Unfortunately, even if I didn’t prefer a viewfinder, the rear screen is fixed making it difficult for me to use. Attaching the EVF is a little wonky it takes some fiddling, but it’s stable once it’s attached and tightened. Once I attached a lens, the viewfinder and the grip, I was left with a bulkier camera, kind of defeating the purpose of the design, but still remarkably light and usable. I’ll be outside this time, so I decided on the large grip choice from the two available models. But what is sacrificed in ergonomics is made up for in size, and if I were shooting at a museum or trying to maintain a lower than low profile, I would use the camera with a lens as-is. The rectangular body is a flat and smooth little box, with no place to get a good hold without resting the bottom of the camera on my pinky finger. Second, there is no obvious way to hold the camera. SIGMA offers the electronic EVF-11 as an accessory that attaches to the left side of the body, covering up some of the other features when it’s attached, but I can’t do without it. A lot of effort goes into setting up a shot, and once my preferred settings are in, it’s nice to customize the Menu button for something else altogether. The Quick Selection button is easy, if a little cumbersome. Click it up or down to select different focus points and program modes. The rear dial of the SIGMA fp L is used for exposure compensation while shooting. But at that size, tight cropping in post-process shouldn’t be a problem. It’s fixed unless the Image Size is set on Auto, and if the image size is 9.5K then the full frame is used and the Crop Zoom feature isn’t available. Something to note about the Crop Zoom feature is that the amount you can zoom depends on the image size. Since I prefer to adjust curve and tone in post-processing, I dedicated the Tone button to Crop Zoom while using the 45mm f2.8 lens. image credit: Alexandra Thompsonīuttons on the back of the camera can all be customized, and when I set up the camera that’s exactly what I did. At the top are the Power and the Cine to Still switches and the Record button is next to the control dial. The camera’s controls consist of buttons, switches and dials. The battery life is good only for about 240 photos on average – might be a good idea to have a second one on hand. There are lots of control points directly on the camera and plenty of color profiles (15 of them!) from Standard (Portrait, Landscape, Vivid, etc.) to Creative (Teal and Orange, Powder Blue, Duotone, etc.) with further options to fine-tune them. The camera uses a hybrid autofocus system with on sensor phase-detect AF, as well as face and eye detect AF, and three metering systems (evaluative, spot and center-weighted average). The camera uses Leica’s L-mount and accepts a wide range of Panasonic, Leica and SIGMA lenses. Dust and splash-proof, it has a durable, aluminum die cast body with an integrated heat sink. The modular body is rectangular in shape somewhat like a LEGO block, built so it can be dressed up or down with available accessories you attach according to your needs. And for the more technically savvy among you, you might also be interested in our lab test, in which we measure the dynamic range, rolling shutter and latitude of the camera’s sensor. For a more video-focused test, please read (and watch) Johnnie’s review here. In this review, I’ll focus on the photography side of the SIGMA fp L camera. This is a guest post by our colleague Alexandra Thompson, a professional photographer, a photography teacher and a stor teller who got her first camera at the age of 16 and never looked back. Here’s our SIGMA fp L Review for Photographers. The SIGMA fp L is one of the smallest and lightest (427 grams) full-frame mirrorless cameras in the market, and it packs a 35mm full-frame 61 megapixel Bayer sensor as well. The fp L is SIGMA’s next step up from the fp, which was geared more towards cinematographers, and although the body looks the same, the fp L should up the game for still photographers and take the experience to a new level.
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