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.
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