A PERSONAL DISCUSSION ABOUT ELECTRONIC VIEWFINDERS AND REAR SCREENS
I started out with the Sony NEX-5 and had no real problem with the fact that there was no EVF. Later I purchased a Sony A7R and loved using the EVF and never used the screen for photography. Eventually I decided that I would never get a camera that did not have a top class EVF. As soon as it became available I purchased a Sony FX30 and until it arrived I did not realise that it did not have an EVF. After using it for more than a year I have formed the view that Using an EVF and depending only on a back screen/back-panel encourages two different styles, equally valid, of photography.
Here’s a breakdown of how EVFs (Electronic Viewfinders) and back screens can influence different photographic approaches:
EVF Photography: The Immersive and Deliberate Approach
Isolation and Focus: Using an EVF blocks out ambient light and distractions. This allows for heightened focus on the composition within the viewfinder.
Pre-visualisation: EVFs show real-time exposure adjustments, effects, and focus peaking. This gives photographers a precise pre-shot view, facilitating meticulous adjustments before capturing the image.
Stability: Bringing the camera to your eye creates a more stable shooting platform, especially helpful in low light or when using longer lenses. This reduces camera shake and potential blur.
Manual Control Affinity: EVFs often pair well with cameras that emphasize manual controls (dials, etc.). This encourages a slower, more deliberate shooting pace focused on intentional adjustments.
Back Screen Photography: Flexibility and Spontaneity
Adaptable Angles: Back screens, especially fully articulating ones, allow for shooting from perspectives that would be difficult with an EVF. This includes high-angle, low-angle, and candid shots.
Street Photography: Screens can be less conspicuous than raising a camera to your eye, ideal for street photography where you want to blend into the surroundings.
Videography: For video work, back screens are often superior for framing and tracking moving subjects.
Touchscreen Functionality: Many cameras offer touchscreen controls like focus point selection or menu navigation, enhancing ease of use for those accustomed to smartphones.
It’s Not Just About The Tool: Photographer’s Intent
It’s crucial to remember that the presence or absence of an EVF doesn’t automatically dictate a photographer’s style. Here’s why:
Experienced EVF users can be spontaneous as well: A photographer familiar with their EVF camera can develop quick reflexes and anticipate interesting moments.
Back screen users can be deliberate: A back-screen photographer can employ techniques like a tripod for stability. They might also rely more heavily on elements like depth-of-field visualisation to compensate for the lack of a real-time exposure preview.
The Takeaway
EVFs and back screens cater to different preferences and offer advantages in specific situations. Understanding these strengths makes a photographer more versatile. Rather than being mutually exclusive, sometimes the best approach is having a camera that offers both options!
20.1 MP Exmor R APS-C (Super 35mm format) image sensor with wide dynamic range
S-CinetoneTM for a cinematic look straight out of the camera without grading
Flexible ISO, Cine EI Quick and Cine EI Log shooting modes for optimized image quality
User LUTs can be applied to the LCD display and HDMI output and embedded in clips
Dual Base ISO and a 14+ stop range for wide latitude and low-noise images
Last update on 2024-04-23 / Affiliate links / Images from Amazon Product Advertising API
The Sony FX30 is a budget-friendly cinema camera that packs a punch. Here are the key points:
Features and Design: The FX30 is a video-first camera but can also capture 26MP stills. It outperforms Sony’s aging A6000 series and even gives the FX3 a run for its money. Cinema Line LUTs, log modes, and 4K 120p (with a crop) make it a versatile choice. Premium build quality adds to its appeal.
Pros: Cinema camera features and design. Cinema Line LUTs and log modes. Affordable price point. 4K 120p (albeit with a crop).
Cons: No built-in EVF (electronic viewfinder).[this did disappoint me] 3-inch rear screen feels small. IBIS (in-body image stabilisation) isn’t very effective.
FX30 vs. FX3 vs. a7R V Sony FX3: Essentially a reskinned A7S III for cinema users. Internal tech in the FX30 is all new. 26MP back-illuminated CMOS sensor.
Sony a7R V: 61MP sensor, more focus points, and higher resolution. Better for photography.
Why Choose FX30: Affordability: Full-on cinema camera at a mirrorless price. Stabilisation and AF technologies. Unlimited recording times and 4K up to 120p. New 26MP sensor matched with a fast BIONZ XR processor.
Lenses for Sony FX30 Wide-Angle Zoom: Sony E 10-20mm f/4 PZ G Lens or Tamron 11-20mm f/2.8 Di III-A RXD Lens. Wide-Angle Prime: Sony E 15mm f/1.4 G Lens or Sony E 11mm f/1.8 Lens. Standard Zoom: Sigma 18-50mm f/2.8 DC DN Contemporary Lens or Tamron 17-70mm f/2.8 Di III-A VC RXD Lens. Portrait:Sigma 56mm f/1.4 DC DN Contemporary Lens or Sony E 50mm f/1.8 OSS Lens. All-In-One: Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Lens or Sony E 18-135mm f/3.5-5.6 OSS Lens. Telephoto Zoom: Sony E 70-350mm f/4.5-6.3 G OSS Lens or Tamron 70-180mm f/2.8 Di III VXD Lens.
Full Frame Lenses: If you’re already using full-frame lenses, consider the Sony 20mm f/1.8 or Samyang 18mm f/2.8.
While I do photograph fire engines I do my best to avoid photographing accidents and the people involved however in one of my photographs you may be able to see one of the drivers.
I was on my way to the Jasmine Palace Restaurant when I noticed the fire brigade arriving at the the scene of what appeared to be a serious road accident. The one thing that I noticed was how the engines were parked … I had never noticed the technique (known as blocking) before.
The term “blocking” might also be described as the “safe parking” or “safe positioning” of emergency vehicles at roadway incidents. In the fire service, the term most often used is “block” or “blocking.” A block is when an emergency vehicle is used to protect an incident work area by parking across a lane or lanes of traffic. The unit should be stopped upstream of the incident area and parked at an angle across a lane or two of the roadway. In many cases, the shoulder of the road will be considered a lane if that is where the original incident is located. Parking at an angle makes it easier for approaching traffic to identify that your unit is stopped, parked and not moving. Units parked in line with traffic, even on the shoulder, are not as easy to identify as stopped and approaching traffic will often not recognise that the unit is parked instead of moving with traffic.