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.
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.
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 1When these lenses share similar appearance, then they can alternately share one slot of storage space in the camera bag.
Astrophotography: Roskilde Harbour, Spring Night at 11pm Sony α7 IV + Sony FE 20mm F1.8 G f/1.8 30 sec ISO 500Pablo’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 70mmSpring leaves against the sun. Sony α7 IV + Sony FE 20-70mm F4 G f/11 1/250 sec ISO 640 38mmClose-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
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.
The Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8 has been my trusted lens for nearly two years, since March 2022. Its performance has consistently delivered outstanding and sharp images. The rendering of a portrait and the environment is just pleasing as attested by the photos below.
Autumn Portrait at RUC Sony ɑ7 IV + Sony Zeiss 55mm F1.8 + Godox AD200Pro 1/100 sec. f/2.5 ISO 100Roskilde Festival 2023 Sony ɑ7R III + Sony Zeiss 55mm F1.8 1/1000 sec. f/3.5 ISO 100
An aperture of f/1.8 offers a significant opening, but after delving into reviews and watching various YouTube videos, it became evident that f/1.4 (or even better, f/1.2) brings about a distinctive experience. Having used the Sony FE 35mm F1.4 GM for nearly a year, I can attest that it has become my favourite lens. The f/1.4 aperture not only provides speed but also yields a beautiful bokeh effect in the background.
In December 2023, during my visit to Malaysia, I took the Sony FE 24mm F2.8 G, the Sony FE 24-70mm F2.8 GM, and the Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8. At a wedding reception, the 24-70mm lens proved versatile, but I frequently extended it to 70mm at f/2.8 to get the bokeh effect. On another wedding reception, the 55mm lens delivered pleasing results, though I desired a slightly more pronounced softening of the background.
Seeing Through A Projection of Another Lens Sony ɑ7 IV + Sony FE 24-70mm F2.8 GM 70mm 1/125 sec f/2.8 ISO 2000During a family portrait session, I signalled to the ‘photographer’ to come closer by extending my hand. In doing so, I inadvertently showcased the impressive capabilities of the camera’s autofocus system. Sony ɑ7 IV + Sony FE 55mm F1.8 Zeiss 1/250 sec f/1.8 ISO 100
On leaving Malaysia, I was thinking of upgrading to a dedicated 50mm GM lens, initially considering f/1.4 as the ideal choice. However, in January 2024, I came across one boasting a maximum aperture of f/1.2. Several factors influenced my choice, including the obvious appeal of the wider aperture and the presence of a physical aperture ring on the lens body. Notably, after reading multiple reviews, it became apparent that the F1.2 GM surpasses the F1.4 GM and even the 55mm F1.8 Zeiss in performance. (Some reviewers did suggest sticking with the 55mm F1.8 Zeiss if already in possession.)
But the main reason for the upgrade is that I’ve become accustomed to the physical aperture ring on the lens body, which enables swift adjustments to get the desired aperture. However, with the 55mm lens, the process of manually scrolling on the camera took some time, especially when returning to the previous aperture position. In addition, there are two additional keywords: bokeh rendition and overall sharpness.
Here are some tests I conducted within a week of acquiring it. From what I can see, this definitely is a very specific lens! One word comes to mind: overkill 😅🤨
The portrait came out well-focused and sharp. The bokeh was nicely rendered too. 1/160 sec. f/2.0 ISO 200 + Godox V1Portrait in a controlled environment renders an overall sharpness. 1/200 sec. f/5.6 ISO 100 + AD200Pro1/3200 sec. f/1.2 ISO 100Tree bark and snow. 1/1000 sec. f/1.2 ISO 100Statue of David & Goliath (Ivar Johnsson, 1922), Helsingborg. 1/500 sec. f/4 ISO 400Kärnan Keep, Helsingborg. 1/1600 sec. f/1.2 ISO 100View from Terrace Stairs (Terrasstrapporna) towards the Helsingborg City Hall and Helsingør across the Øresund straits. 1/4000 sec. f/1.2 ISO 100
My first after one week impression: I’ve been using the 55mm lens for nearly two years, and I genuinely appreciate the quality of the photos it produces. Recently, I made the decision to “upgrade” to the overkill 50mm F1.2 GM lens, and its f/1.2 aperture is truly magical. However, I’m not ready to part ways with the 55mm just yet. The 50mm F1.2, albeit FANTASTIC, comes with an overkill weight too, making it less practical for casual outings. Therefore, I’ll still be holding onto my trusty 55mm for those lighter, more spontaneous photography moments. My only complaint is that the filter thread is just odd. Why not align it with other GM lenses at 67mm or 82mm?
Eriksvej, Roskilde.
Key Features
Aperture range: f/1.2 to f/16 The angle of view: 47° Minimum focus distance: 40 cm Maximum magnification ratio: 0.17× Filter thread: 72 mm Dimensions (⌀ × L): 87 × 108 mm Weight: 778 g
