sony a7ii lcd screen replacement free sample

Thank you for your constructive comment. The criteria we needed to meet for this project was to provide instruction on iFixit guides for how to remove various parts on the device. We were being evaluated on the content pertaining to our writing and not the technical depth of the guide. Furthermore, we did not have a vested interest in replacing the screen nor did we have another screen to replace it with. In your rush to make a rude comment, you might have missed the end of the guide where it states that in order to reassemble you must follow the steps we provided in the reverse order. Reverse means doing something in the opposite direction.

The Sony a7 was the first generation of the alpha 7 series camera by Sony, released in December 2013. The Sony a7 is identified by the name "a7" in the top right corner on the front of the device, and its model number ILCE-7 is listed on the bottom of the device, which is shown below the manufacturer.

The Sony Alpha 7 is a small, light-weight camera that is often used to record high-quality photos and videos. Therefore, this is one of the cameras that travelers love to carry around. There are a total of three Alpha models that are currently on the market (a7,a7ii,a7iii), and the best way to identify each of them is by the name written on the top right corner in front of the camera. There are a couple of features that make this camera stands out. For example, it has a sealed alloy body with making the camera "tougher" and weatherproof; also, it can connect with the cellphone via WIFI or NFC, and it allows the user not only review the pictures after they took it but also they download the pictures and share it with their friends. Furthermore, it has a video mode of 1080p AVCHD video, and it can shoot 24MP with five frames per second.

This year is the seventh year of the Sony a7 production, and yet, it does not have a single recall from the manufacturer. The Sony a7ii replaced the Sony a7 in September of 2014.

Sony offers a limited warranty on their cameras, which covers certain types of repairs. If your camera is not under warranty, you will be responsible for the cost of the repair.

7) Now you have to bring the board into the right position, if this is not done correctly the display will not engage as it should and there will be gaps here and there. That was my problem! I found out that the position was good enough when I pulled the board in way that the wide ribbon was lying tense and tight on the LCD backside.

Important: If you remove the screws there is a chance the described plastic part will fall out and it´s quiet hard to place it back again. Also in this tutorial a hint is missing that the frame has to be put back in first before reattaching the LCD.

Before checking out my hands-on review for the Sony A7 IV, be sure to read William Brawley"s initial hands-on review from October. In his review of a pre-production camera, he covered a lot of ground, including a detailed look at the camera"s key features, design, image quality, autofocus, performance and the A7 IV"s video features.

In my review, I will instead write about my experience using a production version of the camera for wildlife (and my dog), landscape and nature photography. My reviews typically follow a tried-and-true format where I discuss aspects of a camera"s performance in specific feature-oriented sections. I"m going to mix things up a bit with this Sony A7 IV review and focus on my experience with the camera across diverse photographic situations. I"ll discuss things like ergonomics, image quality, and autofocus, but they will be spread organically throughout the review. Without further ado, let"s dive in.

Winter in New England is cold; plenty cold enough to need to wear gloves. Unfortunately, keeping your hands warm and operating a camera are often conflicting goals. Fortunately, the Sony A7 IV is not impossible to operate while wearing gloves. However, that"s not to say that it"s always easy to use either. The deep front grip feels great, but there"s not a lot of room between the back of my fingers and the side of a large lens, especially not when wearing gloves. It can end up feeling a bit cramped.

The Sony A7 IV has good controls and ergonomics overall. However, it can feel a bit cramped when wearing gloves, which is slightly frustrating when working in cold weather climates.

On the plus side, the Sony A7 IV includes weather-resistant sealing and is ruggedly built, so snowy weather isn"t a problem for camera reliability. As expected, it held up perfectly well when using the camera in the snow. Granted, heavy snowfall isn"t quite the same as heavy rain, but the melting snow on the camera didn"t ingress, and the camera was easy to wipe clean. Of course, you will want to be careful not to access the memory card slot while the camera is wet. Still, there shouldn"t be any issues using the A7 IV in inclement weather, so long as you exhibit some careful consideration.

Doing landscape photography was a great opportunity to use the A7 IV"s tilt-swivel display. During my prior experience with Sony cameras that utilize a tilting screen, I"ve long moaned about the lack of a fully articulating display. Being able only to tilt a screen up and down is great when shooting in landscape orientation but is useless when shooting in portrait orientation. The A7 IV"s fully articulating display lets you swing the monitor out to the side and then spin it on an axis or flip it down to use in portrait orientation. It requires a bit more effort than the older flip-style display, but it"s a big improvement in overall usability.

The flock of birds provided a great test of the A7 IV"s continuous shooting performance. The A7 IV isn"t nearly as fast as the Sony A1, which can shoot at up to 30 frames per second, but the A7 IV"s top speed of 10fps is sufficient for many subjects. Sure, you do miss moments at 10fps that you wouldn"t at 20 or 30fps, but that"s just a necessary tradeoff when considering the cost of a camera. The A7 IV has dual card slots and can accept SD cards and CFexpress Type A cards. I used the latter with the camera, opting for a ProGrade 160GB CFX card. It"s a swift card with 800MB/s read speed and 700MB/s write speed, which is quicker than even the fastest UHS-II SD cards.

Autofocus accuracy proved a bit less consistent than the Sony A1, although that shouldn"t be surprising given the gap between the price of the two cameras. When using the Sony FE 200-600mm F5.6-6.3 G OSS lens, I think that I had a hit rate of around 100 percent when photographing slow-moving or stationary birds. When they were flying, the hit rate dropped, as expected, but was still quite high, probably around 75 percent. Even when the autofocus system failed and didn"t quite keep up with the subject, the AF area still maintained good tracking, ensuring that the camera had an opportunity to "catch up," so to speak, and capture in-focus shots during subsequent frames.

I thoroughly enjoyed using the Sony A7 IV. It"s an excellent camera. It"s no surprise that it"s proven to be popular so far following its release in late December.

The Sony A7 IV also represents something of a shift for Sony in how it prices its "basic" full-frame Alpha model. The Sony A7 III launched in 2018 for $1,999. Three and a half years later, the A7 IV launched for $2,499. Inflation accounts for some of the price increase, but not all of it. I have no problem whatsoever with the A7 IV"s higher price point. I think that it"s fair. It"s still a lot of money, of course, but it"s a lot of camera.

While the entry price has changed – although you can still get a Sony A7 III and save money – the spirit of the A7"s newest "basic" model stays the same. Like prior iterations, the Sony A7 IV combines some of the high-end performance of Sony"s flagship model while tuning performance and specs down to meet a much lower price point. The A7 IV does feature some of the same tech as the Sony A1, although it never quite matches Sony"s super-fast flagship camera. However, where the A1 is overkill for most photographers, the A7 IV is an ideal camera for many.

If the Sony A1 is Sony"s "do-it-all" camera for pros, then the A7 IV is Sony"s "do-it-all" camera for everyone else. Make no mistake, though, the A7 IV is not a compromise or concession. No, it"s not as good as the A1 for resolution or speed or the A7R IV for resolution or the A7S III for low-light performance and video, but the A7 IV is really damn good.

While it"s not as long as the gap between the A7S II and the A7S III, it still feels like the photo world has waited quite a while for a successor to Sony"s wildly-popular "basic model" A7 Mark III full-frame mirrorless camera.

But finally, we have a follow-up. The appropriately-named Sony A7 Mark IV brings with it a host of new features, upgrades and improvements both inside and out compared to 2018"s Mark III. To name a few, we have an all-new sensor, a newer processor, an updated AF system and new AF features, plus new ergonomics and controls, a new LCD screen and more video features. There are a lot of new features and improvements here.

And the fact that we have this array of features and improvements in what is essentially Sony"s "base model" Alpha 7-series camera (if you don"t count the A7C) is pretty amazing. Granted, this camera isn"t coming in at an "entry-level" price point, either, but Sony is calling this camera "the new basic." And "basic" feels like an understatement. This new A7-series camera has a lot of impressive and sophisticated features, many of which are borrowed or derived from Sony"s high-end Alpha 1 and A7S III models. And yet, the A7 IV doesn"t come with a wallet-scaring price point in the way that the A1 does.

Back when we reviewed the Sony A7R IV, we questioned whether or not it was Sony"s "most versatile camera ever," given its combination of high-resolution and performance. However, this new Sony A7 IV is, at least for me, making me reconsider this stance. With the A7 IV, we have a very enticing combination of imaging capabilities, high-performance AF, and robust video features at a decent price point.

Unsurprisingly, at first glance, the new Sony A7 IV doesn"t look all that much different from its predecessor or really any of Sony"s recent-generation Alpha full-frame mirrorless cameras. The A7 IV maintains that characteristically angular, almost chiseled design with a deep handgrip and a smooth, matte black finish. However, if you look closely or can compare the Mark III and IV side by side, there are several notable differences to this new camera"s design, the most prominent of which is the even larger and deeper handgrip. From an overall physical standpoint, the new A7 IV is essentially an A1 and A7S III put together. The A7 IV shares the same slightly larger footprint of the A1 (and A7S III), along with the deeper and more comfortable handgrip. At the same time, the A7 IV uses a similar overall layout of buttons and controls as well as the LCD screen design as the A7S III.

In the hand, the camera feels very durable with excellent build quality, much like I experienced with the A1. First and foremost, when you pick up the camera, you"ll immediately notice and likely appreciate the larger grip. Much like with the Sony A1, the new grip design of the A7 IV makes the camera much nicer to hold, especially if you have larger hands. In my hand, the camera feels sturdy and substantial and much more comfortable to hold than the earlier, smaller A7 III camera that I"ve shot with several times, for example. Although the A7 III is much improved ergonomically compared to the very first generation model, the camera"s grip is still a little on the smaller size.

The main PASM Mode Dial on the top of the A7 IV remains similar to its predecessor in that it still lacks the locking button that we see on other Alpha cameras, such as the A1, A7R IV and A9 II. The selectable modes have also been simplified down to just the standard "PASM" modes, an Auto mode and three customizable preset modes. Movie mode, S&Q and Scene modes have been removed from the dial. However, the A7 IV introduces a new shooting mode switch underneath the Mode Dial. This new locking slider control lets you quickly switch between Photo mode, Movie mode and S&Q (Slow & Quick) mode. The locking feature is nice and helps avoid accidentally changing your primary shooting mode. I do wish the main PASM mode dial had a locking feature, as well, like on many of Sony"s other, higher-end Alpha models, but the dial feels stiff enough that accidental mode changes are probably going to be rare for most people.

On the left side of the EVF, we once again have a big blank spot. With the A1 and A9-series, Sony adds some additional controls, a dial for Drive mode and another for Focus mode. While I"d ideally love to have these additional physical controls on the A7 IV (and other A7-series cameras), I suppose it"s a differentiating factor between Sony"s more consumer-focused cameras and their pro models. Nonetheless, it feels like a big chunk of unused space on the camera, and perhaps a couple of additional custom function buttons would do nicely there.

I really have no complaints at all when it comes to the buttons and dials of this camera; having reviewed the new Alpha 1, the overall user experience here is essentially the same and an overwhelmingly positive one. The larger size and the deeper, more tactile feel of the buttons presses are small but pleasing improvements to the A7 IV"s usability compared to the previous model. The updated joystick control is especially nice; the texture is great, and the movement of the control feels responsive. I also appreciate that Sony continues to keep a dedicated 4-way directional control, which of course, works for menu navigation. The menus, by the way, in the A7 IV have been completely overhauled, matching the much nicer UI design of the A7S III and A1. The menus are fully navigable via touch and swipe. You can also navigate the menus with the joystick control, but I still prefer navigating menus with a 4-way directional control, as I find that much more accurate and faster to operate.

Continuing with the product tour, the other major new physical design change on the A7 Mark IV is a switch to a vary-angle LCD touchscreen as opposed to the two-way tilting screen of the A7 III. The LCD screen here is essentially the same one as in the A7S III, offering a 3.0-inch touchscreen LCD panel with 1440K-dots of resolution and a 3:2 aspect ratio. Given the hybrid photo/video nature of the A7 IV and its target customer base, it doesn"t surprise me to see Sony switching to this vari-angle screen design. The ability to flip the screen to the side and outward to a front-facing position is excellent for video creators. For stills, I personally prefer the "older" tilting LCD design -- like on the A1 -- as I find that easier to use for shooting from low angles. However, the articulated design of the A7 IV does allow for easier low-down shooting with the camera in a vertical orientation.

In the field, the rear display works very well. Quality-wise, the rear LCD is crisp and sharp, and it performs well outdoors in bright light. Sony states that live view quality, for both the LCD and EVF, has been improved, with attention put on reducing false colors and increasing image resolution. The LCD"s touchscreen offers a responsive feel when using tap-to-focus functions and navigating through on-screen menus, such as the Function shortcut menu. You can navigate the deeper main camera menus via touch, and while it generally is useable, the UI feels a bit on the small size, in my opinion, to be easily tappable and scrollable. It"s fine, on occasion, and it can be done, but I found it much quicker to just use physical controls for menu navigation.

Last but not least, the electronic viewfinder on the A7 IV gets a bit of an upgrade over the previous model, upping the QVGA OLED screen resolution from approximately 2.3 million dots to 3.68 million dots. The refresh rate also gets a boost, with the camera offering both a normal 60fps frame rate as well as now a faster, smoother 120fps for improved usability when tracking fast-moving subjects. In use, much like with the camera"s overall design and controls, I really have no complaints about the EVF on the A7 IV. It"s bright, sharp and offers a large, clear view of the scene. The 0.78x magnification factor makes it a fairly large EVF amongst several competing full-frame mirrorless cameras, but it"s not the largest -- nor the highest-resolution EVF out there. However, it gets the job done and does it quite well.

At the heart of the new Sony A7 Mark IV is an all-new 33.0-megapixel full-frame Exmor R back-illuminated CMOS sensor, paired up with Sony"s newer BIONZ XR image processing engine that we see inside the Alpha 1 and A7S III. Unlike the flagship Alpha 1 camera (or the A9-series), the sensor inside the A7 IV is not a stacked CMOS sensor design. Nonetheless, the camera"s imaging pipeline offers impressive fine detail capabilities, an expansive ISO range and very good dynamic range, and the camera overall has very impressive performance capabilities, despite not having a sensor with a readout speed as quick as the A1 or A9-series.

In terms of specifics, the new A7 IV, despite its newer sensor and updated image processor, offers the same, albeit expansive, ISO range as its predecessor. The native ISO range spans ISO 100 up to ISO 51,200, while the sensitivity can be expanded down to a low ISO 50 and up to a whopping ISO 204,800. Sony also states that the camera offers approximately 15 stops of dynamic range, which is, again, the same as with the previous A7 III. However, seeing as the camera uses the same image processing engine from the A7S III and A1, Sony also states that the A7 IV gains the improved image processing capabilities of these higher-end cameras, which are said to provide improved color accuracy and more natural-looking tonal gradations.

For some reason, Sony uses rather confusing and nondescript two-letter abbreviations for these Creative Look presets. The standard default preset is "ST," which makes some sense, as does "PT" for the portrait-centric preset. But then there"s an "NT," which the camera describes as "expresses a relaxed mood with reduced saturation and sharpness." I guess NT stands for "neutral?" There are also two "VV" presets, a VV and a VV2, which I assume stand for two different "Vivid" preset styles? It"s just rather strange and confusing if you"re not already familiar with the naming. Fortunately, you can tap on the little "?" icon or press the trashcan button to see a description of all the presets. Still, it seems just a little clunky.

Like other Sony A7-series models, the new Mark IV also includes in-body image stabilization. The 5-axis combined optical and in-body image stabilization system is upgraded slightly compared to the SteadyShot system in the predecessor, offering up to 5.5 stops of stabilization correction versus the 5-stop system in the Mark III.

With a new 33-megapixel sensor, the A7 IV is now the highest resolution model of the "basic" Sony A7-series cameras, finally getting a boost in resolving power compared to the previous models" 24-megapixel sensors. In fact, the new A7 IV approaches the resolution of the original A7R model, which used a 36MP sensor. When you look at competing full-frame cameras on the market, the 33MP A7 IV stands out among a crowd of 20-24-megapixel cameras, such as the Canon R6, Panasonic S1 and Nikon Z6 II, making it one of the highest-resolution "enthusiast-oriented" full-frame cameras on the market.

Overall, in my time with the camera so far, I"m extremely pleased with the image quality of the A7 IV, at both low and higher ISOs. That said, given Sony"s legacy of fantastic image quality with their full-frame Alpha cameras, I wasn"t expecting a poor showing this latest camera. From a sheer detail perspective, there is a lot to like from this new 33MP full-frame camera, even with just JPEG images. Images straight-out-of the camera are crisp and sharp with lots of fine detail and well-controlled noise when shooting at higher ISOs. Colors look vibrant yet natural and not overly saturated when using the normal picture profile or the default "Standard" Creative Look.

Like many of Sony"s high-res full-frame cameras, the sensor in the A7 IV lacks an optical low-pass filter (OLPF), enabling you to capture more extra-fine detail. Many higher-resolution cameras these days are doing away with the OLPF in order to eke out just a bit more per-pixel detail out from the sensors, at the risk of capturing moiré and aliasing artifacts however. In most day-to-day shooting, you likely won"t encounter issues, and indeed in my time with the A7 IV so far, I haven"t noticed any moiré artifacts in the shots I"ve captured -- though that"s not to say it can"t happen. However, if you photograph subjects with fine, repeating patterns, aliasing and moiré pattern artifacts could potentially appear.

Now, despite the A7 IV"s much lower price point, the camera features essentially the same impressive autofocusing system as the flagship A1 camera, putting a major focus on speed and subject-tracking capabilities. Sony does, however, state that since the sensor in the A7 IV isn"t a stacked CMOS chip like in the A1, it can"t read data from the sensor as fast as on the A1. SO while the overall AF system is more or less the same as in the Alpha 1, the performance is perhaps not as fast as that of the A1"s.

The earlier A7 III did not incorporate the "Real-time Tracking AF" technology that Sony first debuted with the A6400 and A9 via a firmware update back in 2019. The A7 III still had tracking autofocusing, called Lock-on AF, but it"s not as capable or as high-speed as this current implementation. With Real-time Tracking AF, the A7 IV is better equipped to detect and track a wide variety of different subjects, including people and certain animals, including birds. It"s also better able to handle challenging subject-tracking situations better than Lock-on AF could, such as continually tracking a moving person"s face and eyes even if the face or eyes are briefly obscured from view (i.e. the subject turns away from the camera) or the leaves the frames. The A7 IV can now maintain focus on the subject and quickly reacquire precision face/eye focus once the subject returns into the frame.

Meanwhile, thanks to the slower burst rate, the buffer depth of the camera is incredible, especially if you utilize a faster CFexpress Type A memory card. According to Sony"s specs, the A7 IV is capable of approximately 828 continuous uncompressed RAW+JPEG images with the CFexpress card. In the real world, that"s essentially an unlimited buffer depth.

For the best performance experience for shooting continuous, using a CFexpress Type A card is clearly superior. It"s a shame that both memory card slots aren"t CFexpress-compatible, but I assume it"s an area where Sony needs to cut costs or, at the very least, help differentiate this camera from the higher-end A1.

In other areas, the Sony A7 IV is a very nimble and responsive camera. Power-on time, for example, is very fast, though not instantaneous. However, gone are the days of the oddly sluggish power-on behavior of the first-generation A7-series cameras. By my estimates, powering on the camera takes less than a second. It"s about what I"m used to on my Olympus E-M1 Mark II and Mark III cameras, perhaps a bit faster. Despite the excellent overall battery from the A7 IV"s Z-batter, I"m still in the habit of powering off the camera while it"s not in active use. The A7 IV powers on quickly enough that by the time I put the camera up to my eye, it"s ready to shoot.

Given its hybrid design, the Sony A7 IV is packed with a wide variety of high-end and advanced video recording features, including video resolution up 4K 60p, 10-bit and 8-bit recording, Full HD 120p slow-motion, S-Log3, 10-bit 4:2:2 color sampling, and improved video AF features.

Much like on the A1 and A7S III, the A7 IV is built with a "heat-dissipating structure" constructed from a graphite material with excellent thermal conductivity. This internal structure is built into the image stabilization unit and helps move heat away from the image sensor. As such, the camera does not have the often-frustrating 29:59 video recording limit issue, and Sony states that the A7 IV can continuously record 4K 60p 10-bit 4:2:2 video for over an hour. That said, if the camera becomes too hot, there is a chance video recording will stop automatically as a precaution. However, you can adjust the threshold for what temperature level will cause the camera to automatically power off. (In the Setup menu, go to Power Setting Option and select the "Auto Power OFF Temp. option. Choose "High" to allow for increased recording time and internal temperature threshold.)

Finally, there"s a nifty and all-new Breathing Compensation setting. This new focusing breathing mode is only compatible on a select list of Sony-brand E-mount lenses, and it helps compensate for the distracting focus breathing issues are often commonplace on still-centric lenses. Cinema lenses are designed specifically not to have much, if any, focus breathing, whereas this angle of view shifting is not an issue for still photography. However, many of Sony"s lenses are designed for stills first and foremost and thus exhibit focus breathing when used for video purposes. This new Breathing Compensation setting uses Sony"s Clear Image Zoom technology and does crop into the frame ever so slightly to help mask or minimize the effects of focus breathing for a given lens. The amount of frame crop will vary from lens to lens.

For both normal video recording purposes and live streaming, the A7 IV supports Sony"s new Digital Audio interface in the hotshoe for a completely cable-free, digital audio signal. The camera also supports the Creative Look presets for live streaming as well as a new Soft Skin Effect.

The new Sony A7 IV includes a healthy complement of modern ports and connectivity, both wired and wireless. In terms of wired connections and ports, the A7 IV now features a sturdier, full-size HDMI Type-A port like we see on the A1 and A7S III, which is a pleasant upgrade over the small, micro-HDMI port on the predecessor. Once again, the camera also includes 3.5mm headphone and microphone jacks. The A7 IV also feature two types of USB connectors, a micro-USB connector and a USB Type-C port. The Mark III had a similar pairing, but the USB-C port on the Mark IV has been upgraded to a faster USB 3.2 Gen2 port, offering up to a 10Gbps data rate -- as well as Power Delivery. Additionally, the USB-C port also supports 1000BAST-T Ethernet connection for fast FTP data transfers, and to support the A7 IV"s upgraded live streaming functionality (more on that later).

In terms of wireless connectivity, the A7 IV features several upgrade and improvements for wireless connectivity and image sharing features. The camera includes updated Wi-Fi, with both 2.4Ghz and 5Ghz connectivity for faster transfer speeds. There is also Bluetooth Low Energy connectivity, which now allows for an always-on and sustained connection to a paired smartphone via the Sony Imaging Edge Mobile app. The process is much more streamlined and simplified with the A7 IV, requiring just an initial pairing to a smartphone. The BLE will then maintain a connection allowing you to shoot and then quickly transfer images to your smartphone (when actively sharing media, the connection will initiate a Wi-Fi-based connection with the smartphone for fast data transfers. The 5Ghz Wi-Fi connection also allows for wireless remote FTP transfers. The camera also supports FTP transfer via wired LAN (using a USB-C-to-Ethernet adapter) or with a USB-tethered smartphone.

The A7 IV is also compatible with Sony"s "Visual Story" cloud service (currently available in USA and Japan only), which can store and backup still images and movies using a connected smartphone and the Visual Story app.

Overall, the Sony A7 IV is an impressively versatile camera. The world"s had to wait a while for a follow-up to the popular A7 III, but Mark IV appears to be worth the wait. The A7 IV features an improved design and ergonomics, as well as an all-new imaging pipeline and autofocus system. The new 33MP sensor offers excellent image quality with fantastic fine detail performance, great higher ISO quality, and the autofocusing system is fast, accurate and responsive.

It"s difficult to think of another adjective to describe this camera other than "versatile." It fits well with so many different types of creators, for both stills and videos. If you"re a landscape or portrait photographer, you"ll appreciate the high-resolution sensor as well as the Eye AF tracking. And if you shoot wildlife and nature, the Animal and Bird Eye AF is amazingly helpful, as is the wide AF area coverage and completely silent shooting mode. Video creators, of course, will appreciate the improved video specs, higher quality video, more frame rates, vari-angle screen and improved sustained recording time -- as well as the easier live streaming functionality. The only real negative I can think of for this camera so far is the 10fps burst speed for the electronic shutter. Something a little faster would perhaps have been nice, but I think this for most users 10fps is plenty fast for most action, sports and wildlife subjects. At least for me it is.

All in all, from my time with the camera so far, I think A7 IV might take the crown from A7R IV as Sony"s most versatile camera ever. The sheer amount of features this "new basic" model inherits from the flagship A1 and A7S III is quite impressive while still coming in at a much more wallet-friendly price point. Resolution, performance, and price. I don"t know about you, but to me, the Sony A7 Mark IV feels like the Alpha 1 for the rest of us.

The Sony A7 Mark IV is scheduled to go on sale towards the end of December of this year, with a retail price ranging from $2500 for a body-only configuration. At this price, the A7 IV starts with an MSRP of about $500 more expensive than the A7 III did at launch. Additionally, the A7 IV will also be sold in a kit configuration with an FE 28-70mm f/3.5-5.6 OSS zoom lens, which will retail for about $2700.

If you’ve read my Sony Alpha A7R review over at DPS, you’ll already know that despite my various grumbles with the mirrorless monster, I gave it 4 out of 5 stars. It would have earned 5 had it not been for a few really obvious oversights from Sony that would have been easy to fix. More on that later.

This review is somewhat more detailed and I’ll be sharing my custom settings to help you get the most out of your Sony A7R for landscape photography. You can also view my example images. I’ll start with my ratings of the essentials.

Obviously, I’m assessing the Sony A7R from a landscape photographers perspective, and for what I do, the Sony A7R excels. If you too, are a landscape photographer, here are some things you need to know about the A7R before you take the plunge and switch from your old camera system.

You cannot bracket AND use the 2 second timer. A terrible oversight from Sony that I hope is fixed with a firmware update. If you want to bracket without touching the camera (no self respecting landscape shooter would do otherwise) you’ll have to use a remote timer. Don’t go thinking you can just use the Sony camera remote app on your phone either, it’s total crap and doesn’t allow bracketing. Could Sony be more frustrating?

Since a recent update the ‘Timelapse’ app for The Sony A7R is much better than it once was. There’s still no bulb ramping function and exposures are limited to a 30″ maximum but at least it’s now fairly usable for static timelapse shooting.

Battery life on the Sony A7R is atrocious. Think of the Sony A7R as more of a smartphone than a camera. Even when it’s switched off, that battery is draining. If you shoot outside in cold temperatures, don’t expect more than 1 hour of solid use. You can try turning on ‘Airport mode’ and switching off Wifi but it won’t improve the battery life much.

I would also advise getting the Duo LCD Charger with 2 NP-FW50 Battery Plates so that you’re not forced to tether the camera to the USB cable every time you want to recharge. I have 6 batteries now and this charger kit is essential, especially when traveling and working to time lines.

You’ll need a lens adapter (obviously) if you want to attach your legacy DLSR glass. This is one of the great features of the Sony A7R and one of the reasons it got so much hype during its release.

Here is a video of the Adapter doing it’s thing. I contacted Metabones and after a 6 week wait, they sent me an adapter ring for the other end of the adapter. Clearly they hadn’t bothered to correctly read my emails. Spend your money on a lens adapter from some other company and let me know how that works out. I’ve heard great things about the Novoflex Adapter for EF Mount Lens to Sony E-Mount Cameras.

You can’t have your cake and it eat. Much like the Nikon D800E, the Sony A7R was built for landscape photographers. The lack of anti-aliasing filter isn’t an issue for me as I mostly shoot natural landscapes. It did however, cause me a problem in the shot shown below where you can see the Moiré pattern on the overhead power cable. I’m willing to live with this for sharper natural shots.

With all of this complaining you’d be forgiven for thinking I’ve got a downer on the Sony A7R. You’d be wrong. The strengths of the A7R far outweigh it’s weaknesses. These are the reasons why I love the Sony A7R and what it can do for my landscape photography.

The tiltable LCD on the A7R has finally saved me from the indignity of having to lower my nether regions into the icy waters of alpine creeks in order to get those low angled shots.

The focus assist feature displays little yellow highlights in the EVF or LCD screen to tell you that you’ve achieved correct focus. I’ve no idea how it does this but it works.

When Sony finally gets around to releasing a wide angle Zeiss lens for the A7R, I suspect a lot of landscape shooters will be making the switch that I made. Sorry Canon, nothing personal.

I recently caved in and shelled out $299 for the battery grip because I was so sick of the shambolic battery life of this camera. I was sad to discover that you can’t actually charge the camera batteries ‘in camera’ while the battery grip is installed. This means you have to mess around taking the battery grip off and putting a battery back in the camera if you want to charge the batteries. Terrible design flaw Sony.

If you found this review helpful and you plan on buying the A7R, please consider using this Sony A7R link to make your purchase so that I can continue running this free site. All support is very much appreciated.

The articulating LCD screen on my Sony A77 camera recently stopped working properly. The screen still functioned when it was placed up against the camera body, but when I extended and rotated it away from the body, it only displayed artifacts.

After some research, I found out that the flex cable of the LCD screen was likely damaged. By buying a new flex cable and studying the parts diagrams that I found online, I managed to repair the camera.

In this article I will explain what causes problems with the LCD screen on the Sony A77, what you can do to prevent them, and show how you can fix the screen yourself at home.

There are several reasons why the Sony A77 LCD screen can develop problems. One of the most common reasons is a fracture in the LCD flex cable. Other less common causes are damage to the screen itself or its electronics, or a problem on the printed circuit board of the camera.

The most common reason for problems with the LCD screen is that the flex cable that connects from the camera circuit board to the LCD wears out. When this happens, the cable develops one or more hairline cracks in the wires. The screen is then not able to receive the correct signals anymore, and it displays artifacts instead.

In the case of my Sony A77, when the screen was positioned against the body the traces in the flex cable managed to make contact well, but when the screen was moved further from the body the connection broke.

A broken flex cable seems to be the most common cause of the artifacts, so when attempting to fix the screen, this is what I recommend to try to fix first.

Other (non-LCD) camera components can cause problems with the LCD as well. For example, the motherboard of the camera can develop issues due to old age, or due to the camera being dropped.

This usually shows up as a green screen on the LCD. Or to be more specific, a repeating green pattern on the screen. An example of this can be seen here.

In this case, the viewfinder of the A77 also stops working and shows the exact same pattern as on the LCD. This is an important difference with when the flex cable or LCD screen is damaged. In that situation the viewfinder still shows the sensor image.

I managed to find my replacement LCD flex cable on eBay for about €50. You can also find them on Amazon. Replacement LCD screens can be found there as well.

From what I found online, having the camera repaired at the Sony service center would have cost somewhere between $200 and $400 total for the assessment, shipping, components and labor.

Repairing the camera myself cost me ~$60 for the replacement flex cable. Obviously this option came with a bit more risk, but I was confident that I correctly identified the issue and that I was able to repair it.

Only if you never move the articulating screen. The primary reason for the artifacts is the flex cable that develops fractures. Limiting the strain on the flex cable will extend its life.

If you wanted to replace the LCD screen itself, this would be where you would do it. Simply disassemble the LCD assembly a bit further, until you are able to remove and replace the LCD panel itself.

The repair was not as difficult as I thought it would be. The Sony A77 is a complicated piece of technology, but it seems to be designed so that it is relatively easy to repair.

Sony a7 III & a7R III cameras share some accessories designed for Sony a9, a few designed specifically for a7 III & a7R III and many accessories compatible with all Sony E-mount cameras. This list will help you navigate your way to the accessories you need.

My first suggestion with any camera is to buy an extra battery and external charger. Even though battery life is greatly improved from previous Sony mirrorless camera batteries, you can’t shoot while charging your only battery, picking up a spare Sony NP-FZ100 Rechargeable Lithium-Ion battery.

Sony a7R III ships with an external battery charger – but a7 III does not. You’ll want to pick one up for a7 III and if you shoot heavily, you may want spare Sony BC-QZ1 Z-series Battery Charger so that you can charge two batteries at once. Featuring a 100-240 Volt compatible power adapter, this charger will be able to charge a battery completely in 150 minutes. It also features an LED indicator for checking charge status and has a slim design with a detachable AC cable.

I only use original Sony NP-FZ100 batteries – but if you’re determined to buy third-party replacement batteries – please stick to batteries that comply!

Upgraded RAVPower NP-FZ100 Batteries ($59.95 for two battery + charger kit from Amazon) meet compliance with Sony a7 III, a7R III & a9. The only complaint I’ve received is that RAVPower batteries drain more quickly than OEM Sony batteries

Sony VG-C3EM Vertical Grip ($348 at B&H Photo | Amazon) is probably a MUST for sports or wildlife shooters or anyone suffering from withdrawals from DSLR-size bodies. In addition to making a bigger body to grip, you get the added bonus of room for two NP-FZ100 batteries for double the battery life. Portrait photographers will appreciate the added vertical release.

Really Right Stuff is the ‘gold standard” of camera plates and L Brackets. Their Sony a9/a7R III will also fit a7 III. These plates are all precision machined from solid blocks of 6061-T6 aluminum. Fully compatible with any Arca-Swiss style quick release system with contoured anti-twist flanges to prevent twisting between camera and plate.

GABALE QR L Plate Bracket for Sony a7III/a7RIII/a9 ($57 on eBay) is a less expensive alternative machined from lightweight aircraft-grade anodized aluminum. It’s two-part construction allows you to control the offset of the side bracket for access to camera ports when mounted vertically.

Sony GP-X1EM Grip Extension ($130 at B&H Photo | Amazon) mounts to the camera’s tripod socket to provide a larger and taller grip for a more ergonomic shooting setup. For durability, it features aluminum construction with and enhanced scratch resistance surface.

Manfrotto Befree Advanced Alpha Travel Tripod (Pre-Order for $189.99 from B&H Photo | Adorama) This special version of the Befree Advanced Lever is designed for Sony alpha camera users who want maximum performance and stability in all shooting positions.

The quick-release plate is designed to match Sony a7 and Sony a9 camera bodies, to ensure perfect grip, even in the most angled camera shots. The front jut of the plate physically blocks the camera, preventing any play both on tilt and rotational movements, always keeping the camera stuck to the head plate.

Gitzo L-Bracket for Sony a7R III and a9 Cameras ($199 at B&H Photo). allows comfortable alignment of Sony a7 III, a7R III and a9 cameras and facilitates quick change between landscape and portrait. Milled from a solid block of aluminum, the new rail is the lightest of its kind, according to the manufacturer, it offers four mounting points for the camera designed for shooting video or tethered shooting in the studio. The supplied Allen key can be fixed in a separate holder.

Sony’s new NP-FZ100 batteries pack a lot of power yet if you find yourself needing more, Sony NPA-MQZ1K Multi Battery Adapter Kit might be just what you need for time lapse photography or extended video shoots since it is able to supply power from up to four NP-FZ100 series battery packs for dramatically extended shooting times. At four bills – it’s not cheap, but it includes two NP-FZ100 batteries that would run you $160.

[Please Note: Due to a clever dual dummy battery set-up, Sony NPA-MQZ1K Multi Battery Adapter is also compatible with cameras using W-style Sony batteries including a7-Series, a6000-series and NEX]

The eyepiece on Sony a7R III is well anchored in place so chances are good, you’ll never lose one. But if you do…here’s where you can get a replacement Sony FDA-EP18 Eyepiece Cup ($11 at B&H Photo | Amazon)

SD Card Slot 1 is UHS II compatible with Sony’s world’s fastest Sony SF-G cards featuring blistering fast 299MB/s Write Speed & 300MB/s Read Speed perfect for Sony a7R III’s 10 FPS burst shooting, 4K video, and other buffer-busting uses. If you plan to shoot video, you’ll want to stick to 64GB (or larger) SDXC cards for the best video codex. [Please Note: UHS-II SD cards will work in other Sony cameras – however only Sony a7 III, a7R II & a9 can take advantage of it’s blazing write speed]

If you can’t get your hands on the Sony cards listed above, the next fastest option is SanDisk 32GB Extreme PRO UHS-II SDHC, 64GB Extreme PRO UHS-II SDXC or 128GB Extreme PRO UHS-II SDXC Memory Cards with 260 MB/s Max Write Speeds. Once again, stick to 64 or 128 GB SDXC cards for video.

Hoodman Steel 2000x SDXC UHS-II Memory Card available in 64GB & 128GB fall short of Sony SF-G speed, but their 260 MB/s a Max Write Speed equals the speed of SanDisk cards with better construction and a lower price.

Sony a7R III Card Slot 2 is compatible with UHS-I memory cards. Sony SDXC UZ UHS-I memory cards with 90 MB/s Write Speed & 95 MB/s read Speed are an excellent choice. Though they don’t offer the same write speeds as UHS-II cards, these cards are also fully compatible in card slot 1.

While you can always download by connecting the camera to your computer using the supplied USB-cord…however you’ll be limited to USB-2 downdload speeds. But for fast downloads, a MUCH better option is to pick up a Sony MRW-S1 UHS-II SD Memory Card Reader ($29 at B&H Photo | Amazon)

Remote controls allow hands-off triggering of a tripod-mounted camera or long bulb exposure times. Sony RM-VPR1 remote control with Multi-Terminal Cable ($50 at B&H | Amazon) allows you to trigger long exposures without touching your camera.

If you prefer a wireless remote trigger, Sony RMT-DSLR2 Wireless Remote ($24 at B&H Photo | Amazon) triggers your shutter by sending an infrared signal to the camera’s remote port, ensuring that you don’t shake the camera as you fire it.

Sony RMT-VP1K Wireless Receiver and Remote Commander Kit ($69 at B&H Photo | Amazon) can operate your camera or a group of cameras remotely using the RMT-VP1K Wireless Receiver and Remote Commander Kit from Sony. The multi-function remote control is compatible with Sony cameras that are equipped with a multi terminal and has further compatibility with MI-show and DI products. For video or still use, the remote has four available modes: Half-push, Release, Bulb lock, and REC/Zoom. The IR receiver has 360° coverage. Full Compatibility with all Sony products with multi-terminal port.

Vello 3.5mm Remote Shutter Release Cable for Sony Multi-Terminal cameras ($11 at B&H Photo | Amazon) is the cord you need if you want to trigger your Sony a7R III camera remotely using a Pocket Wizard or any other remote trigger with a 3.5mm mini-plug port.

JJC TM-F2 Wire Multi-Function LCD Timer Remote for Sony Multi-Terminal ($26 at Amazon)This is the choice of time-lapse specialist Sony Artisan Drew Geraci for it simplicity, size and easy to read display.

hahnel Captur Timer Kit for Sony ($89 at B&H Photo) This bundle enhances your Captur remote shutter release system by providing a AA battery-powered interval timer module, as well as a receiver for mounting on a camera. Additional receivers are available for firing even more DSLRs. Use this kit with the transmitter you already have, or purchase one separately. As an alternative to wireless operation, the system can function in wired mode, and this kit includes the cables for connecting both the receiver and timer module to the camera. The module features single, continuous, and bulb exposure modes, allowing you to choose from a huge range of exposure times with the continuous and bulb settings.

Think Tank Introduces Hydrophobia V3.0 Advanced Camera Rain Covers including new sizes for Sony Full-Frame Mirrorless and Wide Angle Lenses. Hydrophobia V3.0 covers feature DWR (Durable Water Repellent) coating and is made from three layers of material for durability. It is also seam-sealed for added protection against rain, sleet, snow, sand, and dust. Fold it down to fit into the included compact carrying pouch and slip it into your camera bag so you’re prepared in a downpour or sand storm.

Hydrophobia V3.0 Advanced Camera Rain Covers feature a non-slip, adjustable strap that cinches to the lens hood so it stays put once in place. It can be used while shooting atop a tripod or monopod and has an oversized window for viewing your LCD and controls. Additionally, two cinchable sleeves provide easy access to your camera functions.

Fits Sony full-frame mirrorless camera bodies with a 24-70mm f/2.8, 24-105mm f/4, 16-35mm f/2.8, 14-24mm f/2.8, or similarly-sized wide-angle and standard zoom lens. ($114.75 from B&H Photo | Amazon)

Fits Sony full-frame mirrorless camera bodies with a 24-70mm f/2.8, 70-200mm f/2.8, 80-400mm f/5-6.3, 100-400mm f/5-6.3, or similarly-sized lens standard zoom lens. ($124.75 from B&H Photo | Amazon)>

Fits Sony full-frame mirrorless camera bodies with large telephoto zooms and prime lenses from 150-600mm f/5.6-6.3 up to 600 f/4 lens. ($149.75 from B&H Photo | Amazon)

One of the best features of mirrorless cameras is that, due to their thin body design, it’s possible to mount a huge array of lenses on them using lens mount adapters. Sony a7R III cameras allow you to use virtually every make of 35mm lenses with the full angle of view for which those lenses were designed.

Vello EXT-SFED Deluxe Auto Focus Extension Tube Set for Sony E-Mount Lenses are compatible with Sony full-frame and APS-C cameras and Sony FE and E mount lenses. Extension tubes extend the close focus range of any lens making them well suited for close-up portraiture and macro photography. This set contains two extension tubes, one 10mm, and one 16mm. They can be used individually or together to create the desired magnification effect. Extension tubes have no optical elements so they do not degrade the quality of your lenses and these fully automatic extension tubes communicate all electronic functions from lens to camera including autofocus and auto exposure. They are built with metal lens mounts for durability and longevity and enable you to convert your E-mount lens into a macro lens while maintaining the lens’ original optical quality.

Sony HVL-F45RM flash ($398 at B&H Photo | Amazon) is Sony’s first 2.4 GHz radio controlled flash. It features built-in wireless capability of operating up to 15 flashes in 5 groups.

When mounted on camera, Sony HVL-F45M can act as a flash commander or it can be triggered off-camera using a Sony FA-WRC1M Wireless Radio Commander using built-in 2.4 GHz wireless wireless connection capability of operating up to 15 flashes in 5 groups.

HVL-F45RM reduces size and weight over 10% from the previous model while improving the guide number to 148′ at ISO 100 and 105mm and improving the recycle time to 2.5 seconds. Full bounce capabilities are available as well with tilt from -8 to 150° and a total of 360° of rotation. Also, it has a zoom head of 24-105mm which can be expanded to 15mm with a pull-out diffusion panel alongside an LED light useful for video. The flash offers vastly improved controls via the rear LCD, including customizable buttons and flash distribution and memory settings. HVL-F45RM has a dust- and moisture-resistant construction.

Sony FA-WRC1M Wireless Radio Commander ($348 at B&H Photo | Amazon) this Multi Interface Shoe compatible remote flash commander can control up to 15 separately available FA-WRR1 Wireless Radio Receivers or radio-equipped RM-series flashes from up to 98.4′ away thanks to a 2.4 GHz radio system. This configuration also permits operation without requiring line of sight with all the units involved. Additionally, it has access to 14 channels for avoiding interference with other radio triggering systems in the vicinity as well as up to 5 groups for precise control over your lights.

The major benefit of the Wireless Radio Commander is remote control over your flash’s settings. This includes exposure compensation, flash power from 1/1 to 1/256, zoom, and more. Along with this, the radio system has full compatibility with Sony’s TTL method and supports High-Speed Sync at up to 1/8000 second. Other flashes can be triggered in a manual mode and a PC sync terminal is available for connecting to various strobes and other lights. In addition to all of this, the Commander is equipped with a Multi Terminal for connection and controlling other cameras.

Vello Off-Camera TTL Flash Cords for Sony Multi Interface Shoe allow you to remotely fire Sony flashes with ADI / P-TTL capabilities and the Multi Interface Shoe – removing the flash from the camera’s hot shoe reducing the harsh shadows commonly encountered with direct on-camera flashes and gives your photographs a more natural look.

If you want to eliminate the camera noise that comes with recording sound with your camera, you should consider using an external microphone. You can have much more control over the quality of the audio because you are using a device whose sole purpose is to record audio. There is a growing market of microphones for mirrorless and DSLR cameras, including mics with hot shoe adapters that allow you to mount the mic to the camera so you can record without having to worry about holding the external microphone. Sony’s ECM-XYST1M stereo microphone (Amazon | B&H) slips into the multi-interface shoe. Its features include the ability to fine-tune the angle at which sound is recorded, from a single point to a wide 120-degree spread to pick up ambient sound from an entire room.

If you’re looking to add XLR terminal inputs and audio level controls for a pro external audio input, the Sony XLR-K2M XLR Adapter Kit with Microphone $598 (Order from Amazon | B&H) is just the thing. It includes 2-Channel XLR Adapter has audio level controls for each channel that fits into Sony Multi-Interface Shoe and a Sony ECM-XM1 Shotgun Microphone.

Your a7-series camera offers Live View video through your EVF and LCD, but there are times when shooting video that a larger monitor comes in handy because it gives you more surface area, making it easy to compose your shot. Step up to a full HD Monitor with the Sony CLM-FHD5 5″ HD LCD monitor – $700 (B&H) is an ideal companion to the a7RII for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting.

If you wish to step up to 4K 4:2:2 recording, you’ll need a separate 4K recorder like the Atomos Shogun Flame 7″ 4K HDMI/SDI Recording Monitor ($995 at B&H). This 7″ 1920 x 1200 on-camera recording monitor that combines 4K recording with a 10-bit FRC panel that supports native display of HDR (log) footage as well as high brightness viewing of Rec. 709 footage. It utilizes 4K HDMI and 12G-SDI inputs to support clean output signals at resolutions up to UHD 4K (3840 x 2160), recording it to 2.5″ SSDs using 10-bit, 4:2:2 Apple ProRes and Avid DNxHR codecs. It even supports DCI 4K (4096 x 2160) raw video streams over SDI from select Sony and Canon cameras, encoding it as ProRes/DNxHR files.

Smooth pans for video all begins with a good video head – which can be the difference between smooth video and shaky cam. Benro makes great video tripod and fluid video heads at a reasonable price. Benro A2573F AL Tripod with S6 Video Head ($300 at Amazon | B&H) is a good entry video head and legs combination for the Sony A7/A7R/A7S or for even smoother pans, move up to the larger S8 video head with the Benro A3573F Series 3 AL Tripod and S8 Pro Video Head ($450 at Amazon | B&H) – it’s larger, heavier video head makes for even smoother camera moves and it’s hard to beat for under $500. If you’re looking for a pro video tripod, Benro H10 Video Tripod with Carbon Fiber Legs ($1,050 at Amazon | B&H) will meet your needs.

CAME-TV CAME-Single 3-Axis Handheld Camera Gimbal is a single-handed stabilizer that supports loads up to 2.6 pounds, making it suitable for use with compact mirrorless cameras such Sony a7 Series. It utilizes three motors that stabilize the camera along the pan, tilt, and roll axes. This compensates for shakes, vibrations, and other unwanted movements, allowing you to capture smooth, free-floating shots. The system offers multiple operation modes for increased creative possibilities. You can choose to lock the camera in place along all three axes or have the camera smoothly follow your pan and tilt motions while keeping the horizon level. There is also a Commixture Mode, which locks the tilt axis while allowing the camera to follow left and right panning movements. Modes can be easily switched using a joystick, which can also be used to adjust camera pan and tilt position.

THE SKINNY: I found this gimbal stabilzer thanks to my fellow Sony Artisan Matt Buckman and it hits the perfect balance for fullframe Sony a7 Series mirrorless cameras – not too small and not too big.

THE SKINNY: This is the gimbal stabilzer of choice to my fellow Sony Artisans Ben Lowy and Michael Rubenstein because it’s beefy enough to support fullframe Sony a7 Series mirrorless cameras with a large prime lens.

ikan Beholder MS1 3-Axis Motorized Gimbal Stabilizer supports cameras weighing up to 1.9 pounds including Sony a7 Series mirrorless cameras. It features a 3-axis, motorized gimbal designed to keep your camera level and isolated from hand shake while allowing you to create smooth, organic moving camera shots. It features two operational modes: a following mode that smoothes your camera movements and a lock mode that will hold your camera in its position as you move. The MS1 features a thumb button/joystick which you use to select modes. You can also use the joystick to pan and tilt your camera on the gimbal.

ikan DS1 Beholder Gimbal for DSLR & Mirrorless is a 3-axis gyro stabilizer with brushless motors. It supports cameras up to 3.7 pounds such as Sony A7, GH4, G7 Series, Canon 5D, 6D, 7D, GX7, NEX Series, and DMC Series cameras. It features a quick release baseplate that makes it simple and easy to swap out the camera. Additionally, the baseplate can be adjusted, without tools, for precise balance. This can be especially useful when changing lenses.

THE SKINNY: This is the two-handed version of the gimbal stabilzer of choice to my fellow Sony Artisans Ben Lowy and Michael Rubenstein because it’s beefy enough to support fullframe Sony a7 Series mirrorless cameras with a large prime lens.

Feiyu MG 3-Axis Handheld Gimbal for Mirrorless Cameras is a handheld 3-axis motorized gimbal stabilizer designed to support loads between 0.77 to 2.36 lb, making it an ideal choice for mirrorless cameras such as the Sony a7 Series cameras. It features precision brushless motors that stabilize the camera along the pan, tilt, and roll axes to provide smooth footage free the typical jitters and shake of handheld shooting. Each axis can rotate a full 360° for unrestricted movement and angle adjustment. For added versatility, the MG includes two cross bar sections, two handgrips, and a handle that can be attached in several different ways, letting you switch between one-handed or two-handed configurations. It is operated using a single on/off and mode-select button, with a 4-direction joystick providing pan and tilt adjustments and control. You can also use the included wireless remote to control the gimbal from distances up to 49′ away.