My (short) Review of David Busch's "Sony a7CR/a7CII Guide To Digital Photography"

SUGGESTED

THE PREVIOUS post here was an in-depth review of Gary Friedmans's "Guide to The Sony's A7CII and A7CR." In that post, I acknowledged the David Busch guidebook series, and particularly, his own guide covering these two Sony models. I noted that wanted to read it and would either review it separately or come back to the prior post and comment. This is not really a full review, but I thought it was long enough that it would probably be best to give it it's own post and link them back and forth. You may, like I have, end up with both books. But if I were to recommend only one of them, it would be the Friedman Guide.

ON A positive note, at the very least, the title is not completely misleading. I mentioned in my recent review of Gary Friedman's book on the a7CR and II, that my personal criteria for a camera model guide means it tells us about the particular model, how it works, and how to configure it. For a "manual" like these, I do not really want a lot of what I think of as extraneous "how to" information. So when a book says its a "Camera Guide" for a particular model, I immediately find that disingenous and a bit offputting. But in Busch's case, he labels it: "[name your model] Guide To Digital Photography." At least that is calling it what it is. It is in reality yet another "how to" photography book.

THE BOOK presents itself as a "Sony alpha a7CR/a7CII guidebook." The series are basically formulaic, and he has written hundreds of them, with virtually every major manufacturer and the vast majority of their offered models (particularly for DSLR and Mirrorless cameras) including Canon, Sony, Nikon, Olympus, Panasonic, and Pentax. If you are going to do that, and have some consistency, they are going to be formulaic, and I am not criticizing that by any means. I am just saying that it doesn't fit my personal criteria of a camera manual/guidebook.

It is in reality yet another "how to" photography book

I AM not saying it isn't a good book. It is well-written with basically clear explanations. Where it does so, it gives good information about the named camera model. What it also does is mixes in a substantial amount of general photographic and digital "how to" information. I would judge that around 50% (perhaps more) of the book contains information and explanations about features that you find every digital camera, how they work, and the mechanics behind them. Again, that is not a bad thing. It is just not what I am looking for in a camera-specific "guide." I want to get into the nitty gritty of how (in this case the Sony A7C series) the camera works, how its menu system works, what special features it has, and how to configure )and eventually troubleshoot) it!

ONE THING I have to say about that here is that when it comes down to the explanations of the camera features themselves - especially as he goes through the menu items step by step, the Busch book does a notably better job of illustrating and explaining (in most cases) each setting. If you are willing to wade through all the other stuff, it may be worth getting this book. I have found a handful of things in it that I didn't get from the Friedman book, and didn't know. So there's that. 😊

THE MORE sophisticated and "high end" the camera is (and lets be honest, this one is a very sophisticated tool), the more compelling this approach is to me. Why? Because I assume the vast majority of photographers who have moved to a camera like the a7CR/a7CII cameras are already reasonably sophisticated users and already have a good, fundamental understanding of how digital cameras and sensors, and things like exposure adjustments, autofocus, lens crop factor, flash and the like work!

I want to get into the nitty gritty of how (in this case the Sony A7C series) the camera works, how its menu system works, what special features it has, and how to configure )and eventually troubleshoot) it!

I LIKE books. This one will stay on my shelf. But the Friedman book will remain my "go - to" and recommended book for the Sony A7C series unless and until something better comes along. If, like me, you like books, I would certainly suggest you take look at this one as a supplementary work.

Suggested

Gary Friedman's Guide to Sony's A7CII and A7CR

RECOMMENDED

I HAVE lamented frequently about the lack of written and physically printed documentation on current day cameras and electronic equipment. Not that I blame the manufacturers. In fairness to them, how many people even read manuals? But even if they do/did, the cost to print and ship them with the device has to be a factor. The reality, anyway, is that those included manuals often weren't particularly helpful.

They are not just a camera anymore. Now they are a mini-computer

BACK IN the day, a camera was a pretty simple mechanism and it really didn't take much to figure out how to load it with film, wind it, and set the metering, shutter speed, etc. Over time, however, as electronics began to be integrated into the more sophisticated camera bodies, understanding and being familiar with all the technology became more of a challenge. And then along came the digital camera ("digi-cam"). They are not just a camera anymore. Now they are a mini-computer. They really needed documentation. That just doesn't happen in print anymore, and in many cases it doesn't happen at all. Sony does have a pretty good PDF formatted "Help" Manual that pretty much mimics the documentation they once supplied in print. It is 600 pages. An awful lot to print it yourself

Some of us like to read along with a highlighter or underliner and "flag" sections with a post-it-like flag. I know. Its' old school. But there are a lot of us still hanging in there

WHY SHOULD we care, when we can bring it up on our computer or our smart phone? Well, as I have said before, some of us like to read along with a highlighter or underliner and "flag" sections with a post-it-like flag. I know. It's old school. But there are a lot of us still hanging in there.

Sadly, the straight up, "how this thing really works" type of book appears to be becoming extinct

EVEN BETTER than most of the included documentation, there have been a few authors over the years who have written comprehensive books on each camera model. Not just "documentation." More like the what, the where, the how, and (importantly for some of us) the why? These books usually build on the author's own hands-on experience with the camera and often give recommended settings. The newest cameras are particularly complex, with multiple different settings for different circumstances, and a great deal of customizability. A "how to configure" book is really needed. In prior reviews, I have praised those books that stick to the technical subject of the camera workings, and criticized the books out there that do two things that a camera manual or "how to" book should not do in my opinion: (1) give fundamental photography instruction and (2) showcase their own work. Those subjects are - in my view - for other books, dedicated to the subject. I want an in-depth manual on how to make settings, and the pros and cons of each setting. Don't get me wrong. I am happy to see them use their work to illustrate a point. But otherwise, I am paying for extraneous print - and carrying extra pages around. In the case of the "showcase" variety, I kind of feel like I have been taken in, to buy the author's attempt to get his own handi-work in print. And in most cases, there are other, much better instructional books on photography. Sadly, the straight up, "how this thing really works" type of book appears to be becoming extinct.

This is what most of us are looking for, I suspect

GARY FRIEDMAN's "Guide to Sony's A7CII and A7CR" is the only one I could find that fits my above criteria (in an admittedly very small universe). Having recently acquired the Sony A7CR, I needed some help diving throught its extensive menus and capabilities. `Available in both ebook and printed format, his guides are again available on Amazon (when I first wrote a draft of this post, I was unable to find them on the Amazon platform. Today, as I am doing final editing for posting, I checked and there they are. Same pricing as direct from the Friedman Archives linked below). Friedman maintains his own website (The Friedman Archives), and his rather complete collection of camera guides can be purchased there, including the A7CII and A7CR Guides with a choice of E-format (currently $34.95) or print (B&W version: $54.95 and Color version $76.92). Amazon does not appear to offer the color version. You may find (see my coverage below) it worth the extra $20 or so to get the color version. The print versions will - of course - incur additional shipping charges. The e-version is a well thought out 3-file bundle (PDF, Kindle-ready and ePub versions). My only thought there is that once someone springs for the substantial cost of the print books, it seems like it would be a nice add-on to include the digital files as part of that purchase.

Indexes are a very important tool if you are going to keep and use the book as a reference guide

I OWN a couple of Gary's other books. He has a clear, easy to read and informative writing style. My only criticism is that occassionaly, he will basically skip over a feature if he isn't personally impressed by it (even if it is possible/probable that other would find it useful). More on that below. If you have one or have read one, you will see he follows a pretty consistent format in his books. The order of presentation of the material is by his own admission, a bit unorthodox, but he explains why convincingly. He wanted to get certain information out to you front and center. Being a camera guide, the book is not necessarily intended to be read from front to back. It is more like a textbook or manual (though I usually find myself reading through - or at least skimming - the entire book every time I purchase one of these). It is evident that in using the same format, he borrows a fair amount of material from other books, where the topics are the same. Again, having done my own eBook authoring, I totally understand that. No sense in repeating the work. It helps maintain that consistency, which, if you find his books helpful (as I do), is a good thing.

a thorough, step-by-step guide through the camera's complex and detailed menu system, where each item, is found, what it is for, and when and how to use it

THE AUTHOR spends some time in the beginning telling us what about the camera model is new and different and in some cases, unique. He follows this by a "nutshell" section - kind of a quick, "getting started" guide for those who want to start shooting right away.

THE MEAT of the book follows, with a thorough, step-by-step guide through the camera's complex and detailed menu system, where each item, is found, what it is for, and when and how to use it. This is what most of us are looking for, I suspect. I would venture that the vast majority of purchasers of these cameras are experienced photographers and are looking for that "under the hood" detail that makes the thing work for you, and at its best. The book does this very well, giving in-depth coverage where there are multiple settings choices. Mostly (I'll comment on a couple small things below). The balance of the book covers some items that not every user will use, but there is something for everyone here.

The point is that focus bracketing is a feature of the camera and a "comprehensive" book owes us a more in-depth explanation on how to set up and use the feature

I MENTIONED some negatives. I want to put this in perspective. They aren't "deal-breakers,"  in terms of the utility of the book. I still recommend the book. Having said that, though, the author apparently doesn't find the camera's newly added ability to shoot a sequence of near to far focus points particularly valuable. So he gives it short shrift and little to no coverage - then bails out by saying just do your own stacking manually. I am willing to bet he is in the minority in his view. If you are one who is interested in focus bracketing/stacking I see it as a potentially time-saving and useful tool. Regardless of the author's personal view on a topic, a truly comprensive book would cover such a popular topic in some detail. He doesn't. But that is really not the point. Opinions on a feature will sometimes differ. The point is that focus bracketing is a feature of the camera and a "comprehensive" book owes us a more in-depth explanation on how to set up and use the feature.

NOW FOR my rant. This really doesn't have any effect on the efficacy of the book. My reaction to it more of a manifestation of the "grammar police" in me. But still, every time I read it anywhere my reaction is visceral. This is partly because I think there is a reason for getting it correct. Getting it incorrect has at least a small chance of making it misleading (though not particularly earth-shaking). The book consistently capitalizes the word "raw." Most of us know all capitalized words and letter as mnemonics (e.g., JPG, TIFF, HEIF, etc.). In the context of digital photography "raw" is not a mnemonic for anything. It is a word. It means just what you might think; as in "uncooked." The "raw" file is an out of the camera digital file with no processing done to it. As such, it should not be in all caps. Again: very minor "niggles." End of rant.😝

If you have either of these cameras (and particularly if you are new owner), I strongly recommend that you pick up this book

IF YOU have either of these cameras (and particularly if you are new owner), I strongly recommend that you pick up this book in one form or another. In days gone by, I would have unequivocally said it is well worth the cost. I would have called it the "modest" cost. I think $35 is a good investment in learning this complex camera. This is what I would have expected in years past to pay for a nice, color, print book. At nearly double that cost, I have some pause about my recommendation. I can easily recommend the eBook. The print book is expensive. You are going to have to be the judge of whether it is worth the cost. I opted for the B&W version. In hindsight, having spent some hours now with the book and my camera, I would probably have sprung for the additional $20 or so for the color copy, having already laid out the expenditure of cash. There are a few times when reference is made to colors in the illustrations that are pretty much useless in the B&W version. Still, for my "hands on" reading style of learning, I think, given the significant investment in the equipment, it was still well worth it.

I will be following this next week with my (reasonably comprehensive) review of the A7CR having now spent a couple weeks "hands-on" with it in the field. Stay tuned 

RECOMMENDED

Note: At the time of originally writing this, I looked for additional resources. For the most part, any other books followed a formulaic format that was more a photography "how to" piece with information about different cameras fitted in. Not particularly useful in my view beyond some very rudimentary items. There is one other prolific author out there: David Busch. I have owned a couple of his books and in general have been slightly dissatisfied with their "general photography" approach. Like Friedman (and again, I don't blame either of them), it appears that all the books follow a certain format, which makes for some repetitive reading. But if the book delves into the details of a particular camera, I am just fine with that. I have again read the Amazon reviews of Busch's A7CII and A7Cr series and have determined that I really need to give that one a chance, so I have ordered it and will read it. My short review is here.

Filters. Old school? No longer relevant?

GENERALLY, I do not use many accessories. My camera and lens do the bulk of work. Kind of a "captain obvious" statement, I know. But there are so many accessories on the market when you browse photographic equipment sites.

IN MY case, the only accessories I use regularly are a variation of an "L" bracket, and polarizing filters. On more rare ocassions, I use neutral density filters. Over my 45 or so years of photography, I have accumulated some "stuff" including a pile of polarizing filters I do not use any more. They are good quality (B&W/Schneider Optics) filters. The primary reason I don't use them any more is that I have gone to a different system for attaching them. So, thinking maybe I could get a few bucks for them, I asked all "the regulars" (MPB, KEH, B&H, Adorama, and Used Photo Pro) for a quote on a pile of them. They declined all of them. Every filter. I was surprised.

nobody uses filters anymore

I COULDN'T help wondering why. I have had good success selling cameras and lenses. For filters, there is clearly no demand. I can only draw a couple conclusions. First, folks have - like me - completely gone over to a different filter attachment system. Personally, I highly doubt that is the reason. My second conclusion, though, is probably the more likely one: nobody uses filters anymore (obviously an overstatement - some of us still do).

WHY? I think there is a general gestalt that digital photography has eliminated the need for filters. We can now do it all, either in-camera, or post processing. I kind of understand that thought process. There is undeniably lots of editing we can do to digital images. Some of it can reproduce what some filters might do. But I think the idea that filters are no longer relevant is dead wrong!

there is a general gestalt that digital photography has eliminated the need for filters. I think that . . . is dead wrong!

THERE IS a good (even compelling) argument for some physical, on-the-lens filters. Two of them, in my view. The first, and most important, is the polarizing filter. Yes, there are methods of reducing contrast, and even some glare in most post-processing software. As well, there are many "preset" filters out there, some of them purporting to be "polarizing filters." I have used a couple of them. They are not the same thing. They aren't filters at all. They are "preset" applications (referred to as "presets"). The word, "filter" implies that it is something that is affecting the image before it is recorded (i.e., on the front of the camera lens). In very simplistic terms, what a polarizer does is filter some of the blue light waves reaching the front element of the lens and blocks them from entering. Blue light waves are very short and generally are scattered, in random directions. This scattering can cause glare. By filtering out any that are not parallel, the polarizer actually cuts the glare the lens "sees" before the image reaches - and is recorded on - the sensor. There is just no way to do this after-the-fact, in any post-processing algorithm I know.

POLARIZATION PROBABLY applies most often in two scenarios: reflective surfaces like flat water and glass; and foliage (especially fall). If you attach and rotate the filter (on a TTL viewer or one of today's EVF viewers) you can actually see it at work. There are, of course, caveats. First, if you aren't careful, you can "over-polarize" an image. This can show up as clear blue skies going from natural to unnatural dark cobalt blue. The second is that most polarizers will also cause you to lose at least a full stop of light.

There is just no way to do this after-the-fact, in any post-processing algorithm I know

THERE IS another filter that I think has (albeit occasional) utility: the ND (neutral density) filter. What this filter does is cut down on the amount of light entering the lens. Its usefulness is - in my experience - limited to those situations where you want to shoot very slow shutter speeds in ambient lighting that is just too bright to do so. I carry three of them a varying densities. I have only found two cases where I have found them personally useful. First and foremost is when shooting moving water (like waterfals or drops in streams). Even then, I find it limited, as my personal view is that the "cotton candy" waterfall look can be overdone. The second is when I am shooting a scene with clouds and would like to get some streaking as the clouds move. There are some other, very limited instances in which a filter may be recommended. If you are shooting in certain conditions (salt water comes to mind for me), you may want some protection for your lens. But in general, today's lenses are very well made and the front elements are not that easily damaged.

I never put any glass in front of my expensive lens unless there is a reason to do so

OTHER THAN the above instances, I never put any glass in front of my expensive lens glass.Having spent hundreds (or even thousands) on that expensive, high-tech glass, my feeling is that I don't want to put a cheaper piece of glass on the front of it - unless I have a good reason. But the polarizer and ND filters are worth carrying - and using for aesthetic reasons. And digital processing will not replace them.