David Busch’s Sony Alpha a7R II/a7 II Guide to Digital Photography

opt for a more serviceable strap from UPstrap (www.upstrap-pro.com).

If both OSS and SSI are active at the same time, the a7R II and a7 II use the two in tandem, allowing the lens to correct for pitch and yaw, while the in-body IS compensates for x, y, and roll movements.

When you use Hand-held Twilight and Anti Motion Blur, the camera shoots a series of photos and composites them into one after discarding most of the digital noise. These are automatic modes so they’re not ideal for all types of serious photography but they certainly provide the “cleanest” images possible at high ISO with your camera.

Therefore, I recommend always formatting the card, rather than simply moving the image files.

SteadyShot is on by default to help counteract image blur that is caused by camera shake, but you should turn it off when the camera is mounted on a tripod, as the additional anti-shake feature is not needed, and slight movements of the tripod can sometimes “confuse” the system. In other situations, however, I recommend leaving SteadyShot turned on

Many lenses, particularly the higher-priced Sony and Zeiss optics, are prized for their sharpness and overall image quality. Your run-of-the-mill lens is likely to be plenty sharp for most applications at the optimum aperture (usually f/8 or f/11), but the very best optics, such as the Zeiss 55mm f/1.8, are definitely superior. You can expect to ge

Sony FE 55mm/1.8 ZA lens. So, why get excited about a “normal” lens with an f/1.8 maximum aperture and a $1,000 price tag? After all, both Nikon and Canon offer full-frame 50mm f/1.8 prime lenses for $200 or less. In this case, your ten Benjamins buys you one of the sharpest lenses ever made, with exquisite resolution at every f/stop—including wide

Focus can adjust during the burst if you set Focus Mode to Continuous AF and AEL w/Shutter to Off or Auto.

DETERMINING THE BEST EXPOSURE DIFFERENTIAL How do you choose the number of EV/stops to separate your exposures? You can use histograms, described at the end of this chapter, to determine the correct bracketing range. Take a test shot and examine the histogram. Reduce the exposure until dark tones are clipped off at the left of the resulting histogr