2.27.2017

Shooting with a new, short zoom. The Sony 28-70mm f3.5 - 4.0. Nice.


You know that feeling that you get when a new (to you) lens gets dropped in your hands? You know it's probably just another reasonably good, modern lens but you just have to put it on a camera and try it out for yourself. Secretly you are always hoping that this one will have that little bit of extra magic that just makes your photographs sing. On key. That's the way I felt when my friend sold me his relatively new (and hardly used) Sony FE 28-70mm lens. I knew it wasn't going to blow away the stuff I already own but I was hoping it had some endearing quality which would become known to me as I shot with it. 

It was gloomy and overcast yesterday afternoon. The threat of rain hung over us like a boring dinner guest reaching for that last slug of great red wine at the bottom of the bottle. I had just finished reading Ian Rankin's gloriously good new novel, Rather Be The Devil, and I was ready to get out of reading chair and get outside. I put on a jacket, grabbed the A7ii and headed away from my sleepy, cloistered neighborhood toward the promise of a hipster downtown. 

Since it was cloudy and flat I set the white balance control to the "cloudy" icon, selected auto ISO and set the lens for f5.6 in aperture mode. All done and ready to shoot randomly and happily. 

I walked from Treaty Oak over to the Graffiti Wall to see what new art had appeared since my last visit many weeks ago. The place was hopping. I brought the camera up to my eye and one of the first things I noticed was how nice and stable the image stabilization seemed. As I understand it the camera system uses both the lens stabilization and the body stabilization in tandem. That gives you full five axis performance. 

There are no external switches on the lens. It's extremely spare. I thought the images had a nice bite to them. 

There is something nice about having a small, lightweight package that wasn't priced to break the bank on the front of my beater camera. I was still careful to keep it from getting drenched in a sudden downpour. That's why I keep a one galloon ZipLoc bag in my jacket pocket on days like today. I got wet but my camera stayed dry. 

All in all I am a fan of the lens. It's pretty nice. 




When will we see a refresh of the Sony A7xx series? Here's what I think we'll see in the next revisions.


Every working photographer has his or her own favorite camera system and most of them are pretty loyal. Once you find a brand you are comfortable with it takes a lot for most people to abandon the known and comfortable for the supposedly greener grass next door. I bounced around from system to system until I landed squarely in the Sony camp and I couldn't be happier. So happy that I've been able to give my credit cards and bank account a vacation for the last full year. And most of that warm, fuzzy feeling about the Sony system is due to the big lifeguard in the Sony pool, the A7Rii.

The "big" Sony flagship combines very high resolution (cherished by some clients) with near industry leading dynamic range (making photographers and videographers smile) to make it a great still camera for a large swath of users. While I would not recommend it as a sports camera or a fast action camera those of us who make portraits, shoot products, produce lifestyle shoots, make landscapes, photograph food, etc. have embraced it for its exemplary image quality.

On the video side the ability to shoot high quality full frame, and even higher quality APS-C cropped 4K video, and to write that 100 mbs video directly onto the camera's SD card makes it the top of the current full frame cameras, mirror-free or DSLR, for shooting video. In fact, it's only real competitor in the full frame (35mm) range of cameras, for shooting video, comes from its own sibling, the Sony A7Sii.

Just knowing I've got this camera in the case makes me confident that I can photograph pretty much whatever a client throws at me and that I'll be satisfied with the results.

In the Sony camera line there is another full frame camera

Picking up a bargain lens. A used, Sony FE 28-70mm, f3.5 to f5.6. The full frame "kit" lens.

Sony FE 28-70mm OSS lens. Sitting on the front of my A7ii "beater." 

"I'm upgrading to some Zeiss stuff. Do have any use for a Sony kit lens? The 28-70mm FE?" That's how the conversation started. I hemmed and hawed since I already own the Zeiss 24-70mm f4.0. But then my friend tossed out a price that was less than half of the "new" price for the lens and I couldn't resist. After all, one can always use a good "back up" lens and the many reviews out on the web are mixed as to which lens makes better photographs. 

My friend is mostly a Leica user. He shoots with an S2, and just recently picked up an SL and a 50mm f1.4 Aspherical, but he'd decided to put a toe into the Sony waters, just to see what all the fuss was about, and just couldn't bring himself to use a "kit" lens. 

Next time I see him I'll thank him again. The lens is really very good and the combined image stabilization of the camera and lens is also a nice touch. 

I rushed into my initial lens selections when I plunged into the Sony system -- well over a year ago. I started off with the 70-200mm f4.0 G lens (which I think is spectacular) and the 24-70mm f4.0 Zeiss lens (with which I have been perfectly happy). Had I done a bit of research and tried both the kit lens and the Zeiss lens, side by side, over a long weekend I just might have returned the more expensive one and kept the cheaper one. But knowing my own butt covering propensity had I bought the 28-70mm I would start to think about the truncated wide angle capabilities of the kit lens and almost immediately started looking at wide angle zooms to supplement. In the end I would have spent much more money on a kit+16-35mm than I would have just sticking with the 24-70mm. And I know myself well, when it comes to lenses; I never shoot much at all that's wider than 24mm. I just don't "see" wide. The times I've splurged for something like the Nikon 17-35mm lens I ended up blowing the dust off of it a bit later and selling it at a loss. Just never use them. 

I do have a 14mm Rokinon sitting in a drawer ---- just in case wide is required. Rarely use that one either. 

Circling back to the 28-70mm. It's a nice lens. It's very sharp in the center and adequate on the sides and corners. In the old days I might have wished it had a faster aperture but I'm happy to apply more ISO if required and I'm more and more starting to savor a little more depth of field and sharpness in my photographs. A little context is kinda nice.  It feels nice and focuses quickly on the most recent A7xx bodies. It comes with a flower petal lens shade. Please don't put it on your lens backwards. Use your shade in its correct orientation or forever brand yourself a photographic moron...

The bottom line is: the kit lens is a nice companion for the A7ii body. Both are small and light and I can walk for hours or days without noticing the (light) weight. For the price I just didn't think I could go wrong. Ah, the power of rationalization...

Sony FE 28-70mm OSS lens. Sitting on the front of my A7ii "beater."

For smaller cameras pressed into producing video the Cage is all the Rage. Here's a great, cheap one.


Sony RX10-3 show in a Camvate Cage Rig. Providing vital mounting points for all the crap you need to make small camera video production workable. Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

What is a "cage" and why might I need one? Still cameras don't need cages...unless you are laboring under the idea that your still camera is also a potent video production camera which you can use to create video art and also to produce video programs for which you get paid. Then... you might start considering a camera cage. Basically, a cage provides a metal "exo-skeleton" for your camera which protects it from some knocks and scratches but mostly (and most importantly) provides mounting points for all the junk that you are going to want to buy and hang off your camera in order to make nice video. 

The cage I'm looking at in this blog post also provides a basic rail system that, in addition to a bare bones cage, also gives you mounting points for follow focus attachments and a compendium shade or matte box. The distilled down cage is an assemblage of metal parts that fit around your camera and provide 1/4 inch and 3/8ths inch threaded mounting points. You use these to attach: external audio recorders, external microphones (though you are better off getting the microphone off the camera and closer to your subject...). monitors, pre-amplifiers and mixers. Or some combination thereof. 

If you take a Sony RX10iii as an example there are only two mounting points on the camera itself. One is the tripod mount on the bottom of the camera and the second is the hot shoe on top of the camera. But the hot shoe is right above the EVF and anything that sticks out over the EVF is going to get in your way, if you use the EVF to focus and compose. The hot shoe might also put the piece of external equipment that you need to use in just the wrong position to be helpful... The cage provides a better solution. (more below). >

Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

I recently bought SmallRig (brand) cages for both the Sony A7Rii and the a6300. Both of those cages were custom designed for those specific cameras and they fit snugly around the cameras giving you a very discreet visual profile. Adding a cage to the a6300 transformed that camera from a pain-in-the-ass (handling) camera, with great image quality and super video, into a much more ergonomic shooting package. The naked a6300 is too small to hold well and, if mounted on a tripod the only place to put stuff is in the hot shoe. Seems dicey to me to add much weight to such a small connection point, especially since there is so little "real estate" on top of that camera to play with. The SmallRig cage allowed me to put a Beachtek audio interface on one side while attaching  a monitor to the top area of the camera. The monitor allows a much better viewing experience than the smaller screen or poorly light shielded EVF while also giving us a headphone jack with which to monitor our audio. Even with both of those devices connected there is still at least one more available mounting point which I could use to attach a stereo microphone for ambiance. 

The A7Rii is a much bigger camera (it's all relative) so the cage for it is more spacious and gives me lots of room to make attachments. In addition to a digital audio recorder and external monitor is seems to me to be a good idea to also attach a big, lithium ion phone charger battery which could power the camera through the USB port for many hours. 

After many good experiences using cages on both of the above cameras I knew I wanted to find a good one for the RX10iii but I couldn't find one made specifically for that model. Bummer. I was going to order a generic model meant for a wide range of medium-sized cameras when I came across this one (see all photos) from a different company. The products looked similar to the ones from SmallRig but offered the rail system, in addition to the basic cage, for a price of around $120. I read the reviews on Amazon.com and ordered one, knowing that if it wasn't up to my standards I could easily return it. 

(more below). >

 Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

The product camera yesterday and I couldn't be happier with the flexibility and quality of the system. It came well packaged and the maker provided some extras that were most appreciated. The system is meant to be adapted to many different consumer camera models so it stands to reason that one can do a fair bit of customization. 

For instance, there is a bar that attaches the top plate to the plate on which the camera sits. You can adjust the bar at either end to fine tune the height of the top plate to the top of the camera. Some people might want a snug fit while others might want more space in which to get their fingers on the camera to operate controls. If the bar is too short, fear not! the package comes with a second bar that is about .75 inches taller.  I ended up using the shorter bar with the RX10iii (which is not a very small camera) but I would need to use the longer bar if I were to use the rig with something like a Nikon D5 or a Fuji XT(xx) with a battery grip. Nice to have it included in the package. ..

(more below). >
Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

While the "fly-by-wire" focusing system of the RX10iii doesn't lend itself to the use of a follow focus the rail system is great to have anyway. It creates several more attachment points for things like bellows shades and matte boxes which can help with some tricky film making. It can be used to balance the weight distribution on a tripod.  It also looks pretty cool...

(yes, more below). >
Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

I am happy with the products from both companies and I'm happy to leave the cages on the cameras. In this way I can outfit the cages with the gear I need for specific  video shoots before I leave the studio and then dump them into a Manfrotto video bag for safe keeping. Once I get to my location I can put my rig up on a tripod, connect the cables, and be ready to shoot. Even the best rigs won't be as fast and carefree to use as a dedicated video camera but even in that arena (ENG) I see many operators festoon FS-7 and FS-5 cameras with so much junk that you'd be hard pressed to use the cameras quickly, or even handheld. 

Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

Photo:  ©2017 Kirk Tuck, courtesy: The Visual Science Lab.

On every shoot I've ever done I learn something new. I learn some way to do something better or more efficiently. What I learned on recent assignments, which skewed heavily to video, is that having the audio recorder or other tool in the right place in order to reach the controls easily (and without adding unwanted vibration to the overall rig) is critical, and that a good cage, with lots of attachment points, can make a big difference in your overall effectiveness as a camera operator.  A bit of customization can go a long way. Now to see how the rig works on a shoulder mount for an upcoming documentary. More learning to come. I just hope it's not too painful...



2.26.2017

In "Sony Time" it seem like we're getting close to a refresh of the RX10 series. What would I like to see?

The Sony RX10iii in a Camvate cage topped with a Zoom H5 audio recorder equipped with an SSH-6 stereo/shotgun microphone. 

I'm a huge fan of the Sony RX10 series of cameras but I am not blind to their shortcomings. I get a sense that we'll be seeing another RX10 (or two) in the next few months and I'm hoping that Sony makes a few tweaks to the RX10iii product to make it even better. At the same time I'm hoping they introduce a new, more niche-y variant which I'll flesh out below.

The original Sony RX10 was a breakthrough product; a highly capable video camera, wrapped up in a high performance, one inch sensor photography camera. The two things that made the original such an important camera (for me) were the introduction of a really good sensor, at an interesting size, as well as a remarkably good zoom lens with a range I found to be just about perfect.

The original camera had a mediocre video codec but this was remedied in a firmware update which elevated the camera from having an AVCHD video file system that capped out at 28 mbs to a more advanced XAVC-S video file system that delivered 50 mbs; which delivered more detailed video images.

The next generation; the RX10ii kept the lens and body pretty much the same but delivered UHD 4K video and a much improved (higher resolution) EVF. Along with the UHD implementation the camera also offered faster fps settings in 1080p.

The current generation; the RX10iii, more of less blew the lid off