – the higher its capacity, the better.

– A stable tripod, ideally one with a head geared for video. Manfrotto, Vanguard, Camlink and Velbon all make great dedicated video tripods with smooth panning heads.

Monitoring headphones to check your audio.

– A video light. Although the A6500 is great in low light, this is a good thing to have when you need it. Look at lights from Rotolight for a good self-contained system.


That’s all for the Sony A6500! We’ll see you next time.

PROFOTO A1X FOR FUJIFILM

Profoto A1X for Fujifilm

The fantastic Profoto A1X speedlight flash is now available with a Fujifilm hot-shoe for full TTL compatibility with Fujifilm X-Series and GFX cameras. Fast recycle times are a benefit to any photographer shooting weddings, events or press. With Profoto AirTTL technology you can use this flash as a remote light source, or as a control unit for multiple Profoto flash heads.

Travelling light

Profoto A1X is compact and powerful. The flash is powered by an on-board rechargeable Lithium-Ion battery. This high power battery recycles the flash head fast, removing the need for external battery packs and cables. The Profoto A1X has a magnetic system snap-on system for light modifiers and comes with a wide-angle diffuser and a dome diffuser and a bounce-card which each snap on / off in a moment.

The Profoto A1X for Fujifilm is £949 including VAT.
To order call our expert sales team on 0207 582 3294 or email: sales@fixationuk.com

Profoto Air TTL

Profoto Air TTL technology allows you to use your camera system’s flash metering with a broad range of Profoto flash heads, from the on-camera A1X to the mighty Pro-10 Generator. Once your lights are in place, you can point, shoot and let your camera worry about the exposure. The wireless Air TTL connectivity, from camera to remote flash heads, saves you time when conditions change on location as the TTL metering will raise and drop the flash output as required. For precise control you can switch to Manual output and dial power up or down. The A1X and A1 speedlight flashes work as AirTTL commander units and as remote lights. Profoto also produce dedicated AirTTL remotes for Canon, Nikon, Sony and Panasonic TTL systems so you can use your familiar Profoto setup across a broad spectrum of cameras.

FUJIFILM LAUNCH THE X-PRO3

Fujifilm Launch the X-Pro3

Fujifilm has pumped its latest technology into its new X-Pro3 rangefinder digital body. This latest release features higher resolution, improved AF and is the most durable Fujifilm body yet. With an unusual rear LCD design Fujifilm prove that, as ever, they are brave enough to be different with a design that pays homage to the company’s analogue photography heritage.

The camera has launched in 3 colour variations Black , Dura Black and Dura Silver  – more on the coatings below.

Coating variations for the X-Pro3 pictured left to right: Black, Dura Black and Dura Silver.
Coating variations for the X-Pro3 pictured left to right: Black, Dura Black and Dura Silver.

The Fujifilm X-Pro3 is the third generation of the X-Pro rangefinder-style digital mirrorless camera from Fujifilm. In 2012 the original Fujifilm X-Pro1 launched the X-Series interchangeable lens system. Since then the compact and portable system has been adopted by many documentary and street photographers. The new X-Pro3 has improved on its predecessor the X-Pro2 with: the latest generation sensor and processor, vastly improved AF sensitivity, a new film simulation mode, and an improved viewfinder. We dive into the details below.

4th Generation Sensor & Image Processor

The X-Trans CMOS 4 sensor is combined with the X-Processor 4 image processing engine for flagship image quality and recording performance. This technology was first seen in the Fujifilm X-T3 body and later the X-T30. The X-Pro3 has 26.1 megapixels with phase detection AF pixels built into the sensor. The processor can combine in-camera continuously shot images for HDR rendering and up to 9 frames for multiple exposures in different combination modes. The processor can handle high data-rates for 4k video recording for up to 15 minutes.

Enhanced Build and Durability

The X-Pro3 is built to withstand professional use with improved coatings, build materials and weather sealing

  • External body covers of the X-Pro3 are made from Titanium which is strong, corrosion resistant and light.
  • The X-Pro3 internal chassis is magnesium alloy for even more weight saving.
  • Surface-hardening technology Duratect protects the X-Pro3 from scratches and gives a nice metallic finish applied to Dura Black and Dura Silver versions.
  • Weather sealing applied at 70 points for enhanced moisture and dust resistance.

Improved Auto-Focus

Fujifilm have improved their AF algorithm which will enable auto-focus in lighting conditions of -6EV which is the light cast by a quarter-moon! The new firmware released with the X-Pro3 features an AF range limiter function to increase speed of AF lock-on with any lens. You can use these settings to dial in a focus preset point with any X-series lens.

The Viewfinder

The rangefinder style viewfinder gives you the option of an optical viewfinder or an electronic viewfinder. This lets you choose between a constant view of your subject or a display that represents your exposure and can play back your last shot all within a clear bright viewfinder so that you can keep your eye to the camera.

  • Optical viewfinder responds at the speed of light
  • OVF can be augmented with a smaller EVF window to display exposure simulation, enlarged focus area or pictures taken
  • EVF covers 97% of sRGB colour space for accurate colour reproduction
  • EVF boost mode increases apparent viewfinder smoothness to approx. 200fps
  • EVF delivered by a 3.69 million dot organic EL panel that delivers high contrast and fine detail.

Retro rear LCD panel

The rear LCD monitor on the X-Pro3 hinges down from the back of the camera 180 degrees. When flipped up, see the image below, the screen is closed into the camera. The LCD screen is designed for use when waist-level shooting, shooting overhead, and for accessing the menu and adjusting camera settings.
When the LCD closes, on the rear of the camera there is a small square memory LCD screen that is always on and displays shooting settings such as frames remaining and, ISO and shutter speed. Or it can display the film simulation selected with ISO and white balance. This represents the film windows used to store box-ends on classic analogue cameras to remind photographers what film they had loaded.

The Fujifilm X-Pro range and all other X series cameras are based exclusively around the APS-C sensor size. This commitment to a single sensor dimension means that unlike Canon, Nikon and Sony systems the Fujifilm X-Series lenses are much smaller and lighter as they have never been required to project an image circle that covers a full frame sensor.

Fujifilm state that the X-Pro3 in Black will become from the 28th November and the Dura Black and Dura Silver versions will be available from mid-December.

A NEW FLAGSHIP FROM SONY: THE A9 MARK II

A new Flagship from Sony: The A9 mark II

The Sony A9 mark II is a full frame mirrorless camera body built for speed. With 24.2 megapixels, capable of shooting at 10 frames per second the A9 mark II will keep your subject sharp with 693 phase detection AF points built into the imaging sensor.

The original model Sony A9 was released in 2017, clearly positioned to disrupt to the domination of the sport photography industry by Nikon and Canon and their flagship bodies, the D5 and EOS 1DX mark II respectively. The mirrorless technology of the A9 delivered key advantages over DSLR bodies. The absence of a mirror allowed the A9 to be faster (up to 20fps), quieter (silent with the electronic shutter) and more accurate as the AF system was not disrupted by mirror movement and instead used phase detection pixel AF technology built into the imaging sensor. At Fixation we are very excited to see what new features and specifications the mark II version of the A9 will bring, pushing the technology available to professional photographers to new heights.

Demand will be high so please email or call the sales team to put your name on our waiting list: 0207 582 3294 sales@fixationuk.com

Built for professional photographers who require reliability, fast network speed and quick access to controls
Supports SSL or TLS encrypted file transfer (FTPS)
1000BASE-T Ethernet terminal, enabling gigabit communication
Blackout-free continuous shooting up to 20fps
24.2 –Megapixel Full-Frame CMOS Imaging Sensor
Upgraded weather sealing for dust and moisture resistance
4k video recording
Dual card slots, both UHS-II compatible for uninterrupted capture
Compatible with the NP-FZ100 battery perfect for longer shoots
693 phase detection AF points built into the imaging sensor

New Canon RF lenses announced images

New Canon RF lenses announced

Canon adds two new, wide-aperture, professional, zoom lenses to its mirrorless RF mount lens lineup

New Canon lenses for the EOS R

Canon RF 24-70mm f2.8L IS USM

Pictured on the left, the 24-70mm f2.8 is a workhorse lens for professional photographers. This focal length range easily covers most working situations, from portraits to general views, without having to pause to swap lenses. Precision engineered to give superb image quality from edge to edge; when shooting wide open, your portraits and wide shots will benefit from a shallow depth of field and incredibly accurate focusing. The built-in image stabiliser works with the EOS R DIGIC processor to deliver five stops of stabilisation when working in challenging conditions. The lens also benefits from L-Series weather sealing.

L series weather sealing
L-Series weather sealing on the RF 24-70mm f2.8L IS USM

Canon RF 15-35mm f2.8L IS USM

Pictured on the right, the 15-35mm f2.8 is only slightly larger than the 24-70mm. The extreme wide angle will benefit photographers shooting interiors and architecture. It also offers an extreme perspective for anyone working at close quarters to their subjects. With the silent shooting capabilities of the Canon mirrorless cameras, the 15-35mm could become the lens of choice for wildlife photographers using remote camera setups. The RF 15-35mm f2.8L IS has a built in image stabiliser and L-Series weather sealing.

L series weather sealing
Image Stabilisation on the new RF lenses works with the EOS R DIGIC processor

Why choose RF lenses?

The EOS R system can be used with a range of adaptors to allow the use of the extensive range of EF lenses, a range that has made Canon one of the industry leaders. However many photographers prefer to use native lenses with a dedicated design to work with the camera body. The EOS R mirrorless system features a shallower body and a new lens mount. This new mount has opened the door to new lens technologies, however the EOS R launched with a limited number of native lenses available. We explored the benefits of the new mount and native lenses earlier in the year: Why use RF Lenses?

The RF 24-70mm f2.8L IS USM is £2329.00 including VAT at release.
The RF 15-35mm f2.8L IS USM is £2329.00 including VAT at release.

For the latest prices, to order either lens, or for more information from our expert sales team call us on 0207 582 3294 or email us at sales@fixationuk.com

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