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Sony RX1, A User Report
Image by kern.justin
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The 00+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.
Guess where I was
Image by flickrolf
Bremen, Bötchergasse
see my BREMEN-set at:
www.flickr.com/photos/8531344@N06/sets/72157605634886776/
The Bremen town musicians
There was once an ass whose master had made him carry sacks to the mill for many a long year, but whose strength began at last to fail, so that each day as it came found him less capable of work. Then his master began to think of turning him out, but the ass, guessing that something was in the wind that boded him no good, ran away, taking the road to Bremen; for there he thought he might get an engagement as town musician. When he had gone a little way he found a hound lying by the side of the road panting, as if he had run a long way. “Now, Holdfast, what are you so out of breath about?” said the ass. “Oh dear!” said the dog, “now I am old, I get weaker every day, and can do no good in the hunt, so, as my master was going to have me killed, I have made my escape; but now, how am I to gain a living?” - “I will tell you what,” said the ass, “I am going to Bremen to become town musician. You may as well go with me, and take up music too. I can play the lute, and you can beat the drum.” And the dog consented, and they walked on together. It was not long before they came to a cat sitting in the road, looking as dismal as three wet days. “Now then, what is the matter with you, old shaver?” said the ass. “I should like to know who would be cheerful when his neck is in danger,” answered the cat. “Now that I am old my teeth are getting blunt, and I would rather sit by the oven and purr than run about after mice, and my mistress wanted to drown me; so I took myself off; but good advice is scarce, and I do not know what is to become of me.” - “Go with us to Bremen,” said the ass, “and become town musician. You understand serenading.” The cat thought well of the idea, and went with them accordingly. After that the three travellers passed by a yard, and a cock was perched on the gate crowing with all his might. “Your cries are enough to pierce bone and marrow,” said the ass; “what is the matter?” - “I have foretold good weather for Lady-day, so that all the shirts may be washed and dried; and now on Sunday morning company is coming, and the mistress has told the cook that I must be made into soup, and this evening my neck is to be wrung, so that I am crowing with all my might while I can.” - “You had much better go with us, Chanticleer,” said the ass. “We are going to Bremen. At any rate that will be better than dying. You have a powerful voice, and when we are all performing together it will have a very good effect.” So the cock consented, and they went on all four together.
Es hatte ein Mann einen Esel, der schon lange Jahre die Säcke unverdrossen zur Mühle getragen hatte, dessen Kräfte aber nun zu Ende gingen, so daß er zur Arbeit immer untauglicher ward. Da dachte der Herr daran, ihn aus dem Futter zu schaffen, aber der Esel merkte, daß kein guter Wind wehte, lief fort und machte sich auf den Weg nach Bremen; dort, meinte er, könnte er ja Stadtmusikant werden. Als er ein Weilchen fortgegangen war, fand er einen Jagdhund auf dem Wege liegen, der jappte wie einer, der sich müde gelaufen hat. “Nun, was jappst du so, Packan?” fragte der Esel. “Ach,” sagte der Hund, “weil ich alt bin und jeden Tag schwächer werde, auch auf der Jagd nicht mehr fort kann, hat mich mein Herr wollen totschlagen, da hab ich Reißaus genommen; aber womit soll ich nun mein Brot verdienen?” - “Weißt du was?” sprach der Esel, “ich gehe nach Bremen und werde dort Stadtmusikant, geh mit und laß dich auch bei der Musik annehmen. Ich spiele die Laute und du schlägst die Pauken.” Der Hund war’s zufrieden, und sie gingen weiter. Es dauerte nicht lange, so saß da eine Katze an dem Weg und macht ein Gesicht wie drei Tage Regenwetter. “Nun, was ist dir in die Quere gekommen, alter Bartputzer?” sprach der Esel. “Wer kann da lustig sein, wenn’s einem an den Kragen geht,” antwortete die Katze, “weil ich nun zu Jahren komme, meine Zähne stumpf werden, und ich lieber hinter dem Ofen sitze und spinne, als nach Mäusen herumjagen, hat mich meine Frau ersäufen wollen; ich habe mich zwar noch fortgemacht, aber nun ist guter Rat teuer: wo soll ich hin?” - “Geh mit uns nach Bremen, du verstehst dich doch auf die Nachtmusik, da kannst du ein Stadtmusikant werden.” Die Katze hielt das für gut und ging mit. Darauf kamen die drei Landesflüchtigen an einem Hof vorbei, da saß auf dem Tor der Haushahn und schrie aus Leibeskräften. “Du schreist einem durch Mark und Bein,” sprach der Esel, “was hast du vor?” - “Da hab’ ich gut Wetter prophezeit,” sprach der Hahn, “weil unserer lieben Frauen Tag ist, wo sie dem Christkindlein die Hemdchen gewaschen hat und sie trocknen will; aber weil morgen zum Sonntag Gäste kommen, so hat die Hausfrau doch kein Erbarmen und hat der Köchin gesagt, sie wollte mich morgen in der Suppe essen, und da soll ich mir heut abend den Kopf abschneiden lassen. Nun schrei ich aus vollem Hals, solang ich kann.” - “Ei was, du Rotkopf,” sagte der Esel, “zieh lieber mit uns fort, wir gehen nach Bremen, etwas Besseres als den Tod findest du überall; du hast eine gute Stimme, und wenn wir zusammen musizieren, so muß es eine Art haben.” Der Hahn ließ sich den Vorschlag gefallen, und sie gingen alle vier zusammen fort.
But Bremen was too far off to be reached in one day, and towards evening they came to a wood, where they determined to pass the night. The ass and the dog lay down under a large tree; the cat got up among the branches, and the cock flew up to the top, as that was the safest place for him. Before he went to sleep he looked all round him to the four points of the compass, and perceived in the distance a little light shining, and he called out to his companions that there must be a house not far off, as he could see a light, so the ass said, “We had better get up and go there, for these are uncomfortable quarters.” The dog began to fancy a few bones, not quite bare, would do him good. And they all set off in the direction of the light, and it grew larger and brighter, until at last it led them to a robber’s house, all lighted up. The ass. being the biggest, went up to the window, and looked in. “Well, what do you see?” asked the dog. “What do I see?” answered the ass; “here is a table set out with splendid eatables and drinkables, and robbers sitting at it and making themselves very comfortable.” - “That would just suit us,” said the cock. “Yes, indeed, I wish we were there,” said the ass. Then they consulted together how it should be managed so as to get the robbers out of the house, and at last they hit on a plan. The ass was to place his forefeet on the window-sill, the dog was to get on the ass’s back, the cat on the top of the dog, and lastly the cock was to fly up and perch on the cat’s head. When that was done, at a given signal they all began to perform their music. The ass brayed, the dog barked, the cat mewed, and the cock crowed; then they burst through into the room, breaking all the panes of glass. The robbers fled at the dreadful sound; they thought it was some goblin, and fled to the wood in the utmost terror. Then the four companions sat down to table, made free with the remains of the meal, and feasted as if they had been hungry for a month.
Sie konnten aber die Stadt Bremen in einem Tag nicht erreichen und kamen abends in einen Wald, wo sie übernachten wollten. Der Esel und der Hund legten sich unter einen großen Baum, die Katze und der Hahn machten sich in die Äste, der Hahn aber flog bis an die Spitze, wo es am sichersten für ihn war. Ehe er einschlief, sah er sich noch einmal nach allen vier Winden um, da deuchte ihn, er sähe in der Ferne ein Fünkchen brennen, und rief seinen Gesellen zu, es müßte nicht gar weit ein Haus sein, denn es scheine ein Licht. Sprach der Esel: “So müssen wir uns aufmachen und noch hingehen, denn hier ist die Herberge schlecht.” Der Hund meinte: “Ein paar Knochen und etwas Fleisch dran täten ihm auch gut.” Also machten sie sich auf den Weg nach der Gegend, wo das Licht war, und sahen es bald heller schimmern, und es ward immer größer, bis sie vor ein helles, erleuchtetes Räuberhaus kamen. Der Esel, als der größte, näherte sich dem Fenster und schaute hinein. “Was siehst du, Grauschimmel?” fragte der Hahn. “Was ich sehe?” antwortete der Esel, “einen gedeckten Tisch mit schönem Essen und Trinken, und Räuber sitzen daran und lassen’s sich wohl sein.” - “Das wäre was für uns,” sprach der Hahn. “Ja, ja, ach, wären wir da!” sagte der Esel. Da ratschlagten die Tiere, wie sie es anfangen müßten, um die Räuber hinauszujagen und fanden endlich ein Mittel. Der Esel mußte sich mit den Vorderfüßen auf das Fenster stellen, der Hund auf des Esels Rücken springen, die Katze auf den Hund klettern, und endlich flog der Hahn hinauf, und setzte sich der Katze auf den Kopf. Wie das geschehen war, fingen sie auf ein Zeichen insgesamt an, ihre Musik zu machen: der Esel schrie, der Hund bellte, die Katze miaute und der Hahn krähte. Dann stürzten sie durch das Fenster in die Stube hinein, daß die Scheiben klirrten. Die Räuber fuhren bei dem entsetzlichen Geschrei in die Höhe, meinten nicht anders, als ein Gespenst käme herein, und flohen in größter Furcht in den Wald hinaus. Nun setzten sich die vier Gesellen an den Tisch, nahmen mit dem vorlieb, was übriggeblieben war, und aßen nach Herzenslust.
And when they had finished they put out the lights, and each sought out a sleeping-place to suit his nature and habits. The ass laid himself down outside on the dunghill, the dog behind the door, the cat on the hearth by the warm ashes, and the cock settled himself in the cockloft, and as they were all tired with their long journey they soon fell fast asleep. When midnight drew near, and the robbers from afar saw that no light was burning, and that everything appeared quiet, their captain said to them that he thought that they had run away without reason, telling one of them to go and reconnoitre. So one of them went, and found everything quite quiet; he went into the kitchen to strike a light, and taking the glowing fiery eyes of the cat for burning coals, he held a match to them in order to kindle it. But the cat, not seeing the joke, flew into his face, spitting and scratching. Then he cried out in terror, and ran to get out at the back door, but the dog, who was lying there, ran at him and bit his leg; and as he was rushing through the yard by the dunghill the ass struck out and gave him a great kick with his hind foot; and the cock, who had been wakened with the noise, and felt quite brisk, cried out, “Cock-a-doodle-doo!” Then the robber got back as well as he could to his captain, and said, “Oh dear! in that house there is a gruesome witch, and I felt her breath and her long nails in my face; and by the door there stands a man who stabbed me in the leg with a knife ; and in the yard there lies a black spectre, who beat me with his wooden club; and above, upon the roof, there sits the justice, who cried, ‘Bring that rogue here!’ And so I ran away from the place as fast as I could.” From that time forward the robbers never ventured to that house, and the four Bremen town musicians found themselves so well off where they were, that there they stayed. And the person who last related this tale is still living, as you see.
Rich Inner World
Image by Felixe
Someone had this great idea, now my living room looks like a reduced-version Hard Rock café.
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