Entry 127 : [REVIEW] Form Over Function? PART 1: Sony a7, a7R & a7S

Hey, how's it going?

The other day, I finally had the time (and will) to wander the streets of KL again, and this time in pursuit of handling, shooting and reviewing a few cameras that I have longed to look at.

As usual, the LRT ride to KL was a cold, lonely affair.

I arrived at KLCC, went to the bathroom, then straight away climbed the escalators to the IT floor.

And there it was, majestically emerging into eyesight as the rollers and pulleys transported me to the upper floor: Sony KLCC.

I went inside with hopes of at least getting to play with the "old" a7.

But there they were: the a7, a7r and a7s.

Sony a7R, looks exactly the same as the previous a7 and the latest a7S

Shot with a Nikon D7100 + 35mm f1.8 DX

Full frame sensor of the a7

Shot with a Sony a7S + 24-70mm F2.8 ZA SSM

The a7, a7R and a7S are full-frame mirrorless interchangeable lens cameras (MILC) manufactured by Sony and are arguably the best innovation in MILC to-date.

The fact that Sony implemented a full-frame sensor (sensors are equivalent to 35mm film cameras) in the new technology of mirrorless systems shows just how serious they are in competing with their DSLR counterparts.

Key differences you need to know:

Model	α7	α7R	α7S
Product standing	Perfection w/ High Dynamic range	High Resolution w/ High Color depth	High Sensitivity w/ Video production
Body material	Magnesium alloy and polycarbonate	Full magnesium alloy	Full magnesium alloy chassis and stainless steel bayonet mount.
CMOS Sensor	24.3 megapixel Exmor	36.4 megapixel Exmor	12.2 megapixel Exmor
Maximum image size	6,000 x 4,000 pixels	7,360 x 4,912 pixels	4,240 x 2,832 pixels
Sensitvity Range	Expanded ISO 50 - 25600 (100 - 51200 at multi frame NR)	Expanded ISO 50 - 25600 (100 - 51200 at multi frame NR)	Expanded ISO 50 - 409600
Autofocus	25 point contrast-detection w/ 117 points phase-detection	25 point contrast-detection	25 point contrast-detection (works down to -4 EV)
Maximum flash sync speed	1/250	1/160	1/250
Continuous drive	5 fps max speed. (w/ Predictive continuousAF)	4 fps max speed.	5 fps max speed.
Video record format	MPEG-4, AVCHD (28mbps) Full HD	MPEG-4, AVCHD (28mbps) Full HD	MPEG-4, AVCHD (28mbps) Full HD XAVC S (50mbps) Full HD
Video sampling	Line skipping	Line skipping	Full-pixel readout
Slow motion video record	No	No	Yes (720p, 120fps)
Electronic first curtain shutter	Yes	No	Yes
Silent shutter mode	No	No	Yes
HDMI Output	4K still and Full HD video	4K still and Full HD video	4K still and 4K video
Other features	Fast Hybrid autofocus system	No optical Low-pass filter	Professional video workflow w/ Picture Profile, S-Log2, time code

Thank you, Wikipedia

I spent a good hour and a half at Sony KLCC, changing lenses, sounding the alarms and un-suspiciously aimed the lenses at innocent passer-bys.

The following are what I have found out and what I think of the cameras according to certain categories:

Operation

I am one who likes to avoid fuss.

One thing that has kept me as a Nikon shooter is the fact that I have an easy time switching from one body to another because the buttons and functions aren't laid out in obscure places, deep within the menu.

(However, this will prove to be a contradiction in PART 2)

The thing with the a7# (# representing all models) is that it irks me every time I want to change my focus point.

I'm not sure if there is a shortcut to this, but every time I wanted to simply change my single AF point, I have to press Fn, go to Focus Area, select Single Focus (or something like that) and then choose my focus point.

Now this was not much of a hassle shooting inside the Sony centre but imagine me on the streets and having to change my focus point to compose a subject.

It was tedious and tiresome.

And when I forget that I'm using the a7#, I simply press on the arrow buttons and it does a whole other thing and I have to maneuver out of it.

That's not all.

When reviewing these cameras, I first used the a7S and it was readily set in RAW mode, so I didn't have to scurry to find the image quality settings.

Then, I used the a7R and a7.

After more than an hour shooting the latter two, I was content with what I had and decided to move on to other shops and other cameras.

I then went to mess around with the a99 (not being reviewed, although I admit that it is also quite nice to shoot with) where it was a much more familiar feel, as it was Sony's version of an SLR.

There, I remembered to changed my image quality to RAW and then it struck me: I didn't shoot RAW with the a7R and a7.

Damn it.

So I had to redo all my shots and assessments, which sort of became a deterrent because I thought I was already done with everything and wanted to move on.

But it was also a good thing because it meant I got to play with them more.

Yay.

Changing to RAW mode wasn't as easy as pressing QUAL and turning the dial either.

I had to look for the setting in the menu.

Not that it was tedious, it just wasn't convenient.

I probably find these operating procedures difficult to get used to because I'm always in a working mindset, where I like things precise and efficient.

Sifting through settings menus isn't efficient. 

EVF

EVF or electrical view finder is a camera viewfinder where the image captured by the lens is projected electronically onto a miniature display. This differs from an OVF in a DSLR, where the image is reflected through the lens onto mirrors and through a prism.

I didn't enjoy looking though the EVF.

As much as Sony or other reviewers can say about the improved and superb EVF, I don't really agree.

Of course I was restricted to shooting indoors without much action but even so, I still had problems with lag (this on the a7S, mind you).

There were a lot of times where this huge red filling would cover my subjects, making me feel like a Terminator for a while.

Despite the lag and weird red area, the EVF on all the versions are crisp, clear and responsive to settings changes.

It's like looking into the future of how your photos would actually turn out and it's really helpful to those who still have problems understanding their exposures.

However, there's also this one thing that occurs when you switch from LCD to EVF.

Whenever I put my eye to the EVF, the image of my last photo would appear.

I don't know if this is removable but it certainly surprised me a few times.

Feel

If you're not the type of person to be concerned about whether you can change focus areas at the speed of light or aren't even looking to use the EVF, then you'll surely be delighted to read what I have to say.

The feel of the a7# is fantastic.

You don't feel burdened by a metallic contraption and it just feels like you're looking to have a great time shooting old grandmas pushing trolleys on the streets.

The build, although sturdy, doesn't intimidate the shooter as much as a 5D MkIII or D800 would.

I'm not sure if Sony used a less heavy kind of magnesium alloy or they just used less of it.

It's also nice to know that you can go shooting in the rain while not having to worry about buying a dedicated umbrella for your camera due to their weather sealing.

I love that the grip is wide and thick, which means it didn't feel like I was hanging on the edge of a cliff, holding on for dear life.

One could, however, do without the vertical grip.

The size of the cameras is also significantly smaller than most full-frame cameras, giving them more portability.

The design of the cameras is also reminiscent to old film cameras, which is a bonus.

You can look chic and also take beautiful photos.

Which brings us to the next category.

Image Quality

Finally, a segment I can put photos in!

I (Heart) Zeiss

Shot with a Sony a7S + 50mm F1.4 ZA SSM

Thin and tall, both things I'm not

Shot with a Sony a7R + 50mm F1.4 ZA SSM

Shoot me on my good side

Shot with a Sony a7 + 24-70mm F2.8 ZA SSM in JPEG

Simply put: the photos are nice.

Why wouldn't they be?

Nikon uses the same sensors!

Although, I don't know how true that is, I do know that Nikon has Sony manufacture their DSLR sensors.

So, one could assume that the a7 and D600/D610 share the same sensor, as with the a7R with the D800 and the a7S with the D4s.

This would explain the super high ISO capability of the a7S and the apparent same 's' in their name.

But for you shooters out there who only want a definitive answer: Yes, the image quality from all versions is excellent.

Pro tip: If you're looking to do reviews of cameras that can't be brought outside, bring a pretty friend as a model/subject. Your photos won't be boring like mine.

Conclusion

Right now all I can say about the a7, a7R and a7S is that they are bloody brilliant.

It's not about one being newer than the other, or one having more megapixels or one having 4k video.

It's how these cameras felt.

And they felt good.

The very fact that I was restricted by all the white cables and could only shoot the things a few feet away from me made me want to get one of these cameras for my own to shoot with every day.

At one point I was so indulged that I actually began promoting the Sony cameras to customers.

That's when I decided to just let them go and look for other things to play with.

The a7 trio were absolutely fun to shoot with, although the buttons, functions and execution were quite tedious and unfriendly.

I wish they weren't so damned expensive because I do see myself having one as an alternative.

Keep in mind that I haven't been able to review any Fujifilm gear so right now Sony does seem like a viable alternative.

All in all, the only downside to these cameras is that I didn't leave Sony with any one of them.

Next, in PART 2 of my "Form Over Function?" review, I talk about the Nikon Df and Nikon D4s.

In the meantime, check out all the FULL RES images from this review and more here.

"Make (dot) Believe"

DISCLAIMER: I do not represent Nikon, Sony or any other brand that might be showcased in this review. This review is written for THE FEAR and is of no significance to any sort of argument that may or may not ensue. I deliver this with utmost honesty and sincerity.