I’m a fan of battery grips. I’ve got big hands and they help balance out long lenses. I like the idea of being to put the grip on and off as required, as an example, when I am shooting events with long lenses, so grips appeal to me.
When I got the A7iii, a grip was always on the cards, it was just a case of when. With lenses like the 135mm ART and 100-400 in my bag, the grips help balance the camera and lens.
There is one thing I find amazing about Sony users: they seem to have bought into the Sony marketing pitch hook, line and sinker. In fact, I would go as far as to say they took the whole fishing rod.
Any time I see a question about a new lens on the facebook sites, the first responses back point to G master lenses or $2000 Zeiss lenses. It’s like every other lens in Sony mount has rabies. Beginner looking for a first lens: G Master. Intermediate looking for a new lens: G Master. Part-time macro user: G Master. Street lens? G Master. Portrait lens with a $300 budget. Save for longer and get a G Master or the Zeiss 50mm f/1.4. I even had someone try to argue with me that a complete beginner would progress more quickly with a G Master lens. They won’t even have their composition right but apparently, they can master DOF.
Glass is glass, or at least that’s what you normally think. To a large degree, you would expect the focal lengths to at least stay static, but that’s not always the case has my recent move from Fujifilm to Sony shows.
There are the obvious items, like the availability of lenses in specific focal lengths, If it’s not available, it’s not available, but that played less of a factor than I expected.
When I lived in Fujiland, the Fujifilm 90mm (APS-C) quickly became favourite from a focal length perspective. I didn’t have a particular affiliation with the 135mm focal length, I think I originally picked up the 90mm because the AF speed on the Fujifilm 56mm was terrible for kids, but I fell in love with focal length and the compression after that.
With my move to Sony, I started with the Zeiss Batis 85 which is amazing, but after a while buying a 135mm seemed was a foregone conclusion, it was just a question of which one. The Zeiss Batis 135mm F2.8 would have been the logical choice, small and light, but us humans aren’t known for logical choices. This is how the bigger and heavier Sigma 135mm f1.8 ART found it way into my collection. I had a light portrait lens with my Zeiss 85mm Batis so I thought for this one I was going to purchase the beast, and a beast it is…beauty and a beast all in one.
In some respects its a little easier reviewing cameras when you are switching systems. You are not as tied to a legacy way of thinking so it’s a little easier to grip on a problem and think of it as a negative or positive. With using a different system, you tend to think: “This is the way I work and I’m not going to change” which creates a problem with a camera. If you are switching you think: “This is the way I am used to working, could I work this way in future?”
My background? Non-commercial photographer. I have long since accepted that I do photography because I enjoy it and doing it commercially wouldn’t work for me because I like doing it the way I want, with the things I want, when I want. I make enough money from my normal career to fund photographic toys. Shot Nikon, switched to Fujifilm for mirrorless years ago, then onto Sony for reasons I won’t go into, except to say I do actually like the Fujifilm gear so it has nothing to do with that.
I had a mystifying experience on the Sony A7iii group run by SonyAlphaRumors.
Someone posted a photo of some ladies dressed in sailors outfits. The photo and pose weren’t to my taste but it was “safe for work” from a photographic perspective so the photo itself wasn’t the problem. What I found insane was the responses to the photos from the so-called amateur and professional photographers in the group, some of which run photography businesses.