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Hi Brooke! What advice would you give to someone who wants to explore their darker side through photography or self-portraiture but may feel intimidated or unsure where to start?

Hi All For some reason, my ability to do manual focus on 200mm-600mm A1 has stopped. a) I have cleaned the contacts between the lens and camera. b) I have made sure that the MF switch on Lens is set. c) I have made sure that the dial on the A1 is set to MF. d) I have upgraded both the camera and lens to the latest firmware. e) I have taken off the lens and put it on a second A1 body, still the same issue. f) I can take a 100mm-300mm lens and get the MF to work. Any suggestions?

Yes I know and I've used Lightroom Classic ever since version 3. I don't mind minor dodging and burning and cropping and enlargement like could be done back in old days of the physical darkroom but I try to avoid digital manipulation as much as possible. Especially adding layers and alike such as you suggest. I attempt to get it as right as possible in the camera.

We had another aurora in PA, which is vert rare two nights ago. I went driving around to find some interesting foreground subjects to place in front of the aurora. I hear tomorrow night may be another storm.

I'm looking into doing large prints and have read that companys that print large prints require at least 300 PPI some extra large prints even 600 PPI. Sharing this Sony Article I found on DPI vs PPI: Reference: https://www.sony.com/electronics/support/articles/00027623 "The terms Dots Per Inch (DPI) and Pixels Per Inch (PPI) are commonly used interchangeably to describe the resolution of an image. However, the terms do not mean the same thing and there are distinct differences between the two: DPI refers to the number of printed dots contained within one inch of an image printed by a printer. PPI refers to the number of pixels contained within one inch of an image displayed on a computer monitor. Much of the confusion between these two terms happens for a couple of reasons. First, even though PPI refers to the resolution of an on-screen digital image, it can also affect the quality of the final printed picture. Second, even some professional print services request that pictures must be at a certain DPI level before they can be printed; what they normally mean is PPI, not DPI - thus, this adds to the confusion. The term DPI is a method to determine the print size of an image on paper. Although some printing applications still use DPI, many newer printing applications instead have a setting so you can select at exactly what size (5x7, 11x17, or other) you want to print a photo. For printing applications that use DPI to determine the print size, increasing the DPI will make the size of the printed image smaller, while decreasing the DPI will make the size of the printed image larger. PPI represents the quality of a digital image displayed on-screen. But, it also contributes to the quality of an image. If a digital image contains too few pixels, the picture will not have very much detail and appear pixelated. Digital images with more pixels have better detail. The amount of PPI is determined by the image size of the photo. NOTES: Many digital cameras will have an image size setting in the camera menu. For the best picture quality, use the highest image size setting available on the camera when taking pictures. Refer to the operating instructions provided with your camera for information about possible image size settings. Manuals are posted on your model support page."

Check out this video where I compare the legendary Pentax 67 and 105mm f2.4 and the Sony A7RV and 50mm f1.2 and let me know what you think:

See this commercial I shot for Sennheiser on the A7RV completely handheld: It's wild what you can do nowadays with such little gear because it's so powerful. See this little video I shot giving a bit more insight into the A7RV and how I use it:https://www.instagram.com/p/C6e9sj0O25i/

In May 2024, after a run through Las Vegas, the Utah National Parks, back through Las Vegas, and Death Valley, my wife and I found ourselves up the 395 North of Mammoth Lakes on our way to Lake Tahoe. Towards the end of the day, we stumbled upon a little-known hot springs that we’ll never forget. Shot on A7RV

Wow, it's amazing to see the creativity in these photos is done with such minimal equipment. This article has me considering getting a really nice zoom lens so I don't have so many prime lenses while out shooting.

Dot finders are amazing! In my opinion they are a must if you're trying to do BIF shots. The benefit of the dot finders is that you can easy spot and track a moving bird without having to look at the view finder (assuming your auto focus settings are all set up correctly). Typically if you're viewing through the viewfinder your view is all magnified due to the telephoto lens. viewing through the dot finder is much easier because your view is not magnified and therefore easier to spot the bird. Just make sure to calibrate correctly. I think they work fine with the 200-600, but if I recall correctly some issues with the 600mm f4 (lens is too big, though I think this can be corrected by adding a expansion shoe adapter). The concept of a dot finder is very similar to a spotting scope for high magnification deep space telescopes.

Have you tried the Sony Imaging Edge software? It has a viewer and deleting in the viewer send things to trash

I still have a meteor shower to edit, so, I can't say THIS is my best shot so far, but I truly like it.

As I said, I wanted to post a second image, I don't know if it's allowed, delete it if neccesary. But this image is very important to me. Just the title alone is a bit too much. Nostalgia from the moon, or how I found a memory of happiness in the mountains: Yep, that's the title of my image ‌‌. It's a photo that I had in my mind for quite a few months, and even though it is not exactly as I wanted it to be, I'm really happy with the result. A homage, a tribute, a love letter to my friends, whom I miss with all my being after 3 years in the northern hemisphere. We did a similar photo in a distant little spot on the countryside in Argentina. Under a 4 am moonlight, we did a portrait of us with the arch of the milky way behind us, in one of the coldest nights we've been trough. In theory was our last astronomy hang out, but we ended up going out 3 more times, enjoying coffee and stars alike, like we always used to. Everyone knew that me and my family had to go in december, so, it was a very strange mix of feelings. After 3 years in Europe, I'm certain about a lot of things, and one of those is that I miss them tremendously. The idea for this photo came, precisely, from the portrait we did together. Every light represents their spirit, their friendship, and more importantly, their support to me and my family. Without them, I would have gone crazy a long time ago... A combination of 27 single images at F 2, 3.2 sec and ISO 3200.

I was, sadly in a way, thinking about Shimoda like, probably the only option to consider if I want to mix all of the things I like. I'm also really happy that there is people out there like me, who wants to enjoy a good cup of coffee in the wild while taking some photos.

Wedding and elopement photographer Henry Tieu (@henrysdiary) approaches capturing every moment during a couple’s special day with intention. To help him with this approach, an 85mm prime lens is a staple in his kit. “That's one thing I really appreciate about the 85mm focal length, is that it just makes me really pay attention and be intentional with every single shot that I take on wedding and elopement days,” he says. Tieu had the chance to test the best of the best when it comes to 85mm lenses when he recently used the new Sony 85mm f/1.4 G Master II lens to photograph two elopements in Mount Rainier National Park and an intimate wedding in beautiful Kauai, Hawaii. We connected with him to learn more about his experience using the Sony 85mm f/1.4 G Master II – keep reading as he shares his insights and imagery for the newest second-generation G Master. Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/1600-sec., f/2, ISO 200 85mm – A Wedding Kit Must-Have Most wedding photographers would say it’s a no-brainer to include an 85mm lens in your kit, and Tieu is no exception. “I love an 85mm for wedding work because it’s perfect for portraits,” he explains. “It doesn’t create that distortion on my subjects, so it gives me the most natural looking faces that you can get out of a lens.” Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/800-sec., f/4, ISO 250 It’s not just portraits, though – he says he also likes to use this focal length for capturing the important details. “It helps me isolate items really well,” he says, “so I use it for flat lays if I want to get a ring to pop, or a reception table where you have so many items on the table and I want to highlight each. For example, you have an arrangement of flowers and a glass of champagne, and I really want that glass of champagne to pop, I would use the 85mm more than my 24mm or 35mm.” Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/200-sec., f/2.2, ISO 1000 Ain’t No Mountain High Enough The new Sony 85mm f/1.4 G Master II is approximately 20 percent lighter and 13 percent smaller than its first generation version. If you’re a wedding photographer, or really any photographer carrying their gear for long periods of time, you know just how much of a difference this can make. Now imagine being an elopement photographer like Tieu, who happens to hike mountains with his gear to get such stunning shots! “I really like the compact size and how much lighter it is from the first version,” Tieu says. “It's really helpful in my line of work because I'm not just doing weddings, I'm doing elopements where we hike up mountains a lot. My average elopement is about anywhere between two-to-four miles each way when you hike up. So with lighter gear that can still give me both portrait work and that compression to get the landscape really close to the couple is really beneficial.” Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/640-sec., f/2.8, ISO 200 Some of his favorites taken with the new Sony 85mm f/1.4 G Master II were following a hike to reach a spot for an elopement. “One of the Mount Rainier elopements was on a cloudy day, and they ended up being my favorite because of the way the compression pulled the mountain so close to the couple,” Tieu explains. “It made the mountain look so dramatic. You see the couple super small and a ton of cloud cover, then out of nowhere just a little bit of mountain peak in the back. I've never taken a photo like this before, even though I've been to this spot so many times.” Throughout the event he took a wide variety of images with the Sony 85mm f/1.4 G Master II, some with details of the couple filling the entire frame, and others where the couple appear smaller to show the enormity of the surrounding landscape. Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/800-sec., f/2.2, ISO 100 Photographing With Intention While Tieu didn’t have to hike during the intimate wedding he photographed in Hawaii, he was very happy to have the lightness of the new Sony 85mm f/1.4 G Master II since he carried it on him the entire event. The f/1.4 aperture was also an advantage for him during low light. “I was able to just get the emotion without worrying about whether or not this lens could handle the darkness of the reception.” Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/125-sec., f/1.6, ISO 5000 Another key feature of the Sony 85mm f/1.4 G Master II that Tieu really noticed on wedding day was just how fast the autofocus was for the lens. “It's super-fast,” he explains. “I can just stand in one spot and I know that I can get my focus dialed in. And with the focal length of 85mm, I can be further away from the subject and I don't have to really worry about interfering with a moment.” He continues, “I really noticed this a lot during the wedding that I photographed in Hawaii. It was just very intimate, only a few family and friends there. That means these people really mattered to the couple, and so I wanted to be able to stand back and capture those big moments. The mom crying, her sister laughing so hard – those big reactions are really something that I look for when I photograph elopements and weddings. And being able to have that fast focus, I know for sure I can get those moments and I really like that a lot.” Photo by Henry Tieu. Sony Alpha 7 IV. Sony 85mm f/1.4 G Master II. 1/80-sec., f/1.6, ISO 3200 For Tieu, wedding photography is all about storytelling and documenting those fleeting moments that may only happen one time and never again. The new Sony 85mm f/1.4 G Master II is just the lens he says he’ll be 100 percent adding to his kit to continue to tell these stories with intention. “I think there's something about a fixed focal length that really makes you extra intentional about capturing the wedding day or the couple,” he says. “The space that you take, it matters. It allows you to either immerse into the experience or remove yourself, so that the couple can enjoy a moment without feeling like everything is a photo shoot. So that's the one thing I really appreciate about the 85, is that it just makes me really pay attention and be intentional with every single shot that I take on these days.”

I recently purchased Sony FX3 and noticed in camera picture profile setting, PP7,PP8 and PP9 preset are missing. The firmware version is 5.00. I would like to know how can I get these 3 presetting back? Thanks!

This is a state park , Rickett's Glen State Park, that I am fortunate enough to live very close to. One of its main features is the Falls Trail, which is a 7.2 mile hiking trail that hosts 21 waterfalls along its course. it's a beautiful area to hike and take pictures and I really love going there to do long exposures of the falls and astrophotography. It's especially scenic when the leaves change colors in the fall. _DSC9298Logo.tiff _DSC9303Logotif.tiff

Thanks for being so generous in sharing your knowledge with us here in the forums, Nicole!

"I've been using the Sony A7R5 and A9 III for the past six months, and overall, I'm delighted with their performance, especially for photography. However, while the A7R5's image quality is fantastic, it has some limitations regarding video recording. Specifically, I've encountered overheating issues after about 45 minutes of continuous 8K recording. This is why I wish for a new A9 III (A9 IV? Or A7RVI with GS), ideally with a sensor that offers at least 60 megapixels, allowing for extended 8K recording sessions of up to 2 continuous hours without overheating. This would make it a true powerhouse for high-res photography and long-format sports video work, specifically Soccer. The 8K Sony Camcorders Burano and Venice 2 are expensive for a video photographer like me who used them as entertainment tools to record Soccer games and other sports as a hobby and pastime."

Applications for the 2025 Girls Who Click Ambassador Cohort Year are open from September 6th, 2024 through November 10th, 2024. You can learn more and apply here: https://girlswhoclick.org/2025ambassadorapplication/ If you have any inquiries about the Ambassador program in the meantime, please reach us at ambassadors@girlswhoclick.org.

Can I use C' (Creators) App to send images to a TV as long as camera, 7RM5, and TV are on same Wi-Fi?

On the Sony a7r3, my previous camera, you could save Auto Review to a Preset, but on the Sony a7rV, you cannot. This is huge for me because on many jobs, I need to go back and forth between flash and ambient light constantly. When I shoot flash, I like a quick Auto Review to check that my flash settings/bounce/etc are working as I intended, but I don't want Auto Review in ambient. On the Sony a7r3, I just assigned Auto Review to my flash preset and it worked beautifully. On the Sony a7rV, you can't even assign it to the Fn menu or to a Fn key. It's a signifiant hiccup in my workflow. Is this bugging anyone else? Can we start a revolution or something?

@BRAD Is this the Anti-dust Function found in Setup>(13) Setup Option>Anti-dust Function>Sensor Cleaning or' Shutter When Pwr Off? If that's what you're referencing than that is not it because it was set to OFF > The mechanical shutter is not closed when turning the device power OFF. ON > Closes the mechanical shutter when turning the device power OFF. You can prevent the dirt and dust from adhering to the image sensor when changing lens. Since I found that option though I have as of right now set it to ON. But, as I said that cannot be it because is was set to OFF until just now. Unless I'm mistaken, which is highly possible, isn't there a setting somewhere to tell the camera to not allow shutter release without a lens attached? Likewise, isn't there a setting to disable shutter when no card is in the camera or when there is no card in the target slot (1 or 2)? While I was writing this, I just heard the click then, the display went black (blank). Please correct me if I'm wrong (which again is highly possible), isn't that connected to the Setup>(9)Power Setting Option (page 51/56)>Auto Monitor Off>Power Save Start Time or Power Save by Monitor? I have Auto Monitor OFF set for 1 Min; Power Save Start Time 5 min. Power by Monitor set to Both Linked (Enters power save mode when closing the monitor inward. Returns from power save mode when the monitor is opened. I'm not entirely sure what "Both Linked" is referrering to? Both Linked is what I have it set on but I don't believe that is causing the click because the monitor is open to the left side of camera (as I view from the back side). There are 3 more options available Open:Return; Close:Power Save; Does Not Link. Again though, Those cannot be it since they only come into play when monitor is closed inward toward the camera. At the risk of being redundant, I believe what's causing the click is the Power Save Start Time setting which was previously set to 1 Min and changed to 5 min. Can't be Auto Monitor OFF, currently set a 1 Min, because I don't believe the monitor would make a click sound when turning off, which once again I could be entirely wrong. Even though I've had many, many cameras, I don't believe I've ever had one with this kind of option and level of customization. As Gary Friedmann of www.FriedmannArchives.com says in his 7RV 800-page book, "This is probably one of the most complex cameras Sony has ever produced (if you don't count their video cameras), which is why he says explains the "heft of the book". Thanks for reading my unnecessarily long post. Any light you'd care to share will be accepted in the spirit in which it's offered. My Regards, GEGJrPhoto

I am considering purchasing this lens. It will be my first mirrorless or E-mount lens purchase as I just purchased my first Mirrorless and probably last camera (E-mount or any for that matter). I also just sold my A99M2 and A77M2. So, is the issue with camera and or lens firmware updates fixed? I don’t want my leap into E-mount to be regretable. I've been a Minolta, Konica-Minolta, and Sony user for 4 decades. I'd hate to go out on a bad note. Regards, GEGJr

Thanks gegjrphoto! At least I know that someone else has noticed this. Yes please if there is a Sony moderator please answer.