Alphauniverse

NOVEMBER 2014

THE BEAUTIFUL

GAME

How Sony Artisans of Imagery Captured Brazil’s World Cup Passion

Presented by

THE PERFECT MOMENT

Chris Burkard Lives for Surfing … and Photography

INNOVATION NOW! The Inside Story of How Sony Developed Its Groundbreaking 7 Series

and the publishers of Popular Photography & American Photo

One sophisticated family.

7 SERIES FULL FRAME MIRRORLESS INTERCHANGEABLE-LENS CAMERAS. No other full-frame, interchangeable-lens cameras are this small and offer such a wide range of features. The 7’s hybrid AF with phase-detection provides high speed and accuracy that will suit any photographer. Boasting a 36.4MP image sensor, the 7R delivers the stunning high resolution that serious photographers crave. And with its impressive dynamic range and an ISO up to 409,600, the 7S produces images and video beyond human vision.

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7R

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CE Week Exhibits and Conferences

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See the difference for yourself at sony.com/a7family

2014

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7S

VIVIENNE GUCWA Artisan of Imagery “Capturing the detail and magic of the cityscapes has never been easier than with the 7R.”

Photo taken by Vivienne Gucwa with

7R, f/7.1, 6 sec., ISO 50, Lens used: FE 24-70mm F4 ZA

©2014 Sony Electronics Inc. Sony and the Sony logo are trademarks of Sony Corporation. All rights reserved. Reproduction in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners.

Contents

NOVEMBER 2014

04 EDITOR’S NOTE

Welcome to

( alpha) Universe, and a new era of photographic art and technology.

08 BEHIND THE SCENES: THE SONY 7 SERIES

Learn how Sony created the world’s smallest full-frame mirrorless camera.

12 SURF CULTURE AS LANDSCAPE ART

Surfing photographer Chris Burkard lives in the moment while reflecting on the world’s beauty.

16 THE BEAUTIFUL GAME, UP CLOSE Sony Artisans of Imagery Brian Smith and David McLain capture Brazil’s passion for soccer with the new Sony 7S.

22 SWITCHING TO SONY

Meet one of Sony’s new Associate Artisans of Imagery and find out why he’s selling all of his other gear.

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Brian Smith shot the Sony a7S on Rio de Janeiro’s Ipanema Beach using a Sony a7R with a Sony 35mm f/2.8 lens. Exposure: 1/30 sec. at f/14; ISO 400. Right: Chris Burkard’s shot of a surfer getting barreled at sunset, shot with a Sony a99 and a Sony70-400mm f/4-5.6 lens at 400mm. Exposure: 1/1600 sec. at f/5.6; ISO 100.

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© Chris Burkard, Sony Associate Artisan of Imagery

Feature Photography ©tktktktk, Sony Artisan of Imagery

ON THE COVER

Feature Photography ©tktktktk, Sony Artisan of Imagery

What photographer Chris Burkard packs in his kit to capture the world’s most awesome surfing spots.

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Editor’s Note

Y

ou could make a good case that we are living in the most innovative era in the history of photography. And that’s saying something.

We’re certainly living in a time of photographic abundance. Today people around the globe take some 380 billion pictures a year.

According to researchers who have analyzed photo-industry statistics and other records, about 10 percent of all the photos ever taken—ever—were snapped in the past year.

Photography has become the language of our time, showcased in museums and splashed in magazines and art books like never before. Meanwhile, the Internet is overflowing with the photos and videos we share on social media, while visual content has become the driving force behind e-commerce and online journalism. Images allow us to see more, learn more, and do more—to experience the world in ways we never have before.

It’s a new age with new artistic challenges and opportunities, and it comes with astounding new imaging technology for creative photographers to use in new ways.

Photography has always been about the collision of vision and machine, art and science. And today, as you will see in this new magazine, that collision is more spectacular than ever.

Brought to you by Sony and the publishers of Popular Photography and American Photo magazines, a Universe looks at today’s most innovative imaging technology and how it is being put to use by many of the world’s best photographers and brightest emerging talents.

In this issue, we spotlight work from two members of Sony’s Artisans of Imagery

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group of top pros, Brian Smith and David McLain, who last summer headed to Brazil to capture the color and the crowds of the FIFA World Cup in still images and video. They shot with the new Sony α7S, a 12.2-megapixel full-frame mirrorless camera with a sensor that captures visual detail in extreme low-light conditions, giving them access to soccer’s most passionate fans night and day.

We also feature work by rising stars like Brian Matiash, a lifelong Canon user who tried out the 24.3-megapixel Sony α7 for two months and has never looked back. He took the picture on this page, titled “The Power of Thor’s Will,” with the α7 and a Canon 17mm f/4L tilt-shift lens. (Exposure: six seconds at f/7.1 and ISO 250.) Matiash later added the 36.4-megapixel Sony α7R to

his kit and started selling off his older gear.

Likewise, Chris Burkard, a California-based surfing and adventure-travel photographer, values the small form factor of the Sony α7: Having a pro-quality camera that he can put in a jacket pocket allows Burkard to, as he puts it, “be present in the moment.”

Technology that allows us to express ourselves creatively, and live our lives to the fullest, is the best technology of all. Welcome to a Universe.

David Schonauer, Editor

DAVID SCHONAUER

MOLLY K. MCLAUGHLIN

David Schonauer is the editor-in-chief of Pro Photo Daily, a newsletter and website covering the art, business, and technology of photography, and Motion Arts Pro, a newsletter for filmmakers and photographers transitioning into video. He is a contributor to the Huffington Post and has written about photography, art, and other topics for Smithsonian magazine, the New York Times, the Atlantic, and People magazine. He is the former editorin-chief of American Photo magazine.

Molly K. McLaughlin is an expert technology writer and editor with more than a decade of experience covering the digital imaging and mobile spaces.

She has contributed to many publications including ConsumerSearch and PCMag.com, focusing on reviews and commentary. In her role as editor, she has attended and covered industry trade shows including CES, Photo Plus and PMA. Molly has an M.S. in Journalism & Technical Writing from NYU Polytechnic School of Engineering.

Feature photography © Brian Matiash, Sony Associate Artisan of Imagery

Welcome to

An arsenal of lenses.

MORE THAN 30 MILLION

LENSES PRODUCED.

Arm yourself to shoot with pinpoint precision and killer focus.

From landscapes to portraits to close-up detail, (alpha) lenses offer versatility and amazing optical performance. And with over 50 lenses to choose from, you’ll be ready for any type of shot you want to take. sony.com/alphalenses

Š2014 Sony Electronics Inc. Sony and the Sony logo are trademarks of Sony Corporation. All rights reserved. Reproduction in whole or in part without written permission is prohibited.

All other trademarks are trademarks of their respective owners.

BEHIND THE SCENES: The Sony 7 Series How Sony created a smaller and faster full-frame mirrorless camera

BY MOLLY K. MCLAUGHLIN

THE CHALLENGES With the Sony α7 and α7R, something extraordinary was achieved: mirrorless full-frame cameras about half the weight of a typical fullframe camera and three times faster than a conventional DSLR. All without making any compromises on image quality. In fact, the 36.4-megapixel α7R has the highest resolution sensor in the history of Sony’s α (alpha) line. (The Sony α7 has a resolution of 24.3 megapixels.)

The two cameras offer top-notch image quality and speed, with the zippy BIONZ X processor that offers extra-fast autofocus even for moving subjects. This gives you shooting speeds of up to 4 frames per second (fps) in Live View Mode, and up to 5fps with the OLED viewfinder.

How did Sony achieve this? We spoke with four members of the team that developed these cameras: Takahiro Sudo, Design PL, Daisuke Goh, Product Planning, Koji Hisamatsu, Mechanical Design, and Takuji Yoshida, Image Quality Design.

“The concept of the α7 series is to use a full8

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Above: The α7R—the world’s smallest and lightest 35mm full-frame interchangeable-lens camera. Above right: Model shot with the α7R and the Planar T* 85mm F1.4 ZA SSM (SAL85F14Z), Mount Adaptor LA-EA4, 1/320 sec., F1.4, ISO 100.

frame sensor to pack high image quality into a compact body,” Goh explained.

They used a lot of their learnings from the productions of E-mount compatible cameras, which included “miniaturization technology,” Sudo said.

“We wanted the new cameras to be lightweight and robust, and to have a compact body that users would feel comfortable with.”

“Our ultimate goal is to change the common sense of the interchangeable lens camera market,” Goh stated.

Sony was looking to set itself apart from Canon and Nikon. “Our new cameras are small in size, but superior in performance at the same time,” Sudo said. He adds that “particularly, in the Japanese market, consumers are growing dissatisfied with full-frame cameras that are too big to carry around.”

The seeds for the idea of the α7 series were planted in 2010, when Sony launched its first mirrorless cameras, the NEX series. “It was just a question of feasibility,” Sudo said. Sony’s development of their smaller E-mount lenses paved the way. “We felt relieved that we could finally begin development efforts in earnest,” Hisamatsu said.

Customer feedback was a big part of Sony’s research. “We wanted to meet consumers’ expectations and make them happy,” Hisamatsu said. In short, he said, they wanted to “wow the world once again” following the success of their first mirrorless cameras, the NEX series.

Upon the release of the Cyber-shot RX1, a compact, fixed-lens full-frame camera, in the fall of 2012, customers began clamoring for interchangeable lens models.

“Considering these customer requests, we always had an RX1 camera near at hand while we were doing the development,” Sudo said. In the next several months, there was much debate about the placement of dials and how to add functions without increasing the size of the camera. He added, “I am surprised that we could manage to put them all into this compact body.”

A big challenge is that when you make a product smaller, overheating becomes an issue, but Sony’s engineers were up to it. “We solved this problem by arranging metal components appropriately and using heat-transfer sheets,” Hisamatsu explained.

Yet another challenge is that they were designing two cameras with different types of materials at

the same time. “Since materials influence heat control, it is difficult to create a design for each model with different types of materials,” Sudo said.

Both models use magnesium alloy for the top cover. “The α7 camera has a hybrid structure with a front cover made of highly rigid plastic and a stainless-steel plate. The α7R camera uses magnesium alloy for its front cover as well to give a look of premium quality,” Hisamatsu said.

Durability was also a challenge. “We adjusted the strength, grip and operability repeatedly, assuming

From left: Yoshida (Image Quality Design), Hisamatsu (Mechanical Design), Goh (Product Planning), Sudo (Design PL)

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many different situations including the typical case of the user swinging around the camera with a heavy lens attached to it,” Sudo said.

All this is wrapped up in a sleek body. “The design concept is ‘verticality and linearity.’ But creating a smooth surface was very difficult. Creating clean linearity required a great deal of craftsmanship,” Hisamatsu said.

“Many of the cameras from competitors have rounded corners and a bulge generally known as an apron below the viewfinder. We flattened this bulge in line with the concept of linearity,” Goh said.

ACHIEVING ULTRAFAST SPEED AND PRECISION In order to deliver fast and accurate autofocus, Sudo said that “both cameras use the newly developed Fast Intelligent AF technology. This feature reduces focusing time by up to 35 percent compared to older models.” Additionally, the α7 cameras feature Fast Hybrid AF, which combines phase- and contrast-detect autofocus methods to help the camera track fast-moving subjects.

Autofocus also comes into play when shooting portraits. “You need a sharp focus on the eyes, especially when taking portrait photos,” Sudo said.

“With a full-frame sensor, however, the depth of field is shallow and getting the cameras into focus is difficult.”

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Above: Nature shot with the α7R and the VarioTessar T* FE 24-70mm F4 ZA OSS (SEL2470Z), 1.3 sec., F11, ISO 400

To solve this problem, Sony implemented an Eye AF function that prioritizes a pupil when the camera focuses, Sudo said. “This enables the camera to detect a face and eyes and autofocus on them at the touch of a single button, making the function popular among a wide range of users,” he said, adding, “I hear that professional photographers find Eye AF very instrumental and use this automatic function with shooting models for photos in catalogs. Eye AF is highly acclaimed even by professional photographers who basically do their work manually.”

Even better, “these cameras can recognize the face even when the subject is not looking straight ahead or it is a child or infant. Their face recognition rate is overwhelmingly high,” Goh said.

TOP-NOTCH IMAGE QUALITY “The α7R model has been developed to deliver the highest image quality,” Yoshida said. To make the most of its high resolution, the α7R doesn’t have an optical low-pass filter (also known as an anti-aliasing filter), so the camera can capture more detail. “The use of the BIONZ X processor has led to a significant increase in image quality as well,” Yoshida said.

Sony engineers used feedback from professional photographers, but that’s not all. “We also made trips on weekends to take photos of the natural

landscape, which tend to show clear differences in the sense of resolution. Based on the acquired data, we continued to fine-tune the camera,” Yoshida said.

Versatility was another goal with the α7 series.

“One major feature of the E-mount lenses is the open mount system that ensures compatibility not only with Sony’s lenses, but also with a broad range of lenses using mount adapters,” Goh said. In part, he explained, this is meant to encourage “users who own various kinds of lenses, including old lenses, to try the E-mount cameras.”

“What sets Sony’s E-mount lenses apart are their short flange backs and compact sizes. A vast range of lenses can be used, including 50-year-old lenses. More than 200 types of mount adapters are available, making it possible to use your lenses in many different ways,” Hisamatsu said. “I have heard that a man visited the Sony Building in Ginza to try E-mount with 20 lenses in his bag,” he added.

“In the past, the pleasure of enjoying lenses in this way was limited to small image sensors. The advent of the α7 series has expanded the range of this pleasure to full-frame lenses, which is greatly appreciated by old lens users,” Yoshida said.

Photographers using older lenses don’t have to worry too much about fiddling with settings.

“When a lens from another company is attached, the camera automatically switches to manual focus mode,” Sudo said.

Sony offers a lot of options for those shooting manually. “Features like manual focus assist, focus zoom and focus peaking are also meant for those users who operate the camera in manual focus mode,” Goh said.

The team concluded: “The portable full-frame format camera, built on Sony’s DNA, provides unprecedented experience, delivering performance and compactness in a well-balanced combination.”

From top: The α7R uses magnesium alloy for its top and front covers as well as for its internal structure; the FE 70-200mm F4 G OSS, Vario-Tessar T* FE 24-70mm F4 ZA OSS, FE 28-70mm F3.5-5.6 OSS, Sonnar T* FE 35mm F2.8 ZA, Sonnar T* FE 55mm F1.8 ZA. November 2014

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Surf Culture as Landscape Art Photographer Chris Burkard’s goal is to stay in the moment, while reflecting on its beauty. BY DAVID SCHONAUER

Feature photography © Chris Burkard, Sony Associate Artisan of Imagery

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hris Burkard grew up on the Central California coast, near Pismo Beach, and like other kids in the area, he was a surfer. In high school, perhaps inspired by the beauty of the landscape around him—he wasn’t far from the famously photographed vistas of Big Sur—Burkard loved art and experimented with drawing before latching onto photography.

The reason was simple: With photography, he could be at the beach, surfing with his friends, and at the same time create something lasting.

“Photography allowed me to be in the moment, while also reflecting on it,” he says.

Today, Burkard, a member of Sony’s Associate Artisan of Imagery program, is a successful editorial and commercial photographer best known, not surprisingly, for his surfing pictures. Shot around the world for magazines like Transworld Surf and Surfing, Burkard’s images are as much about fine art as action—while he captures the sport’s drama, his photos also viscerally depict the beauty of nature at its most transcendent. “My goal has always been to show the surroundings of the places I go,

Left: Burkard framed a diminutive surfer against an imposing Norwegian coastline with the Sony a99 and a 180mm f/2.8 lens. Exposure: 1/640 sec. at f/5.6; ISO 80. Above: The same Norwegian coastline, shining under the aurora borealis, captured with the Sony a7 and a Sony 24mm Carl Zeiss f/1.8 lens.

Exposure: 1/30 sec. at f/4; ISO 1250.

not just people in water,” he says. You wouldn’t be wrong to think of Burkard’s surf photography as a kind of landscape photography.

In that regard, the work reflects his artistic nature and education. After high school, Burkard bypassed college to study landscape photography in the desert Southwest. But he came to realize that his future lay near the ocean—any ocean.

“I wanted to travel and see the world, and what better way to do that than through surfing,” he says. It was only later, after years spent photographing the world’s finest surfing spots, that Burkard decided his favorite place to be was back in Central California, whose surf culture he captured in the book California Surf Project (Chronicle Books).

He still travels frequently—in recent years shooting commercial adventure-travel imagery in northern climes, from Norway and Alaska to Russia and Greenland, for companies like Patagonia and Microsoft. “Lifestyle sells, and it’s important to be able to understand it intrinsically and capture it in a timeless way,” Burkard says. “Our clients know November 2014

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Left: Adventuring at Latourell Falls in Oregon, shot with a Sony a7 and a Sony 24mm Carl Zeiss f/1.8 lens. Exposure: 1/3 sec. at f/4; ISO 100. Above: Stunts at Cayucos Pier in California, shot with a Sony a77 and a Sony 75-300mm f/4.5-5.6 lens at 300mm. Exposure: 1/800 sec. at f/8; ISO 100. Below: Surfing in the Artic Circle, shot with a Sony a7 and a Sony 24-70mm Carl Zeiss f/2.8 lens at 70mm. Exposure: 1/1600 sec. at f/4; ISO 200.

we have this unique perspective on surf culture and that we can bring them something that’s authentic.”

The search for authenticity is one reason Burkard has been shooting with Sony gear for the past few years. Small, full-frame cameras—although he used to primarily use the Sony α99, these days, he says, he uses the 24.3-megapixel Sony α7 for almost 90 percent of his work—allow him to travel light and fast while still capturing top-quality images.

“I started using the Sony cameras on a trip to Norway, and it was a game changer for me,” he says. “It was -2° outside, and I was on a snowmobile, and I needed a small camera that could capture lowlight conditions. When you’re shooting in dark blue skies in the 14

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middle of winter in the far north, you need a camera with a wide dynamic range.”

But Burkard says the major benefit of the small camera is that it allows him to do what he wanted way back when he was in high school—“being outside, seeing the world, while also photographing it.”

See more of Chris Burkard’s work at burkardphoto.com.

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The Beautiful Game, Up Close

Above: Brian Smith shot this scene in Natal, Brazil, with the Sony a7S and a Sony 24-70mm f/4 lens at 55mm. Exposure: 1/640 sec. at f/8; ISO 800.

Right: Smith’s photo of Favela Santa Marta, Rio de Janeiro, shot with the a7S and a Sony 35mm f/2.8 lens. Exposure: 1/250 sec. at f/4; ISO 800.

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Feature photography ©Brian Smith, Sony Artisan of Imagery

At this summer’s World Cup competition, Sony Artisans Brian Smith and David McLain used a remarkable new tool to capture Brazil’s passion for futebol. BY DAVID SCHONAUER

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n Brazil, you don’t go far without seeing someone kicking a ball.

On beaches and in favelas (slums), at playgrounds and in the streets of cities and towns all over the country, you will find Brazilians playing their beloved futebol. They call it “o jogo bonito,” or “the beautiful game.”

But it’s more than a game to them.

“It’s part of daily life,” says photographer Brian Smith. “It’s part of the soul of the country.”

A member of Sony’s Artisans of Imagery group of professional photographers, Smith got a firsthand look at Brazil’s passion for soccer this summer during the World Cup competition there. Sony, a longtime World Cup sponsor, had asked him to field test the newest addition to its line of full-frame

“In Brazil, I could use the α7R for portraits, for instance, and then switch to the α7S to photograph street life or interior scenes.” mirrorless cameras—the 12.2-megapixel Sony α7S—amid the crowds and color of the sport’s biggest event. He planned to use the camera, which has a sensor capable of capturing visual detail in extreme low-light conditions, to photograph soccer’s most ardent fans—not only in Brazil’s well-lit new stadiums, but also on dim avenues and in the restaurants and bars where they gathered to celebrate victories and lament losses.

At the same time, Sony sent another Artisan of Imagery, David McLain, to test the new camera’s video capabilities.

McLain, a photographer who has shot frequently for National Geographic, has forged a new career as a filmmaker, earning wide acclaim for his travelog video The Calling, shot with the Sony α99 DSLR. Recently, he has been working on a video project called Bounce, documenting how 18

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Fans of Ghana’s soccer team in Natal. Smith shot with a Sony a7S and a Sony 70-400mm f/4-5.6 lens at 90mm with an LA-EA4 adapter.

Exposure: 1/200 sec. at f/5; ISO 6400.

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people all over the world play ball games of different sorts. For McLain, the trip to Brazil was an opportunity to shoot unique footage for his film in out-ofthe-way locations, using a small camera that can capture ultra-high-definition 4K video in low light.

“For us, the World Cup was a backdrop against which we could show Brazil’s love of soccer,” he says.

Like McLain, Smith saw the α7S as a tool to expand his creative options, using it alongside the 24.3-megapixel Sony α7 and 36.4-megapixel Sony α7R to shoot a variety of scenes. Smith notes that the α7R, which trades out an optical lowpass anti-aliasing filter in order to capture detail with medium-format-like clarity, has become his go-to workhorse camera since its introduction in 2013. He has published a book, Sony A7/A7R: From Snap Shots to Great Shots (Peachtree Press), to share his insights on how to get the most from the camera system.

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Above: Smith shot a young soccer fan in Natal with the 36.4-megapixel Sony a7R and a Sony 24-70mm f/4 lens at 24mm. Exposure: 1/30 sec at f/4; ISO 200. Right: He chose the Sony a7S for this beach scene, shooting with a Sony 70-200mm f/4 lens at 200mm. Exposure: 1/1000 sec. at f/5; ISO 200. Below right: Smith with fellow Sony Artisan David McLain (left) at the USA-Ghana match in Natal.

“In Brazil, I could use the α7R for portraits, for instance, and then switch to the α7S to photograph street life or interior scenes,” he says.

The light sensitivity of the α7S’s sensor, which is made up of pixels three times the size of those in the α7R, bowled him over. “For better-lit scenes, I might have been shooting at ISO 3200, but I had it cranked to 100,000-plus for a couple of shots,” he says. “In one instance, I was shooting in a bar lit by fluorescent lights behind a shelf of beer bottles. It didn’t look like much to my eye, but in the viewfinder the scene was amazingly clear.”

McLain found that the camera allowed him to capture scenes that more expensive cinema cameras could not. “There is footage we shot at ISO 3200 with just a couple street lamps for light. We could have never gotten shots like that in 4K without the camera,” he says.

Read Brian Smith’s full review of the α7S at briansmith.com.

To see more from David McLain’s upcoming video, go to bouncethemovie.blogspot.com.

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Switching to Sony:

A Photographer’s Journey

W

hat makes a photographer ditch his old cameras and commit to Sony? In a word, innovation. Brian Matiash’s eyes were drawn to Sony when it launched the cutting edge QX series, a lens-style camera that attaches to smartphones.

But it was the full-frame Sony α7 camera that really grabbed Brian’s attention. While other camera companies were adding Wi-Fi primarily to their lower-end compact cameras, he was thrilled to discover Sony incorporating the technology into their higher-end gear.

Brian preordered the Sony α7, despite having used other cameras since 1996, and after just two months of shooting, he was hooked. Then he ordered the Sony α7R, and started selling off his old gear. Next on his list? The Sony α7S. “Each one serves a purpose,” he says, and he’s thrilled that the smaller form factor doesn’t compromise image quality or usability. Built-in Wi-Fi makes it simple for 22

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Above: The denizens of Shibuya Crossing, Tokyo, Japan.

Opposite: Descent to Lower Antelope Canyons, Page, AZ. Both shot with the Sony α7 and a Canon EF 14mm/F2.8L II at 14mm.

Brian to send full resolution JPEGs to his smartphone, where he can edit and share his photos on the fly, instead of having to wait until he gets home.

Based in picturesque Portland, Oregon, Brian likes to shoot long exposure landscape photos with his α7. In May of this year, he shot the Ironman competition in Australia in the pouring rain, with only a plastic grocery bag to protect his Sony camera; it came out unscathed and he got all the shots he wanted.

As Google’s Global Photos Products Evangelist, Brian leverages his knowledge of the photo industry and works with key influencers, partners, and consumers to bring awareness of the Google Photos products and the Google+ platform.

See more of Brian Matiash’s work at brianmatiash.com.

Feature photography ©Brian Matiash, Sony Associate Artisan of Imagery

Brian Matiash, a Sony Associate Artisan of Imagery, recently made a big change. BY MOLLY K. MCLAUGHLIN

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The Essentials

Packing Light to Capture The Big Waves

INSIDE CHRIS BURKARD’S CAMERA KIT

BY DAVID SCHONAUER

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hris Burkard grew up surfing on Central California’s beautiful coastline and is now one of the world’s most accomplished surfing photographers (see page 12). While he’s still based in California, he travels all over the world—including the Arctic Circle—to capture the big waves.

He packs light and finds creative freedom using the small full-frame Sony α7, along with the Sony α6000 and a selection of Sony lenses. But his kit includes a few other essential items:

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1.

2.

3.

4.

5.

6.

7.

8.

Kenti F-Stop Bag Marmot Precip Jacket Goal Zero Torch Goal Zero Nomad 7 Solar Panel Goal Zero Flashlight Hoya Filter Kit Sony α6000 Sony 24mm f/1.8 Wide-Angle Prime Lens 9. Clif Bar Nutrition Bars 10. Black Diamond Cosmo Headlamp 11. Olloclip 4-In-1 iPhone Lenses 12. Sony α7

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13. Sony 24-70mm f/2.8 Carl Zeiss Lens 14. Gerber Remix Knife 15. Western Digital My Passport Slim Hard Drive and Western Digital Nomad Case 16. Sony 16-70mm f/4 Lens 17. Sony 55mm f/1.8 Lens 18. Sony 10-18mm f/4 Lens 19. Induro Tripod 20. Sony 70-200mm f/4 Lens 21. Mizu M8 Water Bottle 22. Trigger Point Foam Grid Massage Roller

6000, f/4, 1/320, ISO 160.

Breakneck speed.

6000

INTRODUCING THE WORLD’S FASTEST AUTOFOCUS* Set new speed records with the premium, mirrorless interchangeable-lens camera that’s focused on fast. Every epic shot you take benefits from 24.3MP detail, 179 AF points and up to 11 frames per second. sony.com/a6000

ROBERT EVANS Artisan of Imagery “I love the 6000. It’s becoming my favorite camera for both work and personal use.”

© 2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners. *Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of February 12, 2014, based on Sony research. Measured using internal method with E PZ 16-50mm F3.5-5.6 OSS lens mounted. CIPA guideline compliant.