According to Fortune Business Insights, the global food service industry is set to reach a market value of $5,194.60 billion by 2029. Thus, now would be a great time to enter this business if you haven’t already. Given that the situation with COVID-19 is a lot better now, opening a restaurant or giving your existing one a fresh look is very much feasible.
If you are a restaurateur or want to become one, you should know that dining out is one of the most popular activities in the world. There are millions of people who visit restaurants every day.
According to the U.S. Bureau of Labor Statistics (BLS), an average American household spends about $3,500 on dining out every year. Thus, it makes sense to make your restaurant stand out so that you can attract more customers to your establishment.
One way to do this is with great photos of your food and interior design on your website and social media pages. Here are a few tips on how you can do it:
#1 Hire a Professional
Hiring a professional photographer is one of the best ways you can take your food photos to the next level. A professional photographer will know how to make your food look delicious, even if it doesn’t taste as good as you want it to.
Commercial photography is more than just taking good photos of products. It’s also about giving life to your pictures, which is something you’d want to do, given that we’re talking about food here.
Commercial photographers can also bring out the best in every dish they shoot, giving you more opportunities than ever before to take some amazing photos that will help attract new customers. Through their product photography skills, they will make your restaurant food feel life-like in photos. The photography business for these professionals is not just about working with potential clients and ensuring commercial use of their photographs. It’s to show people how photography can impact their business or whatever use they have for those photographs.
When hiring a professional, it’s vital to find someone who can do what you need them to do for your business. This means looking for a photographer who has experience shooting food and understands how lighting works with food photography.
It also means finding someone who understands how to make each dish stand out on its own without overshadowing another dish in the same photo or making them all look similar.
#2 Make Your Food Look Colorful and Interesting
Make the food look good, but more importantly, make it look like it has a lot of flavors. Use props that complement the food in some way.
For instance, if you have a Tex-Mex restaurant and are serving chicken fajitas on a slate platter with lime wedges, maybe use some cilantro to add some green color to your photo. Or, if you’re selling Italian food at an Italian restaurant, maybe put out some fresh basil leaves alongside your pasta dish, so people know what they’re looking at when they see the photo in their Facebook feed or Instagram story.
If possible (and legal), try using fresh produce or meats rather than pre-cooked ones since those tend to look better in photos than prepackaged meals do.
#3 Shoot from Different Angles
To get the best photos of your food, you’ll want to shoot from different angles. This will help you capture more of the look, feel, and flavor of your restaurant’s cuisine.
For example, if you take a photo from above, it might seem as though your dish is too small for its price tag. However, if you take a picture from below and include some background information about what goes into making it (like fresh ingredients), customers can see how much work went into preparing the dish and why it costs so much money.
Also, consider taking photos from different heights. The same goes for distance. Professional photographers will know how to handle such different angles. It’s also important to get the right perspective so that the food is always the center of attention in your photos.
#4 Improve the Lighting in Your Restaurant
Natural light is the best way to get high-quality photos of your food and drinks. The sun provides a natural, pleasing light that will enhance the appearance of your dishes. Take advantage of lighting in the restaurant as well. If you have lamps or other sources of artificial lighting in your restaurant, use them to create a more appealing ambiance for customers and increase their appetites.
Ensure consistency throughout the restaurant. All areas of your restaurant must have consistent lighting so that there are no shadows on any part of any dish or drink, which can distract from its appearance and make it look unappealing. This is also important when you’re taking photos of your restaurant’s interior to highlight the ambiance.
#5 Take Pictures of the Kitchen
The kitchen is one of the most important elements of a restaurant. A clean, organized kitchen can set your restaurant apart from others and make it more appealing to customers. Take pictures of the kitchen from different angles to showcase its spaciousness and functionality. Make sure you include pictures of all equipment, utensils, appliances, ventilation, and more.
You should also have photos taken of the food being prepared. People often enjoy looking at the ways their food is cooked for them and the overall process in general.
There you have it. These photography and photo shoot tips will help you get the most out of your restaurant’s online presence and give your customers a great first impression when they see your online presence.
BLS data shows that in the United States, there are around 640,000 total private food service establishments. If you want to survive the competition, you need to start attracting more customers. As you can tell, you must first appeal to them with your food and its photos before you can appeal to them with your food.
Many months ago now, Aubrey and I were fortunate to have found time to go on our annual adventure. For about 10 years I had wanted to explore the Gardiner Basin in the Sierra, which is the basin that the popular Rae Lakes loop circumnavigates. It takes quite an effort to get in, and out… our loop was about 35 miles and 11,000 feet up and down. But it was worth every step.
Our trip started with some thunder and rain, and for a moment it almost felt like we were back in the Northwest. After two days of weather, the skies parted and we enjoyed crisp and clear weather as we navigated our way through the granite landscape. Our route took us past the Rae Lakes, to the Sixty Lakes Basin, and up and over a remote pass into the upper Gardiner Basin. Once there, we saw very little signs of any human activity.
Our camp beside a remote lake provided stunning view of Mt Gardiner. One of the symptoms of getting older is that I now have to get up to pee in the middle of the night. On this particular occasion, the milky way was fortuitously aligned with Gardiner Peak. A cluster of Jeffrey Shooting Stars provided the perfect foreground.
The following day we descended 3,000 feet through forest and granite, alongside steep braided waterfalls. Reaching the bottom of the valley of course meant we needed to climb right back up. The faint use path barely provided any guidance, but the mosquitoes motivated us to keep moving. For our final day we scrambled up and over the pass, through an epic avalanche path, and made our way back to Kearsarge pass.
Hopefully such adventures will become more frequent again, now that we are getting settled into our new careers and home. Our little parrot is doing a great job of bringing some wilderness into the home, though. Pictures at the end
Moss and blooming Sierra Shooting Stars provide a verdant foreground for the Kearsarge Pinnacles under stormy skies in California’s Sierra Nevada.
Sierra Shooting Star flowers bloom in a field of frosted grasses in a meadow in the wilderness of California’s Sierra Nevada.
The milky way lights up the dark skies over Mt Gardiner, deep in the wilderness of California’s Sierra Nevada. Blooming Sierra Shooting Stars offer a fitting foreground.
A big snowpack in 2019 followed by hot summer days leads to plentiful cascades in the wilderness of California’s Sierra Nevada.
Blooming heather covers the hillsides of this remote canyon in California’s Sierra Nevada.
Birthday pudding: pistachio / chocolate swirl!
Mosquito carcasses decorate my face after a bloody battle.
Obtener buenos flats es imprescindible para conseguir una calibración correcta de nuestras imágenes astronómicas y tras haber comprado y y probado recientemente la lámina de flats eXcalibur lite ya podemos darte nuestra opinión sobre este producto de la marcaRbfocus.
Anteriormente estábamos usando para hacer los flats una lámina de calco de dibujo alimentada por USB que consiste en un panel electroiluminado y que hasta ahora nos había dado buenos resultados, o eso creíamos. Lo cierto es que el panel funcionaba muy bien con nuestra cámara réflex pero con la más sensible ASI1600MM en ocasiones nos encontrábamos con el problema de que N.I.N.A nos decía que el flat resultante era demasiado brillante. La solución económica por la que optamos fue poner láminas de metacrilato translúcido hasta conseguir reducir el brillo de la pantalla hasta una medida que consideramos «aceptable».
El problema de los avisos en NINA desapareció pero a la hora de calibrar las imágenes empezamos a encontrarnos con muchos problemas y resultados desconcertantes sobre todo en el canal azul. Tras investigar un poco parece que el problema que nos afectaba era que cuando la ASI1600MM hace tomas muy cortas (inferiores a 5 segundos) induce mucho ruido por el modo de configuración de la cámara. Necesitábamos un panel de flats que brillara mucho menos que nuestra lámina para poder alargar las exposiciones y eso nos llevó a conocer la eXcalibur lite.
Una magnífica lámina de flats
La lámina de flats eXcalibur Lite es ligera y robusta
En el mercado astronómico tenemos varios fabricantes de láminas de flats pero RBfocus nos atrajo mucho por lo bien trabajado de sus productos y porque son desarrollos hechos por un apasionado de la astronomía como es Reinaldo. Sus productos mezclan el cuidado y la sabiduría de un trabajo artesanal con la precisión industrial necesaria en estos productos y todo ello a un precio muy razonable.
Esta lámina de flats permite ajustar el brillo de manera variable y además se puede controlar desde los programas de captura como N.I.N.A. ya que es compatible con el protocolo ASCOM Cover Calibration y con INDI.
La conexión con el pc puede hacerse a través de cable USB o de modo inalámbrico por Bluetooth.
La lámina es ligera ya que está hecha con fibra de carbono, aluminio y plástico pero a su vez es robusta. Requiere alimentación a 12V que en mi caso es proporcionada por el dispositivo Astrolink mediante un conector jack (RBfocus también desarrolla sus propias power box de uso astronómico).
eXcalibur lite se quita y pone manualmente en el telescopio pero podemos optar por dejar la solución de manera fija en el tubo y accionarla automáticamente en la versión normal que incluye un brazo con servomotor.
Prueba y opinión sobre eXcalibur lite
Hemos podido usar el eXcalibur lite durante los últimos meses y nos ha dado muy buen resultado. Gracias a su pequeño tamaño lo llevamos en la propia caja del telescopio y configurarlo nos llevó tan solo un rato durante una tarde para calcular los valores recomendables en N.I.N.A en base a nuestra cámara y el tren óptico.
Configuración del asistente de flats en N.I.N.A. totalmente compatible con eXcalibur lite.
Ahora el proceso de adquisición de flats es más sencillo y aunque nos lleva más tiempo porque estamos haciendo flats de 5 segundos en vez de fracciones de segundo como antes, la diferencia en cuanto a calidad se nota y mucho. En definitiva estamos muy contentos con esta lámina y la recomendamos sin dudarlo.
Quizá piensas que estás haciendo bien tus flats con tu lámina casera como lo pensábamos antes nosotros. Tal vez crees que tus imágenes están bien calibradas pero, créenos, si no lo están estás desaprovechando mucha información en tus imágenes astronómicas y no estás obteniendo los mejores resultados. Que pena con ese telescopio y esa cámara tan buena que tienes…
Cover of I Am Sparkling: N.V. Parekh and His Portrait Studio Clients by Isolde Brielmaier, published by Damiani (all images courtesy Damiani)
Isolde Brielmaier’s I Am Sparkling: N.V. Parekh and His Portrait Studio Clients (Damiani, 2022) is a critical contribution to scholarship on mid-century studio photography in Africa. Studies on the genre have often leaned geographically toward West Africa, and it is thanks in part to these efforts that figures such as Malick Sidibé and Seydou Keïta, among many others, have risen in prominence over the last few decades. Comparatively, there have been far fewer studies of photography in East Africa — to which Brielmaier’s text contributes a previously unstudied narrative. I Am Sparkling uses the prolific studio practice of Asian-African photographer N.V. Parekh to examine studio portraiture in the decades prior to and immediately post Kenya’s independence from colonial rule in 1963. By looking closely at portraiture during this revolutionary era in Mombasa’s history, Brielmaier profiles varying approaches to studio portraiture in the region and sitters’ agency in framing evolving and diverse identities before the camera’s lens.
Photograph by N. V. Parekh, from I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, published by Damiani
The advent of photography in Africa is often attributed to Europeans, who used photography as a tool not only to capture images of idyllic landscapes and exotic creatures, but as a mechanism to clinically document and violently categorize human beings. As Brielmaier articulates, however, in East Africa in particular the photographic medium also critically evolved through exchanges between migrants from South Asia and the Swahili residents of Mombasa. In the mid-1800s, many South Asian men migrated to East Africa, where they established some of the region’s first photography studios. While these early images often mimicked European photographic norms, as studio audiences changed — particularly amidst the rise of new urban identities in Mombasa — so did studio portraits.
Parekh was one of the most well-known and popular photographers in East Africa. I Am Sparkling is remarkable for its extensive interviews with Parekh and his family, but also for Brielmaier’s deep research on the sitters who would come to Parekh to have their portraits taken. The author identified and spoke with 57 of the photographed individuals discussed in her book; meanwhile, countless others offered descriptions of friends or family members who had solicited Parekh for a portrait. The author’s commitment to understanding and telling individual people’s stories — specifically, what moments in their lives prompted their desire to have their photograph taken — led her to become part of the community in Mombasa, locating Parekh’s subjects often by showing his images to community members.
N. V. Parekh, left: “Portrait (couple in sunglasses)” (1956) and right: “Portrait (man with cigarette”) (c. 1963) from I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, published by Damiani
It was these conversations that enable Brielmaier to write, for instance, that Mrs. Munyao (many of the figures in Brielmaier’s book are referred to by their last names) came to Parekh to mark the completion of her nursing degree, or that Mzee Ali wanted to commemorate the purchase of a new belt. The book’s title comes from an interview Brielmaier conducted with Mrs. Uweso, who had recently learned she was pregnant. The woman’s face is bathed in soft light as she gazes just outside the photograph’s frame. “Look at the light, the glow,” Uweso told Brielmaier during an interview. “I’m sparkling.”
Brielmaier is fiercely committed to telling her sitters’ stories, and thinking of photography as a collaboration between photographer and subject — a presentation of how a sitter wants to be seen. The studio, in other words, became a place for sitters to search for and define themselves, and assert agency in a changing world — particularly in the independence era. Images taken during this period, as Brielmaier notes, were decidedly less insistent on emphasizing time-honored traditions than on individual identity. As the author states, “The idea that photographs do not merely represent identity; that instead they also work to produce [identity] is central.” Parekh’s clients would arrive with images from magazines to guide the photographer’s choice of studio lighting, for instance, or adopt a particular pose or persona inspired by a Hollywood movie — decisions that align reflect new forms of leisure and new consumption patterns. A number of clients also asked for Parekh to lighten their skin tones during the development process (as a reader, further commentary from Brielmaier would have been welcomed on this subject). These images pose potent questions about the problematic conflation of whiteness and modernity, and the racist colonial ideals that persisted amidst the fanfare of the independence era.
Photograph by N. V. Parekh, from I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, published by Damiani
Many of these images also were able to derive and sustain their power because they were (or were not) distributed. Brielmaier observes that while some images were displayed publicly in the home — say, in a living room setting — others were arranged in carefully-composed photo albums, and were only shown to trusted individuals. This final example is exemplified by the number of Muslim women who recruited Parekh to take their portraits. While photography was widely understood at the time as forbidden by the Qur’an, Brielmaier explains that many women would only look at their portraits privately, or would keep them to be shown only to close female friends. Photographs, in these instances, became a means of facilitating and deepening female intimacy, friendship, and agency within a broader world that has historically exploited women — in many instances, via the photographic medium itself. Ultimately, Brielmaier’s book upends an often anthropological treatment of photography, casting new light not only on the photographic medium in East Africa, but on the varied lives of its many subjects in mid-century Mombasa.
Photograph by N. V. Parekh, from I Am Sparkling: N.V. Parekh and His Portrait Studio Clients, published by Damiani
I Am Sparkling: N.V. Parekh and His Portrait Studio Clients by Isolde Brielmaier(2022) is published by Damiani and is available online and at independent booksellers.
Connect with the landscape and your images will be all the better for it, as Paul Sanders explains in his article on fine art landscape photography. He shares more about his long exposure work below…
It took me a long time to discover the style of photography that matched my emotional and spiritual responses to what I was seeing, as I stood in the wind and rain that usually accompanied my expeditions. Many people see long-exposure work as a bit of a cliché: misty water and a few sticks in the sea; drifting clouds and an overly light high-key look. Yes, it can be, but the same can be said of many aspects of photography.
Personally, long-exposure photography allows me to explore a sense of calm; a visual relaxation that matches the way I feel when I look at the landscape. In my previous job as picture editor of The Times, I used to look through somewhere in excess of 20,000 images a day trying to find the perfect one for the front page. I lived my life at break-neck speed, barely taking a breath. When I left The Times at the end of 2011, I was convinced there must be more to life than what I had. I needed to get more out of myself photographically and that’s where long-exposure work came to the rescue.
Long-exposure photography can allow you to explore a sense of calm.
Get started with fine art landscape photography
Have a connection
Before we get into the technical side of long-exposure photography and counting exposure increase, there is something far more important than the technical issues – it’s vision, interpretation and connection with your subject.
I love what Ansel Adams said: ‘A great photograph is a full expression of what one feels about what is being photographed in the deepest sense and is, thereby, a true expression of what one feels about life in its entirety.’
You have to be able to connect your emotions to the landscape around you. It’s no good just shooting lots of images in the hope of getting a good one. Instead, shoot a picture that really captures how you feel at the time, and perhaps shoot a second image. If nothing else, long-exposure work will stop you shooting lots of needless images. The one thing you’ll need in abundance is patience, not memory cards.
Think about what mood you want your images to reflect.
My very first long-exposure image was a mistake. I set up my Horseman SW612 medium-format camera in my bedroom window one Christmas night to take a picture of the snow under moonlight over the Pennines. I’d had a glass or two of wine – probably slightly more – and wasn’t in the sharpest of mind frames. I vaguely remember taking a meter reading off the snow with my spotter and thinking it was darker than it looked. So I set the aperture to f/11 and thought five minutes would do it. Four hours later I returned to the bedroom and saw the camera, remembered what I had tried to do, laughed drunkenly and closed the shutter.
Thankfully, now my images are somewhat more considered and a lot less wine is consumed in making them!
Filters
For me, long exposures are anything over 30secs, although most Facebook groups argue that it should be anything over 1sec.
The filters are the key bit of equipment that you should pay attention to. They will depend on your budget, but – and it’s a big but – more expensive brands like Lee and Formatt Hitech are without a doubt better in manufacture, consistency of colour and density.
So when it comes to filters, buy a system with a holder and adapter rings. You can mix filters with systems too. I use Lee adapter rings and holders, and some of their filters, but I also use Formatt Hitech. They are all 100mm and are interchangeable. Don’t buy the variable screw-in filters as you can’t accurately predict what density you are shooting through, and don’t buy cheap brands of filters because the colour of a ND filter is meant to be neutral, not pink or green.
Filters are key to this kind of photography, so make sure to invest in a system with a holder and adapter rings.
Locations and subject for your fine art landscape photography
You can shoot any subject with a long exposure, but before you invest five to ten minutes of your time you have to ask yourself what is moving and what is stationary. Are you trying to capture a fast-moving sky over a city skyscraper, water swirling through a series of rocks or the incoming tide?
As a starting point, most people begin with groynes on beaches, with the tide breaking around them. This right-of-passage shot allows you to experiment and learn your craft, as everything apart from the groyne – like the clouds and tide – moves, giving you a quick positive result.
Composition is still very important. Many people seem to think that milky water or a blurry cloud will replace a well-executed image, but it won’t. So think about how you would normally compose your pictures and work with that, or allow yourself to start from the beginning and use very basic compositional rules to help.
I always work in the same way. I’ve made many mistakes and probably still have many to make, but as a result I have a workflow that works for me.
Groynes are a good starting point to hone your skills.
I find my location, spend a great deal of time seeing how things are, then I start to form an image in my head. Once I know what I want to achieve, I set up my tripod and I always make sure it’s level. Good tripod craft is essential. So many people don’t bother to extend the tripod legs correctly or get the tripod level and they make life hard for themselves from the outset.
I place the camera and lens on the tripod, then attach the cable release and the filter holder. At this point I turn the camera on, and make sure the ISO sensitivity is nice and low. One very important thing to check before you start shooting is in the menu. Find the ‘Long Exposure noise reduction’ and turn it off. If you leave it on, the camera will shoot a second exposure that is essentially a black frame to eliminate any noise generated during the exposure.
This will take as long as the first exposure, but will render your camera useless for the duration, meaning you can’t take as many images as you may want to.
Once you’ve found your location, take the time to study it before shooting.
Framing
Fine-tune your composition. Make sure that only the things you want are in the frame and they are where you want them. When shooting long-exposure images, errors in composition stand out like a sore thumb. If you’re trying for the minimalist look, make sure there is no clutter around the edges of the frame. Place the elements deliberately where you want them and think and see the image in your mind’s eye before you press the shutter.
You can then think about taking your image. Using a heavy-density ND filter means that it’s a little more complex than simply firing the shutter. See my step-by-step guide below on how to calculate the exposure.
Remember, though, that the key to success is practice, practice, practice – but also to enjoy using the technique. Hopefully, you’ll persevere through the learning curve and produce some beautiful images that reflect a sense of space and calm.
Make sure there’s no clutter around the edges of the frame.
Fine art landscape photography: Common mistakes
Some ND filters have a slight blue cast, but you can easily remove this by shooting raw and adjusting in post-processing. Alternatively, you can adjust the white balance at the time of shooting. Use the custom white balance setting and set it to between 8,000K and 10,000K, and the blue cast will disappear.
You may have flare down one side of the image, as the sun can cause flare if it’s to the side of the camera and reflects through the edges of the filters. On a sunny day I often shield the filters either with a cloth over the edge, gaffer tape or even just my hand.
If you use very strong ND filters – 10-stop and above – you may notice the subtle branding from the front of your lens is reflected onto the back of the filter. This normally occurs when using very wide-angle lenses. So I use black tape or paint to cover the white writing on the front of my lenses.
Use the rules of composition for strong results.
Need some more fine art photography advice? Check out our guide here.
Paul’s step-by-step guide for calculating exposure
Base exposure
I usually do a test exposure to establish what the image will look like without any filters. I expose for the shadow areas, aiming to get detail in them, which pushes the histogram to the right. Then I add an ND graduated filter to control the contrast from the sky or brighter areas of the scene.
Note exposure
Once I am happy with the addition of the graduated filter (if I have a straight horizon I’ll use a hard grad, otherwise I use soft grad), I re-check the exposure – this becomes your base exposure. For the sake of argument, let’s say the exposure is 1/4sec at f/16 – make a note of this or remember it.
Focusing
Before you add your ND filter, double-check your focusing. Then turn off the AF and just check again to see if your image is sharp. Most AF systems can’t see through the dark glass of a 10-stop ND filter, so if you leave the AF on and try to take the picture, the AF will hunt and your image will be out of focus.
Set to bulb
Add your ND filter and turn your camera to its bulb or ‘B’ setting. Check that your aperture hasn’t changed. On some Canon models the aperture doesn’t carry over to B and you have to reset it, so please double check! You now have to recalculate the exposure to allow for the 10-stop ND filter in front of the lens.
Calculate
Some filters come with a piece of paper that gives you approximate conversions. Or you can – as I do – use one of the many apps available. I use ND Timer, but there are lots available. Some have a countdown timer too, which is very useful if you haven’t got a timer on your cable release or camera.
Shoot
On the app, input your base shutter speed and the strength of filter. Here, a shutter speed of 1/4sec becomes 4mins 16secs with a 10-stop filter. If you have an eyepiece blind, use it to prevent stray light entering and causing strange flare. Now press the button on the cable release and lock it, start your timer and wait.
Kit List for Fine art landscape photography
Camera
Although most cameras have built-in timers, a camera with a bulb (B) is very useful. Plus either an electronic or screw-in cable release with a lock.
See our buyers advice and reviews for the best options.
Filters
A 0.6 (2-stop) graduated ND filter, a 10-stop ND filter and a 3-stop ND filter should get you started.
Lenses
Don’t always choose a wide-angle lens and think it will make the best focal length. Lens choice for is personal and entirely related to the subject. The lens I use most is my Fujinon XF 35mm f/1.4 R.
See our lens reviews and buying advice here for guidance.
Tripod
Give your camera that extra support and use a tripod to keep the camera steady. Especially when experimenting with long exposures in your fine art landscape photography.
The ultimate guide to tripods
Protection
If it’s windy you may have camera shake, so try shielding the camera with your body or an umbrella.
Further reading:
Fine art photography and how to do it
Top fine art portrait photography tips
World’s best fine art photography revealed
Improve Your Photography
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For you who might’ve not been aware, Milky Way is the name of our very own galaxy where our solar system and subsequently ourselves live within. It is our galactic home filled by a vast amounts of stars, interstellar dust, energy, old star clusters, black holes, our very own supermassive black hole in the center and other wonders. Our very own star, the sun is a modest little star in comparison to other giants out there.
Every single star that appears in the night sky is our neighbor that belongs to our immediate galactic neighborhood. When we look at the night sky from the northern hemisphere we tend to look towards the outer regions of our galaxy, and when we move to our southern hemisphere we look inwards towards our galactic center. It makes sense then that the night sky is rich in stars in the southern hemisphere as everything is more dense. We can’t see individual stars that belong to other neighboring galaxies. Everything starts to become fuzzy and dim; occasionally we might see a big supernova (a star that dies) in a massive explosion, but that’s pretty much it. Without powerful telescopes we can’t distinguish these stars.
Below is a map of our Milky Way galaxy (made by SETI) that is mapping the most interesting regions of our galaxy from our perspective (solar system).
SETI stands for Search for Extra Terrestrial Intelligence. It is a branch in the astronomy science that pursues the question; are we truly alone in this galaxy, how about other neighboring star systems and their planets? And even more importantly, what about intelligent life and how could we communicate with them? Or should we avoid communicating with anyone at all, in the event these extra terrestrial civilizations are hostile, just like the warrior like beings Clingon from Star Trek? These and many more questions and studies and powerful telescopes is what SETI is all about.
Some of you might even remember the SETI @ Home program where you could download an app at your computer and help SETI scientists analyze recorded data from their radio telescopes.
In any case, the map above is intriguing and a reminder to us, there are much bigger things and questions to be answered by humanity, if we ever decide to stay around long enough to deal with them. After all, our very existence as a human race in a cosmological standpoint, is insignificantly small. We’ve barely been around for a fraction of a second in this enormous vastness of the cosmos.
If you are lucky, you will meet some fantastic photographers. It’s a real privilege working with them, isn’t it? There are common factors most good photographers have. But, above anything else, they all have one thing in common.
What Is a Good Photographer?
I should start by saying what I mean by a “good photographer.” A good photographer takes a good photo. To do that, they know how to compose and expose a shot. They then use the camera and lenses that are best for the job they want to do. All those things are subjective choices, and what they decide is best for them isn’t necessarily so for everyone. Importantly, they know that.
They happily accept that others will come to a completely different approach to getting the best shot. Those photos may not be to their taste. However, they take notice of other methods of taking a picture.
Good photographers also look at different camera systems to discover what they could do for them.
Bad Photographers and the Art of Photographic Failure
Therefore, one can conclude that the opposite of bad photographers who quickly criticize others while thinking their point of view is the only valid one. They invariably believe their way of getting a photo and the camera system they use is the only way. Similarly, if they don’t like a particular genre or style, they believe it has no value for anyone. They cannot take any criticism about the system they use and are affronted by anyone who suggests a different opinion from their own.
My evidence for that? Look at the comments section of most camera reviews; you will see people jumping up and down and making derisive comments about the kit. They will then attack the person who wrote the review and sometimes their photography.
Compare their photography to the galleries of those who praise articles and other people’s photos. Those with a more positive outlook invariably take better pictures. Those with the worst attitudes will have no gallery and hide behind a false persona to cover their (probably) justified low self-opinion.
The strange thing is that people with an opposing viewpoint are far more likely to comment on an article than someone who is positive-minded. It’s as if they are trying to compensate for their lack of ability by trying to run others down.
The Best Camera Is not the One You Have With You
Camera brands have little to do with successful photography. Good photographers will appreciate the kit’s good points and accept their camera is not perfect. A bad photographer will defend their choice of camera to the death, no matter what, and take every opportunity to snipe at others. A camera is just a camera; a good photographer will take good photos with it, no matter the brand or model.
You Are Better Than You Think You Are (Unless You Already Believe That)
Many good photographers don’t appreciate their skills. They don’t have false modesty about the quality of their work either. However, they do realize they are on a journey of constant development. Moreover, they are always searching for ways to make their photography better. Whether through experimenting with new techniques, repeatedly photographing the same subject in different conditions, or delving into new genres, their photography is about improvement. Bad photographers invariably have an over-inflated idea of their skills.
One common factor that many bad photographers use to rationalize their belief that their way is best is that they use their length of experience to validate their point of view. “I’ve been photographing for 35 years.” That is rarely a reasonable justification, as some of the most exciting photographic work comes from younger photographers.
Do You Share Your Knowledge?
Good photographers always share their knowledge big-heartedly. Their generosity of spirit is essential to them. They revel in helping others become better at what they do. They celebrate other photographers’ successes too. Look at most of the great names in photography; they are renowned for imparting what they have discovered and the skills they have honed.
Tallest flower, first plucked.
Tallest tiger, first hunted.
Tallest tree, first felled.
Anyone who becomes successful at what they do becomes a target for others who will try to destroy their success. That kind of conduct is almost expected in the modern world, thanks to trolling on the internet. It’s the same appalling behavior in some media outlets, and even some of our leaders incite hatred. This sad reflection of the darkest side of human nature is something we should not accept in photography.
But it does happen in the photography world too. I’ve seen it even at the club level. One expects club leaders to support their up-and-coming members, but I have seen them cruelly attacking others’ work that is better than theirs. Clubs that are run like that are rarely successful, and sometimes, those actions ruin the enthusiasm of talented beginners.
Similarly, great names in photography are often the target of jealousy-driven scorn by those who are less successful. Brushing off criticism comes easily to the successful photographer; after all, they have nothing to prove.
A successful photographer could change the last word of the above poem to “photographed,” although the five-seven-five format of the haiku will no longer work. That’s okay because the most successful photographers rarely stick to convention.
The One Thing That Makes a Good Photographer Great
There is one thing, though, that makes a good photographer stand out. That is their passion that shines through in their photography. That is probably one of the hardest things to convey in an image. It is more than the technical abilities, getting the correct exposure or depth of field right. It is more than composing the shot to comply with one compositional rule of another. It certainly has nothing to do with the lens or camera. Embedding our emotions is the one thing we should strive to achieve with our photography.
How do you do that? If you find joy in the sunrise, wonder at the finest details of an ant, deep friendliness towards your model, amazement at the feather patterns of a bird, excitement at seeing a predator hunt, or fascination in the abstract patterns, then you have succeeded.
However, sadly, there will always be those who fail to read that passion in your images. But that’s their problem, not yours.
Lighting Photography Prints In Your Home Like A Pro
Now that you have found the perfect photograph to transform your space, it is important to choose the best way to illuminate your artwork. Quality lightning can make the difference between a piece of art being overlooked or commanding the attention of every guest entering the room. Soft, targeted lighting also brings out beautiful detail, tonal transitions and colors that may otherwise be lost to the viewer. You have a fair amount of choices when it comes to lighting, each having its own set of benefits and considerations. The best lighting enhances the artwork, without distracting from the rest of the decor in your room. Before we go any further, lets discuss the various types of lighting available to you.
Ceiling-Mounted Accent Lighting
Spotlights mounted from a ceiling facing downward offer an easy and adjustable solution for illuminating art. They can be surface mounted, chosen for their aesthetics as part of the overall design of a room or recessed, completely obscuring any housings in the ceiling for a more clean and minimalist approach. Either way, ceiling mounted lighting should be placed at a 30-degree angle, directed at the center of the artwork and should provide a soft even spread of light, illuminating the majority of the print without distracting hot spots or unbalanced coverage. Lighting directed at this angle reduces the amount of shadowing cast onto the wall below the art and eliminates reflective glare caused by fixtures mounted too far back from the wall.
Track Lighting
While essentially providing the same benefits and overall look of ceiling-mounted lighting, track lighting can be beneficial for those who have multiple pieces of art across a room or for those who enjoy moving or changing out their artwork seasonally or as their decor changes. Track lighting is also typically easier to install and carries a reduced cost of installation as well. Today, track lighting can be found that is much more flattering than the bulky cream-colored tracks you may be used to seeing, but regardless of the design, one must still consider the overall aesthetics of track running across the ceiling.
Wall Washers
Wall washers offer a more convenient and flexible way to illuminate large or multiple piece art installations. Wall washers can be mounted from the ceiling or floor and come in many forms and styles. This style of lighting often works well in modern homes full of symmetry and contrasting lines and shapes. While I have seen varieties of this type of lighting that worked well in my opinion, I personally prefer a more targeted and specific approach.
Picture Lights
Picture lights are mounted directly above or even from the frame of individual artworks and in most cases are low wattage light sources with a very small spread of illumination. You have probably seen paintings utilizing this style of lighting and while the fixtures themselves can be decretive and add to a rooms overall decor, I personally have never appreciated the look or the lack of uniform illumination they offer. With the exception of the most inexpensive battery-operated lights, an outlet or hard wires will still be needed where the artwork is to be displayed.
Conservation And Considerations
It is important to take preservation into account when illuminating most types of artwork. Photographic prints are no exception to this rule. While they may not be as delicate as that Vincent Van Gogh or Claude Monet you dream of stumbling across at a local estate sale, improper lighting can cause fading and unsightly color shifts that will destroy the visual appearance of the work over time.
There are some easy to avoid mistakes when hanging and lighting artwork that should be considered to avoid damage to your artwork:
* Avoid Direct Sunlight. Ultraviolet light and radiation can cause fading even when artwork has been protected against direct lighting with a UV coating or other surface protection.
* Do Not Allow Direct Facing Light Sources. This will protect your artwork from heat damage. If you are unsure, place your hand near the surface of the artwork while under the light source. If you can feel the heat, it is too close.
* Avoid Fluorescent Lighting. High levels of UV light accelerate fading and color shifting.
Halogen vs LED
While Halogen bulbs historically have been a favorite of many art galleries around the world, many are now being replaced with LED’s. Halogen bulbs produce large amounts of infrared (IR) and ultraviolet (UV) radiation that can be damaging to your artwork over time if mounted too closely. These types of bulbs also run very hot and can cause burns if touched. Halogen lighting has been widely used due to the quality of the light source itself and its bright, white illumination. Also, when compared to incandescent bulbs, there are many advantages.
Today, we have the benefit of LED technology. Where LED bulbs were once shunned due to the bluish light that they cast, LED’s have come a long way in a short period of time. A wide variety of color temperatures are now available, and while a more expensive option up front, LED lighting pays for itself over time with lower energy costs. Even Michelangelo’s painted ceiling of the Sistine Chapel was updated using a staggering 7,000 LEDs. After fading from sunlight exposure and harmful halogen lighting, the switch was made, extending the opportunity for the work to be enjoyed for decades to come.
SoLux ColorView LED Artlight
Tailored Lighting Inc., is the maker of Solux, a patented light source that provides an unparalleled replication of natural daylight. SoLux is used by many of the world’s top museums including the Musee d’Orsay, Van Gogh Museum, and Guggenheim Museum and the National Archives.
The ColorView LED Artlight is the result of nearly a decade of research and development. The ColorView LED light fixture offers unsurpassed light quality, stability, and flexibility of use, providing optimal presentation and preservation of art. The color temperature is 3150K, has excellent color consistency fixture to fixture and tilts and swivels in all directions. The ColorView LED Artlight offers flexibility of use with continuous beam spread adjustment from 12 degrees (5721 Candlepower) to 60 degrees (1302 Candlepower).
The ability to change beam spread from 12 to 60 degrees provides the perfect solution for lighting artwork. There is minimal light spill around the painting. The ability to dim with with a standard incandescent dimmer switch means perfect light levels every time with no flicker.
The team at Solux will help every step of the way in creating beautiful lighting for your home or office. Please reach out to them directly to learn more about the great lighting systems that they offer.
For past, present and future collectors of my work, I am always happy to help in any way that I can. I look forward to discussing your vision and how I can help you create a beautiful space you will love to come home to.
Fine Art Photography Lighting With LEDs
There are many ways in which you can light art and photography on the walls of your home and office. However, how you light your walls and art matters! It is not as simple as getting the most powerful light you can find and setting it upon your favorite artwork. The quality of light matters, and if you want to be able to tell those hues apart with any accuracy, you’ll need to opt for the right kind of lighting.
We call it fine art photography lighting, and the good news is that with today’s LEDs, it’s easier than ever. Gone are the days of trying to match tungsten or fluorescent bulbs to your viewing areas and preferences — modern-day LEDs are capable of achieving a light similar in quality and consistency to the sun, which is the ideal lighting source that provides a cool and natural blue light.
Compared to traditional tungsten, fluorescent or halogen bulbs, LEDs represent some of the best fine art photography lighting options available today. Not only do they render colors with greater accuracy in the crucial natural range (5000K to 5300K), but they also won’t cast a yellow or orange hue to the imagery that adorns your walls, giving a faded, dull or warm look that hides the true colors of the art.
While halogen lighting can achieve those same hues and vibrant colors, it’s unfortunately not the desired fine art photography lighting option due to both the heat and UV rays that are emitted. Over years and years, that can start to oxidize the surface and cause damage, potentially altering the image itself.
Ideally, the best fine art photography lighting is cool-running LEDs that won’t deceive your eyes. LEDs are also much smaller and lighter than traditional lighting techniques, allowing for easy track lighting installations or adjustable recessed lighting that offers the utmost in flexibility while also being friendly to the budget.
The twisting and curled nature of the Japanese Maple tree makes for an incredible subject during any time of year but none more special or beautiful than its brief transformation during autumn. Fine Art Limited Edition of 100.
A small patch of aspen trees displaying beautiful autumn foliage with red undergrowth located near Tumwater Canyon in Leavenworth, Washington. Fine Art Limited Edition of 50.
Elevate your home with Aaron Reed’s limited edition photography print, On Earth As It Is In Heaven, from his Newest Work Photography collection. Order yours today! Fine Art Limited Edition of 100.
The cameras on modern-day smartphones have significantly improved. With the right phone, you can now capture incredible photos of starry skies or the beautiful Moon.
The majority of top-tier flagship handsets have high-resolution cameras that perform well even in low lighting. They also come with dedicated night-time shooting modes.
So, if you want to try Astrophotography, one of these smartphones should serve you well.
The Samsung Galaxy S22 Ultra gets a punch-hole cut-out, an in-display fingerprint sensor, and stylus support.
The device bears a 6.8-inch QHD+ (1440×3088 pixels) LTPO 2.0 AMOLED panel with a 120Hz refresh rate, 1,750-nits peak brightness, and HDR10+ certification.
It houses a Snapdragon 8 Gen 1 SoC, 12GB of RAM, up to 1TB of storage, and a 5,000mAh battery with 45W wired fast-charging
The device supports 10x zoom via periscope telephoto camera
The Samsung Galaxy S22 Ultra comes with a quad rear camera arrangement, that includes a 108MP (f/1.8, OIS) primary camera, 12MP (f/2.2) ultra-wide lens, 10MP (f/4.9, OIS) periscope telephoto shooter with 10x zoom, and 10MP (f/2.4, OIS) telephoto camera with 3x zoom.
On the front, it features a 40MP (f/2.2) selfie camera.
The device is capable of shooting 8K videos at 24fps.
The Xiaomi 12S Ultra sports a punch-hole cut-out and an in-display fingerprint sensor.
The handset boasts a 6.73-inch QHD+ (1440×3200 pixels) LTPO 2.0 AMOLED screen, with a 120Hz refresh rate, 1,500-nits peak brightness, Dolby Vision, and HDR10+ support.
It packs Snapdragon 8+ Gen 1 SoC, up to 12GB RAM, up to 512GB storage, and a 4,860mAh battery with 67W wired and 50W wireless fast-charging.
The handset boasts 1.0-inch Sony IMX989 primary sensor
On the rear, the Xiaomi 12S gets a LEICA-engineered camera system, which includes a 50MP (f/1.9, OIS) main camera with a 1.0-inch Sony IMX989 sensor, 48MP (f/2.2) 128-degree ultra-wide shooter, a 48MP (f/4.1, OIS) periscope lens with 5x zoom, and a 3D depth sensor.
For selfies, it offers a 32MP (f/2.4) camera.
The device shoots 8K videos at 24fps with the rear setup.
The Sony Xperia 1 IV has a rectangular body, slim top and bottom bezels, and a side-mounted fingerprint sensor.
The device packs a 6.5-inch 4K (1644×3840 pixels) OLED display with HDR and 120Hz refresh rate.
It is backed by a Snapdragon 8 Gen 1 SoC. It comes with 12GB of RAM, up to 512GB of storage, and a 5,000mAh battery with 30W fast-charging.
The device equips a 12MP telephoto camera with OIS
The Sony Xperia 1 IV’s ZEISS-engineered rear camera arrangement is headlined by a 12MP (f/1.7, OIS) main camera, accompanied by a 12MP (f/2.2) 124-degree ultra-wide sensor, a 12MP (f/2.3-2.8, OIS) telephoto snapper with 3.5x-5.2x continuous optical zoom, and a 0.3MP depth sensor.
Up front, the phone has a 12MP (f/2.0) camera.
It is capable of recording 4K videos at 120fps via the rear camera.
The Pixel 7 Pro features a top-centered punch-hole cut-out and an in-screen fingerprint scanner.
It sports a 6.7-inch QHD+ (1440×3120 pixels) LTPO AMOLED screen with a 10-120Hz variable refresh rate, HDR10+ certification, and 1,500-nits of peak brightness.
The device houses a Tensor G2 chipset, 12GB of RAM, up to 512GB of storage, and a 5,000mAh battery with 30W wired and 23W wireless charging.
It sports a 48MP telephoto snapper with OIS
The Pixel 7 Pro includes a triple rear camera module that features a 50MP (f/1.85, OIS) main camera, a 12MP (f/2.2) 126-degree ultra-wide shooter, and a 48MP (f/3.5, OIS) telephoto lens with 5x optical zoom.
On the front, it has a 10.8MP (f/2.2) snapper.
The device can shoot 4K videos at 60fps via its rear camera.
The iPhone 14 Pro flaunts a pill-shaped “Dynamic Island” housing the front camera and Face ID gadgetry.
The handset flaunts a 6.1-inch Full-HD+ (1179×2556 pixels) LTPO OLED display with a 120Hz adaptive refresh rate, HDR10, Dolby Vision, and 2,000-nits peak brightness
It is powered by an A16 Bionic chipset, paired with 6GB of RAM, up to 1TB of storage, and a 3,200mAh battery.
The handset boasts a 48MP main camera
In the rear camera department, the iPhone 14 Pro gets a 48MP (f/1.78, OIS) primary sensor, a 12MP (f/2.2) 120-degree ultra-wide shooter, a 12MP (f/2.8, OIS) telephoto camera with 3x zoom, and a 3D LiDAR scanner.
It features a 12MP (f/1.9, AF) camera on the front.
The device can record 4K videos at 60fps via the rear camera setup.
In the early days of the Sony Alpha A7-series there was the A7, the A7R and the A7S. Things were quite simple. The A7S was the one for video, the A7R was the high-resolution model and the A7 was the more affordable option. It was fairly easy to choose the right camera.
The situation has got a bit more complicated since then. We’ve had the introduction of the Mark II and Mark III versions of each camera and Mark IV version of the A7R and A7, and now the Sony A7R V has arrived.
And let’s not forget the Sony A7C.
So how do you know which is the best Sony A7 camera to choose when there are so many available new and secondhand? Well, in some ways the original distinguishing features still help.
For a deeper dive into the many different camera types and features available, check out our range of camera buying guides.
Sony A7R series = High Resolution
With 61 million effective pixels on their full-frame sensors, the Sony A7R IV and Sony A7R V are the highest resolution cameras in the A7 range. Their high pixel counts enable the two camera to capture a huge amount of detail and, thanks to Sony’s fantastic sensor-building knowhow and the BSI design, noise is controlled well. That said, we’d recommend making ISO 12,800 the top value you use if possible.
Meanwhile, the 42.4Mp A7R III has the same sensor as the A7R II. Both of them resolve more detail than the original A7R which has a 36.4Mp sensor, but they can’t match the A7R IV or A7R V.
Where the A7R III scores over the A7R II for image quality is with the improved dynamic range at the lower sensitivity settings. However, we’re only talking about around 0.5EV. And while that could be significant for landscape photography, if you use ND grads or composite images, then it’s not THAT big a deal.
The A7R III also feels more rounded than the models that go before it. Its autofocusing system is impressive so it’s even suitable for shooting sport. The very best focusing system, however, is in the A7R V which has 693 phase detection points and the very latest subject detection options which include Human (Right/Left Eye Select) / Animal (Right/Left Eye Select) / Bird / Insect / Car / Train / Airplane, all of which work in stills and video mode.
Sony has improved the handling of each successive model. Consequently, the A7R V’s handling is significantly better than the A7R’s and quite a bit better than the A7R IV’s. Sony’s most recent camera feature a touch-screen, but Sony only made full use of it with the A7R V. With the A7R IV and A7R III, it’s only really useful for zooming in and out of images or setting the AF point.
There’s also a joystick that simplifies setting the AF point on the A7R III, A7R IV and A7R V. Of course, if you shoot still life, macro or landscape photography that may not be a major issue for you. This is a bit fatter and easier to find on the A7R IV and A7R V than the Mark III camera.
Another significant change that Sony has made with the A7R V in comparison with earlier models is that as well as being slightly larger (3.2-inches vs 3-inches) and higher-resolution (2,095,104-dots vs 1,440,000-dots), the A7R V’s screen is mounted on a 4-way tilting mechanism. It’s like a tilting and vari-angle screen combined whereas the A7R IV has a standard tilting screen.
Get the best deals on the full range of Sony A7R cameras at Amazon UK and Amazon US.
Which is the best Sony A7R-series camera?
If you find the Sony A7R available at a bargain price, it’s worth considering, but it wouldn’t be our first choice of the A7R-series cameras. Its AF system isn’t a patch on the latest version and the handling can get annoying. The Eye AF (human and animal) that’s available with the A7R III and A7R IV, is superb, but if you want it to work for humans in video you’ll have to opt for the A7R IV or A7R V. The new Sony A7R V makes some very nice upgrades on the A7R IV, including the ability to set the subject tracking to Human (Right/Left Eye Select) / Animal (Right/Left Eye Select) / Bird / Insect / Car / Train / Airplane.
If you don’t need quick AF point selection and the fastest focusing, nor the improved dynamic range, then the A7R II looks like a good solid proposition. It also makes a significant saving on the A7R III. However, if you can afford it, the A7R IV captures a lot more detail and is more affordable than the newer A7R V.
We haven’t finalised our full Sony A7R V review yet, but we’re already confident that it’s one of the very best cameras out there.
Sony A7S-series = Video
While the A7S, A7S II and A7S III are intended as the video cameras, Sony hasn’t stinted on the video features of the A7R II, A7R III, A7R IV, A7R V and A7 III. However, where the A7S models win is with their low-light capability. They all have a native sensitivity that tops out at ISO 102,400.
Their low (12Mp) pixel counts mean that they handle noise extremely well.
What the A7S and A7S II don’t do well in low light, however, is focus. That’s not an issue for many videographers who routinely focus manually, but it’s a little behind the times. Thankfully, the Sony A7S III addresses this. It has a Hybrid AF system with 759 phase-detection points and 425 contrast-detection points, Real Time Eye AF (Human and Animal) for stills and video. Its AF system is also claimed to operate at down to -6EV.
Naturally, if you’re considering an A7S series camera, video is your primary concern. The A7S and A7S II are both proven in this area and deliver great quality results. But the A7S III is a more capable 4K camera.
It has full-sensor readout and can shoot 4K video at up to 120p or full HD footage at up to 240p, with full-sensor readout no pixel-binning and with the hybrid autofocus system in action.
There’s also 10-bit colour depth and 4:2:2 colour sampling available in all recording formats.
In addition, Sony has introduced new/improved codecs including XAVC S-I 4K (All-Intra), XAVC HS 4K (Long GOP) and XAVC S 4K (Long GOP), plus there’s S-Log2 and S-Log3 and improved S-Gamut3 and S-Gamut3.Cine colour science.
The A7S III also supports 16-bit raw video output to an external recorder via HDMI – that’s a first for the A7S-series. The output is full-frame 4264 x 2408 16-bit with a choice of 59.94p/50p/29.97p/25p/23.98p frame rates and colour spaces.
Sony has also upgraded the A7S III’s dual card slots so that as well as SD/SDHC/SDXC UHS-II media, they can accept the new CFexpress Type A cards. These cards are required to get the top-quality results in the enhanced S&Q (Slow and Quick) modes.
Sony has also responded to one of the biggest requests made for the A7S III and given it a vari-angle touchscreen. That means it’s easier to see the scene then you’re shooting above or below head-height, and for many, makes an external monitor unnecessary.
If you like the idea of a vari-angle screen for vlogging but you’re not sure keen on the A7S III’s price tag, take a look at the Sony A7C. Announced in September last year, it has a first-rate 24Mp full-frame sensor, the Bionz X processing engine and excellent autofocusing capability along with a reasonable video specification. There’s no raw video capability but you shoot high-quality 4K footage in S-Log2 or S-Log3.
However, Sony hasn’t given the A7C the A7S III’s revised menu structure or its excellent touch-control. Also as a 0.39-inch type, A7C’s viewfinder is also pretty small for a full-frame camera.
Get the best deals on the full range of Sony A7S series cameras at Amazon UK and Amazon US.
Which is the best Sony A7S-series camera?
With the Sony A7S III now on the market, there are likely to be some bargains available on the A7S II. That camera has been doing a great job for many videographers and the A7S III doesn’t make an upgrade in resolution. Where it wins, however, is with the improved handling and feature set that should make creating great 4K video that bit easier.
You can order the Sony A7S III from Adorama in the US and Wex Photo Video in the UK.
Sony A7 series = The Affordable Option
While the A7 II was pretty decent, the Sony A7 III is much better. What’s more, at launch Sony priced it quite aggressively for a full-frame camera at £2000/$1,998 (body only) or £2,500/$2,198 with the 28-70mm lens. However, its price has fallen since launch.
Those are still not figures to be sniffed at, but that money brings you a very capable AF system, that’s streets ahead of the A7’s and A7 II’s. It also brings improved handling with the mini-joystick control, a touch-screen and twin card ports.
The A7 III’s full-frame sensor also has a pixel count of 24.2 million, which as well as being a popular figure, allows a good balance between detail resolution, file size and noise control. Add in 4K (3840 x 2160) video recording with S-Log plus a battery that has a much longer life than the A7 II’s and the Mark III looks like an easy decision.
On 21st October 2021, the Sony A7 IV was unveiled to the world and it makes some significant steps up in comparison with the A7III. Most notably, the A7 IV has a 33Mp Exmor R BSI (backside illuminated) CMOS sensor which means its pixel count is 36% higher than the A7 III’s.
Sony has also paired the A7 IV’s sensor with its latest Bionz XR processor, previously seen in the Sony A7S III and Sony A1. This extra processing power enables the A7 IV to have the same native sensitivity range (ISO 100-51,200) despite its hike in resolution.
The maximum continuous shooting rate is also the same at 10fps.
Another area where the Sony A7 IV distinguishes itself from the A7 III is with the autofocus system. That’s because the A7 IV has Real-time Tracking AF and Eye AF from humans, animals and birds for both stills and movies.
The A7 III gained real-time AF for animals but not birds with a firmware update and only for stills, not video.
So far we’ve only been able to shoot a few images for our early Sony A7 IV review, but the Eye AF seems more responsive with humans and animals than the A7III.
On the video front the headline figures for the A7IV are 4K recording in XAVC S-I format at up to 60fps with 10-bit 4:2:2 colour to either an on-board memory card or via HDMI to a recorder.
The 4K 30p video is oversampled from 7K using the full-frame, but 4K 60p is oversampled from 4.8K in Super 35 (APS-C) mode so there’s a 1.5x crop.
That’s a nice improvement on the A7 III which doesn’t have 10-bit colour nor 4K 60p capability and applies a 1.2x crop to 4K 30p footage.
While the specification improvements might not seem dramatic to some, the handling of the A7IV is dramatically enhanced. For a start, the electronic viewfinder has a nice boost in resolution as it’s a 3.69-million-dot unit rather than a 2.36-million-dot device, and it has a refresh rate of up to 120fps.
In addition, the A7 IV has a 3-inch 1,036,800-dot vari-angle screen rather than a tilting screen. This makes it much more versatile and it can be angled to help with portrait orientation shooting as well as landscape. It can even be flipped round for vlogging and shooting selfies.
Sony has also given the A7IV the revised menu arrangement that first appeared on the A7S III and later the A1. It’s considerably more user-friendly than the old menu system.
Sony also has another ‘affordable’ full-frame camera, the A7C, which is a bit more compact. However, its current street price is around the same as the A7 III’s and although it brings a vari-angle screen, in other respects it’s not quite so well specified. Unless you really want a vari-angle screen, we’d recommend going for the A7 III, but if you can afford it, the Sony A7 IV has the best of both worlds.
Get the best deals on the full range of Sony A7 series cameras at Amazon UK and Amazon US.
Which is the best Sony A7-series camera?
The Sony A7 III can be bought for around £1,699/$1,998, which is temptingly below the £2,499/$2,498 launch price of the A7 IV. But as well as the resolution boost and improvement to the AF system, the new camera makes some very nice upgrades to the handling so we’d be sorely tempted to save a little longer.
Which Sony A7 camera should you choose?
If you’re still not sure about which Sony A7 camera is best for you at this stage and you’re desparate to make purchase, plump for the A7 IV. It’s a great all-rounder and it’s designed with enthusiast photographers in mind. It’s a camera with all of the specification you need right now, plus plenty of room to grow with.
With the A7 IV, you’ll be able to shoot a wide range of subjects including fast-moving sport and action. Noise is also controlled well and the level of detail in images won’t disappoint.
If you’re keen to get more resolution then the A7R V is the best choice and its AF system is incredible. If video is your primary concern then go for the Sony A7S III.
Of course, if you’re really torn and you feel you might need to be able to combine high-resolution stills shooting with high-speed, blistering AF and 16-bit raw video recording, the 50Mp Sony A1 is the camera for you. It is currently available for £6,500 / $6,500 but it looks like the camera that will see many professional photographers, including sports, wedding and journalist photographers switch to mirrorless photography.
Article Name
Which Sony Alpha A7 camera? How to choose the right model
Description
With 8 Sony Alpha A7-series cameras available, you might be wondering which one to buy. We take you through the options to help you choose the right A7-series camera for you and your photography.
How do you do that? If you find joy in the sunrise, wonder at the finest details of an ant, deep friendliness towards your model, amazement at the feather patterns of a bird, excitement at seeing a predator hunt, or fascination in the abstract patterns, then you have succeeded.
