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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

Vietnamese Deputy Prime Minister and Foreign Minister Pham Binh shows U.S. Secretary of State John Kerry a portrait – made of tiny colored stones, and commemorating the 20th anniversary of the normalization of diplomatic relations between the United States and Vietnam - after the two held a bilateral meeting at the Vietnamese Ministry of Foreign Affairs Guesthouse in Hanoi, Vietnam, on August 7, 2015. [State Department photo/ Public Domain]

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

From Wikipedia, the free encyclopedia

 

Jump to: navigation, search

This article is about the capital of the Czech Republic. For other uses, see Prague (disambiguation).

"Praha" redirects here. For other uses, see Praha (disambiguation).

Prague

Praha

Capital city

Hlavní město Praha

  

Prague (/prɑːɡ/; Czech: Praha [ˈpraɦa] ( listen), German: Prag) is the capital and largest city in the Czech Republic, the 14th largest city in the European Union[7] and also the historical capital of Bohemia. Situated in the north-west of the country on the Vltava river, the city is home to about 1.3 million people, while its larger urban zone is estimated to have a population of 2.2 million.[8] The city has a temperate climate, with warm summers and chilly winters.

Prague has been a political, cultural and economic centre of central Europe complete with a rich history. Founded during the Romanesque and flourishing by the Gothic, Renaissance and Baroque eras, Prague was the capital of the kingdom of Bohemia and the main residence of several Holy Roman Emperors, most notably of Charles IV (r. 1346–1378).[9] It was an important city to the Habsburg Monarchy and its Austro-Hungarian Empire. The city played major roles in the Bohemian and Protestant Reformation, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia, during both World Wars and the post-war Communist era.[10]

Prague is home to a number of famous cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include the Prague Castle, the Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the extensive historic centre of Prague has been included in the UNESCO list of World Heritage Sites.

The city has more than ten major museums, along with numerous theatres, galleries, cinemas and other historical exhibits. An extensive modern public transportation system connects the city. Also, it is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.[11]

Prague is classified as a "Beta+" global city according to GaWC studies[12] and ranked sixth in the Tripadvisor world list of best destinations in 2016.[13] Its rich history makes it a popular tourist destination and as of 2014, the city receives more than 6.4 million international visitors annually. Prague is the fifth most visited European city after London, Paris, Istanbul and Rome.[14]

 

History[edit]

Main articles: History of Prague and Timeline of Prague

  

During the thousand years of its existence, the city grew from a settlement stretching from Prague Castle in the north to the fort of Vyšehrad in the south, becoming the capital of a modern European country, the Czech Republic, a member state of the European Union.

 

Early history[edit]

  

The Prague astronomical clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest one still working.

The region was settled as early as the Paleolithic age.[15] Around the fifth and fourth century BC, the Celts appeared in the area, later establishing settlements including an oppidum in Závist, a present-day suburb of Prague, and giving name to the region of Bohemia, "home of the Boii".[15][16] In the last century BC, the Celts were slowly driven away by Germanic tribes (Marcomanni, Quadi, Lombards and possibly the Suebi), leading some to place the seat of the Marcomanni king Maroboduus on the southern Prague's site Závist.[17][18] Around the area where present-day Prague stands, the 2nd century map of Ptolemaios mentioned a Germanic city called Casurgis.[19]

In the late 5th century AD, during the great Migration Period following the collapse of the Western Roman Empire, the Germanic tribes living in Bohemia moved westwards and, probably in the 6th century, the Slavic tribes (Venedi) settled Central Bohemian Region. In the following two centuries, the Czech tribes built several fortified settlements in the area, most notably in the Šárka valley, Butovice and later in Levý Hradec.[15]

The construction of what came to be known as the Prague Castle began near the end of the 9th century, with a fortified settlement already existing on the site in the year 800.[20] The first masonry under Prague Castle dates from the year 885 at the latest.[21] The other prominent Prague fort, the Přemyslid fort Vyšehrad, was founded in the 10th century, some 70 years later than Prague Castle.[22] Prague Castle is dominated by the cathedral, which was founded in 1344, but completed in the 20th century.

  

The legendary origins of Prague attribute its foundation to the 8th century Czech duchess and prophetess Libuše and her husband, Přemysl, founder of the Přemyslid dynasty. Legend says that Libuše came out on a rocky cliff high above the Vltava and prophesied: "I see a great city whose glory will touch the stars." She ordered a castle and a town called Praha to be built on the site.[15]

A 17th century Jewish chronicler David Solomon Ganz, citing Cyriacus Spangenberg, claimed that the city was founded as Boihaem in c. 1306 BC by an ancient king, Boyya.[18]

The region became the seat of the dukes, and later kings of Bohemia. Under Roman Emperor Otto II the area became a bishopric in 973. Until Prague was elevated to archbishopric in 1344, it was under the jurisdiction of the Archbishopric of Mainz.

Prague was an important seat for trading where merchants from all of Europe settled, including many Jews, as recalled in 965 by the Hispano-Jewish merchant and traveller Ibrahim ibn Ya'qub. The Old New Synagogue of 1270 still stands. Prague contained an important slave market.[23]

At the site of the ford in the Vltava river, King Vladislaus I had the first bridge built in 1170, the Judith Bridge (Juditin most), named in honour of his wife Judith of Thuringia. This bridge was destroyed by a flood in 1342. Some of the original foundation stones of that bridge remain.

In 1257, under King Ottokar II, Malá Strana ("Lesser Quarter") was founded in Prague on the site of an older village in what would become the Hradčany (Prague Castle) area. This was the district of the German people, who had the right to administer the law autonomously, pursuant to Magdeburg rights. The new district was on the bank opposite of the Staré Město ("Old Town"), which had borough status and was bordered by a line of walls and fortifications.

  

The era of Charles IV[edit]

  

Prague flourished during the 14th-century reign (1346–1378) of Charles IV, Holy Roman Emperor and the king of Bohemia of the new Luxembourg dynasty. As King of Bohemia and Holy Roman Emperor, he transformed Prague into an imperial capital and it was at that time the third-largest city in Europe (after Rome and Constantinople).

He ordered the building of the New Town (Nové Město) adjacent to the Old Town and laid out the design himself. The Charles Bridge, replacing the Judith Bridge destroyed in the flood just prior to his reign, was erected to connect the east bank districts to the Malá Strana and castle area. On 9 July 1357 at 5:31 am, Charles IV personally laid the first foundation stone for the Charles Bridge. The exact time of laying the first foundation stone is known because the palindromic number 135797531 was carved into the Old Town bridge tower having been chosen by the royal astrologists and numerologists as the best time for starting the bridge construction.[24] In 1347, he founded Charles University, which remains the oldest university in Central Europe.

 

He began construction of the Gothic Saint Vitus Cathedral, within the largest of the Prague Castle courtyards, on the site of the Romanesque rotunda there. Prague was elevated to an archbishopric in 1344, the year the cathedral was begun.

The city had a mint and was a centre of trade for German and Italian bankers and merchants. The social order, however, became more turbulent due to the rising power of the craftsmen's guilds (themselves often torn by internal fights), and the increasing number of poor people.

The Hunger Wall, a substantial fortification wall south of Malá Strana and the Castle area, was built during a famine in the 1360s. The work is reputed to have been ordered by Charles IV as a means of providing employment and food to the workers and their families.

Charles IV died in 1378. During the reign of his son, King Wenceslaus IV (1378–1419), a period of intense turmoil ensued. During Easter 1389, members of the Prague clergy announced that Jews had desecrated the host (Eucharistic wafer) and the clergy encouraged mobs to pillage, ransack and burn the Jewish quarter. Nearly the entire Jewish population of Prague (3,000 people) perished.[25][26]

 

Jan Hus, a theologian and rector at the Charles University, preached in Prague. In 1402, he began giving sermons in the Bethlehem Chapel. Inspired by John Wycliffe, these sermons focused on what were seen as radical reforms of a corrupt Church. Having become too dangerous for the political and religious establishment, Hus was summoned to the Council of Constance, put on trial for heresy, and burned at the stake in Constanz in 1415.

Four years later Prague experienced its first defenestration, when the people rebelled under the command of the Prague priest Jan Želivský. Hus' death, coupled with Czech proto-nationalism and proto-Protestantism, had spurred the Hussite Wars. Peasant rebels, led by the general Jan Žižka, along with Hussite troops from Prague, defeated Emperor Sigismund, in the Battle of Vítkov Hill in 1420.

During the Hussite Wars when the City of Prague was attacked by "Crusader" and mercenary forces, the city militia fought bravely under the Prague Banner. This swallow-tailed banner is approximately 4 by 6 feet (1.2 by 1.8 metres), with a red field sprinkled with small white fleurs-de-lis, and a silver old Town Coat-of-Arms in the centre. The words "PÁN BŮH POMOC NAŠE" (The Lord is our Relief) appeared above the coat-of-arms, with a Hussite chalice centred on the top. Near the swallow-tails is a crescent shaped golden sun with rays protruding.

One of these banners was captured by Swedish troops in Battle of Prague (1648), when they captured the western bank of the Vltava river and were repulsed from the eastern bank, they placed it in the Royal Military Museum in Stockholm; although this flag still exists, it is in very poor condition. They also took the Codex Gigas and the Codex Argenteus. The earliest evidence indicates that a gonfalon with a municipal charge painted on it was used for Old Town as early as 1419. Since this city militia flag was in use before 1477 and during the Hussite Wars, it is the oldest still preserved municipal flag of Bohemia.

In the following two centuries, Prague strengthened its role as a merchant city. Many noteworthy Gothic buildings[28][29] were erected and Vladislav Hall of the Prague Castle was added.

  

Habsburg era[edit]

 

In 1526, the Bohemian estates elected Ferdinand I of the House of Habsburg. The fervent Catholicism of its members was to bring them into conflict in Bohemia, and then in Prague, where Protestant ideas were gaining popularity.[30] These problems were not pre-eminent under Holy Roman Emperor Rudolf II, elected King of Bohemia in 1576, who chose Prague as his home. He lived in the Prague Castle, where his court welcomed not only astrologers and magicians but also scientists, musicians, and artists. Rudolf was an art lover too, and Prague became the capital of European culture. This was a prosperous period for the city: famous people living there in that age include the astronomers Tycho Brahe and Johannes Kepler, the painter Arcimboldo, the alchemists Edward Kelley and John Dee, the poet Elizabeth Jane Weston, and others.

In 1618, the famous second defenestration of Prague provoked the Thirty Years' War, a particularly harsh period for Prague and Bohemia. Ferdinand II of Habsburg was deposed, and his place as King of Bohemia taken by Frederick V, Elector Palatine; however his army was crushed in the Battle of White Mountain (1620) not far from the city. Following this in 1621 was an execution of 27 Czech leaders (involved in the uprising) in Old Town Square and the exiling of many others. The city suffered subsequently during the war under Saxon (1631) and Battle of Prague (1648).[31] Prague began a steady decline which reduced the population from the 60,000 it had had in the years before the war to 20,000. In the second half of the 17th century Prague's population began to grow again. Jews had been in Prague since the end of the 10th century and, by 1708, they accounted for about a quarter of Prague's population.[32]

  

In 1689, a great fire devastated Prague, but this spurred a renovation and a rebuilding of the city. In 1713–14, a major outbreak of plague hit Prague one last time, killing 12,000 to 13,000 people.[33]

In 1744 Frederick the Great of Prussia invaded Bohemia. He took Prague after a severe and prolonged siege in the course of which a large part of the town was destroyed.[34] In 1757 the Prussian Prussian bombardment[34] destroyed more than one quarter of the city and heavily damaged St. Vitus Cathedral. However a month later Frederick the Great was defeated and to retreat from Bohemia.

The economy of the city continued to improve during the 18th century. The population increased to 80,000 inhabitants by 1771. Many rich merchants and nobles enhanced the city with a host of palaces, churches and gardens full of art and music, creating a Baroque city renowned throughout the world to this day.

In 1784, under Joseph II, the four municipalities of Malá Strana, Nové Město, Staré Město, and Hradčany were merged into a single entity. The Jewish district, called Josefov, was included only in 1850. The Industrial Revolution had a strong effect in Prague, as factories could take advantage of the coal mines and ironworks of the nearby region. A first suburb, Karlín, was created in 1817, and twenty years later the population exceeded 100,000.

The revolutions in Europe in 1848 also touched Prague, but they were fiercely suppressed. In the following years the Czech National Revival began its rise, until it gained the majority in the town council in 1861. Prague had a German-speaking majority in 1848, but by 1880 the number of German speakers had decreased to 14% (42,000), and by 1910 to 6.7% (37,000), due to a massive increase of the city's overall population caused by the influx of Czechs from the rest of Bohemia and Moravia and also due to return of social status importance of the Czech language.

  

20th century[edit]

  

First Czechoslovak Republic[edit]

Main article: First Czechoslovak Republic

World War I ended with the defeat of the Austro-Hungarian Empire and the creation of Czechoslovakia. Prague was chosen as its capital and Prague Castle as the seat of president Tomáš Garrigue Masaryk. At this time Prague was a true European capital with highly developed industry. By 1930, the population had risen to 850,000.

Second World War[edit]

  

Further information: German occupation of Czechoslovakia

Hitler ordered the German Army to enter Prague on 15 March 1939, and from Prague Castle proclaimed Bohemia and Moravia a German protectorate. For most of its history, Prague had been a multi-ethnic city with important Czech, German and (mostly native German-speaking) Jewish populations.[citation needed] From 1939, when the country was occupied by Nazi Germany, and during the Second World War, most Jews were deported and killed by the Germans. In 1942, Prague was witness to the assassination of one of the most powerful men in Nazi Germany – Reinhard Heydrich – during Operation Anthropoid, accomplished by Czechoslovak national heroes Jozef Gabčík and Jan Kubiš. Hitler ordered bloody reprisals.

At the end of the war, Prague suffered several bombing raids by the US Army Air Forces. 701 people were killed, more than 1,000 people were injured and some of buildings, factories and historical landmarks (Emmaus Monastery, Faust House, Vinohrady Synagogue) were destroyed.[35] Many historic structures in Prague, however, escaped the destruction of the war and the damage was small compared to the total destruction of many other cities in that time. According to American pilots, it was the result of a navigational mistake.

On 5 May 1945, two days before Germany capitulated, an uprising against Germany occurred. Four days later, the 3rd Shock Army of the Red Army took the city, with fierce fighting until 11th May 1945. The majority (about 50,000 people) of the German population of Prague either fled or were expelled by the Beneš decrees in the aftermath of the war.

Cold War[edit]

Main article: History of Czechoslovakia (1948–89)

  

Prague was a city in the territory of military and political control of the Soviet Union (see Iron Curtain). The biggest Stalin Monument was unveiled on Letná hill in 1955 and destroyed in 1962. The 4th Czechoslovakian Writers' Congress held in the city in June 1967 took a strong position against the regime.[36] On 31 October 1967 students demonstrated at Strahov. This spurred the new secretary of the Communist Party, Alexander Dubček, to proclaim a new deal in his city's and country's life, starting the short-lived season of the "socialism with a human face". It was the Prague Spring, which aimed at the renovation of institutions in a democratic way. The other Warsaw Pact member countries, except Romania and Albania, reacted with the invasion of Czechoslovakia and the capital on 21 August 1968 by tanks, suppressing any attempt at reform. Jan Palach and Jan Zajíc committed suicide by self-immolation in January and February 1969 to protest against the "normalization" of the country.

  

After Velvet Revolution[edit]

  

In 1989, after the riot police beat back a peaceful student demonstration, the Velvet Revolution crowded the streets of Prague, and the Czechoslovak capital benefited greatly from the new mood. In 1993, after the split of Czechoslovakia, Prague became the capital city of the new Czech Republic. From 1995 high-rise buildings began to be built in Prague in large quantities. In the late 1990s, Prague again became an important cultural centre of Europe and was notably influenced by globalisation[clarification needed]. In 2000, IMF and World Bank summits took place in Prague. In 2002, Prague suffered from widespread floods that damaged buildings and its underground transport system.

Prague launched a bid for the 2016 Summer Olympics,[37] but failed to make the candidate city shortlist. In June 2009, as the result of financial pressures from the global recession, Prague's officials also chose to cancel the city's planned bid for the 2020 Summer Olympics.[38]

Name[edit]

See also: Names in different languages

  

The Czech name Praha is derived from an old Slavic word, práh, which means "ford" or "rapid", referring to the city's origin at a crossing point of the Vltava river.[39] The same etymology is associated with the Praga district of Warsaw.[40]

Another view to the origin of name is also related to the Czech word práh (in the mean of a threshold) and a legendary etymology connects the name of the city with princess Libuše, prophetess and a wife of mythical founder of the Přemyslid dynasty. She is said to have ordered the city "to be built where a man hews a threshold of his house". The Czech práh might thus be understood to refer to rapids or fords in the river, the edge of which could have acted as a means of fording the river – thus providing a "threshold" to the castle.

Another derivation of the name Praha is suggested from na prazě, the original term for the shale hillside rock upon which the original castle was built. At that time, the castle was surrounded by forests, covering the nine hills of the future city – the Old Town on the opposite side of the river, as well as the Lesser Town beneath the existing castle, appeared only later.[41]

The English spelling of the city's name is borrowed from French. Prague is also called the "City of a Hundred Spires", based on a count by 19th century mathematician Bernard Bolzano, today's count is estimated by Prague Information Service at 500.[42] Nicknames for Prague have also included: the Golden City, the Mother of Cities and the Heart of Europe.[43]

Geography[edit]

Prague is situated on the Vltava river, at 50°05"N and 14°27"E.[44] in the centre of the Bohemian Basin. Prague is approximately at the same latitude as Frankfurt, Germany;[45] Paris, France;[46] and Vancouver, Canada.[47]

  

Climate[edit]

  

Prague has a humid continental climate (Köppen Dfb). The winters are relatively cold with average temperatures at about freezing point, and with very little sunshine. Snow cover can be common between mid-November and late March although snow accumulations of more than 20 cm (8 in) are infrequent. There are also a few periods of mild temperatures in winter. Summers usually bring plenty of sunshine and the average high temperature of 24 °C (75 °F). Nights can be quite cool even in summer, though. Precipitation in Prague (and most of the Bohemian lowland) is rather low (just over 500 mm [20 in] per year) since it is located in the rain shadow of the Sudetes and other mountain ranges. The driest season is usually winter while late spring and summer can bring quite heavy rain, especially in form of thundershowers. Temperature inversions are relatively common between mid-October and mid-March bringing foggy, cold days and sometimes moderate air pollution. Prague is also a windy city with common sustained western winds and an average wind speed of 16 km/h (9.9 mph) that often help break temperature inversions and clear the air in cold months.

  

Culture[edit]

Historic Centre of Prague

 

Includes

Historic Centre of Prague and Průhonice Park

Criteria

Cultural: ii, iv, vi

Reference

616

Inscription

1992 (16th Session)

Area

1,106.36 ha

Buffer zone

9,887.09 ha

 

Prague Congress Centre has hosted the IMF-WBG meeting and NATO summit

The city is traditionally one of the cultural centres of Europe, hosting many cultural events. Some of the significant cultural institutions include the National Theatre (Národní Divadlo) and the Estates Theatre (Stavovské or Tylovo or Nosticovo divadlo), where the premières of Mozart's Don Giovanni and La clemenza di Tito were held. Other major cultural institutions are the Rudolfinum which is home to the Czech Philharmonic Orchestra and the Municipal House which is home to the Prague Symphony Orchestra. The Prague State Opera (Státní opera) performs at the Smetana Theatre.

The city has many world-class museums, including the National Museum (Národní muzeum), the Museum of the Capital City of Prague, the Jewish Museum in Prague, the Alfons Mucha Museum, the African-Prague Museum, the Museum of Decorative Arts in Prague, the Náprstek Museum (Náprstkovo Muzeum), the Josef Sudek Gallery and The Josef Sudek Studio, the National Library and the National Gallery, which manages the largest collection of art in the Czech Republic.

There are hundreds of concert halls, galleries, cinemas and music clubs in the city. It hosts music festivals including the Prague Spring International Music Festival, the Prague Autumn International Music Festival, the Prague International Organ Festival and the Prague International Jazz Festival. Film festivals include the Febiofest, the One World Film Festival and Echoes of the Karlovy Vary International Film Festival. The city also hosts the Prague Writers' Festival, the Prague Folklore Days, Prague Advent Choral Meeting the Summer Shakespeare Festival,[55] the Prague Fringe Festival, the World Roma Festival, as well as the hundreds of Vernissages and fashion shows.

Many films have been made at Barrandov Studios and at Prague Studios. Hollywood films set in Prague include Mission Impossible, xXx, Blade II, Alien vs. Predator, Doom, Chronicles of Narnia, Hellboy, Red Tails, Children of Dune and Van Helsing.[56] Other Czech films shot in Prague include Empties, EuroTrip, Amadeus and The Fifth Horseman is Fear. Also, the romantic music video "Never Tear Us Apart" by INXS, "Diamonds from Sierra Leone" by Kanye West was shot in the city, and features shots of the Charles Bridge and the Astronomical Clock, among other famous landmarks. Rihanna's "Don't Stop the Music" video was filmed at Prague's Radost FX Club. The city was also the setting for the film Dungeons and Dragons in 2000. The music video "Silver and Cold" by AFI, an American rock band, was also filmed in Prague. Many Indian films have also been filmed in the city including Yuvraaj, Drona and Rockstar. Early 2000's europop hit "Something" by "Lasgo" was filmed at the central train station in Prague.

With the growth of low-cost airlines in Europe, Prague has become a popular weekend city destination allowing tourists to visit its many museums and cultural sites as well as try its famous Czech beers and hearty cuisine.

The city has many buildings by renowned architects, including Adolf Loos (Villa Müller), Frank O. Gehry (Dancing House) and Jean Nouvel (Golden Angel).

Recent major events held in Prague:

•International Monetary Fund and World Bank Summit 2000

•NATO Summit 2002

•International Olympic Committee Session 2004

•IAU General Assembly 2006 (Definition of planet)

•EU & USA Summit 2009

•Czech Presidency of the Council of the European Union 2009

•USA & Russia Summit 2010 (signing of the New START treaty)

  

Cuisine[edit]

In 2008 the Allegro restaurant received the first Michelin star in the whole of the post-Communist part of Central Europe. It retained its star until 2011. As of 2016 there are three Michelin-starred restaurants in Prague: Alcron, La Degustation, Bohême Bourgeoise, and Field.

In Malá Strana, Staré Město, Žižkov and Nusle there are hundreds of restaurants, bars and pubs, especially with Czech beer. Prague also hosts the Czech Beer Festival (Český pivní festival), which is the largest beer festival in the Czech Republic, held for 17 days every year in May. At the festival, more than 70 brands of Czech beer can be tasted.

Prague is home to many breweries including:

•Pivovary Staropramen (Praha 5)

•První novoměstský restaurační pivovar (Praha 1)

•Pivovar U Fleků (Praha 1)

•Klášterní pivovar Strahov (Praha 1)

•Pivovar Pražský most u Valšů (Praha 1)

•Pivovarský Hotel U Medvídků (Praha 1)

•Pivovarský dům (Praha 2)

•Jihoměstský pivovar (Praha 4)

•Sousedský pivovar U Bansethů (Praha 4)

•Vyukový a výzkumný pivovar – Suchdolský Jeník (Praha 6)

•Pivovar U Bulovky (Praha 8)

  

Economy[edit]

 

Prague's economy accounts for 25% of the Czech GDP[57] making it the highest performing regional economy of the country. According to the Eurostat, as of 2007, its GDP per capita in purchasing power standard is €42,800. Prague ranked the 5th best-performing European NUTS two-level region at 172 percent of the EU-27 average.[58]

The city is the site of the European headquarters of many international companies.[citation needed]

Prague employs almost a fifth of the entire Czech workforce, and its wages are significantly above average (~+25%). In December 2015, average salaries available in Prague reached 35,853 CZK, an annual increase of 3.4%, which was nevertheless lower than national increase of 3.9% both in nominal and real terms. (Inflation in Prague was 0.5% in December, compared with 0.1% nationally.)[58][59] Since 1990, the city's economic structure has shifted from industrial to service-oriented. Industry is present in sectors such as pharmaceuticals, printing, food processing, manufacture of transport equipment, computer technology and electrical engineering. In the service sector, financial and commercial services, trade, restaurants, hospitality and public administration are the most significant. Services account for around 80 percent of employment. There are 800,000 employees in Prague, including 120,000 commuters.[57] The number of (legally registered) foreign residents in Prague has been increasing in spite of the country's economic downturn. As of March 2010, 148,035 foreign workers were reported to be living in the city making up about 18 percent of the workforce, up from 131,132 in 2008.[60] Approximately one-fifth of all investment in the Czech Republic takes place in the city.

Almost one-half of the national income from tourism is spent in Prague. The city offers approximately 73,000 beds in accommodation facilities, most of which were built after 1990, including almost 51,000 beds in hotels and boarding houses.

  

From the late 1990s to late 2000s, the city was a popular filming location for international productions such as Hollywood and Bollywood motion pictures. A combination of architecture, low costs and the existing motion picture infrastructure have proven attractive to international film production companies.

The modern economy of Prague is largely service and export-based and, in a 2010 survey, the city was named the best city in Central and Eastern Europe (CEE) for business.[61]

In 2005, Prague was deemed among the three best cities in Central and Eastern Europe according to The Economist's livability rankings.[62] The city was named as a top-tier nexus city for innovation across multiple sectors of the global innovation economy, placing 29th globally out of 289 cities, ahead of Brussels and Helsinki for innovation in 2010 in 2thinknow annual analysts Innovation Cities Index.[63] Na příkopě in New Town is the most expensive street in the whole of Central Europe.[64]

In the Eurostat research, Prague ranked fifth among Europe's 271 regions in terms of gross domestic product per inhabitant, achieving 172 percent of the EU average. It ranked just above Paris and well above the country as a whole, which achieved 80 percent of the EU average.[65][66]

Companies with highest turnover in the region in 2014:[67]

Name

Turnover, mld. Kč

ČEZ

200.8

Agrofert

166.8

RWE Supply & Trading CZ

146.1

Prague is also the site of some of the most important offices and institutions of the Czech Republic.

•President of the Czech Republic

•The Government and both houses of Parliament

•Ministries and other national offices (Industrial Property Office, Czech Statistical Office, National Security Authority etc.)

•Czech National Bank

•Czech Television and other major broadcasters

•Radio Free Europe – Radio Liberty

•Galileo global navigation project

•Academy of Sciences of the Czech Republic

  

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

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 $2800+ 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.

The second day of the CitizenU workshop during Youth Politik. Although I was a bit late, I thankfully didn't miss anything major in the beginning, so here is my summary of everything I did see. I summarized a 7 hour session into a 15-20 minute read, so enjoy! :x

 

At the part I arrived in we were learning about the stair-case structure that showed how

discrimination is created through stereotypes and prejudice. Discrimination and stereotypes are also created through positions of power such as males being more dominate over females even though females make up 52% of the population for example.

 

The dominate culture in a location defines the stereotype and discrimination that is seen and accepted. So in India for example instead of white people being dominate, racism would be directed to them in certain cases. There is also a power system that defines how some people may act towards others in a lower class, not acknowledging the power system causes problems in some cases. Although we are trying to become less discriminatory and racist we always have to be conscious about how we act towards other people, otherwise we will regress back to how we were in regards to discrimination.

 

We normalize discriminatory language like "that's so gay", "fag", or "retard" to name a few that are in common use. These are used in a joking manor by many who fail to see that they are hurtful words..

 

There was an experiment done in Vancouver, two resumes that were the exact same apart from one having a white sounding name and the other having an asian/foreign name, were handed out to various businesses to see which one would get the most call backs. It was found that the white name got 40% more opportunities then the asian/foreign one. It was shown that the way your name sounds defines the prejudice that you would receive even before you meet someone!

 

Check-out a book by Peggy Macintosh called Unpacking White Privilege for other details on this.

 

After lunch was the first workshop of the afternoon. I choose to go to the Anti-Racism workshop.

 

First think of what racism is to you. There are different types of racism such as systemic (in the government, etc) , ethno-violence (violence between different ethnicities), social oppression (when one ethnicity oppresses another when they have a position of power), internalized racism (within the same ethnicity), and ethnocentrism (where one ethnicity believes it is the best). Reverse racism is when the minority race (in power or representation) makes fun of the dominate race.

 

Racism has no genetic base, so genetics do not define someone is or isn't good at. There are no human subspecies as well since we weren't isolated from each other long enough to evolve differently.

 

Canada has a long history with racism against native people and immigrants since its creation. Such as residential schools for native people, the Komagata Maru incident which turned back 376 Indians, the Chinese Head Tax which was made to try and stop Chinese immigration to Canada, and the Japanese Internment Camps that were made to hold people of Japanese decent while World War 2 was going on. Vancouver itself has traditionally been a very racist city, with it being a port city, it was where many immigrants passed through on their way into Canada. So much diversity in a single location is bound to cause problems overtime.

 

One of the current issues is that immigrants that were doctors, engineers,or CEO's with very good foreign credentials and education are unable to get jobs here in the supposed "land of opportunities". People, who if given the chance, could give a lot to the economy here and yet they end up driving cabs or working as janitors.

 

Discrimination happens everywhere and to everyone. There are many stories we don't hear or even try to look for.

 

Do you think that racism is okay if it is used in comedy? Is it okay if you do it against your own race?

 

There is a limit to anti-discrimination though. When death threats are made and violence is threatened against someone for what comments they made, you cannot even consider it to be anything else but another form of extreme discrimination.

 

For some people there is a legitimate reason as to why they are racist to a certain group (such as being severely bullied) but even then...

 

You can always do something even if you are only a witness to discrimination, be it speaking to the victim, speaking to the offender, or speaking to other witnesses to try and alleviate or stop the discrimination from happening again. It's always good to say something but make sure you stay safe as well, so you don't necessarily need to confront the offender.

 

Discrimination occurs when one side is dominate.

 

Homophobia Workshop:

 

What is homophobia? It is considered to be a fear of gay people but it's a really broad topic that encompasses much more.

 

LGBTQ2S is an acronym that encompasses what the entire homosexual community is:

• L stands for lesbian. Women that love other women

• G stands for gay. Men that love other men

• B stands for bisexual. One person who likes both genders equally

• T stands for transgender/transsexual. Transgender is an umbrella term that refers to people's gender identity. Transsexual refers to people who want or need a gender change because they don't feel right in the body they were born with.

• Q stands for queer. Queer is an overarching umbrella term that encompasses the acronym but is normally used in a negative way.

• 2S stands for Two-spirited, which is a term normally used by indigenous people. It is used to describe people who do activities that are done by both sides or people who wear the clothes of the opposite gender. It is used in a revered and respected manner. It's best to check up on this term on your own, since I missed a few key meanings as I was taking my notes :s

 

In some countries, were being a homosexual is illegal, people have managed to survive through sex change surgeries (going from male to female or female to male) since they would technically be considered straight if they were the opposite sex.

 

Homophobia stems from strong religious belief, no contact with queers, and fear of rejection from peers to name a few causes.

 

Homophobia stereotypes such as:

• it is considered a mental illness

• homosexuals are mostly in the arts, are nurses, or body builders

• they are emotionally unstable and unreliable

• homosexual men are effeminate & lesbians are "mannish"

• they are promiscuous

• one stereotype that I have not heard of is that homosexual males pray on young children. The Surrey school board once banned children's books because they believed it may cause the children to become like that in the future. Gay teachers weren't even allowed to teach at this time.

 

10% of the population is gay, so this situation presents a perfect opportunity for discrimination to occur since a large portion of the population is not educated about it.

 

Empathy plays a large part in fighting homophobia (and any other type of discrimination) since people who are able to put themselves in the shoes of those being discriminated against, get a far better understanding of what the victim of homophobia is going through.

 

In a situation of discrimination there are three parts to it; The witness, the offender, and the victim. The witness is the one who just watches and does nothing since they believe it's none of their business, the offender is the one who creates the situation, and everyone should know what a victim is and what it's like to be a victim.

 

The media plays another large part in what normal people believe about homosexual people.

 

One thing to remember, is that homosexual people are not aliens, they aren't THAT different from each and everyone of us "normal" people, so they deserve to be treated just like any other person and have the same rights.

 

After that, we had the final closing remarks and game to end the session with.

 

Of course I am missing things since this is just a summary of everything that happened in today's workshops, so get informed and do your own research as well!

 

The CitizenU program should be launching soon in various communities in Vancouver, so keep an eye out for it and try to sign-up if it's in your area! :D

 

Other mentions of the CitizenU program in my photo project:

Day 126: www.flickr.com/photos/sukhrajb/5694878315/in/set-72157625...

Day 83: www.flickr.com/photos/sukhrajb/5558059088/in/set-72157625...

Day 59: www.flickr.com/photos/sukhrajb/5488366552/in/set-72157625...

1. SI: People have learned to normalize the bad state of streets and communal spaces, leading to a scarcity of caring to fix them.

 

2. Materials: Digital Camera; Lightroom; A Toy is partially buried in the dirt. (65)

 

3. Idea: The idea of a toy being discarded by a child and not being picked back up. (75)

 

4. Process: The toy is shot head-on and fills the frame, showing in detail how it's been abandoned. (87)

U.S. Secretary of State John Kerry examines a portrait – made of tiny colored stones, and commemorating the 20th anniversary of the normalization of diplomatic relations between the United States and Vietnam – which was presented to him on August 7, 2015, after he held a bilateral meeting with Vietnamese Deputy Prime Minister and Foreign Minister Pham Binh at the Vietnamese Ministry of Foreign Affairs Guesthouse in Hanoi, Vietnam. [State Department photo/ Public Domain]

Wilson's Snipe (Gallinago delicata), the male, I believe, of a pair that were visiting Teal Pond, Thomson Marsh, Kelowna, BC.

 

This one is a more conventional profile shot, and will be similar to some of the final set that I'll post in a few days....

Playing with ambient light. I used spot metering tied to the focal point and used a radial filter in ACR to 'normalize' exposure on my face. In PS, I selected my shirt then applied a levels adjustment layer to darken it a bit more.

 

I used my Sigma 35 f1.4 Art lens at f2 for this shot.

Israeli Prime Minister Benjamin Netanyahu spoke about 6 years after the Mavi Marmara agreement on the normalization of Turkey-Israel relations. US Secretary of State John Kerry held a press conference after talks in Rome with Israeli Prime Minister Netanyahu to 'an important step' agreement which he described as, "I am using this particular word; Israel's economy will have tremendous impact, "he said. US Secretary of State Kerry to deal "Of course, pleased about this. It was a step we want to see, "he said.

If you are suffering from migraine, you probably tend to stuff yourself in chemical laden and expensive painkillers. We suggest that you try this inexpensive, natural and homemade remedy. It will give you an amazing relief within just 3 minutes.

People with migraine know exactly how unbearable and uncomfortable this pain is. Migraine goes to the extent where it makes life look pretty hard, and in many cases it has shown to be resistant even to the strongest painkillers. In this article we give you a quick and simple method to relieve migraine pain.

It is more like a traditional method that reduces pain within a few minutes, even though it is not the most delicious thing you will ever try.

All you need is some Himalayan salt, some lemon peel and lemon juice.

The most important thing is to get high-quality salt. Choose Himalayan crystal salt, as it is abundant in minerals. You can find it in larger supermarkets and healthy food stores. It contains 84 essential elements. Himalayan salt relieves migraine, headache, strengthens immunity, increases serotonin levels and normalizes pH balance in the body.

The treating method is quite simple. Juice 2 lemons, add two tablespoons of Himalayan salt in, and grate some of the lemon peel. Stir well and pour the mixture in a larger container or jar. Pour in 2 deciliters of water. Stir well and drink. You may not like the taste of this drink, but it will provide you an instant relief within a few minutes. And perform daily nadishodhana pranayama 20 chakras . Source: healthy food house. To know more visit www.yogagurusuneelsingh.com ,www.yogahealthyatra.com Pic by Rohit Suri

Post-Playtex Era Strong In Cullman

 

Chamber of Commerce weather greeted several dozen lactating women and their families at the Walmart Pavilion inside Heritage Park on Saturday morning.

 

The gathering celebrated the 4th annual BIG Latch On. This event ran from 10 am until noon.

 

Cullman County nursing mothers along with their husbands and other support members convened to breastfeed their babies in a supportive, lactation-friendly environment.

 

Ashley Wright, the lead organizer of this event, invited all area lactating moms as well as their friends, family, and community to come out and participate in the cause.

 

The BIG Latch On is an annual, global event that celebrates, promotes and supports breastfeeding.

 

The larger goal of the global BIG Latch On movement is to normalize breastfeeding.

 

There was a worldwide synchronization latch from 10:30 to 10:31 am Cullman time.

 

Groups of nursing moms and their supporters around the world either latched their babies, expressed milk or fed breast milk by spoon to their babies all at the same time across the world. It was a sacred, touching and profound moment at Heritage Park.

 

cullmantoday.com/2017/08/06/post-playtex-era-strong-in-cu...

 

This image shows the moment that Saturn starts to disappear behind the lunar limb as the nearly Full Moon occulted the planet. As seen next to the Full Moon, Saturn appears tiny in comparison, but one can still clearly see the globe and rings, with the rings appearing edge-on, and already partially hidden behind the shadowed lunar limb, near the terminator in the vicinity of Mare Orientale (lower left). The Moon was less than a day away from opposition with the Sun (indeed a partial lunar eclipse occurred some hours later) and Saturn is just over a week past its own opposition with the Sun. The image was captured on September 17, 2024 at 04:11:35 local time (PDT) from San Diego, CA. The image is a single exposure photograph (no compositing) that has been adjusted to normalize the brightness of Saturn and the Moon. The equipment used was a 6" Newtonian telescope (f/6 with focal length 916mm), coma corrector, and a Nikon D500 camera with an exposure setting of 1/250s at ISO 200.

 

Invisibility is so 20th Century. Thank you to the people at Lush Cosmetics for improving the health of the people we serve by normalizing their humanity. Allies need allies.

  

NCTE Showcase Event at Lush Tysons Corner, Virginia, USA, see: www.facebook.com/events/1762695184025567/

Chuon Nath (Khmer: ជួន ណាត; 11 March 1883 – 25 September 1969) was a Cambodian monk and the late Gana Mahanikaya Supreme Patriarch of Cambodia. Amongst his achievements is his effort in conservation of the Khmer language in the form of the Khmer dictionary. His protection of Khmer identity and history in the form of the national anthem, "Nokor Reach" and "Pongsavotar Khmer" were also among his contributions to the country. His ashes were interred at Wat Ounalom in Phnom Penh. His full honorary title is Samdech Sangha Rāja Jhotañāno Chuon Nath (Khmer: សម្តេចព្រះសង្ឃរាជ ជួន ណាត ជោតញ្ញាណោ)

 

Nath was born in Kampong Speu Province to a family of farmers.

 

At the age of 12, Nath was brought to the temple to learn, as was typical for Khmer boys at the time. He became a novice monk in 1897 and was fully ordained in 1904 at the age of 21.

 

In 1913, Nath sat the Pali exam for monks, earning the highest score among the test-takers for that year. He passed the second exam two years later and was appointed professor at the Senior Pali High School (now the Preah Soramrith Buddhist High School) in Phnom Penh.

 

In 1922, he and another monk, Huot Tat, were invited by Louis Finot to study Sanskrit at the École française d’Extrême-Orient in Hanoi, French Indochina.

 

Nath was the head of a reformist movement in the Khmer Buddhist Sangha which developed a rationalist-scholastic model of Buddhism, rooted in linguistic studies of the Pali Canon. This new movement, known as Dhammayuttika Nikaya, influenced young Khmer monks in the early 20th century.[1] The new movement also cultivated Khmer-language identity and culture, giving rise to the notion of Cambodian nationalism.

 

Nath pushed for a series of innovations in the Khmer Sangha beginning in the early twentieth century: the use of print for sacred texts (rather than traditional methods of hand-inscribing palm-leaf manuscripts); a higher degree of expertise in Pali and Sanskrit studies among monks; a vision of orthodoxy based on teaching of Vinaya texts for both monks and lay-people; and modernization of teaching methods for Buddhist studies. He also oversaw the translation of the entire Buddhist Pali canon into Khmer language; and the creation of the first modern Khmer language dictionary.[2]

 

The French set up its protectorate over Cambodia and intended to replace the Khmer language with its own through the so-called "pseudo-French intellectuals." This intention rallied many Cambodian scholars to the course of conserving the Khmer language; one such scholar was Nath. Nath dedicated his life to upholding Buddhism and the conservation of Khmer language in the country that was highly influenced by French colonialism. He had an extensive knowledge of the Khmer language. He was probably the most famous and most knowledgeable monk Cambodia had ever had. A master in Buddha’s teaching, he was very well known around the Buddhism circle as well as very adept at languages. Throughout his life he encouraged the use of "Khmerization" in both public education and religions. What Nath meant by "Khmerization" was he wanted to derive new Khmer words from its ancestral roots, the Pali and Sanskrit languages. For example, when the train arrived first in Cambodia, there was no Khmer word for the train. Nath thus derived the word for train from Sanskrit and Pali word of Ayomoyo which means something that is made of metal. Together with the word Yana which means vehicle, came the Khmer word for train which we know today as Ayaksmeyana (អយស្ម័យយាន), pronounced Ayak-smey-yean.

 

However, Nath's Khmerization was not overall accepted by all Khmers. Scholars such as Keng Vannsak who were pro-French did not find the kind of Khmer words derived from Pali and Sanskrit to be convenient. They revolutionized another kind of derivation which they want to adopt normalized French word into Khmer vocabulary. The only major change was to use Khmer alphabet to write the word rather than using the Roman alphabets used by the French. But despite opposition, Nath's Khmerization succeeded. He was a member of the original committee granted royal order to compile a Khmer dictionary in 1915 and was credited as the founder of the dictionary as he pushed for and finally succeeded in printing the first edition of the current Khmer dictionary in 1938. In 1967, he was elevated to the rank of doctor.

 

Nath's other contribution to Cambodia include the current national anthem, "Nokor Reach", for which he composed both music and lyrics.[3] "Nokor Reach" was written to correspond to the motto of the nation, "Nation, Religion, King" as well as demonstrate the grandeur and the mighty past of the Khmer nation.

 

Phnom Penh is the capital and most populous city of Cambodia. It has been the national capital since the French protectorate of Cambodia and has grown to become the nation's primate city and its economic, industrial, and cultural centre. Before Phnom Penh became capital city, Oudong was the capital of the country.

 

Phnom Penh succeeded Angkor Thom as the capital of the Khmer nation but was abandoned several times before being reestablished in 1865 by King Norodom. The city formerly functioned as a processing center, with textiles, pharmaceuticals, machine manufacturing, and rice milling. Its chief assets, however, were cultural. Institutions of higher learning included the Royal University of Phnom Penh (established in 1960 as Royal Khmer University), with schools of engineering, fine arts, technology, and agricultural sciences, the latter at Chamkar Daung, a suburb. Also located in Phnom Penh were the Royal University of Agronomic Sciences and the Agricultural School of Prek Leap.

 

The city was nicknamed the "Pearl of Asia" for its early 20th century colonial French architecture, which included Art Deco works. Phnom Penh, along with Siem Reap and Sihanoukville, are significant global and domestic tourist destinations for Cambodia. Founded in 1372, the city is noted for its historical architecture and attractions. It became the national capital in 1434 following the fall of Angkor, and remained so until 1497. It regained its capital status during the French colonial era in 1865. There are a number of surviving colonial-era buildings scattered along the grand boulevards.

 

On the banks of the Tonlé Sap, Mekong, and Bassac Rivers, Phnom Penh is home to more than 2 million people, approximately 14% of the Cambodian population. The Greater Phnom Penh area includes the nearby Ta Khmau city and some districts of Kandal province.

 

The city has hosted numerous regional and international events, the most notable being the 2002, 2012, and 2022 ASEAN Summit, the 32nd Southeast Asian Games, and the 12th ASEAN Para Games. Phnom Penh will be the first Cambodian city and the second city in Southeast Asia to host the Asian Youth Games in 2029.

 

Etymology

Phnom Penh (lit. 'Penh's Hill') takes its name from the present Wat Phnom (lit. 'Hill Temple') or from the former Funan Kingdom, an ancient kingdom that existed from 1st to 7th century AD in Southeast Asia and the forerunner of the current Cambodian monarchy. Legend has it that in 1372, a wealthy widow named Penh found a Koki tree floating down the Tonlé Sap river after a storm.[14] Inside the tree were four bronze Buddha statues and a stone statue of Vishnu. Penh ordered villagers to raise the height of the hill northeast of her house and used the Koki wood to build a temple on the hill to house the four Buddha statues, and a shrine for the Vishnu image slightly lower down. The temple became known as Wat Phnom Daun Penh, which is now known as Wat Phnom, a small hill 27 metres (89 ft) in height.

 

Phnom Penh's former official name is Krong Chaktomuk Serei Mongkol (Khmer: ក្រុងចតុមុខសិរីមង្គល, lit. 'City of the Brahma's Faces'), in its short form as Krong Chaktomuk (lit. "City of Four Faces"). Krong Chaktomuk is an abbreviation of the full name which was given by King Ponhea Yat, Krong Chaktomuk Mongkol Sakal Kampuchea Thipadei Serei Theakreak Bavar Intabat Borei Roat Reach Seima Moha Nokor (Khmer: ក្រុងចតុមុខមង្គលសកលកម្ពុជាធិបតី សិរីធរបវរ ឥន្ទបត្តបុរី រដ្ឋរាជសីមាមហានគរ [kɾoŋ catomuk mɔŋkɔl sakɑl kampuciətʰəpaɗəj serəj tʰeareaɓɑːʋɑː ʔenteapat ɓorəj rɔətʰariəcsəjmaː mɔhaːnɔkɔː]). This loosely translates as "The place of four rivers that gives the happiness and success of the Khmer Kingdom, the highest leader as well as impregnable city of the God Indra of the great kingdom".

 

History

The initial settlement of Phnom Penh is believed to have been established since the 5th century AD, according to the discovery of ancient kiln site in Choeung Ek commune of Dangkao district, southern part of central Phnom Penh in the early 2000s. Choeung Ek archaeological site was one of the largest kiln pottery center in Cambodia and the earliest known kiln sites in Southeast Asia to produce the ceremonial vessels known as kendi from 5th to 13th century. Archaeologist stated that a large community is surrounded by a circular earthwork structure that is 740 metres in diameter and 4 metres high, built in the 11th century. In addition, there are remnants of other ancient village infrastructure, irrigation system, inscription, Shiva linga as well as an ancient brick temple foundation and its ornate remains which dated back to Funan era.

 

First recorded a century after it is said to have taken place, the legend of the founding of Phnom Penh tells of a local woman, Penh (commonly referred to as Daun Penh (Lady Penh in Khmer), living at Chaktomuk, the future Phnom Penh. It was the late 14th century, and the Khmer capital was still at Angkor near Siem Reap 350 km (217 mi) to the north. Gathering firewood along the banks of the river, Lady Penh spied a floating koki tree in the river and fished it from the water. Inside the tree she found four Buddha statues and one of Vishnu.

 

The discovery was taken as a divine blessing, and to some a sign that the Khmer capital was to be brought to Phnom Penh from Angkor.[citation needed] To house the new-found sacred objects, Penh raised a small hill on the west bank of the Tonle Sap River and crowned it with a shrine, now known as Wat Phnom at the north end of central Phnom Penh. "Phnom" is Khmer for "hill" and Penh's hill took on the name of the founder, and the area around it became known after the hill.

 

Phnom Penh first became the capital of Cambodia after Ponhea Yat, king of the Khmer Empire, moved the capital from Angkor Thom after it was captured and destroyed by Siam a few years earlier. There is a stupa behind Wat Phnom that houses the remains of Ponhea Yat and the royal family as well as the remaining Buddhist statues from the Angkorean era. In the 17th century, Japanese immigrants also settled on the outskirts of present-day Phnom Penh. A small Portuguese community survived in Phnom Penh until the 17th century, undertaking commercial and religious activity in the country.

 

Phnom Penh remained the royal capital for 73 years, from 1432 to 1505. It was abandoned for 360 years (from 1505 to 1865) by subsequent kings due to internal fighting between the royal pretenders. Later kings moved the capital several times and established their royal capitals at various locations in Tuol Basan (Srey Santhor), Pursat, Longvek, Lavear Em and Oudong.

 

It was not until 1866, under the reign of King Norodom I (1860–1904), the eldest son of King Ang Duong, who ruled on behalf of Siam, that Phnom Penh became the permanent seat of government and capital of Cambodia, and also where the current Royal Palace was built. Beginning in 1870, the French colonial authorities turned a riverside village into a city where they built hotels, schools, prisons, barracks, banks, public works offices, telegraph offices, law courts, and health services buildings. In 1872, the first glimpse of a modern city took shape when the colonial administration employed the services of French contractor Le Faucheur to construct the first 300 concrete houses for sale and rental to Chinese traders.

 

By the 1920s, Phnom Penh was known as the "Pearl of Asia", and over the next four decades, Phnom Penh continued to experience rapid growth with the building of railways to Sihanoukville and Pochentong International Airport (now Phnom Penh International Airport). Phnom Penh's infrastructure saw major modernisation under the rule of Sihanouk.

 

During the Vietnam War, Cambodia was used as a base by the People's Army of Vietnam and the Viet Cong, and thousands of refugees from across the country flooded the city to escape the fighting between their own government troops, the People's Army of Vietnam, the Viet Cong, the South Vietnamese and their allies, the Khmer Rouge, and American air strikes. By 1975, the population was 2–3 million, the bulk of whom were refugees from the fighting. The Khmer Rouge cut off supplies to the city for more than a year before it fell on April 17, 1975. Reports from journalists stated that the Khmer Rouge shelling "tortured the capital almost continuously", inflicting "random death and mutilation" on millions of trapped civilians. The Khmer Rouge forcibly evacuated the entire city after taking it, in what has been described as a death march: François Ponchaud wrote that "I shall never forget one cripple who had neither hands nor feet, writhing along the ground like a severed worm, or a weeping father carrying his ten-year old daughter wrapped in a sheet tied around his neck like a sling, or the man with his foot dangling at the end of a leg to which it was attached by nothing but skin"; Jon Swain recalled that the Khmer Rouge were "tipping out patients from the hospitals like garbage into the streets....In five years of war, this is the greatest caravan of human misery I have seen". All of its residents, including the wealthy and educated, were evacuated from the city and forced to do difficult labour on rural farms as "new people". Tuol Sleng High School was taken over by Pol Pot's forces and was turned into the S-21 prison camp, where people were detained and tortured. Pol Pot sought a return to an agrarian economy and therefore killed many people perceived as educated, "lazy", spies, or political enemies. Many others starved to death as a result of failure of the agrarian society and the sale of Cambodia's rice to China in exchange for bullets and weaponry. The former high school is now the Tuol Sleng Genocide Museum, where Khmer Rouge torture devices and photos of their victims are displayed. Choeung Ek (the Killing Fields), 15 kilometers (9 mi) away, where the Khmer Rouge marched prisoners from Tuol Sleng to be murdered and buried in shallow pits, is also now a memorial to those who were killed by the regime.

 

The Khmer Rouge were driven out of Phnom Penh by the People's Army of Vietnam in 1979, and people began to return to the city. Vietnam is historically a state with which Cambodia has had many conflicts, therefore this liberation was and is viewed with mixed emotions by the Cambodians. A period of reconstruction began, spurred by the continuing stability of government, attracting new foreign investment and aid by countries including France, Australia, and Japan. Loans were made from the Asian Development Bank and the World Bank to reinstate a clean water supply, roads and other infrastructure. The 1998 Census put Phnom Penh's population at 862,000; and the 2008 census was 1.3 million. By 2019, its population reached over 2.2 million, based on general population census.

 

Geography

Phnom Penh is in the south-central region of Cambodia, and is fully surrounded by the Kandal province. The municipality is on the banks of the Tonlé Sap, Mekong, and Bassac Rivers. These rivers provide freshwater and other natural resources to the city. Phnom Penh and the surrounding areas consist of a typical flood plain area for Cambodia. Although Phnom Penh is at 11.89 metres (39 ft) above the river, monsoon season flooding is a problem, and the river sometimes overflows its banks.

 

The city, at 11.55°N 104.91667°E (11°33' North, 104°55' East), covers an area of 678.46 square kilometres (262 sq mi), with some 11,401 hectares (28,172 acres) in the municipality and 26,106 ha (64,509 acres) of roads. The agricultural land in the municipality amounts to 34.685 km2 (13 sq mi) with some 1.476 km2 (365 acres) under irrigation.

 

Climate

Phnom Penh has a tropical wet and dry climate (Köppen climate classification Aw). The climate is hot year-round with only minor variations. Temperatures typically range from 22 to 35 °C (72 to 95 °F) and weather is subject to the tropical monsoons. The southwest monsoon blows inland bringing moisture-laden winds from the Gulf of Thailand and Indian Ocean from May May to November, sees high temperatures accompanied by high humidity. The dry season lasts from December to April; when overnight temperatures can drop to 22 °C (72 °F).

 

Cultural:

Phnom Penh also has its own dialect of Khmer. Speakers of the Phnom Penh dialect often elide syllables, which has earned it a reputation for being lazy speech. Phnom Penh is also known for its influence on New Khmer Architecture. Phnom Penh is notable for Ka tieu Phnom Penh, its variation on rice noodle soup, a dish available in sit-down cafes as well as street cafes.

 

The city hosts a number of music events throughout the city. Indie bands have grown in number due also in part to the emergence of private music schools such as SoundsKool Music (also operating in the city of Siem Reap), and Music Arts School (registered as a non-governmental organization). The Cambodian fishing dance originated in Phnom Penh at the Royal University of Fine Arts in the 1960s.

 

The two most visited museums in the city are the National Museum, which is the country's leading historical and archaeological museum, and Tuol Sleng Genocide Museum, a former Khmer Rouge prison. The National Museum hosts celebrations of Cambodian dance and music, including a popular classic Apsara dance show of traditional folk dances as well as original creations.

 

Architecture & Buildings.

The oldest structure is Wat Phnom from the founding days of the city, constructed in 1373. The main tourist attractions are the Royal Palace with the Silver Pagoda, and the National Museum, constructed during the French colonial era in the late-19th century in the classical Khmer style and hosting a vast collection of Khmer antiquities. The Independence Monument (Khmer: Vimean Akareach), although from the 1950s, is also constructed in the ancient Khmer style.

 

The French, who were the colonial masters from the 19th century to the 1940s, also left their mark, with various colonial villas, French churches, boulevards, and the Art Deco market Phsar Thom Thmei. A notable landmark of the colonial era is the Hotel Le Royal.

 

Starting with independence from the French in the 1950s and lasting until the era of the Khmer Rouge in the 1970s, Phnom Penh underwent tremendous growth as the capital city of a newly independent country. King Sihanouk was eager to present a new style of architecture and thus invigorate the process of nation building. A new golden era of architecture took off, with various projects and young Khmer architects, often educated in France, given opportunities to design and construct. This new movement was called "New Khmer Architecture" and was often characterised by a fusion of Bauhaus, European post-modern architecture, and traditional elements from Angkor. The most prominent architect was Vann Molyvann, who was nominated chief national architect by the king himself in 1956. Molyvann created landmark buildings such as the Preah Suramarit National Theatre or the Vann Molyvann House. Other architects helped construct the newly founded Royal Khmer University, the Institute of Foreign Languages, and the National Sports Centre. With the growth of the upper and entrepreneurial middle

 

Although these buildings survived the Khmer Rouge era and the civil war, today they are under threat due to economic development and financial speculation. Villas and gardens from that era are being destroyed and redeveloped to make place for bigger structures. The landmark National Theatre by Molyvann was razed in 2008. A movement is rising in Cambodia to preserve this modernist heritage. Old villas are sometimes being converted into boutique hotels, such as the Knai Bang Chatt.

 

Monuments and memorials to the genocide of the Khmer Rouge era in the 1970s are the Tuol Sleng Genocide Museum (a former high school used as a concentration camp) and, on the outskirts of the city, the Choeung Ek Genocide Center. The Cambodia-Vietnam Friendship Monument was commissioned by the Vietnamese communists as symbol of Khmer-Vietnamese friendship during the late-1970s following the liberation of Cambodia from the Khmer Rouge.

 

The population, foreign investment, and urban development in Phnom Penh grew dramatically during the 1990s and early-2000s. The rapid growth resulted in the city's infrastructure distinctly lacking (the drainage system is particularly notorious, and Phnom Penh frequently floods during the wet season), and a need for both residential and commercial spaces. The simultaneous demand for residential and commercial housing and the increase of international investment has led to the planning, if not construction, of several satellite cities. The largest of these cities are: Grand Phnom Penh International City, CamKo City, Diamond Island City, Boeung Kak Town, and Chruy Cangva City.

 

On the outskirts of the city, farmland has been developed into garment factories and housing for lower economic classes and those displaced by the new development in the city center.

 

Sport:

The martial arts of Bokator, Pradal Serey (Khmer kick boxing) and Khmer traditional wrestling have venues in Phnom Penh watched by dedicated spectators. Cambodia has increasingly become involved in modern sports over the last 30 years. As with the rest of the country, football and the martial arts are particularly popular. Ultimate fighting and freestyle boxing have also become more common in recent years.

 

The most prominent sporting venue in the city is the Phnom Penh National Olympic Stadium with a capacity of 50,000—although the country never hosted the Olympic Games due to disruption by the civil war and the Khmer Rouge in the 1970s. Built in 1964, it is home to the Cambodia national football team. On completion the stadium was one of the largest in Asia. Volleyball, basketball, and Tai-Kwon-Do games are often hosted at the stadium. The stadium closed in 2000, but was redeveloped and reopened.

 

In footballing ventures, Phnom Penh is formally represented by Phnom Penh Crown FC despite being home to numerous football teams who plays in the Cambodian League. Including Visakha, Nagaworld, Boeungket and the aforementioned Phnom Penh Crown, amongst many others.

 

The National Sports Centre of Cambodia hosts swimming, boxing, and volleyball competitions. Noted local football clubs include Phnom Penh Empire, Khemara Keila FC and Military Police. The city hosted the 2023 Southeast Asian Games and the 2023 ASEAN Para Games, this marked the first time that Cambodia has hosted a multi-sport event.

 

Notable people

George Groslier, French polymath, historian, archaeologist

Norodom Sihamoni, King of Cambodia

Patricia Hy-Boulais, professional tennis player

Preap Sovath, Cambodian singer

Theavy Mok (born 1963), first plastic surgeon in Cambodia

Phal Sophorn, champion pradal serey boxer

Self love photography

Two eyes in Tibet denote the masculine and feminine principles in the world and the harmony between them. This is also the concept of Yin Yang in Feng Shui.

Many call it the "bead of LOVE". It is believed that the bead attracts love and partners, builds relationships. This is only partly true. First of all, the bead harmonizes the internal balance of male and female, then the surrounding space reacts accordingly. Thanks to inner harmony, existing relationships are normalized and what was previously empty is filled. Updates in life will not keep you waiting if you wear a 2-eyed Pure bead all the time.

 

Here is the second photo set for the Babes & Boobs project, a pro-public breastfeeding photo essay I wanted to personally start up in hopes of persuading society to normalize and not criticize breast feeding, as well as hoping to change the future for expecting moms.

  

Megan is a personal friend of mine (actually, she’s my future sister in law!) so I was proud for her to want to participate in the project. She’s one of the best moms I know, always instilling into her child, Eliana, to know what’s right and wrong, and to always be herself (and that she is!).

 

Megan: “I believe that the more normalized public breast feeding is, the less sexualized it will be. I know parents say ‘I don’t want my child/husband to see that’ but if they are taught at a young age what breast feeding is, and they see it for what it’s actually for, they won’t link a mom feeding her baby to something sexual.”

 

See more at:

www.babesandboobsblog.tumblr.com

Oct 1st, 2022 Acadia University Wolfville N.S. - Raymond field - AUS football

 

Duncan Patterson SMU qb #15 selected as the Subway player of the game

 

final: St Mary's Huskies 25 vs Acadia Axemen 23

 

***** Student-athlete community service award ****:

Duncan Patterson of the Saint Mary's Huskies is the 2022 AUS student-athlete community service award recipient. The 6'0", 200lb veteran quarterback played in all seven games for the Huskies and finished the regular season with the second-most completions (86), passing yards (1143), yards-per-game (163.3) and passing touchdowns (8) in the conference. He also had five interceptions and a 137.8 pass rating.

  

USports 2022 Russ Jackson Award (Athletics, Academics, Community Service) - Duncan Patterson, Saint Mary’s

 

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Some relevant School news clippings,

  

Feb 24, 2022 - Wolfville, N.S. Acadia University. The Acadia University Professors strike enters its 4th week ?

www.flickr.com/photos/74039487@N02/51901774104

 

Sept 30th 2022 - Acadia Axeman hockey at Andrew H. McCain Arena goes paperless ? The Official paper program is no longer handed out to the paying customer ? www.flickr.com/photos/74039487@N02/52395343477

 

January 22, 2024 - Canada sets two-year cap on foreign students. The cap will result in a decrease of 35% in approved study permits.

www.bbc.com/news/world-us-canada-68059996

 

Dec 14,2021 - Don't all of the members matter ? Discrimination shown against active Acadia Athletics outside community members during Covi. A posted official notice at Acadia reads : "The Acadia Athletics complex will be closed to community drop-ins, community memberships, and external rentals until further notice , However,, Acadia staff, faculty and students, with proof of double vaccination, will continue to access the fitness center, the pool and the arena for skating. "

www.flickr.com/photos/74039487@N02/51748079885

 

International student fallout hits the bottom line.. Atlantic universities depend on international students for about 30 per cent of their enrollment.

universityaffairs.ca/news/international-student-fallout-h...

 

May 11th 2023 - A new policy has been announced at Acadia where almost half of seats for a new Course will be set aside and reserved only for members of certain racial or ethnic groups as specified by the University ? The PC Government announced that a new nursing program is to be offered at Acadia University where approximately 50 percent of the seats are reserved only for African, Mi'kmaq and Indigenous students. The total number of annual seats set to increase to 63 ? When bearing in mind the current health care worker crisis and an urgent need for nursing grads, is it really wise or responsible to install race or ethnic restrictions that could eliminate many of those wanting to apply ? www2.acadiau.ca/about-acadia/newsroom/news-reader-page/ac...

 

Dec 27, 2021 - Playing the race card ? The Liberal Provincial Government could be on a slippery slope by choosing to use race to determine which applicants will get preferential treatment during a short supply emergency situation in an international health crisis ?

www.flickr.com/photos/74039487@N02/51782360402/in/album-7...

 

The Supreme Court says colleges and universities can no longer take race into consideration as a specific basis for granting admission,

www.cnn.com/2023/06/29/politics/affirmative-action-suprem...

 

Free University for some ? B.C. university waives tuition for local First Nation students,

bc.ctvnews.ca/that-s-reconciliation-b-c-university-waives...

 

Aug 2023 - A new physician assistant program at Dalhousie U open to 24 students per year with preference given to applicants from Nova Scotia, atlantic.ctvnews.ca/n-s-invests-5-6-million-for-first-phy...

 

Oct 10, 2025 - R-Studio plays the race card ?

R-Studio, a local Halifax gym, initiates exclusive low price membership charge that is determined by what race you are ?

www.youtube.com/watch?v=wsHpxm3yb7c&t=20s

 

June 11, 2025 - Maritime students struggling to find scarce summer jobs in Canada,

www.ctvnews.ca/atlantic/article/mission-impossible-mariti...

 

Tim Horton's appears to use racial profiling in its hiring policies ? Why aren't the Liberals upset over this inequality ?

www.flickr.com/photos/74039487@N02/54605482350/in/album-7...

 

Canada's Gen Z can't find jobs,, www.cbc.ca/news/business/youth-unemployment-rate-1.7549979

 

The Koncerned Kentvillian must ask, " why is it every time you gas up at Milne Court Petro-Can, New Minas Ultramar, KVille Ultramar and now the Big Stop, or go to the KFC for chicken, or Mary Browns, or the Burger King, or Subway, or all of the 3 Timmies for coffee, or Walmart, oe Needs, or receive a parcel from amazon, or attend the cash register post to pay a bill at many other stores, it feels like you're suddenly in a foreign country ? " What has happened to all of the friendly locals that used to hold these positions and were one of the main reasons that we all frequented these establishments ? www.flickr.com/photos/74039487@N02/54418705157/

 

Kody Bloise Liberal Party, 101A-24 Harbourside drive Wolfville, Nova Scotia B4P 2C1 Telephone: 902-542-4010 Fax: 902-542-4184

  

Is there an identity crisis looming in Kentville ?

www.flickr.com/photos/74039487@N02/52094330358/in/album-7...

 

Canada's post-secondary industry predicts storm ahead, as budget cuts shrink courses, staff,

www.cbc.ca/news/canada/post-secondary-cuts-1.7387175

 

July 1, 2021 - the Prime Minister of Canada will not be celebrating Canada Day this year claiming that for some Canada Day isn't a day to celebrate." Wha-a-a-a-t -t-t ??? www.cbc.ca/news/politics/canada-day-political-reaction-1....

 

U of T Toronto, Jun 27, 2023 - " She Sung it her Way "

Jully Black makes up her own personalized and politicized, 'our home on native land' version of the Canadian National anthem in her performance at Toronto university graduation. Black was asked to perform her way of singing Canada's national anthem to reflect the core values of the U of T law program ? www.cbc.ca/news/canada/toronto/jully-black-tmu-law-school...

 

Dec 16th 2023 - O Canada is sung in Punjabi at the NHL Jets hockey game in Winnipeg Manitoba,

www.youtube.com/watch?v=TKifMtbbyJg

 

2026 Calgary Stampede - Punjabi cowboys at the Stampede ?

x.com/CelticAshes/status/2082533482106872200

 

March 18, 2025 - Professors, students say Nova Scotia university bill threatens academic freedoms,

www.ctvnews.ca/atlantic/nova-scotia/article/professors-st...

 

March 4th, 2025 - Trump issues a ban on 'illegal' college protests as he threatens students with arrest and deportation,

www.lbc.co.uk/usa/politics/trump-issues-ban-on-illegal-co...

 

April 9, 2025 - Trump administration freezes $1 billion in funding for Cornell University, $790 million for Northwestern University ,,

www.cnn.com/2025/04/09/us/cornell-northwestern-federal-fu...

 

Jan 20,2026 - Trump hates wind turbines ? ‘so pathetic and so bad .. You might notice that China makes and sells them but they will never use them .'

www.youtube.com/watch?v=6wkHCSbSwkw

 

5th Mar 5th, 2025 - U.S. funding freeze affecting both American and international exchange students and major US scholarship funders

monitor.icef.com/2025/03/us-funding-freeze-affecting-both...

 

Trump protecting historic statues - enacts 10 years in jail penalty for harming or defacing historical statues,, www.cbsnews.com/video/trump-signs-executive-order-enactin...

 

February 10, 2025 - Acadia University announces permanent pool closure, discontinues varsity swim team - will close its swimming pool on June 15, 2025,

Students chose Acadia because of the swim team and many parents got calls “from their kids – in tears – devastated.”

Acadia Aquatics,

recreation.acadiau.ca/aquatics.html

 

How not to park at Hennigers farm Market Greenwich,

www.flickr.com/photos/74039487@N02/54788130883

  

Sept 13th, 2025 - Acadia Axemen and Dal Tigers hockey teams cross the Dal strikers picket line to play an Exhibition game at Dalhousie University ?

www.flickr.com/photos/74039487@N02/54784598896/in/photost...

 

Town of Wolfville breaking the law, obstructing traffic, while creating a safety hazard ? And making trip to and from hockey games a real challenge ?

www.flickr.com/photos/74039487@N02/54710009955/in/photost...

 

Sep 29, 2025 - Wolfville now studying ways to solve traffic congestion along Main Street ?

www.cbc.ca/news/canada/nova-scotia/wolfville-nova-scotia-...

 

Gambling in amateur Sport ? CBC has introduced gambling into the Olympic games coverage ? In a groundbreaking move and for the first time ever, CBC will include gambling in its live coverage of the 2024 Olympic games ?

Paris Olympics - It appears that CBC has partnered with one particular online Casino company and BetRivers is running sports betting ads during the televising of Olympic sporting events ? Is the inclusion of a Casino and a Sports betting parlor that runs sports betting during Olympic events appropriate to the principles and high moral standard exemplified by Olympic Games ?

 

Aug 22 2024, - the Minister of hypocrisy, oops, I mean the Liberal Minister of Health Mark Holland and his Government pass legislation that will enable access to massive gambling in Canada ? And now NHL heros past and present like Wayne Gretzky, Austin Matthews and Connor McDavid can be found in TV gambling commercials, online gambling ads, and pasted onto huge billboards that promote sports gambling ? But Holland seems more worried about Zonnic, a smoking cessation product that helps to quit smoking and is sold only to those over 19 and always kept hidden away from view under the counter in stores ? Its a bit rich when Holland attacks and bans the current sale of this quit smoking product Zonnic proclaiming when that, "All the stuff that's clearly designed to target youth — It's over !"

Fans confused ? After NHL Superstar heroes play starring roles in glamorous new bet MGM ads to promote gambling there were numerous complaints filed. And so they eased away from this image of a Sports hero who encourages and participates in gambling although McDavid's image itself was never separated from the gambling vice or the lucrative gambling industry ? A new corrected version now shows Connor as an ambassador for safe and responsible gambling when you gamble ? But isn't it still gambling ? see news article, "Connor McDavid's latest gambling ad with Bet MGM sparks outrage among his fans,"

www.sportskeeda.com/us/nhl/news-disgusted-started-gamblin...

 

Betano - A message to the kids from a mentor- "are you a good player, or a great player". Betano gambling ads associate words like 'good and great' with gambling ?

www.betano.ca

  

Jul 22, 2026 - In their ongoing quest for notoriety, the powers-that-be have ordered cigarette packages to be re engineered and re-designed not to make room for the addition of more product but instead to increase the showcase area size of the package cover ? The added space will be needed to accommodate a fresh new series of 13 upgraded ultra sickening pictures and warnings that are to be added to the existing 73 others that are now over-crowding current package covers ? Messages will also be added to the extended upper flap inside cigarette packages says Karine LeBlanc. Do these people really think that they are actually helping to find a cure for cancer by continually satisfying their own egos and exercising their own personal vendettas against one of the thousands of possible causes of cancer ?

www.cbc.f ca/news/health/canada-graphic-image-warnings-ciga...

 

What if they advertise a safe way to smoke cigarettes in order to obtain clients ? Sound ridiculous ? But is this not the same idea as advertising gambling as 'safe' gambling ? Do these safe gambling ads serve to welcome, endorse and normalize gambling which can be a dangerous and life altering highly addictive habit ?

May 25,2022-Big gambling companies run ads emphasizing 'limited play' and 'safe' gambling ? Is this not the same as the alcohol industry running drinking ads that encourage drinking alcohol by telling you how many beers that you can safely drink per day, or, how about the tobacco industry running ads promoting safe smoking thru a suggested amount of safely smoked cigs per day, or the marijuana industry recommending the number of joints to safely get high on each day ? Or, what if they spin : You're 'good' if you drink but You're 'great' if you safe drink, or, you're 'good' if you smoke cigarettes but You're 'great' if you safe smoke only so many cigarettes per day, or , you're 'good' if you smoke pot but you're 'great' if you only smoke this many grams per day ? ref, "All those sports betting ads you're seeing,, It's illegal says the Alberta gaming commission ?" www.cbc.ca/player/play/2302654019728

  

Are University student loans being gambled away ?

www.flickr.com/photos/74039487@N02/54775209530/in/photost...

 

Targeting youth for gambling ? gambling ads - The aggressive marketing of a highly addictive social vice to sports fans both young and old ? www.cbc.ca/news/marketplace/sports-betting-gambling-adver...

 

Feb 4th 2025, Bell Let's Talk ? Abandoning your Unionized Maritimes telephone workers, refusing to talk to them and leaving them out on the Street for 5 Months does not contribute to good mental health ? U Ottawa Scotty suggests that the internet, mobile phones and Social media are taking a heavy toll on the mental health and overall mental well being of today's society ? And so maybe there's some hypocrisy shown by the giant media mogul Bell Canada who might just be the biggest contributor and profit taker from a national crisis ? www.youtube.com/shorts/31f3sZndK6w

www.flickr.com/photos/74039487@N02/51844732131/in/album-7...

 

This year Canadian Taxpayers will pay $1.5 billion dollars to subsidize the CBC ?

site-cbc.radio-canada.ca/documents/impact-and-accountabil...

 

June 28,2021, O Canada at Stanley Cup Finals ? CBC plays unflattering version of National Anthem on World stage ? www.flickr.com/photos/74039487@N02/51829474529/in/album-7...

 

January 11-22, 2023 - CBC doesn't seem to want to push, promote or publicize male gender hockey like AHL, ECHL, U Sports University level or Men's Junior hockey ? www.flickr.com/photos/74039487@N02/52640201721/in/datepos...

 

Halifax, Canada Jan 2023 - This time around the IIHF men's World Juniors hockey tournament will be held in Canada. No games were shown on CBC, and many Canadians were unable to watch Canada's finest male gender Junior hockey players incl Connor Badard play in their home Country and win Gold for Canada ?

However, although CBC has ignored and failed to televise all IIHF Men's junior hockey games played on T.V. they have made sure to make daily news reports and give loads of air time focused on an alleged past scandal involving a previous men's IIHF Junior hockey team ? cbc.radio-canada.ca/en/media-centre/official-broadcaster-...

 

Justin says Goodbye Don't cry for me O my Canada.

Jan 06, 2025 - Trudeau resigns as prime minister, Prorogues Parliament until March 24 2025,

www.flickr.com/photos/74039487@N02/54385355629/

 

Caste system Canada ? The NDP caste system Leadership Convention - Is this really 2023 Canada ? It seems that the NDP Party has adopted a caste system ( like the system they use over in India ) ? Delegates here must wear caste identifiable yellow or white tags ? Master, Mistress, person or whatever of Ceremonies instructs those who declare themselves as white and male gender to get to the back of the line ? Other identities, or those with yellow tags can go to the front of the line and speak first ?

 

playing the race card ? Apr 3, 2026 - NDP Leadership Convention uses 'racial equity cards' to identify and categorize people by their race and color ? black and red before white after yellow or green etc, etc ?

www.youtube.com/watch?v=OMtHsUTBrt8

www.youtube.com/watch?v=EDV7ImXwTPI

 

2026 NDP Leadership Convention - Was Hitler's hairdresser here ? Some pretty weird stuff going on,

www.youtube.com/watch?v=pqhIBsaHzCg

  

Lost in Space________Episode # 1_______Death to Deniers !

 

Danger - Will Robinson, Danger !

 

These fine ladies want prison sentences handed down to individuals who dare to be themselves and to think differently while calling anyone with a different opinion from theirs to be a denier or hater ?

No one denies the existence of residential schools. And so why are Leah Gazan (NDP), Lindsay Mathyssen (NDP), Nahanni Fontaine (NDP) and Kimberley Murray (Liberal Government investigator) so dissatisfied and why are they trying to force their own radical and ego-driven personal viewpoints based on hearsay and as yet unproven allegations on everyone else ? Why do they want you to think the way they think, believe what they believe, and be forced ( by law ) to accept their unique, extreme left wing, selfish and self-serving narrative, (that they get paid for) as being Gods' truth, and,, if you were to dare resist then you are to be labelled hater or denier and become a criminal that could be sent to jail for up to life in prison under the law enshrined in Bill C-63 or C-9 that they are all pushing for ?

www.youtube.com/watch?v=ZZU7NEzs3Gk

 

Sep 27, 2024 - Death to Deniers - Winnipeg Superstar M.P. Leah Gazan wants you to think like she thinks and be just like her,, or else 'watch out' ?

Narcissistic NDP MP Leah Gazan has introduced her bill in Parliament that calls for criminal charges to be laid on all those who ‘deny’ her own (as yet unproven) Leah Gazan personal narrative relating to the discovery of 215 children' bodies found in a well hidden mass grave in Kamloops and that Canada is a genocidal nation ? Her Bill C-413 calls for the extremely serious charge of spreading hate to be placed on anyone who promotes hatred against the Indigenous peoples by challenging, questioning, denying or disagreeing with Leah Gazan's own unique personal position on this subject ?

www.lifesitenews.com/news/new-democrat-mp-introduces-bill...

  

What Is Truth ?

"If you are strictly one-sided with any opinion, you’re incredibly ignorant".

UBC Jan 22, 2026 - An entire generation of students that has grown up while attending the Canadian public school system during the Trudeau Liberal era ( 2015 thru 2025 ) have reached post secondary age and are arriving at University in a heavily indoctrinated state of mind with extremely one-sided only, uni-opinion attitudes that they express in a coercive and even threatening way ? Violent gangs of young masked and gagged orange shirted student protestors, tribalism, mind control, far left radical activism and propaganda posters hanging in an Authoritarian environment where free will, open debate or speaking the truth has become a crime was to be seen recently at the U of B.C. ? This might sound Orwellian, but actually it's the University of B.C. in Vancouver a Canadian institute of higher learning that gets over a billion dollars per year of public funding ? Frances Widdowson, "Without truth and without freedom, our Universities will die." www.youtube.com/watch?v=ihsLPodE9R0

 

Ace CBC reporter Jordan Tucker ? In her interview assignment for CBC with Professor Widdowson, Jordan Tucker says that around 6000 child bodies have been found so far at first nation reservation schools, and that to her, the truth is not really a top priority ? www.youtube.com/watch?v=5Ik61NGwXas&t=58s

 

Residential schools. After three years of searching for bodies and a massive cost to taxpayers of $216.5 million, not a single set of human remains have been found ?

thecatholicherald.com/article/failure-to-find-bodies-ends...

 

U of Vic claims 215 but Frances and Dallas say Zero ?

What Is Truth ?

Dec 3rd 2025, Frances and Dallas visit the U of Vic in Victoria B.C. and discover a mass indoctrination of impressionable young minds ? Open free thinking and freedom of speech were discouraged here ? Asking questions that ruffle some feathers or challenge the status quo are not wanted on this campus ? Challenging what is taught here can get you abused or even carted off to jail ? www.youtube.com/watch?v=u53G5WBpVmc

www.youtube.com/watch?v=TSRn8BzpvLc

 

May 28th, 2026 - If we believe massive untruths that are told to us, then our democracies will collapse,

www.youtube.com/watch?v=R2pd8-F2p0A&t=17s

 

Feb 24th, 2026 - Lethbridge, "You're not welcome here !" Welcome to the University of Lethbridge where manners are ignored, etiquette is absent, and where students use threats of bodily harm, chant ancient tribal war cries and bang out continuous monotone loud drumming noise to drown out the opposition during debate ? www.youtube.com/watch?v=-2Moi7VM7xI

 

Apr 26th, 2026 - A whited sepulchre University set in the windy city of Lethbridge - Following yet another arrest and another trip in the paddy wagon, Frances Widdowson pleads with Alberta Premier Danielle Smith to help re-enforce the basic rule of truth that is based on free and independent thinking in our public schools once again ? "Without truth and without freedom, our Universities will die."

www.youtube.com/watch?v=kfPix14aMIc

 

UBC Jan 22,2026 - Counter viewpoint reporters attacked and have to run for their lives ?

 

UBC zombie apocalypse, Jan 22,2026

www.youtube.com/watch?v=MfIpTnyH_Zg

 

2021, Major Canadian Party leader Jagmeet Singh attacks his own Country calling it genocidal ? Jag says that 215 bodies have been found in hidden unmarked mass graves in Kamloops and this clearly shows that Canada is a genocidal nation ?

www.youtube.com/watch?v=CQb3GZx_ZR0

 

2021 - Dr. Timothy Rahilly, the President of Mt. Royal College in Calgary - When he learns of a story that many unmarked graves may have been found at a Kamloops B.C. residential school the President of Mt. Royal College quickly turns on his University PA system and immediately makes the official announcement to the entire student body that 215 children have just been found buried in a mass unmarked grave at the Kamloops B.C. residential school and that a shaken, shameful, and perhaps genocidal nation, is heartbroken ? One of the senior teachers at his University has asked for evidence to support such a monumental and newly discovered horrible allegation and he has fired her ? www.youtube.com/watch?v=esGhB3uNHwA

www.youtube.com/watch?v=esGhB3uNHwA

 

Mar 23,2026 - Mt. Royal College, " my spider sense is tingling "

Is Mt. Royal College in Calgary making the kids Crazy ?

www.youtube.com/watch?v=bPQNM063-lY

 

"What are they doing to our kids" ? Many Parents contribute for years into Registered Education Savings Plans that are to be turned over to Universities on behalf of their Children,

www.canada.ca/en/services/benefits/education/education-sa...

 

Apr 29, 2026 - Vancouver School Board to introduce the Orwellian concept of 'unlearning' into their system ? They are also re-naming schools from their historical English names to instead Indigenous names that cannot be pronounced and use letters not found on a standard keyboard ?

www.youtube.com/watch?v=LrC4GB4wURI

 

Vancouver March 12, 2026 - Have Liberal backroom land transfer deals with first nations already transpired as the Eby provincial NDP government pretended to look the other way ? The Indians may now own property rights in and around Vancouver ?

www.youtube.com/watch?v=kT2DqPzulos

www.cbc.ca/news/canada/british-columbia/musqueam-rights-r...

 

March 12, 2026 - treachury or treason ? B.C.'s Eby Government may have been giving Canada away while insulting veterans who fought to secure and retain the Country ? Led by Spencer Herbert it seems the NDP party in B.C. want to give Canada away without first asking Canadians for permission ? www.youtube.com/watch?v=rVTzJWE86go

 

March 12, 2026 - What NDP Spencer Herbert is trying to do in B.C. was recently defeated in a fellow Province's Highest Court ? New Brunswick's supreme court ruled that Aboriginal Title Cannot Co-Exist with Fee Simple Title,, www.fasken.com/en/knowledge/2026/01/new-brunswick-court-o...

 

2025 Canadian Election - Democracy denied by double crossers ?

www.flickr.com/photos/74039487@N02/55228615842

 

March 09, 2026, Canada’s Bill C-3 "An Act to amend the Citizenship Act" - New Liberal legislation allows Canadian citizenship to be passed down over multiple generations back to as far as caveman days, and means many millions of non vetted individuals are now eligible to automatically be Canadian ? www.cbc.ca/player/play/video/9.7120945

 

March 30, 2026, Millions of Americans now eligible for Canadian citizenship and many are applying ‘just in case’

www.cnn.com/2026/03/30/travel/canadian-citizenship-by-des...

 

March 14, 2026 - Completely contrary to Canada, the country of Italy has restricted Italian citizenship for anyone born abroad. Italy has enacted a ruling that tells millions with Italian roots that they have lost the right to their citizenship,

www.ctvnews.ca/world/article/italy-ruling-tells-millions-...

 

March 12, 2026 - Acadia University reducing staff levels amid ‘financial pressures’? 31 Acadia positions eliminated. University monetary chaos affecting not only the institutions but also the broader economy. Financial difficulties stem from capped international student enrollments, increased costs of high-end employment, and draconian funding cuts by provincial government. These have all led to job cuts, program reductions, and even campus closures. The financial strain on universities is expected to continue, with further announcements of layoffs and program cuts are likely to come soon. www.ctvnews.ca/atlantic/nova-scotia/article/acadia-univer...

 

Mar 4th, 2026 - Canada grants $100 million in scholarships for students in India ? This comes on the heels of PM Carney's trip to India.

www.youtube.com/post/Ugkx1VHElLBjsSwpz5-CK3P4SsNdrZmGdelS

 

feb 25, 2026 - Drastic University cuts implemented in latest Nova Scotia Provincial budget. Tim Houston's PC government is reducing funding for all Universities incl the PhD programs in education at Acadia,

www.halifaxexaminer.ca/wp-content/uploads/2026/02/Grant-R...

 

February 26, 2026 - Vulnerable hard hit starving Nova Scotia university students who struggle daily with the high cost of living in Nova Scotia prepare for a week-long strike to protest the provincial education cut, the cuts to advanced education grants, and they are demanding tuition reductions and divestment from fossil fuel dollars,

globalnews.ca/video/11708934/n-s-university-students-prep...

  

George Orwell's dark prediction has just come true.

London England, Apr 22,2026 - The British Parliament has just enacted legislation to install a form of Orwellian Totalitarian rule into the current democratic English society that allows for the installment of Government social control in the form of mandatory lifetime probationary orders to be placed on certain selected unwary citizens without asking their permission who will then be state monitored from birth to death to insure compliance is met on the legal lifetime probation order that is attached to them ? Rob Cunningham and his Cancer Society are boldly crusading for residents of his democratic home country of Canada to lose their current freedom and be forced into this same type of Orwellian social control system ? www.ctvnews.ca/world/article/uk-agrees-ban-on-cigarette-s...

 

Dec 13th, 2025 - this could be a bit rich ? The top doctor for Nova Scotia is advertising smoking for the liquor store ? Dr. Robert Strang Chief Medical Officer of Health now appearing in TV ads that endorse the (safe) smoking of pot while he represents the Provincially owned liquor stores ? It's also a bit rich that Rob Cunningham and his Cancer Society don't appear to have a problem with these smoking ads ?

www.facebook.com/watch/?v=4190201767960744

 

May 29th, 2026, Kentville Memorial Park, the ABF Friday night concert, ( Can the good ole days of dollar dogs and bargain Big 8 soda pop be over) ? High level tight security protocol established for an evening of food wagons and kids bouncy castles ? ( must have taken up most of their budget at the sacrifice of bringing in some quality outside live entertainment) ? Town calls in outside police to reinforce the local Kentville police, cordons off the entire ground zero event perimeter with road blocks, street barricades and manned guard check posts to enforce maximum level traffic control that unfortunately makes patrons including seniors, the disabled, toddlers, and Mothers carrying babies have to park and walk a fair distance to get to the park gates ? Also, in the past years the concert organizers have always brought in special outside guest rock bands, and had featured interesting games, demonstrations and displays, and there was a visit from the Queen Annapolisa Royal party following the prestigious coronation ceremony in Wolfville, However, unfortunately, the concert appears now to have deteriorated into some kind of a Children's outdoor romper room type family show featuring food trucks, inflatable air bouncy castles and a local band as the featured guest star main stage performer ? There's not much to do or see for those exceeding the elementary school level other than to maybe purchase some food from a food truck that charges upscale restaurant prices and then dine on a paper plate using plastic utensils while standing in a crowd of unruly kids and being lustfully observed by some nearby hungry saliva drooling pet dogs leashed to owners ? However, thanks to the heightened security and the manned barricade traffic control there was a report of one parking violator being successfully apprehended and a runaway pet was also captured and returned to its owner ? www.flickr.com/photos/74039487@N02/54558198569/in/photost...

  

A cultural genocide is going on in Kentville ?

Why is it always Kentville ? Now it's the library ? First came the loss of the Railway and Day-liner service back in 1989, then Kings council expropriated the local Airport and evicted the many other established aviation schools and businesses, they had tried to take Grand street parade away from Kentville in 2017, and then we lost the famous Cornwallis Inn logo and the 88 yrs old statue in Halifax was torn down, they then terminated Apple Blossom Princess Kentville and ended the 87 consecutive years of the Queen Annapolisa pageant. Kentville lost a massive amount of diversity provided by the many nearby villages that always participated in the Festival, as the well elimination of the Princess teas, the Coronation, and all of the popular mid-week public outdoor entertainment always held at Memorial Park during ABF week ? And now they appear to be after the popular long time Kentville Library ?

After the Town has terminated so many traditional sources of public enjoyment while never offering a similar replacement, and, as Kentville gradually approaches cultural ghost town status, it is noticeable that the downtown business core (in which the Mayor has a major private business interest ) has been totally renovated and restored to pristine condition by way of a complete 100 % makeover beautification program complete with new installations of street paving, street paint, new double sidewalks on both sides, new driveway entrances, new curb and gutter both sides, signage and flower pots ? And the other three surrounding streets making up this downtown business block have also been totally upgraded including Aberdeen Street (twice), Cornwallis Street and Main Street ?

www.cbc.ca/news/canada/nova-scotia/annapolis-valley-libra...

www.ctvnews.ca/atlantic/video/2026/06/02/funding-cuts-lea...

 

May 09, 2026 A cyberattack has hit universities worldwide, including top Canadian schools. www.cbc.ca/news/canada/canvas-cyber-attack-canadian-unive...

 

CBC News · Posted: May 12, 2026 - the boys are falling behind the girls in school. A new Quebec report says boys are systemically disadvantaged in the school system ? The high school dropout rate for boys is 27.1 per cent, while for girls it's 19.9 per cent.

www.cbc.ca/news/canada/boys-falling-behind-in-school-9.71...

 

An ongoing deterioration of the Annapolis Valley Apple Blossom Festival in Kentville ? Bring back Eddies Basement to Memorial Park, and 'honey they shrunk the stage' ? www.flickr.com/photos/74039487@N02/55295377420/in/photost...

  

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Some relevant main media news clippings,

 

PWHL - CBC provides new Pro Women's Hockey League with its full media support, lucrative amounts of air time, full advertising, coast to coast live game broadcasts each week, player bios and a live game complete with hosting and analysis,, "CBC/Radio-Canada is the official broadcaster of the Professional Women's Hockey League". However, CBC has shown a totally different attitude when it comes to supporting or televising the male pro sporting events such as the Grey Cup, the Calgary Stampede events, FIFA, Copa America international men's soccer football and men's IIHF World Juniors and so many Canadians were unable to watch male pro athletes like Acadia Axemen footballer Bailey Feltmate in the Grey Cup, or Nova Scotia's Jacob Shaffelburg in the Copa international Men's soccer tournament or Connor Badard in the IIHF World Men's Juniors hockey tournament ?

cbc.radio-canada.ca/en/media-centre/official-broadcaster-... cbc.radio-canada.ca/en/media-centre/official-broadcaster-...

 

CBC doesn't seem eager to televise any Men's soccer or Men's CFL pro football on T.V. ? www.flickr.com/photos/74039487@N02/52512969092/in/album-7...

 

Jun 11, 2024 - CBC fully supporting new Women's Pro soccer league Halifax Tides. - CBC providing media support and all game coverage for the brand new start-up Women's gender Pro soccer league. CBC will broadcast eight regular-season matches. A "Game of the Week" will co-stream simultaneously on CBC Gem and NSL.ca,

www.cbc.ca/sports/soccer/cbc-radio-canada-broadcast-agree...

Thanks to CBC, fans will now be able to follow female Acadia University athletes like Mya Harnish, who has just turned Pro . www.flickr.com/photos/74039487@N02/54482565652/in/photost...

 

This year the Canadian Taxpayer will pay out $1.5 billion dollars to subsidize CBC ?

site-cbc.radio-canada.ca/documents/impact-and-accountabil...

 

Breathtaking salaries at CBC/Radio-Canada ? CBC President and CEO Catherine Tait had a base salary range of $390,300 to $459,100 in 2019 ? Why should someone who is actually a public servant whose salary is paid by taxpayers make more than the Prime Minister of Canada ? tnc.news/2022/01/26/cbc-salaries-include-125-senior-direc...

 

Apr 04, 2025 - Mark Carney pledges a $150M boost to the 'underfunded' CBC ? And says a new Liberal government will make CBC funding statutory ? Last year CBC received an all time record 1.4 billion in taxpayer funding and their CEO Catherine Tait, made more than the Prime Minister ?

www.cbc.ca/news/politics/mark-carney-cbc-funding-1.7501902

 

February 20th 2023 Jully " I Sung it My Way" Black makes headlines when changing the lyrics and singing her own personal 'our home on native land' politicized version of the Canadian National anthem at the NBA All-Star Game in Salt Lake City, Utah ?

www.iheartradio.ca/news/jully-black-sings-o-canada-with-s...

 

Calgary Stampede O Canada - the original "in all thy Sons command" National anthem before they changed it sung at the 2023 Calgary Stampede, www.flickr.com/photos/74039487@N02/53044391089

 

July 2023 - Katherine Henderson is appointed to take over and thereby become the first female CEO and President of Hockey Canada ,

www.cbc.ca/sports/hockey/katherine-henderson-hockey-canad...

 

No more hockey fighting : This league now plans to ban them dailyhive.com/vancouver/hockey-fights-ban-qmjhl

 

Skate Canada Dec 13, 2022 - Canada about to totally revolutionize international Sport ? Canadian trail blazers led by President Karen Butcher push to change historic Ice dancing rules from the separate male and female gender roles ?

theprovince.com/sports/other-sports/skate-canada-redefine...

 

A Federal audit has found that Hockey Canada did not use public funds for legal settlements.

discoverhumboldIcom/articles/federal-audit-finds-hockey-...

 

NHL moves away from Pride jerseys - advocates are disappointed, www.cbc.ca/news/canada/nhl-special-jersey-announcement-re...

 

Nov 20th, Grey Cup 2022 - Many Canadian households unable to watch Toronto Argos win the 2022 Grey Cup game by a score of 24 to 23 because both CBC/Radio-Canada and the Bell media owned CTV did not (and never do) schedule or televise this iconic purely Canadian event for national T. V. viewing ? CBC instead scheduled an unknown variety show that was being held in the USA for this Grey Cup Sunday night time slot ?

www.flickr.com/photos/74039487@N02/52512969092/in/photost...

 

CBC quits Twitter when Twitter calls them, "a government-funded media" ?

www.cbc.ca/news/world/cbc-twitter-government-funded-media...

 

Apr 27th 2023 , Bill C-11 - A controversial bill to regulate online streaming becomes law. Bill C-11, which will force streaming platforms to contribute to funding Canadian content. Critics say the bill is too ambiguous, with many issues unresolved.

www.cbc.ca/news/politics/c11-online-streaming-1.6824314

 

Nov 11th, 2023 - The Liberal Government has ordered the Canadian Military not to use or recite Christian prayers like the Lord's Prayer at this year's Remembrance Day ceremonies ? No such order has been given to the other religious denominations in the forces ?

www.msn.com/en-ca/news/world/gunter-we-will-always-pray-f...

 

The Grey Cup Nov 19th 2023, Hamilton Canada - Why aren't both Canadian major media moguls CTV and CBC televising the 2023 Grey Cup game on public T.V. for Canadians to view on Grey Cup Sunday in Canada ?

www.flickr.com/photos/74039487@N02/53338415225

 

Religious intolerance ? Have a very Merry Christmas Canada ? The Canadian Human Rights Commission ( fully funded by the federal Liberal Government) declares that the celebration of Christmas is evidence of Canada’s colonialist religious intolerance. www.youtube.com/watch?v=SWmuDidYTiY

www.youtube.com/watch?v=SWmuDidYTiY

 

Dec 31 2023 - A question to the CBC about this year's New Years Eve celebrations ? Do they now view New Years Eve as a public holiday that has become inappropriate to celebrate in Canada ? For the first time ever in memory, CBC will not broadcast the traditional New Years Eve 2024 Party, the stage show or the countdown ? CBC says they can't afford it ? www.msn.com/en-ca/entertainment/other/cbc-to-skip-new-yea...

 

Bell Canada is a proud Canadian media mogul ? It's time for the annual Super Bowl LVIII in the USA and prior to the big game CTV has flooded North American airways with Superbowl ads promoting full CTV coverage of the upcoming game in Las Vegas Nevada. They will then broadcast 10 straight hours of prime time uninterrupted live T.V. coverage of this American sporting event to Canadians from the United States ? However, on the other hand, back home in their home country of Canada, they don't broadcast anything at all, nothing (zero) blanco, zilch, silencio, not even 1 minute of TV coverage of their own 2024 Canadian Grey Cup game for fellow Canadians to enjoy ? www.flickr.com/photos/74039487@N02/53523500175/in/datepos...

 

Bell media places citizens of Atlantic Canada in jeopardy when choosing cost cutting over public safety ?

Feb 2024 - Halifax Nova Scotia, Bell media and CTV have eliminated crucial hours of local and community news reporting in Atlantic Canada ?

Recent Bell Canada Corporate decisions have left many Maritimers in a weak and vulnerable position ? The East Coast Provinces of Canada appear targeted for severe Bell media news cancellations that will leave many Maritimers without their crucial daily Noon hour news updates normally broadcast each and everyday during the week ? ATV viewers are now forced to tune into the other main media news station where CBC tends mainly to run world international news and only a small select choice of Provincial news, and also their lengthy live news conferences put on by the PM or other members of the Liberal party ?

Aside from terminating all weekday ATV Noon hour news shows, CTV has also downsized in half the very popular and iconic, 'ATV live at five' 5 P.M. local community news program, (prompting long time popular host Jason Baxter to seek early retirement) ? Adding to the devastating loss, Bell has also terminated all weekend Saturday and Sunday local news reports that currently run on ATV ? The cancellation and elimination of so much of the local news normally broadcast in Atlantic Canada will surely threaten the safety and security especially now that there will be a 24 hour local news blackout for 2 full days each and every weekend and as much as 3 consecutive days every holiday long weekend ? And so it seems that arch rival CBC has taken over the major share of prime time live local news programming in the Maritimes ? Meanwhile, Bell is blaming the Liberal Government's new Bill C-18 for having to slash many prime time hours of local and Provincial news coverage in the Maritimes ?

broadcastdialogue.com/most-noon-local-ctv-newscasts-cance...

 

Halifax, Feb 1st 2024 - Bell Canada blames Liberal Government Bill C-18 for having to slash so many hours of critical local and Provincial news coverage in the Maritime area ?

broadcastdialogue.com/most-noon-local-ctv-newscasts-cance...

 

CBC's Junos 2024, Halifax, Mar 24th - This Junos seems more interested in politics than music ? itsthe4thquarter.blogspot.com/2024/03/junos-2024-halifax-...

Angry Canadian - Canadian juno awards ? where ?

www.youtube.com/watch?v=YNieEg-_d1k

 

Is this a A Stanley Cup cruel joke ? Edmonton, June 2nd, 2024 ? Fans upset after CBC broadcasts the first 5 games of the Men's NHL Dallas vs Oilers series, and then, without warning and for no logical reason, CBC blacked out the critical and most important climactic final game that saw Edmonton win and gain entry into the Stanley Cup finals ? It remains unclear why CBC would do this ? Was it arrogance, or was it to be mean spirited, or was it a gender bias issue due to this being Men's pro hockey, or was it maybe a lesson given out to remind Canadians just who is running this Countries main media and who controls the programming ? www.google.com/url?sa=i&source=web&rct=j&url=...

 

The Koncerned Kentvillian must ask, "What kind of a Country shows sad and upsetting images of itself when playing their National Anthem on the World stage in front of an international audience ?" www.flickr.com/photos/74039487@N02/44424045874/

 

July 5th, 2024 Jacob Shaffelburg (Pt Williams Nova Scotia) Men's soccer - Unfortunately, CBC doesn't seem to broadcast or sponsor men's soccer and will not televise the Men's Copa soccer tournament ? However, you can still enjoy women's gender soccer on CBC as they will be giving support and full television coverage to the Women's National team and the new Women's pro soccer league and soon to the new Women's pro basketball league ? www.cbc.ca/sports/soccer/cbc-radio-canada-broadcast-agree... ? -

www.flickr.com/photos/74039487@N02/53839077022/in/photost...;

 

June 29th, 2024 - Bailey Feltmate (Acadia U, Wolfville N.S.) - CBC doesn't appear to support men's football anymore, and so most Canadians won't be able to watch graduating male gender university athletes like Bailey perform in the pros ? However, fans will be able to watch the graduating female gender athletes perform as CBC will provide cross Canada media support and live coverage of the new start-up Women's pro soccer league, and the new Women's pro hockey league, and also the upcoming Women's pro basketball league ? www.flickr.com/photos/74039487@N02/53855066488/in/datepos...

 

Jun 11, 2024 - Mya Harnish (Acadia U, Wolfville N.S.) joins the Halifax Tides. CBC is to provide full media support and full coverage for the brand new start-up Women's Pro soccer league. CBC will broadcast eight regular-season matches. A "Game of the Week" will co-stream simultaneously on CBC Gem and NSL.ca,

www.cbc.ca/sports/soccer/cbc-radio-canada-broadcast-agree...

Thanks to CBC, fans will now be able to follow female gender University athletes like Mya Harnish after they turn Pro . www.flickr.com/photos/74039487@N02/54482565652/in/photost...

 

2024 Paris Olympics - CBC's Olympic coverage seems to favor the female gender when giving full game coverage to female team events while the male gender athletes receive only limited coverage with short clips from their events ?

www.cbc.ca/mediacentre/program/olympic-games-paris-2024

 

Jul 25, the 2024 Paris Olympics - CBC airs the entire start to finish Women's team soccer games, the Women's beach-ball games, Women's rugby games, Women's basketball games, water polo and more ? Watch CBC live full game coverage of Womems team sports from St-Etienne, France heavy.com/sports/olympics/canada-soccer-bev-priestman-dro...

 

Grey Cup Nov 17th 2024 - Everyone else is here, but where's CBC ?

Once again this year CBC has distanced itself from a long running popular nation uniting Canadian sports tradition and will not cover or live broadcast the Grey Cup game to Canadians ? However, CBC has instead covered a relatively unknown Women's tennis sports event named after the Battle of Sexes winner and Women in sports advocate Billie Jean King that is being held overseas in another country ? www.flickr.com/photos/74039487@N02/54147303159/in/album-7...

 

March 30th Vancouver B.C. - Michael Bublé plugs his own private business products while hosting CBC's 2025 Juno Awards ? Is it appropriate for CBC to allow a salaried MC paid for by the taxpayer to take advantage of free advertising for his own personal outside businesses ? www.flickr.com/photos/74039487@N02/54607761592/in/album-7...

 

2025 2026 Calgary Stampede - CBC's refusal to cover the world famous Calgary Stampede ? CBC doesn't T.V. broadcast stampede events including the Parade ? You'll have to subscribe to a specialty channel if you are interested in this famous Canadian standard ? www.tomsguide.com/entertainment/sports/watch-calgary-stam...

July 13th 2025 - Pro Rodeo and chuckwagon fans left out ? CBC Sports programming does not include this years fifty thousand dollar rodeo finals of the world famous Calgary Stampede ?

 

Jul 13, 2025 - Men's World Cup soccer not broadcast on CBC T.V. ? FIFA Club World Cup Jun 15, 2025 – Jul 13, 2025 - Chelsea beats PSG 3-0 to win 2025 Club World Cup Coldplay and Trump and 81,000 attend the final but it is not scheduled for broadcast by CBC ?

apnews.com/live/psg-chelsea-club-world-cup-updates

 

May 18th, 2026 - CBC speak with forked tongue ? CBC lures unsuspecting RCMP members into a trap set by First Nations ? Ambushed by the CBC and First Nations, a music video ?

www.youtube.com/watch?v=XvZX06xmslA

  

June 20th, 2026 following the famous firing of Don Cherry a few years back, CBC is now proceeding to cancel the entire NHL Hockey night in Canada show after a 74 year Saturday night run ? Is CBC shifting its focus to women's gender sports ? Does CBC plan to move the current weekly broadcast of Womens's PWHL games on Saturday afternoon to the newly vacated Saturday evening time slot ?

   

The Traction was available in "Commerciale" version as from 1938, and exclusively in black, as such the beginning of a normalization of colours that would ever more "blacken" the range. The rear opens in two parts, in fact a "break" before its time.

 

1.911 cc

4 in-line

56 HP @ 3.800 rpm

Vmax : 115 km/h

 

Exposition : Citroën 100 Years

27/06/2019 - 03/09/2019

 

Autoworld

www.autoworld.be

Brussels - Belgium

August 2019

La infermera d'atenció domiciliària del CASAP de Castelldefels mesura l'INR (International Normalized Ratio) pel control d'anticoagulants en sang. La enfermera de atención domiciliaria mide el INR (International Normalized Ratio) para el control de anticoagulantes en sangre.

 

Autoria: Ariadna Creus i Àngel García

Young California Quail (Callipepla californica) performs a lusty version of "Chi-ca-GO!" At the far end of Secret Swallow Lane, Lake Country, BC.

 

It is really painful for me to resist posting many more of the other shots he afforded me on this extended shoot from the car-blind's driver's seat through the passenger window..... Phew!!

La infermera d'atenció domiciliària del CASAP de Castelldefels mesura l'INR (International Normalized Ratio) pel control d'anticoagulants en sang. La enfermera de atención domiciliaria mide el INR (International Normalized Ratio) para el control de anticoagulantes en sangre.

 

Autoria: Ariadna Creus i Àngel García

Ariana & Harper

Maryland

September 2016

La infermera d'atenció domiciliària del CASAP de Castelldefels mesura l'INR (International Normalized Ratio) pel control d'anticoagulants en sang. La enfermera de atención domiciliaria mide el INR (International Normalized Ratio) para el control de anticoagulantes en sangre.

 

Autoria: Ariadna Creus i Àngel García

Created with RNI Films App / Kodak Portra Normalized

 

I posted a similar photo in the fall of 2017. This a closer look at the docked vessels than that photo.

The second time I visited Guangzhou was in December 1978. My timing was perfect. The day we arrived (Saturday, December 16), the U.S. and China announced they were establishing normal relations and everyone we met, when they heard we were Americans, said to us: did you hear the good news?

  

www.youtube.com/watch?v=vt7PvTwYF3E&feature=share&amp...

Full Feature in 9 Parts

American International Pictures lived up to its name on this project. Terrore nello spazio was a Spanish/Italian/American effort. The American release title, Planet of the Vampires (PoV) suggests a campier film than it is. There actually aren't any vampires in the usual sense. Yet, it is still a horror/sci-fi hybrid. Director Mario Bava (famous for horror pictures) gives the dark screenplay by Ib Melchior a good presentation, despite a low budget.

Synopsis

Mysterious signals received from a distant planet named Aura suggest some intelligent life, perhaps a distress call. Two interplanetary space ships are sent to investigate. The Galliot goes in first, but seems to crash. The crew of the Argos go lower to check on them. A sudden increase of gravity pins everyone to the floors and the Argos seems to be doomed to crash. At the last minute, the gravity normalizes and Captain Mark Markary is able to land the Argos. When various members of the crew awaken, they go viciously homicidal temporarily. Captain Mark is able to restore order. The Galliot is found near by, perfectly intact. When a team of the Argos investigate, they find the entire crew of the Galliot dead. They killed each other. The Galliot's "Meteor Rejector" device is smashed, making the ship unspaceworthy. The Argos team return later to find no bodies. (They are rising from the dead, but the Argos crew don't know this yet.) A team from the Argos find a derelict alien ship with a huge alien skeleton out front. Mark and Sanya check it out and almost become trapped inside. Various crewmen, usually given lone sentry jobs, disappear one by one. Two Galliot crewmen appear with a story of being unconscious after the landing. They are taken aboard the Argos, but it was a trick. They were zombies who came to steal the Argos's "Meteor Rejector" device. One zombie explains that Aura is inhabited by a race of energy beings. The Auran sun is dying but they cannot construct spaceships. So, they lured other race's ships to Aura to hijack their bodies and flee. The takeover can be done willingly too. Captain Mark says "Never". Mark, Sanya and Wess steal back the Meteor Rejector and plant bombs aboard the Galliot. They take off in the Argos. Wess discovers that Mark and Sanya are possessed by the Aurans. He smashes the Meteor Rejector, thinking he's stopping the Aurans. He dies in the process. Possessed Mark and Sanya decide to set down on an obscure little planet: Earth. The End.

PoV has the quirky charm typical of Italian sci-fi, but also some visual fun via Bava's sense of art.

The American title is a misnomer, but probably deemed better (by A.I.P.) for marketing. The dead bodies, re-animated by the Auran energy beings, were more the classic zombie than the classic vampire. There is no sucking of blood or needing of human blood, etc. The whole rising-from-the-grave scene is clearly in the zombie idiom. Mixed into the zombie trope is the familiar 50s theme of alien-takeover.

 

Like many B movies, the production budget for PoV was very tight. Modern viewers could easily scoff at the modest special effects and simple sets. Yet, fans of B sci-fi can appreciate how much mileage Bava got from his shoestring budget. He made an entire alien planet out of a few "rock" props left over from a prior sword-and-sandal film, making use of lots of dry ice fog to disguise how sparse things were. The ship models were quite small (and therefore cheaper), but he manages to make them look larger. To save on matte art and optical effects, Bava used mirrors to put actors and small models into the same shot. Of course, having the Argos and Galliot be identical ships meant handy double use. The giant alien skeleton was probably his biggest expense, but well worth it.

 

Bava also made ample use of strong color to make things look "alien." Pairs of red-green, or red-blue, or green-orange lights add a vivid other-worldliness. The lighting is reminiscent of that used in the soviet film: Mechte Navstrechu ('62) ("A Dream Come True"). American audiences wouldn't get to see the soviet footage until 1966 when A.I.P. created another of their mash-ups, this one entitled: Queen of Blood.

 

Some viewers see an inspiration for Ridley Scott's famous Alien (1979). Certainly the scene in which Mark and Sanya discover and explore the derelict alien ship bears a strong resemblance. Even though this scene in PoV is more of a sidetrack than pivotal, it is certainly possible that Scott drew upon it as a portion of his story.

Screenwriter Ib Melchior was fond of the notion that alien planets harbored mysterious danger. His dark vision was quite the opposite of the almost glib notion that alien beings would be pretty women in short skirts. Melchior's Angry Red Planet ('60) featured ominous unseen Martians who tell the earthlings to get lost and never ever come back. Journey to the Seventh Planet ('62) featured a malicious intellect being that messed with the earthlings' minds and was trying to get off its cold, dark moon, to a better planet -- like earth.

The ending of PoV is decidedly un-hollywood. Most of the crew die. Even the last uncompromised humans (Wess) dies trying to stop the Aurans. He fails, despite his heroic sacrifice. Auran-Mark and Auran-Sanya fly down to an unsuspecting earth. The danger of the mind-controlling energy being Aurans was about to be loosed on our simple civilization. On its own, such an ending does have nihilist overtones. It also smacks of a potential sequel along the Body Snatchers line.

 

Bottom line? PoV will not impress modern viewers who rate movies by how lavish the effects are. It is still a budget film. It also suffers some of the usual pitfalls of foreign films repackaged for American release. There are almost too many characters who are easy to mix up (everyone wore identical leather suits) Nonetheless, it one of the better B movies of the 60s.