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Terms & Conditions

Terms & Conditions of Repairs & Services

In any communication please quote the job reference number.

Conditions of repair

These conditions apply to any agreement between Fixation and any customer (individual or organisation) entrusting us with goods for evaluation or adjustment.

Fixation is a trading name of Warehouse Express Limited, 13 Frensham Road, Norwich. NR3 2BT. Company registration number 03366976. The Fixation London workshop and showroom is located at 250 Kennington Lane, London, SE11 5RD. The Fixation Manchester repair counter is located within Wex Photo Video Unit 4, Downing Street Ind Est. Charlton Place, Manchester M12 6HH

Important Note: All repairs/services are thoroughly checked before release but it is expected that a final check of the equipment be made by the user. Customers are asked to check that their camera has been restored to their preferred settings before use. Fixation cannot accept any liability for consequential loss due to failure of repair or delayed return.

Manufacturer’s Warranty

Any claim under the manufacturer’s warranty must meet the terms and conditions set out by the maker.Claims must be accompanied by the appropriate paperwork.As a minimum this means an acceptable proof of purchase; an applicable warranty certificate may also be required.Failure to provide the correct documentation may result in a chargeable repair.Be aware that warranties on digital products may be regional and therefore only valid in the designated area in which the manufacturer intended it to be sold.Grey imports and overseas purchases may therefore be exempt.

A warranty claim will also be refused if examination shows the cause is anything other than a manufacturing fault, including but not necessarily limited to:

  • Improper use, damage or defects caused by incorrect storage, impact, excessive shock, liquid damage or damage by foreign substances.
  • Repairs, modifications, tampering carried out by an unauthorised third party
  • Damage caused by incorrect voltage input
  • Use of spare parts or software not compatible with the product.
  • Damage in transit.


The estimates we provide are based on examination and diagnostic tools. Estimates may be subject to later revision if the internal condition of the equipment is not as anticipated (e.g. unforeseen damage or third party tampering), or if on further examination we find additional work is required.In these circumstances we will provide a re-estimate of the work and costs.

Our estimates should be suitable for insurance purposes, we would advise contacting your insurer for their policies and claim procedures.If additional letters are required further charges may apply.

Estimates are valid for 30 days from the date of the estimate.


No refusal charge is incurred, but Fixation has insufficient storage space to hold items indefinitely and the return of the goods must be arranged within 4 weeks.  Applicable arrangements include collection, payment of dispatch charge (£10 + vat for standard, overnight delivery by courier) or authorisation to dispose of the goods on site.  In the absence of such arrangements, a recorded letter or email will be sent and, in accordance with the Disposal of Uncollected Goods Act, the uncollected item will be disposed of after 3 months.  We may charge storage fees if extended storage is requested. Fixation cannot accept any liabilities for disposed items after the 3 months notification.

Sensor cleaning

While performing the sensor cleaning, Fixation may change your camera settings to adjust quality and resolution to ensure cleaning has been successful. Fixation advises customers to back-up any data before sending the equipment to our workshop. Please note that Fixation does not accept any responsibility for any damages or loss of data. Customers are responsible to ensure that the camera settings are set after the cleaning service.

Due to the nature of the equipment usage, and the variability of storage conditions from each customer, that may increase the chance of fungus, debris, and dust in the equipment, no warranty is provided for sensor cleaning.

FoCal versus focus calibration

We advise customers to look at our REIKAN FOCAL TEST & ADJUSTMENT page to understand the difference between both services.  Please note Fixation may change your camera settings to adjust and calibrate your equipment. Fixation advises customers to back-up any data before sending the equipment to our workshop. Please note that Fixation does not accept any responsibility for any damages or loss of data.

Firmware updates

If you request a firmware upgrade or if we need to update the firmware during the service, please note that the updates may change the settings of your equipment and turn it back to the original setting. Fixation advises customers to do a back up of any data before sending the equipment to our workshop for firmware updates. Please note that Fixation does not accept any responsibility for any damages or loss of data.

Repair Times

All effort will be made to minimise turnaround time. Actual times will fluctuate according to demand and technician availability, but estimated turnaround times are updated on our website.

Any dates quoted by Fixation for completion of repair work are approximate and not guaranteed; we cannot accept liability for any consequential loss suffered as a result of a delayed repair. Some delays may occur whilst we await supply of spare parts required to complete a repair. Every effort will be made to keep the customer informed of progress, but such delays are beyond Fixation’s control and influence. 


Repaired items will only be released on receipt of payment, where applicable.  Payment is expected within 4 weeks of notification that the repair is complete.

Payment may be made in person upon collection of goods, or by telephone when arranging dispatch.  We accept payment by cash (collection only), debit/credit card or Bank transfer (goods will only be released when funds have cleared into our account).

For card holders’ own security when taking telephone payments, anti-fraud checks are made based on matching the address of the registered card-holder.  For this reason, we reserve the right not to accept payment by cards registered to non-UK addresses and in these circumstances a Bank transfer may be required.

Where, despite documented reminders (by email and letter), items are not collected or paid for after three months, in accordance with the Disposal of Uncollected Goods Act, this equipment shall be disposed of in order to retain from the proceeds of such sale any amount sufficient to defray costs of repairs and expenses incurred in attempting to trace and notify the customer. The customer will be entitled to any balance, but no interest shall be payable on any amount retained by the company.

Repair Warranty

All repair work is guaranteed for a period of 6 months from the date of invoicing. Should any customer not be satisfied with work carried out, they must contact Fixation within a period of 3 months from the time of collection/dispatch.  All repairs are thoroughly checked before being released, but it is expected that a final check of the equipment be made by the user. Non-use of the equipment does not extend the guarantee period. Fixation shall not be responsible for any consequential loss or damage whatsoever claimed by reason of repairs carried out, or subsequent failure thereof.

The re-repair guarantee covers failure under normal operating conditions of previously repaired/replaced components and the associated labour.

All re-repairs are subject to inspection and at the discretion of the technician.Rejection of any claim (for example if the camera has suffered any physical damage or the subsequent fault is unrelated to the previous repair) will result in a new estimate and return shipping charges will apply. 

Shipping charges may also apply if the camera proves to be working to specification with no further repair necessary. 

Repairs covered by our repair guarantee will be returned via standard shipping at our expense (other shipping methods will be chargeable).

Goods in transit

We can advise on likely delivery dates, but these may not be 100% guaranteed.We cannot accept liability for any consequential loss arising from delayed deliveries.Consignments dispatched via our main shipping options are insured and a signature will be required upon delivery.

Should the equipment appear to be damaged upon unpacking, please retain the item and the packaging (even if unmarked) and notify the Service Department immediately to initiate the claim procedure.

Terms & Conditions of Courtesy Equipment Loan

These terms and conditions are raised in addition to and should be read in conjunction with our standard Hire Terms and Conditions.  They apply to any courtesy loan of equipment for whatever reason. The term “hirer” refers to the customer who is being loaned the equipment by Fixation.  Acceptance of Courtesy equipment is taken as acceptance of these Terms and Conditions, whether or not this document is signed where indicated by the hirer.


Fixation may agree to loan courtesy equipment under certain circumstances, including but not limited to the following:-

a. Where a customer has purchased new Nikon or Canon equipment from Fixation and suffers a failure of the equipment during the warranty period, which is not due to customer misuse or abuse.  If Fixation is satisfied that the fault is a valid warranty claim, and is unable to complete satisfactory repairs within two working days of the equipment being submitted to Fixation for inspection, then Fixation will issue loan equipment for the period until repairs are completed.  Whilst Fixation will endeavour to provide replacement with the same model, if this is not available for whatever reason, we will supply the next most appropriate model. 

b. Fixation may agree to loan courtesy equipment where a customer believes that a repair carried out by Fixation’s own workshop has not been satisfactorily completed.  Fixation reserves the right to inspect the equipment before issuing a loan to verify the customer’s claim.  Whilst Fixation will endeavour to provide replacement with the same model, if this is not available for whatever reason, we will supply the next most appropriate model. 

c. If a customer suffers a service failure due to an oversight or error by a member of Fixation staff, or by an agency outside of our business through no fault of the customer, if appropriate, we may, without prejudice and as a gesture of goodwill, offer to loan alternative equipment to enable the customer to continue their business activities.

In all circumstances, if the customer requests a replacement unit to be sent before Fixation have satisfied themselves of the fault or error, then such equipment will be issued on a chargeable basis, and may be altered to courtesy loan subsequently if circumstances meet the necessary conditions.

Shipping or Courier charges

Fixation will bear the cost of sending Courtesy equipment to the customer.  The cost of returning the equipment to Fixation shall be borne by, and be the responsibility of the hirer.

If Fixation is sending equipment out, we reserve the right to request proof of address for non-account customers, and we will only ship to this address.

Period of Loan of Courtesy Equipment

It is a strict condition of this agreement that the period of loan expires 48 hours after Fixation has informed the customer that their repair is completed and ready for collection.  Fixation will make all reasonable effort to contact the customer by email, telephone, text message or any other means at Fixation’s disposal to inform the customer that their repair is complete.  If the customer fails to return the Loan equipment within 48 hours, the loan will become chargeable at our normal rates.

All other normal terms and conditions relating to Liability, Deposits, Insurance, Loss and Damage, Availability, and Accessories also apply to this agreement.

ProFiles | Steve Best

As both a stand-up comedian and a photographer, Steve Best enjoys unparalleled access behind the closed doors of the comedy circuit. His stylish, artful images show a different side of people we recognise from panel shows and comedy clubs. Sometimes they’re nervous, sometimes they’re excited, sometimes they seem decidedly contemplative.

It’s this knack for capturing a different side of his funny-people subjects that has made Steve such a popular figure on the comedy circuit – a popularity that has also translated to two successful photobooks. 

Steve owns a few bits of kit from Fixation, so we were thrilled when he agreed for a sit-down to chat about his work and his ongoing ‘Comedians’ project. So, let’s get into it!

Steve Best, . Photo Steve Best
Photo Steve Best

Fixation: Thanks for talking with us Steve. Your ‘Comedians’ project is a favourite on the comedy circuit and beyond – how did it all come about?

Steve Best: I’ve always been interested in photography. I’d been doing stand-up for years and years, and I had a little Ricoh point-and-shoot film camera which I’d take on my holidays. I really loved that camera, and then I got the digital version of it. Because it was so small, I used to just slip the camera into my pocket, and so I’d take it to gigs. And there, I would just take a snapshot of a comedian backstage I was speaking with at the time. That was how it started. 

That must have been the year two thousand and… something! But eventually I did that first little book, Comedy Snapshot. It’s a chunky little book with more than four hundred comedians – I took a snapshot of them, and then they all gave me a one-liner joke, and four or five facts.

They were just little portrait snapshots, but they went down so well with the comedy community that I decided to lose a lot more money and do another book!

So we did another book, very similar to the first, called Joker Face. It was nearly twice the size, chunky-wise – which I got told off for, because the spec was meant to be the same, but I just kept on adding comedians. 

And for my photography, that was when I started upping my game a bit. I got into Fujifilm – I had the X-Pro1 at the time. The pictures are still snapshots; they’re not, you know, ‘proper’ portrait shots, but that’s what I want it to be. It was never meant to be stylish; it was just me being backstage, having access to these comedians. 

Mike Gunn, through the curtain at the Hammersmith Apollo. Photo Steve Best
Mike Gunn through the curtain at the Hammersmith Apollo. Photo Steve Best

Fixation: I was wondering about your shooting process – do you approach different people in a different way? Or do you have a more set process that seems to work every time?

Steve Best: I think because I’m accepted in that world – I’m ‘one of them’, as they say – their guard does kind of come down slightly. So I know that they will not play up to the camera, and I can just chat with them. For instance, there are quite a lot of mirror shots where I’m looking at the comedian, I’m chatting with them as well, and I’m just surreptitiously pinging the shutter.

That kind of backstage work is actually one of the reasons why recently I got a Leica Q, which I really love because it’s so quiet. It’s so nice. So I can just muck around – even with the big names, as I know most of them now. That’s how you’re kind of let into this world. I think the backstage photographs are slightly more interesting than the front-of-stage photographs – because people see the front of the stage, but most people don’t see backstage.

Fixation: You mentioned you’re shooting on the Leica Q, which is a gorgeous camera. Do you have much else in your setup at the moment?

Steve Best: I’ve always had a Fuji. Fujifilm has been really good to me. I bought myself a Fujifilm X-Pro1 to start with, and Fujifilm lent me a load of gear early on, so I’m very loyal to Fuji and I really love their stuff. I’ve moved on to the medium format for my portrait stuff – a GFX 50S, which I bought second-hand through Fixation. I’ve got the 32-64mm lens, and the 80mm. The 80mm has taken me so long to get used to the focusing, but for portrait work it’s really great.

I’ve actually used medium format live as well – I’ve found a way of using it for shooting live performances, which I love, I think it’s fantastic. It’s sluggish, but it’s great to get a different kind of image. 

Michael Fabbri and Joe Rowntree, Photo Steve Best
Michael Fabbri and Joe Rowntree, waiting to go on stage, and you can see he’s a bit stressed. Photo Steve Best

Fixation: Is there a particular image of yours that’s a favourite, or one you look on most fondly?

Steve Best: I think maybe there are two. The one of Mike Gunn through the curtain at the Hammersmith Apollo is the one people often comment on, and it got shortlisted for the Royal Academy Summer Exhibition. I like that one because although it’s an on-stage image, I’m backstage, peeking through the curtain. I like the light, and the fact that he’s on his own – even though he’s actually in front of three and a half thousand people, it’s quite a lonely picture. 

I do also like the one of Barry Cryer. But the other one I was thinking of is one of the first pictures I took, which is one of Michael Fabbri and Joe Rowntree. Joe’s head is on the doorframe; he’s waiting to go on stage, and you can see he’s a bit stressed. And Michael Fabbri, he’s just finished his set, so he’s lying on the couch, and is very relaxed.

Barry Cryer, . Photo Steve Best
Barry Cryer, relaxing. Photo Steve Best

Fixation: Lastly, you’ve photographed absolutely loads of comedians, but are there any you haven’t photographed yet whom you’d like to?

Steve Best: Tim Minchin. I think he’s a great performer. And I’ve never got hold of Bill Bailey, which would be nice as well. There are still a few people out there. I’m always trying to collect people.

Steve Best was talking to Jon Stapley. See more of his books and prints at

Service Message

Service Update

Royal Mail stike action

The Communication Workers Union has announced four strike days on Friday 26th and Wednesday 31st August and then Thursday 8th and Friday 9th September. We expect our parcelforce collections service to be disrupted and our service support team may be busier than usual on the days after the strikes as we may need to make last minite shipping updates or hold deliveries for a day.

Our tracked UPS services will continue as usual and we recommend using an alternative courier if neccessary. You can bring repairs to our service counters in Manchester or London, Vauxhall. Alternatively you can bring repairs for delivery to us to any Wex Photo Video branch.

Repair turnaround times

Please be aware that while we are booking in as many repair items as we were in 2019, and many aspects of life have returned to normal, both COVID-19 and Brexit have had some adverse effects on our workshop capacity, repair turnaround times and customer service response times.

Fixation is continuing to repair and service photographic equipment and while customers can still receive rapid sensor cleaning and while-you-wait repairs at our service counters, we are aware that for more in-depth repairs that stay in our workshop for longer our current turnaround times are causing concerns with both new and returning repair customers. We are doing all we can to bring our service levels back to the fast repair service we were delivering before the pandemic.

How COVID-19 affected repairs

We have a large workshop of 20 technicians supported by a team of five administrators who all work in fairly close proximity to one another to complete a repair. At significant COVID peaks we reduced our workshop to six key technicans and one administrative support member who could continue to work at a safe distance from one another. Our demand for repairs never dropped to the same extent and this created a bottleneck in every area of the business from booking-in new repairs to producing estimates and shipping kit back to customers.

Outside of the UK COVID-19 affected both the demand for and supply of electronic components especially semiconductors which make the chips and processors present in every digital camera and many new lenses. This did not have an immediate impact as we hold a helathy stock of parts in our workshop but over time as these stocks in the UK and Europe were not replenished, some repairs have experienced unprecedented spare parts waiting times.

How Brexit has affected repairs

In addition to COVID affecting the supply chain of parts and our turnaround times, Brexit-related delays may also occur if your repair requires spare parts. All our spare parts ship to the UK from Japan, China and South Asia via depots in Europe. The movement of goods into the island of Great Britain is not as easy as it was before the UK left Europe in 2019 and our deliveries of spare parts are facing delays when crossing the channel. Deliveries being held at customs, and delays and queues at ports ahead of channel crossings make it almost impossible to accurately forecast when spare parts from outise the UK will arrive with us.

How is Fixation changing to improve our repairs

We have six new team members who have joined us in the workshop and some new roles to help make our workshop more efficient. While we train new team members our teams will be slower to reply to enquiries coming in but once eveyone is up to speed these new recruits will make a world of difference.
Customer Service: Sara and Jenice have recently joined the repairs team, Sara has joined us as Customer Service Manager, Jenice is joining the customer service team. They are both being trained up at the moment on our repairs administrative systems.
Workshop: Steven and Jaya are new starters in our workshop currently shadowing experienced technicians to learn repair processes and techniques for a range of cameras and lenses.
New role: Head of Repairs Regina has joined Fixation as Head of Repairs, a role that spans administrative and technical teams. She is currently working with the customer service team to make our processes more efficient and chipping in where needed to help booking in new repairs that have arrived.
New role: Stock Controller for Spare parts Tahir has joined us to look after spare parts ordering and stock control, this gives time back to our technicians who were managing spares orders as well as estimating and completing repairs. Once Tahir has our day to day orders running smoothly we will look at increasing our stock holding to minimise supply delays.

Coming Soon: Behind the scenes we have been working on our repair tracker to make it easier to track and respond to repair updates online and make more information about repairs available at all hours.

If you are looking to start a new repair then the best place to start is with our Online Repair Form

We appreciate your patience and support during these difficult times and we hope to be back up to capacity shortly.

Our current COVID-19 measures in place in Leeds, London and Manchester

Masks: We reommend that customers continue to wear masks when possible when entering our premises. Spare masks are available on request, alternatively we can bring sales items and repairs to the door if paid in advance.

Our showroom and repair counters in London, Manchester and Leeds are open for business. Feel free to drop in whenever you can for expert advice, product demos and repairs.

When you visit please remember that we have the following measures in place:

• We recommend wearing a mask if possible when entering our premises
• Hand sanitiser stations are available
• Our showrooms and demo equipment are cleaned regularly
• All repairs are disinfected as a final stage of cleaning before return


Vlogging Guide | A look at the Sony ZV-E10 vlogging camera

Thinking of starting a YouTube channel, or sharing videos of your exploits on Facebook, Instagram or another social media platform? Then you’ll want to pick up one of the best cameras for vloggers.

Welcome back to our vlogging kit series, where we run through some of the best cameras and other equipment that’s out there for prospective vloggers right now.

You may or may not have been tempted by the idea of vlogging before, but even if you’ve never considered it, we’d definitely recommend giving it some thought. Vlogging tends to demand less production value than other types of video, and as a professional working in stills or video, you already have a wealth of material to vlog about with a built-in audience. What kind of kit are you using for your shoots – what do you like about it, what do you wish were better? How do you approach different kinds of shoots and subjects? People are interested in this stuff, and being able to connect with them through vlogs is a great way to open up new opportunities and even potential revenue streams.

Previously in this series we’ve covered the Nikon D7500Fujifilm X-T2 and the Sony A6500.

Today we’re taking a look at the Sony ZV-E10. Designed for creative vloggers who aspire to an artistic look, without the hassle. The ZV-E10 shoots 4K video at up to 30fps, unfortunately it doesn’t offer a 4K/60p mode for those creative vloggers who like to slow down their footage for cut-scenes. Still, you do get some of Sony’s latest autofocus smarts, including Real-time Tracking and Real-time Eye AF. These allow it to track a person around the frame and automatically keep them in focus.

The ZV-E10 is an interchangeable-lens vlog camera with over 60 lenses to inspire self-expression. Wide-angle lens options allow you to capture more of the locations or the natural backdrop, and bring your viewers along with you in a shared experience whilst creating dynamic footage. A fixed focal length lens will allow you to create a smooth, natural background blur that lets the subject stand out. It’s also useful when you want a brighter image in a dimly lit setting. Whilst a macro lens can get you closer to your subject, allowing you to capture the small details at a bigger size than with normal lenses and show off every glorious detail. Use a telephoto lens, to shoot far-off objects, scenery or action with clear detail, whether you’re vlogging while travelling or just shooting everyday life. Zooming in and out can also add an extra dynamic element to your story.


Let’s dig into its feature-set and find out why it’s designed for vlogging…

You can choose the lens that matches your style

Sony’s has an extensive range of E-mount lenses to help bring your vlog to the next level with stunning and unique imagery. Incorporate background scenery into your script with a wide-angle lens, or make the subject grab the viewer’s attention by using a fixed focal length lens with an artfully blurred background. Move in closer with a macro lens or pull in distant scenes with a telephoto lens.

A large-format image sensor for professional-quality images

The ZV-E10’s impressive images are the result of the camera’s large APS-C sized image sensor. Compared to a smartphone camera, the image sensor of the ZV-E10 is bigger, allowing for beautiful, professional-looking images with high resolution and intricate detail.

Designed for easy selfie and vlog shoots

Weighing in at just 364 grams the ZV-E10 is ready to hit the road with you whenever you’re ready to vlog. The side-opening vari-angle LCD screen makes it easy to take selfies and check your framing, even when you’re shooting from high or low positions, and the ergonomic grip is designed for a safe and stable hold.

4K video

The camera’s internal 4K video recordings are made using a full-pixel readout from the sensor. This means that the recorded footage has more visual data condensed into every frame, resulting in remarkably detailed video imagery.

Real-time tracking can do the focusing work for you

The ZV-E10’s AI-driven13 Real-time Tracking is intuitive to use. Simply touch the monitor to indicate the subject you want to focus on and Real-time Tracking will take it from there, keeping a steady hold on the subject.

Background blur control

There’s no need for complicated manual adjustments – just press a single button to turn background blurring (bokeh) on and off. The button switches between a blurred, bokeh-rich background and a clearly focused one, skipping all the complex setting.

Designed for clear voice recording even outdoors

Equipped with a built-in Directional 3-Capsule Mic, the ZV-E10 records voices clearly even in crowded settings. It’s optimised to capture voices in front of the camera with fewer distracting ambient sounds, perfect for vlogging use. The ZV-E10 comes with a wind screen, allowing worry-free recording when shooting outside. The supplied wind screen can be easily attached to the Multi Interface to reduce noise in windy conditions.

Smooth and stable images even while walking

The ZV-E10 will help keep things smooth and steady when you’re on the move. Active Mode electronic image stabilisation delivers stable video footage with minimal shake and blur during hand-held recording, and it’s available even when the Product Showcase Setting is on.

Add special effects in-camera

You can switch up your colours to create a variety of artistic effects. Just change the Creative Style setting, or choose from seven different visual effects using Picture Effect mode, without any additional post-production.

Handle long shooting sessions without battery worries

When you’re shooting outdoors or anywhere without a power supply, you can rely on the camera’s battery to power up to 125 minutes of continuous movie shooting or up to 440 still images. The camera also supports external power through a USB Type-C connector, allowing an external mobile battery to further extend your recording time.

An ideal vlogging setup with the Sony ZV-E10

If you want to maximise the production value you get out of the Sony ZV-E10, then it’s worth thinking about the best accessories to use. It doesn’t have to be a massive outlay of cash – a few well-chosen accessories can make a massive difference in the quality of your videos, not to mention the ease of producing them, and luckily for you, we’ve picked out a ready-made list of the best ones around right now. While this list isn’t exhaustive, it also isn’t compulsory – even just a few of these will really see your vlogging improve.

So here’s what we reckon you should get:

– A good all-encompassing lens. You ideally don’t want to be faffing about changing lenses too often. We’d say something like the Sony 16-70mm f/4 will cover a solid focal range that should give you all the coverage you need for the vast majority of your vlogging.

– A good shotgun microphone. A no-brainer here for improving the sound quality of your videos – there’s a reason we recommend it in all of our vlogging blogs. A RØDE VideoMic will suit your purposes fantastically. For more audio control you can use the Sony XLR-K3M XLR adaptor kit, pictured above, with your choice of XLR microphone from shotgun mics to radio lavalier kits ideal for interviews.

– A fast, large-capacity SD card. You might be able to save some money here, as the ZV-E10 isn’t able to take advantage of UHS-II cards, a UHS-I SD card will do fine. Something from the SanDisk Extreme Pro range will suit you fine – the higher its capacity, the better.

– A stable tripod, ideally one with a head geared for video. Manfrotto, Vanguard, Camlink and Velbon all make great dedicated video tripods with smooth panning heads.

Monitoring headphones to check your audio.

– A video light. Look at lights from Rotolight for a good self-contained system.

The Sony ZV-E10 isn’t perfect

The grip is way too small to use handheld with a big lens, as it’s too unwieldy to hold the lens while using the rear display to frame shots. We would recommend using a tripod, as well as for some long-exposure images. There’s no mode dial on the top; instead you’ll set the capture mode via the menu. You do get a shutter release at the top of the handgrip. The Sony ZV-E10 has a built-in electronic viewfinder for framing shots so if you need a camera with a viewfinder try the Sony A6100 or A6400. If you are looking for a run-and-gun video camera for quick pans then this might be the worst thing about the camera from a video point-of-view, and while it won’t affect many studio or static shooters, run-and-gun camera operators might not be ready for its jelly effect. The Sony ZV-E10’s 4K capture caps out at 25/30 fps, so if you want to slow down your footage without compromising on resolution, you’ll need to look elsewhere.

Sony ZV-E10 Specifications…….

SpecificationsSony ZV-E10

Lens Mount


Aspect Ratio


Number of Pixels (TOTAL)

Approx. 25.0 megapixels

Sensor Type

APS-C type (23.5 x 15.6 mm), Exmor CMOS sensor

Recording Format


Video Compression


Audio Recording Format


Memory Card Slot

Multi slot for Memory Stick Duo / SD memory card

Metering Sensor

Exmor CMOS sensor

Adjustable Angle

Opening Angle: Approx. 176 deg., Rotation Angle: Approx. 270 deg.

Focus Magnifier

Yes, Focus Magnifier (5.9x / 11.7x)

Clear Image Zoom

[Still images] Approx. 2x, [Movies] Approx. 1.5x (4K), Approx. 2x (HD)

Face Detection

Face/Eye Priority in AF, Face Priority in Multi Metering, Regist. Faces Priority

Flash Sync. Speed

1/160 s1


Pre-flash TTL

Flash Compensation

+/- 3.0 EV (switchable between 1/3 and 1/2 EV steps)


10 s delay / 5 s delay / 2 s delay / Continuous self-time / Bracketing self-timer


Yes (Bluetooth Standard Ver. 4.1 (2.4 GHz band))


View on Smartphone, Remote control via Smartphone, PC Remote, BRAVIA Sync (Control for HDMI), PhotoTV HD


Built-in, stereo


Built-in, monaural

Compatible Standards

Exif Print, Print Image Matching III, DPOF setting


Custom key settings, Programmable Setting (Body 1 set /memory card 4 sets), My Menu


Peripheral Shading, Chromatic Aberration, Distortion

Supplied Battery

One rechargeable battery pack NP-FW50

Operating Temperature

0 – 40 ℃ / 32 – 104 °F

Weight (with battery and memory card included)

Approx. 343 g, Approx. 12.1 oz


That’s all for the Sony ZV-E10! We’ll see you next time.


Sony A7S III Digital Camera

The long awaited Sony A7S III Digital Camera Body was announced five years after the launch of the immensely popular A7S II. It is equipped with a newly designed BIONZ XR Processing engine which provides up to an 8x faster performance over previous models. It has an AF system with an incredible 759 on-sensor phase decision points which is capable of real-time eye tracking of both humans and animals when shooting both video, and stills. This camera demonstrates Sony’s ability to deliver stunning imaging quality and professional performance in one body.


Recording Capabilities

The Sony A7s III is designed for complete video flexibility and it is packed with features that allow for this. The camera is capable of capturing 4k video without any crop, All-I, up to 120p with 4:2:2 10-Bit codec in H.264. The HD 1080p video is just as impressive, recording up to 240fps internally. The camera is capable of 16 Bit RAW transfer via HDMI for use with external recorders. Sony has introduced new colour science: S-Log Fx9 colour matching, as well as new codecs including XAVC S, H264(AVC), nXAVC HS and H265(HEVC). These features allow you to capture and produce extremely high-quality and professional-grade footage.

For photography the improved colour reproduction and support for HEIF still format further increases the creative scope of this camera. HEIF support, however, does require software/a working environment that supports HEIF for display and editing.

BSI Sensor and BINOZ XR Processor

Two key components that the Sony A7s III possesses must be discussed. These are the newly developed BINOZ XR Image Processor and the 12MP BSI Exmor R Imaging Sensor.

The BINOZ XR processing engine provides approximately 8x faster performance than previous models for fast, efficient video and still image recording. The 8x faster processing combined with the 2x faster sensor read-out speed makes recording 4K video at such high quality possible.

12MP BSI Exmor R Imaging Sensor

The goal of the A7S series is to demonstrate Sony’s mastery of sensitivity. The sensor is a 12 megapixel full-frame back-illuminated sensor.
Twelve megapixels on a full frame sensor is not, by 2020 standards, a super-high resolution sensor. However each pixel takes up space on a sensor so a 12 megapixel camera can have a larger surface area per pixel for more light-gathering potential.

Back-illumination is a sensor construction technology that puts the wiring of each pixel behind the pixels so that the front surface can gather light with no obstructions. It may seem counter-intuitive but a lot of CMOS sensors have their (microscopic) wiring on the face of the sensor which obstructs some of the light, removing this wiring from the sensor surface dramatically improves light gathering power of a sensor.

In the A7S III the sensor has an incredible ISO range from 80 to 102400, expandable from 40 to 409600. This is a huge range and allows for comfortable shooting of a vast range of lighting conditions. The camera also has an impressive 15-Stop Dynamic range. The new sensor unit has a 2x faster readout speed, provides impressively fast and responsive operation.

All-Improved AF

Fast Hybrid Autofocus the Sony A7S III, is a first for the Sony A7S Series of cameras. It is available in all recording formats and works with over 50 native Sony E-Mount lenses. The AF system also boasts Real-time Eye and Tracking AF. Real-time eye tracking has a 30% recognition improvement for noticeably improved eye tracking. The vari angle LCD screen enables useful touch-tracking.

The improved AF system provides 92% AF coverage across the sensor thanks to 759 phase-detection points and 425 contrast-detection points when shooting still images (shooting mode dependant). To compliment the excellent low-light performance of this camera, the EV performance of the autofocus has been improved to allows effective AF down to EV-6. Another upgrade, is the ability to capture 10fps continuous burst capture with accurate tracking (AF-C) and AF-S focus.

Stable Shooting

To accompany the improvements to autofocus and recording spec of the Sony A7S III, Sony has incorporated a 5-Axis optical in-body image stabilisation system providing up to 5.5 stops of stabilisation. In addition users can enable the electronic stabilisation within the camera’s intelligent active mode for additional digital stabilisation, this mode runs with a x1.1 crop.

9.44 Million dot QXGA OLED Tru-Finder + Vari-Angle LCD

The articulating touch-screen LCD is a welcome addition which offers more flexibility when shooting handheld, for reaching over crowds or composing a low angle shot. The menu has been re-designed for easier access to video and stills settings, and is touch screen compatible for fast control changes and touch-focus tracking. The viewfinder is a 9.44 Million dot QXGA OLED Tru-Finder which offers the highest resolution EVF in the Sony Alpha camera line-up, providing crystal clear images for live shooting or checking through your footage.


The A7s III is fast. The camera can shoot stills at 10fps with full AF-C/AF-S operation. It can store 1000+ uncompressed RAW files, directly onto UHS II SD cards, the dual memory card slots are compatible with new CFexpress Type-A cards for even faster read and write speeds. The high speed media available indicates the true processing power of the camera. The impressive processing enables high speed image and video capture, and powers the remarkable auto focus engine.

Heat Management

Recording at such a high quality and speed can heat up camera as the systems and components are working at full capacity. The Sony A7S III, however, is equipped with a re-engineered heat management construction to enable up to hour-long 4K 60p recordings. The optimised heat dissipation structure is 5 times more effective than earlier models!

Colour Profiles

The Sony A7s III features 10 colour profiles, including 4 new options:

  • FL (film-like tone)
  • IN (Instant Camera Tone)
  • VV2 (Vivid & Bright Colour)
  • SH (Soft & Highkey)

These options are accompanied by 8 parameter image controls which include: saturation, contrast, shadow, highlight, fade, sharpness, sharpness range and clarity. The profiles and parameter controls allow for complete creative control when shooting.

To place an order, or to find out more about the kit, contact our sales team on 020 7582 3294 or email

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