Not to discredit Fujifilm whatsoever, but the camera had reached its limits for me. The file size, the DR, ISO tolerance and what I could do in post processing with them pushed me to make a change. Sure, the Fujifilm XT-4 was an option, but it still didn’t have the look and feel of the RAW files from a Sony Alpha series camera, so I decided to jump ship back to Sony.

This article is going to highlight some of the ground work that I did to make the decision to go with the Sony A7RIII instead of the Sony A7RIV and why it’s the better choice for most landscape photographers. It also features some new pretty pictures.

Sony A7RIII vs Sony A7RIV: Key Differences and Similarities

This is a question that I’m sure many landscape photographers have found themselves in since the A7RIV came out. There are a few key differences outside of price that are worth a closer look including file size, sensor design and autofocus regarding both full frame setups.

Sensor Differences

First let’s take a look at the sensor and file size. The A7RIII sports a 42.5MP full frame stabilized back side illuminated (BSI) CMOS sensor with improved, low-noise processing. The image quality and dynamic range is much improved compared to its predecessor and the dynamic range rivals that of the Nikon D850 at its long envied ISO 64 setting. The camera shoots uncompressed RAW files that come out at a file size of 81.9MB.

The A7RIV has a newly designed high-resolution full-frame 60.2MP BSI-CMOS sensor. It also has a new 16-shot high-resolution mode that can be used to generate 240MP images of static scenes (this means no moving clouds or water).

The sensor of the A7RIV is slightly noisier than the A7R III at the highest ISO values and I’ve seen some samples at lower ISO values that show the same thing. DPReview outlined this in their review of the A7RIV.

Storage Headaches

With a larger sensor and improved resolution you can run into a few problems, including lens resolving power. This sensor is downright impressive and the uncompressed RAW files are HUGE; in excess of 110MB. You better be prepared to upgrade your storage if you’re planning to pick this camera up. Seriously though this means that you will likely either need to build a new custom Mac or PC to handle the file sizes and you will definitely need to set up a new RAID storage system to handle and back up files that large. It’s definitely something to consider before purchasing.

Dynamic Range

Let’s take a closer look at DR:

The above chart came from an excellent site known as photonstophotos.net (linked in blue above). This chart displays the photographic dynamic range at each ISO value.

As you can see the A7RIII (in blue) is slightly better in terms of DR than that of the A7RIV (in black), but the differences really are going to be mostly indistinguishable in real world use.

Both cameras have fantastic sensors and in terms of printing a 42.5MP sensor will allow you to print virtually any size that you can dream up. The 61MP sensor is a monster and you may run into some issues with the resolving power of your lenses with a sensor this large. If your lenses are absolutely perfect optically, then you will the ability to print billboard size images that look amazing. For a full review of image quality and DR please check out DPReview’s reviews for both the A7RIII and the A7RIV.

Autofocus

Autofocus is an area where the A7RIV slightly edges out the A7RIII, but if you’re using this camera primarily for landscape shooting with some wildlife here and there, does that matter? No, not really. The A7RIII is still excellent for small children running around, sporting events, landscapes and yes even wildlife. The eye AF Animal eye AF and overall subject tracking on the A7RIII all work exceedingly well in real world situations and they have only been improved in the A7RIV. Both cameras shoot at 10fps with the mechanical/electronic shutter and 8fps in uncompressed RAW. Burst speed is also very close in 28 uncompressed RAW files in the A7RIII vs 33 in the A7RIV.

Touch to Focus

The touch to focus in the A7RIII is actually fairly responsive and fairly easy to use for focus stacking static subjects. The cancel button can be a bit sticky at times, but it still works pretty well. Make sure that you switch to manual mode with focus peaking to ensure that you’ve hit all of your focus points. The touchscreen and the LCD is identical in the A7RIV and didn’t see an upgrade outside of the fancy new red box. It now includes a red box instead of gray box for touch to focus, but that’s not enough to warrant spending the extra cash in my book.

Another important thing to note is that the A7RIII got a firmware update with the A7RIV made its debut. This allowed nearly all of the AF features to be updated to near A7RIV spec in the A7RIII… except the little red box. That stays with the A7RIV.

For a full review of the AF in both cameras please check out these links from DPReview A7RIV, A7RIII as they have done a great job going over the specifics of the autofocus differences between the two models.

AF Customization

Both the A7RIII and the A7RIV have it and if you don’t currently use it, you really should be. One thing that I cannot stress enough is to make sure to customize your C1, C2, C3 and C4 buttons with AF options. This makes it extremely easy to switch between different AF modes, AF coverage and different subject tracking options on the fly. If you’re photographing wildlife or even a landscape with quickly changing conditions. This video goes over how to go about making those changes.

Ergonomics

The ergonomics definitely saw a big facelift in the A7RIV with an improved larger grip and newly designed body. The button design, grip and button layouts all saw improvements in the A7RIV. Both of these cameras also offer 5-axis in body image stabilization with ~5-stops, so even your non IS lenses with perform exceedingly well. They both feature the exact same LCD screen. Full disclosure I have big hands and the hand feel of the A7RIII is great; I’ve had no issues with it whatsoever, even with larger lenses.

You will see a difference in the EVF resolution (electronic viewfinder) with the A7RIV sporting a new and improved 5.76m-dot EVF. I honestly rarely use it and when I do, I find that the A7RIII EVF is more than adequate. If that’s important to you, then it is something to consider.

Price (the deal maker)

This was the big one for me and what ultimately became the deciding factor. You can pick up an A7RIII new for $2,498.00 and if you decide to go used you can get one with an extremely low shutter count for around $2,000.00. An A7RIV will set you back $3,198.00 and the used ones are still going for around $2,800.00 – $3,000.00. I’ll give you two guesses as to what I decided to jump on.

I ended up picking up an almost new A7RIII for around $2,000.00. The differences between the A7RIII and the A7RIV were really negligible when you get down to it, especially for landscapes and it made more sense for me to put that extra savings into excellent lenses, batteries and lens filters (CPLs).

Conclusion

I hope that this article helps a bit in your decision to purchase your next Sony camera. Both the A7RIII and A7RIV are great choices for wildlife and landscape photography. With the A7RIII firmware update you’re really getting *most* of the functionality of the improved AF. The bottom line is that you wont be disappointed by either of them. The cost savings and the ability to use my 2018 Macbook Pro made the decision even easier for me. The A7RIII files are absolutely outstanding, the camera performs exceedingly well in the field and I have been extremely happy with my decision.

Stay tuned for my lens choices… Sony makes some great stuff, but there are plenty of 3rd party options that just might edge out that expensive G-Master that you’ve been eyeing.

The post Sony A7RIII vs. Sony A7RIV: Battle of the Landscape Photography Titans appeared first on Chris Williams Exploration Photography.

This image was taken in a hidden canyon in Zion, Utah

I love Iceland and Patagonia, but I have to say, seeing the same compositions from famous locations, albeit in different shooting conditions, over and over again is driving me absolutely crazy. In a broader sense, those locations aside, it really begs the question; is creativity dead? I know that some locations are very limited compositionally and I know that there can be other physical limitations as well, but I think that we as photographers owe it to ourselves to do better. I think many of us see those all to famous compositions while researching these well-known locations and we make a subconscious mental note to snag that shot. I think it even goes further than that; even seeing a captivating image from these locations forces us to put subconscious creative blinders on because we have to have that photo in our portfolio.

I’m not saying that we need to write off those ‘bucket list’ shots, because they do serve a purpose from a marketing and sales standpoint. What I am saying though, is that I think allowing sales and marketing to limit us creatively is doing a serious disservice not only to the progression of the field, but to our own personal progression as photographers and teachers as well.

When I first started out in photography I made the mistake of going after familiar compositions because well, it’s easy to do. It’s easy to see an amazing image from someone that inspires you and to gravitate toward immolating it. I think that we’ve all done this to some degree at some point in our careers. The question is; how do we break free from that mindset?

Personally, I have been working a lot harder as of late to shoot scenes in new and creative ways using different focal lengths and creative means to get myself out of any creative slump that I may encounter and to steer myself away from compositionally iconic images. Whether it be using a drone to gain a new perspective or using a super telephoto lens to pick out elements in a scene that speak to us, I think that it’s time to move on from the stereo typical compositions and to seek out something fresh and innovative. 

The best part about pushing yourself to try new things is that you don’t have to fly to Iceland or Patagonia to do it. Many of these opportunities can be found in your own backyard. The Pacific Northwest is an excellent example of this. There’s a never-ending supply of not only iconic locations, but also new and inspiring locations in our region. Seeking something new and different isn’t supposed to be easy. You have to work for it and the path won’t always be straight and narrow, but it’s the journey itself that I find to be one of the most inspiring parts to this whole process. In the past year alone I’ve seen a fairly marked change in the ways that I approach any given scene photographically. I think that forcing myself to move from what’s comfortable has expanded my creativity and has pushed me to move in different directions photographically.  

My challenge to myself, as this new year swings into full gear, is to push myself and to motivate others to push the field to new heights, creatively. Go to familiar locations and diverge from what’s easy, find new locations and explore them. I know that there’s more to be seen beyond the status quo and it’s up to us to push ourselves to find it.       

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My number one goal is to make image processing a fun and enjoyable experience that doesn’t have to take hours upon hours in the ‘digital darkroom’. Whether it be for your own enjoyment or to sell your work in the form of fine art prints my simple approach to image processing allows for large scale printing and enjoyment of your work. 

Post Processing Zoom Sessions:

• $120.00/Hour and multi class package deals are available 
• Sessions are recorded for future reference and will be emailed to you directly after the class for you to keep
• In depth tutorials on how I achieve my signature ‘look’ 

We can cover a wide range of topics during these Zoom sessions; some of which include the following:

• Compositional theory
• In field techniques
• General image processing
• Advanced post processing techniques
• Perspective blending
• Exposure blending
• Focus stacking  
• Night photography image processing

And more!

Here are a few examples of Before and After Images using my Black and White post processing techniques:

Contact me to schedule a time today!

Feel free to email me at cwexplorationphotography@gmail.com for scheduling, Zoom session package rates and additional questions. 

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Can you believe that 2016 has already come and gone? As the New Year approaches I decided to take some time to reflect on what 2016 has meant to me and just where I see myself heading in 2017. To say that 2016 was a big year for me would be an understatement. I got married, photographed a fairly large chunk of southern Utah, experienced shooting lava on the Big Island, spent a fair amount of time shooting locations around my home in Washington state and started working full-time for DPReview. I definitely have a lot to be grateful for this year and it’s going to be hard to top 2016, although I’m definitely going to give it a run for its money!

Photographically speaking this year was full of ups and downs. Between my career change and the wedding, I had a lot on my plate, which meant that I definitely had to make the most out of every photographic opportunity that presented itself this past year. This meant that I had to buckle down, focus and get creative. Additionally, if that wasn’t enough, I decided to try to reshape my personal image of what ‘popular’ photography is and what it means to me. 

I spent a lot of time this year reflecting on just why we create photos, why we go through the hours of driving, shooting and processing the images that we share. This year, more than ever, I realized just how important it is to shoot for yourself and to really create images that offer not only personal satisfaction, but also a sense of place, a sense of being and a story. Photography shouldn’t be about epic light and who got the best conditions in any given year, it should be about personal progression and overcoming adversity.

As photographers, we often dwell so much on what’s popular on social media or if a photo will sell that we often lose track of why we got started in the first place. I spent a lot of time soul searching this year and really asking myself why I create the images that I do and just what I hope to accomplish with them. My images may not always be ‘what’s popular’ or ‘what’s main stream’, but that’s not my end goal; my goal is to create work that inspires myself and others to try something new and to look beyond the lens.

Looking Beyond the Lens

Looking beyond the lens is something that I think that we all need to do from time to time. Put down the camera and just take it all in. This became even more apparent when I was out on the lava field shooting the ocean entry where new land was being created right before my eyes. My family has a long history in Hawai’i; we immigrated to the islands in mid to late 1800’s. To say that seeing the lava entering the sea was a spiritual experience would be an understatement. My connection with Aina, the land, my ohana and the culture made me realize just how small we are in this world and to really respect the time that we have to take it all in. Photography has opened my eyes to a lot of things this year, but that was one particular thing that has persisted and will for the remainder of my life.  

In order to develop my photographic vision this year and to look beyond the lens, I spent a lot of time behind my Canon 70-3oomm F4-5.6L IS telephoto lens. Minimizing scenes with long focal lengths really forces you to think outside of the box and to look beyond the lens in order to really break a grand scene down into its parts. Many of the grand scenes that we take in are only so because of the sum of their parts. Each portion of the scene can tell a story; it’s up to the photographer to decide how to decipher the story and how to present a portion of the scene that can stand on its own.

This can be extremely challenging and it definitely takes some time and a great deal of trial and error to come up with a methodology that works. This is something that I’m planning to do a lot more in 2017 as I’m looking to expand my reach to around 600mm to really capture some unique compositions.

Setting Goals

As this year comes to a close I find that it’s a great time to not only reflect personally, but to also take in all of the work that your favorite photographers have published as well. Education in photography is a never-ending process. I find myself constantly yearning to learn new things all of the time. In the end your personal progress is only hindered by the creative walls that you put up. You have the ability to do whatever you set your mind to and in 2017 I plan to to push myself even harder in that respect. Have a very happy New Year, everyone! Best of luck to you in 2017!

The post 2016: A photographic year in review appeared first on Chris Williams Exploration Photography.

Private One-on-One Photography Workshops

Private one-on-one photography workshops are still running with safety precautions put in place to protect you, me and our communities. 

My main goals for any of the workshops that I have available include the following:

• Gain a fundamental understanding of sustainable landscape photography principles (leave no trace and minimal impact)
• Improvement of general and advanced camera settings (pin point stars, water texture etc.)
• Improvement in advanced field techniques such as focus stacking and perspective blending
• Composition and color theory
• Post Processing techniques (a 30 minute post processing session is included in every package)

Multi and single day packages are available. Please contact me here for inquiries.   

One-on-One Photography Zoom Workshops

I am also now offering ‘Zoom’ one-on-one photography workshops. These ‘in person’ web based classes can cover a broad range of topics including:

• Compositional and color theory
• In field techniques
• Camera settings and proper use
• General and advanced post processing
• Perspective blending
• Exposure blending
• Focus stacking  
• Night Photography

‘Zoom’ classes start at $120.00/hr and multi class package deals are available 

Please contact me directly if you have any questions and for availability and pricing.

Group Workshops

Group workshops have been temporarily postponed until at least early 2023 due to COVID-19. Stay safe and stay healthy!

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Fine Art Prints

Choosing fine art prints for your home isn’t just about choosing art that speaks to you, it’s about choosing something that fits your interior design needs as well. If you’re decorating your new home, updating your fine art print collection in your current home or if you’re a first time fine art photography buyer, I work to make sure that the photos that you choose match your style and your interior design needs so that you can enjoy them for years to come.

Fine art prints are in limited runs of 100 prints each and once they’re sold out, they will be removed from my online shop. The limited quantities ensure that you are receiving a unique and collectible print.

I’m currently offering vivid metal prints with a ready to hang float mount. These show-stopping conversation pieces add an artistic edge and contemporary elegance to your collection while offering a unique high gloss finish. Recent advancements in technology allow my printer to print with enhanced sharpness and gorgeous true to life vivid colors! These vivid metal prints offer a 3D pop that puts the viewer right there in the scene.

• 16×24 Vivid Metal Print: $550.00
• 20×30 Vivid Metal Print: $680.00
• 24×36 Vivid Metal Print: $780.00

Licensing

If you’re interested in licensing any of my images please feel free to contact me directly. All of my images are available for licensing. 

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