©1986 Kirk Tuck
People keep asking me where the Sony cameras got off to. And why they seem to have vacated the premises...
Sigmund Freud is credited with saying: "But really, how can you actually know which camera you like best if you have not used all of the available cameras? Now, what would your mother say? What do your dreams tell us?"
I woke up one morning and there was a stack of one hundred dollar bills bunched up under my pillow, along with a note from the Camera Fairy. The note read, "You seem less enthused about that big pile of Sony cameras and lenses than you used to be before you bought that Panasonic GH5 and that Olympus 12-100mm Pro lens. Just like my cousin, the Tooth Fairy, does with old teeth I've taken it upon myself to remove the no longer cherished cameras and replace them with cold, hard cash. Good luck!"
We're a month and a half shy from closing out 2017 and it's been a year of interesting changes. I've gone from a business model that was based almost entirely on making photographs for businesses to a totally different sort of undertaking. This year will mark the first year in which the majority (just a bit more than half) of my income has been derived from producing, writing, shooting and editing video. In nearly every instance the companies I created video for approached me directly or I approached them, and this will mark the first year in which the vast majority of my engagements were directly with the final client and not finagled or funneled through a third party, such as an advertising agency or public relations firm. Those are big, huge, changes. I believe that these changes are a reflection of the greater market shifting---
---but that's a subject for a much lengthier and more analytic post.
What changed in regards to cameras? My ownership of the Sony cameras (and the Nikons before them) was based on the idea that I'd continue doing my business with a traditional photography workflow and that I'd be called upon to create high resolution images for print and trade show use. I bought cameras like the A7Rii and the Nikon D810 for the same reason people buy all kinds of stuff. It was the tradition, of a sort, in my industry. Everywhere you look people who purport to make a living with photography are sporting around big Sonys, big Nikons and big Canons. They all seem to love big lenses as well. But unless they have aimed themselves at the retail side of photography (weddings, babies and family portraits) I believe they are gearing themselves up for a business model they've been seeing in the rear view mirror of time. A working model from the past that's diminishing year by year. With the new awareness of a business model that's shifting (for me) into video and rejecting traditional printed photographs, the requirements for the cameras I want to work with have shifted away from the idea of "ultimate image quality at any cost" toward something less gear rigorous and more thought intensive.
I bought the first Panasonic GH5 on the strength of investigatory work I'd done with its less expensive sibling, the G85. Once I started using the GH5 with really good lenses, like the Olympus 40-150mm f2.8 Pro, I was hooked. The video quality; especially flesh tone rendering, was a clear step above what I had been able to squeeze out of the Sony cameras. All models of the Sony line create video that's amazingly sharp and detailed but I wasn't feeling the love for the color palette the cameras delivered. Where color grading or correction was a struggle when making video with the Sony cameras, it has been very simple and straightforward when using GH5 files.
I also knew that I wanted to be able to offer my clients technically sophisticated video files that would conform to broadcast quality standards, where needed. I wanted to offer things like the ability to do 4:2:2 color for work with green screens; more tonal separation via 10 bits of information, and All-I files that would tame subject motion artifacts or camera motion artifacts. Finally, for very demanding clients I wanted to be able to offer files with lots of information, like the 400 mb/s, All-I files now available in the GH5. When I combined these features with a wonderful EVF and batteries with stamina I was more or less sold.
I kept both camera systems until I was able to test out the "goodies" that got delivered in firmware 2.0 of the Panasonic camera and then, when completely satisfied, I dumped the Sony stuff into the used market to help pay for the fun stuff I wanted for the new system.
I'm not particularly dense so I do understand that the bigger sensor in the Sony cameras will provide some extra quality at high ISOs, but having done several illumination-challenged jobs with the Panasonic FZ2500, with a much smaller sensor that the m4:3 cameras, I'm pretty confident that this won't be an issue for the way I shoot. We also keep a healthy inventory of lighting gear around here which means that most of the stuff we produce that can be lit can be controlled and shot at lower ISOs --- where all cameras look great.
The other parameter where full frame cameras such as the Sony A7ii and A7Rii have had traditional advantages has been in depth of field control. Or, more precisely, being able to easily put the backgrounds of photographs out of focus by using wider apertures. I'm clearly concerned about being able to continue to do this as it's a look I use in my environmental portraits a lot.
In this regard I am confident that I'll find equivalent control with the new generation of Pro lenses that are coming on line from Olympus. I have the 45mm f1.2 Pro on order; I am considering picking up one of the 25mm Pros (though my experiences with the Panasonic 25mm f1.7 and the 7 Artisans 25mm f1.7 are both quite satisfactory), and I have had much satisfaction using the very, very good Olympus 40-150mm f2.8 Pro lens at it's wide open aperture.
In short I'm finding that the fewer different menus (and families of menus) I must recall on the spot the happier and more secure I am in executing my assignments. I have now (for the first time ever!!!!!) winnowed down my collection of photographic toys to the point where two of the cameras (the GH5s) are identical and the other two are from the same basic generation and have very similar menus to navigate through. Whether I am picking up the one inch sensor FZ2500 or the m4:3 GH5 all the basic menu items are pretty much the same and all the nomenclature now makes sense to me.
Add to this the smaller footprint and lighter weight of the holistic system and I feel lean and ready to engage in the actual work.
None of this is intended to paint the Sony cameras as a "bad choice" or an ineffective imaging solution. On the contrary, I think that for people who are engaged solely in traditional still photography the Sony family is a great choice. Especially with the new A9, and A7Riii and the RX10iv. I was just looking for a different set of parameters and I believe I've found a system that's closer to my multiple uses than anything else on the market. I mean really, who else gives you waveform monitors and vector scopes in a camera at this price point? Nobody.
At some point I'm sure I'll hear the siren call of bigger formats and less detail in my backgrounds. I can hardly wait to start shopping for a Fuji or Hasselblad medium format (pixie medium format) camera system but it will be a while before I circle back around to the more conventional choices.
None of the images here were made with either the Sony or the Panasonic cameras. You can do decent work with just about anything. Make you job easier if you can. Or if you want to....
If it doesn't have an EVF I don't want to shoot with it...
I ran eight miles to catch them and ask permission but lost them on the Apian Way. (sarcasm).