The Friedman Archives Guide to Sony's A7R IV
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About this ebook
In this 740-page (!) book, every feature is described in remarkable detail. (Including one I'll bet you haven't read about anywhere else.)
Topics covered include:
* Gary's personal camera settings
* All of the hidden features that are NOT in the menus
* All the different ways to tether the camera, both wired and wireless
* All of the FTP options, including how you can caption, keyword, and upload everything while still in the field!
* A step-by-step guide to producing images that are 240 megapixels in size
* My workflow for reducing high ISO noise using three different programs
* Untangling the alphabet soup that is video nomenclature
* How to communicate with your camera when it's off (!)
Join the legions of satisfied readers that have relied on Gary to get the most out of their digital cameras!
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The Friedman Archives Guide to Sony's A7R IV - Gary L. Friedman
The Friedman Archives Guide to Sony’s A7R IV
Professional insights for the experienced photographer
by Gary L. Friedman
Version 1.01
ISBN 978-1-79474-520-9
On The Cover
The main reason to own a high-megapixel camera (other than for making giant enlargements) is to allow a lot of cropping, and still end up with enough pixels for printing. 70-200 f/4 G, 1/4000th of a second. (And this is a mild example!)
For Those of You Who Bought the Printed or E-Reader Edition
There are a LOT of demonstrative illustrations in this book that kind of lose their effectiveness when converted to black-and-white. And some are difficult to see on e-book reader screens like the original Kindle.
And so to offset these problems I’m offering a free, full-color, instantly-downloadable .pdf file of this ebook to all customers who bought printed books (be they color or black-and-white), or who purchased this work through the Amazon Kindle, Apple, Barnes and Noble, or any other e-reader store. (The original .pdf file really does offer a superior user experience. Think of it as the director’s cut
regarding how the author intended the work to be seen.)
To get your free .pdf file, just email me (Gary@FriedmanArchives.com) with a copy of your receipt and I’ll send you a download link. Such a deal!
About the Photos
The photo pages preceding each chapter are images from the www.FriedmanArchives.com stock photo website, and were taken with a wide variety of different cameras over the past 30 years.
About the Author
Gary L. Friedman is a professional photographer who has traveled the world with both film and digital cameras. He runs the stock image website www.FriedmanArchives.com, is associate editor of CameraCraft magazine (a thoughtful photography periodical which provides tremendous insights as well as showcasing inspirational images), and gives highly-acclaimed digital photography seminars worldwide for those who wish to improve their creative photography and learn the essentials in an intuitive manner. Because he teaches seminars worldwide, Mr. Friedman stays in touch with the concerns and frustrations of serious shooters – the kinds of people who buy cameras like the A7R IV.
Before graduating to photography he was a rocket scientist for NASA's Jet Propulsion Laboratory (you know, those guys who landed probes on Mars and sent robots like Pioneer, Voyager, Galileo, Pathfinder, Spirit, and Discovery to explore the outer solar system), where he patented the image authentication system used in high-end Canon and Nikon cameras. He has been published in books, newspapers and magazines worldwide, and was listed in the Guinness Book of World Records while in college (go ahead and search the FriedmanArchives.com website if you want to find out what he did to get included).
Despite his mastery of the technical background, Mr. Friedman has an approachable and easy-going teaching style that makes his books a pleasure to read. You can read more about his background at http://friedmanarchives.com/bio.htm.
Table of Contents
Items marked with a C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png represent new or updated content compared to the book on the Sony A7R III.
Chapter 1 Don’t Panic!
1.1
Major Features
1.1.1 Oh, Those Megapixels!
1.1.2 Pixel-Shiftiness
1.1.3 Improved Eye AF
1.1.4 Animal Eye AF
1.1.5 Time-Lapse Interval
Function
1.1.6 Tethered Shooting in Multiple Ways
1.1.7 Download Images While Your Camera’s Still In your Bag
1.1.8 Locking Exposure Compensation Dial
1.1.9 Infinitely customizable
1.1.10 My Menu
and My Dial
1.1.11 No more 29 Minute Videos!
1.1.12 Gamma Curves for Video
1.1.13 Better TouchScreen Operation
1.1.14 Matching memory card slots
1.1.15 Rate your Images, then Jump Around
1.1.16 USB 3.0
1.1.17 Expanded Metering Modes
1.1.18 Higher Energy Density Battery
1.1.19 RAW + XFINE JPEGS
1.1.20 S&Q (Slow and Quick) movie modes
1.1.21 Bluetooth-based GPS Alternative
1.1.22 Can shoot 2 Kinds of videos simultaneously
1.1.23 Better Tactile Feedback on buttons
1.1.24 New Multi-Interface Shoe that supports Digital Audio Interface.
1.1.25 14-bit Uncompressed RAW
1.2
Software for your Camera
Chapter 2 Essential Configuration
2.1
My Personal Camera Settings
2.2
Variations on a Theme
2.2.1 Suggested Configuration for shooting portraits
2.2.2 Suggested Configuration for Landscapes
2.2.3 Suggested Configuration for shooting Sports
2.2.4 Suggested Configuration for Shooting Kids and Pets
2.2.5 Suggested Configuration for Video
2.2.6 Suggested Configuration for Legacy Glass
2.3
Just Pick Two
2.4
My Button Assignments
2.5
Back Button Focus Suggestions
2.6
What's Incompatible with RAW?
Chapter 3 A Quick Introduction
3.1
Names of Parts
3.2
Ways to Navigate
3.3
If You’re Used to Shooting Nikon
3.4
If You’re Used to Shooting Canon
3.5
Exposure Mode Dial
3.6
The Fn Button
3.7
Focusing Essentials C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
3.7.1 Contrast AF vs. Phase Detect AF
3.7.2 Face Detection
3.7.3 Eye AF
3.7.4 The Easiest Method of All
3.7.5 Touch Screen Operation
3.7.6 Touch Focus with LCD
3.7.7 Touch Focusing using the EVF
3.7.8 Focusing Modes
3.7.9 Focus Area (including Tracking
)
3.7.10 Quickly Switching between Wide Area AF and Spot AF
3.7.11 Focus Confirmation
3.8
Drive Modes
3.8.1 Single-Shot Advance
3.8.2 Continuous Advance (4 Speeds)
3.8.3 Self-Timers
3.8.4 Bracketing
3.8.5 What exactly changes when you bracket?
3.8.6 White Balance Bracketing
3.8.7 DRO Bracketing
3.8.8 Self-Timer During Bracket
3.9
Metering Modes
3.10
Methods of Customizing
3.11
Configuring the DISPlay
3.12
Intelligent Auto
3.13
Flash
3.14
Things You Probably Didn’t Know about Playback Mode
3.15
Playing Back a burst
3.16
Quick Guide for Video
3.17
Shooting Tethered(ly) C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
3.18
Remote Triggering Methods
3.19
Sony Lens Nomenclature
3.20
Viewfinder Eyepiece Diopter Correction
3.21
Screen Icon Glossary C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
Chapter 4 Wi-Fi, NFC, and FTP
4.1
What is NFC?
4.2
Setting Things Up – Smartphone Functions
4.2.1 Install Imaging Edge Mobile
4.2.2 Transferring an Image To your Smartphone
4.2.3 Configuring NFC on your Smartphone
4.3
Now What?
4.3.1 Send (resized) images to your smartphone for social Media
4.3.2 Control With Smartphone
4.4
Connecting to an Access Point
4.5
Uploading Files Using PlayMemories Home
4.5.1 Configuring PlayMemories Home
4.5.2 Initiate your Download
4.6
Uploading Files via FTP C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
4.6.1 FTP Data Throughput
4.6.2 Encrypting Your Uploads C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
4.7
Geotagging your images via your smartphone
4.8
Uploading to News Agencies C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
4.8.1 Transfer and Tagging Add-On
4.8.2 If you chose FTP Transfer Func. of the Camera
4.8.3 If you chose Import using a USB Cable
4.8.4 If you Chose Import using Imaging Edge Mobile
4.8.5 Next: Keyword / Caption, Crop and Upload your images
Chapter 5 The Camera Settings 1
Menus
5.1
File Format
5.2
RAW File Type
5.3
JPEG Quality
5.4
JPEG Image Size
5.5
Aspect Ratio
5.6
APS-C / Super 35mm
5.7
Long Exposure NR
5.8
Hi ISO NR
5.9
Color Space
5.10
Lens Comp.
5.10.1 Shading
5.10.2 Chromatic Aberration
5.10.3 Distortion
5.11
Drive Mode
5.12
Bracket Settings
5.13
Interval Shooting Function C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.13.1 Suggested Intervals for Various Subjects
5.13.2 How to Turn Your Interval Sequence into a Movie
5.14
Pixel Shift Multi Shooting C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.15
Camera1 / Camera2 Recall
5.16
Camera1 / Camera2 Memory
5.17
(Memory Recall) Select Media
5.18
Reg Cust Shoot Set C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.19
Focus Mode
5.20
Priority Set in AF-S / AF-C
5.21
Focus Area
5.21.1 Wide
5.21.2 Zone
5.21.3 Center
5.21.4 Flexible Spot (S, M, or L)
5.21.5 Expand Flexible Spot
5.21.6 Tracking C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.22
Focus Settings
5.23
Focus Area Limit C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.24
Switch V/H AF Area
5.25
AF Illuminator
5.26
Face / Eye AF Setting C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.27
AF Track sens (for Stills)
5.28
Aperture Drive in AF C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.29
AF w/ shutter
5.30
Pre-AF
5.31
Eye-start AF (A-mount only)
5.32
AF Area Registration
5.33
Delete Registered AF Area
5.34
Focus Frame Color C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.35
AF Area Auto Clear
5.36
Disp. Cont. AF area
5.37
Phase Detect. Area
5.38
Circ. Of Focus Point
5.39
AF Micro Adj. (A-mount Lenses Only)
5.40
Exposure Compensation C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.41
Reset EV Comp.
5.42
ISO Setting C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.43
Metering Mode
5.43.1 Average, Center-weighted and Multi-Segment Metering
5.43.2 Spot Metering And AEL
5.43.3 Highlight
5.43.4 A Different Method of Handling Difficult Lighting
5.43.5 Summary of Metering Modes
5.44
Face Priority in Multi-Segment Metering
5.45
Spot Metering Point
5.46
Exposure Step
5.47
AEL w/ Shutter
5.48
Exposure Std. Adjust
5.49
Flash Mode
5.49.1 Flash Off
5.49.2 Auto Flash
5.49.3 Fill Flash
5.49.4 Slow Sync
5.49.5 Rear Sync
5.50
Flash Compensation
5.51
Exp.comp.set
5.52
Wireless Flash
5.53
Red Eye Reduction
5.54
White Balance
5.54.1 Auto White Balance and Pre-Set White Balance
5.54.2 Tweaking the Pre-Set White Balance C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.54.3 The Color Temperature setting C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.54.4 Custom White Balance
5.55
Priority Set in AWB
5.56
DRO (Dynamic Range Optimization) C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.56.1 How it Works
5.56.2 Frequently Asked Questions about DRO
5.56.3 DRO Bracketing
5.56.4 Combining with Sunset Image Style
5.57
Creative Style
5.57.1 Frequently Asked Questions
5.57.2 Combining Settings
5.57.3 B&W Mode
5.58
Picture Effect
5.58.1 Toy Camera
5.58.2 Pop Color and Posterization
5.58.3 Retro Photo
5.58.4 Soft High-Key
5.58.5 Partial Color
5.58.6 High-Contrast Monochrome
5.58.7 Rich-Tone Monochrome
5.58.8 How do these effects differ from before?
5.59
Picture Profile
5.59.1 Gamma Options
5.59.2 The Ten Profiles
5.60
Shutter AWB Lock C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.61
Focus Magnifier
5.61.1 AF with Focus Magnifier
5.62
Focus Magnification Time
5.63
Initial Focus Mag.
5.64
AF in Focus Magnification
5.65
MF Assist
5.66
Peaking Setting
5.67
Anti-flicker Shoot. C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
5.68
Face Registration
5.69
Register Faces Priority
Chapter 6 The Camera Settings 2
Menus
6.1
Movie Exposure Mode
6.2
S&Q Exposure Mode
6.3
(Movie) File Format
6.4
Record Setting
6.5
Slow and Quick Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.6
Proxy Recording
6.7
(Movie) AF Drive Speed
6.8
(Movie) AF Track Sens
6.9
(Movie) Auto Slow Shutter
6.10
(Movie) Initial Focus Magnification
6.11
Audio Recording
6.12
Audio Rec Level
6.13
Audio Level Display
6.14
Audio Out Timing
6.15
Wind Noise Reduction
6.16
Marker Display / Marker Settings
6.17
Video Light Mode
6.18
Movie w/ Shutter
6.19
Silent Shooting
6.20
e-Front Curtain Shut.
6.20.1 Banding C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.21
Release w/o Lens
6.22
Release w/o Card
6.23
SteadyShot
6.24
SteadyShot Settings
6.25
Zoom
6.26
Zoom Setting
6.26.1 Differences between CIZ and Digital Zoom
6.27
Zoom Ring Rotate C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.28
DISP Button
6.28.1 Graphic Display
6.28.2 Level
6.28.3 Histogram
6.28.4 For Viewfinder (Rear LCD only)
6.28.5 No Display
6.29
FINDER / MONITOR
6.30
Finder Frame Rate C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.31
Zebra Setting
6.32
Grid Line
6.33
Exposure Set. Guide
6.34
Live View Display
6.35
Cont. Shoot Length
6.36
Auto Review
6.37
(Images) Custom Key C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.37.1 Bright Monitoring
6.37.2 Flash Exposure Lock / Hold
6.38
(Movie) Custom Key C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.39
(Playback) Custom Key C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.40
Function Menu Set. C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.41
My Dial Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.42
Dial Setup C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.43
Av/Tv Rotate
6.44
Dial Exposure Compensation
6.45
Function Ring (lens) C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.46
Func. Of Touch Operation C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
6.47
MOVIE Button
6.48
Lock Operation Parts
6.49
Audio Signals
Chapter 7 Network Menu
7.1
Send to Smartphone Function C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.1.1 (Px) Sending Target
7.1.2 Cnct. During Power OFF
7.2
Send to Computer
7.3
FTP Transfer Func.
7.4
View on TV
7.5
Ctrl w/ Smartphone
7.6
PC Remote Function C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.6.1 USB cable.
7.6.2 Wi-Fi Access Point
7.6.3 Wi-Fi Direct C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.7
Airplane Mode
7.8
Wi-Fi Settings
7.8.1 WPS Push
7.8.2 Access Point Settings
7.8.3 Frequency Band C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.8.4 Display Wi-Fi Information C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.8.5 SSID/PW Reset
7.9
Bluetooth Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.9.1 Setting up Bluetooth / Geo-Tag feature for the first time
7.9.2 How do I see the geo-tagged Coordinates?
7.10
Location Information Link Settings
7.11
Bluetooth Remote Control C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.12
Edit Device Name
7.13
Import Root Certificate C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.14
Security (IPsec) C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
7.15
Reset Network Set.
Chapter 8 The Playback
Menu Settings
8.1
Protect
8.2
Rotate
8.3
Delete
8.4
Rating
8.4.1 The Menu Method
8.4.2 The Pre-Assigned Key Method
8.4.3 Recalling the Rated Images
8.5
Rating Setting (Custom Key)
8.6
Specify Printing
8.6.1 Printing the Date on the image
8.6.2 Canceling DPOF files
8.7
Copy
8.8
Photo Capture
8.9
Enlarge Image
8.10
Enlarge Init. Mag.
8.11
Enlarge Initial Pos.
8.12
Continuous Playback for Interval
8.13
Playback Speed for Interval C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
8.14
Slide Show
8.14.1 PhotoTV HD and Bravia Sync
8.15
Select PB media
8.16
View Mode
8.17
Image Index
8.18
Display as Group
8.19
Display Rotation
8.20
Image Jump Setting
Chapter 9 The Setup
(Toolbox Icon) Menu Settings
9.1
Monitor Brightness
9.2
Viewfinder (EVF) Brightness
9.3
Finder Color temp.
9.4
Gamma Disp. Assist
9.5
Volume Settings
9.6
Delete Confirmation
9.7
Display Quality C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.8
Power Save Start Time
9.9
Auto Pwr OFF Temp.
9.10
NTSC/PAL Selector
9.11
Cleaning Mode
9.12
Touch Operation C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.13
Touch Panel / Pad C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.14
Touch Pad Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.14.1 Operation in Vertical Orientation
9.14.2 Touch Position Mode
9.14.3 Operation Area
9.15
Demo Mode
9.16
TC/UB Settings
9.17
IR Remote Ctrl C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.18
HDMI Settings
9.18.1 HDMI Resolution
9.18.2 24p / 60p Output
9.18.3 HDMI Info. Display
9.18.4 TC Output
9.18.5 REC Control
9.18.6 CTRL FOR HDMI
9.19
4K Output Select
9.20
USB Connection C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.21
USB LUN Setting C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.22
USB Power Supply
9.23
Language
9.24
Date/Time Setup C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.25
Area Setting
9.26
IPTC Information C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.27
Copyright Info C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.28
Write Serial Number C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.29
Format
9.30
Recording Media Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.31
(Image) File/Folder Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.31.1 File Number
9.31.2 Set File Name
9.31.3 Select REC Folder
9.31.4 New Folder
9.31.5 Folder Name
9.32
(Movie) File Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.32.1 File Number
9.32.2 Series Counter Reset
9.32.3 File Name Format
9.32.4 Title name Settings
9.33
Recover Image DB
9.34
Display Media Info.
9.35
Version
9.36
Save/Load Settings C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
9.37
Setting Reset
Chapter 10 My Menu Setting
Chapter 11 Movie Mode
11.1
Video Nomenclature Simplified C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
11.2
So How Do I Know What Video Format to Choose?
11.3
4K Shooting
11.4
Capturing a 4K Freeze Frame
11.5
Manual Control in Movie Mode
11.6
Slow-Motion Videos – 2 Ways
11.6.1 The in-camera way
11.6.2 The higher quality way (Slowdown only)
11.7
S-Log2 and S-Log3 Primer
11.7.1 The Gamma Curves
11.7.2 Gamma Curve Nomenclature
11.7.3 HDTVs have Much Less Dynamic Range
11.7.4 S-Log2 and S-Log3
11.7.5 Grading
11.8
Shooting 2 Video Formats At Once
11.9
Playing back Videos
11.10
Cable Harness C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
11.11
External Microphones C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
11.12
Monitoring Video and Audio
11.13
Importing your Files to your Computer
Chapter 12 Wireless Flash and Advanced Flash Topics
12.1
Introduction
12.2
Flash Models C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
12.3
Bounce Flash
12.3.1 Diffusing your Light
12.4
Wireless Flash
12.5
As Simple As It Gets
12.6
The New Wireless Protocol
12.7
Groups and Channels
12.8
Will the Control Bursts Affect Exposure?
12.9
Manual Flash Mode
12.9.1 To Put the 60 Into Manual Slave Mode
12.9.2 To put the 43 into Manual Slave mode
12.10
A Portable Studio Setup
12.11
High Speed Sync (HSS) flash
12.11.1 How HSS works
12.11.2 How to Activate HSS
12.12
To Probe Further
Chapter 13 Digital Imaging Topics
13.1
An Introduction to RAW
13.2
The Bayer Filter and Demosaicing
13.3
How Your Camera Creates A JPG
13.4
RAW, TIF, and JPG Compared
13.5
JPG Compression Artifacts
13.6
Any Other Upsides to Shooting .JPG?
13.7
Reducing Noise via RAW processing C:\Users\garyf\AppData\Local\Microsoft\Windows\INetCache\IE\P0CV2TEW\600px-URSS_aviation_yellow_bordered_red_star.svg[1].png
13.7.1 RAW Processing using Sony's Imaging Edge software
13.7.2 RAW Processing using catpure One Express
13.7.3 RAW Processing using Lightroom or Adobe Camera RAW
13.7.4 So which process won?
13.8
Image Size and Resolution
13.9
Hot Pixels
Chapter 14 Additional Resources
14.1
Memory Cards
14.1.1 Memory Card Corruption Issues
14.2
Vertical Grip
14.3
3rd Party Batteries
14.4
External USB Battery
14.5
External Microphones
14.6
And more…
14.7
Upsells
14.7.1 Books on Other Cameras
14.7.2 An Introduction to Sony’s Wireless Flash (video)
14.7.3 Ways to ‘Wow!’ with Wireless Flash
14.7.4 Cameracraft Magazine
14.7.5 The Friedman Archives Blog
14.7.6 Consulting – One-on-One Camera Help
14.7.7 The Road to China
14.7.8 The Maui Xaphoon
14.8
Epilogue
Appendix A A Condensed Guide to the Basics
A.1
Shutter Speeds
A.2
F/Stops
A.3
ISO
A.4
Focal Length
A.5
Tradeoffs
A.6
Program Shift
A.7
The Histogram Display
Brightness range, sensors, and the human eye
Using the Histogram for a finer degree of control
A.8
The Secrets
of Light and Composition
A.9
Writing with Light
A.10
Composition – The Rule of Thirds
Out of place shot
Texture
Classical Portrait
Environmental Portrait
Hey, Look at Me!
Appendix B A Cookbook
for Special Shooting Situations
B.1
Introduction
B.2
Street Photography
B.3
Fireworks
B.4
Artistic Waterfalls
B.5
Stage Performances / Rock Concerts
B.6
Nighttime Time Exposures
B.7
Shooting in Snow
B.8
Outdoor Group Portraits
B.9
Sunsets and Silhouettes
B.10
Nighttime Sports
B.11
Christmas Lights
B.12
Product Shots
B.13
Candlelight Shots
B.14
Star Trails
Appendix C Using Legacy Glass
C.1
For Manual Focus Lenses
C.2
For Autofocus Lenses
C.3
A Short List of the Most Popular Adapters
14.8.1 Sony A-mount Lenses
14.8.2 M42 / Pentax Screw Mount
14.8.3 Leica M / Zeiss ZM
14.8.4 Leica R
14.8.5 Canon EF (EOS)
14.8.6 Canon FD
14.8.7 Nikon
14.8.8 Pentax
14.8.9 Minolta MC/MD
14.8.10 Olympus OM
14.8.11 Contax
14.8.12 Sony E-mount lenses
Appendix D Tip Cards for your Smartphone
Chapter 1 Don’t Panic!
Let me guess. You bought the A7R IV for its amazing autofocus abilities and it’s jaw-dropping resolution. Or because dpreview gave it a gold star rating, saying it competes with medium format cameras (!). But then you got the camera, went through the menus, and a sense of unease began to set in. Do I have to understand all of these settings in order to take great pictures?
I’ve been writing books about these cameras since before Sony bought Minolta, and every year the cameras get more complex and more customizable. (A ridiculous thing to complain about, but still…) It’s to the point that even when I start rewriting and condensing content, the books end up being over 700 pages long, something most paperback print-on-demand companies can’t handle.
So let me set your mind at ease right away. About 80% of these functions need only be set once (or not at all if you’re OK with the factory defaults), and never thought about again. You can configure the My Menu page to contain just the features you’re likely to use most of the time. And in Chapter 2 I actually go through each menu item, explain what it does, and also give you how I personally set my camera. Thus, this book is designed from the ground up to get you up and running with this camera as quickly as possible.
The camera is so customizable because a lot of people who grew up using different camera brands are now switching to Sony but they still want the camera to work the way they’re used to. For them, I have Chapter 3, which walks you through where to find the major features, and provides a translation
table for former Canon and Nikon shooters.
So let me give you a quick walkthrough of the A7R IV’s major features. (Well, just the highlights. There are actually so many noteworthy features that it would take a whole book to list them all.) (Oh, wait…)
1.1 Major Features
1.1.1 Oh, Those Megapixels!
I won’t go on about this; you already know about it and that’s probably why you bought the camera. You’ve also probably already experienced the joy in pixel peeping your first images and realizing that your investment in high-resolution G and GMaster lenses was way worth it. You’re probably also relieved that you can now go back to using those perfect prime lenses, knowing that you can now zoom in by cropping and still have enough megapixels leftover. (Don’t laugh; see my blog post at https://bit.ly/3281Pir )
Anyway, congratulations, you are the proud owner of one of the most capable cameras on the planet!
1.1.2 Pixel-Shiftiness
This is the new standout feature of the A7R IV, and the more serious you are about making giant enlargements, the more you’re going to like it.
On what principle does it work? Your camera is actually comprised of 61 million B&W pixels, with a, red, green, or blue color filter on top of each pixel. This means that, while each pixel knows just one of the colors for sure, it has to guess the other two for each pixel – a process called demosiacing. It works great, but wouldn’t it be better to capture all 3 values – a red, a green, and a blue for each pixel rather than having to interpolate? The answer is yes, and that’s what this feature does: In the 4-shot mode, it takes four exposures, each with the sensor shifting by one pixel in each direction. Your images are still 61 megapixels, but the amount of detail in your image is increased. Dynamic range is increased slightly as well, and because you’re merging several images together in the process some noise can be averaged away as well. (Caution: you really have to pixel peep to see the improvement. I know a lot of you have no problem with that. :-) )
But wait! The A7R IV has introduced a second, 16-shot mode, where the camera is able to shift the sensor by one-quarter pixel in each direction and take a total of 16 images. Not only do you get increased detail, but the size of your image increases tremendously – like, you now have a 240 MP image. Sony marketing has also produced a very nice youtube video showing off how it works that’s pretty intuitive and it’s worth a look: https://bit.ly/2Jl4LSq .
An example of pixel shift in action can be seen in Figure 1-4. Want to see the detail for yourself? Here are download links to three high-resolution .TIFF files for your pixel-peeping pleasure:
1) Just a plain old 61 MP image (344 MB): https://tinyurl.com/y5b58wz6
2) A composite image using the 4-shot method (176 MB – yes, SMALLER than one of the originals! Can’t explain that): https://tinyurl.com/y2rfm4pm
3) A composite image using the 16-shot method (689 MB): https://tinyurl.com/wj85njc
Complete details of how to do it are in Section 5.14.
1.1.3 Improved Eye AF
The Eye AF feature has been improved to the point where it happens completely automatically; you need do nothing to invoke it. (This addresses one of my long-time criticisms of earlier implementations). The feature is so good that I have permanently abandoned my previous technique of Spot Focus – Focus Lock – Recompose --> Shoot when shooting portraits. Now I just concentrate on getting the right expression and leave the automatedness (that’s a word!!) to the camera.
More about Face Detection and Eye AF can be found in Section 5.26
1.1.4 Animal Eye AF
This is a much-heralded feature which works extraordinarily well. Sony has trained learning algorithms
by showing them thousands of pictures of cats and dogs with many different eye types; and when you set the camera to Animal Eye AF mode (MENU --> 1 --> 6 --> Face/Eye AF Set. --> Subject Detection --> Animal), it zeros in on the eyes of animals instead of those of humans. Sony says more eye types of a greater variety of animals will be added in the future via firmware updates. (Figure 1-6)
If you don’t have a pet around to try this out on, find a picture of an animal and try focusing on that.
1.1.5 Time-Lapse Interval
Function
Time lapse photography is where you put your camera on a tripod and have it automatically take a picture every few seconds. If you play this sequence back quickly (or convert it into a video and play it back) it will look like time has speeded up. Here's a quick youtube video I shot using this function, with the camera taking a picture every 10 seconds: https://youtu.be/ufpENC1oSLo . And here’s another one animating the Northern Lights from the back of a moving ship: https://bit.ly/2N4qgI6
Your camera can perform this function natively, and details on how to do it appear in Section 5.13.
1.1.6 Tethered Shooting in Multiple Ways
Tethered Shooting refers to the ability to hook up your camera to your computer via a USB cable (the tether
) and have the computer act as a full remote experience for your camera: You can see the live view on the computer screen, you can adjust several shooting parameters, and you can have the image automatically download to your computer after each shot.
The A7R IV offers multiple ways to do this, both via a USB cable, and also wirelessly (with or without an access point). The options available to you are:
1) PC Remote Function specifies most of your image transfer parameters – wired vs. wireless, access point vs. direct, store on computer vs. on camera (or both). Use in conjunction with the Imaging Edge – Remote software on your computer. (Section 7.6)
2) Send to Computer lets you upload to a computer on your local network running Play Memories Home. (Section 4.5)
3) FTP Transfer Func. You can wirelessly send one or many images to a remote FTP server anywhere in the world. (Section 4.6)
4) Ctrl w/ Smartphone lets you shoot tethered-without-wires, and have the final image uploaded to your phone or tablet automatically. (Section 7.5)
5) Send to Smartphone Function, you can upload images to your smartphone, caption and keyword them with your voice, and then upload them to your favorite news agency while you’re driving home. A great feature for photojournalists! (Section 4.8)
Your starting point for all of the different methods begins in Section 3.17.
1.1.7 Download Images While Your Camera’s Still In your Bag
Here’s another brand new cool feature nobody’s talking about. Let’s say you’re on your way back from another full shooting day. Your camera’s packed away in your bag while you’re in the Jeep heading home. You want to post an image to Instagram showing off the kind of day you’ve had, but it’s too inconvenient to dig out your camera, open your laptop, and upload everything to Lightroom just to pick one out. You’ll have to wait a few hours until you get home, and by that time you’ll be too tired to pour through your images.
But picture this – with your camera still off and packed away, you can whip out your smartphone, wake up the camera’s CPU, download thumbnails of what you’ve shot today, specify which ones you want, download just those in high-res, post those to Instagram, and then shut off the camera – all while it’s still packed away! Best of all it doesn’t drain the camera’s battery much because you’re just turning on its CPU, data pipeline, and wifi / Bluetooth connections; not the sensor, LCD or EVF. It’s pretty cool, and the entire process is described in Section 7.1.2.
1.1.8 Locking Exposure Compensation Dial
It’s a small thing. Many users of previous A7 series cameras had their exposure compensation dial turn accidentally with normal use (especially inserting and removing from their camera bags), and so now that dial comes with a lock/unlock button on top.
I never use it for the same reason I don’t use lens caps or cases – it would slow me down in the field, especially if I’m trying to make the image brighter / darker while looking through the electronic viewfinder. I just take care to check if it’s been inadvertently changed periodically – a habit I’ve developed over the years using the previous generations.
1.1.9 Infinitely customizable
Coming from a different camera brand? Want to configure your new camera to work like your old camera did? There are a lot of different ways to customize this camera:
• You can assign functions to buttons – Up to 12 buttons plus some other controls can be re-assigned to your favorite features. In fact, some of the more interesting features of this camera are not available in the menus – they can be accessed ONLY if you assign them to a button first! A comprehensive list of what’s assignable and what they all do can be found in Section 6.37.
• You can assign an autofocus area and position to a button, so you can instantly switch to it should your default AF mode not do the job. The feature is called AF Area Registration and you can read more about how to use it in Section 5.32.
• Wait! You can assign an autofocus area and position PLUS 10 OTHER COMMON SHOOTING SETTINGS to one button too. That feature is called Recall Custom Hold / Register Custom Shoot Set and you can learn more about that in Section 5.18
• Wait Wait! You can recall nearly every setting in the Camera 1 / Camera 2 menues by using the 3 built-in memory slots, as described in Sections 5.15 and 5.16. (And Sony has increased the number of variables that these memory slots will remember.)
• Like Back-button focus? You can assign focusing to one button, exposure lock to another, decoupling everything from the shutter release button except taking the picture. I provide suggestions in Section 2.5.
1.1.10 My Menu
and My Dial
After using the camera for awhile you’ll find that there are only a handful of menu items you access on a regular basis. You can assign those items to My Menu
(the rightmost menu) and create your own customized menu for fast access. Chapter 10 goes into how to configure and use it.
There's also a new feature called My Dial
which allows you to temporarily reassign both dials /wheels at the push of a button. (Section 6.41)
1.1.11 No more 29 Minute Videos!
Once upon a time, the European Union decreed that any camera that is not classified as a camcorder must limit their video clip lengths to 29 minutes or face a tax. That was probably meant to protect the camcorder industry from encroaching competition, but all it did is anger consumers, all the while doing nothing to keep the camcorder market from shrinking.
Anyway, that tax expired in early 2019 and so the only things keeping you from recording infinitely long videos are your battery and your memory card. (And maybe thermal accumulation if it’s a hot day.)
1.1.12 Gamma Curves for Video
You know those High Dynamic Range TVs you’ve been reading about? Well, the A7R IV can now shoot in the Hybrid Log-Gamma (HLG) format that such TVs look for and know about. Which means you can shoot HDR video footage and have it play back properly on an HDR TV without need to grade or transcode the video on your computer first. The 10th slot of the Picture Profiles function is pre-configured with optimum settings for this kind of shooting.
Also included are Sony’s famous S-Log2 and S-Log3 gamma profiles for video You can read more about this (and about the Picture Profile feature in general) in Section 5.59.
1.1.13 Better TouchScreen Operation
It’s still not quite the same as shooting with your smartphone, but it’s close: You can touch the screen and have it track the subject across the frame in both stills and movies. (Compare this to previous models, where the subject tracking for video was slow and kludgy.)
The ability to touch the screen to identify the subject is used two different ways: One for when you’re looking through the electronic viewfinder, and one when you’re using the rear LCD display.
Nuanced details about using the Touch Operation can be found in Section 3.7.5.
1.1.14 Matching memory card slots
Now there are TWO UHS-II slots (the A7R III had only one UHS-II and one UHS-1.) ‘Nuff said.
1.1.15 Rate your Images, then Jump Around
You can now rate your images! 1 to 5 stars with the press of a pre-assigned button. Then you can quickly jump from one highly-rated image to another while playing back. Full details in Section 8.4.
1.1.16 USB 3.0
Faster transfer when uploading images via USB cable; and faster tethering operation if you like to work that way in the studio. A win-win!
There's also a USB 2.0 port there as well in case you want to use your older USB cables (which still work with your older phone). Best of all, you can use one port to charge the camera while you shoot tetheredly (that's a word!) via the other port.
1.1.17 Expanded Metering Modes
In the past, spot metering coupled with AEL Toggle function has always been my go-to tool as the fastest way to handle difficult lighting: Just put my subject in the center of the viewfinder, hit AEL Toggle function to lock the exposure, then focus, recompose, and shoot.
But Sony has introduced a combination of new features that make this process of handling difficult light even easier.
Basically, here's how it works:
• Set Fn --> Metering Mode to Spot: Standard
• Set Fn --> Focus Area to either Flexible Spot or Expanded Flexible Spot
• Set MENU --> 1 --> 9 --> Spot Metering Point to Focus Point Link
Now use the joystick to tell the camera what to focus on. Not only will it focus on what you specfied, it will also spot meter for that area as well! (In the past, using Multi-Segment metering the camera would simply emphasize exposure a little bit around the focus point – now it can be more absolute.) This can help when shooting rock concerts and stage shows where there's a huge difference between the light on your subject and on the background.
There are other metering modes as well: you can average the entire scene at once, which puts you spiritually closer to the Nikon F shooters of the 1950’s and practically guarantees a lower yield of perfect out-of-camera .jpgs. There’s also a useful new mode that looks at the entire frame, identifies the brightest part, and then exposes just for that. This produces the same results as my old AEL Toggle --> recompose --> shoot method but with even fewer steps. This can be insanely useful when shooting theater and rock concerts where your subject is the brightest part of the composition.
(All of the metering modes are explained in Section 5.43.)
1.1.18 Higher Energy Density Battery
Another improvement inherited from the A9. Prior to the A9 all E-mount cameras used a dimunitive (small) NP-FW50 battery, which did an amazing job for its size providing a modest 7.3 Watt-hours, but made photographers nervous about battery life. The A7R IV uses a new NP-FZ100 battery and provides a whopping 16.4 Watt-hours, giving it an even higher energy density than the physically larger batteries used in the A-mount cameras.
So this and one spare should be enough to remove all stress from a day-long shoot.
1.1.19 RAW + XFINE JPEGS
This is only a big deal in theory. Now when you shoot RAW+JPG
(as so many photographers do) you can now specify the quality of the .jpg that’s produced – in this case X.Fine
.
I say it’s a big deal in theory because I dare you to shoot a .jpg in all three quality settings (STD, FINE, and X.FINE), enlarge them to poster size, and see if you can tell which poster is which image. (.jpg quality has improved tremendously over the past decade!)
1.1.20 S&Q (Slow and Quick) movie modes
The A7R IV’s Slow and Quick Movie
feature makes it easy to shoot video that plays back in slow or fast motion organically, without the need to re-encode the video footage later on (which is what you would have to do if you shot with Video File Format set to XAVC S HD and a Record Setting of 100p or 120p.). Now you can shoot your own Benny Hill chase scene without having to learn Final Cut Pro :-) (http://bit.ly/2liUtoq ). You can also use it for serious things, like analyzing a golf swing.
You can read more about S&Q Movie in Section 6.5.
1.1.21 Bluetooth-based GPS Alternative
For a brief period of time Sony had built GPS receivers into their older cameras, and then suddenly stopped doing so. The most likely reason was that it was too difficult to make certain versions for different markets to comply with local laws, and probably also that smartphones can improve upon GPS’ speed and accuracy by triangulating with local cell towers, something a camera without a phone connection can’t do.
And so your camera has been graced with a Bluetooth link so it can communicate with your smartphone’s GPS. It works reasonably well, although the camera has to be on for 10-15 seconds before the position can be established (which, ironically, was often the case with cameras that had GPS receivers built-in). If you shoot before the Bluetooth link is established, no positioning info gets recorded.
More details and how to set it up with your smartphone can be found in Sections 7.9 and 7.10.
1.1.22 Can shoot 2 Kinds of videos simultaneously
This is a feature made especially for videographers who are also social media moguls. It is designed to address this very scenario: You’ve just shot some cool high-res video and you want to share it on Facebook while still in the field. So you bump your phone to the Camera (using NFC) and transfer the video footage to the phone so that you may then upload it to Facebook. The problem is that the 4K video footage is LARGE, it takes up a lot of space on your phone and it eats up your data plan in the process. There’s GOT to be a better way!
Leveraging the fact that Facebook just crappifies (that’s a word!) video anyway, Sony has now given you the option of storing video in two different formats each time you shoot a video clip: The high-quality format (XAVC S 4K, XAVC S HD, or AVCHD), along with a [much] lower-quality .MP4 version which is the perfect size for uploading to social media in the field.
You can enable Dual Mode via MENU --> 2 --> 1 --> Proxy Recording --> On. See Section 6.6 for which Record Settings allow its use.
1.1.23 Better Tactile Feedback on buttons
It’s a small thing, but it means you can better use the camera in the cold with gloves on.
1.1.24 New Multi-Interface Shoe that supports Digital Audio Interface.
This won’t mean much to most of you. That flash hot shoe on top of the camera now accepts a digital audio feed from Sony’s newest hot-shoe microphone. See section 14.5 for details.
1.1.25 14-bit Uncompressed RAW
Unlike most earlier cameras, the A7R IV will shoot in 14-bit RAW all the time. The only exception is if your Drive Mode is set to Hi+
(10 fps), in which case it drops down to 12 bits.
Is 14-bit RAW a big deal? The truth is you may not notice any difference in normal shooting. (And when I say Normal shooting
I mean if you have good light and your exposure is right for that light
, which is much more important to good photography than noise performance at high ISOs).
When Nikon first introduced this 14-bit feature back in 2008, many of their customers started looking for visible differences in the 14-bit mode, but visible differences proved elusive. The extra bits only matter if your exposure is off by a lot and you’re trying to perform extreme manipulation in order to recover detail from the shadows. If you want to see some tests showing what little difference there actually is, here are two articles written by a Nikon owner in 2008: http://tinyurl.com/2e4nss and http://tinyurl.com/4enno8.
1.2 Software for your Camera
Sony provides access to free software packages which can help with various stages of post-processing:
1) I find the PlayMemories Home program handy because it can import both movies of all formats and pictures in one fell swoop (they’re actually stored in different directories on the memory card, and different movie types are stored in different places). It will also pull in videos and images from BOTH memory card slots when tethered to your PC (assuming MENU --> --> 4 --> USB Connection is set to Mass Storage, and MENU --> --> 4 --> USB Lun Setting is set to Multi. It can show me some of the more esoteric aspects of the camera’s settings in the EXIF information (such as which focusing point was used). This information is indeed embedded in the .jpg and RAW files but programs like Photoshop or Lightroom won't always show them to you. Finally, it provides a way to transfer images to your desktop via WiFi. You can download it from www.Sony.net/pm .
2) Brand new FREE image editing software called Imaging Edge was recently introduced by Sony. It supports image culling, basic RAW photo editing, tethered shooting, and it’s responsible for merging several PixelShift images into one. It’s is available by download from Sony’s Japan website. For Windows and Mac: https://support.d-imaging.sony.co.jp/app/imagingedge/en/download/
3) Another image editing software package is Capture One Express for Sony offered by Phase One, a high-end, insanely capable image editing program that has a great reputation and normally sells for USD $200, but Sony is providing for FREE! The Lite
[sic] version can be downloaded at https://www.captureone.com/en/products/express/sony . A full upgrade can be had for between $100 - $250, or $8 / month as a subscription. This software has a steeper learning curve but many who have made the investment say they prefer it to Photoshop. The pro version can be bought at https://www.captureone.com/en/store/pro-sony .
Chapter 2 Essential Configuration
New owners of recent Sony cameras often experience option shock
– so many menu items and customizations are available that it literally flummoxes them. Where to start? This chapter is designed to address that very problem right away, so you can configure your camera in a way I’ve found to be useful. Short descriptions are followed by hyperlinks to Section numbers where you can delve deeper into a function’s settings and learn more about the