Category Archives: Panasonic GH4

Review of the Platypod Pro Max



A while back I had done a review of the exceptionally versatile and compact Platypod Pro® Deluxe Kit. Now the makers have introduced a follow-up to the Platypod Pro called the Max.

Much planning, engineering and fine machining go in to making the Platypod Pro® Max. The Max’s initial form is stamped out of a 5mm thick sheet of aircraft grade aluminum maintaining absolute flatness. Using Computer Aided Manufacturing (CAM), the plate is computer machine precision drilled for all holes and slots. Edges are round-routed and holes either threaded or chamfered to avoid any sharp edges. Key holes slots for attaching the spike screw box are drilled only partway through the plate with very low tolerances to allow easy but firm attachment. These last holes are invisible from underneath the plate.


I have been informed by the manufacturer that the machining quality and workmanship on the Max is so meticulous that despite computer aided manufacturing the factory can only produce 1500 every 25 days!

Like the original Platypod Pro the Platypod Pro Max is a sturdy flat mini tripod ideal for low-angle shots and situations where traditional tripods are cumbersome or impractical. It is however, significantly larger, has four spikes/reversible rubber feet rather than three, a belt loop, a single 3/8 inch 16 ball head mounting screw and a 1/4 inch 20 removable stud to mount accessories.


Using the Max in Yosemite

Here is an image captured with the Max set up on top of the stone wall at Tunnel View – Yosemite NP.

Tunnel View at Sunset

Tunnel View at Sunset

Unlike its smaller brother the Max supports ball heads of any size and is rated to support 300 pounds. A 3/8 inch 16 threaded screw hole allows you to mount the Max directly to your tripod as and when needed.   Made of aircraft grade aluminum anodized black with beautiful self-explanatory laser etchings, the Max comes in a red microfiber drawstring pouch.


Max mounted with my heavily used RRS BH55 mounted to an Arcatech 1170 leveling base (note the Acratech bubble level)

If you already own a Platypod Pro the Max does not replace it, rather it compliments it where situations demand a larger base or when you need to physically move your low lying camera rig across the sand or grass when photographing wildlife.


  1. Base – 6061 black anodized aircraft-grade aluminum. 5 mm thick. 5.25 x 7.75” (5-year warranty—Full replacement of parts for any defect in workmanship.)
  2. Fiberglass-reinforced nylon removable “bayonet style” storage box mounted onto plate to hold four 1/4-20 spikes, 2 inches long, with heavy-duty rubber feet and locking nuts. Small magnets keep spikes in place for storage.
  3. Five 1/4-20 threaded holes strategically placed to allow use of spike feet in configurations of one, two, three, or four at a time.
  4. Two 2-inch belt slots to secure to any cylindrical object or to tape onto floors for remote camera setups.
  5. 1/4-20 and 3/8-16 accessory threaded holes for attachment to tripods or quick-release devices under the unit.
  6. 3/8-16 TA2 titanium photographic bolt drilled and countersunk through the plate and welded in place for large tripod ball heads, such as the RRS-BH55, even with spike-feet in place.
  7. Two non-threaded holes for permanent or semi-permanent mounting to floors, walls, ceilings or panels.
  8. Weight: 13 ounces, including spikes and storage box.

At approximately 5 x 8 inches it is about the size of an iPad Mini and fits well in any camera case that has a slot or pouch designed to hold a laptop or an iPad. As an option you can use either slot or one of the non-threaded holes and a carabiner to hang the Max from your belt or a loop on your backpack.

_DSC4380-EditAs compared to the original Platypod Pro, Max’s larger footprint means more stability. Like the Pro, Max is made of aircraft-grade aluminum with an embedded 3/8-inch titanium bolt. However, it does come with a few features, including a pair of slots that can secure Max via a bungee cord, zip-ties or even your belt to freestanding objects and structures. In the center are 1/4- and 3/8-inch holes to attach Max to quick-release devices, such as the Peak Design Capture Clip, or directly onto a tripod center column. A very convenient 1/4 – 1/4-inch male cross-nut allows attachment of flexible arms, speed-lights and numerous accessories.  Here I used a Novoflex Flex Arm and a Lume Cube LED to light the crystal.  The camera is a Panasonic GH4 with a 30mm Lumix macro lens.  A second 1/4 – 1/4 and a second Flex Arm would be ideal for cross lighting a macro subject.

The Max‘s larger base allows use of most any ball head. The RRS B55 is the largest ball head I own and I had no problem attaching it to the Max and all the knobs have adequate clearance. As I no longer use large DSLR’s all my tests were done with Sony and Panasonic mirrorless bodies. Using the Max with an A7RII and the 70 – 200 mm f/4.0 lens was a breeze. I also mounted a Panasonic GH4 with the new Leica 100-400 using a Wimberly SideKick for quick reaction time and maneuverability. When using the Sidekick it is imperative that you remove the holder for the spikes with a simple twist and place the cross-nut in one of the corner positions, out-of-the-way.  This gives the sidekick the clearance  for 360 degree rotation. The Max supported this rig very well.


With the Platypod Pro you had to be careful mounting heavier gear. It was best to ensure the center of gravity was as close to the center of the Platypod Pro mounted ball-head. With the Max, this is a less of an issue. With a medium or large ball head the Max will comfortably support most DSLRs and mirrorless cameras fitted with normal to long telephoto lenses. A super telephoto lens properly mounted on a good ball head works well too. Here as in the image below I tested it using the RRS BH55 and the Wimberley Sidekick with a Canon 500 mm f/4.0 lens attached to a Sony A7R II using a Metabones IV adaptor.


Similar to the Platypod the Max is ideal great for ground level photography and videography, a mount for action cameras and for creating panoramas. When creating panoramas use a pan/tilt ball head like the Unique as shown below or attach a leveling base (see following image) below the ball head as shown in an image above where the RSS BH55 is mounted on top of the Acratech 1170 leveling base. As the Max is made of a relatively thin aluminum plate it would be difficult to have a built-in level. A third-party bubble level can be adhered to the max or simply place on it to level the Max. When it is necessary to level the Max it is best to use three of the four spikes or rubber ends. Four legs are great for stability but not so for leveling. The Max is best used without spikes or feet when you want to have the flexibility of sliding it in any direction on flat surfaces, sand or grass. When friction is important then the spikes are the best option. In the reverse orientation the rubber caps not only provide friction preventing the base from sliding around but also prevent damage to furniture, painted surfaces, etc.


For surfaces like asphalt, rocks and brick the spikes are your best choice for stability. To attach the base plate to a fence post, rail or tree limb, a pair of bungee cords, straps or your belt work great. All you need is to secure the cord around your object and hook the ends into the slots or holes in the base plate. Belts and straps can be passed through the slots on each side of the Max to secure it to any post, tree trunk or similar object.

The Max with its little brother the Platypod Pro have a permanent home in my photography kit. I find I am using these support systems more than using my tripods.

More on the Platypod products and their web site

All company names, products and devices mentioned in this review are trademarks of the respective companies, registered in the U.S. and other countries.  

Also posted in Accessories, Macro, Mirrorless, News, Panning, Photographs, Photography, Product Reviews, Sony A7R, Time-Lapse

Panasonic Lumix GH4 Firmware update announced


Panasonic has announced a Firmware update 2.5 that introduces several enhancements introduced in Lumix G series cameras since the GH4 was originally introduced.

Post Focus
Post Focus is a special function that enables users to select an in-focus point after shooting. It has already been integrated in new LUMIX cameras such as the GX8. This feature allows you to change the perspective for greater photographic expression or to choose the best in-focus shot for macro shooting.

4K PHOTO (4K Burst / 4K Burst (Start/Stop) / 4K Pre-burst)
With 4K PHOTO mode there are three dedicated modes – 4K Burst / 4K Burst (Start/Stop) / 4K Pre-burst – are all now available on LUMIX GH4*. The addition of these modes further enhances the usability of 4K PHOTO to capture fleeting photo opportunities at 30p.

External Flash Burst
A new feature supporting consecutive shooting with flash burst is available with an external flash that is capable of continuous emission. This includes the following Panasonic models:

* Discontinued models are compatible but have some restrictions due to slower charge speeds

The firmware will be available at the end of March 2016 from the following link:



Also posted in News, Photography, Software, Strobes

Day after New Moon

A different time

A different time

On a whim I set up the Swarovski scope to its lowest magnification at 30X.  The camera was the Panasonic Lumix GH4 set at ISO 1600, and 1/60 sec shutter.  The image when clicked on is the full frame from the camera 4680 X 3072 pixels.  The adjustments made to the raw file are: highlight recovery of -29, white balance adjusted to 5700 Kelvin (to taste),  noise reduction using Topaz Denoise version 6. A a touch of contrast and clarity to finish.  All this in the hope the weather stays good and I can get a few images of Jupiter this weekend.  I did not use a remote shutter release but will for the Jupiter images.

Also posted in Accessories, Mirrorless, Night Photography, Noise Reduction, Photographs, Photography Tagged , |

Iceland August 2015 – Day 3


The Coastline and Fjords


This the last full day in the peninsula (rain and wind aside) was spent exploring the far west and the northern coastline.


Farm Implements



Abandoned Farm House



Terns – protecting their young



The Warning Before the Nose Dive



Please Go Away



A No Name Waterfall in the interior



Water oozes through lava



Another lava waterfall along the roadside

Also posted in Black & White, Mirrorless, Photographs, Sony A7R, Workshops

Peak Design – CLUTCH – an excellent hand strap


This is the second in my three-part review of the Peak Design camera strap product line.  Here I review the Clutch.  This is a comfortable and beautifully constructed support strap.  This is no ordinary hand strap, it is not only easy to attach but has a wonderful feel around the back of your hand.

_DSC6910 _DSC6909

The top end is attached to the strap loop of your camera via a looped band that is then attached to the strap using a spring-loaded trap-door style locking mechanism.  The other end is connected via an Anchor Link attached to the supplied camera base plate or your Really Right Stuff compatible plate.

I attached this to all three of my mirrorless cameras and my wife’s Canon 6D.  I found it to be most comfortable when attached using the supplied plate or the RRS plate on my Panasonic GH4 and with the Canon 6D.  On the Olympus OM-D E-M1 and the Sony A7R the RRS plate extends too far to the right that provides too much slack.  This slack has the Anchor Link clasp interfering with your hand and is not comfortable at all.  However if you use the supplied base plate this is no longer an issue.

Once the Clutch is properly attached it is a breeze to tighten it for a perfect grip by pulling on the tab of the tightening band.  To loosen, you simply lift on the end of the friction loop to release the tension.

As with any hand strap there is a concern of the camera possibly slipping out of your hand and falling to its doom. If this is a concern, you can easily solve this by attaching a second Anchor Link to the base plate and use a to secure the camera to your wrist, using the “Cuff”.

Cuff attached for extra security

Cuff attached for extra security

Specifications (from the Peak Design product page)

  • Weight: 45 g (123 g as packed)
  • Strap length: adjustable from 18 cm (7 in) to 29 cm (11.4 in)
  • Strap width: at the widest point, 51 mm (2 in)
  • Strength rating: Vectran®-corded Anchors can withstand over 200 lbs (90 kg), making Clutch safe for use with the largest of professional cameras

Build quality

Of all the straps that I have used in the past and currently, I find the Peak Design Clutch  to have been made exceptionally well as I have found with the other Peak Design straps. As with the Slide, every component is beautifully constructed, all the stitching is truly well executed. The adjusters, the loops and the tripod plate are all of the highest standards.

I have been using the Clutch to my Panasonic Lumix GH4 for two weeks and am very pleased with the performance. .  With the cuff as added security this is an excellent combination.

My final assessment

This is undoubtedly the most comfortable hand strap I have used.  It is ideal for the lighter DSLR’s and any mirrorless bodies on the market. Of significance is the easy of tightening and loosening the strap.

I would not hesitate to recommend the Clutch and give it 4 1/2 star rating out of a possible 5. The street price is about $40.

To get any Peak Design product click on the logo below for a 10% discount.Logo_Peak-Design_Dark

Also posted in Accessories, Mirrorless, Photography, Product Reviews Tagged , , |

Panasonic releases firmware version 2.1 for the Lumix GH4

Panasonic released version 2.1 on January 26, 2015.  Had to wait and test it all before posting this.  As with any firmware update, please follow all instruction and do so with care. Here is the excerpt from the Panasonic web site and the links to the update:

  1. Time code can be embedded to the HDMI output signal.
    – Selectable in Motion Picture menu : [Time Code]>[HDMI Time Code Output]
    * Available when DMC-GH4 or DMW-YAGH are connected with the products of ATOMOS Global Pty. Ltd. or the products complying with the extended specifications of ATOMOS Global Pty. Ltd..
  2. RSS (Recording Start/Stop) signal can be embedded to the HDMI output signal.
    – Selectable in Motion Picture menu : [HDMI Rec Output]>[HDMI Recording Control]
    * Available when DMC-GH4 or DMW-YAGH are connected with the products of ATOMOS Global Pty. Ltd. or the products complying with the extended specifications of ATOMOS Global Pty. Ltd..
  3. FHD at 30p/25p native output via HDMI is available while recording video in FHD at 30p/25p.
    – Selectable in Motion Picture menu : [HDMI Rec Output]>[1080/30p Set.] or [1080/25p Set.]
  4. Playback performance of recorded 4K video is improved.
  5. [Time Lapse Shot] Program is fixed to start recording at the designated time even when [summer time] is set.
Also posted in Mirrorless, Photography, Software, Time-Lapse

Fog – In the Dark

In continuation of yesterday’s post, the second image I had pre-visualized was a barn nestled among some dark trees with a figure in some vintage clothing standing in the foreground.  I wanted to light the figure for some added effect.  Driving in a nearby town I notice this barn or shack, so my wife and I decided to check it out.  It was close to what I was wanting to capture.  My wife put on this vintage coat and trudged through the slush to the shack.  I in the mean while took a few test shots to check out the light and composition.  I had not worn proper boots and was wearing a pair of slip ons. In the rush to get out and shoot, as luck would have it, as I carried the light stand and soft box to the shack I realized I was ankle-deep in slush and freezing water.  Next my pocket wizards decided they would limit their range  so I had to get closer than I wanted as all I had taken with me was the 35 – 100 mm on my GH4.  To get the full shot I would have to take two images and stitch them.  The final image is composed of two images stitched in Photoshop and then textured.

Please click on the image for a larger rendition.

In The Dark Fog

In The Dark Fog

 5:00 PM – Panasonic Lumix Gh5, 35 – 100 mm f/2.8 at 35mm. Exposure triad – ISO 200, f/2.8, 1/6 sec.

Also posted in Mirrorless, Night Photography, Photographs, Photography, Strobes Tagged , , , , , , |

Fog – January 4, 2015

Today was the first day in 2015 that I picked up a camera and stepped out to see if I could get two images that I have been envisioning. The first was a tall lone tree in fog or mist the other I leave for tomorrow. I wanted it to be a monochrome image, B&W or cyanotype – I settled on B&W.  The snow against the dirt and rocks adds to the scene creating a strong foundation for the rest that is mainly an ethereal sky.

Lone Tree Panasonic Lumix GH4, 35 - 100 mm f/2.8 at 80mm. Exposure triad f/2.8, ISO 100, 1/40 sec.

Lone Tree
4:00 PM – Panasonic Lumix GH4, 35 – 100 mm f/2.8 at 80mm. Exposure triad f/2.8, ISO 100, 1/40 sec.


Also posted in Lighting, Mirrorless, Photographs, Photography Tagged , , , , |

Flash Sync Speed Limitation – a question from a subscriber

Question: “One thing I am curious about is the shutter with regards to off camera flash. Is there still a physical shutter that limits me to a max synch speed of around 1/200 of a second? Or have they moved to an electronic shutter that would allow much faster synch times?”

In order to appropriately respond to the question lets first understand how mirrorless camera sensors operate. Most mirorless cameras use CMOS sensors that contain light sensitive pixels arranged in rows. These sensors are always live as long as the camera is powered on and booted up.

Panasonic LUMIX FL580L Flash: Hybrid Flash System with Built-in Video LED

Panasonic LUMIX FL580L Flash: Hybrid Flash System with Built-in Video LED

In the mirrorless world, the sensor information is being constantly fed to the LCD and/or the electronic viewfinder. When you press the shutter the following sequence takes place: a) the sensor is wiped clean electronically; b) next the sensor is turned on and receives light while the pixels record the information; c) now the computer in the camera reads the data collected by the sensor pixels to generate the image. This data is finally recorded to the memory card.

We know that the sensor is sensitive to light and always receiving information. In order to capture a good image, the sensor should be restricted from receiving light while it is being wiped clean and then again when it is reading the data captured during exposure. As the sensor data is being read you do not want the pixel information changing with any new light that may fall on the pixels. So, for both these events, mirrorless cameras use electronic or mechanical shutters or a combination of the two.

The electronic shutter works by first erasing all the pixel data on a row-by-row basis. Then new image information is gathered and the data is read by the computer on a row-by-row basis very similar to how a television picture is generated. All of this takes time, albeit just a fraction. The greater the number of pixels the more the rows of information and the slower the process. This limits the cameras from achieving high shutter speeds. For proper exposure these rows of pixels gather the same amount of light but do so a row at a time. The data is read at the same rate. The collective time determines the fastest achievable electronic shutter speed.

We are aware that to expose properly for flash photography all the pixels must be “alive” and ready to receive data while the flash is on. If the row by row read process starts too early then you will get areas of dark under exposure. In order to properly expose for flash, the computer in the camera has to wait before it can start reading the data collected by the sensor. This wait time determines the highest sync speed for flash photography.

As an adjunct to this, in order to achieve higher shutter speeds mirrorless cameras use mechanical second curtains. The curtain can rapidly close all light from entering the sensor while the computer reads the information. On the Sony A7 that has a 24 MP sensor, there are 4000 rows of pixels. The only way to attain shutter speeds of 1/8000 sec. is possible using a mechanical rear-curtain. On the 36 MP A7r however, there are 4912 rows of pixels. To attain speeds of 1/8000 sec. this camera needs both a front-curtain and a rear-curtain shutter. The MFT cameras like the Panasonic GH4 and the Olympus OM-D series have 16 MP sensors that have only 3456 rows and can achieve 1/8000 sec. electronic shutter speeds without the need for mechanical shutters..

The Sony A7 has an optional mechanical front-curtain that must be deployed when using lenses of longer focal lengths at high shutter speeds.

Unlike DSLR’s, the mechanical shutter on mirrorless cameras remains in an open state in both the powered off and powered on modes, allowing for live view data to be collected and displayed continuously.

The highest flash sync speed is currently 1/320 sec on the Olympus OM-D E-M1 , 1/250 sec on the Panasonic GH4 and under 1/200 sec for most of the Sony cameras.

Hope this explains why the current mirrorless technology is limited and high flash sync speeds are not feasible.  If you have other photography related questions, please do not hesitate to ask and I will do my best to get you answers.

Also posted in Accessories, Educational, Mirrorless, Photography, Sony A7R, Tips Tagged , |

Shopping for a Mirrorless Camera?

Panasonic Lumix GH4 (image courtesy Panasonic)

Panasonic Lumix GH4 (image courtesy Panasonic)

Here is a question that I have been asked many times.  Why did you switch to the  “mirror-less” camera system?   My answer is quite simple, its all about not compromising the image quality and reducing camera size and weight. As these cameras do not have flip-up mirrors the distance from the lens to the sensor is greatly reduced resulting in lenses that have a smaller form factor and are also lighter. As a result, I can carry all my gear in a much smaller bag or carry-on and not have to worry about checked luggage during my travels.

The next set of questions typically revolve around the quality of images; the focusing speed; noise because of the smaller sensor; battery performance; etc.

Let’s address some of these concerns.

Before the advent of mirrorless cameras, DSLR’s were based on the same design as film cameras.  The film was replaced with an electronic light capturing device called the sensor.  Computers, memory cards and batteries were added to complete the image capture process.  All else however, remained the same.  A mechanical mirror that is used to reflect light up and through a pentaprism into an optical viewfinder remained as the standard.  Each time you press the shutter the mirror flips up and the sensor is exposed to light and captures the image.  With the advancement of technology and innovation this flip-up mirror and mirror box is no longer required.  The sensor has a clear view of the image as projected through the lens and the electronics used to capture the image are used to display the image onto the LCD screen. Optionally the image is displayed in the electronic view finder (EVF) that is like a miniature LCD screen. No more flip-up mirrors.  Now DSLR’s have incorporated some of this technology in what is termed as “Live View Mode”  but unfortunately, some manufacturers have not taken this concept to the next level.

Mirrorless cameras can be categorized the same way as DSLR’s where you have APS-C sized sensors, Full Frame sensors, etc.  The mirrorless world for comparison purposes, has three sensor sizes that have gained acceptance as replacements for DSLR’s.  The smallest are the Micro Four Thirds (MFT) cameras made by Panasonic and Olympus, APS-C sensor cameras made by Fuji, Samsung, Sony and others and the Full Frame cameras made by Sony.  The sensor size of these cameras have the same crop factor considerations as do DSLR’s.  The APS-C crop factor remains at 1.5 and the MFT sensor has a crop factor of 2.  Based on the crop factor, higher depth of field is achieved with the smaller crop factor and results in less bokeh. Based on your style of photography and the subject matter, the range of full frame to a MFT sensor size body gives you all the choices you had with DSLR’s.

As to focusing performance, DSLRs have some advantages. The dedicated phase-detect AF systems are very good at tracking subjects that are moving toward or away from the camera. In addition they also have an advantage focusing in low light situations.  Conversely mirrorless cameras are excellent at lateral tracking. As the sensor in the mirrorless camera is always live it is capable of analyzing the subject and and tracking it as it moves across the frame. With the introduction of Panasonic’s “Depth From Defocus” technology depth tracking has been greatly improved.

Sony A7R (image courtesy Sony)

Sony A7R (image courtesy Sony)

What about quality?  On the high end the Sony A7R has a 36.4 MP full frame sensor.  The Nikon D810 utilizes a 36.4 MP sensor made by Sony.  Image quality is exceptional.  The elimination of the Anti-aliasing filter allows the camera to capture exceptional detail and clarity.  The APS-C form factor has been popular with a majority of the prosumer range of DSLR’s on the market and has been the choice of many pro photographers too.  The MFT cameras and that sensor size is new in comparison but the images from the MFT cameras are at par with the APS-C format cameras.

ISO Sensitivity.  If there is any doubt, all one needs to look at is the sensitivity of the Sony A7S with a max ISO of 409600.  The camera can practically see in the dark.  It is important to remember that ISO sensitivity has no bearing on the type of camera, DSLR or Mirrorless.  The size of the sensor and the size of the pixels make the difference in light gathering capability and noise generation during image capture.

Let’s look at some of the pros and cons for mirrorless cameras.


  • The ability to view the image in the viewfinder and the LCD screen in realtime.
  • The ability to view all or select any of the camera settings live.
  • The ability to view any changes to camera settings without having to take your eye away from the viewfinder.
  • Focus peaking and zebra stripes.  Focus peaking allows you to see the areas within your image that are in focus. This can be displayed using selectable colors.  Zebra stripes show you in realtime areas that are going to be exposed with loss of detail in the highlights.
  • The ability to use most DSLR and Film camera lenses with adaptors.  You do not have to get rid of all your great glass.  You may not have the ability to maintain electronic communication with the lens but they will work perfectly well in manual mode.  With focus peaking, the process of obtaining good focus is simplified.
  • The ability to shoot high resolution video and harvest the ideal frame.  (Currently this is available on the Panasonic GH4)
  • Electronic shutter – low to no sound when capturing images.  A feature so important for nature, wildlife and street photography.
  • No mirror, hence no mirror slap and vibration during image capture.


  • Battery life –  with the exception of the Panasonic GH4 most other cameras have a very low battery life. These cameras are constantly drawing power feeding the LCD, electronic viewfinder or both.  Due to the size of the mirrorless bodies, the batteries have been downsized too and hence have lower capacity.
  • Long focal length lenses.  With the exception of Olympus and Panasonic we have yet to see lenses with focal lengths greater than 200mm
  • Electronic viewfinder and LCD refresh performance is limiting particularly in low light scenarios.
  • Focusing speed of mirrorless cameras had been an issue but most manufacturers have addressed this with firmware and focusing system enhancements.

So which camera do you get?  It all depends on your style and budget.  I can say that having used mirrorless systems for about a year now my choices are:

  • For general purpose, nature/wildlife and people photography – the Panasonic Lumix GH4 is superb with the Olympus OM-D E-M1 a close second.
  • For detail and landscape photography – the Sony A7R is my choice.  The A7 II, though I have not tested it appears to be a more forgiving camera and adds in camera image stabilization.
  • For low-light photography – the Sony A7S is hard to beat.
  • For video – the Panasonic Lumix GH4 is a hands down winner.  The Sony A7S is very good but does not shoot 4K video to the camera.

I own or have used the following: Panasonic GH4, Olympus OM-D E-M1, Fuji XT1, Sony A7R and Sony A7.  My comments on the Sony A7S and the A7 II are based or reviews and video samples captured by photographers’ whose opinion I value.  The greatest lens selection is available from Panasonic and Olympus while Sony is still limited to 7 full frame E mount lenses.  Panasonic and Leica have jointly produced some exceptional lenses as have Sony and Zeiss with their collaboration.

By no means is this post meant to be a full review but a quick personal impression.  Please do look at various reviews available on the internet for a more thorough analysis. However, I hope this helps you make your holiday shopping a little less confusing.  Camera Labs is one of my preferred sites for honest in-depth reviews.

CLICK on the chart to enlarge

Mirrorless Chart




Also posted in Mirrorless, Photography, Sony A7R Tagged , , , , , , , |