A7RIV Custom Settings 04 2020

Custom Setup Support
FREE
eBook by Mark Galer Sony Ambassador
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Contents
Meet the Author Camera Controls Firmware Updates
Why customise your camera? Fn Menu Focus Mode & Focus Area
Learning Support Finder & Monitor Image Review (Playback)
Did I make the right choice? Touch Operation Network Settings & FTP Transfer
• Key Features SteadyShot Flash
• Full Frame Advantage
Card Slot & Battery Making Movies
• Sensor Design
• Sensor Stabilization Multi-interface shoe Interval Shooting
• DMF ISO Other Notable Features
• Multi-Selector High ISO Masterclass Movies
• Eye-AF in Continuous Autofocus (AF-C) Drive Mode eBooks
• 4K Movies Captured using the Full Frame
Memory Settings Useful Sony Accessories
• Large Buffer for Shooting Action
• Portraiture What’s in Mark’s Bag
• Fast Reliable Autofocus in Continuous AF
• Action
• Landscape Supporting Website
Mirrorless Advantages
• Street Movie Link Index
• Astro
Index
Mark’s Custom Settings
Donation Page
MARK GALER is a photographer, educator and published
author (30 books for Focal Press). He has a commercial
background in editorial photography and was also a Digital
Imaging Ambassador for Adobe for a period of 14 years. He
was a Program Director and Senior Lecturer in Photography at
RMIT University in Melbourne and has circumnavigated the
globe on a motorcycle.
Mark is using his wealth of experience as both a photographer

and educator to support the Sony Alpha Community and was
appointed a Sony Digital imaging Ambassador in 2012.
Mark owned the original Alpha 100 and currently owns an

extensive range of Sony mirrorless cameras.
Mark Galer
4-Minute Profile Movie Sony Digital Imaging Ambassador
Back to Contents Page

Why customise your camera?
The Sony A7IV is a technically advanced
camera that is highly customisable to meet the
demanding needs of a broad range of creative
photographers. This guide has been designed
to provide you with ideas and suggestions to
help you customise your own camera to help
maximise your creative potential.
After extensive shooting with the Sony A7 and

A9 cameras I have now settled on the custom
settings that enable me to work quickly and
intuitively in all shooting situations.
Note > The settings outlined in this guide are

suggestions only and are not intended as
definitive settings that will suit all photographers.

Learning Support
This eBook would be more than a 1,000 pages
long if I mapped out all of the camera setups
and technicalities of working with these
Mirrorless marvels. For this reason I have built
in numerous links to allow you to navigate to
my Alpha Creative Skills YouTube channel
and/or website to learn more on a particular
topic I have raised in this eBook. All this
support is provided for FREE.
If you would like to become a Paid YouTube

Member you can join my live monthly Q&A
talks and ask questions in the member only
forums. In this way I can become your
personal Sony Alpha Consultant for just a few
dollars per month.
Membership

Did I make the right choice?

Key Features
I consider these 10 features to be the ones that will
make the A7RIV camera a success for Sony.
Competing cameras are often lucky to have half of
these features.
1. Full-Frame Stabilized Sensor

2. Ultra High Resolution
3. Dual Card Slot
4. Extended Battery Life 10/10
5. Direct Manual Focus (DMF)
6. Multi-selector/Joystick
7. Eye AF in Continuous AF (AF-C) The A7RIV camera has a number of features that are
8. 4K Movies captured using the Full Frame both incredibly useful, but also serve to set them apart
from competing cameras. The following pages will
9. Large Buffer for Shooting Sports outline some of the key upgrades to the A7RIV and
10. Fast reliable AF in Continuous AF Sony Full-Frame Mirrorless cameras in general.

61 Megapixels
9,504 x 6,336 Pixels

Resolution
This 4K crop (3840 x 2160
pixels) demonstrates how
4K
much flexibility you have to
recompose your image in
post production.
1:1
24 MP
‘Cropability’
Body Changes from R
5.67 million dot Finder

(1.6X higher than the Alpha 7R III)
Monitor is unchanged
Larger Grip
R
Alpha 7R IV is 8 grams heavier

Redesigned Rear Dial &
A7RIII Exposure Compensation Lock
Redesigned Custom Keys,
Multi-selector and Rear Dial
Optimised AF Tracking
FE 135 F/1.8 GM
26 Megapixels in APS-C Mode
APS-C
APS-C Mode 6,336 pixels wide
FE 70-200 F/4 G
APS-C
APS-C Mode 6,336 pixels wide
FE 70-200 F/4 G
4K Crop from APS-C Mode Capture

E 70-350 G OSS
APS-C mode using an APS-C Lens

E 70-350 G OSS
APS-C mode using an APS-C Lens

The Phase Detect AF points
nearly cover the entire APS-C
area of the sensor. Keep the
subject in the viewfinder and
the camera is mostly likely to
track your subject
Full-Frame Advantage
Sony’s Full-Frame Mirrorless cameras were
launched in 2013 and big jumps in performance
have been achieved with each subsequent model.
The body has been redesigned for each
subsequent model release — first to accomodate
Sensor Stabilization and then again to accomodate
the larger Z-series battery and dual card slots.
The main advantages in performance have been to

the Autofocus and 4K movie capability. In the
following slides, however, we will look at the
performance advantages that photographers enjoy
for having chosen a camera with a Full-Frame
sensor rather than an APS-C or Micro Four-Thirds
sensor (often referred to as crop sensors).

Full Frame Versus Crop Sensor
www.camerasize.com
The Full Frame Sony camera is no bigger than many Micro Four-Thirds cameras, but the
differences in sensor size is significant and this directly leads to superior Image Quality (IQ) of these
cameras in terms of dynamic range and high ISO performance.
Full Frame
Figure/Ground
Separation
The size of the sensor in
a Full Frame camera
(when compared to crop
sensor formats) enables
the photographer to
separate the subject
from the background
more easily using
differential focussing or
‘shallow depth-of-field’.
Beautiful Bokeh
FE 100 F/2.8 STF GM

FE 85 F/1.4 GM
1:1
FE 135 F/1.8 GM
1:1
FE 85 F/1.8
A great lens that is
recommended for
photographers on a
tight budget
Sensor Design
Full Frame BIS
Conventional structure Back-illuminated structure
Gapless OCL Gapless OCL
Aluminum wiring layer Photodiode substrate
Copper wiring layer

Light receiving
surface Photodiode substrate
Sony uses back-illuminated sensors (BIS) in the A7IV

camera. This modern sensor design has added
significant improvements to both Image Quality and
speed of data traffic to the CPU or Bionz X processor.
Dynamic Range
…and corrected in post
A broad dynamic range enables the

camera to record rich detail in bright
highlights and dark shadows without
having to bracket exposures.
Dynamic Range
Image Underexposed by - 4 EV
The quality of the recorded shadows

can be made lighter in camera
(when shooting JPEGs) by using a
feature called DRO (Dynamic Range
Optimizer) or in Post Production by
raising the Shadows slider when
shooting in the Raw file format.
ISO 5,000
High ISO Performance

25mm @ f/11:1/5 second
Sensor Stabilization Sony’s IBIS or ‘SteadyShot
Inside’ allows the photographer
(with care) to shoot hand-held
using very slow shutter speeds.
See the SteadyShot chapter
1/5 second @ f/11 (16mm)
You can select these slower apertures in
Manual Exposure Mode or Aperture
Priority and set the ISO Auto Min SS
setting to ‘Slower’.
FE 16-35 F/2.8 GM
1/5 second at f/11
DMF
Focus Mode
DMF
Manual Focus Override + Magnified Live View

Override Focus to Here
If Camera Focuses Here
Focus Assist + DMF

Recall Custom hold 1
Note > Consider trying Animal Eye AF before resorting to DMF

If Eye-AF isn’t being your
friend, DMF is your next
best friend when you are
working at close range with
a wide aperture prime lens.
Play Now
https://www.youtube.com/c/AlphaCreativeSkills
Alternatively use AF-S or AF-C
and move a Flexible Spot AF
area to the desired focus point
using the Multi-selector.
The Multi-Selector has a
number of functions other
than moving the Focus Point
- discover what they are in
this movie
Play Now
www.youtube.com/c/AlphaCreativeSkills
Eye-AF
Eye-AF in Continuous AF
for when your subject won’t stay still
See Face/Eye Priority in AF for more Info

Animal
Eye-AF

Full Frame 4K Movie Capture
This is a still image taken from a full-frame 4K
movie at high ISO. If you intend to take stills from
9
movies you need to be aware that the optimum
Full Frame 4K Movie Capture shutter speed for movie capture often creates
subject blur
Full Frame 4K Movie Capture
This is a still image taken from a full-frame
movie (not Super 35). The shallow depth of
field achieved from using a wide aperture
may require the use of an ND filter when the
ambient light is bright and the shutter speed
is slow (1/100 sec or less).
Large Buffer for Raw Images
The camera ‘buffer’ stores recently captured
images before writing them to the memory card.
A large buffer enables the camera to shoot at
high frame rates for extended periods of time.
The cowboy is dismounting from the horse after
he has successfully stayed on for 8 seconds.
The camera was able to carry on taking photos
at 8 frames per second for an additional 3
seconds to capture this image.
Fast & Reliable Continuous AF
Sony currently
makes the most
reliable Continuous
AF tracking of any
Mirrorless camera

Mirrorless Advantages
Mirrorless cameras have
significant operating differences
when compared to DSLR
cameras. Understanding these
differences will help you avoid
some pitfalls that are commonly
encountered by photographers
who do not adjust their workflows
after leaving their DSLRs.

Shutter
The Sensor provides a live

view to the Finder &
Monitor. A mechanical
shutter is only used to time
the duration of the
Live View Display exposure, except when
‘silent shooting’ is enabled.
Sensor
A DSLR uses a mirror to
provide an optical view to
the Finder. This view,
however, may be
significantly different to the
one the sensor sees.

EVF ‘Live View’ Advantages
Live View provides a WYSIWYG view*

*Live depth-of-field and exposure preview
In the vast majority of instances a live view from the
sensor is an advantage over using the optical
viewfinder of a DSLR - there is, however, a couple of
reasons we don’t want to preview the scene through
Live View: Depth of Field
a small aperture we have selected, e.g., f/11 or f/16.

Focus Here
Magnify View
Check Focus Here
This movie demonstrates how to find
the hyperlocal distance without using a
calculator when on location.
YouTube Paid Membership

Live View: Exposure

If you are ready to come out of
AUTO the, P, A, S and M
settings on the Shoot Mode Dial
will enable you to gain a greater
degree of control over your
creative photography
PASM
P: Program
A: Aperture Priority
S: Shutter Priority
M: Manual with Auto ISO
Exposure Compensation
This allows you to ‘fine tune’ the Auto Exposure

Live Histogram
The Live Histogram in the Finder and on the

Monitor will alert you to overexposed tones
Live Histogram
These overexposed tones may not be able to be

recovered in Post Production editing. These
tones are referred to as being ‘Clipped’.
Light meters want to make things look ‘Average’, even when they are not
Overexposed Exposure Compensated
Exposure compensation is required to render a black swan black

Scene with Dominant Dark Tones
Over exposure
WYSIWYG
Exposure
Compensation
WYSIWYG
whatyouseeiswhatyouget
Exposure
Compensation
…if it doesn’t look right in the Finder then, odds on, it isn’t right
Scene with Dominant Dark Tones

Scene with Dominant Light Tones
Shadows Lightened Further in Post

The GOAL of…
Exposure Compensation
The goal of adjusting the
Absolute Black
Absolute White
exposure, before you take an
image, is to put the brightest
highlights and darkest
shadows between the goal
posts of absolute black and
absolute white (clipping). If
you don’t, you will lose detail
in the highlights or shadows.

Expose for the Highlights
Process for the Shadows
Live Exposure
Press the Display button until
you see the Histogram on the
monitor or in the Finder.

Exposure Review
When reviewing your images
you can press the Display
button a number of times until
you see the histogram view.

Live View Display
You may need to switch this
to OFF when working with
off-camera non-Sony flash
in a darkened studio or
when the ambient light is
very low. Learn More here:
https://youtu.be/tPKjkbk09us

Live View Display ON
Ambient Exposure -2.0
Flash Exposure +1.0
Flash Compensation required
because of light toned subject
Sony HVL-F45RM
Wireless Radio Flash
Sony FA-WRC1M
Wireless Radio Commander
Note > This movie was made
using an A7RII but the
principles are the same for all
Sony Alpha E-Mount
cameras. Live View Display
is currently found on page 8
of the Camera Settings2 tab
Play Now
Note > There are a handful
of lenses in Sony’s E-Mount
lens lineup where the camera
does not momentarily open
the aperture wider to assist
focus in AF-S. Learn how to
overcome this if you own one
of these lenses.
Play Now
Camera Controls
This is an overview of the main dials and
buttons — where we get to take creative
control of the camera. If you have no interest
in these you may as well just leave the
camera in Auto - but given you have
downloaded this eBook I am guessing you
are a control freak and won’t be dictated to
by a lump of metal, silicon and glass. If the
pages all seems a bit mundane and obvious
I would invite you to click on the multi-
selector movie - I bet there are a few things
about this joystick you didn’t know about :-)

Note > This movie is targeted
to you if you previously owned
a Canon camera. It is a way of
bringing you up to speed with
your new Alpha camera to
help in the migration process.
Play Now
Navigating Menus
To customise the settings of the

camera press the ‘Menu’ button (1) and
navigate the menus using the ‘Control
Wheel’ (2) or Multi-selector (3). Press 1
the ‘Center button’ (4) to select an
option and press the Menu button to
cancel or move back to the main menu.
3
The camera can be customised by

using the first two tabs and the last tab 2
of the Menus. These are: 4
Camera Settings1
Camera Settings2
Setup
Front Dial
White
Balance
…until you override it for something else
Rear Dial
Diopter Adjustment Dial

Movie button Multi-selector
Movies can also be started Move the focus point or
using the shutter release navigate menus — press to
button if the option is confirm a selection
selected in the Main menu.
If you are fussy about the Control wheel
quality of your movies you
will need to set up the Movie Scroll through menu items or
settings in the Menus (see move focus area
the Making Movies section).
Center button
Select menu items to modify
or confirm commands

… because there are
more things at play than
meets the eye!
Play Now
AEL button
Auto Exposure Lock - this is also a
Custom button and most people I
know have set it to do something
else, e.g., Eye-AF or Recall Custom
hold. Note that the button also serves
AF button to Zoom out in Review mode.
AF-ON Button can be setup for
Back-Button AF if ‘AF with Shutter’
is disabled in the Menu. Note that Fn Button
the button also serves to Zoom in Function button to access Fn or
when you are reviewing an image. ‘Quick’ menu. At least half of the
items in the Fn menu probably
don’t need to be there, but that is
Playback button OK - we can change them.
Review captured images/movies
C4 / Delete button
It is only a trash/delete button in
Playback mode so don’t get
paranoid about pressing it OK.
Vertical Menus
When a Fn option is selected with
a press of the Multi-selector, or a
Sub-menu (rear dial)
Custom Key, the main menus will
run vertically rather than
horizontally and the submenus
can still be accessed using the
Rear dial.
Sub-menu (rear dial)
Submenus
After navigating to a menu using the
Front dial the submenus can then
be accessed using the Rear dial.

My Dial Settings
It is possible to temporarily
change the functionality of the
Front and Rear dials by going to
the MyDial Settings. You will also
need to set up a custom button to
so you can Toggle between the
different behaviours.

Fn Menu
The Fn or Function menu allows the user to access
and modify their 12 most-used camera settings for
quick control - these can be customised
(reassigned) by going to Custom Operation1 in the
main menus. When changing a camera setting that is
in the Fn menu there is no need to lower the camera
from your eye - simply press the Fn button, navigate
to the menu item with the multi-selector and then use
the front and rear dials to change the setting.

Fn Key
Access and modify your 12 most used
Function (Fn) Menu camera settings for quick control —
these can be customised by going to
Page 8 of the Camera Settings2 tab. You
will probably notice that mine looks
nothing like yours! Drive Mode and ISO
are usually in the Fn menu by default, but
as we can also access these via the left
and right buttons on the Control Wheel
there is no problem with replacing them
with something more useful.

Fn Menu
This is an alternative view of the Fn
menu that can be accessed by
pressing the Display button, just
below it, several times (before you
press the Fn key).
After pressing the Fn key you can

navigate to anything you want to
change using the Multi-selector.
You don’t have to press the Center
button or Multi-selector in to select
the setting — you can simply start
turning the front and rear dials to
make changes to that setting.

Fn Menu Set
A7RIV users can assign up to 12

menu items to the Fn for stills
capture and another 12 for movie
capture. Many items in the default
Fn menu are redundant because
Custom buttons provide the user
to access to these menu settings,
e.g., Focus Area and ISO.

Function (Fn) Menu: Stills
Fn Menu Upper1 Upper2 Upper3 Upper4 Upper5 Upper6
Upper Silent Shooting Live View Display Subject Detection Face/Eye Priority in AF Metering Mode Audio Signals
Lower Lower1 Lower2 Lower3 Lower4 Lower5 Lower6

APS-C Shoot Interval Shooting Touch Operation SteadyShot Prioritize Rec. Media Shoot Mode
Function (Fn) Menu: Movie

Upper Audio Record Level Peaking Display Subject Detection Face/Eye Priority in AF Zebra Display Zebra Level

Picture Profile DRO White Balance Creative Style Touch Operation Shoot Mode

Navigate Fn Menu
In the standard view of the Fn
menu you can access and modify
your 12 most used camera
Function (Fn) Menu settings for quick control by
navigating to the Fn item using
the Multi-selector. When the item
is highlighted you do NOT need
to press to select.

Use the Front Dial
to navigate the
main options on
the Fn menu you
have navigated to
Fn Heads-Up Display As viewed in EVF (Finder)
Front Dial Front Dial
This adjustment is called ISO Auto

Minimum Shutter Speed - As I shoot in
Aperture Priority most of the time I tend to
adjust this setting every time I encounter
a new subject.
Rear Dial Rear Dial
Note > Not all options above the line

have sub-options below the line.
Rear Dial
Navigation
Use the Rear Dial to navigate any
sub-menu options.
ISO Auto Min SS

ISO Auto Minimum Shutter Speed
cannot be switched Off. Standard is
the default position. Modified
settings only take effect if you have
selected ISO Auto and you are using
Aperture Priority or Program modes.

Vertical Menus
Sub-menu (rear dial) When a Fn option is selected by
depressing the Multi-selector, or
Custom Key, the main menus will
run vertically rather than
horizontally.

Finder & Monitor
The finder is often referred to as the EVF or
Electronic ViewFinder. It is advisable to
spend some time setting these up just the
way you like them. Brightness may appear to
be the only option at first glance (page 1 of
the Setup1 menu) but the Creative Styles
(Contrast, Saturation and Sharpness) can
also be adjusted. The DRO setting (Dynamic
Range Optimizer) also has an impact on the
image presented in the Finder and on the
Monitor. These modification have zero effect
on Raw images being captured. There are
also some hidden features that can only be
accessed by first assigning a Custom Key to
apply these options, e.g., Aperture Preview,
Shot. Result Preview and Bright Monitoring.

Electronic
ViewFinder / EVF Eye Sensor (keep clean — otherwise
Monitor may be disabled)
Diopter-adjustment dial
Monitor
If the Monitor is tilted the
view will not switch to the
Finder. The monitor’s
brightness can be set to
‘Sunny Weather’ when the
ambient light is very bright
(Setup 1 Menu).

Brightness
The Brightness of the Monitor or
EVF can be raised when the
ambient light is very bright. I will
typically set it to either +2 or the
‘Sunny Weather’ setting when
using the monitor on sunny days.
It is recommended that you lower
it to Zero or a negative value when
photographing in low ambient
light, e.g., Dusk or Night.

Creative Style & DRO
The Creative Style and DRO
(Dynamic Range Optimizer)
settings will modify the
appearance of the scene in the
monitor and finder, as well as
modifying the JPEGs and Movies
captured with the camera.

Display Quality
In the Setup2 Menu it is possible
to set the Display Quality to High.
Battery consumption will also be
higher when ‘High’ is set.
IMPORTANT > The Anti-flicker

Shoot feature, that assists in
avoiding uneven exposures when
working with artificial lights, will
lower the quality of the view on
the Monitor and in the Finder. It
should be switched Off when it is
not needed.

Display
You can decide what
display options are
displayed by going to
the DISP Button in the
Main Menu

Display
Check or uncheck the options
you want to see or not see
when you press the Display
button. Make sure you ‘Enter’
any changes you have made
before exiting this menu.

Level Display
Pressing the Display button
repeatedly cycles through
different levels of information
including the Histogram view and
the Level (shown here). The Level
will ensure that you architectural
or landscape images are not
captured crooked.

For Viewfinder
Pressing the Display button
repeatedly will bring you to the
‘For Viewfinder’ view. Pressing
the Fn key will then give you
access to a broad range of
menu settings without having
to go into the Main Menu.

Icons on the
Shooting Screen
A full breakdown of the icons that
can appear on the shooting
screen can be found by clicking
on the link below:
Shooting Icons
I wish the icon above would

appear in the Histogram view as it
would warn me that I am still
shooting in APS-C Mode!

Finder Frame Rate
The refresh rate in the Finder can
be changed from Standard to
High. This can be useful when
tracking fast moving subjects.
Note > The resolution of the

Finder is lowered when the Finder
Frame Rate is set to High so
should be switched to Off when
shooting subjects that are not
moving quickly.

Gamma Disp. Assist
When shooting movies with the S-
Log or HLG Picture Profiles it is
possible to view the recording
without the profile being applied
to the Monitor and Finder. Select
Auto in the Gamma Disp. Assist
menu or choose the specific
Picture profile you are using.

Live View Display
One of the major advantages of
using a Mirrorless camera is the
Live View Display. When set to On
you will see a real-time display of
the exposure and depth of field
that will be captured using the
current camera settings. This is
sometimes referred to as a ‘What
You See Is What You Get’ view. In
some instances, however, the
Setting Effect needs to be
switched to Off. In a darkened
studio you will not be able to see
your subject if you have set the
camera up with the appropriate
settings for Flash photography.

Live View Display
If you need to quickly switch Live
View Display On and Off
frequently it is worth assigning the
option to the Fn Menu.

Aperture Preview &
Shot. Result Preview
For photographers who shoot
frequently using Flash it may be
worth assigning two Display
options to the C1 and AF-On
keys. These are Aperture Preview
and Shot Result preview and are
extremely useful when Live View
Display is switched Off.

Setting Effect
When the ISO, Shutter Speed
and Aperture has been set up in a
Studio for Flash, there may not
be enough ambient light to
compose or frame your subject.
Flash Settings

Setting Effect
Switching the Setting Effect to
OFF will reveal a bright view on
the camera Monitor and in the
Finder. Exposure and Depth of
Field, however, can no longer
be determined using this view.
You may need to capture one
image and review the image to
assess exposure and focus (a
similar workflow to that of using
a DSLR camera).

Aperture Preview
By Pressing the C1 button, that
has been assigned to Aperture
Preview in the Custom Key
settings we can view the scene at
the selected aperture rather the
wide open aperture. This allows us
to assess the depth of field prior
to taking the photo. The
brightness of the scene, however,
is maintained.

Pressing the AF-On button, that
has been assigned to Shot. Result
Preview in the Custom Key
settings, allows us to quickly see
the image with the Live View
Display turned back On. This
allows us to determine how the
ambient light will contribute to the
overall lighting when flash is used
as the primary light source.

RMT-P1BT
Bluetooth Remote
Aperture Preview
It is possible to use the C1 and AF-On buttons on
Sony’s Bluetooth Remote to access the Aperture
and Shot. Result previews without having to touch
the camera. The AF-On can also be used as a
Custom key if you want to access both preview
options instead of accessing the focus.

Bright Monitoring
In extremely dark locations, and
with the Live View Display
switched to On, you may still not
be able to see the subject your are
trying to frame clearly. In these
situations it is recommended to
assign a Custom Key to ‘Bright
Monitoring’. This feature can only
be used if the camera is set to
Manual Focus.
Astro Camera Settings

Ctrl w/ Smartphone
Your Smartphone or Tablet can be used to control the camera
settings and capture the images without touching the camera.
Unfortunately the ability to touch focus is not one of these
options. The workflow to pair your smartphone with your camera
is outlined on the next page. To start the process you will need
to download the Imaging Edge App to your Smartphone.
Connect to your Smartphone
Imaging
Edge

Ctrl w/
1 Smartphone 2
Ctrl w/
Smartphone
Ctrl w/
Smartphone 3 4
Having issues connecting your Smartphone to your Camera? Go to: Connect to your Smartphone
Tethered Shooting
Switch Ctrl w/ Smartphone to Off
and PC Remote On in the PC
Remote Function menu. Connect
the camera to your computer using
a USB-C compatible cable and then
launch Sony’s ‘Remote’ application
which is part of Sony’s Imaging
Edge desktop applications.

Tethered Shooting
In Sony’s Remote application
it is possible to monitor your
subject using a ‘Live view
and modify any of the
shooting settings. You can
also modify the location that
the photos are saved to on
the computer. Sony’s ‘View’
and ‘Edit’ applications can
help organise and edit the
images captured via the
Remote application.
Alternatively the location you
save to can be a ‘watched
folder’ for the Lightroom
Classic application.
Sony Imaging Edge Desktop

Play Now
Touch Operation
The touch screen function on the A7RIV is
used for assisting in Autofocus operations.
There are several menu items that control the
Touch Operation (it’s not just a case of
switching it ON or OFF). The Touch operation
can also be used when using the Finder
(EVF) to move a spot AF focus area and also
for Focus Tracking. It is worth spending a
little time understanding these controls so
that you can optimise the operation for your
own workflows.

Touch Operation
The Monitor can be used
as a Touch Screen to select
and move focus. These
settings are accessed via
the Setup2, Setup3 and the
Custom Operation2 menus.
Start by switching the

Touch Operation to On in
the Setup2 menu.

Function of
Touch Operation
The function of the Touch
Operation can be changed from
Touch AF to Touch Tracking.
Touch AF can be used to ‘pull
focus’ between one subject and
another, while Touch Tracking is
useful to nominate the subject
that you want the camera to
follow around the screen without
having to move the AF point after
the AF Tracking has started.
I am not sure why Sony chose to

position this menu option so far
from the other Touch Operation
items, which are located in the
Camera Setup menus.

Touch Panel/Pad
The Touch Panel can be used
to touch focus when using the
rear monitor to compose your
subject. The Touch Pad is
used to assist focusing when
the Finder (EVF) is being used
to compose your subject. You
can disable either the Pad or
the Panel if you don’t want to
accidentally start AF, e.g.,
your nose touching the screen
when the Pad is active can
move the Spot AF point.

Enable Touch tracking when using the finder (EVF) and then
move your thumb across the monitor to bring the orange AF
Tracking target into view
Touch Tracking
If Touch Tracking is enabled it
will override the current AF Area.
This is especially useful when
you may have selected Wide or
Zone as the AF area but you
want to select a subject to track
that is not front and centre
inside your wider AF Area.
Taking your thumb off the monitor will start the tracking
process, as indicated by the AF tracking icon
Cancel Tracking
Tracking is canceled by
either touching the cancel
icon on the monitor or by
pressing the centre button in
the Control Wheel.
Tracking Cancel
Play Now
Operation Area
By moving your thumb on the
monitor (when using the EVF)
you will be able to move a
cross-hair target onto your
subject (an alternative to using
the Multi-Selector or ‘joystick’.
The ‘Operation Area’ restricts

the area of the monitor that can
be used to start the AF selection
process. Restricting the
operational area can avoid
accidental movements of the AF
Area.

Touch Position Mode
Absolute Position means that
your thumb needs to be able to
move across the entire Monitor
area to move the AF point to
every side and corner of the
frame. Choosing ‘Relative
Position’ means that you can
make a series of shorter strokes
to move the AF area to the
subject you want to target, e.g.,
you don’t need to move your
thumb to the extreme left side of
the monitor to move the AF
target to this side of the frame.

My Menu
Because the Touch Operation
menu items are separated in
Sony’s menus, I highly
recommend adding these
items to My Menu. These
could include Touch
Operation, Function of Touch
Operation, Touch Panel/Pad
and Touch Pad Settings. I
would also recommend
adding Touch Operation to the
Function (Fn) menu.

SteadyShot
The A7RIV camera features In Body Image
Stabilisation (IBIS), or what Sony refer to as
SteadyShot INSIDE. SteadyShot gives an
advantage to photographers who need to hand-
hold the camera in low ambient light conditions
using shutter speeds slower than normally
recommended. This helps to avoid the effects of
‘camera shake’ that can blur images captured in
low light with slow shutter speeds.
Some lenses also have Image Stabilisation.

Sony’s lenses that feature this are identified with
the markings ‘Optical SteadyShot’ (OSS).
SteadShot can normally be left switched ‘On’
most of the time (whether it is needed or not),
but in some instances you may need to either
turn SteadyShot off or switch from Auto to
Manual when using a non-Sony lens and then
specify the Focal Length of the lens being used.

Minimum Shutter Speeds
When choosing a shutter speed in Program
or Aperture Priority Mode the camera will
choose a minimum shutter speed that is
the Reciprocal of the focal length of the
lens being used, e.g., a 50 mm lens will
result in a minimum shutter speed of 1/50
second (faster if ambient light permits).
135 mm: 1/160 Second at F/1.8, ISO 1000

Optical SteadyShot (OSS)
Slower shutter speeds can be used to create
sharp images without ‘camera shake’ by
ensuring SteadyShot is switched On.
Optical SteadyShot is available on some

Sony lenses and the sensor is also stabilised
(SteadyShot INSIDE or IBIS).
IBIS: In Body Image Stabilisation

5-Axis In-Body When a lens has SteadyShot (OSS)
Image Stabilisation and it is switched on the two
SteadyShot mechanisms will work
IBIS together as a team to reduce the

risks of camera shake when slow
shutter speeds are being used
(slower than the reciprocal rule).
The lens looks after Yaw and Pitch

while the sensor looks after X & Y
and Roll.
Yaw & Pitch X&Y Roll

1/125 at ISO 10,000 or 1/8 Second at ISO 400
4 Stop Advantage with OSS & IBIS
113 mm: 1/8 Second at F/5.6, ISO 400

If a lens is equipped with a
SteadyShot switch, the SteadyShot
Greyed Out
menu on the camera will be greyed
out. Switching SteadyShot On or Off
on the lens will also switch
SteadyShot On or Off on the
camera. The two always work
together or not at all.

66 mm: 1/8 Second at F/5.0, ISO 1,000
1/400 Second at ISO 6,400
or 1/25 Second at ISO 100
4 Stop Advantage with OSS & IBIS
Although SteadyShot can reduce
the risks of burred images created
by using slow shutter speeds,
something called ‘Camera Shake’,
the slow shutter speed may not be
fast enough to freeze a subject that
is moving. In this example, luck
plays a significant factor in
achieving a sharp image. If the bird
was to move slightly the image
would not be sharp.
Subject is Absolutely Motionless

SteadyShot for extremely low light
1/125 is a more realistic
setting for wildlife that is still
800 mm: 1/125 Second at F/11, ISO 5000

1/800 Second at ISO 3,200
or 1/125 Second at ISO 500
Subject is Motionless
124 mm: 2/5 Second at F/11, ISO 100
Tripod
SteadyShot does not eliminate the
need to use tripods when you want
to extend the shutter speed in order
to smooth water
SteadyShot no longer needs to be

tuned off when shooting long
exposures with Sony lenses (with
the camera mounted on a tripod).
?
35 mm: 1/13 Second at F/7.1, ISO 100
Creative use of Slow Shutter Speeds

There are no benefits provided by
SteadyShot when the shutter
speeds are very fast. There are even
some negatives to leaving it on if
you intend to pan the camera.
No benefits when camera static & shutter speeds are fast

MODE 2
Turn to Mode 2 when panning

MODE 3 Turn to Mode 3 when camera
movements are erratic
E 70-350 G OSS
Turn SteadShot Off when there is no Mode button

If the lens does not have any
SteadyShot switch then SteadyShot
should be switched off on the
camera when you intend to pan to
follow a moving subject.
This image was captured with a non-Sony

lens without OSS. IBIS can, however,
stabilise non-Sony lenses that do not
communicate their focal length to the
camera. Setting SteadyShot to Manual in the
SteadyShot Settings and then selecting the
focal length of the lens being used will
effectively stabilise non-Sony lenses. 15 mm: 1/8 Second at F/11, ISO 100
SteadyShot Settings
3
1
2
Play Now
Card Slot & Battery
Both of the memory card slots are now UHS-II (fast) and
the upper slot is now Slot 1 (previously Slot 2 on the
A7RIII camera). You can set up how you would like to
manage the images and movies being saved to these
two slots by going to ‘Rec. Media Settings’ in
‘Setup6’ (the Toolbox icon in the Menus). Choose
‘Simult.’ (simultaneous) instead of ‘Standard’ if you want
a second set of files recored to Slot 2. A wedding
photographer who needs insurance against a card
failure will often choose Simult. As I often shoot Sports I
have mine set to ‘Slot 1 > Standard > Auto Switch Media
On’.

Z-series battery
NPFZ100
Batteries can be charged in the camera

but Sony’s BC-QZ1 battery charger
means that you can charge two batteries
at the same time (one in the camera and
the second in the charger).
Dual UHS-II SD Card Slots

Record Media Settings
It is possible to choose how
images and movies are recorded
to the two memory card or
‘Media’ slots. This includes only
writing to Slot 2 when Slot 1 is full
(Standard and Auto Switch) or the
same file to both Media Slots
(Simultaneous).

Multi-interface Shoe
This may sound like a fancy word for what
most people call a ‘Hot-shoe’ but Sony’s
Multi-interface shoe does more than just
trigger a flash. I think I can count 21 little pins
at the leading edge of the shoe — this is all
about communicating with a range of
compatible devices.
Sony flashes cannot compete on price with

the Chinese brands (did I really need to tell
your that) but the one thing that can be said
for their flashes is they work — you will not
find forums full of questions about HSS,
banding, sync failures and misfires.

Multi Interface Shoe
The latest Sony Flashes end with the

letters ‘RM’ — these can communicate
with Sony’s commander without needing
to purchase a separate receiver.
Sony FA-WRC1M Sony HVL-F45RM

Wireless Radio Commander Wireless Radio Flash
Multi Interface Shoe
This is the Microphone you will see me ECM-W1M

wearing when I am recording many of
my movies for my YouTube channel Wireless Microphone
ISO
The default and most popular ISO setting is Auto. It is
usually only necessary to set the ISO manually to 100
when the camera is on a Tripod
ISO Auto Minimum Shutter Speed is used in conjunction

with ISO Auto and Aperture Priority as an alternative to
using Shutter Priority. Aperture Priority may seem like an
odd choice for capturing sport/action but it offers a way
to choose both your preferred aperture and shutter
speed while ensuring the most appropriate exposure in
extreme lighting conditions. This controls the minimum
shutter speed the camera will use - but only so long as
the camera can achieve an appropriate exposure. The
camera will ignore this setting if there is a risk of over or
under-exposure.
Note > In low ambient light you will not be able to

achieve very fast shutter speeds such as 1/2000 second.

ISO
Adjust Parameters • Auto
• 100-32,000
(if required)
Note > Upper limit of Auto ISO

can be modified if required.
ISO Auto Min. SS
is located in the ISO Setting menu.
controls the minimum shutter
speed the camera will use — but
only so long as the camera can
achieve an appropriate exposure.
The camera will ignore this setting
if there is a risk of over or under-
exposure. I personally recommend
assigning ISO Auto Min. SS to the
Fn menu or the C1 Custom Button.
ISO AUTO Min. SS

Setting the ISO Auto Minimum
shutter speed to 1/2000
second will freeze fast moving
action as it moves towards the
camera.

Freeze
ISO AUTO Min. SS
Adjusting the ISO Auto Min.
SS to a slow shutter speed
can be used to blur the
background behind your
subject when ‘panning’ the
camera or when you are
holding the camera very still
for a landscape shot in low
levels of ambient light. Select
either a specific shutter speed
or set the ISO Auto Min. SS to
Slow or Slower.

16mm at f/8
ISO Auto Min. SS: Slower
1/8 Second at ISO 100
This image was created using my Hand-Held Landscape Settings

Blur
Aperture closed to f/11 & ISO Auto Min. SS set to 1/250 Second
I have often described this as
my favourite custom setting -
I use it so often I have set the
C1 key to access it.
Using Aperture Priority in

combination with ISO Auto
Min SS will prioritize
exposure and if the ambient
light is extreme the shutter
speed will be adjusted to
ensure appropriate exposure.
Play Now
High ISO
One of the main advantages of using the
Sony full-frame cameras is their excellent
High ISO performance. As photographers we
should endeavour to keep the ISO as low as
possible. Using a low ISO value increases
the dynamic range (the ability of the sensor
to record details in bright highlights and dark
shadows) while keeping noise to a minimum.
There are, however, occasions when we
need to raise the ISO in order to use very fast
shutter speeds to freeze rapidly moving
subjects or avoid camera shake when
photographing with the camera hand-held
when the ambient light is very low (dim). The
answer to retaining quality is to avoid
underexposure in camera and employ
sensitive post-production editing techniques
when editing high ISO images.

Sony Alpha 7R IV + FE 100-400 GM
1/60 second at F/6.3, ISO 2,500
+ 80 Masking (Sharpening)
+15 Luminance Noise Reduction
Post-Production
Full Frame BIS High ISO Performance

+ 80 Local Noise Reduction
Protect the in-focus detail,
Red Mask indicates where local

Noise Reduction has been applied.
Full Frame BIS High ISO Performance

ISO 8000
Unprocessed Raw file

Avoid underexposure
Processed Raw file
Apply Noise Reduction primarily
to the out-of-focus areas and
mask any sharpening
Lightroom Classic
This 2-hour post processing
masterclass looks at the powerful tools
we can use to develop our images
using Lightroom Classic. These skills
enable us to express what we want to
say and how we feel about the
subjects we are photographing. Mark
draws on his extensive experience as
an Adobe Ambassador, Beta tester
and Professional Educator to present
this illustrated guide to help put you in
control of your post production
workflows. This movie is available to
watch in 4K.
Play Now
Lightroom CC (mobile)
This 2-hour post processing masterclass
looks at the powerful tools we can use to
edit our images in Lightroom CC (for mobile
devices). These skills enable us to express
what we want to say and how we feel about
the subjects we are photographing. Mark
draws on his extensive experience as an
Adobe Ambassador, Beta tester and
Professional Educator to present this
illustrated guide to help put you in control of
your post production workflows. This movie
is available to watch in 4K.
Play Now
Drive Mode
The Drive Mode gives you access to change
from Single Shooting Mode (taking one shot
each time your press the shutter release) to
Continuous Shooting (taking multiple shots at
varying speeds when your press the Shutter
release button). The Drive Modes also include
the Self-timer and Bracket options. The Self-
timer is useful for times where you do not want
to use a remote release and the Bracket
options allow you to take multiple shots using
different exposures and merge these
exposures using post-production software.

Drive Mode
• Lo
• Mid
• Hi (recommended for live-view panning)
• Hi+ (fastest frames per second)
• Self-Timer Options
• Bracket Options
Lo, Mid, Hi & Hi+
NOTE > Avoid Hi+ if you need
live view ‘real-time’ panning
Drive
NOTE 2 > Some menu options
can slow the drive mode down
so be sure to check out the
action settings in this guide.

To ensure you are
capturing the maximum
frames per second in the
Hi and Hi+ drive modes,
make sure you have the
e-Front Curtain switched
to On and the priority Set
in AF-C set to Release.
The camera will slow
down when the buffer is
full, so choose a fast
UHS-II memory card so
the buffer clears quickly.
Bracket Settings
The BRK or ‘Bracket' Setting

has multiple options that can
be set in the ‘Bracket Settings’
menu on page 3 of the Camera
Setup1 menu. Bracketing
involves taking a series of
images while adjusting the
exposure, white balance or
DRO (Dynamic Range
Optimizer) for each image.

Bracket Type
Perhaps the most useful of the
BRK options is ‘BRK C 1.0EV5’,
the camera will take a series of
images in 1-stop increments.
This is a way of ensuring you
either have the optimum
exposure in a single frame or
allow you to create a High
Dynamic Range (HDR) image
using post production software.

BRK Selftimer
Setting the ‘Selftimer during
Bracket’ to 2 Seconds enables
you to take a series of images 2
seconds after pressing the
shutter release. This will ensure
the images captured are free
from vibration and are perfectly
aligned if using a tripod.

BRK HDR
This image was created in
Adobe Lightroom from five
Raw images captured in
Bracket Mode and then
merged by going to:
Photo > Photo Merge > HDR
Transformer Building: Hong Kong

Memory Settings
Create a memory for
groups of your favourite
Camera Settings
The ability to recall a group of saved camera settings
means a photographer can quickly switch from shooting
landscape with one group of settings to shooting action with
a completely different group of settings with just one turn of
the shoot mode dial.
For my own workflow I have saved my Portrait Settings to

Memory 1, my Action settings to Memory 2 and my hand-
held landscape settings to Memory 3. I call this my PAL
workflow (Portrait, Action & Landscape).
You can either save your own favourite settings or load my

settings by downloading the file on my website.
A7RM4-load-camera-settings

Memory Recall
Registering a Memory
When the camera is setup
up with a group of settings
you can save these by going
to Memory on the third page
of the Camera Setup1 menu
You are not limited to just
2 or 3 memory settings —
you can save 4 more to a
memory card!
Play Now
Portrait Memory Settings
Shoot Mode Aperture Priority
Aperture (Starting) f/4 (or wider)
ISO AUTO
ISO Auto Min SS 1/250
Shutter Speed N/A
Drive Mode Single Shooting
Focus Mode Continuous AF (AF-C)
Focus Area Zone or Expand Flexible Spot
Lens Choice 55-135 mm
Face Priority in AF ON
MF Assist ON
Metering Mode Multi + Face Priority in Multi Metering On
White Balance AUTO (or set to lighting)
Note: For Multiple Subjects or Group Shots start by stopping

the aperture down to f/8 and zooming out to a focal length of
between 24-50 mm.
A7RIV + FE 85 F/1.4
Drummer Boy by Mark Galer
Batis 2.8/135
1/640 sec at f/2.8, ISO 320
Real Time AF Tracking is
one of the advanced AF
features that sets the
A7RIV apart from the
third generation A7 full-
frame e-Mount cameras
Play Now
To reliably shoot subjects that move it
is important to consider the following
basic settings:
Focus Mode: Continuous AF (AF-C)

Shutter Speed: Fast to freeze or
slower to create movement blur (this
requires accurate panning of the
camera to keep the subject relatively
sharp). For sports consider using a
shutter speed of 1/1000 second or
faster if the subject is moving towards
the camera.
See Focus Mode & Focus Area for more info
FE 100-400 GM
1/1000 second at f/5.6, ISO 100
SteadyShot On or Off?
Switch SteadyShot OFF in the

camera, if not available on the
lens, when panning the camera
A7RIV + FE 135 F/1.8 GM
1/2000 sec at f/2.8, ISO 100
Action Memory Settings

Aperture (Starting) f/4 to freeze or f/8 to blur b/ground (panning)
ISO AUTO
ISO Auto Min SS 1/2000 to freeze or 1/250 to blur b/ground
Shutter Speed N/A
Drive Mode Continuous Shooting: Hi (Not Hi+)
Focus Mode Continuous AF (AF-C)
Start with Wide or Zone
Focus Area Tracking: Zone or Expand Flexible Spot
if the target subject is amongst other obstacles
Pre AF OFF
Priority Set in AF-C Release (for maximum frames per second)
Lens Choice One with an aperture of F/4.5 or wider
ON (for single subjects)
Face/Eye Priority in AF
OFF (when using a Wide AF Area)
Priority Set in AF-C Release
AF Tracking Sensitivity 1 (Locked on)
Barking Owl by Mark Galer Choose a fast shutter speed to ‘freeze’
FE 400 F2.8 GM action coming towards the camera.
1/2000 sec at f/2.8, ISO 2500 See Focus Mode & Focus Area for more info
Choose a slower shutter speed to
create movement blur behind your
subject when panning the camera
1/320 second at f/8, ISO 100
Note > Do not use apertures smaller than f/11 when using PDAF to track focus
1/4000 second at f/2.8, ISO 500
Triathlon by Mark Galer
Batis 2.8/135mm
1/4000 sec at f/2.8, ISO 160 Back to Contents Page
1/320sec
The Recall Custom Hold feature
Single Shooting allows you to quickly override
your current Memory setting with
another group of ‘registered’
settings, simply by holding down
a Custom Key. This is an
invaluable feature that allows you
to instantly override your current
shooting settings without the need
to deep-dive into the menus
Recall Custom Hold

Check out this invaluable
workflow
Play Now
Australian MotoGP by Mark Galer
FE 400 F/2.8 GM + 1.4 TC
1/4000 second at f/4, ISO 400
Many potential A7RIV owners are interested
to know if this camera can focus as quickly
and reliably as an A9. If this was the case
many A7RIV owners could forgo the use of
the 400 and 600 mm prime lenses and just
crop files captured with the FE 70-200 F/2.8
GM. Although this would be great (as well as
saving money) the A7RIV is no A9. The
Autofocus capabilities of the A7RIV are
extremely good but the A9 is still the most
reliable camera for tracking rapid and
erratically moving subjects.
Welcome to the Time Machine

Read all about why I voted this the best Imaging Technology from 2017

Takaaki Nakagami by Mark Galer
Sony A9 with FE 400 F/2.8 GM
1/500 second at f/6.3, ISO 100

If you love Graduated
filters and ND filters then
these settings are the
ones you’ll probably be
wanting to take a look at.
Play Now
Landscape (hand-held) Settings
File Type RAW
Aperture (Starting) f/11
ISO AUTO
ISO Auto Min SS Slower
Shutter Speed N/A
Focus Mode DMF or Manual
Focus Area Expand Flexible Spot
Lens Choice 16-35 mm for wide coverage
Face Detect N/A
MF Assist ON
Metering Mode Multi
White Balance AUTO
SteadyShot ON
Zebras On: Custom1 Lower Limit 109+

1/30 second at f/11, ISO 100 Hand-Held Settings
1/5 Second Hand-Held

1/5 Second Hand-Held
Many photographers put
their camera on a tripod
without any reason to. In this
movie I outline the perfect
settings for people who have
a love/hate relationship with
tripods :-)
Play Now
Landscape (tripod) Settings
File Type RAW
ISO 100
ISO Auto Min SS N/A
Shutter Speed N/A
Focus Mode Manual
Focus Area N/A
Lens Choice 16-35 mm for wide coverage
Face Detect N/A
MF Assist ON
Metering Mode Multi
White Balance AUTO
SteadyShot OFF

St. Kilda Pier by Mark Galer
FE 12-24 F/4 GM
Tripod Settings
30 seconds at f/11, ISO 100
NiSi S5 Filter kit with 150 mm Filters

With ‘Street Photography’ I use
manual camera settings that
enable me to capture decisive
moments without having to worry
about focus or exposure. These
relate back to the ‘Sunny 16’ rule
that, in turn, ensures correct
exposure so long as the sun is
shining (my preferred ambient
conditions for Street).
STREET 216 Back to Contents Page

Street Memory Settings
Shoot Mode Manual
ISO 250 (sunny) 1000 (cloudy)
ISO Auto Min SS N/A
Shutter Speed 1/500 second
Focus Mode Manual
Focus Area N/A
Focal Length Approximately 35 mm
Face Detect N/A
MF Assist N/A
Metering Mode Expose for the Weather
White Balance Daylight
Back to Contents Page 217

If the exposure on a Sunny
day is the same in Paris as it
is in Melbourne, then why
are we metering to find the
correct Aperture, Shutter
Speed and ISO? Take a look
at this ‘Sunny 16' way of
making photos. P. S. I didn’t
invent it. I learnt it when I
was 16!
Play Now
Astro Photography Settings
Shoot Mode Manual
Aperture (Starting) f/2.8 or Wider
ISO Start with1600 at f/2.8*
Shutter Speed Approx. 25 Seconds at 16mm*
Drive Mode Self-timer: 5 Seconds
Focus Mode Manual with Focus Magnifier
Focal Length Approximately 16mm
C4 Button Bright Monitoring
Down Button Focus Magnifier
*Note > Exposure times are starting points only. Take a test image
and review before increasing or decreasing the exposure. If your
aperture only opens to f/4 you may need to raise the ISO. If your
widest focal length is 24mm you will need to shorten the shutter
speed to 20 seconds or less to avoid stars dragging.
Back to Contents Page Back to Contents Page
Astro
Bright Monitoring
The biggest challenge with Astro
Photography is to accurately focus
on the stars. Setting the focus to
infinity will result in blurry stars. In
order to frame the view you can
use the Bright Monitoring feature
(the monitor will appear black if
you do not implement this feature).
To enable Bright Monitoring you
first have to assign it to a Custom
Button.

Astro
Bright Monitoring
Pressing the Custom Button you
have assigned to Bright Monitoring
greatly increases the brightness of
the view and will allow you to
frame your image. Make sure your
aperture is set to the widest
setting, your shutter speed is set
to 25 seconds and your ISO is set
to 1600 - these are starting
settings only. Once you have taken
one test image you can modify the
exposure accordingly.
Note > Your monitor will appear

very bright in the dark, so make
sure you do not underexpose as a
result of this bright view.

Focus Magnifier
When you have composed your
shot using the Bright Monitoring
feature you are then free to use
Focus Magnifier to zoom the
preview on the Monitor so that
you can accurately focus. Move
the Magnified area to the
brightest star in the night sky.
You will find the best focus just a
little back from infinity (as
strange as this may sound).

Astro
Focus Magnifier
Pressing the Down Button brings
up the area that will be magnified
(if the Initial Focus Mag. area is set
to x 1.0 in the Focus Assist menu).
Use the Control Wheel to move
this box over the brightest star in
the sky and then press the Center
button to magnify the view to x
5.9. Pressing the Center a button a
second time will Magnify the view
to x 11.7. Move the Focus ring on
the lens until the star appears as a
pinpoint of light. Press the Center
Button a third time to exit Focus
Magnifier.

Mark’s Custom Settings
These Settings are intended as Starting Settings only. They
should NOT be seen as prescriptive settings that are locked down
— other photographers may use different settings to achieve the
same outcome. My Portraits, Action and Landscape tutorials on my
YouTube channel outline why I have chosen these settings. My
Starting Settings will most likely be optimised after I have started
shooting — influenced by changing lighting or creative decisions.
Shutter Priority is a viable alternative to shooting Sports/Action but

I choose to shoot in Aperture Priority with ISO Auto Minimum
Shutter Speed as this prioritises exposure over shutter priority that
can occasionally lead to underexposure in low ambient light and
overexposure when trying to capture movement but behind your
subject. It also ensures that apertures smaller than f/11 (that
prevent focus tracking) are not selected inadvertently.
Note that the Landscape settings change if the camera is on a

tripod (auto ISO becomes a fixed ISO value). Uncompressed RAW
is only really necessary for Landscape shooting but
Uncompressed files can have lossless compression when
imported as DNG files in Lightroom. Setting a fixed White Balance
setting is only really critical for JPEGs and Movies but some
photographers may prefer to set this in-camera rather than in post.
SETTING: Quick Setup
• Menu Settings
• Fn Menu Setup
• Custom Keys
• Recall Custom Hold Settings
• Memory Settings
• My Menu Settings
NOTE > It is possible to match your
camera setup to my own personal A7RM4
by loading a file copied to a memory card.
You can download this from my website.
Go to: A7RM4-load-camera-settings
Save/Load Settings
It is possible to Save and Load the
camera settings from the Setup7
menu (with the exception of the
Memories accessed via the Shoot
Mode Dial). It is worth backing this
Camera Setup file to a computer as
this setting is deleted when the
memory card is formatted. Although
I prefer to back up the memories on
Slot 2 the Camera Setup memory is
saved to Card 1 by default.
You can load my camera settings

from this link: A7RM4-load-camera-
settings
Fn Menu
Camset
Save / Load Settings: Menu Options, Custom Keys, Fn Menu, Recall Custom Hold
Front Dial
It is possible to modify/optimise most of the settings,
with the camera at your eye, by using the Custom
keys, Front & Rear dials, Fn Menu, Multiselector +
Exposure Compensation & Shoot Mode dials.
C1: ISO Auto Min SS

C2: Focus Area
Shoot Mode Dial
Exposure
Rear Comp Dial
Dial
C3: Focus Mode

Fn Menu &
Recall Custom Hold 1 & 2 Multiselector
Custom Keys (Stills)
C1 ISO Auto Min. SS

C2 Focus Area
C3 Focus Mode
C4 Bright Monitoring
Down Button Focus Magnifier
AEL Button Recall Custom Hold 1
AF-On Button Recall Custom Hold 2
Focus Hold Button Eye AF
Multi-Slc Focus Standard
Center Button Not Set
Custom Keys (Movies)
C1 Zoom
C2 Creative Style
C3 APS-C S35 / Full Frame Select
C4 Focus Magnifier
Down Button White Balance
AEL Button Audio Record Level
AF-On Button Zebra Display Level
Focus Hold Button Eye AF
Multi-Slc Focus Standard
Center Button Not Set
Memory Recall
Memory Recall
PAL: Portrait (1) Action (2) Landscape (3)

3
2
Modifying an Fn setting
1 If I need to quickly modify my
settings from the Fn menu I
first press the Fn key (1), then
navigate to the menu using
the Multiselector (2) and then
turn the front or rear dial. This
can all be completed while
using the finder.
By using a combination of
Memories and Registered
camera settings, in conjunction
with the Custom Keys and Fn
menu, it should be possible to
avoid going into the main
menus, except for formatting
the memory card.
By adopting my PAL workflow

(Portrait, Action, Landscape)
you may find that you greatly
reduce the number of images
you miss because of
inappropriate or hastily chosen
camera settings.
www.youtube.com/c/AlphaCreativeSkills Play Now

Memory Settings
Portrait Action Landscape
Single Head & Shoulder Freeze / Pan with Blur Wide-Angle : Hand-Held
File Type RAW Compressed RAW Compressed RAW Uncompressed
Shoot Mode Aperture Priority Aperture Priority Aperture Priority
Aperture (Starting) f/2.8 (or wider) f/4 to freeze or f/8 to blur b/ground (panning) f/11
ISO AUTO AUTO AUTO
ISO Auto Min SS 1/250 Second 1/2000 to freeze or 1/250 to blur b/ground Slow
Shutter Speed N/A N/A N/A
Drive Mode Continuous Shooting Lo Continuous Shooting Hi Single Shooting
Focus Mode Continuous AF Continuous AF Single-shot AF
Focus Area Tracking: Zone Tracking: Zone Expand Flexible Spot
Focal Length 85 or 135 mm 135 /100-400mm / 200-600 16-35
Face Detect ON ON N/A
MF Assist ON N/A ON
Metering Mode Multi Multi Multi
SteadyShot ON OFF or Mode II ON
White Balance AUTO (or set to lighting) AUTO (or set to lighting) Daylight
Zebra Setting OFF OFF ON (Custom 1: Lower Limit 109+)
M1, M2 and M3 Memory Settings
Landscape Street Movie
Wide Angle with Tripod ‘Sunny 16’ hand-held
File Type RAW Uncompressed RAW Uncompressed XAVC S 4K - 25P100M
Shoot Mode Manual Manual Shutter Priority (or Manual)
Aperture (Starting) f/11 f/11 N/A
ISO 100 250 AUTO
ISO Auto Min SS N/A N/A N/A
Shutter Speed N/A 1/500 Second 1/50 Second
Drive Mode Self-timer: 2 Sec Single Shooting N/A
Focus Mode Manual Manual Continuous AF
Focus Area N/A N/A Wide
Focal Length 12-24mm 35mm N/A
Face Detect N/A N/A ON
MF Assist OFF N/A ON
Metering Mode Expose to the right Expose for the weather Multi
SteadyShot OFF ON ON
White Balance AUTO Daylight Daylight (or set to lighting)
Reg Cust Shoot Set
Recall Custom Hold 1 Recall Custom Hold 2
Shoot Mode uncheck Shutter Priority

Aperture uncheck uncheck
Shutter Speed uncheck 1/320 Second
Drive Mode uncheck Single Shooting
Exposure Comp. uncheck uncheck
ISO uncheck uncheck
Metering Mode uncheck uncheck
Focus Mode DMF Continuous AF
Focus Area uncheck Center
AF On On On
Function (Fn) Menu: Stills
Upper Silent Shooting Live View Display Subject Detection Face/Eye Priority in AF Metering Mode Audio Signals

APS-C Shoot Interval Timer White Balance Touch Operation Prioritize Rec. Media Shoot Mode
Function (Fn) Menu: Movie

Upper Audio Record Level Peaking Display Subject Detection Face/Eye Priority in AF Zebra Display Zebra Level

Picture Profile DRO White Balance Creative Style Touch Operation Shoot Mode

GENERAL- Page 1 STUDIO - Page 2 MOVIES - Page 3 ACTION - Page 4
Monitor Brightness Live View Display Audio Rec Level Finder Frame Rate
Display Quality PC Remote Function Peaking Setting Touch Panel Pad
Format Wireless Flash Zebra Setting Touch Pad Settings
Cleaning Mode External Flash Set. Touch Operation Priority Set in AF-C
Function of Touch AF Tracking

Custom Key Anti-Flickr Shoot.
Operation Sensitivity
Pixel Shift
Ctrl w/ Smartphone Zoom Setting Function Ring (Lens)

Multi Shoot.
My Menu
Firmware Updates
The menu options of the Alpha 7RIV has seen
many new features with updates to the
firmware. It is highly recommended to update
your firmware to access these features if you
are running the version 1.00 firmware.

2
1
Before Updating Firmware Please Read:
https://briansmith.com/guide-to-sony-camera-firmware-updates/
IMPORTANT: Make a record of your previous Memory, Recall Custom Hold

Settings, Fn Menu and My Menu items before updating your Firmware.
Mac Users Please Note:

If you are running Mac OS 10.13 (High Sierra) or later you must first click on
UpdateSettingTool and follow the prompts to run it. UpdateSettingTool replaces the Mac
OS 10.13 Driver Loader from earlier firmware versions.
Restore Memory
After updating your firmware you
may need to restore the groups
of settings you have registered to
the camera’s Memory. You will
NOT be able to restore them from
a backup you have kept on your
computer if the firmware
differences will prevent this.
You may also need to restore the

settings you may have created
for the Reg. Custom Shoot
Settings feature. If you want to
see what I have recorded to
these memories go to ‘Mark’s
Custom Settings’.

Focus Mode & Focus Area
If you like taking photographs of subjects that
don’t stay still, these Focus skills are the
essential tools for success. When somebody
asks me what the best Focus Area is I know
they need help — because the answer is that
it depends on the subject and the
background and the presence of obstacles
that may momentarily obscure your subject.
Once you know why the camera chooses the
subject it chooses, then it not longer appears
to be rocket science. You can master this skill
- I have confidence in you :-)

Focus Mode
Typically found in the Fn menu
• AF-C* : For Moving subjects
Function (Fn) Menu • AF-A : Automatic AF
• AF-S : For Static subjects
• DMF: Direct Manual Focus
• Manual Focus
*Note > AF-C (Continuous AF) is

referred to as ‘AI servo’ by Canon

DMF (Direct Manual Focus) is a powerful Focus
feature on Mirrorless cameras (as outlined in
the ‘Key Features’ section). To use DMF you
must first half-press press the shutter release of
press the AF-ON button and then turn the focus
ring on the lens. If You have switched Focus
Assist on in the Menus (page 13 of the first
Camera Setup tab) the view will be magnified to
help you achieve critical focus.
Push Focus using DMF to Here
If Lens Focuses Here (Wide or Zone AF Area)
Manual Focus
FE 100-400 GM
or DMF at closest focusing distance

MF Assist
Consider turning on MF
Assist & Focus peaking when

working in Manual Focus or Direct
Manual Focus (DMF). DMF is a
very powerful tool on Mirrorless
cameras for fine-tuning focus after
it has first locked on to your
subject in Autofocus.

Macro
DMF
DMF is especially useful
focus mode for Macro work
Custom Key
As Focus Mode does not have
a dedicated Custom Key you
can assign one in the Custom
Operation1 > Custom Key
menu. I would recommend
assigning it to C3 or C4 if you
need to switch Modes quickly.

Focus Area
Choosing AF-C and an appropriate Focus Area are

critical for success when subjects are moving.
The C2 Button is often used to gain fast access to
the Focus Area as it is one of the most frequently
changed settings for many photographers.
Quick Change
Change settings quickly
using the Front and rear
Front dial dials. Top row adjustments
Rear dial via Front Dial and bottom
row adjustments via the
Rear Dial. The current ‘For
Viewfinder’ view was
accessed by pressing the
Display button on the
Control Wheel repeatedly.

Vertical Menus
When a Fn option is selected
with a press of the Multi-
selector, or a Custom Key,
the main menus will run
vertically rather than
horizontally and the
Sub-menu (rear dial) submenus can still be
accessed using the Rear dial.
If the Lock-on AF options are

greyed out you need to
switch from the AF-S to AF-C
Focus Mode.

Focus Area
Auto Selection AF* = Wide
*’Auto Selection’ is terminology
Front dial used by Canon to refer to the
camera picking an appropriate AF
point — most Canon, users,
however, chose a small cluster of
AF points to improve the reliability of
maintaining accurate focus. This is
not the case with Sony’s AF
systems — do not be afraid to
choose Wide as your AF Area.
Wide Prioritises Center & Close
The A7RIV has 567 phase-detection
AF points covering 99.7% of the
height and 74% of the width of the
sensor — unlike some cameras Sony
Alpha’s have incredibly reliable AF
when the Focus Area is set to Wide.
There is no need to use a smaller
Focus Area unless the need arises.
Watch the Focus Area movie to learn

how to choose the most appropriate
Focus Area for your subject.

Zone
The Focus Area has been
changed to Zone before the
shooting sequence starts to
exclude the foreground
obstacles from the Focus
Area (the brown horse near
the centre of the frame). This
ensures the subject that is
ZONE
close and centre in the Focus
area is selected for tracking.
ZONE
Zone
changed to Zone, before the
shooting sequence starts, to
exclude the foreground
obstacles from the Focus
Area (the tall grass in the
foreground). This ensures the
subject that is close and
centre in the Focus area is
selected for tracking.
Spot
changed to spot to exclude
the foreground obstacles
from the Focus Area (the
man's head and shoulders
that are closer to the
camera). This ensures the
subject that is close and
SPOT
centre in the Focus area is
selected for tracking.
SPOT
Spot
changed to spot to lock onto
a specific area of the subject
as the depth of field is
insufficient to capture all of
the subject in sharp focus.
Spot
changed to spot to ensure
foreground obstacles such as
branches or posts are not
included in the focus area. The
spot has been moved to the
edge of Phase Detect AF area
in anticipation of the bird flying
towards the centre of the
frame. If AF Tracking: Spot is
selected the focus will track
across the frame before the
photographer starts panning.
Face/Priority in AF
Face/Eye Priority in AF will override all Focus Areas.
A Flexible Spot can, however, be used in conjunction
with Eye-AF. When multiple faces appear in the frame,
Eye AF will choose the eye in the face that is nearer the
spot AF point.
Eye AF will automatically be activated when Face/Eye

Priority in AF is switched On and the Focus Area is over
or inside the Frame Display of the Face. If you need Eye
AF to be activated when the eye is not close to the AF
Area you can either press a custom key assigned to Eye
AF or move the focus area closer to the face.
Beware of using Face/
Eye Priority in AF
switched to ON with a
Zone or Wide AF Area
and multiple subjects.
If Eye-AF is momentarily
enabled via a custom key
it may jump outride of
your selected Focus Area
If Face/Eye Priority in AF
is switched to On it will
help to track the subject
inside of the Focus Area
Face/Eye Prty in AF
To ensure you have quick
access to enable and disable
the Face/Eye Priority it is
recommended that you assign
both the Face/Eye Priority in
AF and Subject Detection
options to the Fn menu.
Face/Eye Prty in AF
The Subject Detection allows
you to quickly switch between
Animal and Human subjects.
Highlight the Subject Detection
option in the Fn menu using
the Multi-Selector tool (joystick)
and then use the Front Dial to
switch subjects.

Eye AF can be your best
friend when working with
wide apertures. Make sure
you fully understand how to
keep Eye AF on your good
side by learning the
subtleties of this feature.
Play Now
https://www.youtube.com/c/AlphaCreativeSkills
Face/Eye Prty in AF
Animal Eye AF is especially
useful when the subject is close
to the camera and the depth of
field is insufficient to cover the
entire head of the animal (often
found with wide aperture
telephoto lenses and close
proximity to your subject).
FE 100-400 GM
Face/Eye Prty in AF
Animal Eye AF is especially useful
when the subject is close to the
camera and the depth of field is
insufficient to cover the entire head
of the animal (often found with wide
aperture telephoto lenses and
close proximity to your subject).
FE 100-400 GM
Animal Eye/AF & fast-moving subjects
I have found that Animal Eye-AF activates

intermittently, depending on the animal
and the ambient lighting. Although not
perfect, it is good not to have to rely solely
on putting a flexible spot on the eye of a
moving target. I am sure this feature will
become more reliable over time. If your
subject is moving rapidly towards the
camera at close range I would
recommend stopping down to f/8 as
Animal Eye-AF focus can occasionally be
a little behind the eyes (tested using the
A7RIII camera).
Note: You cannot use the Lock-On AF

Focus Areas when using Animal Eye AF
If you like action and you
click on one movie link in
this eBook — make it this
one. In fact, watch it twice!
Play Now
Focus Point Link
When using Spot Metering rather
than Multi (Evaluative Metering)
you can link the metering point to
the Spot AF point. This can
present a useful workflow for
photographers at concerts. It is
perhaps the only time I don’t use
Multi Metering or Manual
Exposure.

I wont lie — this movie is
not short. But it is
everything you wanted to
know about focus — and
then a little bit more. One
of my best rated movies on
YouTube!
Play Now
Image Review (Playback)
It is a valuable exercise to be able to review an
image we have just captured to check if it is
sharp and well exposed. This gives us the
opportunity to modify focus and/or exposure
settings to perfect image capture. The review
process also allows us to rate and delete
images. I personally like to rate images with a
star so that they appear in my post-production
software with the ratings intact (Lightroom
Classic). This also allows me to share just my
rated images without having to cycle through
all images. Although it is possible to delete
images in-camera I personally like to do this in
my editing software.

Playback
you can specify which memory
card or ‘Media’ you are
accessing by going to the
Playback3 Menu. Unfortunately
this menu item cannot be
placed in the Fn menu or the
MyMenu feature so it is one the
very few menu items left that
takes time to navigate to.

Image Review
to change the level of
information you see with the
image. Use the Front Dial or
press the Left or Right side of
the Control Wheel to move
forwards or backwards through
your images.

Exposure Review
you see the histogram view.
This allows you to assess if the
exposure used to capture the
image was appropriate.

Magnify Review
Press the AF-On button to
Zoom in to check if the image is
sharp. The image will, by
default, zoom to the Focus point
used when taking the image.

Date Review
Press the AEL button to Zoom
out to the Grid View that is
organised by date of capture.
Use the Front Dial or Control
Wheel to move through the
captured images. Press the AF-
ON button to return to
reviewing a single image or
navigate left to access the
Calendar view.

Calendar Review
Press the AEL button to Zoom
out further to the Calendar
View that is organised by date
of capture. Press the AF/MF
button to return to reviewing a
single image.

Display as Group
When shooting bursts of images in
Continuous Shooting it is possible
during playback to see the groups
of images rather than all images.
When cycling through the groups
you can see individual images in
that group by pressing the Center
Button in the Control Wheel.
NOTE > Display as Group is

unavailable if you have selected
Folder rather than Calendar view

Image Rating
Custom keys can be assigned to

different functions in Playback
Mode - such as rate your images.
These image ratings will be visible
in Post Production software such
as Imaging Edge and Adobe
Lightroom.

Custom keys can be assigned to
different functions in Playback
Mode - such as rate your images.
These image ratings will be visible
in Post Production software such
as Imaging Edge and Adobe
Lightroom.

Jump Setting
Image Jump Settings allows you

to choose which images you
choose to see when reviewing
them in Playback, e.g., you can
choose only to see your rated
images. This will be useful to
implement when you want to show
somebody just your hero images
from the day’s shoot.
You can see all images by using
the dial you have NOT assigned
to see only the rated images.

Database Error
Sony provide the following warning
associated to this error screen in
their online support.
WARNING: There is a risk of data

loss. The following information
requires the memory card to be
formatted. Make sure all picture and
movie files are backed up on a
computer before proceeding.
I have encountered this only once

and the files were NOT deleted after
pressing ‘Enter’. If, however, the
files are important you may want to
run a data recovery software such
as Disk Drill before proceeding.

Network Settings
It is possible to connect your smartphone to
your camera using both Wi-Fi and Bluetooth
connections.
With a local Wi-Fi connection you can transfer

images from your camera to your smartphone
using Sony’s free ‘Imaging Edge’ App so you
can quickly share images to social media.
With a Bluetooth connection you can control

the settings of your camera, use the
smartphone as a remote release and transfer
the GPS location information from your phone
to the images being captured by your camera.
When professional photographers are out on

location they often need to get their images
back to the picture editor as quickly as
possible. The A9 cameras can achieve this by
sending the images via FTP transfer directly
from the camera.
Imaging Edge Support:

https://support.d-imaging.sony.co.jp/app/iemobile/en/
Imaging Edge Support: https://support.d-imaging.sony.co.jp/app/iemobile/en/
Send to Smartphone
Download the Sony Imaging Edge
App to your mobile phone. Make a
local Wi-Fi connection between
your Phone and the Camera.
Choose ‘Select on This Device’ or
‘Select on Smartphone’ to start
transferring images from your
camera to your Smartphone.

Send to Smartphone
When reviewing an image you also
have the option to press the Fn
button which will start the transfer
to smartphone process. With the
Imaging Edge App already open
you will be given the option to scan
the QR code. If this option does not
appear you can connect to the
camera in the Wi-Fi settings of your
smartphone.

Send to Smartphone
You can transfer multiple images
by choosing either the ‘All with this
date' or ‘Multiple Images’ options.
Check the images you want to
transfer (by pressing the center
button) and then press the menu
button to start the transfer process.

Full Resolution
You can transfer full resolution
images to your phone (the default
is 2 Megapixels) by changing the
Copy Image Size setting in the
phone App to ‘Original’. This is only
possible if you have first selected
JPEG or RAW & JPEG as the ‘File
Format’ in the camera prior to
taking photos of your subject.

Full Resolution
The full resolution image that is
transferred to the phone will be the
JPEG and not the Raw file. For
Raw shooters, it is therefore
important to ensure appropriate
Creative Style and DRO settings
have been set up so that the JPEG
file being transferred is of an
appropriate quality.

Ctrl w/ Smartphone
You can use your smartphone to
control the operations of your
camera (often useful when the
camera is on a tripod). See Finder
& Monitor for further information.

Ctrl w/ Smartphone
After choosing ‘Connection’ in the
‘Ctrl w/ Smartphone’ menu you will
be given the option to scan the QR
code using the Imaging Edge app
or enter a Password by pressing
the C4 key.

Bluetooth Settings
Switching the Bluetooth Settings to
on will allow you to connect the
Bluetooth remote or add the GPS
Location Information from your
smartphone to the images being
captured by the camera.

Location Info Link
This function allows you to embed
the GPS data from your mobile
phone into the photos you take with
your camera. It is not possible to
use the Location Info Link service if
you have the Bluetooth Remote
Control switched on.

FTP Transfer
FTP Transfer is a quick and easy
way for a professional photographer
to get images back to their picture
editor. It does require an FTP server
to be set up on a remote computer
before this is possible. The
photographer can then transfer the
images via Wi-Fi or Wired LAN. I
have outlined just one of the
workflows over the next three slides.
If you are a professional
photographer and you want to look
at all of your options you will need to
look at Sony’s FTP Help Guide

1 Go to Wi-Fi Settings 2 Select the Frequency Band 3 Now go to FTP Transfer Func.
4 Switch FTP Function to On 5 Connect Method: Wi-Fi 6 Go to Server Setting

7 Click on Server 1 8 Name your Server (optional) 9 Go to Destination Settings
10 Enter the ftp URL 11 Go to Directory Settings 12 Specify Directory (folder)

xxxx.xx
13 Go to User Info Settings 14 Enter user & password details 15 Go to Playback Custom Key
mr.fabulous
Connection should be
made when you click OK
(fingers crossed)
16 Choose a key to start transfer 17 Choose one or all 18 Review an image.

Press your Custom Key to start
the transfer.
Flash (Sony HVL RM Units)
With the Version 1.10 Firmware update Sony
added support for its HVL-F45RM and HVL-
F60RM flash units so that photographers
could control up to three groups of flash units
directly from the camera itself.
Many photographers choose to use Flash

units NOT made by Sony, e.g. Godox.
Although this may prove to be a cost-effective
exercise, some photographers may run into
certain issues that may have to be overcome.
Sometimes the ‘e-front curtain shutter’ has to
be switched off to prevent banding and this,
in turn, leads to a slight delay in the flash
firing. Sometimes the maximum sync speed
of the camera (1/250 second) has to be
lowered to 1/160 second when High Speed
Sync (HSS) is not being used. Sometimes the
user may run into focusing issues if the flash
they are using has no LED focus assist light.

External Flash Set.
To control your HVL-F45RM or
HVL-F60RM flash units directly
from the camera’s Finder or
Monitor go to the External Flash
Set. menu.
Note : If you intend to use the

Flash or Commander to control
off-camera flash units you will
also need to set the Wireless
Flash option to ‘On’.

External Flash Set.
Most photographers will probably
choose TTL (through the lens) as the
Flash Mode and then choose Auto
Zoom (or a specific zoom if using
lighting modifiers), HSS if shutter
speeds are likely to be faster than
1/250 second and then adjust Flash
exposure by fine-tuning the Flash
Compensation.
If you are using the Flash on the

camera to control other off-camera
flash units turn Wireless Mode to
CMD (command) and you choose to
switch the on-camera flash to On or
Off via the the ‘CMD Flash Firing’
option. Set Ratio values for up to
three individual or groups of flashes.

Sony Flash Workflow
Ambient Exposure -2.0

Flash Exposure +1.0
Flash Compensation required
because of light toned subject
Sony HVL-F45RM
Wireless Radio Flash
Sony FA-WRC1M
Wireless Radio Commander
Making Movies
If you just press the red recording button
on the back of the camera you will start
capturing movies in Program Mode (P). It
is worth going into the menus and setting
up the Mode, Format and Record Settings
if you value the quality of your movies

Movie Mode
Exposure mode when capturing
movies can be set in the Main menu.
I prefer to set the Shoot Mode dial to
the Movie icon and then you can
adjust the shooting mode in the Fn
menu (bottom right). I also use the
Shutter release to Start and Stop the
movie recording (activated in the
Movie3 menu).
Note > Shutter Speed is seen as the

priority when shooting movies so
shoot in Manual Mode or Shutter
Priority. The 180-degree Shutter
Rule states that whatever the frame
rate is, the shutter speed should be
double, e.g., choose a shutter speed
of 1/50 second if filming at 25
frames per second or 1/60 second if
shooting at 30 frames per second.

Movie Mode
Set the Shoot Mode dial on the
top of the camera to the Movie
icon and then you can adjust the
movie shooting mode in the Fn
menu (bottom right). Most
advanced amateurs and
professional will choose to
shooting Manual or Shutter
Priority and set the shutter speed
to 1/50 second when filming in
24 and 25 frames per second
and 1/60 Second when filming in
30 frames per second

File Format
Use the XAVC S movie codec for
the highest quality movie
recording. XAVC S prefers SD-
XC cards to SD-HC. 4K is great
but I wouldn’t use it for shooting
extended clips — the camera will
get hot, the files will be huge and
you lose some features that are
available to you when shooting in
HD.
XAVC S Movie Files are saved

as MP4 files to the CLIP folder
found in the ‘PRIVATE >
M4ROOT’ directory.

PAL or NTSC
NTSC displays pictures at nearly
30 fps—the actual number is
29.97. PAL/SECAM uses exactly
25 fps. These frame rates are
based on the local frequency of
alternating current (AC) electrical
power: 60 Hz in the States; 50 Hz
in most of the rest of the world.
You can change between PAL and

NTSC using the PAL/NTSC menu.

Record Settings
Use the settings with the highest
‘M-number’ (2nd number) for the
highest quality movie recording,
e.g.100M
Note > Due to differences in

regional ‘Power Frequencies’ you
will notice I shoot in Australia
using 25 and 50p while in the USA
you will have options for 24, 30
and 60p.

Touch Tracking
Monitor
The Monitor can be used as a
Touch Screen to select and
move focus. These settings are
accessed via the Setup3 menu.

Recommended
AutoFocus Settings
I recommend setting the Focus Mode
to ‘Continuous AF’ (AF-C) and the
Focus Area to ‘Wide’. I then
recommend turning the Touch
Operation to On (Setup3 menu). If the
Function of the Touch Operation
(Custom Operation2 Menu) is set to
‘Touch Focus’ and the subject on the
monitor is touched, it will result in
changing the focus from AF-C: Wide
to Spot Focus (disabling the AF-C)
and locking the focus on your
stationary subject. Pressing the
Center button or the cancel icon will
revert to AF-C and the Wide Focus
Area. To track a moving subject
across the frame (without moving the
focus area) switch the ‘Function of the
Touch Operation’ to ‘Touch Tracking’.

Focus Peaking
When using Manual Focus the
Focus Peaking options
(Peaking Level and Peaking
Colour) will assist you to find
focus while filming by outlining
the edges of your subject that
are in sharp focus with the
colour Red, Yellow or White.

Focus Peaking
Peaking should be used a
rough guide to what is in focus.
For an accurate idea of precise
sharpness it is strongly
recommended to use Focus
Magnify and/or MF Assist.

MF Assist
Focus peaking provides the
photographer with approximate
focus. It is strongly recommended
when using wide apertures to use
the Focus Magnifier to achieve
critical focus. Focus Magnifier can
be automatically initiated when
you turn the focus ring on the lens
by switching MF Assist to On.

Creative Style
When filming in High Contrast
lighting (full sun) it may be
necessary to lower the contrast
of the movie being recorded to
protect the highlights from
becoming overexposed. This
can be achieved by lowering
the Contrast in the Creative
Style menu settings.

D-Range Optimizer
Another way of lowering the
contrast of the movie file being
recorded is to increase the
DRO setting from Auto to either
LV2 or LV3. Monitor the
histogram during recording and
lower the exposure if necessary
to protect the highlights.

Zebra Setting
An alternative approach to
monitoring the Histogram during
the movie recording (in order to
protect the highlights) is to use
the Zebra function. Create a
Custom setting and set the
‘Lower Limit’ to 109+ to be
alerted to overexposed highlights
or between 70 and 80 to monitor
caucasian skin tones are being
correctly exposed.

White Balance
To avoid unnecessary colour
changes during movie recording
many photographers will choose to
create a custom white balance prior
to recording.

White Balance
Custom White Balance settings
cannot be saved to the memories
so it is advisable to assign White
Balance to a Custom Key for quick
access.

Audio Recording
Switch Audio Recording to On in
the menu and turn Wind Noise
Reduction to Off (unless
absolutely necessary). Use a
Sony compatible external
microphone whenever possible.

Wind Noise Reduction
Wind Noise Reduction should
not be left On by default as it
seriously lowers the audio quality
being recorded. It is
recommenced to use a Sony
microphone that is compatible
with the Multi Interface shoe on
the top of the camera for
optimum audio quality.

Audio Level
It is recommended to monitor the
level or volume of the audio
recording during filming by
switching the ‘Audio Level
Display’ to On. Audio Record
Levels can be assigned to a
Custom key for quick access to
adjusting the audio levels.

Audio Level
Alternatively you can set up the
My Dial Settings to assign Audio
Record Levels to the Control
Wheel or Control Dial. You will
also need to set up the C1 button
to change the function of the
dials (Toggle My Dial).

ECM-B1M Shotgun Microphone
digital audio interface support
… for cleaner audio

ClearImage Zoom
ClearImage Zoom will enable you
to zoom in and out without using
the zoom ring on the lens. This is
made possible by the 6K sensor
that is being used to record HD or
4K movies. Enabling ClearImage
Zoom will also allow you to use
the zoom function on remote
devices such as Sony’s Bluetooth
Remote.

ClearImage Zoom
To access ClearImage Zoom
while capturing a movie you need
to first assign a Custom Key to
Zoom.

S&Q
The Slow and Quick shoot mode
allows you to create slow-motion
movies or time-lapse movies
without having to modify your
standard movie settings in the
menus. If you choose to record at
100 frames per second, and play
back the movie at 25 frames per
second, subjects will appear to
move four times slower than
normal. If you choose a frame rate
of 1 frame per second and play the
movie back at 25 frames per
second, time will accelerate 25x
and clouds will race across the sky.
Note > The number of ‘Frames per
second’ may vary depending on
your country.

Picture Profiles Blog Post
Personally I wouldn’t even

dream about using a
Picture profile when
shooting movies until you
have read this blog post.
www.markgaler.com/using-picture-profiles-sony-alpha-cameras
Interval Shooting
The ‘Interval Shooting Function’ allows us
to capture the still images required to
create TimeLapse Movies using post
production software.
Movies are typically captured between 24

and 60 frames per second.
If we increase the interval between each
frame captured, but play the movie back at
normal speed, we will accelerate time or
cause time to lapse.
Example > if we capture one frame per

second for 4 minutes, and then play the
movie back at 24 frames per second, four
minutes of ‘normal’ time will be
compressed into just 10 seconds…people
will move as fast as cars and clouds will
race across the sky.

Interval Shooting
The 'Interval Shooting Function’
allows you to shoot a sequence of
still images that can then be used
to create a Time Lapse movie in
post production editing software
(including Sony’s own free Imaging
Edge application).

Interval Shooting
The Interval Shooting Function is
a built-in ‘Intervalometer’ that can
be setup up to take images at a
regular intervals. Using Sony’s
‘Imaging Edge’ edit application
these still images can be used to
create a Time Lapse movie. On
the second page of options you
will see that there is an option for
Silent Shooting which will save the
wear and tear on your camera
when shooting thousands of
images. If you would prefer the
camera to make a movie so that
you don’t have to process the files
you can use the S&Q feature.

Tips for image capture
1. Format your card and charge your battery
2. Set the capture Aspect Ratio to 16:9
3. Choose 1/50 Second Shutter Speed or longer
4. Use an aperture wider than f/8*
5. Capture in Raw when the dynamic range is high
6. Ensure the camera and tripod are free from vibration
*Reduces the visibility of any dust that may be on your sensor.

Why is Raw the preferred Quality setting?
1. Increased Dynamic Range (less likely to clip highlights).
2. Increased flexibility for post-processing.
Before Processing After Processing

Choosing a Shutter Speed
Most movies you see in the cinemas are captured at 24 frames per second. The
shutter speed most often used is 1/50 second. This shutter speed captures a 50%
slice of ‘real time’.
Fast action results in a small amount of motion blur. The 50% slice & blur ensures
action flows smoothly. Action can appear ‘choppy’ with fast shutter speeds …as
there is no blur and less ‘real time’ is sampled.
Choosing a Shutter Speed
With time-lapse we can choose either
1/50 second to capture motion blur or
choose a shutter speed that captures
50% of the interval to ensure a smoothly
flowing movie, e.g., 1 second exposures
when the interval is 2 seconds.
Choosing long shutter speeds may

require the use of a Neutral Density (ND)
filter (sunglasses for your lens).
Choosing an Exposure Mode
Mode 1
Fully Manual
For scenes where the level of light is constant
Set Focus, White Balance, Exposure & ISO to
Manual.
Mode 2
Aperture Priority & Auto White Balance
For scenes where the level of light is changing,
e.g., for sunset and sunrise set only the Focus
setting to Manual.
Possible issues with using Auto exposure
Sudden changes in exposure or white balance settings can lead to a
visible ‘flicker’ in the final movie. Changing the ‘AE Tracking Sensitivity’
to ‘Low’ may help reduce sudden changes in exposure.
Aperture Priority - Frame 74 Aperture Priority - Frame 75

Sony’s Imaging Edge
Free Software Program
can create a 4K movie from the
still images captured in-camera
using the Interval Shooting
Feature. It is also possible in
Photoshop. For advanced users
the program LR/Timelapse is
recommended

Playback
As well as the Interval Time Func.
settings we also have new menu
items to choose how we would like
to review the stills we have captured
‘in-camera’ before the movie is made
in the post-post-processing software.
Note: If you would like the camera to

create a time lapse movie you can
use the S&Q feature.

Other Notable Features
When is Manual Exposure Mode not
Manual? Why have I relegated Exposure
Metering to ‘Other Notables’? Why would
you want to switch SteadyShot off when
you just upgraded to camera that has it?
What is all the fuss about the first curtain
shutter — will you join the ‘I must turn it off
for better bokeh’ club or will you just leave
it on — the way Sony thought was best for
you? Can you solve the mystery of the
disappearing Bulb setting? The answers
to all of these questions await you in the
pages that follow.

Pixel Shift
Multi Shooting
Pixel Shift Multi Shooting takes a
series of 4 or 16 images to increase
the resolution of the files. The
camera must be mounted on a tripod
and the camera must be perfectly
still during the sequence. This is
primarily a feature for studio/still-life
photographers but it can be used on
location if a photographer is
prepared to edit out any artefacts
that will appear around areas where
the subject matter has moved, e.g.,
clouds, running water and leaves
blowing in the wind.

Pixel Shift
Multi Shooting
The Raw images have to be
processed in Sony’s Imaging Edge
application. I personally recommend
exporting the processed Pixel Shift
image as a 16 Bit TIFF file and then
finalising the image editing in an
application such as Adobe
Photoshop. This workflow is outlined
in the filling YouTube movie: https://
youtu.be/4YjHE3ncnx4

When manual is still auto?
This is not a custom setting but is a feature that can easily be overlooked
if you are new to professional Sony cameras.
Manual Mode on the A7RIV can be

used in conjunction with Auto ISO.
This means that the optimum shutter

speed and aperture is set by the
photographer and the ISO is adjusted
automatically by the camera, so that an
average auto-exposure is achieved.
Use the Exposure compensation dial to
increase or decrease the exposure. I
prefer to use ISO Auto Min SS in
conjunction with Aperture Priority in
preference to Manual with Auto ISO.

If you understand how the Light
meter works in your camera, you
will also learn when to use
Exposure Compensation for the
times it does not choose an
appropriate exposure. You need
a very good reason to change
the default Metering mode from
Multi to one of the other options.

Anti-flicker Shoot.
Anti-Flicker shooting is a feature that
enables the camera to detect the
presence of flickering lights (typically
fluorescent lights). If the feature is
switched on, the camera will help
protect against visible ‘banding’ in
the image by choosing the
appropriate moment to take the
image when the shutter release is
pressed. The delay may be very
subtle and you may not notice the
camera used the anti-flicker feature,
except for an on-screen icon to say
it is at work. This feature does not
work in Silent Shooting mode.
Important Note > Do NOT leave this

feature set to On if you don’t not
need it, as it leads to a lower
resolution view in the Finder.

SteadyShot
5-Axis Image Stabilisation.
Switch SteadyShot OFF when
camera is mounted on a tripod.
When using a non-Sony
This menu item may be greyed lens
thatifcannot
out there iscommunicate
a SteadyShotits
focal length to the camera,
switch on the lens. Switching you
will need to off
SteadyShot switch thelens will
on the
SteadyShot to Manual and
switch it off in the camera.
select the focal length of the
Laowa 10-18mm F4.5-5.6 lens manually.

Silent Shooting
Silent Shooting is
enabled from Menu
Drive > Camera Settings 2

e-Front Curtain Shut.
This may need to be turned to Off
when working with non-Sony
lenses at wide apertures and very
high shutter speeds. You may hear
some photographers telling you to
switch it off. Unless you encounter
a problem with uneven exposure
(when using a non-Sony lens with a
very fast shutter speed) or banding
(when using flash) you are
recommended to leave it on.

The e-front Curtain shutter
reduces the lag between
pressing the shutter and the
camera taking an image. It
results in a quieter shutter sound
and removes the risk of vibration
ruining your slow shutter speed
images. It does, however,
change the look of the bokeh
and can cause issues with
adapted lenses. Find out more
by watching the movie.

Bulb
Bulb is selected when
the shutter speed passes
30 seconds
It can only be selected

if the Drive Mode is set
to Single Shooting and
Silent Shooting is OFF

Play Now
Mode
Masterclass Movies
Hungry for more? Well, join the
Masterclass series — designed for
photographers with serious stamina
for extra learning. I have cherry-
picked four of my presentations for
you to watch. Just get comfortable I
have been known to talk for a while
on subjects I am passionate about :-)

In this presentation I take a look at the
technological developments that have had an
impact on my own 38-year career in
photography. From Tri-X and Kodachrome
film, and the advent of the first DSLR
camera, right through to the Full-Frame
Backlit-Illuminated Stacked CMOS Sensors I
use today. I suggest that, although the
photographic eye is important, the gear does
make a difference to what and how I make
my images.
In this 72-minute movie I explore the

equipment I have chosen and the additional
travel items I pack when I travel light with my
mirrorless cameras. Although it focusses on
Sony equipment it would be suitable for
anyone thinking of moving from a DSLR to a
lighter and more compact camera kit. The
movie also explores some of my basic
camera settings and some advice on
shooting styles when traveling.

In this one-hour seminar style movie I introduce
you to the tips and techniques for capturing
powerful portraits on location. I take an editorial
approach to creating portraits of family, friends
and complete strangers that I have only just met.
I explain the camera settings I use, and also how
I frame my images. I complete the presentation
by taking a look at some simple lighting on
location techniques.
In this 90-minute presentation for Adobe at the

Make-it conference in Sydney I outline my
complete workflow from capture to output. It
includes Colour Management, optimising
software and hardware for speed, creating a new
‘Custom Default’ for Lightroom, optimising and
automating import workflows, incorporating a
‘Mirrored RAID’ drive into my imaging workflows
+ incorporating Develop presets and Smart
workflows in Adobe CC imaging products.

This 2-hour post processing masterclass looks at
the powerful tools we can use to develop our
images. These skills enable us to express what
we want to say and how we feel about the
subjects we are photographing. I draws on my
extensive experience as an Adobe Ambassador,
Beta tester and Professional Educator to present
this illustrated guide to help put you in control of
your post production workflows. This movie is
available to watch in 4K.
In this movie I outline how I can jump between

registered camera settings to ensure I never
miss an image. I don't need to hunt for
appropriate settings as I can start with one of my
memory defaults, and then make minor
adjustments to shutter speed, aperture and focus
with the camera at my eye if, and when, I feel the
need to fine-tune my settings. The important
things is I don't miss the shot with my starting
settings. This workflow may just completely
change the way you shoot.

eBooks
If you have enjoyed this eBook and would
like to download additional eBooks just
head over to my website and take a look
at what is on offer.

Useful Sony Accessories
I don’t leave home without any of these
products. You may be able to find
cheaper non-Sony items but I would be
wary of batteries and cards — unless you
know they are the genuine article. In fact
even if they are branded as being Sony I
would still advise buying from a reputable
dealer that is not selling look-alike clones.

Some accessories for your A7IV camera that
you may like to consider is a spare battery or
two (NP-FZ100) and a dedicated battery
charger. Batteries can be charged in the
camera but Sony’s BC-QZ1 is recommended.
As the megapixel count of both cameras is

generous it is worth considering moving up to
a larger class 10 SD XC card (95 MB/s) for
Slot 2 and a fast SD XC II card for Slot 1.
360
RMT-P1BT
Bluetooth Remote
C1 (+AF-On) Options
Note > Zoom requires
TOGGLE OPTIONS PowerZoom (PZ) Lenses and
APS-C S35/Full Frame Select Focus requires the camera is
first set to Manual Focus (MF).
AF/MF Control Toggle
AEL Toggle
AEL Toggle (Spot Metering)
Flash Exposure Lock Toggle
Focus Magnifier
Finder / Monitor Select
Live View Display Select
Touch Operation Select
Bright Monitoring
HOLD OPTIONS
Aperture Preview (when Live View is Off)
Shot Result Preview (when Live View is Off)
RMT-P1BT
Hold for 7 Seconds
Bluetooth Remote
ECM-B1M Shotgun Microphone
digital audio interface support
VG-C4EM
Vertical Grip
Lens Adapters
Sony’s LA-EA4 and LA-EA3 lens
adapters will allow you to mount any
Sony A-Mount lens onto your E-Mount
camera. This effectively expands the
range of lenses that you can use with
your camera.If the A-Mount lens has a
focus motor in the lens choose the LA-
EA3 adapter for optimum AF
performance.
Lens adapters for other makes of lenses
are also available to use with the E-
Mount cameras such as Metabones and
Sigma’s MC-11 adapter.

What’s in Mark’s Bag
What gear goes in the bag, and which
bag gets chosen, can often change
depending on the trip. Most of the world’s
airlines, however, are becoming more
stringent in regard to the carry-on weight
allowance carried by passengers. 7Kgs
(approximately 15.5lbs) is the standard
allowance and some airlines allow an
additional handbag/laptop bag so long as
it fits under the seat in front. The following
examples demonstrate the amount of
gear, and what type of gear, I tend to
select for extended photographic trip.

The ‘Two-Bag’ solution for
traveling light
Bag 2: Travel Essentials
Bag 1: Camera Gear*

*Tripod is Packed in ‘Checked Luggage’
Primes
inc. battery & cards 710 g
Sony FE 24 F1.4 GM 514 g
Sony FE 35 F2.8 ZA 120 g
Sony FE 55 F1.8 ZA 281 g
Sony FE 85 F1.8 371 g
Subtotal: 2 KG
Accessories + Bag 2000 g
Leofoto LS-223C Tripod 730 g
+ iPad Pro + Keyboard 740 g
Total: 5.5 KG
Zooms
inc. battery & cards 710 g
Sony FE 16-35 GM 758 g
Sony FE 24-105 G 738 g
Sony FE 100-400 GM 1646 g
Sony FE 85 F1.8 prime 435 g
Subtotal: 4.3 KG
+ iPad Pro + Keyboard 740 g
Total: 7.0 KG
HYBRID Voigtlander 15mm
Sony E 16-55 G
Sony E 70-350 G
inc. battery & cards
Sony FE 85 F1.8 prime

710 g
340 g
554 g
694 g
435 g
This ‘Hybrid’ option includes two
premium quality APS-C lenses
and two light-weight full-frame
primes to keep the weight as light
as possible. Note > Capturing
images in APS-C Mode will
reduce the Megapixel count to 26
Subtotal: 2.7 KG
Peak Design Straps & Clip 280 g
Leofoto LS-223C Tripod 740 g
Total: 6 KG
A laptop bag must be
small enough to fit under
the seat in front of you
when travelling on a plane
Brixton Ona

www.MarkGaler.com
You can save additional weight
when travelling by using a
tablet rather than a laptop
computer (nearly a 1KG or 2
pounds saving). If you want to
watch a series of videos to see
how I edit my images using a
Lightroom CC (mobile)
workflow then click below
Play Now

www.MarkGaler.com
Lens Recommendations
The advantage of purchasing an ILC (Interchangeable Lens Camera) over
a fixed-lens camera is you can optimise performance and extend the
creative possibilities by attaching specialist lenses. Sony’s decision to work
with one mount (E-Mount) for both their APS-C and Full Frame Mirrorless
cameras means that you have an extensive range of lenses to choose from.
In most instances I recommend using Full Frame (FE) lenses over APS-C
(E) lenses unless you are recording movies in Super 35 mode or are happy
to capture 26 megapixel images when using an A7RIV camera.
Mark’s Recommendations (Movie)
My favourite E-Mount lenses are:
• FE 12-24 F/4 G (Ultra Wide-Angle Zoom)
• FE 16-35 F/2.8 GM (Wide-Angle Zoom)
• FE 24-105 F/4 G (Standard Zoom)
• FE 70-200 F/4 G (Telephoto Zoom)
• FE 100-400 GM (Telephoto Zoom) + 1.4x Teleconverter
• FE 200-600 G
• FE 20 f/1.8 G
• FE 24 F/1.4 GM (Wide-Angle Prime)
• FE 35 F/2.8 ZA (Wide-Angle Prime)
• FE 55 F/1.8 ZA (Standard Prime)
• FE 85 F/1.8 (Short Telephoto Prime)
• FE 100 F/2.8 STF GM (Smooth Trans Focus lens)
• FE 135 F/1.8 GM (Telephoto Prime)

FE 12-24 F/4 GM
152 seconds at f/11, ISO 100
Bulb Mode Lens Review
NiSi S5 Filter kit with 150mm Filters
FE 12-24 F/4 G
1/5 second at f/6.3, ISO 320
FE 16-35 F/2.8 GM
FE 16-35 F/2.8 GM
FE 16-35 F/2.8 GM
FE 16-35 F/2.8 GM
Grand Tetons by Mark Galer
FE 24-105mm F4 G
1/50 sec at f/16, ISO 100
My ‘table-top' tripods spend more time on the ground.

FE 24-105 F4 G
Grand Tetons
FE 24-105 F4 G FE 24-105 F4 G
Lens Review
FE 70-200 F/4 G
Lens Review
FE 70-200 F/4 G
FE 100-400 GM
Lens Review
Lens Review FE 100-400 GM
FE 200-600 G Lens Review
Lens Review
FE 200-600 G
FE 24 F/1.4 GM
FE 35 F/2.8 ZA
FE 55 F/1.8 ZA
Lens Review
FE 85 F/1.8
A great lens that is
recommended for
photographers on a
tight budget
Lens Review
FE 85 F/1.4 GM
Lens Review
FE 85 F/1.4 GM
FE 100 F/2.8 STF GM
SONY JAPAN
FE 135 F/1.8 GM
Lens Review
FE 135 F/1.8 GM
Lens Review
FE 135 F/1.8 GM
FE 135 F/1.8 GM
Lens Review
FE 135 F/1.8 GM
Supporting website
This eBook only scratches the surface of what
is available on www.markgaler.com.
You will find the website a rich resource for
Photoshop actions, Photoshop Tutorials with
links to download the Raw images used in the
tutorials, Lightroom Tutorials, Lightroom
Presets, additional eBooks, an active blog,
equipment reviews and news about my
speaking engagements for Sony and the
I am unable to answer all questions on
occasional photo adventure/workshop/tour that
social media and do NOT answer
I run in conjunction with World Photo
questions via email and Messenger
Adventures. Everything except the Photo Tours
are free ;-). If you find the learning resources
valuable I would value your support to help
cover my web-hosting costs and the creation
of ongoing learning resources to support the
Sony Alpha Community. Thank you.
Mark Galer
Donation Link

Become a Patron
Due to the volume of requests I receive for
support I am unfortunately not able to answer all
questions on social media and cannot answer
questions via email and Facebook Messenger.
If, however, you would like to become a Patron
you can join my live monthly Seminars, ask
questions in the member only Q&A forums and
receive feedback on your photographs. In this
way I can become your personal Sony Alpha
Consultant for just a few dollars per month.
Mark Galer
Membership
www.markgaler.com
Learning

Reviews
Use the Categories feature
to Filter for Reviews

Announcements
Use the Categories feature to
Filter for Announcements

Flickr Albums of Ultra HD Images
43 Support Movies Movie Index Patreon Membership
Action Settings Load Camera Settings

AF Tracking Lock Operation Parts
APS-C/Super 35 Memory
Back-button AF Memory Mastermind
Bluetooth Remote Metering Modes
Bulb Movie Settings
Colour Management (Color Science) Multi-Selector
Commander (Radio Flash) One Mount
DMF Picture Profiles
e-Front Curtain Shutter Pixel Shift Multi Shooting
Eye-AF Portrait Settings
Finder & Monitor Power Save
Focus Area Recall Custom Hold
Focus Peaking Remote (Bluetooth)
Flash - Sony HVL Radio RM Setting Effect
Fn Menu Slow Focus in Low Light
ISO Auto Min. SS Sports Settings
Landscape Settings (Tripod) SteadyShot
Landscape Settings (Hand-Held) Street Settings
Lenses (Mark’s recommendations) Switch V/H AF Area
Live View Display Touch Operation
White Balance
Alpha Creative Skills
Alpha Creative Skills
Patreon Membership
Index
4K Crop EVF Lens (Recommendations) Playback (Interval)
Animal Eye-AF (advantage) Exmor Lens Adapters Playback
Anti-Flicker Shooting Exposure Compensation (Goal) Live Exposure Portrait Masterclass
Aperture Preview Exposure Compensation Live View (depth of field) Post Production Masterclass
APS-C Mode Exposure Review Live View (exposure) Priority (Eye AF)
Audio Level Eye-AF (advantage) Live View Display Recall Custom Hold
Audio Recording File Format (Movies) Low Light Record Media Settings
Battery Finder Frame Rate Magnify (Review) Record Settings
Bluetooth Remote Flash Media Slot S&Q
Bracket Settings Fn Key Memory (Register) Saved Settings
Bright Monitoring Fn Menus Memory (Tables) Sensor Stabilisation
Buffer Focus Area Memory Setting Effect (tutorial movie)
Bulb Focus Mode Memory Recall Setting Effect
Calendar Review Focus Peaking Metering Modes Shotgun Microphone
Card Slot Focus Point Link MF Assist Shot. Result Preview
ClearImage Zoom Gamma Display Assist Monitor Silent Shooting
Clipped Heads-up Display Movie Mode Spot (AF)
CMOS High ISO Multi Interface Shoe SteadyShot
Control Wheel Histogram Multi Selector (movie) Tethered Shooting
Creative Style Hot Shoe Multi-selector TimeLapse
D-Range Optimizer Hyperfocal Distance My Dial Settings Travel Photography
Date Review IBIS My Menu UHS-II
Dials Image Rating Navigation White Balance
Disp. Image Review Network Settings Wind Noise Reduction
Display as Group Imaging Edge Noise Wireless Microphone
DMF Interval Shooting NTSC WYSIWYG
DMF Macro ISO PAL Zebra Setting
Drive Mode ISO Auto Min SS PASM Zone (AF)
DRO Jump Setting Picture Profiles
e-Front Curtain Shutter Landscape (Hand-Held) Pixel Shift Multi Shooting

Community Support
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Please Donate to support content
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thank you

Custom Setup Support
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Custom Setup Support

Mark is using his wealth of experience as both a photographer

Mark owned the original Alpha 100 and currently owns an

Back to Contents Page

After extensive shooting with the Sony A7 and

Note > The settings outlined in this guide are

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If you would like to become a Paid YouTube

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1. Full-Frame Stabilized Sensor

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9,504 x 6,336 Pixels

5.67 million dot Finder

Alpha 7R IV is 8 grams heavier

4K Crop from APS-C Mode Capture

APS-C mode using an APS-C Lens

APS-C mode using an APS-C Lens

The main advantages in performance have been to

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FE 100 F/2.8 STF GM

Gapless OCL Gapless OCL

Aluminum wiring layer Photodiode substrate

Copper wiring layer

Sony uses back-illuminated sensors (BIS) in the A7IV

A broad dynamic range enables the

The quality of the recorded shadows

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If Camera Focuses Here

Focus Assist + DMF

Note > Consider trying Animal Eye AF before resorting to DMF

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The Sensor provides a live

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Live View provides a WYSIWYG view*

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YouTube Paid Membership

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M: Manual with Auto ISO

This allows you to ‘fine tune’ the Auto Exposure

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The Live Histogram in the Finder and on the

These overexposed tones may not be able to be

Overexposed Exposure Compensated

Exposure compensation is required to render a black swan black

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To customise the settings of the

The camera can be customised by

Diopter Adjustment Dial

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