If you bought your Sony A7/A7R/A7S camera with a lens, then you basically have everything you need to begin shooting. But depending on the type of photography you’re doing, there are some accessories that can really come in handy. Let’s start with some must-have accessories for your photography.
External Chargers and Batteries
My first suggestion is to buy an external charger and extra batteries. Sure, you can always plug the cord that came with your camera into an electrical outlet to charge your camera battery, but it’s pretty hard to shoot with your camera plugged into the wall. It’s much better to purchase a Sony BC-TRW battery charger and a couple extra Sony NP-FW50 Lithium-Ion batteries. If you have the older style W-battery chargers from NEX, they’ll work just fine, but the BC-TRW battery charger has nice features like charge indicator lights and a USB terminal that allows you charge another accessory.
BC-TRW battery charger and Sony NP-FW50 Lithium-Ion batteries
AC Adapter
Sony AC Adapter AC-PW20 powers your A7/A7R/A7S camera from an AC outlet. This comes in handy when the camera is being used near an AC power supply for extended periods such as for studio sessions, when uploading files to a PC, or when shooting long time lapse sequences.
Sony AC Adapter AC-PW20
Lens Mount Adapters
One of the best features of mirrorless cameras is that, due to their thin body design, it’s possible to mount a huge array of lenses on them using lens mount adapters. As the first fullframe mirrorless cameras, Sony’s A7/A7R/A7S are the only cameras that allow you to use virtually every make of 35mm lenses with the full angle of view for which those lenses were designed. There are far too many option to mention here, so they’ve discussed in detail in this Two-part Guide to the best lens mount adapters for Sony E-Mount cameras:
Sony A7/A7R/A7S Lens Mount Adapters – Part 1: Sony, Leica M, Canon EOS & Nikon lens mount adapters
Sony A7/A7R/A7S Lens Mount Adapters – Part 2: Legacy lens mount adapters for Contax, Canon FD, Hasselblad V, Leica R, Minolta MD and others
Sony LA-EA3 and SonyLA-EA4 lens mount adapters
Memory Cards
Shooting with a fast memory card allows you to shoot even longer burst without buffer slowdowns. Good memory cards are one of the best investments you can make in maximizing the performance of your camera. I use Sony SDHC Class 10 UHS-1 memory cards because they offer outstanding performance at a great price. I use the 32gb SDHC 10 UHS-1 cards for stills, but if you plan to shoot video – you may wish to get the larger 64gb SDXC 10 UHS-1 cards to access XAVC S video format.
32gb SDHC 10 UHS-1 memory card and 64gb SDXC 10 UHS-1 memory card
SD Card Cases
Nothing’s worse than searching around your camera bag trying to find a tiny SD card. Delkin Secure Digital card cases or Vidpro Power 2000 SD Memory Card Cases can make quick order out of that chaos. To better keep track of which cards I’ve shot, I turn the cards face down once I’ve used them.
The Delkin Secure Digital 8-card carrying case
Software
Adobe Lightroom 5 is one of the best “upgrades” you can buy if you want to get the most out of your Sony camera. It does a great job processing Sony RAW files – particularly by allowing you to reduce noise at high ISOs without loss of detail.
The current version LR 5.6 supports all three cameras and includes lens profiles for all the current Sony FE lenses.
There are several extremely plugins available for Lightroom. Adobe DNG Flat Field plug-in is a very handy tool for creating lens profiles for wide angle rangefinder lenses used to correct an optical phenomenon called shading, also known as “lens cast”.
Vertical Grip
Sony’s VG-C1EM vertical grip holds two batteries, which allows you to double the battery life of the camera. When the first battery runs out, the camera automatically switches to the second. The grip also adds a second shutter release button positioned for vertical shooting. The grip adds a bit of heft and gives you more to grip when shooting with longer, heavier lenses.
Sony VG-C1EM vertical grip adds a vertical release button and allows you to double your battery capacity.
Hot-Shoe Flashes
The A7/A7R includes a new multi-interface hot shoe, which allows the camera to be paired with many new accessories for stills and video production. Sony makes three flashes that fit directly into the multi-interface shoe: HVL-F20M, HVL-F43M, and HVL-F60M.
The HVL-F20M is perfect when you want a soft fill of flash up-close or when you want to wirelessly trigger another Sony flash. HVL-F43M is the best overall choice as it’s nicely balanced in size and weight to the A7/A7R/A7S. HVL-F60M tops out this trio with a guide number of 60 for times you need maximum power.
Sony HVL-F20M, HVL-F43M and HVL-F60M flashes add power and flexibility to your flash photography.
Flash Triggers
Flash triggers like PocketWizards are the best way to fire studio flashes with the A7/A7R/A7S. The transmitter fits right into your camera’s multi-interface shoe to trigger the receivers placed on your strobe packs. PocketWizard III transceivers offer 16 channels plus multiple zones. If you don’t need that many channels, you can save a few dollars with their scaled-down version, the PocketWizard X.
Sony A7R with Pocket Wizard III
Remote Commanders
Remote commanders allow a hands-off approach to triggering a tripod-mounted camera or achieving extra-long exposure times. Sony RM-VPR1 remote control with multi-terminal cable allows you to trigger long exposures without touching your camera. Another remote trigger that comes in handy is Sony RMT-DSLR2 wireless remote commander. This wireless release triggers your shutter by sending an infrared signal to the camera’s remote port, ensuring that you don’t shake the camera as you fire it.
Sony RM-VPR1 remote control with multi-terminal cable and Sony wireless RMT-DSLR2 remote commander
Quick-Release Plates and L-Brackets
The biggest pain of using a tripod is tightening and loosening the tripod threads into the camera baseplate. That’s where quick-release plates come in handy. The Arca-Swiss dovetail has become the industry standard quick-release, so you’ll find a wide range of compatible quick-release plates and L-brackets. Neewer makes a great L-Bracket for Sony A7/A7R/A7S that still allows easy access to the slots on the side of the camera. I leave these on my cameras all the time as they also function like a roll bar surrounding the camera with a layer of added protection.
Neewer Quick Release L-Bracket for Sony Alpha A7/A7R
Oben QR Quick Release Plates are a good choice for long lenses or lens mount adapters.
Oben QR-10, QR-20 and QR-30 Quick Release Plates
Tripods and Heads
If you buy only one accessory for your photography, do yourself a favor and make it a tripod. In general, any tripod is better than no tripod at all. A tripod helps you take sharper photos and lets you shoot in any lighting condition. So how do you go about choosing the right one for you? The main considerations are weight, height, head, and of course, cost.
Acratech GP ball head
One of the determining factors when purchasing a tripod is the type of head that it employs to secure the camera to the legs. There are three basic types of tripod heads: ball heads and pan heads for stills and fluid heads for video.
Ball heads use a simple ball joint that allows you to freely position the camera in any upright position and then clamp it down securely. Ball heads are flexible and quick to use. Especially if, like the Acratech GP Ball head. they include quick-release clamps compatible with Arca-style camera plates and L-brackets for ease of use and efficiency.
Travel Tripods
The weight of your tripod will probably determine whether or not you will actually carry it along with you farther than the parking lot. Many different types of materials are used in tripods today. The lightest is carbon fiber, which is probably the most expensive as well. More than likely, you should consider an aluminum tripod that is sturdy and that has a weight rating that is suitable for your camera and lenses.
Make sure that the tripod extends to a height that is tall enough to allow you to shoot from a comfortable standing position. Nothing ruins a good shoot like a sore back. Taller tripods need to be sturdier to maintain a rigid base for your camera. You will also want to consider how low the tripod can go. If you want to do macro work of low-level subjects such as flowers, you will need to lower the tripod fairly close to the ground. Many new tripods have leg supports and center column mechanisms that allow you to spread the legs very wide and get the camera low to the ground.
The 3 Legged Thing X1.1 Brian Evolution 2 carbon fiber tripod extends to 78.7 inches, yet folds to a mere 16.5 inches for easy packing when traveling.
Value priced alternatives include the Oben CT-3561 Carbon Fiber Tripod With BE-117T Ball Head and the Benro A1692TB0 Travel Angel II Triple Transfunctional Aluminum Tripod.
Sony A7R | SAL 70-400mm F4-5.6 G with LA-EA4 Mount Adapter | 1/40 | F5.6 | ISO 1600
Shot on Benro A1692TB0 Travel Angel II Tripod – a solid tripod helps lock down a vibration-free shot.
Video Tripods
Smooth pans for video all begins with a good video head – which can be the difference between smooth video and shaky cam. Benro makes great video tripod and fluid video heads at a reasonable price. Benro S6 Video Head and A2573F AL Tripod is a good entry video head and legs combination for the Sony A7/A7R/A7S or for even smoother pans, move up to the larger S8 video head with the Benro S8 Pro Video Head and A3573F Series 3 AL Tripod – it’s larger, heavier video head makes for even smoother camera moves and it’s hard to beat for under $500. If you’re looking for a pro video tripod, Benro H10 Video Tripod Kit with Carbon Fiber Legs will meet your needs.
Benro S8 Pro Video Head and A3573F Series 3 AL Tripod
Video Tripod/Head/Slider Combo
If you’re looking for the ultimate versatility, Libec ALLEX S KIT (Shipping August 2014 – order here) combines a Tripod, Head and Slider into one handy kit that allows you to slide, pan and tilt your camera elevated on a tripod. You can position the slider slanted at various angles on the tripod and capture smooth, diagonally moving shots. Kit includes two padded carrying cases are included, one for the tripod and head – the other for the slider.
ALLEX S KIT combines tripod, video head and slider
Stabilizing Rigs
Steadicam Merlin 2 Camera Stabilizing System lets you go where the scene takes you–up or down steps, indoors and out, through crowds–almost without limitation. The Merlin 2 weighs just 1.4 lb and can handle cameras up to 5 lb in weight. It gives you precise, elegant control for dramatic, professional you-are-there footage. The quick-release mount lets you instantly switch between your stabilizer and any tripod. This system utilizes a metal gimbal for smooth camera movement.
The Steadicam Solo Stabilizer & Monopod quickly converts back-and-forth between a Steadicam and monopod, handily providing the functions of both in one portable unit. It features a 3-axis gimbal and supports up to 10 lb. It telescopically extends out to four sections to approximately average shoulder height, and it folds to a compact 24″ in length. It can be used handheld or with an optional Steadicam Solo Arm Vest Kit. A quick release camera mounting plate and a set of counterweights are included, allowing for out-of-the-box use.
Steadicam Merlin 2 and Steadicam Solo Stabilizer & Monopod
Comodo Orbit Handheld Stabilization Rig is a mechanically driven, twin grip gimbal stabilization system. The Orbit utilizes two gimbal handgrips to isolate the camera from bumps and shakes, helping the camera to seemingly float in space. With a twin grip design, the stabilizer has the unique ability to be passed from one operator to another, allowing it to travel through windows or other tight spaces. Having two handgrips also reduces operator fatigue, letting you shoot longer than with single-handed stabilizers.
Comodo Orbit Handheld Stabilization Rig
If you’re looking for a MoVi-syle rig for under three grand, the DJI Ronin 3-Axis Brushless Gimbal Stabilizer (Shipping August 2014 – Available for Pre-Order here) is a camera stabilization system designed to give the operator close to the freedom of unencumbered handheld shooting but without the hand-shake. Suitable for most camera types and configurations up to 16 pounds, Ronin uses brushless motors that work on three axes: one for side-to-side “roll” – keeping the horizon level – one for tilt, and one for pan. The system is computer-controlled and boasts a precision of control of ±0.02°. An IMU (inertial measurement movement) detects movement and engages the motors to react, using algorithms to differentiate between intentional movement such as pans and tracking shots from unwanted shake.
DJI Ronin 3-Axis Brushless Gimbal Stabilizer
Camera Bags
I like to travel with my photo gear, and typically my travel involves flying. This means that all my camera equipment will be traveling in the cabin with me, not in the luggage compartment. I can’t emphasize this enough: Do not pack your camera in your checked luggage! Thousands of cameras, lenses, and accessories are lost or stolen from checked luggage every year. The best way to ensure that it doesn’t happen to you is to bring your equipment onboard and place it in the overhead storage. I like to bring my laptop as well, so I have found a couple of backpack camera storage systems that allow me to fit a camera body, several lenses, some accessories, my laptop, and even some snacks into one backpack-style bag that still fits in any overhead compartment.
One of great advantages of the Sony A7 and A7R is that you can travel with your photo gear without it weighing you down. So you don’t want the bag you carry it in to weigh you down either. Fortunately, there are a few great options that won’t weigh down your shoulder—or your wallet.
My favorite walk-around bag is Sony’s LCS-SB1 sling bag carrying case. It’s a slim, body-hugging bag that doesn’t scream, “Steal me, I’m worth thousands!” Although it weighs virtually nothing, it holds a lot. It can fit everything I need for a day out shooting; even a 70–400mm lens with the LA-EA4 fits neatly inside.
Sony LCS-SB1 Sling Bag
If you want to pack a bit more for a trip, like maybe a tablet or laptop, you’ll want to give Lowepro’s Urban Reporter shoulder bags a look. They come in three sizes depending on your needs. The smallest, Lowepro Urban Reporter 150, will hold a couple of camera bodies and a couple of lenses plus a 10” tablet. The largest is the Lowepro Urban Reporter 350, which can hold an entire mirrorless system plus a 15” laptop. If you’re also a DSLR shooter, you’ll be able to carry two different kinds of camera systems in it as well.
Lowepro’s Urban Reporter 350 will transport a mirrorless kit and your 15” laptop.
If prefer a backpack that you can sling over your shoulder, leaving your hands free for other luggage, Sony makes a couple of backpacks that might be perfect for your needs. Sony LCS-BP2 backpack is nicely sized for a couple of mirrorless bodies, lenses, and accessories. Or you can step up to Sony’s LCS-BP3 backpack, which holds three mirrorless bodies and four or five lenses plus a 15” laptop, making it great for most of my travel needs for the past few years. While it might be a bit large for the A7/A7R and a few lenses, I like to pack as few bags as possible when traveling, and the laptop compartment and extra space allows me to pack chargers, cords, and hard drives.
The Sony LCS-BP3 backpack easily holds three mirrorless bodies with lenses, a flash, and a 15” laptop.
If you’re looking for a really sweet leather bag, check out the ONA Brixton Camera/Laptop Messenger Bag.
ONA Brixton Camera/Laptop Messenger Bag in Dark Truffle Leather
Camera Straps
Your camera came with a strap. It might be exactly your style, but if it’s not, you have lots of options. There’s no camera accessory we come in closer contact with than the strap. You can find virtually any strap your heart desires online, so if you’re in the mood for a hot-pink ostrich-leather camera strap, you’ll probably find it.
Black Label Bag Very Soft Leather Camera Strap (White Stitching)
BlackRapid Metro Sling Camera Strap
Video Accessories
Sound
If you want to eliminate the camera noise that comes with recording sound with your camera, you should consider using an external microphone. You can have much more control over the quality of the audio because you are using a device whose sole purpose is to record audio. There is a growing market of microphones for mirrorless and DSLR cameras, including mics with hot shoe adapters that allow you to mount the mic to the camera so you can record without having to worry about holding the external microphone. Sony’s ECM-XYST1M stereo microphone slips into the A7/A7R/A7S multi-interface shoe. Its features include the ability to fine-tune the angle at which sound is recorded, from a single point to a wide 120-degree spread to pick up ambient sound from an entire room.
Sony’s ECM-XYST1M stereo microphone fits into the A7/A7R/A7S multi-interface shoe.
If you‘re looking to add XLR terminal inputs and audio level controls for a pro external audio input, Sony’s XLR-K1M adapter and microphone kit is just the thing. It gives you two XLR inputs and comes with a high-quality shotgun mic.
Sony’s XLR-K1M adapter and microphone kit
You can also do what the pros do: Record sound separately and sync it later using software. This does take a bit more time, but it also provides you the best sound. Several manufacturers sell separate audio recorders that produce high-quality sound at an affordable price, such as the Zoom H1, which retails for about $100. I prefer the H1’s bigger brother, the Zoom H4n ($270), because it includes two XLR inputs, which allow the use of a variety of specialized high-quality microphones, such as a more sensitive dynamic or condenser mic, or a shotgun mic that can reach out and grab audio from far away.
Video Monitors
Your A7/A7R offers Live View video through your EVF and LCD, but there are times when shooting video that a larger monitor comes in handy. Sony’s CLM-V55 video monitor gives you more surface area, making it easy to compose your shot.
The Sony CLM-V55 offers you a bigger area to frame your masterpiece.
4K Recorders
If you wish to step up to 4K recording, you’ll need a separate 4K recorder like the Atomos Shogun 7″ 4K HDMI and 12G-SDI Monitor & Recorder (available September 2014). It combines a color-calibrated 1920 x 1200 resolution display with 4K video recording and edit-ready codecs. The Shogun utilizes 4K HDMI and 12G-SDI inputs to record clean output signals at resolutions up to UHD 4K (3840 x 2160) at 23.98, 24, 25, 29.97, and 30p, as well as Full HD (1920 x 1080) video up to 120 fps when used with capable cameras.
The Shogun records 10-bit, 4:2:2 UHD 4K and HD video to Apple ProRes HQ, 422, or LT formats. It can also record HD video using Avid’s DNxHD format, and UHD 4K raw video using the uncompressed Cinema DNG Raw format. Video is recorded to single or raided 2.5″ HDD and SDDs for fast and reliable write speeds. As a monitor, the Shogun features a 7″ IPS capacitive touchscreen display with resolution of 1920 x 1200.
Atomos Shogun 7″ 4K HDMI and 12G-SDI Monitor & Recorder
Video Rigs
Video rigs and rails help you attach all the accessories you use on a video shoot. They have threaded holes that allow you to attach monitors, focus rails, batteries, and anything else you might need. The best and priciest are video rigs from Zacuto and Redrock Micro, but many budget-priced alternatives exist including Kamerar and Shape Video Rigs in case you’re self-funding your indie opus.
Kamerar TK-3 tank video cage and MAX-1 matte box
Reflectors and Diffusers
The easiest way to shape light is with reflectors and diffusers. Reflectors bounce light back onto your subject from a solid surface of white, silver, or gold. White is the softest, whereas silver and gold have a bit more snap and contrast. Diffusers are semitransparent material, usually white, that you place between your light source and your subject. The fabric does as the name implies: It diffuses the light, spreading it out into a soft, low-contrast light source that makes any subject look better. You could make your own or buy one of the many commercially available versions. Photoflex LiteDisc 41×74″ oval reflectors come in white/silver, white/soft gold, high-contrast silver/gold, and diffusion. Or you can combine them all in a single kit with the Fotodiox 48×72″ 5-in-1 Collapsible Reflector Disc or Westcott’s 6-in-1 reflector kit which includes two diffusion panels of varying transparencies, and it also has a reversible reflective cover that slips over either of the diffusion panels so that you can bounce some fill light into your scene. Best of all, the entire system is collapsible, so it fits into a small package for traveling.
Fotodiox 48×72″ 5-in-1 Collapsible Reflector Disc folds down to a third of its open size for travel.
The Small Stuff
There are a few small items I always pack in my camera bag when I travel.
Filters
There are several kinds of filters you’ll probably want to keep in your camera bag. In the film days, I used to carry a whole set of pale orange “warming” and pale blue “cooling” filters to adjust the color temperature of the scene. But now I simply adjust the color temperature in-camera or in post. Here are a few filters you’ll want to consider.
UV Filters
I’ve seen far too many examples of the image quality of great lenses ruined when someone put a cheap piece of glass in front of them, so just make certain it’s the highest-quality UV filter you can find and not a $10 add-on you got hooked into buying when you ordered your camera.
Polarizing Filters
This one ranks right up there at the top of the list of must-own photography accessories. You won’t find many landscape photographers who don’t have at least one polarizer in their camera bag. Sony circular polarizing filters are a great choice because it’s made with the same glass and coatings used in your Zeiss lenses.
Light travels in straight lines, but the problem is that all those lines are moving in different directions. When they enter the camera lens, they are scattering about, creating color casts and other effects. The polarizer controls how light waves are allowed to enter the camera, letting only certain ones pass through. So what does that mean for you? With a polarizing filter, blue skies will appear darker, vegetation color will be more accurate, colors will look more saturated, haze will be reduced, and images can look sharper.
Most polarizers are circular and allow you to rotate the polarizing element to control the amount of polarization that you want. As the filter is rotated, different light waves will be allowed to pass through, such as those from a reflection on a lake. Turn the filter a little and the light waves from the reflection are blocked, making the reflection disappear. Another benefit of the filter is that it is fairly dark, so when used in bright lighting conditions, it can act as a neutral density filter, allowing you to use larger apertures or slower shutter speeds. The average polarizing filter requires an increase in exposure of about one and a half stops. This won’t be an issue for you since you will be using the camera meter, which is already looking through the filter to calculate exposure settings. You should consider it, though, if your intention is to shoot with a fast shutter speed or use a small aperture for increased depth of field.
Sony circular polarizing filters are made with the same Zeiss glass and coatings as your Zeiss lenses.
Neutral Density (ND) Filters
Sometimes there is just too much light falling on your scene to use the camera settings that you want. Most often this is the case when you want to use a slow shutter speed but your lens is already stopped down to its smallest aperture, leaving you with a shutter speed that’s faster than you want. Maybe you want to make moving water look “smooth” in bright sunlight, or you want shallow depth of field when shooting video and there’s simply too much light, even for ISO 100.
The way around this problem is to use a neutral density (ND) filter to make the outside world appear to be a little darker. Think of it as sunglasses for your camera. ND filters come in different strengths (Figure 13.4), labeled as .3, .6, .9, and so on. They represent a one-stop difference in exposure for each .3 increment. (Some ND filters can be labeled 2, 4, and 8 for the same exposure increments.) If you need to turn daylight into dark, the Tiffen 3.0 Neutral Density Filter lowers exposure a whopping 10 stops.
I advise using the best-quality ND filter you can find, because once again, a cheap filter can ruin the quality of a great lens. As their name implies, good neutral density filters should truly be “neutral” in color. Avoid ones that have a color cast.
A great filter for this is Tiffen’s variable neutral density filter, which lets you vary the amount of density from two to eight stops. Since variable ND filters aren’t cheap, I’d advise buying one in the largest filter size you need and using inexpensive step-up adapter rings on your smaller lenses. Using a step-up ring to an over-sized filter also helps prevent vignetting when shooting with extremely wide-angle lenses.
ND filters come in varying densities, or darkness values, so you can select how much light gets through for the the effect you desire.
Microfiber Lens Cloth
A good microfiber lens-cleaning cloth comes in handy for getting rid of those little smudges and dust bunnies that seem to gravitate toward the front of my lens. I keep a few of these in my camera bag; they can even double as lens wraps in a pinch.
Microfiber cleaning cloth
External Hard Drives
Hard drives are really, really cheap. Memories are priceless. Get a pair of external hard drives for redundant storage. Use the second as a backup for the first. When you fill them up, buy two more. One day you’ll thank me.
Seagate USB 3.0 external hard drive
Sensor Cleaning Tools
Air Blowers
Never, ever, ever use canned, compressed air to blow dust off your sensor. The cans will release fluid when they are tilted, and that’s the last thing you want to get on your sensor. For this reason, I always use my Giotto’s Rocket Blaster. This funny-looking device is great for getting rid of dust on your sensor. It uses a clean air path so that the dust that you are blowing away doesn’t get sucked back into the ball and re-deposited on your equipment the next time you use it. Always point your camera down when blowing off the sensor. That way, any dust you dislodge falls out of the camera.
Giotto’s Rocket Blaster dust-removal tool
Sensor Brush
If the Rocket Blower can’t dislodge the dust, I move on to a VisibleDust SL-788 Arctic Butterfly sensor brush. This negatively charged brush helps pull dust particles off the sensor instead of just moving them around. This version includes an LED light so you can see what you’re doing.
VisibleDust SL-788 Arctic Butterfly with LED light
Those two sensor cleaners will do the trick 99% of the time. But for really persistent sensor gunk I can’t get off any other way Photographic Solutions Sensor Swabs (Type 3 for fullframe sensors) slightly moistened with the Eclipse sensor-cleaning solution will do the trick. These swabs are clean room manufactured and sealed for the ultimate in purity.
Photographic Solutions Sensor Swabs and Eclipse sensor-cleaning solution
For more tips and tricks about getting the most out of your Sony A7/A7R or A7S, check out my book ‘Sony A7/A7R: From Snapshots to Great Shots‘ from Peachpit Press. These ground-breaking compact full-frame cameras which combine the features and image quality of a top-end DSLR in a smaller camera at half the weight, quickly racked up an impressive list of accolades including Photo District News and Popular Photography’s ‘Camera of the Year’.
This book is your guide to getting the most out of Sony’s A7 and A7R cameras. While the camera manual explains what the camera can do, it doesn’t show how to use the camera to create great images!
That’s where ‘Sony A7/A7R: From Snapshots to Great Shots‘ comes in. Starting with the top ten things users need to know about the camera, it carefully guides you through the operating features and how to use them with practical advice on which settings to use when, great shooting tips, and assignments at the end of chapter.
Read more Guide to Sony A7/A7R/A7S Lens Mount Adapters
Read more Field Test: Sony A7R
Read more Field Test: Sony A7S
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Related posts:
Guide to Sony A7 / A7R / A7S Lens Mount Adapters – Part 1
Guide to Sony A7 / A7R / A7S Lens Mount Adapters – Part 2
Lightroom 5.6 and Camera Raw 8.6 Updates add Sony Lens Profiles