bYx Optics

Sony FE 16-35mm F2.8 GM II

I waited for too long to get a 16-35mm lens. During my Danish Summer Holiday, there were many places where I wished I had a lens wider than 24mm, especially indoors when I stayed at farmhouses. When visiting towns and beaches, I also wished I had a 16mm, so I could fit the entire landscape into a single frame. In both cases, having the surroundings in one frame tells more of a story, both in the foreground and the background.

Then a chance came by and I bought the Sony 16–35mm F2.8 GM II. There were four situations after I got the lens that made me really appreciate having a wide-angle lens.

In town: I get to put so many elements into a single photo, which gives more context to the scene.

Outdoor: It gives a more natural look of an event that took place, instead of always zooming in and isolating the subject.

*Welcoming new students for 2026-2027 session*

Conference: I get to photograph the entire room in one frame, including the people and the surroundings.

*Close-up activity while showing other activities in the background*

Dusk: More of the surroundings fit into the frame, creating a beautiful ambience and showing what the place actually felt like.

I think my dislike for wide-angle photos came from the look of the 13mm ultra-wide lens on my Apple iPhone 15. On the iPhone, I found the images distorted and unpleasant looking. The same can happen with this Sony lens, especially when the camera is tilted upwards or when objects and people are near the edges of the frame. They can look distorted. However, unlike what I was used to seeing from the iPhone, the photos from the Sony lens can be corrected and coloured beautifully in Lightroom.

After using the 16-35mm, I started to understand that a wide-angle lens is not just about fitting more things into a photo. It is also about showing the surroundings and giving the subject a sense of place. Sometimes, the foreground and background are just as important as the main subject in telling the story.

Viby Sjælland
August 2026

Sony α7R V

Last year, I set my eye on the Sony α7R V. Every month, I stashed some money away! Then Canon EOS R5 II caught my eye with its better 8K capability, and the VR lenses swayed the aim. I changed my mind to the Canon camera instead.

When I saw Sony α7R V listed in the secondary market and the price was extremely enticing, I changed my mind, again. Very seldom did the price go down that low.

I hold it. I tested it. I love it!

I reset the camera, updated the firmware, and adjusted the settings to match my old Sony α7 IV for an easy transition. At 61 megapixels, it’s double the resolution of my previous camera, and the detail is amazing. What a brilliant resolution for a pixel peeper! The IBIS also makes handheld video incredibly stable. Oh yes, Sony α7R V also captures in 8K.

Portrait photos? Just sharp.

Macro photos? Instead of eyelashes, it focuses on the iris.

Landscape? It was just pleasing overall.

Viby Sjælland
May 2025

Lexar® Professional Go Portable SSD

I love my iPhone 15 Pro Max. It’s a versatile camera that’s always in my pocket. Previously, I disliked the videos it produced: they were too sharp, overly digital, excessively HDR, and the list goes on. However, with the iPhone 15 and the ability to record in Apple Log, there’s now much greater flexibility for editing during post-production.

The stock camera app records in ProRes compression when Apple Log is selected. One minute of footage can take up to 6.6GB, which is an enormous amount.

Fortunately, the Blackmagic Camera app has been a game-changer. First, it’s free. Secondly, it supports recording in Apple Log with HEVC compression. I love it. The files are now manageable, and the file sizes are reasonable. I’ve recorded hundreds of videos using this compression format.

That said, I hit the limits of this setup during a wedding I attended as a photographer in July 2024. While I could have used my Sony α7 IV to record videos, I chose to use my iPhone 15 instead. It’s small, light, and allows me to move around easily. That was the plan, at least.

When I reviewed the footage back home, I was devastated by the results. Fortunately, video recording wasn’t part of my job description for the event.

The video was noisy! Losing a lot of details. Cleaning using Neat Video doesn’t yield much as it is too soft and details are gone.

After much reading, reflection, and further consideration, I decided to go for ProRes LT. The file size is more than double compared to standard formats, consuming storage space rapidly. However, the trade-off is worth it, as some night scenes are now salvageable. The photo below looks decent, with the details still intact.

However, exploring compression further, I find that ProRes (which is nearly twice the size of ProRes LT for a similar recording duration) offers a slight advantage. It has less compression, therefore it won’t sacrifice details, especially in a dark scene. Now, though, one minute of footage takes up about 3.5GB, so the best approach is to record directly to an external drive.

As always, Google proved incredibly helpful. It led me to the Lexar Go SSD. I chose the 1TB version, which should suffice since I don’t need to record for extended durations.

So far, it has proven to be very useful. I no longer need to manually transfer recordings from my iPhone to my MacBook via AirDrop before copying them to permanent storage. Now, I can simply plug in the SSD drive and transfer the recordings directly to their final destination.

Note: During a discussion, someone pointed out that the iPhone 15 serves as a secondary camera because I use a larger-sensor camera as my primary device. The iPhone’s smaller sensor doesn’t justify creating such large recording files. It seems counter-intuitive that the larger-sensor camera, with clearer details, produces files that take up significantly less space. Yet, in some cases, I used only my phone to record and didn’t touch the larger camera at all. Why? Because it was more convenient. Therefore, I want these recordings to be salvageable, with less noise and clearer details.

Sony FE 20-70mm F4 G

I adore the Sony FE 20mm F1.8 G lens, yet for close-up framing where object distortion can be a concern, I want a more versatile option. One of the solutions is using narrower focal lengths, as provided by Sony FE 20-70mm F4 G.

When travelling and restricted to just one lens, for example, during my Camino de Santiago walk, the 24 G and 40 G lenses were an eye-opener. Constantly switching between the two, especially in varied weather conditions like rain, proved tiring. Therefore, I was in search for an ideal travel lens. Reflecting on this, I initially leaned towards the Tamron 20-40mm for its f/2.8 aperture. However, I ultimately opted for the Sony FE 20-70mm F4 G despite its maximum aperture at f/4. Its extended wide and telephoto focal lengths won me over, promising versatility for future adventures.

After a year of using the Sony FE 20mm F1.8 G lens, I’ve added this telephoto lens to my kit to complement my flows. Its compact size and lightweight build were a major draw for me; strong factors to count when considering replacing the bulkier Sony FE 24-70mm F2.8 GM lens.

Since my documentary-style running gun typically involves shooting at f/6.3 and narrower, the 20-70G’s smaller footprint perfectly suits my needs. I also require a lens with the flexibility to zoom in closer to my subjects. This lens also stands out for its lightweight build and ergonomic design, making it ideal for handheld shooting, ensuring a comfortable and steady grip during recording sessions.

	Minimum Focus Distance	Weight
Sony FE 20-70mm F4 G	Wide: 30 cm, Tele: 25 cm	488 g
Sony FE 20mm F1.8 G	19 cm	375 g
Sony FE 24-70mm F2.8 GM	38 cm	890 g
Sony FE 24-70mm F2.8 GM II	Wide: 21 cm, Tele: 30 cm	695 g

It seems the 20-70G lens will become a staple on my Sony ZV-E1 for documentary-style videography projects, and undoubtedly going to accompany me on travels; (1) if I can bring two camera bodies, this one will be on ZV-E1 and something else on Sony α7 IV, or (2) if I am restricted by weight, it will be the only lens to be paired with Sony α7 IV,.

In essence, while I appreciate the flexibility offered by this zoom lens in terms of focal length, I remain committed to prime lenses for their exceptional wider apertures (f/1.2, f/1.4 or f/1.8), which deliver exquisite bokeh. Despite having focal length “duplication”, I am keeping the Sony 20mm F1.8 G because it proves invaluable when a place is tight and it has low-light; and also for the astrophotography. Moreover, their nearly identical sizes make them equally convenient options to carry around when alternating and storing in the bag ¹.

**Astrophotography: Roskilde Harbour, Spring Night at 11pm**
Sony α7 IV + Sony FE 20mm F1.8 G
f/1.8 30 sec ISO 500

**Pablo’s Close-up Portraits (sharp overall and nice separation from the background).**
Sony α7 IV + Sony FE 20-70mm F4 G
f/5.6 1/250 sec ISO 3200 70mm

**Spring leaves against the sun.**
Sony α7 IV + Sony FE 20-70mm F4 G
f/11 1/250 sec ISO 640 38mm

**Close-up view of a dandelion.**
Sony α7 IV + Sony FE 20-70mm F4 G
f/4 1/250 sec ISO 500 70mm

I look forward to updating my workflow process by adding this zoom lens from its ability to do a close-up and the shaved weight (as opposed to 24-70GM).

Key Features

Aperture range: f/4 to f/22
The angle of view: 94° – 34º
Minimum focus distance: 30 cm (wide) to 25 cm (tele)
Maximum magnification ratio: 0.39×
Filter thread: 72 mm
Dimensions (⌀ × L): 79 × 104.5 mm
Weight: 488 g

Optimising and Harmonising My System

I’ve made the decision to part ways with some of my lenses and cameras that don’t quite align with my current system. Some of these lenses duplicate functionality, while others have been gathering dust for nearly two years. Recently, I sold my Sony ZV-1, as I’ve delved into the world of 10-bit colour grading. Although I incurred some losses selling them to MPB, I’d rather not let them depreciate further sitting unused. Instead, I’m putting the funds towards financing my purchase of the Sony ZV-E1.