A London (street) photography trip with the Sony A7C
I recently spent three days in London with five friends from The Photographers Club — a perfect mix of city exploring, photography, and good company. For this trip, I brought the Sony A7C, which I originally picked up as a compact everyday camera. But how does it hold up on a dedicated photo trip like this? Let’s find out — here’s a look at the city through its lens.
A sunrise ‘group portrait’ — I’m the middle shadow, taking the shot. Sony A7C + Tamron 28-200mm.
Traveling light
For this trip, I wanted to travel light and keep things simple. I brought the Sony A7C as my main camera — compact, capable, and easy to carry all day. Most of the time I used the Sony 35mm f/1.8, which is my current go-to for everyday photography. As a backup and for a bit more flexibility, I also packed the Tamron 28-200mm, just in case a wider scene or distant detail caught my eye.
In the past, I’d usually pack at least two camera bodies and a selection of lenses to cover all situations. But I’ve come to realize that’s not what I want anymore. Carrying less helps me focus more — on the experience, the light, the story — rather than constantly thinking about gear. This trip was a step in that direction.
For most of the trip, I relied on the 35mm for pretty much everything — including these street portraits. It’s a focal length that just feels natural to me, allowing me to get close enough to connect without feeling intrusive. Light, fast, and versatile — it handled the rhythm of the city beautifully.
What I love about the 35mm is how it lets me frame a person while still showing the context of where they are. It gives just enough environment to tell a story — the street, the light, the moment — without pulling too far back. It strikes a nice balance between intimacy and atmosphere, which is exactly what I look for in street photography.
London offers so many timeless scenes — from charming corners to naturally framed moments — that it’s simply a joy to explore with a 35mm. The city has this unique mix of character, light, and history that makes walking around with a camera feel effortless and inspiring.
Shooting the ‘serious’ backup
I did bring one extra camera as a backup — the Canon 5D Mark IV paired with the 35mm f/1.4. I only used it once, during a sunset photowalk with TPC London, to shoot some cityscapes. The results were great, as expected — that combo still delivers beautiful files. But honestly, the A7C would’ve handled it just as well. It served as a good reminder that, while the 5D IV is a wonderful camera, I really prefer having a lightweight alternative for photowalks like this. Less bulk, more freedom.
A view of the Westminster bridge and Big Ben — Canon 5D Mark IV + 35mm f/1.4
After that brief interlude, I didn’t feel like using the Canon again for the rest of the trip. As much as I appreciate its image quality, the size and weight just felt like a burden in a fast-paced street environment. Its slower, more deliberate shooting experience doesn’t quite match the responsiveness I need for street photography — where moments appear and disappear in a blink. The A7C just fits that rhythm so much better.
These two photos were taken indoors at ISO 10,000 and 20,000 — I didn’t use any denoise tricks in Lightroom, just my usual processing. They still look amazing. When shooting street with the 35mm, I mostly use aperture priority mode, setting a minimum shutter speed of 1/250 to keep things sharp, and I let the camera handle the ISO. I fully trust the A7C to manage high ISO noise perfectly, which lets me focus on capturing the moment without worrying about technical limits.
The A7C — Is It Enough in 2025?
The Sony A7C came out in 2020, and by today’s standards, it might seem a little dated. It has ‘only’ 24 megapixels, lacks the latest AI-powered autofocus features, and doesn’t come with some of the fancy extras found in newer Sony bodies. But honestly? I think it still holds up just fine in 2025 — especially for the kind of photography I enjoy.
The image quality is solid, autofocus is fast and reliable, and it packs all that full-frame performance into a compact body that’s easy to take everywhere. Sure, the newer models are more advanced, but for street photography and casual travel work, the A7C still feels like more than enough. It lets me stay focused on the scene instead of the specs — and that’s exactly what I’m looking for.
As a general rule of thumb when asking if a camera is ‘good enough,’ I like to step back and ask myself: What was the biggest constraint on the photos — the camera or me? A truly good enough camera gets out of the way and lets you be the decisive factor in how the photos turn out. If the gear stops you or limits your creativity, it’s not the right tool. But if it empowers you to capture your vision, then it’s more than enough.
Sony colors
I’ve often heard that Sony colors don’t quite match up to some other brands, which was a bit of a concern for me since color is super important in my work. This being my first Sony camera, I was curious to see how it would perform in that department. But honestly, I’ve found no issues with the files from the A7C. They’re rich in detail and color, and they’re really easy to work with in post. For me, the color quality has been more than good enough to bring my vision to life.
One thing that really impressed me is the dynamic range of the A7C. It holds up incredibly well in challenging light, allowing me to recover both shadows and highlights with confidence. In fact, compared to my Canon 5D Mark IV — which I’ve always trusted for its image quality — I’d say the A7C performs slightly better in this area. It gives me more flexibility in post, especially when dealing with high-contrast scenes, which is a big plus for the kind of photography I do.
What’s not great about the A7C
So, isn’t there anything bad to say about the A7C or this setup? Well, a few things. The EVF is probably the biggest downside. It’s small, low-res, and really not very enjoyable to use. I only switch to it when I absolutely have to, like when framing a scene in very harsh light.
Another thing to consider with the A7C is its size — while that’s one of its biggest strengths, it also comes with some compromises. It really shines with smaller lenses, like the 35mm I used throughout this trip. Mount anything larger and it quickly starts to feel unbalanced.
That’s why I think the A7C is best suited for things like street, travel, or as an everyday carry — not necessarily as a primary tool for demanding professional work. The single card slot also limits its reliability for high-stakes shooting. And then there’s the grip — it’s not the most comfortable, especially for longer sessions or if you have larger hands. I’ve kind of gotten used to it, but after a while, it can get slightly annoying.
And finally, if there’s one more downside, it’s that the A7C — like most Sony cameras, if you ask me — isn’t particularly inspiring as an object. It’s very functional, very tool-like. A few years ago, that alone would've been a dealbreaker for me. I used to want my gear to have a certain feel, a bit of character. But I’ve come to realise that having a tool that simply gets out of the way and lets you focus on what really matters — making photographs — is worth a lot more.
My Sony setup moving forward
After having such a good time shooting with the A7C as my everyday carry, I actually decided to expand my Sony setup. I’ve now ordered a Sony A7IV to serve as a slightly more serious companion — offering a bit more resolution, dual card slots, and a more robust body while still fitting nicely into the system I’ve come to really enjoy using. That said, the A7C will absolutely remain my go-to for most everyday photography. It’s small, capable, and just such an easy camera to have with me wherever I go.
