REVIEW: Fujifilm GSW690III - Big and Wide!
If you're looking for a great medium-format film camera that also happens to shoot in a larger negative, you'll quickly notice how few options there are on the market. It's a niche segment, for sure, and one that is sparsely populated with good examples. Lucky for me, I found this Fujifilm GSW690iii a while back, and on the surface, it seems to meet my needs perfectly. But, how well does it fare through the gauntlet?
If you're looking for a great medium-format film camera that also happens to shoot in a larger negative, you'll quickly notice how few options there are on the market. It's a niche segment, for sure, and one that is sparsely populated with good examples. Lucky for me, I found this Fujifilm GSW690iii a while back, and on the surface, it seems to meet my needs perfectly. But, how well does it fare through the gauntlet?
Well, despite being born in the 90s (which itself is a derivative of its 1980s predecessors), the GSW690iii still holds up as one of the best cameras that you can buy today. Especially, for a bit of landscape, travel, or studio photography. Fujifilm's GW series of medium-format film cameras had numerous variants. You'll find loads of other formats on the second-hand market, but mine here has a distinct 6x9 negative.
UPDATE - I am currently selling this camera. It’s a fantastic camera but unfortunately, I need to sell some of my camera gear. Please read the listing carefully, link below :)
PLEASE NOTE: I PURCHASED THIS WITH MY OWN MOMEY AND NO PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
Video Source - Crunchy Fingers via YouTube
I bought the GSW690iii as I wanted to find something that had a larger negative size... Most of my other film cameras have a 6x6 format, or the biggest among them would be something like the BRONICA GS-1's 6x7 format. But at the same time, I wanted to retain some degree of flexibility and portability that I'd no doubt lose out if I went with a large-format camera. 6x9 is as big as medium-formats go, it seems.
Granted, there are specialist and rare exceptions like panoramic 6x12 and 6x17 cameras. Though, if your needs don't require large negatives, there are other variants within Fujifilm's family of medium-format film cameras that come with a 6x7 and 6x8 negative, among others. Plus, they'd all come with the same (or somewhat similar) lens that's fitted onto this here GSW690iii. So, why did I pick this one, then?
Worth It To Go With Larger Negatives?
A larger negative, of course, allows you to retain greater detail, with enhanced sharpness, and a lot of depth from your shots. The same can be said of the Fujifilm GSW690iii, especially when you pair its large negatives and the super crisp lens (more on that later). What you end up with are a really good camera (by film standards), particularly for, as I've mentioned earlier, nature and landscape photography.
To be clear, it's not really the sort of camera that you'd want to bring with you for casual shooting. For the most part, the GSW690iii is aimed towards professional use and is likely to spend most of its life inside a studio or on a professional photoshoot. What's worth noting is the "S" in the model name. This denotes that it comes with a slightly wider lens than the GW models, which is paired with a 90mm lens.
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The latter should equate to a 40mm in the 35mm standard. Meanwhile, the GSW690iii (not the GW) has a 65mm lens, which is a 28mm equivalent in the 35mm standard. Specifically, like the one that I have here, it's a Fujinon f5.6 fixed wide-angle EBC SW lens. It shoots in a 3:2 aspect ratio, is constructed from 4 components, and has 6 elements. The major downside to the GSW690iii is that it's a fixed lens unit.
Still, despite the inclusion of a fixed lens, this 65mm unit is one of the best film lenses of its era, and still is among the best in the business for medium-format film cameras. As far as the aperture is concerned, it'll go anywhere from f5.6 to f32, with half-stop increments in between. More specifically, you have options for f5.6, f8, f11, f16, f22, and f32. In practice, the GSW690iii's lens is a really good bit of kit to shoot with.
“This 65mm unit is one of the best film lenses of its era, and still is among the best in the business for medium-format film cameras”
One Of The Best Lenses In The Business
Personally, I find that the image sharpness can get a tad soft and lacking crispness at f32, though it's still pretty good, even at such high apertures. Ideally, I've found that there's more sharpness to be had at f8 and higher. The Fujifilm GSW690iii is capable of managing shutter speeds between 1 second to 1/500th of a second. Meanwhile, adjusting the shutter speeds as well as the aperture has to be done on the lens.
You can control the latter two with the dual parallel rings, near the retractable lens hood. On top of that, it comes with a T mode - which is Fujifilm's idea of a Bulb mode. While this works well in practice, using this feature does require a bit of getting used to. For starters, you're asked to turn the shutter ring and set it to something other than T when the exposure times out, such as a timed setting that's the closest to you.
Video Source - SignedJody via YouTube
Once you understand the general quirkiness of it, T mode can be handy for long exposure shots. Or, if you can't grasp how it all works, you'll otherwise need to DIY an even odder solution... Such as using a piece of cardboard, or a thick black cloth to block out light going into the lens. Another variable to contend with is the GSW690iii's use of a rangefinder. As expected, there is a bit of parallax to compensate for.
For those who aren't familiar, 'parallax' is an instance where what you're seeing through the rangefinder isn't really what the lens itself is seeing. Nonetheless, from my use case, the parallax on the GSW690iii is not really that bad - most of what I'm seeing and composing through the rangefinder translates well into the final shot. Although, it's definitely something to be wary of when you're composing a good shot.
Some Old-School Charm, Good And Bad
Whenever you're handling the Fujifilm GSW690iii, it's worth remembering every now and then that it's a pretty old slab of hardware. As such, it's a basic camera to use - for better or worse. For example, it has no metering system, nor does it require a battery. In addition, it gives you full manual control. So, it doesn't really match the point-and-shoot style of a modern digital camera, if that's more your style.
Still, at least it does have a hot shoe for a flash. Another interesting addition is a counter on the bottom of the frame that counts how many shots you've taken. It's sort of like an odometer on your car, but this only counts every 10 shots. So, if you see the counter reading 100, it means that 1,000 shots have been taken. The spring mechanism for this counter is what might explain the GSW690iii's loud shutter noises.
Video Source - K Praslowicz via YouTube
Looking around, there aren't a lot of other buttons or dials when compared to modern DSLRs. In fact, the only other dials that you'd have access to (besides the two shutter buttons; one at the top and the other on the front) would be at the top of the camera. This one's dedicated to film selection... 220 film with 16 exposures (but with no backing paper), 120 film with 8 exposures, or 120 film with 4 exposures.
Naturally, shooting with 220 film is out of the question, as they're basically ‘unobtanium’ these days. But, even with more "commonplace' 120 film, you'd only get (at the very most) 8 exposures from a single roll. Given how costly film is to buy and develop, the GSW690iii isn't really the most economical pick of the bunch. So, it does force you to be very careful when lining up a shot - mess up, and it'll cost you!
The Legend Of The "Texas Leica"
Now, depending on what you want to get out of it, those larger negatives may be worthwhile the added expense. Still, at least you don't have to worry (too much) about breaking your GSW690iii. Ergonomically, it feels really good in the hand, though the build quality is decent at best. This is thanks in no small part to its plasticky frame. So much so, that it almost feels brittle, as if it'll break into pieces if you dropped it.
Yet, hold it for long enough, and the GSW690iii gives off an air of robustness and solidity... Sturdy, and is more than capable of standing the test of time. You do require a bit of muscle to carry this around all day, as it is rather big and bulky. Weighing in at approximately 1,510g for the entire package, the GSW690iii is a heavyweight. There's even a cheeky nickname for the Fujifilm GSW690iii, the "Texas Leica".
Video Source - KEH Camera via YouTube
"Texas", because it's overly big, yet it has that dainty old-school charm of classical "Leica" cameras. That's not to say that getting your hands on one is going to be easy. This is undoubtedly the biggest downside of the GSW690iii - trying to find one. As of writing, they're becoming ever more scarce, particularly if you're trying to find one in good nick. Thus far, demand for them is far outstripping diminishing supply.
Prices alone have doubled over the past few years. I paid around £450 for mine a while back. But, if you'd want one now, you're likely going to have to spend closer to £800 for a well-kept example. Additionally, it could keep getting higher. Nevertheless, it's a premium that might be well-worth spending if you value the GSW690iii's larger-than-usual negative size. Not to mention, the sharp, wide 65mm lens.
Specs And Details
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
My Commonwealth Games - Birmingham Shines in the Spotlight
It’s pretty fair to say that in 2022, Birmingham had one of its busiest years ever! Without doubt, the absolute pinnacle was the Commonwealth Games. It was an incredible display of sport, community, entertainment and a whole lot more. I’m very pleased to say I was (a very, very small) part of it. One year on, I’m taking a look back at a crazy couple of weeks!
It’s pretty fair to say that in 2022, Birmingham had one of its busiest years ever! Without doubt, the absolute pinnacle was the Commonwealth Games. It was an incredible display of sport, community, entertainment and a whole lot more. I’m very pleased to say I was (a very, very small) part of it. One year on, I’m taking a look back at a crazy couple of weeks!
The excitement in Birmingham had been brewing for months. Everybody knew that something big was coming. All of the ‘Perry the Bull’ banners and colourful decor couldn’t quite prepare us for what was about to happen in our incredible city.
I had been contacted by Birmingham City Council to see if I would be interested in photographing the games. This was probably one of the quickest decisions I’ve ever had to make as a freelance photographer. ‘Yes’ had practically spilled out of my mouth before the sentence had even finished.
Plans were made, requirements laid out and all I had to do was get ready for the start of the games. I would mostly be photographing the festival sites and some of the street events. This all sounded good to me and even though I wouldn’t be at Alexander Stadium, I was happy just to be a part of it.
Birmingham is Abuzz…
In the days leading up to the games, there was a strange swelling feeling in the city. I spent some time walking around Victoria Square & Centenary Square to soak up the atmosphere. One thing that struck me was seeing all the different nationalities descending on the city. ‘How incredible;’ I thought.
Birmingham has always been known as a diverse and welcoming city. I was sitting on the tram going from Jewellery Quarter to Edgbaston and I couldn’t ignore the loud, humourful conversation between German & Jamaican visitors and a group of local football fans. Usually, this might be an anxious encounter but this was full of laughter, joy and excitement.
This was my first glimpse at how the next few weeks would go, a true celebration of community and togetherness. That evening, I sat on Centenary Square and it was clear that even the most hardy locals, to whom all of this must have been one big inconvenience, we’re getting washed up in the overwhelming feeling of joy.
Showtime…
My first assignment came and went in a flash. I was photographing a traditional New Zealand blessing. It was a fantastic mix of formal greetings, traditional acts of generosity and a healthy dose of humour. I was also terrified of getting something wrong and I remember feeling exhausted at the end of it.
Later that day, the Queen's Baton Relay was reaching Victoria Square and even though I wasn’t formally photographing the event (BCC had a team of photographers, all of which played their part in capturing different events) this was the first time I’d seen the crowds really gather. Victoria Square was heaving!
“By the time the Opening Ceremony came around, the word was out - the City Centre was the place to be!”
By the time the Opening Ceremony came around, the word was out - the City Centre was the place to be! Thousands had gathered to watch the big screens and the ground swell of excitement even managed to block out the noise of the Red Arrows passing over the city, having shot over the stadium moments earlier.
The jubilant crowds watched on as a raft of celebrities, artists, dancers and of course, athletes had their moment on the big screen and the feeling that the nation was watching suddenly dawned on me. What started as mildly humorous, ‘Plucky Birmingham having a go’ was soon replaced with ‘Wow, this is incredible’ as the opening ceremony came and went - so much so I watched it again when I got home!
The Real Work Begins…
Over the course of the next two weeks, I was in a constant state of either taking photos, editing photos, checking emails and trying to sleep! Everyday I would get home between 10-12pm, edit all of the photos from the day and wake up early the next morning to check to see where I was meant to be that day!
It’s not that there wasn’t a plan - there was a huge plan with pretty much every waking hour scheduled across the two week spectacle. I think it soon became apparent to everyone involved that this was going to be even more special than anyone could have imagined! And it all needed documenting!
Emails that had previously started with the typical ‘Hi Ross, I hope you are well’ soon descended into ‘Is there any chance you can..’ and even ‘I’m so sorry, can you make it to…’ Of course, I was more than happy to play my [art and rushing from location to location quickly became the norm.
Relationship Building…
One striking thing about the games was the sheer organisation that had gone into it. A workforce of thousands spread across the city and the suburbs were unanimously on top of their game and everyone you spoke to was completely washed up in Games Fever.
I was fortunate to meet so many great people from volunteers, to athletes and even the Major herself. There was no time for too many pleasantries though, the schedule wouldn’t allow for that. However, after the third or forth shoot with the Major, the nerves had subsided and the cheeky comments soon started landing, it was all good fun!
Even the security at the Council House quickly relaxed from wanting to see every shred of ID I owned to first name basis and fist bumps! I pride myself on my Council upbringing but having the balcony overlooking Victoria Square as my own, personal photography platform was a world away from the ‘Council House’ I grew up in - and I was loving every opportunity I got!
All Good Things Come to an End…
The weeks flew by in a blur and before I knew it, we were on the count down to the closing ceremony. I was going to be shooting Victoria Square and I remember feeling a little bit sorry that it was all coming to an end.
In truth, I was exhausted. Long days and hours of editing every night had meant that sleep had been at a premium for too many days in a row! I’d also not really had much opportunity to watch any of the events and I was looking forward to some genuine TV bingeing!
The closing ceremony ended up being a strangely emotional event - there were heaps of joy and laughter but I was surprised by how many people were clearly shedding a tear. I distinctly remember one lady, shrouded in a Union Jack, was in floods of tears and my instant reaction was to check if everything was OK, fearing the worst! She smiled through the tears and said ‘Oh yes, my daughter is one of the athletes and this has been the most beautiful Games, I’m so proud’...
A proud legacy…
As I sit and write this, a year to the week since the games started, I can’t help but feel incredibly proud. However, the pride is not for myself, far from it. I am absolutely blown away by how well Birmingham did as a city! Every single person played their part and proved to the world what we all know - this is a special place!
Twelve months on and with a strange uncertainty over the future of the Games, I can’t help but feel it would almost be fitting if Birmingham 2022 was the last ever. Without getting too political, the Games have certainly had their critics over the years and not completely without justification. But Birmingham embraced them like it does everyone and welcomed everyone with a huge smile and a hug!
I regularly joke that the weather made the Games special, two weeks of uninterrupted sun seem very alien as I sit in the middle of a huge downpour with multiple layers on - it’s July!! However, that’s a lie. Birmingham made it special and I’m so proud to have had a very, very minor part in it.
I’ll finish with a strange thought. As the committee hurriedly tries to find a new host for the upcoming Games, I know many would love to see it come back to Birmingham. I don’t. I honestly don’t see how we could top what was achieved in 2022. That said, those two weeks proved to me more than ever that if you can count on something, it’s that Birmingham will always surprise you!
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
My First Bikepacking Adventure! It Didn't end well...
Life is full of ‘firsts’.. Your first holiday, your first car, your first house. Some are certainly more exciting than others and some are, well, a bit of a disaster! I took my first bikepacking adventure last week and very much like all of my other ‘firsts’ it had it started out great and soon descended into calamity…
Life is full of ‘firsts’.. Your first holiday, your first car, your first house. Some are certainly more exciting than others and some are, well, a bit of a disaster! I took my first bikepacking adventure last week and very much like all of my other ‘firsts’ it had it started out great and soon descended into calamity…
It’s probably best to start a few months back though, when I went on a little hiking trip to Wales. This trip was all about gearing up to do a spot of Wild Camping. The premise was simple, I want to do a bit more traditional landscape photography and shoot something different to my typical Birmingham or Commercial Photography.
However, as a non-driver, getting about in the wilderness isn’t exactly easy. As my little hiking adventure proved, carrying the weight of a tent, all of my camping gear and photography gear on top was a challenge! As a forty something male with a phobia of gyms, let’s just say I’m not exactly built for long rambles with tens of kilos of gear on my back.
One thing I can do is cycle though and despite my ‘comfy’ rather than ‘athletic’ body shape, I actually quite enjoy cycling and I’m happy to rack up the miles. So the solution seemed simple, buy a bike, put the gear on the bike, cycle out to the middle of nowhere. Sounds like a great plan so I set about assembling the perfect bikepacking rig!
I won’t bore you with the details (I’ll save that for another post) but it’s fair to say my fully loaded bike at least looked the part and with the amount of gear strapped to it, I’m sure most people would assume I was off on a six month trip around Europe. I wasn’t though, I’d decided to go for one night in Wales, to the same campsite I had been to on my mini hiking adventure.
For all of my other sins, I am quite a logical person and logic stated that my first bikepacking adventure should at least be to somewhere I know rather than diving headfirst into a week's adventure cycling the length of the Outer Hebrides… though that is on my ‘to do’ list! So with everything packed up, I made my way to ‘good ol’ New Street Station and set of to Machynlleth.
The observant amongst you may notice that the Cae Du Campsite that I had previously stayed at and would be a guest of again on my bikepacking trip is not in Machynlleth. It is some 20+ miles around the coast. This was all part of the plan, the idea being to get some miles under my belt to see how the bike, the gear and my legs all held up on some of the kind of terrain that I plan to be travelling on more often.
This would be a relatively easy feat to even most amateur cyclists. However, with a strong headwind, rain, the weight of the bike plus my hefty size - it would be a bit of a struggle. As I set out from the station, the riding was pretty nice. The scenery certainly pulled me along with every turn seemingly revealing a rewarding view. It felt like I was climbing forever as I skirted the coastline but the descent into Aberdyfi was worth the effort.
After a very brief stop I could see the rain heading in off the sea so decided to keep going. A little over 14 miles into my journey I hit Tywyn where the heavens opened and I had my first taste of bikepacking in a storm. I laughed it off as this was all part of the ‘test’ but like some cruel joke, this was just a light shower compared to the downpours I would endure over the next 24 hours!
As I cycled out of Tywyn and along a beach road, I stopped for a snack and after jumping back on my ‘hog’ I noticed the rear tyre was a little squishier than usual. Ah, my first puncture! No bother, I thought, a little air and I’ll fix it when I get to camp… That was wishful thinking and before long, the innertube was completely deflated and soon after, my spirits would be the same.
Around this time, a full blown thunderstorm broke out and it was clear that I was not going to make it to camp anytime soon! I found shelter under a tree and with a half dozen sheep watching me, decided to swap the knackered innertube for a good one. A wise choice I thought as making it to the campsite was going to be a challenge with only one working wheel.
My decision was soon challenged when I attempted to get the wheel back on the bike. The axle refused to tighten up and without getting too technical, you kind of need that to happen otherwise the wheel drops off. After several failed attempts and even more expletives shouted at the wheel, I pretty much gave up - I was pushing the bike to the campsite!
As I watched the thunderstorm slowly push on (happily in the opposite direction to me!) I thought I’ll have a look online and see what the smart people recommend - there I found my solution and this very Reddit post saved me! ‘Try loosening the hanger’ it said, well I did and guess what, it worked! The axle started to tighten and I was back on my way!
Full of beans after my Reddit hero had come to my rescue, I made my way the remaining four-or-so miles to my campsite. Even another huge downpour couldn’t deter me. Admittedly, by the time I got to the campsite the rain was so heavy that I decided to not even bother attempting to put the tent out and just stared out to sea like I was in some kind of dramatic film - I’m sure my fellow campers were mildly concerned for my sanity.
Later that evening with the tent up, food in my belly and the sun finally making an appearance, I went for a little cycle along the coast. This was what I was here for. The bike felt light with all of the gear stowed in my tent and with just a camera and mildly damp shorts, I was out on the road. This was how my adventures should be going.
As beautiful as the evening was, I didn’t really feel like taking pictures and I was enjoying the cycling so much, I just kept going. The only anchoring thought was that however far away from camp I went, I needed to cycle back. I got back to camp around 9.00pm, just in time to watch a very nice little sunset and after some food, I settled in for the night with the waves in my ears.
The next morning I was woken to another sound, a slightly more sobering one - heavy rain hitting the tent! At first, as a person who struggles to sleep at the best of times, I thought ‘this is nice’. Then it dawned on me, I was going to have to pack the tent up and cycle back in this weather. A not so gentle clap of thunder brought the realisation crashing home.
I put the inevitable off long enough and dash out of the tent, scrabbling to take the tent down as quickly as possible and get all my gear together. This was in vain though as the weather pelted me from all angles and within minutes, I was soaked through and destined for a day of wet clothes, cold limbs and the delights of a severe headache for my troubles.
“with the thought of a twenty-odd mile cycle back to Machynlleth in my mind (next to the headache!) I decided to call quits”
I slowly cycled back up to the main road and with the thought of a twenty-odd mile cycle back to Machynlleth in my mind (next to the headache!) I decided to call quits on my adventure and just get a train from Tywyn back to Birmingham! By the time I got to the station, I was ready to have a little cry but my tears would have been hidden by the storm anyway. Fortunately, I only had a few minutes to wait for a train.
Looking back, I’m glad the trip didn’t go too well. The whole idea of doing a little tester trip was to see how the gear and I held up to adversity. I know there are a lot of things that could have gone wrong but I think weather and bike issues are the two biggest challenges I would face doing bikepacking, so it was interesting to go through a few challenges.
I only took about ten images on my ‘big’ camera and most of those were of the bike - but this was never really about the photography. The trip wasn’t a waste though, a few tweaks to my setup and I’m itching to get out and do more! I’m glad my first trip wasn’t the Outer Hebrides, that may have put me off bikepacking for good if it had been a disaster! That can wait for another day…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
Birminghams Ever Changing Skyline - A Trip to Staying Cool at the Rotunda
Photographing Birmingham’s Skyline can sometimes feel like a thankless task. Living in the knowledge that your photo will pretty quickly be outdated when the next development shoots skyward can make you wonder why you bother. However, this is not all doom and gloom, quite the opposite.
Photographing Birmingham’s Skyline can sometimes feel like a thankless task. Living in the knowledge that your photo will pretty quickly be outdated when the next development shoots skyward can make you wonder why you bother. However, this is not all doom and gloom, quite the opposite.
Staying Cool at the Rotunda are more than well established in the city. The landmark building has been delighting Brummies and travellers from all over the world for decades. However, such is their commitment to the city, they continue to be a positive force, so when they launched their Creative Heights II schedule, you knew it would be filled with wonderful events.
I was lucky enough to attend their ‘Shoot the Sunset’ photography session, offering Birmingham based photographers the opportunity to take in the amazing views from the penthouse and capture some summer sunset goodness. More importantly, this was a ticketed event with 100% of proceeds going to the amazing LoveBrum charity, who support countless good causes across the city.
103 Colmore Row dominates the skyline with the BT Tower to the right
Now in truth, I’ve been very lucky to capture photographs from the penthouse at the Rotunda on many occasions. However, it seems like lately there has been a glut of new buildings springing up all over the place and the views only take in around 180 degrees of the Birmingham skyline, with many new developments only being visible from the other side of the building.
The view towards Broad Street with The Mercian and Bank Towers
That said, the view we had was by far the preferable side to be on, overlooking the majority of the city's landmarks. Grand Central dominates the view with it’s sprawling rounded shapes and curves. Not too far though are the Raddisson, The Cube and a whole group of new buildings on Broad Street including Bank, The Mercian and more new developments.
Paradise and One Centenary Way in the centre with Octagon on the right
Looking to the right of Grand Central and 103 Colmore Row dominates the skyline, leaving just enough room for the iconic BT Tower to be visible. Only a stone's throw away is the Paradise redevelopment including One Centenary Way and just behind, the new Octagon building which is creeping upwards at a fair pace. All of this represents investment in Birmingham and even though some might not like the change, it does show the city is still an appealing place to build!
“It was a beautiful summer’s evening and there was just about enough cloud in the sky to give hope of a decent sunset.”
I was more interested in photography though and the weather was certainly on our side. It was a beautiful summer's evening and there was just about enough cloud in the sky to give hope of a decent sunset. The event was sold out so around 25 of us mingled in the penthouse, occasionally popping out onto the balcony to see how the light had changed and see if it was worth capturing another image.
In truth, it’s very easy to create good images from this vantage point as the skyline views of Birmingham don’t get a lot better than from our perch. It was more of a waiting game to see how the sunset developed and whether the view would improve when it got a bit darker and the city lights slowly started to twinkle.
In the meantime, our generous hosts had provided food and drink for us to enjoy whilst we admired the view. The drink was particularly noteworthy as Staying Cool had partnered with the Birmingham Brewing Company to create the Rotunda Pale Ale - which was slipping down very nicely. Being the professional that I am and knowing I had a photo shoot the next morning, I only had a few and managed to bag a couple to enjoy at home!
As the evening slowly progressed, I had a great opportunity to meet and chat with many other local Birmingham Photographers. There was a great range of age and experience in the room (or I should say, on the balcony!) and it was fantastic to see everyones differing approach to photographing the skyline. Some were going wide with super wide-angle lenses, others were choosing to zoom in, knowing they would stitch huge panoramas together after the event.
I chose the lazy option and pretty much stuck to one lens, only taking out the zoom when I had finished my drink so that I could employ the use of both of my hands! Capturing skyline images can be a challenge, there is no one best way to do it and a lot depends on how much work you are willing to put in with your post production. My simple approach would pay dividends as my edits were quick and easy!
That said, I have already seen some images from my fellow Brummie photographers on social media and once again, I am blown away by the amount of talent our city has! There were so many skilled photographers on that balcony and I have huge admiration for their dedication in capturing some truly wonderful images.
As the evening drew to a close, the insomniac in me couldn’t help but chuckle as I thought I would be counting cranes rather than sheep that night! It’s true that the rate of change in the city is huge at the moment and the skyline will be evolving for many years to come - I also couldn’t help but think of the ‘Brmingham, it will be nice when it’s finished’ quote that I have no idea who to credit for!
It is scarily accurate though, it will be nice when it’s finished but as the tongue in cheek jibe alludes to, it won’t ever be finished. That is a scary concept to me and it reminds me that I won't ever see all of the things that the city will become - but rather than being all melancholy about it and worrying about my mortality, it fills me with joy! I can only imagine what the rotunda will look like in 2323 - hopefully it won’t have gone the way of so many of our other lost buildings.
For me, that is the beauty of capturing the skyline. Rather than feeling like a chore that you will never complete, I see it more as a service. The images captured by those photographers on that summer's evening should last hundreds of years. They will provide a snapshot of what Birmingham was like in 2023. Future generations will ponder over where they used to work, live, the roads they walked down and even in 2323, people will still be claiming they went to the ‘original Snobs’...
One thing is for sure though, I really hope it’s not my last opportunity to take in this view and photograph Birmingham from such a great viewpoint. I can’t wait to see how I can capture it for many more years and more importantly, all of the great changes to come!
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
A Sunny Sunday Walk with the Leica M8
I reviewed the Leica M8 a little while back and needless to say, I was pretty smitten with it. Now that I’ve spent a bit more time with the camera, I’ve developed some further thoughts and feelings on it, but is it all still as positive as my previous assessment, or is the love affair over?
I reviewed the Leica M8 a little while back and needless to say, I was pretty smitten with it. Now that I’ve spent a bit more time with the camera, I’ve developed some further thoughts and feelings on it, but is it all still as positive as my previous assessment, or is the love affair over?
Now this doesn’t warrant a full review, it was more the coming together of two increasingly rare things - a sunny day and me having some free time! So I quickly grabbed the M8, who had started to gather dust and hit the streets with no real plan. The one thing I did have in-mind, was I wanted to capture colour and not necessarily go to the most obvious locations.
Watch a recent video I made about using the Leica M8 in 2024!
PLEASE NOTE: I PURCHASED THIS WITH MY OWN MOMEY AND NO PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
I left the house with the Leica in-hand - not even a case or bag, literally just a wrist strap and that’s it! Now my first observation about this camera is ‘it’s a bit of a looker’ - it definitely gets attention and for those in the know, that little red dot really turns heads! However, that attention isn’t always wanted so I would highly recommend being careful where you whip your prized possession out.
As you can probably tell from the images, I had decided to venture into some of the less photographed areas of Birmingham. I took my chances on the streets being quiet on a Sunday morning and this leads me on to another one of my, let’s say, very subtle annoyances with this camera - the size.
Don’t get me wrong, this is not a big camera by most modern DSLR or even mirrorless standards. Then again, it’s not exactly pocketable. I have added a very small grip to the front of the body that improves the ergonomics somewhat and always have a wrist strap attached - but there is no getting away from the fact that after a while, it can feel a little awkward to carry. Most users will have a neck strap or bag so it really isn’t an issue, just one of my observations.
Another thing that jumped out at me in using this camera for a few hours is how much I enjoy the viewfinder. It’s big, it’s bright and even with my lack-lustre eyesight, shooting is a pleasure. Framelines are clear and for the most part, you feel confident in what you're seeing will be how the shot looks. Reviewing your images is a different matter though, the LCD is - and I really am trying to be generous - adequate at best.
I should also mention that I was shooting with the Voigtlander 28mm Ultron II lens - a great lens that has been pretty much permanently attached to the M8 and is more than a fitting companion for the camera. The lens itself is somewhat compact, well made and performs great. My only issue with the glass is not actually the problem with the glass, it’s the camera, again…
You see, for reasons that I’m not going to dwell on, you are best served by adding an IR Cut filter to the front of your lens when shooting on the M8. That’s fine but I like to shoot with a Black Pro-mist filter on most of my cameras in an attempt to dampen the ‘digital’ feel (I appreciate the irony of wanting sharp lenses, amazing sensors and then intentionally ruining them! But that’s how I roll).
The added bulk on the front of the lens makes this setup even less (potentially) pocketable and makes adding a lens hood, well a bit ridiculous as it all just protrudes so far! Fortunately, I’ve not really experienced anything too negative in the lens flaring department and even with filters and step-up-rings and what-not attached, the camera still feels good in the hand and is pretty manageable.
Enough of the camera talk though, this was a leisurely walk after all! I had so much fun just following my nose, shooting whatever jumped out at me and not having any real care for the final results - this was the kind of photographic experience that I had been missing. The best part though, I didn’t find myself yearning for another camera that I’d left at home, the little(ish) Leica was great for this kind of relaxed photography.
It would be appropriate to call the M8 a fair-weather photography camera - it really does not perform well in low light conditions. However, on a beautifully sunny morning, this camera bursts to life and the image, albeit with not the most awe-inspiring subject matter, speaks for itself. Colours pop off the screen and there is a beautiful detail in the modestly sized files.
I’ve fallen into the trap of searching for and saying that certain cameras have a ‘film like’ feel before. I don’t honestly believe that a digital camera can give you what shooting film does. To coin the phrase of a much better ‘Ross’ - it’s the ‘Happy little accidents’ that make film what it is. However, there is no doubting that the colours out of this camera and the achingly classic Leica body, all contribute to the feeling of something much more, analogue.
As I strolled the streets, barely with a thought in my head, I would say the only thing that could really improve the shooting experience would be a manual shutter lever, Epson R-D1 style! I’ve pined for an R-D1 for many years but they will remain out of my price range for the foreseeable future. However the thought of physically interacting with the M8 in the same way you would a (dare I say it!) M6 - but with CCD colour goodness and none of the chemicals - well that’s a combo hard to beat in my book!
“I got home and couldn’t wait to get the images into Lightroom and apply my own not-so-subtle edit to them”
I got home and couldn’t wait to get the images into Lightroom and apply my own not-so-subtle edit to them. Just as much as I had enjoyed my walk in the sun with my best M8 (sorry!!) I loved seeing the images come to life. There’s enough dynamic range that if you expose something correctly, protecting the highlights, you can make some wonderful images. The thing that will really please you though are the colours - no whacking the vibrance slider half way off your screen here, the M8 provides colour in abundance.
So, the question remains - does the M8 live up to my initial high praise? Yes, yes and then some. I only realised when I got home how much I had missed shooting with this camera and how I must take it out more often! It might not have escaped your attention that I have posted this on the same day that I posted my review of the Sigma DP2 Merrill - another camera that needs good light but is a colour monster!
Now, comparing the CCD sensor Leica to the Foveon masterpiece that is the Merrill is no easy task, both are amazing. However, the Merrill makes you work for it and the satisfaction is when it hits. With the M8 though, this is just a more pleasurable experience with the same gratifying rewards. I would be hard pressed to pick another camera over the Leica M8 for sheer photography enjoyment and that, on a sunny Sunday is what it’s all about. I love this camera.
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
REVIEW: Sigma DP2 Merrill - A Diamond in the Rough
If there's a singular phrase to summarise the Sigma DP2 Merrill, it would be "it cuts both ways". In that, I mean it's a very, very flawed camera, with a lot of peeves and annoyances, and you almost wonder why not get any other camera. Yet, in the right circumstances, with enough patience and determination, the DP2 Merrill is one of the most impressive cameras that you can buy, especially if you're care about colours.
If there's a singular phrase to summarise the Sigma DP2 Merrill, it would be "it cuts both ways". In that, I mean it's a very, very flawed camera, with a lot of peeves and annoyances, and you almost wonder why not get any other camera. Yet, in the right circumstances, with enough patience and determination, the DP2 Merrill is one of the most impressive cameras that you can buy, especially if you're care about colours.
And we'll get into that in just a second. But to start off with, we can't overlook the highlight of the Sigma DP2 Merrill - its Foveon X3 sensor. It's a 46-megapixel sensor (capturing 44.3 million effective pixels) with a resolution of 4,704 x 3,136. Besides all those flashy numbers, what's most unique about that sensor is the '3' in 'X3'. This notes that the sensor has not 1, but 3 layers stacked on top of one another.
PLEASE NOTE: I PURCHASED THIS WITH MY OWN MOMEY AND NO PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
When this camera hits, it really hits…
In most other cameras, the layers that record RGB data (basically, red, green, and blue colour spectrums) lie adjacent to each other within the same layer of the sensor. But not in the DP2 Merrill, as that Foveon sensor lays every layer on top of each other, which theoretically, should allow it to capture mesmerising colours. True to their word, the images that come out of mine showcase some gorgeous colour work.
Additionally, the shots that I was able to pull off were highly detailed and crisp, with colours that render it almost true to life. And, with a good amount of vibrancy, avoiding the sometimes dull colours that digital cameras sometimes capture. It should be noted that although the sensor is a 46-megapixel unit, the final images that come out of the DP2 Merrill are processed into (just a tad over) 15-megapixel photos.
Some (Very) Good, Some (Quite) Bad
The idea of the 15-megapixel photos is that each of the three sensors processes 5 megapixels each, with as much of the RGB data as it can take in and process. While this might not be as impressive in 2023, where 15-megapixels can be considered commonplace, the colours and details you get in each shot are mightily impressive. This is made even better thanks to the snappy autofocus and intuitive controls.
The most commonly-used dials - aperture, shutter speed, and ISO - are within easy reach and are always accessible. Before we forget, that 30mm f2.8 Sigma lens (which is a 45mm equivalent in 35mm speak) is also deserving of much praise. The image comes up super sharp, even at f2.8, and I've found that there's still room for improvement once you stop it at f4. This makes up for the fact that it's a fixed lens.
Video Source - Hifi Huff via YouTube
With that being said, Sigma's DP2 Merrill isn't really all sunshines and rainbows. For all its capabilities in colour rendering and processing, the Foveon sensor underneath (and the camera itself) has many distinct flaws. Chief among which is the general slowness at which it takes photos - the number one thing that cameras are supposed to do. Snap on the shutter button, and there's always a lengthy delay before the final image appears.
Sometimes, it could literally take you several seconds of waiting! It feels even more lethargic thanks to the lack of a bust mode setting. This is partly thanks to the added processing required by the Foveon X3 sensor to capture and process all that RGB data to best highlight and accentuate the colours. This could naturally lengthen the delay between shots, as well as writing the final image onto your SD card.
“Yet, with enough patience and in the right lighting conditions, you can get some truly breath-taking shots”
A Mighty Double-Edged Sword
Personally, I'm not too bothered by this, given that I'm used to taking photos with older film cameras, as the latter has a similar delay to finalise each shot. However, if you're accustomed to the snappy shots on modern digital cameras - or even your smartphone - this can be quite a frustrating experience. You ought to treat it like film cameras... Rather than spray and pray, aim for calculated, precise shots each time.
Speaking of film cameras, the Sigma DP2 Merrill is just as incapable of taking good photos in any low-light situation. I personally only use this for taking photos in the daytime, with a lot of light to work with. Seeing how bad the low-light performance is, I wouldn't go anywhere above 400 ISO. And, simply stick to its base 100 ISO setting. Beyond that, you'll get weird effects with colours along the darker spots - even with slower shutter speeds.
Video Source - Mattias Burling via YouTube
Nonetheless, it could still be okay for you to crank it up to 800 ISO if you're taking black-and-white photos, albeit with a slight loss in sharpness and a hint of added noise. This here is the Achilles Heel of the Foveon sensor - terrible low-light shots. Therefore, you should ideally avoid any night-time photography. I've even tried setting up the DP2 Merrill atop a steady tripod and set with a long exposure, but with no changes.
In fact, the low-light performance is so abysmal, that even relying on indoor fluorescent lights, or a bit of street photography under street lights, as well as trying to take a photo when it's sundown... Could really take away and sap out those vibrant colours from earlier. In short, the best conditions to take photos on the Sigma DP2 Merrill would be under bright sunlight, in the middle of the day, and possibly outdoors.
Many Quirks And Features
While we're discussing the downsides, there's also the issue of software. The DP2 Merrill - as with a lot of other Sigma cameras - requires that you use Sigma's own proprietary software if you want to export your images. This is due to the fact that the DP2 Merrill writes images in an odd file format. So extreme is this, that Lightroom and a lot of other editing applications can't even read the files out of your camera.
Going through the process feels a little bit like dealing with film, but without the chemicals and added cost!
Thus, only once you've had it exported through the Sigma Photo Pro app that you can use those images however you wish. While it doesn't sound like much, it does add an unnecessary extra layer of work and complication to your workflow. It's not helped, by the way, that the Sigma Photo Pro software can be a bit counter-intuitive at times, which isn't really ideal as your only and singular gateway for exporting images.
Video Source - Matt Jacobs via YouTube
Although not really downsides, there are other quirks and oddities that you need to know before using a DP2 Merrill. For example, it lacks any viewfinder, whatsoever. As a result, you're left trying to compose each shot through the 3-inch LCD display. This won't just look awkward to passers-by, but it's also hard to use under bright sunlight. You know... The one time of day when you want to use your DP2 Merrill.
Strange things happen in the dark…
Not to mention, an LCD display, by nature, doesn't really do a great job of showcasing exposure and focus settings. Then, there's the DP2 Merrill's battery life. Between the need to continuously run the LCD screen and operate the power-hungry Foveon sensor, you'll run out of juice fairly quickly. While it might be a fun camera to shoot with when the solar systems align properly, it's no doubt a compromise anywhere else.
A Flawed Diamond In The Rough
Another thing that I've yet to touch upon is the build quality of the Sigma DP2 Merrill. It's pretty compact and lightweight, making it a great camera to bring along day-to-day. Aside from that, it's also built very well, offering you a solid feel in the hand, as though you're holding a brick. Even though the construction is mostly made from plastic, I do like the monolithic all-black looks of the DP2 Merrill.
In summary, Sigma's DP2 Merrill is a very flawed camera... Unapologetically bad low-light performance, super-slow image processing and write speeds, the lack of a proper viewfinder, as well as the need to use Sigma's clunky software. Yet, with enough patience and in the right lighting conditions, you can get some truly breathtaking shots, with eye-pleasing colours and photos that feel very much true-to-life.
Video Source - Tetsujin via YouTube
It's a really great camera, even if it's highly compromised in more ways than one. Admittedly, I'd wished I could whip out the DP2 Merrill more often, but it's hard to find the ideal scenario for it... Bright and sunny weather, which for us here in the gloomy old UK, such sunlight is a rare commodity to attain. So, for any of you who are keen to try, Sigma's DP2 Merrill can put out stunning pictures that are hard to beat.
The only major obstacle now is getting your hands on one. As it was fairly recently put out of production, you might be able to find a few stragglers on camera store shelves, yet to be sold. Otherwise, a trip over to eBay might yield well-kept examples that are still good for many more years to come. Values, it seems, are still on the higher end of the price bracket, so perhaps others are seeing its potential, too.
A NOTEWORTHY UPDATE…
When I came to edit my photos for this review, I noticed about three (from 150+) images were, let’s just say a bit broken… I get the feeling that this is a sensor read-out issue or a processor problem rather than a physical issue with the camera. However, it’s probably worth noting that, with any camera of this age - they are prone to producing issues. I’ll be sure to keep an eye on this and will, of course, do an update post if it gets worse but - buyer beware…
After posting this, a reader kindly got in touch and suggested it may be an issue with using third-party batteries. Being honest, I didn’t even notice what battery was in the camera but after checking, it was indeed a third-party. I have now changed it to a native battery and will see if that clears the problem up.
Specs And Details
Image gallery
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
REVIEW: Sony A7RV - Good things come in Small Packages!
The Sony A7RV is a high-end mirrorless camera with impressive specs, including a 61-megapixel sensor, 4K video, and fast autofocus. It's an excellent choice for professional photographers who demand the best image quality and versatility.
Sony's place in the world of photography and cinematography has been well-established by now. They've made some of - if not, THE - best cameras on the market. Among their most popular line-up of cameras is the Alpha series, lauded by experienced professionals, as well as hobbyists and rookies alike. They're very versatile, yet remain rather approachable, and could take some fantastically great photos, to boot.
The Sony Alpha series is the camera equivalent of a Porsche 911 in the sports car world; it'll do everything just right, with no complaints. The latest addition to this long line of excellence is the Sony A7RV (or Mark V), as the successor to the much-respected Mark IV and Mark III. As with its predecessors, the A7RV has a full-frame, mirrorless format. However, Sony claims to have made certain iterative improvements.
PLEASE NOTE: I WAS SENT THIS ITEM FOR REVIEW BUT NO OTHER PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
That is very much a case of evolution rather than revolution, as Sony's Mark VI and Mark III were already so close to perfection, but had some minor quirks that needed ironing out. So then, if you have a Mark IV or a Mark III, do you need to make the upgrade? Well, in a short summary, the A7RV is a brilliant camera that produces some amazing images with a healthy dose of dynamic range and superb crispness.
Yet, the A7RV could also hold its own when it comes to videos, with the same attention to depth, which is partly thanks to the Mark V's revised auto-focus tech. Admittedly, I didn't get as much time to shoot with it as much as I wanted to - this A7RV was a loaner from Sony for this review. Nevertheless, even with the limited amount of time that I've spent with it, it's quite noticeable that this is no ordinary camera.
Great For An Everyday Carry Camera
Despite how impressive the image quality and video recording features are, the Sony A7RV is surprisingly easy to lug around. This makes it rather comfortable as an everyday carry, whether you're always on the hunt for the next world-class shot. Or, if you have a busy schedule ferrying between one client to another on a photoshoot. Though it's not otherworldly rugged, the A7RV is robust enough for most people.
It has some water and dust resistance, so you don't have to baby it too much. Meanwhile, its ergonomics are interesting, to say the least. The grip, in particular, might not be for everyone. At times, it may feel as though your fingers are being squished between the grip and the lens. This was somewhat expected, as it is an evolution in design over the old Mark III and IV. Therefore, old users might find it familiar.
For better or worse, if you've handled a Mark III or IV beforehand, you'll get comfy with the A7RV quickly. This also means that you'll familiarise yourself right away with the button and dial placement, which is mostly the same as its predecessors. At least, the usability of the A7RV is made easier thanks to its decent battery life, courtesy of a 16.4 battery pack. Its endurance, of course, will vary from one user to another.
It's claimed to last anywhere between 530 shots to 440 shots on a full charge, depending on whether you use the rear display or the EVF more. Another neat physical inclusion of the A7RV is the speedy Wi-Fi that makes file sharing (even larger file sizes) much more seamless. For a wired connection, the upgraded USB 3.2 Gen 2 (type-C) would be able to offload videos and images more rapidly to your computer, too.
Video Source - DP Review TV via YouTube
Almost Mystical Auto-Focus Performance
The Sony A7RV adopts a seemingly similar (yet enhanced) 60MP BSI CMOS sensor that's evolved from the Mark III and IV. Among the highlights is the ability to shoot 10-bit video at 4k (60p) or 8K (24p) - more on that later. In addition, Sony's paired the Mark V with a beefier BIONZ XR processor. What I've found to be most fascinating is the processor's ability to compute and process some AI-trained algorithms.
That AI was mainly tasked with improving auto-focus on the A7RV, which must be said, is almost magical in how it performed. Even compared to the already-great Mark III and IV, the Sony A7RV's auto-focus can more accurately and quickly focus on human subjects. This not only covers focusing on their eyes and faces but also on entire human bodies, too. On top of that, the AF can readily track other subjects.
This includes animals, birds, insects, cars, planes, trains, and other similar animate or inanimate (but fast-moving) subjects. You could further fine-tune this even more in the menus, with an abundance of options. For example, do you want the auto-focus to aim at the (human) subject's eyes and head, or just the eyes? This speedy AF subject recognition is a boon to pictures and videos, even under very poor lighting.
Albeit, the plethora of settings may be rather perplexing and overwhelming to deal with when you're just getting into it. Then again, most of you - like myself - probably need to set one or two parameters, before being done with it and never going into the AF menus ever again. So, it's manageable. Otherwise, that AI does more than just upping the auto-focus performance to aid you in taking the best shots possible.
The Wonders Of Artificial Intelligence
Besides the auto-focus, even the Sony A7RV's white balancing has some AI assistance to it. It'll hence step in, with optimisations in the Mark V's colour science, to automate the consistency and exposure to all the lightning around you. As such, for instance, if you're shooting indoors with plenty of varying light sources beaming in the surroundings, the colour temperatures in the shot will remain fairly consistent.
I get that this is the sort of camera where, if mistakes are being made by the human photographer, the AI on the A7RV will compensate to reduce the side effects of those ‘oopsies’ as much as possible. Or, it would be able to automate or take over certain processes to ensure that those mistakes can't be made at all. Its computing capabilities are beyond awe-inspiring, no doubt. Yet, the AI does much more than that.
Between that powerful processor and the AI algorithms, this meant that you're getting further enhanced 8-stop image or video stabilisation. Specifically, in the case of the A7RV, we're looking at IBIS (or, in-body image stabilisation), which is sensor-based. Thus, it doesn't need to combine in-body and in-lens image stabilisation together, unlike some other cameras in its class. There are some benefits to that.
Primarily, this means that you could benefit from this improved image stabilisation feature, even if you're pairing the A7RV with a lens that's not capable of in-lens stabilisation. Other benefits of IBIS include your ability to shoot at pretty low shutter speeds, yet without any excessive softening in the image. Nor, would you need to deal with motion blur. The ‘techy’ quirks of the Sony A7RV don't stop there, either.
Video Source - DP Review TV via YouTube
Taking A Lot Of Photos With Ease
The A7RV then features Sony's Pixel Shift mode. That lets you shoot multiple photos of the same shot, but at the same time, shifting the sensor by one-half of a pixel in-between shots. This alone allows you to get an enormous amount of input and information from a single shot of each pixel. It's to the detriment of having to deal with big file sizes. But on the plus side, you get better colour accuracy and sharpness.
This multi-shot high-resolution Pixel Shift mode can be set in one of two configurations. There's the 4-shot mode, which captures RGB data from each output pixel. Thus, affording you better chroma resolution without any softening side effects due to the filter patterns. Additionally, there's the 16-shot mode, which captures 16 different shots - basically the same as the 4-shot mode, but done four times in total.
However, it does so at slight offsets that effectively boost the Sony A7RV's overall capture resolution to a whopping 240MP. That's up from its native resolution of 9,504 x 6,336 pixels to 19,008 x 12,672 pixels. An important caveat to note here is that the task of stitching together all 4 or 16 shots requires that one uses Sony's Imaging Edge desktop app. Unfortunately, it's not supported by any third-party software.
If you can get past that stumbling block, Pixel Shift is excellent at yielding impressively-sharp images with a supreme level of detail. That's assuming that the subject is mostly static, and you've mounted the A7RV onto a solid tripod. Although, some correction options are available, even with slight compromises in the picture quality. Therefore, this makes it ideal for something like architectural photography.
“Though this is as close as you can get to perfection in a camera.”
Many (File Format) Options Aplenty
Another welcomed change to the A7RV over the old Mark III and Mark IV is the ability to save the images in other file formats. In so doing, potentially saving some storage space. In the past, you'd have no choice but to shoot images and save them in the full 60MP resolution. Even for some professional photographers, it's a bit overkill, as not every shot requires 60MP. This time, 60MP fully uncompressed RAWs remain.
But on top of that, you can process and save the images in 26MP and 15MP RAW files, as well. These are essentially down-sampled and compressed shots from the full 60MP image. This will come in handy if the memory card's running low on bytes, or if you don't really need the full 60MP to work with. Nevertheless, the 26MP and 15MP compressed RAW files don't come with a significant loss in image quality.
In most cases, these compressed images still show better than some cameras that shoot natively in 26MP or 15MP, respectively. That also applies to the A7RV's continuous shooting at 10p with both auto-focus, as well as auto-exposure. Another upgrade over the Mark III and Mark IV, however, is the Mark V's much deeper buffer depth. It's now at a staggering 1,000+ images if you're saving your shots in JPEG.
The AR7V is tiny compared to the 51 Megapixel monster Pentax 645Z
Yet, even with the uncompressed RAW files, it could still manage 135 images. Or, around 547 to 583 with either lossless compressed or compressed RAW. These, altogether, should make it easier to manage your files, particularly with the aforementioned Pixel Shift mode turned on. In its fully uncompressed form, it's not uncommon to find singular images that are deep in the three-digit MBs, or even 1GB+ in size.
Video Source - Gerald Undone via YouTube
All The A7RV's Nice-To-Haves
Another thing that I've yet to mention in detail is the ISO and dynamic range. The latter is another strong point of the Mark V, and Sony's experience with making world-class sensors show just how much you'd get out of its dynamic range. It's arguably better than pretty much most other full-frame sensors out there, and only beaten by a meaty Medium Format camera. Its ISO performance is pretty good, too.
It's certainly a step up from the Mark III and Mark IV, though the latter are good enough on their own. In saying that, the Mark IV did have a bit more noise at the higher ISO values compared to the new Mark V. Even though, both the IV and V have the same ISO range between 100 to 32,000. But, you could extend it on either end from 50 to 102,400 - you really don't want it anywhere near that extreme, though.
I do think the 12,800 mark is the ideal ISO value that gets the most out of a shot's colours and contrast in the A7RV. But, without adding any noticeable noise to the shot. Also worth mentioning is the viewfinder (an EVF type), which is another big change from the Mark IV. It comes with a healthy 0.9x magnification and is mated to a super-sharp 9.44M dot OLED screen. It's worth getting the A7RV just for the EVF.
Moreover, it has automated brightness settings depending on the lighting and is made better with crisp optics. On that note, the A7RV comes with a rotating 3.2-inch touchscreen that can flip out, tilt, and pivot. It's a neat party trick that nonetheless makes it easier to manipulate the settings menu and preview your shot while you have the A7RV propped up at an awkward angle to view the display directly.
Wrapping Up The Sony A7RV
Though this is as close as you can get to perfection in a camera, the Sony A7RV is not without its faults. A big downside is the price, retailing at around £3,900 (some retailers may have offers!). I do think that, at the end of the day, it's ultimately worth the asking price given all that it offers and what it's capable of. Furthermore, this is more or less in line with the rest of the market for mirrorless, full-frame cameras, given how the economy's been.
Inflation and supply chain shortages are mostly to blame for the high RRP between the Mark V and the old Mark IV. Regardless, this will be undoubtedly cost-prohibitive unless you're willing to invest heavily in photography gear, be it a hobby or a profession. The other downside with the A7RV (and this applies to a bunch of other Sony cameras besides the Mark V) is the A7RV's menu system and user interface.
If you have some experience with older or other Sony cameras, you might not find the UI or menus to be as clunky. With that being said, the user experience of having to navigate through a myriad of menu sub-systems on the A7RV is definitely not as intuitive as what you might find in some other competing cameras. Still, it's at least improved a bit over the older Sony UI that plagued Mark III and Mark IV users.
In short, you can at least anticipate more logically as to where sub-menus would pop out of. Despite that, that pretty much covers it for the frankly minuscule number of downsides and compromises that you have to deal with in the A7RV... The initial cost of having to purchase one, and the peculiar UI. Besides this, the Sony A7RV really is close to being the perfect camera, versatile, compact, yet very capable.
Vide Source - Lee Zavitz via YouTube
Okay, But What About The Lens?
Before passing on a proper summary, I think it's also worth taking a bit of time to mention the lens that's fitted onto the A7RV during my review period. Specifically, it was a Sony FE 24-70mm f2.8 GM II lens. The lens in question features a short zoom, which is a versatile form factor to work with. That's especially for an everyday carry. Moreover, it's a good starting point if you need a capable lens to work with.
From then on, you can slowly build up your collection of lenses to include other specific focal lengths. For those who do have many lenses, the 24-70mm lens is nevertheless a great do-it-all general-purpose focal length. Particularly, if you only have room in your bag for one or two lenses. Anyway, back to that lens, it arrives as the latest addition to Sony's G-Master line of lenses, with the II succeeding the old I.
This GM II lens is a full-frame E-mount lens, and just like the A7RV, it brings to the table a series of overall refinements and all-around improvements. Dimensions-wise, it's smaller, shorter, and lighter. This makes it more carryable compared to its predecessor, the type I. That's despite the fact that you're dealing with a very wide aperture of f2.8 - a relative rarity for a 24-70mm lens, letting you snap sharp photos.
Speaking of, it performed excellently in my testing with the A7RV. The image quality is superb all-around, and the lens focuses accurately. That's a must for any lens if it's to work well with the amazing A7RV's AI-assisted auto-focus system. Granted, this updated Sony GM II lens is a tad on the pricey side - just like the A7RV. But, for a professional on the go, it's a cost worth paying for, given its exceptional performance.
Pairing The Camera And The Lens
The one potential downside to this lens is the lack of in-lens image stabilisation. As noted earlier, this may not matter if you're pairing it with the A7RV (or some other Sony cameras). Since they rely on in-body and sensor-based image stabilisation (or IBIS), you don't need that additional in-lens image stabilisation. Sony themselves always preferred in-body compared to in-lens or combining in-body and in-lens together.
This does yield some benefits, such as helping to reduce camera shake and netting you better accuracy or room to compose your shot more precisely. The one slight inconvenience with IBIS here is that it needs to be turned on and off in the settings menu. In practice, it's slower than being able to flick a switch on your lens, if it had in-lens image stabilisation. The latter point could be another problem down the line.
Since the GM II lens doesn't have any in-lens image stabilisation, you'd better be wary to not pair it with a camera that has no in-body image stabilisation. Thus, it's another thing to worry about. Overall, between the Sony A7RV camera and the Sony GM II lens, it made for a splendid pairing. As a package, there's very little that I could fault them for - mostly the high cost of entry, and the Mark V's unintuitive UI.
If you can look past that, they take great photos (and videos, too), and I'd highly recommend them. There could be only one reason for you to not get one... And that's for folks like myself, who've already invested into another ecosystem. But, if I would start from scratch, I'd be hard-pressed to find any other full-frame mirrorless camera at this price point that is as compelling as the Sony A7RV (and a GM II lens).
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
A little trip to Wales but making some Big Plans!
I recently took a few days off after what feels like a very hectic 2023 so far! The idea was simple, a little bit of relaxation and maybe take a few photos if the opportunity presented itself. However, I also had a sneaky plan to try something out that may take my photography in a very different direction later in the year, but would it work out?
I recently took a few days off after what feels like a very hectic 2023 so far! The idea was simple, a little bit of relaxation and maybe take a few photos if the opportunity presented itself. However, I also had a sneaky plan to try something out that may take my photography in a very different direction later in the year, but would it work out?
For a while now, I have wanted to get out into nature and do a bit of traditional landscape photography. I’ve always loved the idea of capturing some stunning landscapes but living in the middle of Birmingham and being a non-driver, I’ve never really had the opportunity to. However, I’ve been working on plans to change this and in my mind, a spot of ‘Wild Camping’ was going to help my dream become a reality, but more on that later…
After a three hour train journey, we arrived at Aberdovey (Aberdyfi) and almost as soon as we stepped onto the platform, the rain started and it looked like being a miserable weekend. As one of the locals explained though, if you don’t like the weather in Wales, wait 5 minutes… We had booked a hotel for a couple of nights and the first couple of days would be fairly simple, plenty of food, plenty of drinks and no real other plans.
However, the third day would be where things got interesting as I had brought my new Wild Camping set up with me to test out. Rather than trying out all of my new gear in a strange new environment, I decided to book onto a campsite to give everything a run out and see how it went. And what a campsite it would be too with stunning views and a very interesting experience in itself!
Before my girlfriend returned home and let me go off on my adventure, we decided to mix things up and have a day out to Barmouth. The 45 minute train journey was spectacular in itself, snaking along the coast and in a nice twist, providing me my first glimpse of where I would be camping. Arriving into Barmouth though, we had other things on our minds, most importantly a bit of seaside grub and a drink in the sun!
“I went bold and only brought a small digital camera, the Sony ZV-1 and one film camera”
I had decided to try and pack light, in particular as I would be carrying all of my camping gear so deciding which cameras to bring with me would be critical. I went bold and only brought a small digital camera, the Sony ZV-1 and one film camera, the Yashica Mat 124G. This might not sound like any kind of setup a landscape photographer would choose but weight was very much a consideration and well, it was meant to be a holiday after all…
Exploring Barmouth with the Yashica was actually quite a treat and I certainly feel these were the best images that I created whilst I was away. For once though, the photography was very much a secondary and this weekend was more importantly a test of the camping gear. On Sunday morning, my Girlfriend headed home and I made my way, camping gear on my back to the Cae Du Campsite.
I arrived at Tonfanau, a request train stop about two miles away from where I would be camping for the night and began trudging my way to my pitch for the night. As I followed the coastal path and made my way through fields of sheep, I suddenly felt a long way from home and very far from the busy streets of Birmingham. It was a literal breath of fresh air though as the sounds and smells of the countryside filled my head. After the long walk, I arrived at the site and was immediately blown away by the views.
Cae Du is situated right on the coast and spread over two large fields that sit on jagged cliffs overlooking the sea. With only one other tent and one camper, I pretty much had the site to myself but immediately went to the far end of the field, a few hundred yards away from anyone else. Now was the moment I’d been waiting for, setting up all of my new gear for the first time!
The tent went up in minutes and was quickly followed by the sleeping pad and all the sleep system. With some dark clouds gathering further down the coast, I was glad that I at least had shelter sorted and decided it was time to cook my first meal - noodles and bread, this certainly wasn’t haute cuisine! The food was a welcome break but it was back to work setting up camp for the night and preparing for a little walk out.
With everything set up and the clouds seeming to be going away from camp, I went for a walk along the coast road with the idea to get up into the hills to take in the views. And what views they were, the hills were full of the signs of spring and it felt great to be out in the countryside, with the sun on my face and the Yashica in my hand. I strolled for a few miles before heading back to be back at camp for sunset.
The sunset was a beauty and as I hurriedly took a few photos, I could feel the temperature drop and the night starting to set in. It felt strange settling down on my own for the evening with just my distant neighbours being the only life for what felt like miles - apart from the cows in the next field. As darkness fell, I got my first sense for what wild camping on my own might feel like and I was totally in love. As I settled into my sleeping bag, the sounds of the waves crashing below me felt deafening with only the occasional rustle of wind on the tent breaking the rhythmic noise.
I slept OK, waking a few times to a few odd bumps and noises, but a shrill squeak of sea bird woke me around 5.00am which I wouldn’t really recover from. After some breakfast and a slow morning, I decided to pack down and make my way home. Packing down was a chore as there had clearly been a bit of a downpour in the night, so everything was soaked. With everything packed away, all of my rubbish collected and no trace left, I decided to walk back to Tywyn where I would get my train back to Birmingham.
The five mile walk went relatively quickly and the weight of my pack wasn’t too bad. The long walk on Tywyn’s pebble beach was a bit of a challenge on the legs and I couldn’t help thinking that if I was bringing any more camera gear, the weight would be a real challenge! However, with rain once again looming and working up a hunger, there was no time for daydreaming and there was a train home waiting for me.
The long train journey home gave me an opportunity to really assess whether wild camping was going to be a good option for me and it felt like a resounding yes! There would still be plenty of hurdles to overcome but the thought of being able to get out into some really remote areas was too much to resist! Plans were definitely forming for more adventures.
All-in-all, the gear had held up well (leave a comment below if you would like me to explain my setup in more detail) and I certainly think I will be doing it again soon! Even though it wasn’t ‘actual’ wild camping, I do think testing all of the gear out was a good idea and it has really whetted my appetite for more adventure. Though I would probably like to head to Scotland next and get out into some even more spectacular landscapes.
One option that I think I will be exploring is the idea of bike-packing - I cycle on a regular basis anyway so the idea of getting the weight off me and onto a bike combined with the ability to move a bit quicker and a bit further, certainly sounds like a good option! However, all of these plans are for another time and after getting home and a warm shower, I was certainly happy to be back in my own bed! Adventure can wait…
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
REVIEW: Arca Swiss C1 Geared Panning Cube Head
Discover the Arca Swiss C1 Geared Cube Head tripod head, a precision-engineered tool for pro photographers. Experience ultimate stability, 3D micro-precision adjustments, and compatibility with most tripods. Elevate your shots with this revolutionary design that redefines performance in the field.
When shopping around for camera gear, or if you're packing up for a long photo shoot, the tripod head is among the hardware that some tend to cheap out on or forget entirely. Sure, it's not that big of an issue, if you're mostly shooting from the hip. However, if you rely heavily on mounting your camera on a tripod, be it for long exposure photography or taking panorama shots, a good tripod head is a must-have.
But even then, the landscape of tripod heads is a diverse one to explore, with a varying number of options, differing in design and price point. Nonetheless, if money is no object, or if you're willing to invest a huge sum into perfecting your photography arsenal, the top of the tripod head hierarchy remains uncontested by the mighty Arca-Swiss C1 Cube. So unique is the C1 Cube, that there's nothing else quite like it.
PLEASE NOTE: I WAS SENT THis ITEM FOR REVIEW BUT NO OTHER PAYMENT OR CONTROL WAS EXCHANGED FOR PUBLISHING THIS UNBIASED REVIEW
It's a high-end, incredibly specialised piece of equipment that most would no doubt find overkill. Or, more particularly, the C1 Cube is geared toward photographers that value a tripod head that enables them to make amazingly precise and refined adjustments. So, you can imagine its uses in instances such as architectural, macro or landscape photography, with buttery-smooth panning shots, and its numerous adjustments.
You can tilt or position your camera to very fine degrees and do so in small increments to help compose a shot. Yet, all this supreme functionality hides underneath a robust and solid shell, alongside quite a lot of mechanical trickery that's unlike any other tripod head that you've come across. If there's such a thing as the best of the best tripod head, the Arca Swiss C1 Cube might be the king of the hill (for now).
Built Like An Absolute Unit
As soon as you get physical with the C1 Cube, you'll notice right away that you're dealing with something quite special. Though most tripod heads are built like tanks anyway, Arca Swiss's attention to detail with industrial design and engineering appears second to none. There's a good reason why this is the case, of course. Mainly, the C1 Cube is designed to support even large format cameras up to 8x10.
Moreover, I'm quite surprised by easily it handles these heavier cameras, and without any significant loss in stability when it's mounted onto a tripod. Granted, this does come at the cost of added weight, as that Arca Swiss C1 Cube weighs more than 1kg. Or, specifically, around 1,032g. That's certainly heavier than a lot of other tripod heads on the market. You'll understand more once you take a closer look at it.
The heft of the C1 Cube is thanks to the robust, tank-like construction, as well as the technical marvel that goes on inside with its geared mechanisms. And yes, the C1 Cube adopts a geared head design instead of a ball head, which has its respective pros and cons. As we'll uncover later, a geared head does mean that I'll be able to get more precise adjustments and positioning when manipulating the tripod head.
Elsewhere, Arca Swiss is well-known for the build quality of its products, and the C1 Cube is no different. The exterior of the C1 Cube is smooth and has even polishing all around. Even the threading on the dials and knobs is easy to grip onto. Furthermore, it's hard to escape the solid feel of the C1 Cube. Besides, it was basically made out of a solid chunk of Aluminum, which also explains the excessive mass.
Video Source - Ben Horne via YouTube
Smoothest Knobs And Dials Around
Speaking of its build, the knobs and dials on the Arca Swiss C1 Cube are definitely worth a mention, too. The rotation of the knobs and dials is smooth, which can be very hard to replicate in some other tripod heads. They feel consistent yet with enough tension to ensure that you can make finer adjustments a bit more precisely. Even with hard use, I've not been able to feel any play or looseness at all.
Moreover, the C1 Cube includes a series of tension control dials, as well. You can thus use these to adjust the tension of the aforementioned knobs. So, you could either tighten the movement of the knobs, which can help to make it harder to turn by accident or if you're prone to over-adjusting. Alternatively, you can loosen up the knobs with those tension control dials, and make them easier to manipulate.
Even if you're used to ball heads, those tension adjustments on the C1 Cube are still more than enough to prevent accidental movements. In addition, avoiding heavy loads - such as having mounted a heavier and larger camera - from shifting your tripod around. Looking around, I've not found any specified load rating specs for the Arca Swiss C1 Cube. There are a bunch of figures online, but 88lbs sounds about right.
Regardless, if the testimonies from C1 Cube owners are anything to go by, it can take quite a bit - so long as you're loading it up reasonably. With that in mind, let's go back to those knobs, as you'll note a few of them around the C1 Cube's outer shell. These are, as with any tripod head, crucial to changing the angle of tilt, rotation, panning, or levelling. Even in this category, the C1 Cube runs away with it.
Maximal Adjustability At A Whim
The Arca Swiss C1 Cube could handle a maximum degree of rotation and tilting of 30-degrees. That's an improvement over some of its closest rivals, which could only handle barely double-digit degrees in their tilt and rotation angles. On top of that, the C1 Cube handily manages 360-degrees of panning - as noted earlier, these adjustments are precise and buttery-smooth, with no noticeable notches or play.
To use these knobs and dials is pretty easy enough, as they're logically placed and spaced out, which is also to the benefit of ergonomics, especially on a long shoot. Throughout the head, you'll find four knobs that specifically sets the tilting and levelling on the X- and Y-axis, respectively. There's then another knob on the bottom to flip up the C1 Cube and then use it in its 90-degree vertical position mode.
This means that your camera is pointing straight toward the ground, which is not something many other tripod heads can claim to do. Near the bottom of the Arca Swiss C1 Cube, you'll then find other knobs to help with the panning, too. To make sure that you're absolutely level, the C1 Cube features bubble spirit levels, one on either side of the head, so you can quickly check the angle that it's positioned over.
Altogether, these make the Arca Swiss C1 Cube a stunningly versatile tool, particularly when you look at other competing tripod heads. However, this might be a detriment in other aspects. With the gearing as well as the sheer number of adjustments that you have, it can take some time to get used to them. Thus, I'd argue that despite its slickness in adjustability, it may be slower to use than simpler tripod heads.
Video Source - John Magnoski via YouTube
“Arca-Swiss’s attention to detail with industrial design and engineering appears second to none.”
The PERFECT PLATFORM
Two other highlights of the Arca Swiss C1 Cube are its base plate compatibility and the locking mechanisms. However, do take note that it's only compatible with Arca Swiss plates and brackets, with either minimal or non-existent support for third-party options. Given how much money is at stake when you're investing this much into photography gear, it's worth checking for compatibility between your equipment.
Specs-wise, the C1 Cube's tripod mount thread size is 3/8"-16. If you have been around the photo or video industry for any time, you will know that there are two main base plate system - Arca Swiss and Manfrotto. The choice between which you prefer is a very personal one but if I tell you I have an Arca Swiss plate on the bottom of almost every camera I won, you can probably guess my preference.
However, this isn’t to say that one is necessarily better than the other, but from my personal experience, I have always preferred the Arca Swiss system. It is also a system that has been thoroughly adopted by many third party providers with a seemingly endless list of rails and L-brackets all design to be (mostly) compatible with Arca Swiss’s tripod heads.
In fact, the only very, very minor downside that I came across was I very nearly loosened the camera from the head because I mistook the locking know for an adjustment knob. This would be of some concern with thousands of pounds worth of camera teetering on top! The solution, just make sure the locking knob for the plate is point backwards (towards you) and be very careful to check what you are undoing!
Buttery Tilts And Rotations
Having tested it with a variety of weighty cameras, not all! Movements and adjustments on the C1 Cube are as tight as you can get, with no play. The latter has been a bit of a deal-breaker for some photographers that have been looking at the Arca Swiss C1 Cube's competitors, where some play or backlash in the gearing are to be expected to a degree. This, therefore, enables you to make smooth, sweeping adjustments.
And, doing so precisely, such as gentle panning from side to side, which makes this excellent if you want to combine panorama shots together. Or, if you prefer the C1 Cube's locked-down stability, it also makes for an ideal tripod head (with the right accompanying gear, naturally) for those long-exposure shots. The stability and rigidness of the C1 Cube, even when loaded up with bulky cameras, are also quite superb.
Even at the extreme ends, when you have it tilted, rotated, and panned, being top-heavy with a chunkier camera doesn't upset it. It also helps that you can trust on that secure locking mechanism to prevent an accidental movement or unintended adjustment. Now, if you're looking for a rival to compare against, it doesn't really have that many. But then again, there aren't many tripod heads like the C1 Cube.
Manfrotto has their popular 405 and 410 series of geared tripod heads. While they are excellent, in my opinion, they're not really made to the same ultra-high standards as the C1 Cube. The former two, for example, have a bit more play in the adjustments, as they don't lock down as securely from my experience. So, if you're interested to step it up a few notches, you won't find much else on the market right now that could rival the C1 Cube.
Video Source - Arca Swiss USA via YouTube
Is It Worth The Asking Price?
Now, here's the catch - the price. For all its capabilities and what you can get out of it, the Arca Swiss C1 Cube is rather expensive. It has a starting price just over £1300. For a tripod head, some might argue that it's a bit too much to spend. Then again, if you're a professional with thousands of pounds invested, another £1.5k for a quality tripod head might not put your accounts under too much strain.
Even with its pricey RRP, I still think it's well worth considering, given its immense versatility, solid build quality, and maximal functionality. It's maybe less of a mere tripod head and more of a specialised piece of machinery. Although, with limited availability and supply on the market, it could take a bit more effort to find one. Depending on the variation (such as the locking mechanism), it might cost more. But, as my Mom always said, ‘buy cheap, buy twice’.
Some of these C1 Cubes, such as those with a quick release or heavier load capacity, might cost you a bit more. In some cases, like C1 Cube models that feature geared panning and the classic clamps; maybe even more expensive. You also have a bunch of other C1 Cube iterations to choose from. The most common variations differ in the locking system - the classic, flip-lock, or Arca Swiss's MonoballFix.
Moreover, you have pickings between the panning - either lower or upper panorama being able to freely rotate, in addition to Arca Swiss's aforementioned gearedPan as well as clicPan. In short, I'd recommend doing a bit more research into which specific version best fits your needs and budget. Still, no matter the specific type that you get, I doubt anyone would be disappointed with an Arca-Swiss C1 Cube, it’s a beast!
SPECIFICATIONS
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
Disclaimer: All links to Amazon UK are affiliated links - you will still pay the same price but I will receive a small commission for providing the link. All information provided in this blog is intended either for educational or entertainment purposes and is accurate to the best knowledge of the author. However, further research/professional advice should be sort before making purchases/implementing any advice given and no responsibility is taken by the author or parties mentioned here within.
BIRMINGHAMS BLOSSOM IS BLOOMIN' BEAUTIFUL, BAB!
If you are a photographer in Birmingham then there is quite a high chance that you have photographed the Cherry Blossom at Oozells Square at some point. Guess what, it’s back! The beautiful sight is one of the highlights of Spring in the city and after having missed it in recent years, I couldn’t resist the urge to go and get my photographic fill of the flowery magic.
If you are a photographer in Birmingham then there is quite a high chance that you have photographed the Cherry Blossom at Oozells Square at some point. Guess what, it’s back! The beautiful sight is one of the highlights of Spring in the city and after having missed it in recent years, I couldn’t resist the urge to go and get my photographic fill of the flowery magic.
Though it might not be everyone’s favourite photographic subject, there is no denying that the blossom brings a little bit of beauty to Birmingham's city centre. Judging by the amount of people stopping to take pictures, it is certainly popular with both amateur and professional shooters - and copious amounts of passers by grabbing shots for their social feeds!
The blossom normally makes its appearance around early April. However, this year it has sprung a little early. Not that you would miss it, you only have to follow a handful of social media accounts in Birmingham and the iconic scene will soon be filling your feed! The bright pink spectacle is like a call-to-arms for local photographers and more than a few tourists, all attempting to capture the beauty of the blossom.
I was determined to capture it this year and as soon as weather conditions looked right (just enough sun to brighten the scene a little) and diary permitting (occasionally, clients cancelling jobs has its benefits!) - and I was off, multiple cameras around my neck and looking every bit a photography cliche! That didn’t bother me, I knew what my mission was and some cherry blossoms were about to be photographed!
“Small groups of locals and tourists were dotted around, carefully examining the view and precisely picking their angles”
As I arrived at Oozells Square, it was already apparent that many others had beaten me to it. Small groups of locals and tourists were dotted around, carefully examining the view and precisely picking their angles. I didn’t particularly want people in my shots, preferring to let the blossom do the talking. However, there was a more pressing issue, notably a huge bank of cloud and rain scheduled - I was going to need to work quickly.
I went straight to the obvious shot. Running diagonally through the square is a thin channel of water - as pretty as it is, it also supplies a fantastic reflection of another icon - well, the actual Ikon Gallery! It’s been done a million times before but like photographing the Bullring Bull, the reflections at Gas Street Basin or pretty much any shot of The Rotunda - the classics are classics for a reason.
I was working with a pretty new (old) camera - a Pentax 645Z. It’s a big behemoth of a camera and in all honesty, I’m still getting used to the button layout. Hulking this huge camera around and fiddling with every button and setting whilst shooting the most obvious scene I could find - I was very conscious that I looked like a complete photography ‘newbie’. As soon as I got my settings dialled in and I started to see the images on the back of the camera, I didn’t care! The scene looked good and the camera was doing its job!
I mooched around for a while looking for different angles, being sure to do little ‘bro nods’ to fellow photographers as people came and went. I even managed to get stopped by security, this is nothing unusual when carrying a camera the size of a large cat (I’ve measured it against my own cat!). What was more unusual was that security just wanted to inform me that there is currently a photography competition running for the blossom - Security, encouraging me to take photographs, yes please! After having a very friendly chat, we went our separate ways and right on time, the rain started to land on my lens and the fun was over.
In truth, I know that the blossom might not be everyone's ‘cup-of-tea’. However, I thoroughly enjoyed the little break to capture the blossom before it inevitably makes way. In terms of a photographic calendar in Birmingham, it is definitely a highlight and the little pop of colour after the inevitably grey winter is always a welcome change!
A few tips if you are planning a visit
If you are planning a visit to Oozells Square to capture the blossom, I would recommend taking a zoom lens or a macro lens if you have one - something I failed to do! There are so many little details to capture, like the reflections in puddles and getting some blossom shots with plenty of bokeh goodness! Also be sure to put some time aside to have a look around the wonderful Ikon Gallery and grab a coffee while you’re there.
One other piece of advice I would give is to plan your visit around the weather but also the direction of the sun! There are a lot of tall buildings around the square which can leave the blossom in shade for much of the day. I found that around 9.00am is a good time to visit (and the time the shots you see in this post were taken). This allows a little bit of sunlight to fall on the Ikon which really brightens the scene - as long as it’s sunny that is!
Looking ahead, I think next year I’ll try to capture some video to accompany the shots and possibly even dust off the large format film camera to capture the scene. For now though, I’m just glad I got there before the blossom hit the floor!
A Little Update
After writing this, the next day the weather looked good in the morning so I decided to run out with the film camera (Bronica GS-1 and Kodak Portra 400 for those who are interested) and grab some shots before the blossom was gone.
The shots didn’t turn out quite as well as I’d hoped. I underexposed most of the shots and I think my chemicals may be going off as there was a bit of a weird colour cast to the shots - all that aside, I do think they have a bit of character to them, but I’m certainly glad I got the digital shots the day before. I would love to know which shot is your favourite so leave a comment below :)
Thanks for reading :)
About the Author - Ross Jukes is a professional Photographer and Videographer with over a decade of experience. Working in both Digital and Analogue formats, Ross has worked with international clients, had his worked published numerous times and exhibited his work extensively. With a passion for all things photographic, Ross combines his experience, enthusiasm and dedication to his art form to create engaging and educational content for the photographic community.
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