Fujifilm X100vi Review:

Fuji X100Vi Review –

I’m starting this Fuji X100Vi review having owned several of the previous X100 series models.

As someone who has been drawn to Fujifilm’s X100 series for years, my experience with the latest model, the Fujifilm X100Vi, has only strengthened my admiration. This camera, with its 40MP sensor and thoughtful design, combines the simplicity of a fixed lens with the power of a high-resolution sensor, making it one of my go-to choices for documentary and travel photography, as well as an everyday carry for street photography. For anyone considering a compact, high-quality camera that allows you to focus on creativity without the distraction of switching lenses, the X100Vi is worth a closer look.

The 40MP Sensor: Versatile and Flexible

The X100Vi’s 40MP APS-C sensor is a significant upgrade from previous models, allowing for increased flexibility even with the fixed 23mm f/2 lens (35mm full-frame equivalent). The higher resolution offers the ability to crop images without a noticeable loss in quality—great for times when you need a tighter frame but only have one focal length. Whether shooting landscapes, portraits, or street scenes, the extra megapixels add flexibility that’s especially useful in a fixed-lens setup.

The Fuji X100Vi has A Sharp, Bright Lens with Classic Character

The built-in 23mm f/2 lens is sharp and handles a variety of lighting conditions well. The version on MyX100T was a little soft when shooting close up and wide open. This is no longer the case since the X100V.

At f/2, it’s bright enough to capture low-light scenes, yet offers pleasing bokeh that gives images character without compromising sharpness. This lens is versatile enough for landscapes, portraits, and street photography, and I’ve found it to be ideal for my documentary projects, where a natural look is often more impactful.

High-Quality Build, Even Without Japan-Made Label

Though the X100Vi is now manufactured in China, I’ve noticed no compromise in quality. It feels sturdy in hand, with a classic aesthetic that doesn’t draw unnecessary attention—a plus for candid street photography. The control dials for shutter speed, aperture, and ISO are tactile and easy to use, especially when shooting one-handed. Compared to my Fuji XT5, the ISO dial on the X100Vi is actually easier to adjust one-handed, a minor but noteworthy convenience.

Fuji X100Vi review: Leaf Shutter and Built-In ND Filter

One of my favorite features on the X100Vi is the leaf shutter, which allows for faster flash sync speeds—up to 1/2000 of a second. it is also subtle in use and offers a pleasing sound. This, combined with the built-in flash, enables subtle fill-flash effects that can be really helpful with outdoor, backlit portraits. The internal ND filter is another feature that shines, especially for bright conditions. Having previously used the X100T in the Philippines, I know how useful this ND filter can be in sunny climates, allowing for wide apertures without having to resort to the electronic shutter or worse still, over exposed photos.

In-Body Image Stabilization (IBIS): Enhanced Low-Light Capability

One of the notable upgrades with the X100Vi is the inclusion of in-body image stabilisation (IBIS). For a compact, fixed-lens camera, this is a significant feature, particularly for photographers who often find themselves shooting in low-light conditions. The IBIS system compensates for minor camera shakes, which is incredibly useful when shooting handheld at slower shutter speeds.

In practical terms, IBIS is especially beneficial when there’s limited ambient light, and you’re shooting a static scene. It allows you to lower the shutter speed without introducing motion blur, helping you capture sharp images while keeping ISO levels down. This is a feature I’ve found invaluable as the light fades during a shoot. Previously, with older models like the X100T, I’d often have to raise the ISO to maintain sharpness. With the X100Vi, I can drop the shutter speed, allowing the sensor to capture more light and keep noise levels to a minimum.

For a documentary and travel photographer, this enhancement makes the X100Vi even more versatile, especially when conditions aren’t ideal. It’s one more reason why this camera is proving to be my go-to choice for personal projects and spontaneous shoots alike.

Ergonomics and Customisation

The X100Vi has a solid ergonomic design, but I’ve added a SmallRig thumb rest and grip extension to make it truly comfortable for extended shoots. While the camera’s grip is pretty small on its own, these additions have made it much easier to handle for all-day use. The lack of a D-Pad is a minor drawback; the camera relies more on the touchscreen and joystick for adjustments, although the main settings are quick to access. I prefer the XT5’s extra custom functions. Nonetheless, the camera’s small size and weight are ideal for travel, and with these added accessories, it’s even better.

Battery Life: Good for a Day of Shooting

Despite using the older NP-W126s battery, I’ve found battery life to be better than expected. A single battery often lasts me through most of a day, which is impressive given that it now has IBIS. I still carry spares, especially for long shooting days, but I’m pleased with the performance overall. Of course it can also be charged by USB-C.

Film Simulations and the Joy of Simplified Shooting

One of the highlights of Fujifilm’s X100 series has always been the film simulations, and the X100Vi is no exception. Classic Chrome and Nostalgic Neg are my favourites, offering pleasing colours that work well for documentary and travel photography. These simulations simplify my workflow by allowing me to use the JPEGs a lot of the time with minimal post-processing—a benefit when trying to stay focused on capturing moments rather than editing.

Supply Issues and Alternatives

Fujifilm’s X100Vi has been difficult to find. Preorder numbers were huge and it is now sold out in a lot of places. It took me approximately 2-3 months to get mine. While Fujifilm moved production to China to increase output, demand still outpaces supply, leading to high resale prices. While I’m happy to pay retail, I wouldn’t pay the inflated prices from scalpers (Mainly on principle).

For those seeking alternatives, the Ricoh GRIII is another popular compact option but lacks a viewfinder and doesn’t match the X100Vi in physical appeal. Another alternative, especially for those wanting lens flexibility, is the Fuji XT5 paired with a small prime lens. And for those interested in full-frame, the Nikon ZF with a 28mm or 40mm lens is also a solid choice, although it’s heavier and doesn’t feel as comfortable to hold. I did a video on the alternatives to the X100Vi which goes into more detail.

The Fuji X100Vi in Practice: From Landscapes to Street Photography

Having spent over a year in 2015 using the Fuji X100T (my review here) while traveling in the Philippines, I came to appreciate the X100 series for its versatility and simplicity. I shot landscapes, street scenes, portraits, and travel images, and the 35mm equivalent focal length has proven more versatile than expected. While the X100 series has become trendy on Instagram, its popularity shouldn’t detract from its capabilities for serious photographers. This camera inspires creativity, encourages composition-focused shooting, and becomes an extension of the photographer as you learn to see the world in a 35mm frame.

Control Dials, Hybrid Viewfinder, and Customisation Options

The X100Vi’s dedicated dials for shutter speed, aperture, and ISO are a joy to use, offering a tactile shooting experience. The hybrid viewfinder, which combines an optical viewfinder with an electronic overlay, is a unique feature that works well for street photographers. Personally, I use the electronic viewfinder most of the time, but it’s nice to have the optical option for situations where seeing outside the frame is helpful. The focus ring can also be customised to adjust settings, though I turned off this function since it often got accidentally knocked in my bag.

Fuji X100Vi review Conclusion: A Camera I’ll Never Part With

After extensive use, especially during my recent documentary project in Devon, I’m convinced that the Fuji X100Vi will remain in my kit for the foreseeable future. It’s currently the camera I reach for most often because of its simplicity, size, and capability to produce beautiful images without the need to consider lens choices. While alternatives like the Nikon ZF offer full-frame performance and better low-light capability, the X100Vi wins for me in terms of portability and ease of use. I simply want to pick it up and use it more than other cameras that I own. I own some fantastic cameras so that is very high recommendation indeed.

If you’re a photographer looking for a camera that inspires you to shoot, one that simplifies your gear choices and makes you focus on the art of seeing, the Fuji X100Vi is worth every penny. Follow my journey with this camera as I continue to explore its potential in various projects and locations. I’ll be sharing more about my experience on my YouTube channel and Instagram, and you can also subscribe to my newsletter on my personal website to stay updated on upcoming projects, including more adventures with the X100Vi in the Philippines.

Fuji X100Vi for Documentary and travel Photography

Fuji X100Vi Documentary photography: How does it perform?

I’ve been using the Fuji X100Vi for Documentary photography and during my travels. Documentary photography often calls for a tool that’s as straightforward as it is capable, freeing the photographer from the complexities of gear decisions and allowing them to focus fully on the story they’re capturing. The Fuji X100Vi meets these needs exceptionally well. While it’s a camera known for its popularity with the instagram crowd, the X100Vi’s real strength lies in its simplicity and fixed-lens design, which strips away the distractions of lens choices, focal lengths, and heavy post-processing. Instead, it provides a direct, intuitive way to document life as it happens. This aspect of the Fuji X100Vi really helped me to focus on my photography while on a trip to Devon recently.

Fuji X100Vi: A Fixed-Lens Approach to documentary photographs

The Fuji X100Vi comes with a 23mm f/2 fixed lens, offering a 35mm equivalent focal length that many photographers find ideal for storytelling. This fixed lens does more than just limit choices; it encourages you to be fully present in your surroundings, knowing that you don’t have to worry about changing lenses or adjusting your gear. With just one focal length, you start to see the world differently, developing an intuitive sense of how each frame will look through the lens. This approach aligns perfectly with documentary photography, where capturing a scene’s authenticity is far more important than technical perfection.

As you get familiar with this focal length, compositions and perspectives start to come naturally. The constraints of a single lens push you to experiment with positioning, angles, and depth, ultimately enhancing your creative eye. You begin to recognize patterns, notice the subtleties of light and shadow, and instinctively capture moments as they unfold. This focus on storytelling through a single perspective is what makes the X100Vi an exceptional tool for documentary and travel photographers alike.

Compact and Unassuming: Blending Into the Scene

In documentary photography, the ability to capture genuine, unguarded moments is invaluable. The Fuji X100Vi’s small size and understated design make it perfect for this purpose. Unlike larger DSLR setups, which can be intimidating or disruptive, the X100Vi’s compact form allows photographers to blend into their surroundings. Its unassuming look makes it less likely to draw attention, enabling photographers to capture scenes without disturbing the natural flow of events. I’ve slimmed down my photography kit these days and have a great compact setup which you can see here.

Moreover, the camera’s leaf shutter is nearly silent, adding another layer of discretion. Whether photographing people on a busy street or capturing quiet moments indoors, this silent shutter helps maintain the scene’s authenticity, which is crucial in storytelling work. The X100Vi doesn’t demand attention, making it easier to capture real-life interactions and the nuances of everyday life.

Built-in ND Filter and Leaf Shutter: More Control in Every Condition

Two features that truly elevate the X100Vi for documentary photography are its built-in ND filter and leaf shutter. The built-in 4-stop ND filter allows you to shoot at wide apertures, even in bright daylight, which can add a beautiful separation between subject and background. This capability is especially useful in travel photography, where I am often in sunnier parts of the World.

The leaf shutter also enables high-speed flash sync up to 1/2000s, a unique advantage for a compact camera. This feature allows photographers to balance natural and artificial light easily, making it perfect for backlit portraits or scenes with complex lighting. Combined, these features provide a level of control that’s rare in compact cameras, giving documentary photographers more creative options without needing additional gear.

JPEG Quality: Shoot and Share Without the Hassle of Editing

One of the standout aspects of Fuji cameras is their outstanding in-camera JPEG processing. The X100Vi is no exception, featuring Fuji’s signature film simulations that produce beautiful images straight out of the camera. For photographers who prioritize storytelling over post-production, this is a game-changer. The X100Vi’s Classic Chrome film simulation, in particular, delivers muted tones and a cinematic feel, making it ideal for documentary work.

Because the camera produces such high-quality JPEGs, I often find I don’t need to use the RAW files, saving time and potentially storage. This emphasis on in-camera quality aligns perfectly with the philosophy of documentary photography—capturing the moment as it is, with minimal alteration. By reducing the need for post-processing, the X100Vi enables photographers to focus on shooting rather than editing, making it a perfect tool for photographers who want to stay present in the moment.

Documentary photography and Weather Sealing: Built for Real-World Conditions

Documentary projects often lead us to unpredictable environments. With the addition of a UV filter on the X100Vi’s lens, the camera becomes weather-sealed, adding a layer of protection against the elements. Whether you’re shooting on a windy coastline, in light rain, or in dusty conditions, the X100Vi can withstand a variety of climates. For travel photographers, this feature is invaluable. It allows you to shoot in diverse environments without worrying about damaging your equipment, so you can focus on your project instead.

The Fuji X100Vi as a Creative Partner

Ultimately, the Fuji X100Vi goes beyond its specs to become a true creative partner for photographers who value storytelling. By removing the complexities of interchangeable lenses, offering top-tier JPEG quality, and allowing me to blend into any setting, the X100Vi allows me to focus on what matters: capturing the world around me authentically. Its timeless design, reminiscent of classic film cameras, puts me in the right mindset for storytelling, helping me to approach my work with intention and focus.

For anyone looking to document real moments and tell impactful stories, the Fuji X100Vi offers a unique blend of simplicity, power, and reliability. With its thoughtful design and feature set, this camera proves that sometimes, less really is more.

Conclusion: More Than Just a Camera

The Fuji X100Vi for documentary photography is more than just a tool; it’s an invitation to slow down, to see, and to truly connect with each scene. Its features encourage photographers to be present, to focus on the story rather than the settings, and to capture images that resonate with authenticity. Whether you’re a seasoned professional or an enthusiast, the Fuji X100Vi offers a refreshing approach to photography, reminding us that sometimes, the best way to capture life is through simplicity.

Why I Chose the Fujifilm X100Vi and XT5 for My Documentary Photography Project

I chose the Fuji XT5 and X100Vi for documentary photography after considering a number of cameras and systems. To see why, read on below:

If you’d rather watch than read then see my video.

When it comes to documentary photography, especially for a personal project like mine, choosing the right camera is crucial. My current project is deeply personal—it’s about honoring my late father by photographing the places in Devon and Cornwall that were important to him. These locations, from rugged coastlines to misty moorlands, represent the life he lived, and I want to capture them with the same care and attention to detail that they deserve.

For this project, I’m using two exceptional cameras: the Fujifilm X100Vi and the Fujifilm XT5 paired with a 35mm f2 lens. These cameras were not chosen randomly; they each bring unique qualities that make them ideal tools for documentary work. In this post, I’ll explain why these Fujifilm cameras are my go-to for such a meaningful documentary project, and why any documentary photographer should consider them.

The Importance of Choosing the Right Camera for Documentary Photography

Documentary photography is all about storytelling. It’s about capturing real moments, often in challenging conditions, without the luxury of setting up the perfect shot. As a photographer, you need a camera that not only delivers exceptional image quality but also allows you to focus on the story unfolding in front of you, rather than getting bogged down by technical settings.

For this project, I needed a camera setup that could do just that. I wanted a combination that would allow me to capture high-quality images for large prints, offer a look that complements the documentary style, and be portable enough for the long treks across Dartmoor and the coastline where I’ll be shooting.

Why I Chose the Fujifilm X100Vi for This Project

The Fujifilm X100Vi is one of the most talked-about cameras in the photography world, and for good reason. For my father’s documentary project, it’s the perfect companion for several key reasons:

1. Fixed 35mm Focal Length

The X100Vi features a fixed 23mm f2 lens, equivalent to 35mm on a full-frame camera. This focal length is ideal for documentary photography—it’s wide enough to capture landscapes and environmental shots, yet intimate enough to photograph people and details. One of the best aspects of using a fixed focal length is that it removes the indecision that often comes with choosing lenses. For this project, I don’t want to be constantly switching lenses or wondering which one to take. I grab the X100Vi, and I’m ready to shoot, trusting the focal length to adapt to any situation.

2. Classic Chrome Film Simulation

Fujifilm is renowned for its film simulations, and for this project, I’m primarily using Classic Chrome. This film simulation provides a muted, cinematic look that’s perfect for documentary work. It gives my photos a timeless feel, which is exactly what I want when capturing places that hold such historical and emotional significance. The look of Classic Chrome aligns beautifully with the tone I’m trying to achieve—nothing overly stylized, but rather authentic and true to the environment.

3. Compact and Lightweight Design

Carrying gear across Dartmoor or along the rugged Cornish coastline requires something lightweight. The X100Vi is compact and easy to carry, which means I can focus more on the locations and the experience rather than lugging around heavy equipment. Its discreet size also allows me to shoot in more intimate or busy environments without drawing too much attention, which is crucial for capturing authentic, unposed moments.

4. Timeless Design and Emotional Connection

The X100Vi isn’t just a tool; it’s a camera that puts me in the right emotional space to work on such a personal project. Its rangefinder-style design feels timeless, like the places I’m documenting. The simplicity of its controls keeps the technical aspects out of the way, allowing me to focus on the emotional connection I have with the locations. The camera becomes an extension of my vision rather than a distraction.

Why I Pair the Fujifilm XT5 with a 35mm f2 Lens

While the X100Vi is fantastic for most of my needs, there are times when I want a little more flexibility, and that’s where the Fujifilm XT5 comes in. Paired with the 35mm f2 lens, it offers a perfect balance between versatility and simplicity for documentary work.

1. 40MP Sensor for High-Quality Prints

The XT5 boasts Fujifilm’s latest 40MP sensor, which is a huge advantage for a project like this. I plan to print many of these images for a zine and for large-format prints that will be displayed in my home and studio. The detail that the XT5 provides is perfect for creating high-quality prints, even at large sizes, without sacrificing sharpness or clarity.

2. Flexibility with the 35mm f2 Lens

Although the X100Vi’s fixed 35mm focal length is fantastic, the XT5 gives me the option to change lenses if needed. For this project, I’ve chosen to stick with the 35mm f2, which gives me a consistent field of view and allows for easy transitions between the two cameras. The 35mm focal length is one of the most versatile, making it ideal for capturing landscapes, architecture, and even more intimate portraits.

3. Classic Chrome for a Consistent Look

Just like with the X100Vi, I’m using Classic Chrome on the XT5 to maintain a consistent look throughout the project. This uniformity in color and tone is crucial when shooting across different locations and conditions. Whether I’m photographing the misty hills of Dartmoor or the sunlit shores of Cornwall, Classic Chrome ensures that my images remain cohesive.

4. Weather Sealing for Rugged Conditions

Much of this project will be shot in unpredictable weather, particularly on Dartmoor and the Cornish coastline. The XT5 is weather-sealed, making it perfect for shooting in rain, mist, or even strong coastal winds. I don’t want to worry about my gear when I’m out in the field, and the XT5 gives me the peace of mind that it can handle whatever conditions I encounter.

5. Controls That Get Out of the Way

One of the reasons I love Fujifilm cameras is that their controls are simple and intuitive. On the XT5, the dedicated dials for ISO, shutter speed, and aperture allow me to adjust settings quickly without diving into menus. For documentary photography, where moments can pass in an instant, these physical dials are invaluable. They allow me to stay focused on the scene in front of me, rather than on my camera.

The Perfect Combination for Documentary Photography

For this project, the combination of the Fujifilm X100Vi and XT5 with the 35mm f2 lens provides the perfect balance between simplicity, image quality, and versatility. Whether I’m shooting in challenging weather on Dartmoor or capturing the intimate details of a coastal scene, these cameras deliver everything I need.

Small and lightweight enough for long hikes and discrete shooting, weather-sealed for unpredictable conditions, and equipped with the Classic Chrome film simulation for a consistent, documentary-style look, these cameras are helping me tell a story that’s incredibly personal.

When it comes to documentary photography, I don’t want to be distracted by gear or technicalities. I want a camera setup that works seamlessly with my vision, and the Fujifilm X100Vi and XT5 do exactly that. Their timeless design and thoughtful controls put me in the right frame of mind to focus on what really matters—the story I’m trying to tell through my images.

Conclusion

If you’re a documentary photographer or simply working on a personal project that requires reliable, high-quality gear, I can’t recommend the Fujifilm X100Vi and XT5 enough. These cameras offer everything you need to create powerful images without getting in the way of your creative process. The 40MP sensor, Classic Chrome film simulation, compact size, and weather sealing make them ideal for any photographer looking to capture meaningful stories in unpredictable environments.

To follow along with my documentary photography projects and see the latest videos be sure to watch my Youtube channel. You can also get more personal stories by heading on over the my personal website.

If you want to see how to setup your Fuji XT5 then check out my article here

By simplifying my gear choices, I’ve been able to focus entirely on what matters most: the story. These cameras don’t just help me capture images—they help me stay connected to the project and honour my father’s memory through photography.

How to overcome Gear Acquisition Syndrome in Photography

How I Cured Gear Acquisition Syndrome (GAS) and Focused on My Photography Goals

I’ve finally learnt how to overcome gear acquisition syndrome in photography and I’d like to share what helped me.

In today’s fast-paced world of photography, it’s easy to get caught up in the endless cycle of buying new gear. Whether it’s the latest camera body, a new lens, or other accessories, many photographers experience Gear Acquisition Syndrome (GAS) at some point. I know I did. Over the last 10 years of my non-professional photography journey, I owned far too many cameras, constantly upgrading and switching gear in search of the next best thing. However, I realized something important: buying more gear wasn’t making me a better photographer.

In this blog post, I’ll explain how I cured GAS, simplified my photography kit, and redirected my focus towards what really matters: creating meaningful photographic work and achieving my personal photography goals. This shift has not only improved my photography but has also allowed me to regain the joy of shooting, unburdened by the pressure of owning the latest and greatest gear.

If you are already over the GAS stage then head on over to my personal blog where this week I discuss the work of Ernst Haas

How to overcome gear acquisition syndrome in photography.

Firstly, What Is Gear Acquisition Syndrome (GAS)?

Before we dive into how I cured it, let’s talk about what Gear Acquisition Syndrome (GAS) actually is. GAS is the constant desire to purchase new photography equipment, even when it’s not necessary. You might convince yourself that a new camera body or a specific lens will take your photography to the next level, or you feel pressure to keep up with the latest gear trends, thinking it will improve your work. While upgrading your gear can be useful in some cases, it often becomes a distraction from what truly matters: the art and purpose behind your photography.

My Personal Struggle with GAS

In the past 10 years, I fell into the trap of constantly upgrading my equipment. I’ve owned countless cameras, ranging from entry-level DSLRs to advanced mirrorless systems. I’d read reviews, watch videos, and believe that each new piece of gear would somehow transform my photography. However, during the 5 years I spent as a professional photographer, I only had two cameras—and that was more than enough. Back then, I was entirely focused on the work, not the gear.

Lightroom Metadata showing just some of my cameras

As I transitioned into a non-professional photography role, I found myself paying more attention to the latest gear releases and less attention to what I was actually photographing. I became obsessed with having the latest technology, thinking it would make me a better photographer. But deep down, I knew it wasn’t the gear that mattered—it was my vision and technique.

Notice how few shots I’m actually taking with each camera

The Turning Point: Focusing on What Matters

After years of chasing gear, I started asking myself some serious questions about what I really wanted from photography. What is the purpose of my work? What kind of photography do I want to create? The answer was clear: I wanted to create story-driven, meaningful photography, focusing on social and environmental projects. Gear was simply a tool to achieve those goals, not the goal itself.

Photographers Like Ernst Haas used minimal gear

At that moment, I decided to simplify my gear collection and focus on only what I needed to produce the kind of photographic work I care about. By streamlining my kit, I stopped thinking about the latest tech and started thinking more about the techniques and projects that would help me achieve my goals.

Simplifying My Gear

One of the first steps I took to cure GAS was to significantly reduce the number of cameras I owned. I now focus on just a few key pieces of equipment that I need for the work I want to do. Instead of constantly switching between camera bodies and lenses, I’ve honed in on a setup that works for me: the Fuji X100Vi and Fuji XT5, along with a couple of small, versatile prime lenses. These cameras allow me to capture the images I need without the distraction of having too many choices.

Don McCullin, a great photographer used simple gear to capture his incredible stories

By limiting my gear, I’ve noticed that my creativity and focus have increased. I’m no longer wasting time researching the next camera upgrade or worrying about whether my gear is good enough. I’m able to concentrate on my photography projects, honing my skills, and telling the stories that matter to me.

Refocusing My Photography and YouTube Channel

This shift in mindset has not only impacted my photography but also the direction of my YouTube channel. When I first started making videos, a lot of the content was focused on gear reviews and comparisons. But as I’ve re-evaluated my goals, I’ve realized that I don’t want my channel to be about gear anymore. Instead, I want to focus on photography techniques, the projects I’m working on, and the inspiration behind my work.

My future content will highlight photography as an art form and how we can use it to tell meaningful stories, whether those are personal projects or broader social or environmental issues. Of course, I’ll still mention gear when it’s relevant to a project, but it will no longer be the focus of my channel. My goal is to connect with like-minded people who care more about the purpose behind photography than the equipment we use.

How You Can Overcome GAS

If you’re struggling with Gear Acquisition Syndrome, here are a few tips to help you break free and refocus on your photography goals:

Ask yourself why you need new gear: Do you really need that new camera, or are you just upgrading because it’s the latest trend? Think critically about whether new gear will truly improve your photography or if you’re just falling into the trap of consumerism.
Focus on your photographic goals: What kind of photography do you want to create? Whether it’s street photography, documentary work, or creative portraiture, think about the type of work you want to produce and what gear you actually need to achieve those goals.
Simplify your kit: By reducing the amount of gear you own, you’ll spend less time thinking about equipment and more time taking photos. Limiting your options can also boost creativity by forcing you to work within constraints.
Shift your mindset: Stop thinking of gear as the answer to better photography. Instead, focus on improving your skills, mastering the tools you already have, and working on meaningful projects that inspire you.

Conclusion: Gear Isn’t Everything

For a long time, I thought that having the best gear would make me a better photographer, but I’ve since learned that this isn’t the case. Photography is about storytelling, creativity, and technique—not the latest camera or lens. By curing my Gear Acquisition Syndrome and focusing on my goals, I’ve rediscovered the joy of photography and am more motivated than ever to work on projects that truly matter.

If you’ve been struggling with GAS or feel like gear is distracting you from your creative goals, I hope this post helps you refocus on what’s really important in your photography journey.

To dive deeper into how I cured my own GAS and how I’m moving forward with my photography, check out my latest video: How I cured GAS and saved myself thousands

Fuji XT5 vs X100VI for Street Photography: A Detailed Comparison

When it comes to street photography, trying to decide between the Fuji XT5 vs X100Vi can be tough. Fujifilm has always been a top choice for photographers who want a balance of exceptional image quality and classic design. Two of the most popular options right now are the Fuji XT5 and the highly sought-after X100VI. Both of these cameras bring Fujifilm’s signature features and performance to the table, but in very different ways.

With the X100VI being notoriously hard to find in stock, many photographers are considering the XT5, paired with one of Fuji’s compact prime lenses like the 23mm f/2 or the 35mm f/2, as a potential alternative. While both cameras share the same 40MP X-Trans 5 sensor and the latest film simulations, they offer unique handling experiences. So, how do they compare, and which one might be the better fit for you?

In this post, I’ll dive into the key differences between the Fuji XT5 and X100VI for street photography. If you want to know which one I recommend, make sure to watch my YouTube video at the end for my full review and detailed opinion.

Fuji XT5 vs X100Vi – Image Quality: A Level Playing Field

First and foremost, let’s talk about image quality. Both the XT5 and X100VI are equipped with Fujifilm’s latest 40MP APS-C X-Trans 5 sensor, so you can expect the same level of image quality from both cameras. Whether you’re shooting in bright sunlight or low light, both cameras deliver sharp, detailed images with excellent color rendering and dynamic range.

One of the reasons I love Fujifilm is the variety of film simulations available, and both the XT5 and X100VI come with the full set, including the newer Reala Ace simulation. These film simulations are particularly useful in street photography, where you can quickly switch between different color tones or black and white without needing to spend time in post-processing.

In terms of autofocus performance, I’ve found both cameras to be very similar. They offer fast and accurate autofocus, which is essential for street photography when you need to capture moments quickly. The XT5, when paired with Fuji’s f/2 prime lenses, feels a little quicker because the lenses are virtually silent, whereas the X100VI’s fixed lens does produce a bit of noise due to its focus motors.

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Design and Handling: Compact vs. Versatile

Now, let’s get into where these cameras really differ – design and handling.

Fujifilm X100VI: Compact and Discreet

Notice how flush the LCD screen is on the X100Vi

The X100VI is known for its compact size and portability, making it an excellent choice for photographers who want to be discreet while shooting on the street. It features a fixed 23mm f/2 lens (35mm full-frame equivalent), which is a fantastic focal length for street photography, offering a good balance between wide-angle and standard field of view. I’ve shot everything from portraits to travel photos with this focal length, and it works well for most situations.

The hybrid viewfinder on the X100VI is one of its standout features. It gives you the option of an optical viewfinder with an electronic overlay, or a fully electronic viewfinder. The optical viewfinder can be particularly useful in street photography because it lets you see subjects entering the frame before they’re captured, helping you time your shots more effectively. It also offers focus aids like magnified view and focus peaking, which can help when you’re shooting manually.

However, the grip on the X100VI is small. While it contributes to the camera’s compact size, I’ve found it a bit uncomfortable for longer shooting sessions, especially when shooting one-handed. To improve handling, I’ve added a SmallRig thumb rest and a grip extender, which makes it much more comfortable to use over extended periods.

Fujifilm XT5: Versatility with Interchangeable Lenses

On the other hand, the Fuji XT5 offers a more traditional DSLR-like design, with a larger body and central viewfinder hump. While it’s not as compact as the X100VI, it’s still relatively small and portable, especially when paired with one of Fuji’s compact prime lenses, such as the 23mm f/2 or 35mm f/2. This gives the XT5 an edge in terms of versatility, as you can switch lenses to suit different shooting situations.

The grip on the XT5 is larger, providing a more comfortable hold for longer shoots. I prefer to add a SmallRig grip when I know I’ll be shooting for an extended period, but even without it, the XT5 offers enough purchase to hold the camera securely. The 3-way tilting screen on the XT5 is also a nice touch, allowing for more flexible shooting angles, especially in portrait orientation. In contrast, the X100VI’s screen only tilts in two directions, but it’s sleeker and flush to the body, giving the camera a very streamlined appearance.

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Controls and Customization: Traditional Fujifilm Dials

Both the XT5 and X100VI feature external control dials for shutter speed, ISO, and (when paired with a lens that has an aperture ring) aperture, which makes them both intuitive to use. This is one of the things I love most about Fujifilm cameras – the ability to quickly change settings without diving into menus.

X100VI: Compact Control Setup

The X100VI has a more streamlined control layout, with fewer physical buttons compared to the XT5. The ISO dial is integrated into the shutter speed dial, which can be adjusted with just one hand while shooting. I find this particularly useful in fast-paced environments like street photography, where every second counts. However, the X100VI relies more heavily on its touchscreen for navigating certain settings.

XT5: Extra Customization

The XT5 offers a bit more customization with the inclusion of a D-pad on the back, allowing for more function buttons and quicker access to frequently used settings. This can be a real advantage if you like to tweak your settings on the go. Additionally, the XT5 has dual SD card slots, which is useful if you’re shooting in RAW or want the peace of mind of having a backup card.

In-Use Experience: Portability vs. Flexibility

The X100vi’s LCD screen only articulates in two directions

The XT5’s 3 way articulating screen is more flexible

When it comes to real-world use, there are a few factors that might influence your decision.

Portability: X100VI

If you prioritize portability and discretion, the X100VI is hard to beat. Its leaf shutter is quieter than the XT5’s mechanical shutter, making it less noticeable in quiet environments. The fixed 23mm lens doesn’t protrude far from the camera body, giving the X100VI a very compact profile, and its built-in flash is great for adding a touch of fill light in backlit situations. The 4-stop ND filter is another handy feature that lets you shoot wide open in bright light without needing to attach any external accessories.

Flexibility: XT5

On the flip side, the XT5 offers much more flexibility thanks to its interchangeable lenses. While the 23mm f/2 lens on the XT5 gives a similar field of view to the X100VI, the ability to switch lenses gives you more creative options. Whether you’re looking to shoot wide-angle street scenes or zoom in for a tighter portrait, the XT5 can adapt to a wider range of scenarios.

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Battery Life and Storage

Both cameras offer USB-C charging, which is convenient when you’re out on a long day of shooting. The XT5 has a larger NP-W235 battery, which generally lasts longer than the X100VI’s NP-W126S battery. However, I find that both cameras last long enough for most street photography sessions but I always carry a spare battery in my bag.

The XT5’s dual SD card slots are a nice addition, especially if you shoot in RAW or need to back up your images on the go. The X100VI only has a single card slot, but for most street photography, this isn’t a dealbreaker.

The inclusion of the D-Pad on the XT5 means it’s more customisable

Fuji XT5 vs X100Vi – Which Camera is Best for Street Photography?

At the end of the day, both the Fuji XT5 and X100VI are excellent cameras for street photography, but they cater to slightly different needs. The X100VI offers simplicity and discretion, while the XT5 provides more versatility and customization.

If you’re still unsure which one is right for you, I’ve made a detailed video comparing these two cameras in action. Be sure to check it out on my YouTube channel, where I go into more depth about the strengths and weaknesses of each model and offer my personal recommendation based on real-world use.

if you would like to see how best to setup the Fuji XT5 for street photography then head on over to this article or this video

Fuji XT5 Street Photography Best Settings

Fuji XT5 Street Photography Best Settings: A Complete Guide

Are you ready to take your Fuji XT5 street photography to the next level? If you’ve been searching for the best settings to optimize your camera for dynamic, fast-paced environments, you’ve come to the right place. In this guide, I’ll walk you through the key settings I use on my Fujifilm XT5, including custom function buttons and film recipes that will give your photos a distinctive look.

But if you prefer video tutorials or want to see these settings in action, I’ve put together a detailed YouTube video where I go over my full setup for street photography, including tips and examples. You can watch the video here:

Now, let’s dive into the settings.

1. Image Quality Settings

Getting the right image quality is crucial for street photography, especially when you’re shooting fast and in varied light. Here are the settings I use to ensure I capture both JPEG and RAW files:

–Image Quality: Fine JPEG + RAW
–RAW Recording: Lossless Compressed
–JPEG/HEIF: JPEG
–Film Simulation: Classic Chrome (or your choice—check out my YouTube video for more film recipe options!)
– Grain Effect: Off
– Color Chrome Effect: Off
– Color Chrome FX Blue: Off
– Smooth Skin Effect: Off

If you want to see how these settings translate to real street photography scenarios, don’t forget to check out my YouTube video where I walk you through these settings in real-time on the street.

2. White Balance & Dynamic Range Settings

These settings will help you maintain accurate colors and prevent blown-out highlights or shadows in varying lighting conditions.

– White Balance: Daylight
– Dynamic Range: Auto
– D Range Priority: Off
– Tone Curve: Default (H: 0, S: 0)

Want to see how I adjust these settings on the go in fast-changing street scenes? Be sure to watch this YouTube video for live demonstrations!

3. Color & Sharpness

Neutral colors and sharpness are essential for clean, striking images. Here are the best settings to achieve that:

– Color: 0
– Sharpness: 0
– High ISO NR: -4
– Clarity:c0
– Color Space: Adobe RGB for printing, or sRGB for general use

4. Auto Focus Settings

Street photography often happens fast, and you need autofocus settings that can keep up. Here’s what I recommend:

– Focus Area: Zone
– AF Mode: Zone
– If Using Single Point AF: Set focus points to 425
– AF Illuminator: Off
– Face/Eye Detection: Off
– MF Assist: Peaking, Red High
– Interlock Spot AE & Focus Area: On

5. Drive & ISO Settings

Quick adjustments for burst shooting and ISO sensitivity are crucial in street photography. Here’s how I set them up:

– Drive Settings:

– CH (High Burst Speed): 10 FPS
– CL (Low Burst Speed): 5 FPS
– ISO Auto Setting 1:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/160
– ISO Auto Setting 2:
– Default Sensitivity: 125
– Max Sensitivity: 12800
– Min Shutter Speed: 1/100

6. Function Button Settings

Quick access to essential functions is important for efficient street shooting. Here’s my custom button setup:

– Fn1: Face Detect
– Fn2: AF Mode
– Fn3: Photometry
– Fn4: Film Simulations
– Fn5: White Balance
– AE-L: ISO Auto Setting

Film Simulations for Street Photography

One of the standout features of Fujifilm cameras is their ability to simulate classic film looks. Below are some of my favorite film simulations for street photography.

Kodak Tri-X 400
*Credit: Fuji X Weekly*

– Film Simulation: Acros
– Dynamic Range: DR200
– Grain Effect: Strong, Large
– Color Chrome Effect: Strong
– White Balance: Daylight, +9 Red, -9 Blue
– Highlight: 0
– Shadow: +3
– ISO: 1600 – 12800

This recipe gives you a timeless black-and-white look.

Kodak Ultramax 400

*Credit: Fuji X Weekly*

– Film Simulation: Classic Chrome
– Grain Effect: Strong, Large
– White Balance: Auto, +1 Red, -5 Blue
– Dynamic Range: DR Auto
– Highlight: +1
– Shadow: +1
– Color: +4

Daily Driver

This is my go-to recipe for everyday shooting:

– Film Simulation: Nostalgic Negative
– Grain Effect: Weak, Large
– Color Chrome Effect: Weak
– Dynamic Range: DR400
– Tone Curve: H -2, S +2
– Color: +3
– Sharpness: -4

It balances sharpness and color for consistent, high-quality results.

If you found these settings useful and want to see them in action, don’t miss my latest video, where I show you exactly how I set up my Fuji XT5 for street photography. Whether it’s customizing autofocus or choosing the right film simulation, I cover it all in real-time:

Watch the Video: Best Fujifilm XT5 Settings for Street Photography

Fuji XT5 street photography best settings: Final thoughts

The Fujifilm XT5 is an amazing camera for street photography, but having the right settings makes all the difference. I hope this guide helps you set up your camera for success.

Sony A7III vs A7IV

In this post I am putting the Sony A7III vs A7IV to see how the two compare. Is the Sony A7IV worth upgrading to from the Sony A7III?

I originally owned a Sony A7III back when it was released in 2018. I was pretty impressed with it as you can see in my review at the time. The Sony A7IV intrigued me as I wanted to see how they could improve upon what is still one of the best hybrid cameras, even in 2022.

In this article I am going to cover everything that you need to know when considering the Sony A7III vs A7IV including image quality, video quality, ergonomics, menus and all the upgraded features. If you would rather watch then my video comparison of the Sony A7III vs A7IV Can be found here . The video shows screen recordings of the AF in action, the IBIS and video quality as well as everything else.

Sony A7III vs A7IV – Ergonomics

The first thing that you notice when you put the Sony A7IV next to the A7III is that the new camera has gained a little size over its predecessor. In terms of weight they are within a few grams of each other but the size difference, particularly the depth of the camera is more noticeable than the figures would have you believe. The mark III feels quite small and dinky in comparison to the latest mark IV version. The A7IV is deeper due to Sony adding a fully articulating screen (more on that later) and improving the heat management of the camera.

The grip has also grown and now offers more depth and provides more purchase on the camera, particularly when operating it one handed. Those with larger hands will definitely appreciate the added space and comfort. The A7 IV now weighs in at a measured 658g with the battery which is only 8g more than the mark III.

One of the most obvious changes to the A7IV is the switch to a fully articulated rear LCD screen. The previous model had a tilting mechanism often favoured by purely stills photographers but the new, articulated screen works much better for hybrid shooters like myself.

Not only is the new screen fully articulating it has also increased the resolution from 0.92 million dots to 1.04 million dots. More importantly the screen now has a 3:2 aspect ratio which matches the cameras sensor resulting in less wasted space on the screen.

The Sony A7IV’s screen now uses the touch screen functions to much greater effect, allowing you to use it to navigate the menus as well as the usual AF funtionality. The A7 III touchscreen was mainly limited to selecting AF points. The new one feels much more modern and in keeping with what we have become used to with modern gadgets like phones and tablets.

The EVF on the Sony A7IV has also been upgraded to 3.69m dots from 2.36m dots on the A7III. The improvement is welcome and a noticeable one but it is not class leading compared to some of the competition. The refresh rate can also be boosted to 120hz, double that of the older model. Everything else remains the same on the viewfinder.

One of the ergonomic changes that I find most satisfying is the increased size of the buttons on the mk IV. The AF-On button is now substantially larger and the AF joystick has also been enalarged and also flattened slightly which definitely makes it easier to move your AF point as desired.

The record button has been moved to the top of the camera instead of to the right of the viewfinder. In all honesty I don’t mind either location but given the choice I prefer the new placement as it is more in keeping with the other cameras that I use such as the Canon R5 and Nikon Z series bodies. I would prefer the Menu button to be on the right hand side like Nikon and Panasonic cameras so that it can be selected one handed.

There is now a dial below the PASM dial which allows you to switch between photo, video and S&Q modes. The dial is lockable as is the unmarked exposure compensation dial (it can be set to whatever you want now). There are also 3 custom setting slots on the PASM dial as opposed to 2 on the A7III.

The Sony A7 IV now has dual UHS-II card slots with slot 1 also accepting CF Express type A cards. You will need either V90 rated SD or CF Express A cards to record in the higher video resolutions/bitrates now available on the A7 IV. The A7 IV wont allow me to even try using a Sandisk Extreme Pro 170mb/s card for these higher quality video settings. I ordered a couple of these cards to enable recording using the higher quality video modes and they work well.

There is also a new locking mechanism on the memory card door. You now have to slide the lock (similar to the A7III) and at the same time slide the memory card door towards you. It is kind of awkward to be honest and one of the things that I prefer on the Sony A7III. Also the strap lugs on my A7IV are quite thick and can get in the way of the memory card door when opening. It’s not a big deal but something that I have noticed.

Menus

The A7IV uses the latest Sony menu system and my goodness what a difference it makes. The old Sony menus were a confused mess fo the most part. I often still find myself searching through them to find certain options and settings.

The new menu system is now much better laid out and for the most part it is logical and much quicker to find what you need. I particularly appreciate that it gives you a preview of the items contained within the selected menu option so that you don’t waste time diving into a menu only to find that the setting you needed is not there. I’d go as far as to say it is now one of the best menu systems available.

One thing that has caught me out and something that I find annoying is that when you set the camera up to use a picture profile in video mode, the camera carries this across when you switch back to photo mode. So I shot a bunch of images this morning with the log profile set for photos. Why Sony thought this was a good idea I do not know. Luckily I shoot in RAW + Jpeg so had the RAW files to fall back on.

Sony A7III vs A7IV – Image quality

The main headline grabbing upgrade for the A7IV is probably the increase in resolution from 24mp to 33mp. In all honesty, if this were the only reason that you are considering an upgrade from the Sony A7 III then I would save your money.

The increased resolution is nice to have as it enables a little more cropping room but the difference is not enough to justify the expense of an upgrade. You’re going from images measuring 6000×4000 pixels to 7008x 4672.

Yes, there is a little more detail in the 33mp images but it’s only just about enough to go up one print size. It does make the A7IV a more interesting proposition for landscape photographers who also have a hybrid workflow, perhaps aspiring youtubers who focus on landscape photography may give the A7IV more consideration but for most people resolution alone, while nice to have, likley isn’t the main reason to upgrade.

From my testing dynamic range remains essentially the same so at least that resolution bump has not come at the cost of dynamic range.

Here is an A7IV raw file with no adjustments. The blacks and highlights have clipped

And here is the same file with the exposure increased by 1 stop along with a 100 push on both the blacks and shadows as well as -100 pull on the highlights. It looks hideous but gives an idea of just how flexible the RAW files are.

In terms of high ISO noise performance, you can see from my test shots below that the A7III and A7IV perform very similarly.

A7III Raw ISO 3200, Converted in Lightroom, no adjustments

A7IV Raw ISO 3200 converted in Lightroom, no adjustments

A7III Raw ISO 6400, converted in Lightroom, No adjustments

A7IV Raw ISO 6400, converted in Lightroom, no adjustments

Sony A7III compared to A7IV 100% crop, ISO 6400

The A7III does slightly better once above ISO 6400 but once you down size the A7IV file to match the A7III dimensions it is actually a tiny amount better.

A7IV Tiff resized to A7III dimensions, converted in Lightroom, no adjustments

A7IV downsized to A7III dimensions, ISO 6400, 100% view

One thing that I have noticed is that the auto white balance in the A7IV does a better job than the A7III. I often had to apply fairly significant corrections to the A7 III images as they sometimes gave a magenta or yellow tint depending on the lighting conditions. I have not found this to be an issue with the mark IV. Outdoors the colours are very similar as seen below.

Skintones have also been improved on the A7IV vs A7III, particularly in mixed lighting conditions. This quick portrait was shot in window light with auto white balance and auto ISO. The AF nailed shot after shot. It really is impressive and the more I use it the more I appreciate just how easy the A7IV makes everything.

A7IV, Sony 85mm 1.4GM @ 1.4, 1/250, ISO1250 – RAW file, no editing done

The A7 IV now also adds the ability to shoot lossless compressed RAW files which helps to save some card and hard drive space without compromising image quality.

You can also shoot in 10bit HEIF format instead of Jpeg. In theory this should give more colour information than the 8bit Jpeg files but in use I haven’t noticed any difference. You also have to consider that HEIF is a relatively new format so before shooting chekc that they are compatible with your device/PC.

A7 IV vs A7 III – IBIS

The IBIS in the A7 IV is said to give 5.5 stops of image stabilisation compared with the 5 stops quoted for the A7 III.

I wanted to test out whether there was any real world difference so I shot my usual tests handheld at 24 mm on the Sigma 24-70mm f/2.8.

I found that results were so similar as to not warranty any further testing.

It is impossible to explain the difference in IBIS performance for video without showing the footage so please see my video here

This is where the A7IV shines against the A7III – Auto Focus

The AF in the Sony A7 III was always pretty good, especially as Sony updated the firmware to add better Eye AF as well as animal detection. However this has been improved again, with the A7 IV taking advantage of the BionZ XR which Sony claims is 8x faster than the BionZ X found in the mark III.

The A7 IV has 759 phase detect AF points giving 94% coverage vs 693 with 93% coverage on the A7 III. The increase doesn’t sound like much but more importantly it puts it in line with the A1 and A7SIII which I suspect will allow it to benefit from any AF improvements added to those bodies.

The phase detect points now work down to f/22 (vs f11 on the A7III) and the AF will work in -4 EV vs the A7III’s -3 EV.

When I first noticed that you can now change the AF point selection colour from white to red I gave a little prayer to the camera gods as this was something that I often had issue with in previous generation Sony cameras. When using the A7III and the A7R2 I owned before that, it could sometimes be incredibly difficult to know which focus point was being activated if the colour matched the background. It’s funny how small things can sometimes turn out to be instrumental in giving you a feel for whether you will like to use a camera or not.

The A7 IV has ported over the same AF algorithms found in the top of the line Sony A1 which adds real time eye AF and subject tracking. The A7 IV also adds human/animal AF that works in both photo and video mode. There is also vehicle tracking for photography as well as the ability to select bird eye AF.

Having tested this out on some not too challenging geese and pigeons I can say it does a great job.

Bird Eye Af works flawlessly for subjects such as this goose.

Again, it is best to watch the video for demonstrations of just how good the AF in the Sony A7IV is.

In use I have found it to be as good as anything available (including my Canon R5). In fact I would even put it a notch above the R5. It locks on really quickly and is accurate. To see this in action subscribe to my Youtube channel and hit the notifications bell as the full video will be released soon which includes footage of the AF captured on an Atomos Ninja V. You can now see the video here

With Eye AF turned on it is the quickest system that I have used to pick up the subjects eyes and it can do it even when the subject is quite small in the frame. Mind you, the Sony A7III is no slouch in this area either.

I could see a discernible difference when shooting the Sony A7IV vs A7III. It is simply much quicker to react, pick up the subject and place that green box over the eye.

When the subject either turned away from the camera or left and then returned to frame it was significantly quicker to regain focus on the eye than the A7III. The MK III did not always pick up the subject’s eyes again quickly and on some ocassions even failed to do so at all. I believe this is due to the older algorithm scanning the entire scene to re-aqquire the subjects eyes whereas the Sony A7 IV has been programmed using machine learning to prioritise looking for a subjects eyes in the same area as it last detected them. Whatever the technicalities it is a marked improvement.

Video

The Sony A7III was one of the first true hybrid cameras, bringing together great stills and at the time, excellent video specs. However times have moved on and the lack of 10 bit internal video as well as 4k is starting to show against the competition.

The A7IV has adressed this and now offers upto 4k30 with no crop whereas the A7III tops out at 4k25 without a crop. Once you go to 4k30 there is a 1.2x crop on the A7III. The recording limit of 30 minutes found on the A7III has now been removed too.

As well as the usual S-log options the A7IV now includes S-Cinetone.

Importantly the A7IV now offers 4k60 full pixel readout (no binning) but this does crop to APS-C or 1.5x.

Where the A7IV has definitely taken things up by several notches vs the A7III is with the codecs and colour depth available. This is great news for those wishing to colour grade their footage in post.

The A7III only offers 8bit 4:2:0 internal shooting options whereas the A7IV now shoots 10 bit 4:2:2 internally with the option to use the H.265 codec or All Intra H.264 at a bit rate of 300mbps for 30p or 600mbps for 60p footage. Lower data rates are also available for those who don’t need the added grading headroom or simply want to save on disk space.

Below are the various 4k codecs and bit rates available.

4K All intra has fixed settings as follows :

24p – 4:2:2 10 bit 240mbps

30P – 4:2:2 10 bit 300mbps

60p – 4:2:2 10 bit 600mbps

The A7IV does away with the Micro HDMI port and replaces it with a full sized HDMI which is so much more sturdy.

It also adds what Sony call Active stabilisation. This is basically a digital stabilisation using information from the gyro on the IBIS. The field of view crops in a little to allow this. This is something that I tested for my video review and will show there.

The A7IV now lets you adjust (in 7 steps) how quickly focus transitions are performed as well as 5 steps of control for how quickly the AF will switch from one subject to another.

An interesting concept and one that I have seen carried out extremely well by DJI is the focus mapping option. This shows you which areas of your image are in and out of focus by colouring the areas. I’m still not convinced on its usefulness so will report back when I have had time to use it a little more.

Sony A7III vs A7IV – Conclusion

When I saw the specs for the Sony A7IV I wasn’t blown away. There was no one aspect that really stood out to me as groundbreaking or a must have. A little more resolution, an articulating screen, a new menu (again), a few extra video modes and promised AF improvements didn’t really seem like that much considering how groundbreaking the A7III was back in 2018 and how long it has been since then.

I have had and owned at least one of each generation of Sony’s A7 series bodies since the A7R. I have always appreciated their technical abilities, groundbreaking specs and ability to push the boundaries for autofocus. However, I have never gelled with one the way I have with say, the Fuji X-Pro 1 & 3 or the Nikon Z7II or Canon R5. The difference, I have always felt is that those feel like cameras made by a camera company that understands photographers. They get the little things right in terms of button placement, menus, ergonomics, design and handling. These things really do make a massive difference when it comes time to pick up a camera and shoot.

The Sony A7IV is the first Sony camera that I have picked up and felt like it is finally designed by a company that understands what we as photographers/videographers want. There are no headline grabbing features that blow your mind the way that the Canon R5, Sony A1 or Nikon Z9 did at release but the whole is definitely more than the sum of its parts when it comes to the A7IV.

After having shot a lot with both of these cameras side by side, if it were my money and I had to decide between the Sony A7III vs A7IV , I would buy the A7IV without doubt. It feels like a camera, makes everything easy and gets out of your way and lets you shoot. Not to mention that I would no longer consider a camera without 4k60 video.

I hope that you found some value in this article and it helps with your decision. Please don’t forget to help out in anyway you can by subscribing to this blog, my yotube channel or buying through my links. Any help is much appreciated and allows me to spend more time creating content like this.

Sony A7 IV Best Settings

Sony A7 IV best settings

In this post I’m going to walk you through the best settings for your Sony A7 IV. I’ll start by helping you to setup the camera out of the box and then move on to the best settings for photography on the Sony A7 IV. If you are looking for the best video settings for the Sony A7 IV then these will be available soon in a separate article. The Sony A7 IV allows you to setup completely seperate custom settings and options for photography and video.

I’ve been lucky enough to get my hands on the Sony A7 IV pretty quickly even though you can’t find one in stock at a lot of stores. If you would prefer to watch then checkout my video instead.

Being a previous user of the Sony A7 III (Sony A7III video review) I’m very familiar with the Sony system but there are a few worthwhile changes on the Sony A7 IV that make setting it up a little different.

Let’s dive straight into setting up your brand new Sony A7 IV out of the box.

Setting up the Sony A7 IV – out of the box

When you turn your camera on for the first time you need to set your menu language. I’ll select English here.

Then set your time zone. I’ll be selecting Lisbon/London. You can also turn daylight saving on/off. As we are in January this is set to off in the UK at the moment.

Now select the way you want your date to be formatted. As I’m British I’ll go with D-M-Y or day, month then year. My American friends can choose M-D-Y.

Set the date and time accordingly (note the format is using the 24 hour clock).

Next you can choose to register your phone with the smartphone app. I’ll do this later via the smartphone regist option in the menu system.

That’s the basics setup.

Sony A7 IV setup – menu options for photography

Hit the menu button to the left of the viewfinder and you will notice that the Sony A7 IV is using the latest Sony menu system.

To select any option you can either press the direction on the rear dial or you can rotate it to scroll up and down through the options. Right is enter and left is to go back a step.

Here are the settings that I use for photography.

Camera Icon menu option 2/52

JPEG/HEIF switch – Jpeg

Image quality settings

File format : Raw + Jpeg

Raw File Type : Lossless Compressed (gives the best quality raw files but saves space over uncompressed)

Jpeg Quality : Extra Fine (again gives the best Jpeg quality)

Jpeg size: 33m (if you want smaller Jpegs for social media or as backup then select medium 14mp or small 8.2mp)

Aspect ratio: I leave it to the native 3:2 aspect ratio and do any cropping on the image in post. You can select between this, 4:3 slightly shorter on the long edge, 16:9 standard film aspect ration and 1:1 for square format

I often use Sandisk cards with my cameras as I have found them to be very tough and reliable. If you are looking for a card for your Sony A7 IV then I always buy from Amazon as they have a great returns policy and usually the best pricing. Cards linked below:

Skip to

Long exposure noise reduction – I leave this on as it captures a black frame at the same shutter speed after a long exposure in order to map hot pixels and noise and remove them. You can do this in post if you prefer. Having this option on will result in the camera taking a second exposure for the same length of time as your first, so can involve a lot of waiting around if your exposure is 1 minute or more.

Scroll down and you will move to Option 3/52

High ISO NR : Low. I like to do most of my noise reduction in post so I keep this set to low. This will only affect your Jpeg files.

Colour Space : Adobe RGB if you plan to edit, sRGB if you are going to post images directly online. Adobe RGB gives more colours but sRGB is the standard used online.

Lens compensation: Leave at defaults (shading comp- auto, chromatic aberration comp auto, distortion comp- off)

Camera Icon menu (Option 4/52)

Format– Always format your memory cards before use to minimise the chance of corrupt files and data loss.

Rec Media Settings: This is where you can select how the camera records to your memory cards. You can choose between slot 1 for photos and slot 2 for video, Simultaneous recording which saves the same files to both cards at the same time ie backup, or auto switch which will automaticall record to the other card when one becomes full. I choose the first option to keep things simple when transferring my media to the computer.

Camera Icon Menu (Option 5/52)

File/Folder settings:

File Number: Set to series

Set file name : I set this to ‘A74’ so that I know which camera has recorded the images when I load them onto my computer. You can choose any name you prefer.

Copyright Info:

Write Copyright info: On

Set Photographer: Add your name

Set Copyright: Add your name or company name.

I shoot in Manual mode but if you shoot in aperture or shutter priority with auto ISO then you will need to set your ISO values using option 13/52 and 14/52.

Sony A7 IV best settings for landscapes and non moving subjects

Choosing your autofocus settings will depend on your subject.

Option 20/52: Single Shot AF

Priority Set in AF-S : AF

Focus Area: Spot Small

Face/Eye Prior in AF : Off

For manually focusing set 20/52 to manual focus and turn peaking on as below.

26/52

Peaking display: On

Peaking level: High

Peaking colour: Red

Sony A7 IV best settings for portraits

Focus mode: Continuous AF: On

Priority set in AF-C: Balanced

AF Tracking sensititvity: 4

Focus area: Wide

Face/Eye priority in AF : On

The Sony A7 IV does an amazing job picking up a subjects eye, locking on and sticking with it even when they turn away from the camera for a second. It quickly locks back on to the same subject so I almost always use eye AF when shooting portraits.

Finally if you don’t want to hear the autofocus beep everytime the camera attains focus then head over to option 49/52 and turn audio signals off.

I hope you found this useful and hopefully it saved you a bit of time scrolling through the vast menu system of the Sony A7 IV. If you got some value from this post then please share it with your friends or anyone that you think would also find it helpful.

In a future article I shall be going through the best settings for video on the Sony A7 IV as well as showing how I set up the custom modes and function buttons for photography and video.

The best Travel Tripod under $200

As many of you will know I have spent the last decade travelling the World and in that time I have fluctuated between carrying a full sized Manfrotto 055 XProB tripod to not using one at all.

However when I don’t have a tripod with me I always notice that I miss shots and that I don’t work as hard at my compositions. Therefore I have spent quite a lot of time researching the best travel tripods available and have now been using the Manfrotto BeFree Advanced travel tripod for a couple of years.

I thought it was about time that I reviewed the tripod so please check out my latest video review over on my Youtube channel

What’s in my camera bag for landscape photography 2021/2022

My latest video goes over the gear that is in my camera bag when I go out to do landscape photography.