PN&T 3 — Digital

Welcome to the Party   ↑

You are probably expecting me to say something curmudgeonly about Gen Z and their ^%&#ing ubiquitous phones, but no, I use my current 12MP iPhone 17Pro for pictures almost every week. Before that it was the 12MP iPhone 13Pro. Indeed nearly all the equipment shots in this article were taken with the “17Pro”.

As the hoary cliché goes: The best camera is the one you have with you. Mobile photography has superseded Polaroid Instant Photography and is incredibly useful for quickie stuff indoors and out. Shoot in RAW for “keepers” and HEIF for everything else.

Use it for important work? No. Hundreds of thousands of shots? No. Narcissistic selfies? No. Plate after plate after plate of nutriment about to be ingested?… Nyet. But when I think of all the times I wish I had a camera with me but didn’t (despite having trunks full at home), I am grateful mobile photography now exists.

No social media though. Ever. Also the likelihood of shelling out $AUD 500 for a Leica LUX grip (18562) is 100% nil.

Another story:

It’s February 2024 and I’m still in Switzerland, although this time at the upper terminus of the Gornegrat Bahn near Zermatt, 3100m above sea level.

I’m walking around in the snow with my Sony α7RIV & 24–70mm GM2, taking photos and minding my own business. It was up in the mountains and cold, so I was wearing a heavy black woollen coat with a fur ushanka, looking like I just wandered off the set of Dr Zhivago. After inspecting the “Locomotive 3” display near the station, a bloke from a large group noticed my camera and called me over. Considering how I was dressed, he was surprised I could speak English. He asked if I could take their picture. Why not? But as I raised my camera he interrupted, No, no! Can you use my camera please?

He then handed me his mobile phone while a dozen of his friends began arranging themselves by the guardrail, with the snow–covered Matterhorn in the distance. Like everyone else they all wore fluorescent–coloured puffer jackets, although some were long enough to reach the ground and looked more like sleeping bags.

Clearly they had no idea who they were dealing with. First I cleaned the phone lenses using a microfibre cloth (do people eat their lunch off these things?), then started shooting well before they were ready. Took three shots before they set up, then another four in quick succession, varying the height and angle slightly for each. Then did a couple of the group laughing, two or three with them serious, then moved in to do subgroups of 3–4 people. No questions, discussion, permission or collaboration. No patter or pretending to be friends. Just prompt, frame, pause and take the bloody shot.

After about sixteen shots (individual, not motorised) I handed back the phone. The bloke was stunned but thanked me, and began to put the phone away. I told him to check the results. He replied, No need, thankyou, I’m sure they will be great! I told him, One thing is not the other. Do it now while we are still here.

I waited while they gathered into a tight group and reviewed the results. One of the sleeping bags was startled and said they had no idea I took so many photos. They laughed at some and gasped at others. As I turned around to walk up the hill I heard one of them say Who was that guy?

Digital cameras swept the pro photography market in the early 2000s. The only issue (for me) was they were DSLRs — expensive, heavy, klack–klack loud, limited to branded lenses. Then Sony released the mirrorless α7R in 2013 and everything changed…

Section Quick Links

• Digital first steps (MFT)
• Sony RX100 compact
• Sony α77II SLT (APS–C)
• Sony α6300 (APS–C)
• Sony α6700 (APS–C)
• Sony α7RII (full frame)
• Sony α7RIV (full frame)
• Sony digital RAW quality

Digital First Steps (MFT)   ↑

For years I resisted going digital as I regarded the image quality was rubbish when compared to film. Digital in the 2000s had an extremely limited dynamic range, was ≈12MP (the same as my film scans), viewfinders were reverse–telescope tiny and camera batteries barely lasted a day. I didn’t care about being able take thousands of shots “for free”, for the more you shoot, the more you have to review.

“Chimping” was and remains an anathema. Spending forever clicking through your images while taking them not only smacks of ineptitude, but is antithetical to how I work. Of course I also occasionally check focus and exposure, but having acquired my skills during the film era, I save detailed review for when I get back home.

In 2005 I managed to sidestep using digital on the production of Superman Returns at Fox Studios Sydney, by showing them extreme dynamic range shots of their movie sets. They had been teasing me as “Mr Film Dinosaur” prior to that but then shut up. One of the production crew even hung out with me asking questions about my motorised Leica M4–P, 16mm Fisheye–Elmarit, home–made VR brackets and the 135 film I was using.

A year later a different client required a low–budget “bullet-time” sequence of a Holden Captiva SUV, with the camera “flying” around the car at Docklands in Melbourne. Because this required ≈ 500 sequential frames, film was out.

The camera I used was a cheap 8MP Micro Four Thirds (MFT) Olympus EVOLT E–500 with a Nikkor 24mm F/2.8 AI (11879) lens via an adapter. It did the job and the client was happy, but I found it poky and frustrating, so a couple of months later upgraded to a 12MP Panasonic Lumix DMC-GF1 with an auxiliary DMW-LVF1. Both cameras were interchangeable MFT mounts, which allowed use of almost any manual lens via adapters. Unfortunately MFT has a brutal 2× crop–factor, which among other things meant full–frame lenses had their focal lengths “doubled”, so a 50mm lens would get cropped to the field of view of 100mm, while a wideangle 24mm would be cut down to a frustratingly normal 48mm. Although I could live with it for a while, it became so irritating I moved on to using an APS–C format 16MP Sony NEX-5N in 2011.

APS–C still has a crop factor of 1.5× (eg. a 24mm lens would become 36mm), but it was good enough. Full–frame DSLRs were of course available, but they were bloated, klack–klack loud, overpriced, chimp to check exposure, and only worked properly with their own branded lenses. There were also mirror clearance issues with some adapted ultra–wideangle lenses. But then Sony released the full–frame 36MP mirrorless α7R in late 2013, and it was off to the races.

Exposure Automation

As noted earlier, I always use(d) manual exposure with film cameras because there is no way to know if the exposure was correct until after the film was processed. With digital this obviously no longer applies. Mirrorless digital cameras can even be configured to simulate real–time exposure in the EVF display, so you can see immediately if exposure automation is off track and adjust accordingly. Unlike our DSLR friends, no chimping required.

I prefer “A” (aperture priority) for depth of field control, although often use “P” (fully program) when I don’t care or when using TTL flash.

Aside from when shooting flash, I typically use auto-ISO in combination with aperture priority. Have taken 10Ks of shots this way with no ill effects. Opinions vary wildly — fstoppers vs. Mr Dale.

Sony DSC-RX100   ↑

Meanwhile in Dec 2012 I got a tiny 20MP Sony Cyber–shot DSC–RX100 as a high quality camera to always have with me, at a time when most smartphones produced lousy images. In 2024 I noticed compacts have become popular again, presumably because people want better quality shots in low light. Teenagers have also realised compacts aren’t covered by the NSW school mobile phone ban.

The “RX100” has a 20MP 1” CMOS sensor and collapsible 10.4–37.1mm Zeiss Vario–Sonnar zoom lens, which works out to 28–100mm equivalent. It can shoot RAW and even has a tiny popup flash, although it doesn’t have a viewfinder, forcing you to use the rear LCD screen (and my reading spectacles). As you can see I added rubber grip tape as I found its smooth metal body finish too slippery. Have also beefed up the shutter button with Sugru silicone putty to make it easier to press without jerking the tiny thing.

More than a decade later I still use it whenever I wish to leave the sledgehammers at home. It’s also useful for quickie scene grabs when working with film, to act as reference guides when processing scans.

Over the years Sony have released a number of RX100 variants (currently RX100 VII), but I haven’t bothered upgrading as they all use the same 1–inch 20MP sensor.

Sony SLT–α77 II (2016–20)   ↑

In 2016 I got a 24MP Sony SLT–A77 II because the Sony α6300 or α7RII were too slow for action sequences at athletics or swimming carnivals. I paired it with a general purpose APS–C Sony DT 16–50mm F2.8 SSM (SAL1650) and full frame Sony 70–300mm F4.5–5.6 G SSM II (SAL70300G2) for greater reach. For a while I also had a full frame Zeiss Vario–Sonnar 24–70mm ZA SSM II (SAL2470Z2) — a spectacular lens but so staggeringly heavy I had to sell it after a few months [ Note I ].

Notice the Sugru on the shutter button again. The rare RRS BA77 L–bracket probably has greater resale value than the camera!

Although by 2016 the A77II SLT pellicle mirror design (inspired by the film–era Nikon F3H?) was starting to show its age, its phase–detection AF was still adequate for motorised sequences. It also had (primitive) IBIS and a tiny popup flash useful as a catchlight. Moreover I appreciated the longer–life 1600mAh NP–FM500H batteries compared to the puny 1080mAh NP–FW50 in the mirrorless bodies. For a while I even added a VGC–77AM battery grip, which made vertical shooting easier + housed two FM500H cells, providing more than enough juice for a day’s work.

Mount a fill–flash and it was an OTT conspicuously beefy setup which would blow carnival attendee’s minds. At least no one could accuse me of sneaking around taking clandestine pictures…

I was happy with the rig and the 24MP results were excellent, especially compared to what schools had previously been getting. But time passed and it quickly became obsolescent. The ergonomics and 12fps were still great, but the viewfinder was poky and the 79–point AF was hit and too much miss. It also couldn’t use 3rd party manual lenses without extensive lens–mount surgery. Most importantly, low light results were noisy and 1:1 zoomed images started to look substandard compared to what I was getting from my other gear. So in 2020 my A77II+DT16–50 retired and joined my Leica IIIG in a display case. Luckily the excellent 70–300mm (SAL70300G2) lens could still be used with my current Sony FE cameras, courtesy of a Sony LA–EA5 lens adapter.

Sony α6300 (2016–25)   ↑

In 2014 got a Sony α6000 and used it for a couple of years before upgrading to the Sony α6300 — a fantastic APS–C camera which I had for almost a decade before upgrading to my current α6700 (see below). I loved its light weight and compact dimensions, along with excellent RAW image quality. 24MP was a bit on the small side, but sufficient. The shutter gave a crisp little click and the camera + lens could easily fit into a small camera bag. I essentially used it as a “cheap” APS–C format “EVF Leica” a decade before the EV1 (Typ 4246)

I mostly paired it with manual focus lenses, either M–mount Leica or Voigtländer, with a Hawk Factory helicoid lens mount adapter. If I didn’t need close–focus, then a plain Novoflex NEX/LEM adapter worked well. I even shimmed it for good measure. Either adapters gave excellent results and the Leica ELMAR-M 24mm f/3.8 ASPH (11648) lens turned the α6300 into a discreet manual–focus street shooting machine.

I eventually added a few Sony prime AF lenses. At first the “Zony” Sonnar 24/F1.8 (SEL14F18Z) — which was excellent but restricted to APS–C. Sold it in 2018 when I got a full–frame 24/F1.4 G–Master (SEL24F14GM) – a brilliant lens I still use today for both FF and APS–C (at a 36mm cropped equivalent).

APS–C zoom lenses were more tricky. First got a “Zony” Vario–Tessar 16–70/F4 (SEL1670Z), but my copy was decentred, resulting in the frame RHS being out of focus at focal lengths > 40mm. Ditched it in 2019 when the Sony E 16–55mm F2.8 G (SEL1655G) was released — a fantastic professional grade APS–C zoom which has practically lived on my camera(s) ever since [ Note II ].

Sony α6700 (APS–C)   ↑

In Dec 2025 I finally replaced the α6300 with a Sony α6700. Benefits:

Better Battery

The 2280mAh NP–FZ100 has more than twice the capacity of the puny NP–FW50.

Improved Sensor

The 26MP CMOS BSI — the same as in the FX–30 — has much better low light performance and more AF points. Its readout speed is also a tolerable ≈25ms, so you can use the electronic shutter more often, although you still need a mechanical shutter during rapid movement to reduce “rolling shutter” artefacts [ Note III ].

IBIS

As none of my Sony or manual 3rd party lenses have OIS, having built–in stabilisation is a blessing for low light work.

Lossless Compressed RAW

Automatically reducing filesizes to ≈ 34MP in single–shot mode without bit–depth reduction ✓

Articulating LCD screen

I don’t use the rear screen a lot, so it’s handy to flip around for protection against the camera body. It was a feature I liked on the A77II and miss it on my other digital cameras. Since I’m a left–eye shooter, my nose constantly rubs against the screen, inadvertently activating things unless I disable touch. No need with the α6700 as I can flip the screen around when not in use.

New Sony Menus

An improvement but is still peekaboo you can’t find me.

Improved AF algorithms

Useful for my Sony G/ GM lenses, although I no longer shoot school sports and never was a 30fps BIF/ NASCAR tracking kinda guy.

Substantially Improved Video

Shrug. (Although to be fair the dynamic range is much better and inclusion of “PP11 (S-cinetone)” is handy.)

Fits my SmallRig half–cage

The SmallRig half–cage used on the α6300 also works with the α6700. I need it for better handling and to link to my QD connector sling/ wrist straps.

Why didn’t I get the full–frame Sony α7V instead, released at the same time in Dec 2025?…

1. I needed a modern APS–C camera to work with my SEL1655G lens
2. The α6700 was less than half the price
3. I don’t care it only has one SD card slot
4. According to the date on the box, my α6700 was manufactured in early Nov 2025 — barely five weeks before I bought it – making it the newest camera I have ever used
5. The α6700 is significantly more compact than any Sony α7 full–frame body

In descending order my three oldest cameras are: Leica IIIG (1958), Mamiya C330 (1971) and “Hasselpanzer” (1983).

Sony FE Full Frame

I leapt into buying the mirrorless Sony α7R (ILCE–7R) when it was released in 2013. I must have been among the first 50 people in Australia to do so. No ifs, buts or wait ‘n’ see… Add To Cart now God dammit.

I was so keen because after a decade of (im)patiently waiting there was finally a full frame body which worked with my “legacy” Nikon F and Leica R lenses. Maybe even my smaller M lenses. Leica had dropped the ball in 2009 with their abortive Leica R10, while purveyors of fine clattering DSLRs (and for that matter Sony SLTs) deliberately crippled any ability to mount 3rd party lenses without tricky lens mount surgery (eg. Lietax lens mount kits).

Then in 2013 the “7R” swung open the door and I rushed eagerly through.

Sony α7RII (2015–23)   ↑

Work, say hello to Horse.

For a while I was happy with the 36MP Sony α7R, but its limitations quickly became apparent. Image sharpness was compromised by its vibration prone shutter. It also did not work with Leica M lenses, despite initially starstruck reviews. This turned out to be due to the non–telecentric design of rangefinder lenses at focal lengths wider than 50mm, resulting in vignetting and magenta artefacts as you move away from the frame centre toward the edges 😠

Adapted SLR lenses worked fine however, especially my Nikon F and Leica R collection. Much amazement and delight, many hundreds of shots and finally I could shoot digital without crop factors!

When the improved Sony α7RII was released in 2015 I upgraded immediately. 42MP BSI sensor, better IBIS, superior shutter, viewfinder and improved ergonomics. Over the following eight years I shot thousands of frames with it, and retained it as a backup when I got the α7RIV in 2019. I finally sold it in 2023 because GAS was getting out of hand (again).

“7RII” Likes

• 42.4MP BSI CMOS sensor. Amazing then and now. Set the standard for high resolution photography and its BSI design enabled greatly improved low–light performance
• IBIS. Much better than on the “7R”. It still wasn’t a magic bullet, but it did help at slower s/speeds
• High quality images with legacy SLR lenses. After trying a variety of 3rd party lens adapters, I settled on Japanese Rayqual adapters as they guarantee an exact lens–to–mount flange distance, vital for FLE design wideangle lenses

Dislikes

• Battery. Both the “7RII” and “7R” were seriously underpowered from the start because they used a single 1080mAh NP–FW50. Things were so dire you could sometimes watch the battery % indicator countdown in real time. I even got a bulky VGC2EM battery grip to double the battery capacity and lessen the number of spares I had to carry around (at one stage I was packing six batteries)
• Slow. The “7RII” maxed out at 5fps, so had to get a A77ii for 12fps motorised sequences
• Firmware. ☢️ FFS Sony, how hard is it to fix bugs and enable features already supported by existing hardware? Improves the operational stability of the camera. Yeah right, what about the time the “7RII” got bricked because I ran an update without a Sony lens attached?… Three weeks in Adelaide to get that operational stability fixed. Then the update process on MacOS used to be exquisitely painful — you had to plug your camera into your desktop (don’t forget to use the antiquated USB2 cable originally supplied), then run a Sony app after disabling your MacOS security preferences. WTAF! Maybe the salarymen at HQ were too busy bowing to their superiors to realise what a PITA it could be.
• Menu system with its bifurcated layer upon layer of carefully concealed options. It could be vexing, although I wasn’t as distressed about it as many other (cough) “Canikon” photographers, whose previous DSLR menus were apparently perfect
• “1/250th” flash sync speed. Sounds good, but only with Sony flashes. Otherwise you topped out at 1/160th. Yet another Sony Gotcha™

• 

  At the Bethesda Steps in NYC with the αR7II in 2017

Sony α7RIV   ↑

I skipped the α7RIII in 2017 as it had the same 42MP sensor as the “7RII” — why spend $Ks to get exactly the same image quality? But when the Sony α7RIV shipped in 2019 I jumped on it. A new 61MP sensor, much quieter shutter and higher capacity NP–FZ100 battery. The “7RIV” has been a mainstay ever since.

In 2022 I likewise skipped the “7RV” as it used the parts–bin recycled “7RIV” sensor. I also didn’t care about the new AI predictive focus nor magical game–changing flippy screen. Admittedly the lossless compressed RAW would have been handy (use it all the time in the α6700), but I have Adobe DNG Converter to squeeze RAW files in post, so it’s no crippling loss.

Likes

• 61MP sensor. A MF sized sensor in a 35mm body 🎉 The high resolution also enabled film digitisation to obtain ≈ 40MP “scans”. Alas it has a slightly lower dynamic range than the 42MP “7RII”, and in low light is a bit noisier, but count the pixels man
• Access to Sony GM(2) lenses. In 2013 Sony continued their partnership with Zeiss, but in 2016 they started releasing their own line of G/ GM/ GMII lenses. I have a mix — outstanding things and some of them even have aperture rings (gasp!)
• 26MP APSC support. The “7RIV” & “7RV” were the best ways to shoot APS–C until the α6700 was released in 2024. I took it a step further by programming Sony lens side buttons to drop into 26MP APS–C mode when required. A handy way to get two focal lengths with a single (full–frame) lens
• EVF. No more poky viewfinders. It still lacks the clarity of optical VFs (eg. on the Hasselblad 501CM or Leica R9), but the 5.76M dot OLED is good enough and unlike optical VFs, there is no guessing about the final image. Like I said earlier WYFSIWYFG
• Tethering. Rock solid with Capture One Pro, unlike the Leica SL2 where you have to jump through burning hoops and even then it remains patchy
• Handling. Used the “7RIV” for years with a RRS L–bracket before getting a SmallRig compact cage in 2023 (see photo above). Can now securely grab it from any angle, still use my QD connector straps and the alloy exoskeleton protects it from the kind of drop which busted my Nikon F2 in 1982 😢
• Quiet longer–life shutter. A welcome change from the “7RII” staccato klack!

Dislikes

• Firmware. FFS Sony. See my remarks for the “7RII” above
• 61MP sensor. What? Love/ hate. The RAW colour and dynamic range was a subtle downgrade from the 42MP in the “7RII” — you can get equivalent results, but you have to work for it [ Note IV ]. Since the larger sensor has more photosites, the 93ms readout speed is also too glacial to use e/shutter on moving subjects. Then those uncompressed 61MP RAW files at ≈ 120MB sure like to chew through SD storage cards
• Video. In a high rez stills camera with horrible rolling shutter artefacts, when Sony have much better video in their other cameras?… Hard shrug
• Beast. Especially in its SmallRig cage, we’ve come a l–o–n–g way from the compact “7R” in 2013…
• 3rd Party Flash. For unknown reasons my compact Bolt–VC 310SMI flash refuses to work in TTL mode at any shutter speed. Worked fine on the A77II, “7RII” (at 1/160th) and also with my new α6700 (again at 1/160th) — but nup, not gonna happen with the “7RIV”. Sony Gotcha™ and high–fives amongst the salarymen. Must have really annoyed Bolt as well, as I notice they don’t make flashes for Sony anymore

• 

  The 61MP quality from the αR7IV can be stunning, but you have to work for it

If the touted 80MP Sony α7RVI lives up to the early hype, then I will upgrade when it’s released in 2027. Which will be seven years after I got the “7RIV”, making the “$s per annum” metric worthwhile.

Sony Digital RAW Quality   ↑

Whenever I hear the word Color Science, I reach for my revolver. I suppose if you are a fumbling Instaweenie and only know how to shoot JPEGs, then you’re stuck with the pix the camera hands you. But for the rest of us who shoot RAW?…

Import the RAW image into your favourite RAW editor, then manipulate the RAW colour to your RAW heart’s RAW delight. Sky too cyan? Adjust. Skin too magenta? Adjust. The green, green grass of home not quite green enough? Adjust. You want your Delicious apples to match your banana yellow Mardi Gras furry leg–warmers? Er, adjust.

Surely it’s a fundamental part of photography that capturing an image is merely the first of many steps you need to take to produce a final picture. In film days you took the shot, processed the film, retreated to the “dankroom” to dodge & burn & sweat over chemical trays while you developed your prints. Then you had to wash and spot the things. Likewise digital (sans the chemical warfare): take the (RAW) picture, import into a computer, adjust colour/ gamma/ sharpness in a RAW Editor to taste, fine tune in a Photo editor. I wholeheartedly embrace solitude, yet surely I am not completely alone in doing this?…

Admittedly even with RAW there are differences between Sony “color” and (say) Leica. Which means tweaking a bit more to get things right. Really. An order of magnitude simpler than the brute–force adjusting required, for hours, to get scanned C–41, with its ^%&#ing orange mask, looking “right”.

Lost in Leicaworld

Have we reached the Holy Land yet?…

No.

Are we getting close?…

Maybe.

Section Quick Links

• Leica imperfection
• Leica SL (typ 601)
• Leica SL2

Leica Imperfection   ↑

Appearances to the contrary, I am not a die–hard Leica fanatic. I scoffed with (almost) everyone else when Leica released their Leica SL (typ 601) in 2015: no IBIS, 24MP, only three native lenses, the weight of a small car, wildly overpriced.

Leicas have always been expensive (in the 1990s they cost almost double that of equivalent professional Nikon equipment), but the justification used to be you could get 40–50 years of hard use out of them. Spread over a camera’s lifetime, the steep initial outlay worked out to be reasonable on a year–by–per basis. And unlike Contax or Minolta (+ many others), Leica’s business model clearly works, for in 2025 they celebrated “100 Years of Leica”. Shame EIIR wasn’t around to send them a centenary birthday letter.

Yet digital cameras, no matter how lovingly crafted and assembled, have significantly shorter lifespans than their film counterparts. Maybe fifteen years, although ten is more realistic. Which for current Leicas work out to too many $s per annum — roughly twice as much as competing marques. Did somebody say too damn expensive for what you get?…

Over decades Leica have also scored so many own–goals that other manufacturers must set aside entire meetings to shake their heads. The Leitz goof–reel is long and features memorable highlights like… Embarrassingly tacky one–offs (eg. Gold Leica MP). Petrostate and other dubious special editions. The film–era Leicaflex SL2 which could only be sold at a loss. The Leica M5 CdS lightmeter on a swinging stick. Early M6 zinc rot. The IR over–sensitive digital APS–H M8. The M9 with its ticking time–bomb CCD corrosion issues. The SL3 with its is this thing still on? soft power button… Thankfully the much despised “Swastika Leicas” were grubby post–Soviet fakes, although the studio–based 26.4MP Leica S1 (1997) wasn’t.

You get the idea. Our friends at Leica are far from perfect, even if they wear cute little pointed hats and tend to whistle while they work. Any fist–shaking grandad who rants otherwise, really needs take their medication instead of just staring at it.

Leica SL (typ 601)   ↑

I gleefully sneered when it was released in 2015, then bought one two years later 🫢

Hear me out. By 2017 I was getting supremely piѕѕed off dissatisfied with Sony’s approach to ignoring bugs in their camera firmware. Our Digital Salarymen simply refused to address snafus in the “7RII”, and many of us became convinced their strategic plan was to force you to buy the next model if you wanted problems fixed. Maximally infuriating.

Meanwhile I kept an eye on the Leica SL (typ 601) (10850). It also had significant FW problems upon release, but unlike Sony, Leica addressed them with regular firmware updates. And not just hand–waving improves operational stability, but meaningfully specific fixes and even (gasp!) addition of new features. Indeed the most recent SL–601 firmware update (v4.1) was realeased in March 2024, 8½ years after the camera premiered!

In 2017 I finally wiped the grin off my face. Although I couldn’t justify paying full retail, I hoped I might be able to find a good condition 2nd hand SL–601 for much less. After all, people who buy these things tend to be retired auctioneers, horologists, dentists or actuaries, hardly the sort known for rock ‘n’ roll trashing their gear. And then I got lucky. Found a demonstration model at a Leica dealership in Melbourne. It was still “new” and came with a statutory 1 year warranty, which qualified for an additional year provided I registered on the Leica Australia website. So… a nearly new SL–601 at a 30% discount with a 2–year full warranty. Bargain (kinda).

Bauhaus Cinder Block

With its angular weather–sealed body milled from a single block of Al–alloy, this thing is solid. Rampaging grizzly bears and bull elephants take note, it has sufficient heft to stop a .375 H&H Magnum round. Worried about your Airbus A380 rolling across the tarmac? No problem, chock the wheels with a SL–601.

Hoo boy. Attach a RRS bracket and you’re looking at 0.98 kg before mounting a lens. But at least you can use it as a club to beat up miscreants. Or grizzly bears. Presumably it’s why there aren’t any labels on any of the buttons — who has time to read things when you are bashing through drywalls or engaging with nature red in tooth and claw?

Die User Erfahrung

You payz yer considerable bucks and… OMFG.

Viewfinder

4.4M dot with user adjustable dioptre correction — which was ground–breaking in 2015 and still impressive a decade later. I had thought the “7RII” 2.36M dot viewfinder was good — nup, not even close. There is one tiny snafu though, my SL–601 has a subtly green tinge you cannot correct. At least with the Sony, in one of their carefully hidden menu options, you can adjust the VF colour to whatever you like.

Shutter

Silky discreet. Not as quiet as my leather jacketed M6 TTL, but subdued enough to forestall panic–attacks from bystanders. Yes you can go silent with the electronic shutter but… expect rolling–shutter artefacts from the 50ms refresh rate. The s/speed range is 30min (in M mode) to 1/8000th, but it can go out to 1/16000th in electronic shutter mode. So you can set your lens to ƒ2.8 and shoot in the midday sun at 50 ISO and not worry about overexposure (much). It has a peak burst rate of 11fps, although realistically it is closer to 7fps sustained. Flash sync is a true 1/250th and not 1/160th pretending otherwise.

“Floaters”

My SL–601 originally had a few tiny hairs trapped between the sensor and its protective glass cover. No amount of blower bulb puffing or wet/ dry wiping could exeunt them. Most of the time they weren’t visible, but they came out to play whenever there was sky in the upper ⅔ of the frame. Easy enough to retouch in post, but eventually sent the camera off to be depilated. As it was still under extended warranty, the repair was free. A few months later [sic] it came back and the pesky bastards were finally expunged ✓

Adaptability

The main purpose of getting a SL–601 was to use my R and M manual lenses via appropriate lens–mount adapters. I have three Leica versions: R Adapter L (16076); M Adapter L (18771) & R Adapter M (14642), along with a Novoflex Nikon F to L. The only downside is the lenses have to be used stopped down, as adapters cannot close a lens to working aperture when taking a shot. Similarly there no AF for adapted lenses. Otherwise they all work brilliantly. I got the Leica–made adapters because “16076” and “18771” have lens contacts which read EXIF data from Leica R ROM or 6–bit encoded M lenses, whereas cheaper 3rd party adapters cannot. Some people insist wideangle M lenses exhibit colour aberrations on L–mount Leicas, but I haven’t encountered it with my 24mm, 28mm or 35mm M lenses. OTOH wideangle M lenses all have significant issues on the “7RIV” or Panasonic Lumix S1RII.

Haptics

The minimalist “typ 601” interface perfectly suits my INTJ personality. In front you’ve got the ubiquitous red–dot and bold “Leica” logo, but otherwise there are no labels or icons, aside from the on/off switch at the rear. Don’t know what a button does? Learn. No magic game–changing flippy LCD screen either — it is immovably fused into the camera back. I especially appreciate the two rotating dials, which instead of cogs & ratchets use tiny rare–earth magnets to achieve the same effect, but can never wear out. The simple on/ off switch at the rear (and not around the shutter button — I’m looking at you Sony) remains stiff after thousands of cycles. The unlabelled interface buttons are dual purpose and can be set to do one thing for a single press, or something else if you hold it down. The rear LCD is touch enabled, although it was the first thing I disabled as I’m a left eye shooter and my nose kept inadvertently changing things.

Lame AF

Guilty as charged. 529 focus points should be adequate, but they are contrast–detect only. Subject tracking is also sub–par (Sony rules here). Thing is, for 8 years I only used adapted manual R & M lenses, so passionately didn’t care. When I finally got an L–series AF lens in 2025, I found AF–S centre–point worked fine, disparaging claims to the contrary. Opinions may vary.

Built–in GPS

Incredibly useful for geotagging. Not infallible, but works well most of the time. The GPS receiver’s black trapezoidal prism is on the top plate to the left of the viewfinder. Most other cameras have to pair with mobile phones, which opens whole other can of worms. I love the GPS feature and am puzzled it was removed in subsequent SL models. In the current SL3 they have a dial in its place, which many use to quickly adjust the ISO (why they need to keep doing I do not understand).

Battery life

Not as horrible as many claim, but with GPS enabled it can drain faster than desired. Things are better with the new 2200mAh BP–SLC6 cell (versus the original 1860mAh BP–SLC4), yet I rarely found battery life an issue as I only used manual lenses and therefore wasn’t powering lens AF/ OIS motors. I also set the camera’s “Auto Power OFF” setting to a miserly 10 seconds since it wakes up quickly when you tap the shutter button. Online claims to the contrary, the new SLC6 battery works fine with the SL–601, provided you upgrade your camera firmware. There is disappointingly no ability to recharge in–camera, so you need a separate charger — I use a Nitecore USB “ULSL”.

That said, you get razor sharp images due to the absence of an AA filter, with excellent RAW colour/ contrast out–of–the–box. As I mentioned earlier, you can get similar Sony RAW results but you have to fiddle in post to achieve it. Not so the SL–601 → shoot, import, tweak, done. The only downside is the camera captures in uncompressed RAW, making file sizes ≈ 50MB for 24MP resolution. Lossless compression by Adobe DNG Converter to the rescue.

No IBIS

Should be a down–vote, but at least you are guaranteed sharp images if you can keep the camera still. If you need stabilisation then lenses with built–in OIS will do the job — eg. the fantastic but 1.14kg Vario–Elmarit–SL 24–90mm zoom. This was partly why I got a “cheap” Panasonic LUMIX S 24–105mm F4 MACRO O.I.S. lens in 2025. Surprisingly excellent OIS plus optical quality (see below) and only 680g.

Video

Shrug.

JPEG image quality

(See “Video” above.)

• 

  The Leica SL (typ 601) can still produce excellent images, and contributed 20% of the content in my “Boomer Legacy” project.

If it wasn’t for the dinky 24MP resolution it would be my forever camera. Despite upgrading to the 47MP Leica SL2 in April 2025, I still keep the SL–601 around as my no–nonsense go–anywhere hammer. Hypothetically I could have upgraded to the low–light friendly Leica SL2–S, but… Steak… Hamburger… Why bother?

Leica SL2   ↑

In November 2019 I attended a launch event for the 47MP Leica SL2 (10854), held at a warehouse in Alexandria Sydney. Found the new camera very impressive, despite the presentation leaning extensively upon Steve McCurry’s new–found love for Leica. One would have thought he’d be persona non grata after being exposed three years earlier for faking much of his “photojournalistic” oeuvre, but there you go.

The SL2 had some significant improvements:

• 47MP sensor designed by TowerJazz and made for Panasonic/ Leica ✓
• Still no AA filter for sharpness ✓
• 5.76M dot OLED dot viewfinder ✓
• 30 min — 1/40 000th shutter, 20fps continuous ✓
• Upgraded Maestro III processor to handle increased MP ✓
• IBIS 🎉 ✓
• IP54 certification (ie. splashproof) ✓
• Improved menu structure ✓
• In-camera battery recharging via USB–C ✓
• On/ off switch remains a simple toggle (I’m looking at you SL3…) ✓
• Improved video (shrug)
• 187MP multi–shot mode (shrug)
• Sleeker body with curved edges and increased leatherette (wimps)
• New rear button layout to match other digital Leicas (sigh)

Alas, Wetzlar giveth and Wetzlar taketh away:

• No built–in GPS – you need to pair with your mobile phone ✗
• Increased image data + IBIS = more battery drain ✗
• 1–stop worse dynamic range at 200–400 ISO ✗
• Tethering (with Capture One) was hopeless with early firmware. It got better with updates, but you still need to remove the SD Cards + set the connection to PTP + only use premium tether cables (?!) ✗
• The “typ 601” Bauhaus design has been consigned to the Outhaus ✗
• Strap eyelets now protrude from the body ✗
• The body redesign necessitates a new RRS baseplate and multifunction grip (see below) ✗
• To quell newbie anxiety, the four rear buttons were reduced to three and given labels: “Play”, “Fn” & “Menu” ✗

Although I found the SL2 “interesting”, I had no burning desire to upgrade. I had my 24MP SL–601 for bear–bating and had recently gotten a 61MP Sony αA7RIV for the megapixels. Both did everything I needed.

Fast forward to April 2025. The Leica SL3 had been released a year earlier, so I figured I might be able to get a good condition SL2 on the used market. Searched eBay a few times, got lucky and again managed to buy a “new” demonstration model from an Adelaide dealer, also with a 1+1 year warranty. As it had a 50% price discount compared to the original SL2 price, this time it really was a bargain.

Using the SL2

It isn’t hugely different from the SL–601 — see this long–term SL2 review by “Macfilos”. Admittedly the built–in IBIS is handy for manual lenses and the 47MP images are gorgeous. The uncompressed RAW files at ≈ 90MB chew through SD Card space, although I tend to shoot < 200 frames a day and my existing cards can handle it. Once transferred to a desktop, Adobe DNG Converter can pack the RAWs down to a more reasonable ≈ 50MB each.

Image quality remains fantastic, as do the ergonomics. The only issue was the Logo Tax retail price prior to 2025. Due to dumb luck I paid half, yet it was still too much. Leica have since the early 2000s transitioned to be more of a luxury brand, where extravagant prices are part of the cachet of ownership. Nods in the Chairman’s Lounge. People hailing you from a fashionable café to admire your camera [ Note V ]. As I saw on a Reddit forum recently: Leicas have become Hermès handbags which also happen to take photos. Ouch but true.

HG–SCL6 Vertical Hand–Grip

In previous years I used detachable vertical grips on both the Sony “A77II” and “α7RII” to double battery capacity and help with vertical shooting. I didn’t use them all the time as they added considerable bulk & weight — mount a hefty portrait lens and who needs curling dumbbells?

Because the SL2 baseplate dimensions have changed, original SL–601 accessories like RRS brackets or the HG–SCL4 multifunction grip no longer work.

A few months after I got the SL2 I bought a used HG–SCL6 multifunction grip, not so much because I couldn’t survive without it, but because the like–new mint price was too attractive to ignore 😉

A couple of things:

1. It doesn’t work with mixed batteries — use either a pair of BP–SLC6 or BP–SLC4, but not one of each
2. Make sure you keep the gold electrical contacts clean on both SCL6 and SL2 camera base, as the tiniest amount of dirt/ oil can mess things up. I use isopropyl alcohol with Q–tips

Panasonic Lumix S 24–105mm Zoom

A month before getting the SL2, I bought a Panasonic LUMIX S 24–105mm F4 MACRO O.I.S. (S–R24105) lens for use with my SL-601. The previous year I had travelled in Switzerland and although I was satisfied with the results from my Sony α7RIV + Sony FE 24–70mm F/2.8 GM II (SEL2470GM2), it was conspicuously bulky and the 61MP images were overkill for — let’s face it — travel snaps.

Enter the Lumix S 24–105. Mount it on the SL–601 and you get fantastic optically stabilised 24MP images. But then on a whim I tried it on the SL2 and… it hasn’t left the camera since.

I am aware the “R24105” is merely a “cheap kit lens”, yet have found it a phenomenal all–purpose zoom. At 105mm it also has a (semi) 1:2 macro setting. Maybe I got lucky with my copy, but have found it sharp corner to corner at all zoom settings, unlike my Sony SEL2470GM2 which is weak at RHS infinity at > 55mm. The embedded “R24105” lens profile in Capture One Pro additionally makes the results sing (alas they lack one for the SEL1655G 😡)

Its maximum aperture of ƒ4 could be better, but otherwise I cannot recommend it highly enough. OIS on the Leicas work much better than IBIS on the “A7RIV”, while Leica RAW files have all the benefits of sharpness, colour and contrast without having to tweak, tweak, tweak.

• 

  Have found the Leica SL2, combined with the Lumix S 24–105, to be an excellent large MP walk–around combination

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Section Quick Links

• Digital workflow
• Impacts of A.I.
• Photography as a side hustle
• A website of your own

My Digital Workflow   ↑

I have already referred to this a few times, so it’s time to share some more detail.

Typical Camera Settings for stills

• Aperture Priority, usually between ƒ4 — ƒ11
• Auto ISO set 200 — 1600, with the high end depending upon the camera’s low–light performance. For flash I set ISO manually
• Compressed RAW if available, uncompressed otherwise
• E-Front Curtain shutter most of the time, although I switch over to fully mechanical if shooting with a lens wide open at fast shutter speeds
• Focus Peaking is always off as it’s too vague and unreliable
• AF Focus Area: Centre Fix or Expandable Spot (almost never Zone or Wide)
• AF–S. Rarely use AF–C. A lot of my time is spent shooting with manual lenses, in which case I regularly activate EVF zoom to enlarge a portion of the image for critical focus
• A/B card duplication if the camera has 2 slots
• Networking/ WiFi is off

AZN Workflow

Storage Media

Mostly 64GB Sony Tough-M Series SDXC UHS-II V60. These “Tough” cards are dust, drop, splash proof and difficult to bend. Got them in 2023 and they work fine for stills photography + motorised sequences, despite being only V60. If I was shooting 30fps or 4K video then I would get the faster V90, at a considerable mark–up 😕. The difference between V30, V60 or V90?… I’m glad you asked. The free Sony “Media Scan Utility” and “BlackMagic Disk Speed Test” apps are occasionally used to test the card(s) — so far so good.

RAW only (“.DNG” or “.ARW”)

Losslessly compressed RAW if I can get it (eg. α6700), uncompressed otherwise. A few years ago I experimented with various kinds of JPEGs, but always found the D/R limited and colours off.

“Image Capture” (MacOS app)

After a shoot I eject the SD Card and plug it into the SD card reader on my laptop/ desktop. Apple provide a pre–installed app called “Image Capture”, which is used to transfer files to my desktop input folder.

Adobe DNG Converter (MacOS app)

The only piece of Adobe Software I still use. It takes RAW files and losslessly compresses them to DNG format. Space savings of 40% are typical. Caveat with C1 Pro as the generated DNGs can sometimes lose the manufacturer’s lens correction data.

MetaImage (MacOS app)

This is a standalone app to batch edit image EXIF data — vital for creating files which can be indexed & searched in a “DAM” database (see below). Yes I know EXIF Tools does it for free, but I prefer to work with a professional UI instead of arcane command–line prompts.

Capture One Pro (MacOS app)

Prior to 2017 I was an avid user of Adobe Lightroom and Apple Aperture. Eventually got fed up with the former due to its spinning–beachball slowness and becoming $ub$cription–only, while the latter was abruptly discontinued by Apple. So I switched to PhaseOne Capture One Pro. I also prefer their “sessions” model instead of overstuffed catalogues, which I always hated on Lightroom, and use the full-price version which I upgrade every 2–3 years.

Photo Supreme (MacOS app)

Once I stopped using image catalogues, I needed a way to DAM index and search my collection of images. The single–user version of PhotoSupreme appeared to be the best cross–platform option, although it is far from perfect. It is slow on my M4 Max (although v2026 is getting better), searching is mostly “quirks mode” and being built on top of SQLite doesn’t inspire confidence. Indeed they recommend regularly “compacting the catalogue” to strip out dead/ broken links (!) To use DAM efficiently you need to get into the habit of adding detailed EXIF tags to your images → hence “MetaImage” as part of my workflow.

Affinity Photo 2 (MacOS app)

After scraping the Adobe stuff off my hard–drives in 2017, I needed a substitute for Photoshop (for which my skills were ironically profiled by Adobe in 1999!). I tried and still occasionally use PixelMator, but Serif Affinity Photo turned out to be the best alternative. Version 2 added AI masking, which sounded like an on–trend gimmick but works surprisingly well.

Our good friends at Canva purchased Affinity in 2024 and immediately took it offline. When it reappeared it was part of a “freemiun” suite of applications. YouTubers fell about swooning with delight, but many realised there would be a catch. And indeed there was → you now need a registered Canva account and it saves files in a new format which only the Canva Affinity suite can read. Did anyone say Enѕhittification Business Model?

Luckily Affinity Photo 2 continues to work with MacOS 26. Should it cease then I may have to brush off my PixelMator skills, or maybe even get Acorn.

Topaz Photo (MacOS app)

Of all the annoying garbage shilled on photo forums, Topaz Labs is up there alongside 7Artisans, Viltrox, Macphun Skylum Luminar. Every blog seems to be littered with blinking ads for DEALS! and AI this and Magic that and Game–changing whatever. So I was sceptical in 2024 when Topaz released “Sharpen Ai”. Yet to my amazement it worked (!) especially for fixing blurred images from slight movement or missed focus. So far so okay… but old spammers die hard. They continued pointlessly iterating through various “AI” themed versions until their current Topaz Photo. I still sometimes use it, but have noticed they gimped the desktop AI models to force encourage you to use their cloud $ub$cription. If they go any further then I’ll be scraping my hard–drive again.

Digital Asset storage

Forget CD–ROMs or Blu–Ray data discs. Forget SSDs. I use two 8TB IronWolf Pro NAS spinning disc HDs in a RAID 1 mirroring configuration. 2.5M hours (ie. 285.3 years) MTBF, which should be enough. Short of “Billion Dollar Brain” magnetic tape, physical spinning platters are still the most reliable way to long–term store your data.

What about image format? Important images are 16–bit TIFFs, which should be readable far into the future. Plain vanilla 100% quality JPEGs could also work, although it is difficult editing them losslessly. RAW image files like “ARW” (Sony) or “DNG” (Leica) will have a tough time though. Maybe DNGs will survive due to support from our beloved Adobe, but other RAW formats will struggle in fifty years time, maybe less.

Impacts of A.I.   ↑

Before we get started, watch the video from fStoppers (2025) The Dark Side of AI: Is the Photography Industry Doomed? TL;DW → most commercial photography is obsolete.

I first got an inkling of this twenty years ago. I was flipping through a copy of Street Machine magazine and noticed many of the new car “photos” were actually CGI renderings, exceptionally well done. Which was a shock! When I started photography in the ‘80s, car & truck photographers occupied the summit of the profession, mainly due to their enormous studios with heavy turntables, “swimming pool” strobes, front projection systems, 10×8 view cameras and Rodenstock lenses costing 3 months salary each. These pros would have entire teams of assistants & retouchers, charge $10Ks per day and spend forever getting the composition and lighting right, reflections tamed and imperfections retouched directly on the large–format transparency films. They garnered awards. People shouted them drinks. Photography magazines lauded them with gushing adulation. Yet all this imaging wizardry could now be done with keystrokes on a (powerful) computer by a couple of people for $$s instead of a specialist team of artisans for $$$$$$s. And this was circa 2005…

Twenty years later the fStoppers video shows it has become even easier, and can now be done by anyone with enough nous to write a specific text AI prompt. Coding, 3D modelling skills and render–farms no longer required. Which has gotta hurt, right?

Maybe. Things may look dire, but it isn’t necessarily The End of Photography. Although most commercial/ fashion/ architectural/ travel photography has been dealt a blow, there are still a few areas which AI may augment but never fully replace:

Weddings

People will always want a record of their Big Day. Some will strive for authenticity, others for insta–friendly artifice. AI could be used to “tidy up” the bridal party and guests, or the location, but original images still need to be taken. A much larger threat are the ubiquitous mobile phones wielded by every attendee, but any half–decent professional can still produce better and more memorable images.

AI cannot greatly impact event photography as you still need to capture original and recognisable images of attendees + organisers. Where it can help though is in post: to mask, remove or replace embarrassing moments in the background (the stories I could tell…)

Fine–Art

A lot of contemporary fine–art photography is already borderline AI–lite, yet there will always be demand for art created by humans for humans. AI cannot (yet) weave a subtext or metaphors or allegories into images, nor even occasionally subvert the main theme. Despite using AI to create “stuff” being trivially easy, no LLM will ever match the real–world depth and complexity of (say) W. Eugene Smith, Ansel Adams or Sebastião Selgado.

Reportage

Photojournalism took a severe hit in the early 2000s, but news events still need to be reported; Historical events witnessed; Celebrities exposed; Politicians unwittingly lauded; Unpopular royals dehumanised; Beloved TV matrons made youthful; Suffering have–nots pitied; Sports Stars mindlessly adored.

Leaps into the unknown

LLMs are fantastic at synthesising already existing work to regurgitate “new” material. Or analyse overwhelming amounts of data to uncover subtle trends. Or design an efficient rocket combustion chamber or (almost) diagnose a swallowed toothpick. What LLMs cannot do is make unexpected connections and idiosyncratic jumps forward. Produce an artwork in the style of Amedeo Modigliani ✓ Write prose in the style of Ernest Hemingway ✓ Create a long meandering article about photography and cameras crammed full of elliptical asides?… ✗

Here’s where my liberal–arts friends will find things tough going. They have been painstakingly indoctrinated taught that ransacking plagiarising appropriating paying homage to other’s efforts is a valid and praiseworthy endeavour. Yeah well, LLMs can do that too. Faster Cheaper Better. But those creatives who are capable of directly drawing inspiration from the world around them, along with their own imagination, insight, training and experience, to create unique and unexpected work… will thrive. Backward looking BFAs, MFAs and their ouroboros Art World enablers will not.

Photography as a Side Hustle   ↑

As I mentioned thirty–six–thousand words ago, I never worked as a professional photographer, or more precisely, never earned the entirety of income from professional photography. The closest I came was in 1997–2006, when I did software/ web/ VR development which often featured photographic content I was commissioned to shoot.

Fact is, I was firmly headed down the “pro” path but had my own (cliché alert) “sliding doors moment” in 1985, when I sold my Rolleiflex T to a commercial photographer. Had I accepted his offer of working as an assistant, then a few years later I too would gone pro. Yet at the time a little internal voice said don’t do it, and like Yoda, When Speaks The Voice Listen Will I.

In subsequent decades I have never regretted it. I had a regular income from other things, so I could pick and choose photographic projects I liked. If ever a client became too tiresome, or stupid, then I could drop them fast. Among other things I was a qualified (although no longer practising) solicitor, so lord help anyone who tried to sidestep paying my invoice. Every economic downturn or technological advance passed me by without impact (RIP mini–lab owners & professional film retouchers). My career path has been unique and fascinating, and I have met and worked with people I never would have otherwise. I have also benefited creatively by being exposed to areas of expertise most photographers never even see. Most importantly though, aside from when I was commissioned to do work by demanding & powerful clients (eg. SMH or Warner Bros), I have always had complete control over my images — something most gun–for–hire photographers cannot say. Greta Garbo II taught me that vital lesson in 1985 when I was only twenty–one.

FWIW my advice is this: forget about being a full–time photographer. For every staggeringly successful humble–bragger, there are fifty or even a hundred who barely make a living, and even then spend their lives doing unremarkable work under close supervision of clueless wankers Editors and Art Directors, which will all be swept aside by AI anyway. By being independent you also can ignore the we don’t have a budget for this right now, but the exposure you’ll get is priceless man–bun grifters. Nor waste months writing detailed applications for creative arts grants you never had the remotest chance of getting.

There is nothing embarrassing nor diminishing about having a day–job, especially if it pays reasonably well and isn’t morally & intellectually degrading. Musical composer Alexander Borodin was a professor of chemistry. Albert Einstein was a Patent Office Science Specialist 3rd Class during his “Miraculous Year”. Philip Glass was a plumber and drove taxis. TS Eliot worked (contentedly!) as a bank clerk at Lloyds Bank. The 20th century is littered with creative people who had paying jobs unrelated to what eventually made them famous: Allow me to present Exhibits A, B, C and D.

Whatever you do, use your day–job to broaden your horizons and sharpen your mind. Food Delivery Rider ✗ HSC tutor ✓ Marry for money and connections ✗ Get three different tertiary degrees in three different disciplines ✓ Advertising copywriter ✗ Solar panel installer ✓ Waste data handler ✗ Software developer ✓ Arts worker ✗ CAPA teacher ✓ Physics teacher ∇×✓ Airhead TikTok™ influencer (sigh) ✗

We can learn a lot from Charles Proteus Steinmetz here — become the wizard who solves the problem, not the slob who has to implement it.

A Website of Your Own   ↑

One last story:

In July 1992 I quit my Gilbert & Sullivan job as a junior solicitor at a major Sydney law firm. Figured it was time to see if I could sell any of my photographs. So I visited a couple of galleries in Paddington, a fashionable part of Sydney noted for its art, artistry, connections and vibe.

Being self–taught, I lacked what turned out to be a indispensable letter of recommendation from an established artist or art–school, so the gallerists treated me with a mixture of suspicion and scorn.

I showed them my portfolio of a dozen meticulously printed and toned 11×14 B&W images. Prints which had made my friends exclaim Holly ѕhit! Did you do that?! barely registered a response.

Eventually one overfed grandee stated I had “some potential” and should return when I had something more substantial to show. At another gallery a pixie–cut matron said she couldn’t do anything with my images as they lacked a “cohesive overarching theme”. Yet she whimsically added I was as free as anyone else to submit my work on Tuesdays when they held viewings for new & emerging artists. She warned if they accepted any of my work, on consignment, then I would have to pay for exhibition quality framing (which they did of course), and if any of my photos were sold then their commission would be an additional 50% to cover things like insurance, advertising, cataloguing etc.

Heads they win, tails I lose. I gave her a sardonic smile and left. I note with satisfaction both galleries imploded within a few years.

You have to get your work into the public space so it can be seen. Unfortunately a phalanx of taste–arbiters will block you every step of the way. Unless you are a posh friend/ colleague/ crony/ nepo baby/ professional victim or affiliated via marriage, media connections or academic Left politics. They love to disport in vibrant couture and make IAE pronouncements like … the political intersectionality of contested notions of linguistics, identity, othering, borders, universality, colonisation, and the inherent dualism that exists…, although no one believes it. Who, whom? and one progressive hand washes the other.

Which is all vaguely interesting, but in the early 2000s an asteroid in the form of the internet struck and swept most of these lovelies away. A tiny remnant retreated to microhabitats at publicly funded galleries or universities or broadcasting or activism, but the remainder vanished. The fossil record is patchy. Yet when the dust settled and the sun shone again, a myriad of creatives found they could at last thrive in a world no longer downtrodden by lumbering guardians.

Sour grapes? Not really. If anything their demise created new opportunities for artists to get their work seen by placing it online themselves. Forget galleries, curated exhibitions or the Publisher/ Literary Agent Complex… Show your work to the entire world via your own website, when and how you want.

Similar to photographic lighting this is an enormous topic which merits its own essay. Not now though. You will basically need to… Register a top level domain. Rent space and bandwidth from a web–host. Write code in HTML & CSS, then later on scripting languages like PHP, JavaScript and eventually database programming in (say) SQL. Then figure out how draw traffic to your site and analyse which parts are successful and which aren’t. And no, you don’t need fancy GUI effects to be “more engaging”, anything fast + elegant + efficient will do.

Which all sounds daunting because it is. I worked for years as a web–developer so can do it adequately. Others will face a steep learning curve, but don’t be put off as the basics are surprisingly straightforward. Maybe AI could help? I would strongly advise against taking shortcuts and displaying your work on social–media, as only the broligarchy will benefit. Likewise the ailing Flickr Pro. Then there’s the swarm of trolls, bots, spam, tracking, hackers and neckbeard stalkers you have to deal with. I similarly don’t recommend “easy” website builders like “SquareSpace” or “GoDaddy”, as they will hold your content hostage while steadily draining your bank account. Where do you think the mountain of money comes from to pay for their endless celebrity endorsements and advertising?

Similar to what Ken Done did with his gallery in The Rocks, the crucial thing is to own and control the where you exhibit your work. Although I am no fan of Mr Done’s paintings, tea towels, t–shirts and mugs, I do admire the way he ruthlessly dis–intermediated the Art World intermediaries.

It’s your work displayed in your own space which you control yourself. No one can ever dictate what you can and cannot do. What the hell, it’s your website and you can do with it whatever you please. Now get your work out there and get it seen.