Compact metal 20mm f/2 from Sigma

The new 20mm f/2 DG DN Contemporary lens for full frame E and L mounts from Sigma will sell for under £650 in the UK from February 25th. It extends their compact, metal barrel prime ‘I’ series range which includes f/2 models in 24mm, 35mm and 65mm focal lengths.

Sigma I-series 20mm f/2 DG DN Contemporary

It also offers a filter-friendly alternative to the very large and heavy 20mm f/1.4 Art lens. It uses 62mm filters, weighs 370g and is just 72.4mm long (much the same as the 24mm f/2). It has a magnetic lens cap and all metal construction, including the bayonet lens hood. A second plastic clip-in lens cap is also supplied. The design with a physical aperture ring is similar to Sigma’s high-end ciné lenses.

The lens with its hood, seen here in ‘bare metal’ before the black coating is applied to the components.

It uses three high-precision glass-molded aspherical lens elements, one SLD element, and one FLD element. Suppression of sagittal coma flare makes the 20mm f/2 ideal for night sky with stars near the extreme corners of the field. 

Other specifications include:

  • Lens construction: 11 groups, 13 elements
  • Angle of view: 94.5 
  • 9 rounded diaphragm blades
  • Minimum aperture: f/22
  • Minimum focusing distance: 22cm
  • Maximum magnification ratio: 1:6.7
  • Inner focus system
  • Compatible with high-speed autofocus
  • Stepping Motor
  • Compatible with Lens Aberration Correction
  • Support DMF and AF+MF
  • Nano Porous Coating
  • Super Multi-Layer Coating
  • Aperture ring
  • Focus Mode Switch
  • Petal-type lens hood (LH656-03)
  • Magnetic metal lens cap (LCF62-01M)
  • Mount with dust and splash resistant structure
  • Support for switching between linear and non-linear focus ring settings (for L-Mount only)
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimise flare and ghosting
  • Every lens checked using proprietary MTF measuring system
  • High-precision, durable brass bayonet mount
  • Made in Japan

For further information:

#SIGMA #SIGMA20mmF2Contemporary #SIGMAContemporary #SIGMAContemporaryPrime #SIGMADGDN #Iseries #SIGMAIseries

Sony launches A99II at photokina

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Sony has today released the details of the updated A99II, using a 42MP sensor and 5-axis stabilisation to match the A7RII. It does not appear to have retained GPS and the paragraph highlighted in red later on indicates a weasel-worded possible get out for this – it may not embed GPS in the image files, but instead store a mobile phone location data track on the camera’s memory card. We may guess that this choice could be partly down to cutting out fees payable to incorporate a GPS module. Not the same, guys, not the same:

From Sony’s site, the ambiguous word is highlighted here:

Use Location Information Link to make the most of your camera anywhere you go together. After the camera has been paired to the PlayMemories Mobile app installed on a compatible mobile phone or tablet device, it can acquire location data from the mobile device and record that data with still images. The acquired location data can also be used to correct the camera’s date/time and location settings. The PlayMemories Home application can then be utilised on a personal computer to organise still images imported into the computer on a map.

Edit: note that Sony’s later announcement for A6500 uses specific wording which says that its GPS Blueooth app embeds location data in the images as they are shot. This wording has not been used for A99II. We have not, though the A9II has now been released and bought by some users, been able to confirm how it works yet.

In the Sony release (used almost complete, slightly edited, to form this post) they appear to imply that dual SD card slots are new, which of course they are not, the original A99 has this already. No UHS-II, no USB 3 Not only that, the dual slots are apparently exactly the same spec as the original unless someone at Sony Towers has forgotten to edit their website:

Memory Stick PRO Duo, Memory Stick PRO-HG Duo, Memory Stick Micro (M2), SD memory card, SDHC memory card (UHS-I compliant), SDXC memory card (UHS-I compliant), Micro SD memory card, Micro SDHC memory card, Micro SDXC memory card

Some of the hidden, clever features of the A99 remain like the buttons which are coded to touch with concave or convex tops or a small raised dot, making it easy once you have learned their feel to find them by fingertip. In fact the entire interface remains constant (in the way that Canon did throughout the EOS 1D series) meaning you can pick this up and shoot immediately, coming fom the A99. Only the Silent Controller is significantly improved, and the badly placed Movie button remains exactly where it was.

  • Full-frame 4D Focus: Innovative Hybrid Phase Detection AF system with accurate 79 hybrid cross AF points[i] enabled by 79-point dedicated and 399-point focal-plane AF sensors and continuous shooting at up to 12fps[ii]
    There is no AF Illuminator, but please note that -4 EV is quoted with an f/2.8 lens at ISO 100. In the past, AF low limits were always quoted with an f/1.4 lens (although the sensor only works at f/2.8). This is very good.
  • 42.4 effective MP 35mm Full-frame Exmor R™ CMOS sensor so it’s essentially an A7RII
  • Newly developed optical 5-axis in-body image stabilisation system
  • Outstanding operability and reliability in newly designed downsized body
  • Internal 4K movie recording in XAVC-S format[iii] with host of pro-orientated movie features
    IMPORTANT: this appears to be a Super-35 4K mode if you want no pixel binning and the highest overall quality but near-full-frame is offered with the usual partial readout.We would add a few extras – this camera has the much-needed (almost essential) Copyright Info function, minimum shutter speed when using Auto ISO, 10/5/2 sec self-timer, Hi+ in addition to Hi, Med and Lo motordrive shooting (not just shifting three settings over a faster range but giving 12, 8, 6 or 4 fps); built-in WiFi wireless including WiFi remote control and NFC (but not, apparently, apps); there are new Highlight and Average metering modes, and for each metering mode, you can calibrate the standard exposure if you prefer your shots slightly lighter or darker than the camera’s default.The A99II can capture 54 uncompressed RAW+JPEG images at 12fps (Hi+) before the buffer is full. There’s no great advantage in capturing RAW only, or JPEG only, and even with Fine JPEG at Hi speed (8fps) the limit is still 71, not ‘until card full’.

    Omissions include no Multi Shot Noise reduction, no GPS, and the external DC power supply is no longer via a dedicated socket, instead it uses the dummy battery approach. The camera is still not officially recommended for use in temperatures below freezing or over 40°C/104°F, both of which can easily be achieved in Scotland in a single sunny winter day (even without the benefit of your car parcel shelf oven).

a99-ii_rear-web

The upgraded autofocus

The newly developed Phase Detection AF System is capable of ‘full-time AF’ and is the first implementation of 4D FOCUS in the full-frame ɑ series, bringing a supreme new level of AF performance to ɑ99 II users. The Hybrid Phase Detection AF System is enabled by combining a precision 79-point[iv] dedicated phase detection AF sensor with 399 focal plane phase detection AF points to produce a 79 hybrid cross AF point[v] array. These cross points deliver incredibly precise autofocus performance and advanced subject tracking of any moving objects right across the image, at high speed. In addition, as there is no moving mirror, TMT enables continuous AF operation and the finder image remains unaffected during any type of shooting, including live view and movie recording.

Low light conditions present no problem to the ɑ99 II. The precision AF system will function properly down to EV-4[vi] brightness levels where most other cameras struggle. Editor’s note: the A99 is poor in this respect and often can’t focus modest aperture lenses at all in low light.

Data flow through the ɑ99 II has been redesigned to allow for high resolution and continuous shooting at high frame rates. A new front-end LSI works with the image sensor and BIONZ X image processing engine, as well as a newly designed shutter unit, to enable continuous shooting at up to 12fps with AF/AE tracking[vii], all whilst harnessing the sensor’s 42.4MP capabilities. The result is an ultra-fast camera that will deliver incredibly detailed shots, even with fast moving objects in challenging light conditions. Thanks to a large buffer and sophisticated data processing, these shots can be viewed immediately after shooting even when in high speed continuous shooting mode and if shots are being taken indoors under artificial lighting, flicker is automatically detected and the shutter is timed to minimise its effect on the end image[viii].

Improvements to the EVF display algorithm now deliver continuous live-view shooting at up to 8 fps[ix] with AF/AE tracking with minimal display lag so that the viewing experience is essentially no different from that of an optical viewfinder. Exposure, white balance and other camera settings are displayed in real time in the viewfinder and continuous live view shooting can be set in 3 stages to match a variety of subjects: 8 fps, 6 fps and 4 fps.

Pixel Power

The back-illuminated full-frame 42.4MP[x] Exmor R CMOS sensor benefits from a gapless-on-chip design and allows for fast readout of large volumes of data as well as being extremely efficient in its light gathering ability. The net result is very high sensitivity with low noise, wide dynamic range and 42.4MP resolution across an ISO range of 100-25600, expandable to ISO 50 – 102,400[xi]. The ɑ99 II has been designed without an optical low-pass filter to allow the finest natural details and textures to be captured with unprecedented depth and realism and the photographer can select compressed or uncompressed RAW files, as required.

5-axis SteadyShot™ INSIDE Image Stabilisation

Having proved to be incredibly popular in the ɑ7 II series of cameras, Sony has designed a new in-body 5 axis image stabilisation system for A-mount cameras which debuts for the first time in the ɑ99 II. In addition to movement in the pitch and yaw axes that tend to occur at longer focal lengths, this system effectively detects and compensates for shift blur that can occur on the X and Y axes when shooting close-up, and roll blur that is often apparent in still images and movies that are shot at night. Newly implemented precision gyro sensors are capable of precisely detecting even tiny camera movements that can cause blurring, providing a 4.5 step[xii] shutter speed advantage that can help realise the full potential of the 42.4MP sensor, in both stills and movies. The effect of image stabilisation can be monitored in the viewfinder or on the LCD screen during live view when the shutter button is half pressed or the Focus Magnifier functions are used. This allows framing and focus to be accurately checked via live view when shooting at telephoto focal lengths or macro distances.

Improved design and operability

The design of the new ɑ99 II has noticeably evolved compared to its predecessor, based upon feedback from professional users. The new model is 8% smaller than the original ɑ99 and has a newly designed grip, magnesium alloy body, dual SD[xiii] card slot and other upgrades that improve both hold and operation. All major buttons and dials are provided with seals and the media jack cover and enclosure edges feature tongue and groove – the result is a body that is both dust and moisture resistant[xiv] and can be used in the toughest and most challenging shooting conditions.

In addition to being designed for faster response, the new shutter unit is also more durable and has passed endurance tests in excess of 300,000 shutter operations[xv].

a99-ii_top-web

The XGA OLED Tru-finder has a ZEISS® T* Coating and has a 4 element lens group that includes a double sided aspherical element whilst offering a powerful 0.78x magnification, delivering outstanding clarity from corner to corner. It also has a fluorine coating on the outer lens to prevent fingerprints, dust, water, oil and dirt from sticking, thus ensuring a clear view. Editor’s note: the ocular of the original A99 is a weak point, and in the A7RII Sony finally produced a really good non-squiffy eyepiece optical train which shows a clear view with some leeway to move your eye. So this is a major upgrade as much of the experience of using the SLT models comes down to finder quality.

The silent Multi Controller introduced in the original ɑ99 has been improved so that in addition to allowing control of aperture, shutter speed, ISO, exposure compensation, AF area, AF mode and other settings, it now features a click-stop ON/OFF switch. When ON, the preferred setting for still image shooting, the control clicks, providing a tactile indication of the length of rotation. When OFF, the control turns smoothly and quietly, ideal for movie shooting. Location data acquisition has also been made possible via Bluetooth[xvi] connection to a compatible mobile device and it is now possible to select whether the storage location should just be on a tethered computer or also on camera for easy review without leaving the shooting position. Based upon feedback from a number of ɑ users, the menu structure of the ɑ99 II has also been updated to deliver a smoother navigational experience.

Internal 4K movie at 100 Mpbs

The ɑ99 II enables internal 4K movie recording[xvii] featuring full pixel readout, without pixel binning[xviii], for ultimate high resolution video in the pro friendly XAVC S format. It is capable of recording high quality footage at 100Mbps for 4K recording. A new ‘Slow and Quick’ mode[xix] (S&Q) supports both slow motion and quick motion. Frame rates from 1 fps to 120 fps (100 fps) can be selected in 8 steps for up to 60x (50x) quick motion and 5x (4x) slow motion recording.[xx] A number of features designed for a professional movie production workflow are included such as picture profiles, time code and HDMI clear output and the new ɑ99 II now also offers gamma assist for real time S-Log monitoring and a zebra mode for easier exposure adjustment. S-Log3 and S-Log2 gamma are now included, making wide dynamic range shooting possible with(out) – our edit, the press release says with! blown highlights or blocked shadows making the ɑ99 II easily integratable into a fully professional movie production workflow.

Editor’s note: there’s a problem with the A99II for movies, which also applies to the LA-EA4 and SSM/SAM or other A-mount lenses on the E-mount bodies – the lenses really don’t work well at all. Sony had pictures of this camera with the 24mm f/2 SSM, still a current lens. I sold mine because it could not handle the same AF and exposure control functions as the 25mm f/2 Batis or the 28mm f/2 Sony (which I use) during video shooting. The A-mount was never built for movies, the E-mount has been from the start. However, both are fine using purely manual focus, manual aperture ciné lenses which many professionals prefer.

a99-ii_sal2470z2_wvg-c77am_front-web

The new ɑ99 II will start shipping in November, priced at approximately €3600 and full technical details can be seen here.

Editing: David Kilpatrick

Further information can be found on the Sony Camera Channel: www.youtube.com/c/ImagingbySony/ and the

Sony Photo Gallery: www.sony.net/Product/di_photo_gallery/

Our Affiliate links, supporting photoclubalpha:

Check Amazon.co.uk for availability and price

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[i]The number of usable AF points may depend on the lens and shooting mode. Up to 323 focus points are selectable. Not available for movie recording

[ii]Continuous shooting mode set to ‘Hi+’

[iii] Class 10 or higher SDHC/SDXC memory card required for XAVC S format movie recording. UHS-I (U3) SDHC/SDXC card required for 100Mbps recording

[iv]The number of usable AF points may depend on the lens and shooting mode

[v]Hybrid Phase Detection AF active. The dedicated phase detection AF sensor or focal-plane phase detection AF sensor may be used independently in certain photographic situations.

[vi]Central focus point

[vii]The supported focus area will depend on the shooting mode and lens used. Furthermore, when“Continuous Shooting: Hi+” is selected, focus will be fixed at the first frame shot when Hybrid Phase Detection AF is active at aperture settings of F9 or higher, or when Hybrid Phase Detection AF is not active at aperture settings of F4 or higher

[viii]When Anti-flicker Shoot. is ON. Flicker detection at 100 Hz or 120 Hz only. Continuous shooting speed may decrease. Does not function during bulb exposure or movie recording

[ix]Continuous shooting mode set to ‘Hi’

[x] Approximate effective megapixels

[xi]Still images only

[xii]CIPA standards. Pitch/yaw shake only. SAL135F18Z lens. Long exposure NR off.

[xiii]One slot can hold an SD card or a Memory Stick.

[xiv]Not guaranteed to be 100% dust and moisture proof

[xv]Electronic front curtain shutter activated

[xvi]Requires pairing with compatible mobile devices running the PlayMemories Mobile app. Supported devices are Android smartphones running Android 5.0 or later and compatible with Bluetooth 4.0 or later. iPhone/iPad: iPhone 4S or later/iPad 3rd generation or later

[xvii]SDHC/SDXC memory card of Class 10 or higher is required for movie recording in XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps recording

[xviii] In Super 35mm recording mode

[xix]Sound cannot be recorded. SDHC/SDXC memory card of Class 10 or higher is required

[xx]In NTSC (PAL) system

Nikon’s DF finally recaptures the spirit of Dynax 7D

Sony said, as they took over the Konica Minolta camera division in 2006, that the day of mechanical controls and switches was gone. Economies of production and efficiencies of design meant that from now on, cameras would be controlled by buttons and menus. Anyone who remembers the original Alphas, the 7000 and 5000 from the mid-1980s, will also remember that this is not an original idea.

Minolta started to return to mechanical dials and visible controls after ten years of experiment with buttons, programs, and automatic functions. The Dynax (Alpha, or Maxxum) 800si and above all the 600si Classic restored traditional camera controls. The acclaimed 9 and 7 models followed, featuring physical switch or dial controls for exposure compensation (separate ambient and flash) and drive modes along with a shutter-dial style mode setting including the vital 1, 2 and 3. The triple custom memory setting enabling users to switch instantly between (say) outdoor action, studio flash and tungsten theatre lighting has survived as a Minolta gene all the way to the latest Sony generation.

Now Nikon has arrived with the DF, a very much standard autofocus DSLR using the D4’s 16 megapixel full frame sensor and a D610-derived AF and shutter specification, in a moderately compact retro-styled body with about the same number of mechanically switched visible controls as the Dynax 7D. It’s over ten years since the 2002 design of that camera (which finally appeared in 2004 after a change of imager from a planned Foveon sensor to the 6 megapixel Bayer Sony, rumoured to be a decision helped by Sony’s pressure on Konica Minolta as their main supplier for compact digital sensors).

nikdf-slant Dynax-7D-slant

Top, you see the Nikon DF in the black finish which very few sites are choosing to highlight – the silver and black looks SO much more retro – with 18-35mm Nikkor lens, 2013; below it, you see the Konica Minolta Dynax 7D with Konica Minolta (aka Tamron) 17-35mm. Note the strap lugs; KM moved one forward for better balance, but carefully kept the right-hand strap behind the shutter finger. Nikon has rather peculiarly chosen to place this strap lug forward as well, putting the strap physically between the index finger and the rest of the fingers.

The Nikon is hiding a flip-out aperture coupling pin to allow the use of original Nikon F (Photomic metering) or Nikkormat generation F-mount lenses, which have an external non-self-indexing meter coupler on their aperture control. Minolta’s full aperture metering used a self-indexing coupler which, unlike Nikon, did not required a back and forth rotation of the ring to tell the camera the relationship between the full aperture and any stopped down setting. In the 1960s, Minolta’s method enabled the fastest lens changes and also enabled ‘blind’ changing as there was no need to look down at the lens or engage a pin when doing so.

Nikon kept faith with their old mount when they introduced their AF system, despite the deep body register and narrow throat creating many problems with lens design. Minolta designed a brand new wider throat. At the time it made sense. Who then was to know that precisely the same constraints on lens design imposed by the narrow Nikon mount and deep mount to film register would make Nikon lenses much better, 20 years later, in the age of digital sensors with their need for telecentric designs and small rear exit pupils?

You’ll see that the old KM has a switched White Balance at the right hand end, more or less where Nikon has put a small PASM selector dial on the DF. Imagine it – a switch to get AWB, your most recent Preset, a Custom reading or to set in Kelvins. Where the D7D has a PASM plus 123 custom memory selector (locking) and hiding below it a mechanical switch for self-timer and sequence drive modes (3fps from the 6.1 megapixel sensor), Nikon has a very granular T (for time) to 1/4,000th shutter speed dial cramming those intervals in.

nikdf-top

The actual shutter inside the camera despite being full-frame in the Nikon is really much the same as that of the D7D, a 30 second to 1/4,000th unit with X at 1/200th. And below the Nikon’s dial at the front (the KM has it at the back) is the drive mode selector, which does include the Mirror Up position that the D7D was lacking. There’s a mini LCD display on top to allow the use of the 1/3rd step control-wheel set shutter speeds, and to display the aperture on G type lenses which don’t have a physical setting and must be set from the body.

On the left end of the Nikon there’s a two-tier wedding cake for ±3EV 1/3rd stop exposure compensation, and below this an ISO control from L1 (50) to H4 (51,200).

d7dback

I don’t seem to have a picture of the D7D left hand dial from above, but it offered something unusual – turn the dials a full 180° and the 1/3rd step EV compensation adjustments were exchanged for 1/2 step adjustments. The D7D also had a stack of controls on the back, like the lockable AF point selector control round the four-way selector, an ISO button (bearing in mind this camera was derived from the Dynax/Alpha 7, which used DX coding to read filmspeeds and an LCD menu entry to adjust them), Memory Set and other stuff which now seems rather clever and useful. The AS anti-shake physical switch, last seen on the Alpha 900, is one which would be welcomed back again. And of course this camera had AS. It was the first, and everyone apart from Nikon and Canon has followed the lead.

nikdf-back

Where the back of the D7D was criticised for being a bit complex for the everyday user, the Nikon DF in all fairness bears a remarkable similarity right down to five left hand buttons and the metering selector switch, AE and AF buttons. The DF has more stuff on the front, including a control wheel which looks a bit like the battery cover off an early Mamiya SLR and two buttons down to the right of the lens escutcheon which vaguely resemble an ancient two-pin flash connector. Since there can be no actual need for the bulges they are placed on, this is probably deliberate. Same goes for the mechanical cable release screw thread in the shutter button, fun feature, but actually electrical releases can have many more functions and don’t transmit hand movement the same way. The DF has a pretty skinny right hand grip but exceptional battery life at up to 1500 exposures, where the D7D has a lovely big grip partly to accommodate a similar size of battery which rarely managed 400.

KM’s pioneering DSLR weighs almost 200g more than the Nikon, though both are made from magnesium alloy, despite the smaller format. That’s perhaps because the prism in the Minolta design was not downsized and the actual eyepiece magnification of the 95% view was 0.9X, where the Nikon dealing with a full frame is reduced to 0.7X (and still, of course, looks larger – 0.7X versus 0.9X 0.66X 0.95X, or a cumulative 0.56X scale).

As for size and fit, the Nikon is said be based on an F2, or maybe they meant an FM2 – but it’s not in any way, the prism can look vaguely FM2-like in the chrome version with leather panels, but the body is a completely different shape some 15mm shorter than an F2 but much fatter and taller. It’s a dumpy sort of chunk, is also shorter fatter and higher than the D7D despite having no built-in flash. D7D = 150mm x 106mm x 65mm (specifications misprinted as 77.5mm in many reviews, no idea why); Nikon DF = 144mm x 110mm x 67mm.

Now there’s one other way in which Nikon has copied the KM D7D – the DF has no video! It does have live view, and that means you can overcome the shortcomings of the D600-like 39 point AF module (limited to the DX crop area and in my experience with very small AF point areas making it ‘twitchy’). Live view has magnification and focus peaking.

The new Nikon shoots 16 megapixels not 6 – that’s what a decade of progress has done – and it shoots 5.5fps not an actual 2.8fps like the ‘3fps’ D7D managed. But it’s got just a fixed rear screen, 3.2 inches verses 2.5 (the D7D was ahead of the field in 2004). The Nikon also shoots superb ISO 6400, equal to the old sensor’s 1600 at a pixel level before you consider the benefits of the larger file as well.

And the pricing is borrowed from KM 2004 too – the D7D came in as a $1599 body only which made it a premium product against competition like the Canon EOS 300D, the Nikon DF arrives at $2749 body only and it’s a comparable level considering the full format, technology and cost changes, and a near ten year interval.

We’re sure the Nikon will be a success and this article is not trying to knock the concept or the execution. It’s just here to point out that a decade earlier, Minolta had designed and Konica Minolta eventually produced a DSLR with a general philosophy of physical, external, mechanical-feeling controls. As the pictures show, the Nikon DF could almost be a tribute to that design rather than something based on historic Nikon film bodies – which it quite simply isn’t!

– David Kilpatrick

Sony’s Alpha 99 – mastery wrapped in dilemma

alpha99side

The launch of and initial reaction to Sony’s Alpha 99 has been spoiled, for many, by the overpricing of the camera generally and to a greater degree in some key markets. The promise of the SLT design, and Sony’s move away from flapping mirrors and optical prisms with their associated collimation and alignment, was one of reduced manufacturing cost and more competitive product.

Along with this, we should remember Sony’s 2006 statement that external mechanical controls, switches and buttons would be reduced on future models for the same reason. The Alpha 99 has as many external physical controls as any predecessor and will make traditional users happy.

a900toa99

Compare the Alpha 900 and the Alpha 99 – despite apparently very different designs, they share many points and clearly come from the same gene pool. There is no longer any need for the largest glass prism of any modern DSLR, the power switch has moved to Nikon position round the shutter release, lines are rounded off. The construction is similar as the strap lugs fitted through the outer skin into the solid magnesium chassis indicate.

a900toa99rear

From the rear, the 900 looks somehow more complex because of the left-hand button array. In fact the A99 has just as many buttons (it is only missing a SteadyShot switch and the selector round the AE lock button for metering method – this is no longer as important with the 99 doing its metering directly from the imaging sensor).

Out there we find Canon’s lightweight travel-friendly full frame 6D appearing at £900 lower launch street price (UK) with both that essential built-in GPS and the marketable function of WiFi, and Nikon’s almost comparable D600 officially at a £500 lower RRP, and a street price match for the Canon. In practice the UK Sony price of the A99 fell from £2499 to £2299 in the first two months on sale; the D600 fell from £1955 to £1495 in the same period (WEX dealer figures) and on that basis we can expect the see the Canon fall to £1395 in early 2013. By then the A99 may have fallen to £2195.

Sony lenses are not cheaper, nor wider in range of choice or sources of supply, than Nikon or Canon. There is no collateral benefit when you hand over as much as 50% extra to Sony for their innovative cost-saving technology. In my British Journal review, I concluded that the Alpha 99 was between 30 and 50% over-priced and combined with the cost and limited range of Sony lenses there would be little good reason for any new full-frame entrant to prefer Sony over Nikon or Canon.

At the same time, the Alpha 77 – so close a sister to the 99 that it shares exactly the same EVF and the same file size, with identifiable advantages in some respects – has been selling for £819 body only in the UK when the 99 in the same store was priced at £2299. That’s 64% less, 36% of the price or just over a third. You could almost buy three A77s for one A99. And it even has that very useful built-in flash.

a77-a99-topaligned

You may pause to work out which of these, photographed to exactly the same scale (one shot) and then moved so that their focal plane markings coincide horizontally, is the 99 and which the 77. The 99 is actually bigger but looks smaller.

a77-a99-sideheight

This will give you a better idea of the height of the A99, and also the improved eyepiece which puts your eye further away from the camera screen or back than the A77.

Assault and battery

In fact, there’s a hidden penalty in addition to the high price of the A99. The Nikon D600 with its single 1900mAh battery as supplied will keep on shooting into four figures where the A99 with GPS enabled manages a couple of hundred on a good day with the wind behind it from 1650mAh. Officially it does over 400 without GPS. That was not my experience, any more than it has been with the Alpha 77.

Perhaps this is because of the odd conditions Sony uses to measure battery life – only using a MemoryStick PRO Duo card not SD, no card in slot 2, ambient temperature 25°C, shooting Fine quality JPEG only, shooting one frame every 30 seconds and turning the camera on and off every ten shots, and not having GPS active. Needless to say I shoot raw, back up to a second card with JPEG, and have GPS active. That’s why I bought the camera…

d600-a99fronttop

The economical Nikon D600 is a direct competitor, despite rabid claims on internet that the 99 is ‘professional’ and the 600 is ‘consumer’. They are both semi-pro models but the 99 probably has a better shutter mechanism and a higher precision body. The Nikon has better image quality and battery life. Both have similar dual card slots, manual adjustment of audio input for video recording, wireless flash options, grip and so on.

d600-a99rear

GPS eats batteries. We’ve got a GPS module for the D600 which runs off the camera’s power, but so far have not had it switched on permanently for a week. Maybe it will reduce the D600 to the same ‘battery every day or two’ as the A99. The Canon 6D is the only other DSLR made with built-in GPS. Unlike the A99, the 6D does not turn off its GPS when you turn the camera off. Result? The 6D drains a battery in four days, flat – dead flat 0% – if you just switch the camera off and leave it in your bag with the GPS symbol showing. You have to go into a menu and turn off Enable. At least the A99 does not draw on its battery at all when switched off, regardless of settings.

d600-eos6d

The EOS 6D compared with the D600 – it’s smaller, lighter, and built to a far more consumer-level standard with minimal controls. But like the 99, the 6D has GPS on board, and as a ‘first’ in this field it includes WiFi, which is not just file transfer. We used a free iPhone app to view, focus, adjust settings and shoot remotely and wirelessly with the 6D (EOS Remote). This is bound to win substantial sales.

You need deep pockets in two senses for two extra Sony batteries (£136) or the add-on vertical grip at £299 plus two batteries (not included). The first option will keep you going without GPS about as long as the Nikon on one charge. If you are travelling and using GPS, be prepared to change and charge one battery daily.

Another reason for this short battery life is the electronic viewfinder. Unlike any optical prism finder, it uses as much power as shooting video. Even if you turn the camera off every time it leaves your eye, the typical length of time needed to compose and follow subjects will add up. I do not have review enabled, and I rarely ‘chimp’ because one big plus side of the Alpha 99 – as you will learn – is the near 100 per cent success rate achieved by its metering and focus. If you use the rear screen for composition instead of the eye-level finder, you can extend battery life by 16%.

Sony must be commended for sticking to the same battery format used by all larger body models from the Alpha 700 onwards. I do have half a dozen spares but of course, many are now getting old and barely manage 150 shots in the 99. What Sony must do is to take the advances made in lith-ion production and create a higher capacity NP-FM500H. Third party makers have been able to boost their clone batteries to 2000mAh (I’ve bought two and they are non-compliant with the chargers and clearly don’t deliver what they claim…). Sony’s battery should match Nikon’s similar size at 1900mAh, even if the EVFs now standard across the Sony range will always eat twice as much power as a regular DSLR.

The EVF dividend

Would-be Alpha system professionals and advanced amateur users face a future of electronic viewfinders. The good news is that at photokina 2012 Epson showed a prototype with twice the resolution of the current 2.3 million pixel ceiling, and in five years most current complainers will accept that an EVF can be as accurate as any true groundglass screen ever was.

We tend to forget that after autofocus arrived focusing screens lost their visible granular or laser-cut structures unless you deliberately specified a type intended for manual focusing. Plain old groundglass has a ‘dot’ all of its own because it does break the image up. Minolta’s Acute Matte screen was like a superfine microprism field. The new Epson developments come so close to being as fine as this kind of screen, visually, that you might be able to fool someone into believing it was not an electronic finder.

While the A99 finder is excellent, it falls a touch short of this. It is absolutely identical to the Alpha 77 in every parameter including virtual window size (the magnification figure given by Sony of 0.71X compared to the A77 1.09X is all down to using a 50mm lens on both for measurement). Eyepoint is identical despite the slightly different overall design of the eyepieces and the size of the rubber surround. If there’s any improvement, it lies in the illumination range and contrast control of the OLED unit which has been given one additional user control, colour temperature. You can make the finder warmer or cooler in colour independent of any picture style or WB adjustment.

This is a good example of where the EVF’s great clarity in low light pays off – an ISO 3200 image taken hand-held where a tripod was not appropriate, using the Sigma 12-24mm which has fairly strong vignetting. To see and align the geometry of the shot (bottom cropped off) was much easier on the A99 than it would have been on an OVF camera. Click the image for a full size file.

In full sun, the finder appears very dim compared to any good optical finder. In overcast light, it’s a good match. As the light fails or you move indoors, the EVF shows substantial benefits over optical systems. After dark, it can make accurate composition easy instead of almost impossible.

Here, the A99 has the edge over the A77, NEX-7 and all predecessors even including the NEX-5n and presumably the 6 which I haven’t tried. The larger sensor’s better high ISO performance together with its pixel count keep the coloured noise at bay for another stop or two lower light levels. This coincides with an important transition. The kind of indoor artificial light level where the A99 remains very clean using an f/2.8 lens is typical domestic light – brighter than restaurants, not as bright as stores and malls.

Anyone using the A77 will confirm that the 16-50mm f/2.8 lens brought a real benefit in this sort of lighting despite its other failings, by improving the finder experience. Combine the A99 with a good fast lens like the 50mm f/1.4 and you get a relatively natural view of the world after dark.

The A99 returns the auto eye start sensor, which switches between rear screen and EVF if you have that function enabled, to below the ocular instead of above it as on the A77. This makes viewfinder attachments work without blackout glitches, including Sony’s 1.15X eyepiece magnifier, which for me enables a full view of the screen and a truly impressive finder size.

Ergonomics and control

One of the benefits of the EVF is that you don’t need to use the rear screen at all. The Quick Navi interface developed more or less from A700/900 Quick Navi has to cope with a bewildering number of pictograms and readouts, ranging from a full histogram to digital spirit level, and a complex AF setup. With the help of carefully repositioned buttons, it succeeds. I’d say that the A99 has the best user interface I’ve seen on an Alpha since the 900. The top LCD display panel is much richer than the basic one of the 900, and does not deserve some of the criticism levelled at it for duplicating stuff you can see on the rear screen. I work with the rear screen permanently turned to face the body, unless I am actually employing it for composition or image review. The top LCD provides vital at a glance info about manual or metered exposure settings, ISO, state of ± override, battery power, drive mode, WB, file type and image remaining count.

It is, however, blank when the camera is asleep. Later in this review I’ll be comparing the A99 with the Nikon D600, which we now also own and use alongside it. Nikon’s top LCD shows some basic info (shots remaining) all the time. But it’s interesting to note that Sony gives you the correct information when Nikon does not! Both cameras have two card slots. You can set both of them to work in overflow mode, fill one card, then the next. Nikon shows you only the shots remaining on the card in use. Sony shows you the total. The Canon 6D LCD also goes blank when the camera is turned off, except for showing a GPS symbol to warn you about leaving this battery-eating function Enabled.

a99-modedial

The Mode dial has three memory positions, a Tele 10fps (1.5X crop) position, panoramic, Scene selection, Intelligent Auto, PASM and a separate Movie position. You can opt to lock the Movie button out except when the dial is set to this.

Another similarity is the mode dial, locking on all three cameras. Here, Sony goes for a more purposeful central locking action making it a little harder to adjust the dial. They also cram more on to the dial, including the invaluable feature of Memory 1 2 3 positions (as on the 900). There’s a special movie mode which not only prevents accidental movie shooting, but when used allows shutter, aperture and ISO to be set. The range for this is exceptional, you can film at 1/8,000th shutter speed if you really want to break rules.

a99-mainbuttons

The right hand buttons include Fn, your access to Quick Navi on the screen or in the EVF. There is a new AF Range button which I simply don’t seem to need – I wish this could be customised to become a SteadyShot On/Off button, something I need to do far more often when working with a tripod.

The A99 has a total of 19 operating buttons, some of which have only a single use such as LCD illumination or Playback. The manual identifies 18 primary default functions plus the Silent Controller, of which more later. One button, Fn or Function, accesses Quick Navi and its 23 adjustable settings many of which have multiple choices. Fn can direct access 18 functions outside Quick Navi.

a99-custombutton

Here is where the Custom function button has been moved to – under your left index finger, where the flash pop-up button used to be. Slightly pointless wording on the bright orange anodised lens mount bezel lets you know this camera is not actually aimed at working professionals.

The Menu button accesses six main menu tabs. Still Shooting has four menus covering a total of 20 parameters. Movie Setting has two menus and eleven adjustments. The Custom menu has a huge depth, with six menus covering 33 functions some of which in themselves cover other buttons – five of the dedicated buttons on the body can be assigned any one of 35 functions or behaviours, including their native marked use. The Playback menu has two tabs, with ten parameters. The Memory Card Tool menu also has two tabs and nine functions, needed because you can choose where and how to save raw and JPEG images and movies.

Only the Clock Setup menu remains its usual two-entry basic form. The main Setup menu has four tabs covering 24 settings or actions. If you want to try adding all this lot up, before even investigating the complexity of settings within some aspects like Picture Style, you’ll realise there are thousands of different exact ways in which an Alpha 99 can be configured.

Canon has always had a secret weapon whenever anyone failed to get the expected good results from their camera – ‘ah, you didn’t set it up correctly…’. Now Sony has the same rather weak excuse. Not setting the camera up at all should result in successful images. No buyer should experience Default Setting shortcomings out the box. Setting it up expertly should lead to wonderful, perfectly tuned, almost-impossible-to-get-easily images.

And, I am glad to say, if you get an Alpha 99 out of the box and never touch a single one of these adjustments it is more than likely you will get perfect images. That is because unlike most DSLRs, the Alpha 99 actually works like your eye. It focuses and exposes as effortlessly as you do and you can see far more clearly, through the EVF, what is happening to exposure and focus as you prepare to shoot.

The EVF looks great in dark conditions – no coloured noise like the A55 and A77 generations, as the sensor is so noise-free. This is an in-camera ISO 1600 JPEG, click to go to the original full size file. It’s not bad at all.

Real-world performance

As I’ve said, we have been using the Alpha 99, Nikon D600 and Canon 6D side by side before I started writing this review. I did not have the 6D present when making colour-checker tests on the A99, A900 and D600.

Shirley has used Minolta/Sony since 1980, when we first took over the Minolta Club. Before that she used Praktica (as many students did), Pentax and then Olympus. The OM system was her preferred camera for its size and weight, and the exceptional viewfinder.

Well, after over 30 years using Minolta then Alpha, she’s finally departed from the system because of the change to EVF. Unlike me, she finds EVF view uncomfortable. The Alpha 700 was a great camera but sensor technology moves on, and she happens to be a regular abuser of long focal lengths and low light. The A580 has proved good but the very small optical finder has been an issue from the start. The Nikon D600 with 28-300mm VR lens may not be her ultimate ideal camera – we’re planning to try the Pentax K5IIs with 18-250mm, as that has a very good large optical prism finder. But Sony is now out of the picture and we suspect that she’s not alone. However good EVF technology becomes, some users will never feel comfortable with it.

One reason is the need for perfect accuracy in adjusting the dioptre. Optical finder cameras have a certain latitude, always best with exact adjustment, but remaining sharp over a small range of error. The A99 EVF does not have any latitude. The dioptre is set in clicks, and one click either way puts the OLED display visibly out of focus. If your eyesight changes a lot or you move between spectacles and the naked eye frequently, you will need to make constant adjustments to the dioptre.

The first thing we noticed when reviewing a few hundred raw files taken in  similar conditions with the two cameras is that Nikon’s auto-ISO implementation on the D600 behaves very differently from that on the A99. The Sony metering, especially in Program mode with Auto ISO and wide potential range set, prefers the lowest ISO acceptable for the focal length in use and the available light. Nikon’s system will select higher ISO settings, and smaller lens apertures, very readily.

The Nikon meter is also calibrated out of the box to be generous in exposure, possible because the separate metering system is more influenced by light sources or high contrast and prone to big shifts in auto exposure with minor adustments to composition. At any given ISO, the D600 was often giving double the actual exposure – half of this doubling due to overexposing a bit, half of it due to Nikon’s different calibration of ISO.

dynamicrange-a99

Not only does the A99 have strikingly accurate auto exposure when confronted with very difficult conditions (Sigma 12-24mm shot above covering from deep shade to a white waterfall in sun), it also has 14-bit raw files with generous shadow detail and highlight recovery headroom. Click image to open a larger (not 100%) view.

dynamicrange-histogram

Here is the histogram and totally neutral adjustment set shown in Adobe Camera Raw before fine tuning the shot above to improve the brightness and clarity of the shaded areas. Note the excellent shape of the histo without top or tail clipping.

The A99 meters exposure off the actual shooting sensor, using a 1200-zone colour sensitive matrix and intelligent bias towards single or multiple active AF points. In practice, it proved almost bullet-proof. Anyone who can remember the consistent off-sensor exposure of the old Konica Minolta A2 will appreciate the new Sony EVF and NEX models alike. They simply meter with far better consistency than any camera which uses a separate metering sensor. Of course this can also be said of Olympus, Panasonic and all mirrorless cameras. But they don’t all have the amazing 14-bit raw files and 12 EV normal ISO step dynamic range of the Alpha 99.

When we processed the raw files, Nikon’s ISO 6400 was less noisy than Sony’s despite the very similar (not identical) Sony manuactured 24 megapixel FF sensors. The difference is a little more than we would expect from the 2/3rds EV light loss caused by the trans-flective SLT mirror. The remaining difference seems to be down to Nikon treating a gain which Sony would call ISO 4000 as one labelled 6400, but giving exactly the same exposure Sony would give at 4000. This is not very accurate, as depending on the actual ISO setting the discrepancy ranged from less than 1/3rd of a stop to around 2/3rds, but seems to increase at higher ISO settings. Thus Sony has an apparently clear disadvantage at 6400 or 12,800, but the camera is actually giving half the exposure.

Here are some small samples which, when clicked on, will lead you to our full size set of JPEGs which can be pretty large. These files compare the A99, A77, A900 and D600 at two ISO settings only – 100 and 6400. All are auto exposed under identical conditions using matrix metering, so the cameras have been allowed to give whatever exposure and apparent ISO they would do in comparison. All have been processed using identical settings with Adobe Camera Raw 7.3 – Camera Standard profile (Sony Alpha 900 profile for A900), Linear, default sharpening 25/1/25/0 and no noise reduction at all.

A99 at 100

A99 at 6400

A900 at 100

A900 at 6400

D600 at 100

D600 at 6400

A77 at 100

A77 at 6400

anglescreen-85mm-100th6p3-640

The Minolta 24-85mm at 85mm and f/6.3, 1/100th at ISO 640. A perfectly clean file, critically sharp though only one third of a stop down from wide open. Click image to view a larger (not 100%) version. The quiet shutter and articulating live view screen enabled this natural study.

Although the Nikon lens used was a consumer grade optic the £800 28-300mm VR, when it managed not to misfocus or produce a strange reverse-VR blurring due to Shirley’s initial failure to delay shooting by a tiny amount to allow the lens to settle, often produced slightly sharper results than the 1999 Minolta 24-85mm I chose to use on the A99. Subsequent tests show that the Nikon sensor seems to have a slight fine detail advantage over the Sony at ISO settings around 200-800 with Adobe Camera Raw 7.3. While Canon’s 20 megapixel 6D sensor has a similar high ISO performance, detail sharpness was generally similar to the A99 rather than the D600. Cumulative issues with AF performance, lens field flatness and sensor planarity also led to some Canon images having zones of unexpected defocusing. The A99 has no such problems and I believe it has the same very high standards of sensor flatness and body precision as the A900.

Comparing the A99 with the A900, there is a clear one stop gain in ISO related performance above 1600. But at 100 to 400, the A900 from raw has a kind of fluid quality – the pixels seem to merge and give a luminous yet crisp image. The A99 never really produces this special quality at low ISO, though at the expanded 50 setting it’s impressive. Perhaps there’s an element of illusion in this, that the exceptional optical image through the A900 finder conditions me to see the final picture differently.

The A99 has the same generous 30-lens AF Micro Adjustment calibration as the A77, though I found no need to calibrate except a very small adjustment of -2 for my 28-75mm f/2.8 SAM. I’ve not yet used every lens I own. It also corrects geometry and CA in-camera unlike the A900, for JPEGs. One benefit over the Nikon D600 which does the same is that the EVF shows the true geometry and composition after the corrections are applied. Optical finders can’t do that. This does impose a small extra load on processing and if you are after the fastest overall response should be turned off.

The A99 has one of the best 1080/50(60)p HD video functions on the market. For the bitrate involved, it captures detail three times as good as you would expect. It tends towards a soft compression like the Canon 5D MkII, not a highly detailed frame level image like Nikon’s video. You can stream pure HD video to external recorders without compression, monitor live sound with headphones including provision for lip-sync or echoless real time latency, control the stereo mic/line input with manual gain, and use the Silent Controller during filming for various functions.

silentcontroller-a99

The Silent Controller is a free rotating dial with a push button in the centre allowing you to set its function before each use if you want. The default use is AF-C, AF-S, AF-A, MF, AF-D and there are no clicks. It is silent, for use during movie shooting to change exposure or audio volume (etc).

This controller is placed where the former C/A/S/M focus mode switch was on the 900. It has a central button you can press to reassign a function to it before use. The external knurled collar is turned with one finger, without click stops. By default it changes focus mode. A typical assignment for this during video would be audio volume.

The 99 can auto-crop to APS-C 10 megapixel files when DT lenses are fitted, or if this is set by menu (needed for non-Sony lenses like Sigma DC or Tamron DiII). It can do this for raw files, resulting in a smaller raw, for raw+JPEG, JPEG only and for video. The Smart Teleconverter works in JPEG-only or video modes, giving 1.4X or 2X (4.6 megapixel) stills. In conjunction with the rear controller you get a further continuous zoom range to 4X for movies (native resolution to 3X, interpolated between 3X and 4X, with a very smooth electronic zoom effect). The EVF remains pixel-sharp at 1.4 or 1.5X, but anything more and you can see that the sensor image is being enlarged and is softer.

The 1.5X crop is also enabled if you select the 8fps or 10fps higher speed continuous mode, using the mode dial, rather than the 6fps full resolution mode using Drive settings. The actual sequence burst rates are effectively identical to the A77 and not any better in practical terms than the 4-year-old A900, which unlike the 99 can shoot 5fps Fine JPEGs without a break until the card is full or the sensor overheats. The 99 can only manage 18 frames before slowing. The use of a single Bionz processor with SD storage in the A77 and 99 seems to have been a backwards step, the dual processor of the A900 was better able to sustain a data flow to the fast UDMA CF cards accepted by that camera.

a99-carddoor

The dual card slots – SD and MS Pro Duo upper, SD only lower. The lip surrounding the card slot area is an effective waterproofing channel and the metal spring plate gives the card door a firm, unstressed action.

The 99 does away with CF despite its 900-like body size. Instead, a dual SD drive very similar to that in the Nikon D600 is fitted. Even the spacing of the two slots, and the way the upper card sticks out a little more than the lower, is the same. But the Sony has the ability to accept Memory Stick PRO Duo cards in Slot 1 as well as SD. I find this convenient, as I use a classic Dynax camera strap with a card wallet fixed to it. This can hold spare MS Pro Duo cards, and by chance, the slots for these cards also fit the plastic cover for the new hot shoe exactly – there’s nowhere else to put it, and it matters. The latest MS Pro Duo HX cards offer maximum performance, better than SD UHS-1.

But in the end, despite all its problems, the Alpha 99 simply turns in a better success rate on my sort of subjects – landscapes, street scenes, people, events – than its rivals. The metering is more accurate, the AF is either as good or better, the image quality at high ISOs is a touch lower, the GPS works well, and of course the sensor-based stabilisation is a total winner. Sigma sent a 35mm f/1.4 in Canon fit to test. This lens is quite incredible, and transforms the Sigma offering. It’s so sharp even wide open that the smallest degree of camera shake makes a shot look inferior. I forgot that with the A99, there’s hardly any situation I can not tackle hand held and get pixel-sharp results. I used speeds like the 1/30th or 1/60th on the Canon 6D and lost the exquisite jewel-like edge sharpness of the Sigma. I’m just so used to getting every single shot usable and not thinking about whether a lens is stabilised or not.

This scene didn’t work well with the un-stabilised Canon 6D – I was too cold, and hanging on to a support with one hand while standing half way up a steep muddy slope, with two cameras. SteadyShot worked well on the A99. Click the image for a full size link. ISO 1600.

The new shoe

The new Sony Multi Function Accessory Shoe looks a bit like a rather crude old single contact hot shoe, and its central contact does indeed work to sync with any plain ISO unit. It can be used with Skyport and PocketWizard or generic flash wireless triggers, and I’ve also checked it with Wein infra-red. The three holes round the main contact are locking-pin holes, so beware third party generic adaptor makers. This is a good candidate for getting adaptors stuck.

alpha99-shoe

Under the leading edge of the ‘old’ shoe there is a recess, a horizontal slot not unlike the accessory slot fitted to the first generation NEX cameras. Its gold plated contact strips are very fine, and if this slot was left exposed by failing to replace the cover, it’s easy to see that dirt of moisture could get in. Unlike the NEX slot, there is no built-in spring loaded cover to shield it.

This interface provides the flash connection – duplicating the entire contact set for the iISO or Minolta i-shoe known as the Auto Lock Accessory Shoe by Sony, which is now gone. A small adaptor ADP-MAA is provided with the camera to convert from the new ‘old’ shoe to the Minolta standard. It is as slim and firmly fitting as they can make it, but still felt a little vulnerable with an HVL-F58AM mounted on top, especially when the camera was held vertically. A new flash unit, the HVL-F60AM, has been released for the A99 and in line with current trends it incorporates an LED video/modeling light. This aims forward to double as an AF illuminator, and can not be bounced.

flashadaptor-base

The adaptor ADP-MAA shown with its connectors and the small spring loaded pins and ‘ball bearing’ centre contact to fit the new Multi Function Accessory Shoe.

Audio input is also handled by the shoe for microphone units compatible with the Cyber-Shot/HandyCam/NEX models using the new shoe. Since this shoe also appears on the NEX-6 and the DSC RX1 where it is the only way to input audio, there is some hope for a line/mic module. It is not needed by the A99 as this has a 3.5mm phantom powered stereo jack input, under one cover with a similar headphone output. Both input and output volume levels can be controlled on screen.

alpha99interfaces

This change means that there are now three generations of hot shoe in the Alpha system, and five different shoe or accessory mounts in the Sony still camera systems of the last few years – there’s the Sony CyberShot shoe in two generations used by DSC F series and the R1, the inherited Minolta Auto Lock shoe, the NEX Smart Accessory Terminal and this new Multi Interface Shoe. To say this is unwelcome would be an understatement, but the shoe provides a long-term solution for future development and if you want to create a Christmas tree, it’s still backwardly compatible.

Its 24 contacts cover two different levels of power supply to accessories, audio in and out, flash or wireless flash control and connection, add-on GPS unit (the 99V includes an internal GPS, the plain 99 does not), add-on WiFi module, and EVF or HD monitor feed. We should expect to see a WiFi module and a monitor screen option, while the regular HDMI output can simultaneously send uncompressed video to a recorder. What we don’t know yet is whether the future WiFi module will be as clever as Canon’s built-in WiFi and do more than just send files from the camera. If it has an Android/iOS app for remote viewing and shooting it will be a winner.

The flash system remains with the original Minolta digital wireless TTL protocol as found from the HS(D) guns onwards. There is no built-in flash on the A99 and thus no built-in wireless control. The HVL-F20AM fold-down mini flash made for the A900 as a wireless trigger works perfectly on the 99 with the ADP-MAA but it’s no way as neat. The one benefit is that for direct use, it’s raised a little higher and casts less lens hood shadow while causing less risk of red-eye. We would guess that a new version will appear soon enough. I’ve tested it both directly and bounced, and as a wireless controller.

Flash exposure with the A99 has been exactly as expected – not a wildcard – but short of testing every flash in every configuration, I can’t guarantee against the kind of overexposure found in the A77. All I can say is that my tests, made within the expected range of units using appropriate ISO settings and apertures, have worked well. I do not use flash often outside the studio, and given the performance of the A99 at high ISO settings I doubt I will ever want to.

Any reverse adaptor for the shoe – to allow the HVL-F60AM to be used on Auto Lock shoe cameras – will not of course provide functions other than flash. The Auto Lock shoe doesn’t have any of the other contacts.

My reservations about the Multi Interface Shoe are only that its connector strip looks delicate and each contact has a very small physical contact area. Even the Auto Lock shoe has had its problems with occasional contact failure due to wear and tear or foreign matter.

a99-connectors

There is, of course, also a studio flash PC sync cord connector, threaded, under the same cover as the DC Power Supply connector. Below these is the Remote Cord connector, and between them, a GPS symbol marked next to the loudspeaker. Sony does not give advice which way up to hold the the camera for the best GPS reception. With the Canon 6D, lying on its back face up is the recommended position.

The focus system

Because of the Smart Teleconverter, APS-C auto crop and video crop/zoom functions the A99 needs an AF module perfectly suited to the APS-C or smaller areas. It gets exactly that – the same module as the A77 uses, and that one starts off with leeway to work in Smart Teleconverter mode.

It’s a rather staggeringly tiny 6 x 12mm AF array, one-ninth of the frame area. Imagine the frame divided into thirds both ways and the entire 19-point, 11-cross point phase detect array fits within that modest central rectangle, but forms more of a horizontal ellipse shape within it. No AF points reach into the corners of that central patch.

The manual is deceptive because it frequently shows the AF area and points out of true scale to the overall frame.

a77-AFarea-ona700

This is why you come to photoclubalpha – we do the stuff the others don’t notice! Above, though rather crudely taken due to needing to hold an A55 with 30mm macro up to the eyepiece of an A700 aimed at the rear screen of the A77, is the actual AF module of the 77 (faint squares) overlaid on the AF markings of the A700 finder. This may be out by enough to make the overall AF zones similar , but it looks to me as if the A77 doesn’t quite cover the same extent as the A700, even after allowing for the 96% A700 finder view.

a99-AFarea-ona700

This is the same technique applied to showing the AF zone of the A99. As you can see, it’s the same module as the A77, floating in the middle of full frame. It doesn’t come anywhere near to the extent of the old A700 module, or the A77 in its cropped format frame. It does not even reach the ‘rule of thirds’ favoured points for composition. Coindidentally, the Phase Detect AF-D zone with its 102 tiny sensor spots occupies almost exactly the same area as the square formed by the A700’s top and  bottom horizontal line sensors and triple vertical groups.

sonyafrepresentation

Here is how Sony generally represents the AF zone within manuals. This is not a graphic dealing with AF, and there is no need to show the AF zone larger than it actually is relative to the rest of the display. From the A99 manual.

Sony may have saved some money by using exactly the same module as the A77 but it’s just not adequate. You can compose shots where not a single part of the subject you want to have in focus touches an AF point, and moving subjects can move beyond the active zone all too easily. What was needed was twice the AF area – 1.4X the linear dimensions at least – even if that meant adding further non-cross points.

This module works with all Alpha lenses, from the earliest Minolta screw drive to the latest SSM and SAM. It works down the EV-1 (minus one), the same as Nikon’s 39-point D600 module and four times less sensitive than Pentax’s latest SAFOX design or Canon’s equally tiny central AF cluster in the 6D. It’s still better than AF used to be considering its ability to work optimally with relatively small apertures.

The marked AF-D area is a larger 12 x 12mm square, and when one of the compatible lenses is used and the appropriate AF-D mode invoked with subject tracking, a square array of 102 on-sensor PDAF focus assist points becomes active. I’ve described the result as a fireworks display, though that depends on the lens and subject. Groups of these points can light up, alongside the main focus points, in brief recognition of the subject.

As to whether it works, I can’t say. It turns on and become visible. Does it make any difference? I use both incompatible and compatible lenses. I can’t say that I have been able to spot any real difference in performance, certainly nothing I can observe or measure. All I see is the points light up after the focus has been acquired; they seem often enough just to confirm what area surrounding the chosen focus point is also within depth of field at focusing aperture.

300mm-500f9-iso800-APSC

To get this shot, the surfer had to be kept within the AF area of the A99. I was using a Sigma 70-300mm f/4-5.6 Apo Macro DG lens (which has replaced my Sony 70-300mm f/4.5-5.6 SSM G – reasons of superior sharpness, light weight, size and close focusing prevailed over the superior colour rendering and bokeh of the big G lens). Click picture for a larger, but not 100%, size.

surferfullframe300mm500thf9iso800

Here’s the full frame, 300mm, 1/500th at f/9, ISO 800. You can see I was keeping the central AF point on target because in this case, there was going to be plenty of spare megapixel estate to crop away. I took 115 shots of surfers, mostly single frames but some short maximum speed bursts between 2 and 5 frames, in nine minutes. Not one is out of focus even when the surfers came in closer to the camera at speed. But… they are all within that small one-ninth area of the frame which features the AF grid.

This 102-point zone is also too small, and the wrong shape. It’s a cut-cornered square. I am shooting 2:3 or 16:9 ratio stills or movies. I am not shooting square images. There is a reason, and it is also the reason more lenses do not work with this on-sensor phase detect focus assist. The pixel pairs on the sensor with their differentially angled microlenses use the image forming ray cone in a specific way to detect front or back focused phase shift. To do so, they demand a specific exit pupil geometry and need to be placed relatively close to the lens axis. This on-sensor array can not be extended to cover the entire sensor, or even to extend to a echo the image format more accurately.

In theory, on-sensor PDAF should be extremely accurate, and should be able to work with contrast detection (as it does on other sensors using this technology). But on the A99, they don’t have that function. You can not opt for hybrid contrast detection with on-sensor PDAF; the system is designed to augment the SLT-fed main PDAF module only.

I’ve already observed that the perceived maximum resolution (microcontrast and detail sharpness) of the A99 does seem to be lower than the D600, despite Sony’s zonally graded low-pass filter which I can confirm does improve the performance to the edges and corners for wider angle lenses. The on-sensor PDAF zone is sufficiently populated and large to have some effect.

In case you think I’m talking up Nikon’s AF module over Sony, don’t… the D600 certainly did not focus any more accurately, quickly or reliably than the A99. Both AF modules are small in coverage, and both cameras do have an APS-C crop function including raw file saving and faster burst capture. The thinking has been alike. Ditto for the Canon 6D. That’s got a pitiful APS-C area module with only 11 AF points, ten of them plain old linear f/5.6 the centre one a mere f/5.6 cross with vertical linear f/2.8 (slightly inferior to the Alpha 700 of 2007 in all respects except low-light sensitivity). Canon doesn’t even have the excuse of APS-C or 2X capture modes, you can’t fit any Canon APS-C (EF-S) lens to the body let alone get the optional crop functions enjoyed by the D600 and A99.

So, here’s a new bunch of full-frame choices, and all three turn out to have small-area AF modules. It is Hobson’s Choice.

The A99 can never be rescued from its tiny principal AF zone by firmware updates and owners will just have to live with it. Things could have been designed differently; they were not. The same module is just about right in the A77. It’s lost in the big image of the A99.

Shutter response

One of the more surprising things about comparing the humble Nikon D600/Canon 6D with the advanced Sony A99 is the sound and feel of the shutter action. Both rivals have a low 1/4,000th maximum speed shutter, but are still capable of flash sync similar to the A99 (1/200th for Canon, 1/250th for Nikon, 1/250th for A99) which means curtain travel speed is similar and they simply chose not to permit a narrow enough slot to achieve 1/8,000th.

The D600 with its complete mirror up and down, twin shutter blind and recock action feels and sounds sweeter than the A99 which has no mirror to move and no first shutter blind. In fact, it’s louder and the dB peak for a very brief spike is about twice the volume of the A99 or the A77. But some recording with sound analysis reveals that the A99 sounds ‘louder’ because the actual duration of the sound is almost twice as long, and divided into two distinct clunks.

d600-a77-a99-200th

The D600, like the A77, has a normal single-shot shutter sound of around one sixth of a second, as you would expect from cameras which can achieve 6fps or something close. The Alpha 99 has double that. I timed it at over 300ms, and if first curtain mechanical mode was used, well over 400ms.

It took me a few days and some digging to find out that the 14-bit readout on the A99 only applies one shooting mode – single shot. Any other mode you select, including Lo 2.5fps continuous and all multishot or JPEG only modes, uses 12-bit readout from the sensor. This was already documented in the literature about the A99, but what Sony omit to say is that the 14-bit mode causes a noticeable pause between the shot being captured and the restoration of EVF viewing. This pause is around 1/10th of a second longer in single shot mode than the blackout which happens during 2.5fps or the first frame of any faster sequence, and totals 200ms or 1/5th of a second.

single-versus-lo

single versus lo

Above is an .mp3 link of single frame 14-bit capture compared to 12-bit capture in a Lo sequence setting. The green rectangle on the graphic indicates the extra time used for 14-bit processing; the overall time of the longest sound is over 400 milliseconds – nearly half a second is a fairly long duration for the audible cycle of any modern camera’s shutter actuation.

Thanks to the detailed analysis of audio recording using Amadeus Pro, followed by frame by frame time analysis of an iMac movie clip showing the actual LCD screen blackout period, I have been able to see this ‘dead period’ of blackout and image processing is longer than the entire shutter action of the A77 or D600; indeed, the shutter actions of the A99 surround this hiatus. The card writing light comes on a millisecond or two after the live view blacks out. The action of the shutter curtain being recocked, which accounts for a substantial part of the overall shutter noise, only happens at the end of the 1/5th second pause.

Short of a firmware upgrade, there’s nothing you can do about the extremely slow single-shot shutter cycle or the interrupted finder view if you want the extra quality which comes from 14-bit raw capture. Nikon offer you a choice of 12 or 14 bit, compressed or uncompressed raws. Sony does not offer a choice and makes the bit depth specific to the way you shoot. There is no doubt at all that both raws in single-shot mode, and Extra Fine Quality JPEGs created in this mode, show less noise when adjusted to an extreme. 12-bit capture is fine for lower ISOs, in good light, with correct exposure.

a99-14bitprocessing

The 14-bit raw file has great flexibility for shadow and highlight adjustment from raw without losing colour values or subtle tones. I’d rate it as one of the best raw file formats I have worked with, at normal (100-800) ISO settings. No local dodging has been used above to enhance the backlit scene – just what amount to curve adjustments.

The 3fps Lo motordrive setting was easy to use for single frames, with a light touch. This caused half the finder blackout duration and no more than a 290ms total sound envelope (including all reverberation – the main sound is not unlike the 180ms of the D600 or A77). It didn’t matter what file size and type I recorded or what card was used. This setting always produced the shutter cycle, and sound, I would have expected the A99 to have.

Having observed the way the camera works, I’m afraid I am now rather too aware of it. It makes me appreciate the Alpha 77’s much faster, sweeter action and even consider the A900’s noisy clack with affection. One effect of the longer shutter cycle is to make the relatively quiet sound – 4dB quieter at peak than the Nikon D600 which also has a higher and more intrusive pitch – seem ‘louder’ than it actually is.

What is interesting to me is just how few users, when I asked for information or tests of their own cameras, were really able to hear the differences or see the blackout period. I can thank Gary Friedman for being able to confirm my findings – he could understand exactly what I was looking for. And thanks to several posters on Dyxum forums, whose concerns were with the image quality of 14-bit versus 12-bit, for providing the information I need to put the facts together and realise that no amount of adjusting settings was ever going to make the A99 share the brief blackout and sweet shutter sound of the 12-bit A77.

Gary uses wireless flash a lot. I don’t generally use flash at all except in the studio. Gary has observed delay in wireless flash triggering which is just as long as the entire shutter cycle, and made a great short video which explains this problem:

http://youtu.be/eHrBcT51oE8

I’m not sure if this is a definitive test – there are other trigger flashes which can be used and I’d like to see the times from the HVL-F60AM, F58AM, F42AM and so on. But it indicates that it’s not just me who does not use wireless flash. Nor do Sony’s systems designers and technical team!

The LV dilemma

Sony’s camera line is now totally committed to using the sensor as the viewfinder. This means that whatever performance they can pull from that sensor, it will always be a quantum drop lower than the same sensor used in an optical viewfinder camera. The level of read noise is heavily influenced by the sensor temperature, and continuous live view makes the sensor heat up.

Sorry, I can’t measure it. No doubt someone equipped with the right tools could measure the temperature of the silicon after 15 seconds, a minute, ten minutes or any other period and also allow for ambient conditions. Sony’s handbook reveals that most performance figures and presumably most pre-production tests assume an ambient temperature of 25°C. By my standards, that’s extremely warm, even as an indoor temperature.

There are warnings that the camera may shut down if video or continuous shooting result in an internal overheat. I’m just not going to be testing the A99 to that degree. The best I could do was to set it to ISO 6400 and the highest video bitrate, and leave the camera running in low light, to ensure the highest gain levels.

I’m fairly sure all of the Nikon D600 noise level advantage can be put down to not using full-time live view, and the effect of the SLT mirror. The Sony sensor is almost certainly just as good overall, give or take whatever effect the phase detection pixels may have.

a99-base

Battery – left hand as seen (right hand grip). To the other end, a narrow covered port allows connection of a vertical grip without cannibalising the battery already fitted. The resulting three-battery configuration is the only way to get real stamina for a busy day’s uninterrupted shoot, especially if you use GPS.

LV and EVF lead to very short battery life, and this may be exaggerated if you want to do very long exposures.

So there is the ultimate dilemma – the Alpha 99 is a master of all the functions and features you could want just so long as you want EVF with it. If you don’t, then the Nikon and Canon alternatives will not only be better choices for you, they will save you into the higher hundreds of pounds or into four figures in dollars.

My choice

The Alpha 99 is currently the full-frame camera I’m working with and will stick with until the next generation arrives.

I sold my Alpha 900 shortly after the Alpha 99 arrived. I regretted it straight away, but that is just down to an attachment after four years of familiarity, and a false reassurance that this is such a solid and simple camera it would have lasted me for life. I do not make videos often, but when I do in future I want full control over direct audio input as audio overdubbing from a separate recorder is something I have found very tricky to handle (at least in iMovie, which is what I use).

I didn’t sell my Alpha 77 despite the poor performance in low light, and the lack of the audio level control. It’s far too useful, having 24 megapixels in an APS-C crop, rather than the 11 produced by the A99 crop format. Also, the general colour and grading of video matches the A99 well enough for the 77 to be a second camera. After we bought the Nikon D600, I found the colour and contrast sufficiently different to mean mixing video from Alpha and Nikon was not an option. It also has manual audio input gain – but we can’t team them up. For much the same reasons I have kept my NEX-5n and my Alpha 55.

Could I work professionally with the Alpha 99? Yes. I’m confident it would not let me down in any situation I’m likely to encounter or set up – I do not shoot sports or hard news, events or conferences. Future professional use would be likely to be public relations, corporate brochure, annual report, advertising, industrial and environmental, executive portraiture, products, architectural, building works, stock travel and landscape. Frankly, anything I could once have shot on a Hasselblad can easily be tackled with an Alpha 99.

Despite this, I would be very happy if Sony revived the highest end optical prism DSLR in future. An Alpha 900 quality version of the D600 would have been perfect. And I do not think I am alone in showing some regret for the apparent end of the single-lens reflex Alpha.

– David Kilpatrick

Footnote: elsewhere, the usual comment has been made that I’m wrong to compare this with the 6D and D600 because the A99 is competing with the 5D MkIII and D800. We have a D800E and may acquire a second one. It’s not competing with that; the D800, and especially the 800E, appeal to a different market where using 36 megapixels counts more than several other factors. It is also not competing with the 5D MkIII, which is locked into a huge Canon professional userbase as the one undisputed mainstream body. Nikon has a fragmented position; the D600 isn’t on the right level, the D800 offers benefits many users do not need and loses advantages they want to keep, the D700 is low resolution, the D3s the same and the D3X is priced beyond its specification. Nikon professionals I know all say what they want is a D700 body (and shutter, etc) with a D600 sensor – they would then have a camera at precisely the same level as the 5D MkIII. They would have the one easy no-doubts choice to make the same way Canon users have.

Like it or not, the Alpha 99 is actually competing with the 6D and D600, and it does not matter to the market that some aspects of its construction and specification are closer to 5D MkIII ‘build’. Sony is doing something in enthusiast-level photography right now that it has done well in the past in television and audio, positioning its pricing as a premium consumer brand. The DSC-RX1 specification and pricing tells you everything you need to know about how Sony sees the market.

a99processor

 

This is why the A99 doesn’t even really compete with the older A900. Single Bionz processor (that word saying ‘Dual’ refers to the memory card slot) where the 900 had two – and 14-bit data to process. The SD cards, even Class 10 UHS-1, also represent a bottleneck in data transfer. Using the highest end MemoryStick PRO Duo overcomes this. Photographed on the Sony stand at photokina.

Sony Alpha 99 full press release

Sony introduces full-frame α99
 
A-mount flagship 35mm full-frame camera debuts Dual AF System and pro-style video features
  • Flagship camera with Translucent Mirror Technology and newly developed 24.3 effective megapixel full-frame Exmor CMOS sensor
  • World’s first full-frame camera1 with Dual AF System with 19 sensors (including 11 cross sensors) + 102 AF point system (focal plane) and a new AF range control function to set the distance range recognised by the AF system
  • Very wide sensitivity range ISO 50-25600 (at expanded sensitivity setting) with extremely low noise
  • Advanced Full HD 50p progressive movie shooting with non-stop Continuous AF and pro-style audio features
  • XGA OLED Tru-Finder with 100% frame coverage
  • Enthusiast-class handling with tough, light magnesium alloy body, weather seals and revised Quick Navi Pro interface

Ruggedly built to cope effortlessly with tough assignments, the α99 sets new standards of imaging performance, creative options, user-focused ergonomics and reliability to satisfy demanding enthusiasts.

Unsurpassed imaging performance and responses

Unique to the α99, a newly developed full-frame Exmor CMOS sensor with 24.3 effective megapixels is teamed with a highly advanced BIONZ image processing engine. This powerful sensor/processor combination guarantees unprecedented levels of imaging performance with still and video shooting.

Now advanced photographers can explore the creative possibilities of full-frame imaging plus the responsiveness of Translucent Mirror Technology.

The eagerly awaited successor to the flagship α900 DSLR, the new α99 is the first Translucent Mirror camera from Sony to feature a full-frame 35mm image sensor.

The full-frame sensor’s resolving power is enhanced by a newly developed separate multi-segment optical low-pass filter. Assisted by an all-new front-end LSI, the BIONZ engine processes massive amounts of image signal data from the Exmor CMOS Sensor at very high speeds. Together with a powerful new area-specific noise reduction (NR) algorithm, this achieves a 14-bit RAW output, rich gradation and low noise.

The evolved BIONZ processor boosts maximum sensitivity range (in expanded sensitivity mode) as wide as ISO 50-25600 – a range of 9 stops. Its unprecedented processing power also enables the α99 to shoot a burst of full-resolution images at up to 6 frames per second or 10 fps in Tele-zoom high speed shooting mode.

For the first time ever, the 19-point AF system with 11 cross sensors is complemented by a multi-point focal plane phase-detection AF sensor. With no less than 102 AF points, this additional AF sensor overlays the main image sensor. Harnessing the power of Translucent Mirror Technology, this unique Dual AF System permits ultra-fast, accurate autofocusing that maintains tracking focus even if the subject leaves the 19-point AF frame.

The α99 also debuts an advanced new AF-D continuous autofocus mode that’s supremely effective with moving subjects. The 19-point AF system provides reliable depth focusing information. It’s complemented by the 102-point multi-point focal plane phase-detection AF sensor that copes effortlessly with subjects traversing the focal plane.

From launch, new AF-D mode is supported by the SAL2470Z, SAL2875, SAL50F14, SAL300F28G2, SAL70400G and SAL500F4G lenses. More lenses will be supported via future firmware updates.

As a further focusing refinement, a new AF range control function allows users to set the distance range recognised by the AF system. This smart feature significantly aids operability if you’re focusing on distant sports action through a nearby wire mesh fence.

Crafted for videographers and movie-makers

The α99 inherits the world-leading ‘cinematic DNA’ from professional movie cameras and high-end camcorders by Sony. The unmatched resolving power and sensitivity of the full-frame sensor is complemented by advanced features optimised for professional video production.

The α99 supports the needs of professional movie-makers, offering full-frame Full HD 50p/25p (switchable to 60p/24p) progressive video recording to meet AVCHD Version 2.0 specifications. As introduced on the α77, Full-time Continuous AF Movie allows smooth, non-stop tracking of moving subjects. Other movie-oriented enhancements include real-time Full HD video output via HDMI, and uninterrupted ‘dual-card’ recording using both of the camera’s media slots.

For extra convenience during movie shooting, a silent new multi-controller is easily accessible via a dial on the front of the camera body. This allows smooth, silent adjustment of exposure compensation, ISO sensitivity and metering method, shutter speed, aperture and audio record levels during Full HD video capture. Shooting stamina is tripled by partnering the camera with the new VG-C99AM Vertical Grip that houses up to three batteries in total (see below). It’s even possible to exchange batteries ‘on the fly’ without interrupting movie recording.

Audio features have also been significantly enhanced to meet the exacting needs of serious videographers. An audio level display and adjustable audio record levels are joined by a headphone jack for accurate in-the-field monitoring. The optional XLR-K1M adaptor kit adds a high-quality mono shotgun mic and pro-standard XLR connections for dependable audio acquisition.

Uncompromised handing for serious photographers

The XGA OLED Tru-Finder gives a detail-packed view of your subject, offering 100% frame coverage with exceptional brightness, contrast, clarity and resolution.

You’ll enjoy a full 100% view on the Tru-Finder screen, even if you’re shooting with a DT lens that’s optimised for cameras with an APS-C sensor. Angle of view is converted automatically for image recording and display. This viewfinder is completely compatible with the APS-C format and displays scenes using the entire finder screen.

Complementing the Tru-Finder, there’s also a three-way tiltable 1229k-dot (VGA equivalent) XtraFine LCD with WhiteMagic™ technology to boost screen brightness in outdoor conditions.

Despite its uncompromising pro-class credentials, the α99 is the world’s lightest1 35mm full-frame interchangeable-lens digital camera. A weight of just 733g (without lens and battery) is made possible by Translucent Mirror Technology, while high-rigidity magnesium alloy panels contribute to an extremely tough yet light design.

Weather-resistant seals protect against dust and moisture, while controls and buttons are ruggedized for years of unflinching operation on virtually any assignment. The camera’s stamina and reliability is underlined by a redesigned shutter block that’s tested to approximately 200,000 release cycles.

Ergonomics have been refined for a smooth, seamless workflow that doesn’t interrupt your creative focus. Enhancements include a re-designed grip, while switches and button shapes are differentiated for intuitive fingertip operation without taking an eye off your composition. There’s also a new exposure mode dial lock that prevents accidental rotation.

Further evolved from the acclaimed α700 and α900, the newly-developed Quick Navi Pro interface gives quick, intuitive one-handed access to shooting parameters.

The camera can also be operated via remote PC connection. Supported functions include switching between still/movie shooting, plus automatic transfer of still images from camera to PC for enhanced studio workflow. *Editor’s note: betcha there’s no Mac app given Sony’s historic attitude to Apple!

Designed for professionals: new lens and accessories

The full-frame imaging capabilities of the α99 make an ideal complement for the new 300mm F2.8 G SSM II (SAL300F28G2) lens. Designed for demanding sports and wildlife applications, this bright super-telephoto offers a significantly uprated optical design and improved handling compared with its predecessor. The Sony-developed Nano AR Coating on optical surfaces assures flawless still images and HD video with reduced flare and ghosting, offering enhanced contrast with crisp black, while a new LSI drive circuit offers faster, more accurate autofocus with enhanced tracking AF. The dust- and moisture-resistant design makes the lens ideal for the toughest outdoor shooting assignments.

In addition, a new wide-aperture Carl Zeiss A-mount prime lens is now under development. Optimised for superb results with the camera’s 35mm full frame image sensor, the Planar T* 50mm F1.4 ZA SSM will be available in Spring 2013.

Offered exclusively as an option for the α99, the brand-new VG-C99AM vertical grip can house and manage three batteries in total (including the camera’s own on-board battery). Resistant to dust and moisture, the grip is ideal for lengthy shooting sessions in the studio or outdoors.

The range-leading HVL-F60M is a powerful flash (GN60, in metres at ISO 100) with built-in LED light that’s ideal for creative applications with stills or movie shooting. Smart functions include wireless multi-flash ratio control and Sony’s unique Quick Shift Bounce adjustment, while operation can be controlled quickly via the flash’s intuitive Quick Navi system. Resistant to dust and moisture, the HVL-F60M comes supplied with a bounce adaptor for flash, and a colour conversion filter for use with LED lighting. Ideal for the α99 and other cameras featuring the new Multi Interface Shoe, the HVL-F60M can also be used with Auto-lock Accessory Shoe cameras via the supplied ADP-AMA Shoe Adaptor.

Compatible with 49mm and 55mm diameter lenses, the HVL-RL1 Ring Light offers highly effective LED illumination of small subjects that’s ideal for macro shooting. Its high output level (approx. 700 lx/0.3m) is approximately four times brighter than the previous model. Brightness can be adjusted steplessly for precise control of creative lighting effects. Operation can also be switched between full-ring illumination for shadowless lighting and half-ring illumination to create shadow effects. The optional FA-MA1AM Macro Light Adaptor is required when using the Ring Light with SAL30M28 or SAL50F18 lenses. Compatible with the Multi Interface Shoe of the α99, the HVL-RL1 can also be used with cameras that have an Auto-lock Accessory Shoe via the supplied ADP-AMA Shoe Adaptor.

The new XLR-K1M XLR Adaptor Kit meets the demanding audio needs of professional movie production. It provides two pro-standard XLR terminals for connecting the α99 with professional microphones and mixing consoles. Operating flexibility is maximised by MIC/LINE input selection and separate adjustment of two channel levels. The adaptor kit comes supplied with the ECM-XM1 monaural shotgun microphone, but may also be used with a wide range of professional microphones. An optional bracket is required when using the XLR-K1M with the α99.

The RMT-DSLR2 Remote Commander allows wireless shutter release for still images and start/stop control of video shooting. As well as the α99, it’s also compatible with other α A-mount and E-mount cameras that include a remote control receiver. (Our highlighting in red – this may NOT mean that it can operate video on other cameras, just that it will operate their existing remote functions – dependent perhaps on firmware updates)

Styled to reduce carrying fatigue, the LCS-BP3 Backpack is designed to meet the stringent demands of professional photographers. Its generous capacity can hold the α99 camera body plus Vertical Grip and attached telephoto zoom lens, together with 3-4 spare lenses, accessories and a 15.5” laptop.

The ADP-MAA is a new shoe adaptor that allows Multi Interface Shoe2 cameras to be used with Auto-lock Accessory Shoe accessories. Conversely, the ADP-AMA she adaptor allows Auto-lock Accessory Shoe cameras to be used with Multi Interface Shoe accessories.

The PCK-LM14 Screen Protector Semi Hard Sheet safeguards the camera’s LCD screen against dust, scratches. It’s supplied with a separate protector sheet for the top display panel.

For further details of the full range of lenses and accessories for the α99, please visit www.sony.co.uk/hub/dslr/accessories

Sony’s new SDXC UHS-I memory card, SF-64UX(64GB) with ultra-high speed interface (UHS-I) compatibility, offers significantly higher transfer speeds up to 94MB/s (read) and 43MB/s (write). The SF-64UX is ideal for burst shooting with the α99, without missing the moment. It also enables rapid data rates when transferring content including large RAW images or video files to your PC.

The new cards have been subjected to rigorous Sony testing, in order to achieve high levels of reliability and data integrity. Additionally, the new cards are water-resistant, and are designed to perform under a wide range of operating temperatures. Users can also shoot with ease knowing their photos and videos are protected thanks to Sony’s File Rescue Software* which can help recover photos and videos that may have been accidentally deleted.

(*This software is available for Sony memory media products customers through free download at www.sony.net/memorycard)

The new α99 full-frame Translucent Mirror camera from Sony is available in the UK from early November 2012.

1 Among interchangeable-lens digital cameras with a full-frame image sensor (as of 12th September 2012). According to Sony internal survey.

2 The α99 is equipped with Sony’s newly-developed Multi Interface Shoe. This is capable of accommodating various accessories for photo and movie shooting such as flash and microphones, while drawing power from the camera. It’s also compatible with Sony accessories that use the standard ISO 518 accessory shoe. The Multi Interface Shoe was developed as a common shoe for imaging products by Sony – such as digital still cameras, digital video cameras and interchangeable lens cameras – promoting compatibility among accessories and offering an enhanced shooting experience for users.

David and Goliath? Nikon D4 dwarfs NEX-7!

Side by side on my light table (which collapses with a ‘pop’ when sixteen tons of Nikon is placed on it), and the NEX-7 is given the foreground role to avoid any accusations of using perspective to make it look tiddly.

I’m writing some reviews of the Nikon and other new professional DSLRs for the British Journal, so I won’t say anything about the Nikon’s rather wonderful 16 megapixel full frame sensor or its stunning low light performance. I hope when Nikon read my reports they’ll decide to send me to photograph in the Arctic Circle in December – there would be plenty of light for this beast.

This picture won’t be going to the BJP. I like it because these are equivalents. The Nikon’s 28-300mm VR is admittedly f/5.6 at the long end (and a vast amount better than any Sigma or Tamron 28-300mm or 18-200mm yet made). But otherwise, these are zooms with the same range of angle, both stabilised, both very quiet in both focusing and IS action, both very well-made.

And the cameras are both a real pleasure to use and produce 100% professional results. The difference is that if I stick the NEX-7 combo under my coat, I do not look like a shoplifter or terrorist with a concealed weapon of mass-perturbation.

Watch out for our NEX-7 review soon. I’m not hurrying and it may be a month or more.

– David Kilpatrick

Nikon's Consumer Range expands – D5100 & ME-1

Nikon D5100April 5th sees the announcement of the fourth Nikon “thousand” model, the D5100. Following on from the D7000 and D3100 launches last year – both excellent cameras that introduced new sensors to Nikon’s range and left the D5000 mid-ranger looking a bit orphaned, the D5100 takes the logical step of bringing the larger 16.2Mp sensor from the D7000 into a cheaper, more consumer-oriented camera. Nikon have sensibly retained the swivel screen of the 5000, albeit with a more conventional side-hinged layout rather than the quirky (and tripod-unfriendly) base hinge of the original, and introduced a new body design with a slightly aggressive edge to the top plate. All of this is very predictable – with an older 12Mp sensor the D5000 was looking increasingly uncompetitive (despite the fantastic results it’s capable of delivering) whilst the D3100 introduced 1080p video – 14.2Mp and 1080p in the model below the former consumer video star couldn’t last!

So with the D5100, priced at £669, rising to £779 for lens kits, Nikon have given the sensor of the D7000 and the size and flexibility of the D5000. It makes for a comprehensive lineup. What else has Nikon brought along to the party…

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The Alpha 580 – a three-way view

Once I had a quarterplate hand-and-stand camera, vintage 1920s. Attached to the front standard was a small reflex viewfinder, giving a miniature composition you could use at waist or chest level. On the same standard was a folding wire frame, with a companion eye-sighting window flipping up from the side of the body. This gave a direct view from eye level. But for the most accurate framing and focusing, a groundglass screen at back could be used with the shutter open and a viewing hood folded out.

Those three ways of viewing have never been available in a modern SLR. Until now! The Alpha 580 (for which you can also read 560 throughout this review, give or take the sensor) is the first modern SLR to offer three entirely different viewfinder systems, all with their own unique focus and exposure methods. There have been cameras made by Alpa and Praktina which had optical finders tucked in alongside their pentaprism, and Rollei invented a finder which could switch from eye-level to waist level at the flick of a lever. But the Alpha 580 offers three through-the-lens systems and it’s unlikely any DSLR will do so again.
This is a 10-page article – please use the navigation bar at the bottom to move on to the next page, or click the ‘Continue Reading’ link to view as a single long article (this function is not very reliable though and may produce an ‘undefined’ error)

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Sony affirms NEX future – and SLT path for Alpha

Sony today announced upgrades and a road map which will keep NEX E-system adopters more than happy – especially those who have added NEX to their Alpha outfit. Diehard Alpha purists will be less delighted.
At the photokina press conference, a two-year rollout of additional NEX lenses was announced including a fast Carl Zeiss wide-angle, a premium quality G-series standard zoom, a macro lens, a portrait lens, a wide-angle zoom, and a prime telephoto.
Firmware upgrades for NEX-3 and NEX-5 to enable Aperture presetting for video, and AF operation of SAM and SSM Alpha mount lenses with the Sony adaptor, were promised for October with a similar upgrade for the NEX VG-10 in November. The NEX 3 and 5 upgrades will allow assignable functions for the buttons, including direct access to ISO setting or HDR (amongst other choices).
Sony went out of their way – as on their stand – to highlight the explosion of 3rd party adaptors making almost every lens in existence usable with the NEX body’s 18mm register. They announced they were already working with partners to enable production of NEX adaptors and even NEX compatible lenses, but could not reveal anything yet. The opening up of the system to 3rd party makers would, said Toru Katsumoto, help revive photography itself.
With NEX now accounting for half of all mirrorless/compact interchangeable lens sector sales, they were confident of its future.
The bad news, for many, will be that the Alpha 700 replacement – optimistically shown with a vertical grip, 500mm f/4 G SSM lens and a new flash – will have a fixed Translucent mirror just like the A33 and A55. Paul Genge of Sony UK confirmed to us after the presentation that it will not have a flip-up mode to allow shooting without this extra sheet of glass in place.
As tests of the A33 and A55 have shown clearly, the Translucent mirror creates visible bright-edge ghosting or secondary imaging in the vertical direction. For many users, this will be a no-go option; they will look at the Pentax K-5 and the Nikon D7000 and see a ‘pure’ optical path from lens to sensor (although we all know the cover glass assembly of the sensor removes this possibility).
Perhaps the real A700 of tomorrow will be the Sigma SD-1 – the 1.5X factor, beautifully designed, 15 megapixel (true!) Foveon machine claimed as ever to match a much larger real pixel count – 48 megapixels. Well, Sigma need not make such claims. 15 megapixels is enough. It was enough with Bayer pixels. 15 real Foven RGB coincident location pixels will be one amazing camera.
Today was a wonderful day. Summer temperatures. Everyone was sitting round outside in the open spaces at photokina and it was like a big barbecue party with all the wurst-stalls grilling away. The sunniest photokina we’ve ever been to. And there is an amazing level of optimism here about trade and the market. We had a recession – unless someone screws it up, we are in for a boom again. There is so much fantastic stuff coming and China is both the market and the innovator in so many ways.
– D&SK, reporting from outside the Restauration K A Pütz Brauhaus, with 2nd small Kölsch
Additional notes: I filmed the entire conference on my NEX-5, which overheated losing 1 minute midway (pull out the LCD assembly and have the screen away from the body – this stops it overheating so fast, my mistake). But I need my big iMac and fast broadband to edit this and put up several YouTube sections, I can not do so from photokina pressroom or hotel wifi. It will be posted next week.
The image shown of the A7XX (the ‘Advanced Alpha’) is the same mag-alloy body (strap lugs give this away) ‘750’ that was seen at PMA, it’s actually like a slightly rounded Pentax K-5 in size and heft from the description and screen views. Because it will use Translucent mirror technology, you must not assume outright that this means no optical finder. It may use the semi-silvered mirror at 45 degrees, and have a new AF method, quite unlike the A33/A55 – and it could have a really good glass prism finder. But the mirror, like the old Canon Pellix and RT models, would be fixed. We simply do not know but the shape and size indicates it’s not necessarily an SLT in the A33/55 mould. I could devise an AF detector capable of reading from a focus screen (just as the human eye does). Anyone with basic optronics/optics knowledge can see that there are many potential ways to achieve AF, and they do not preclude fitting an optical focusing screen. There are also ways of achieving superior on-sensor contrast detection AF. – DK

CZ 24mm + 35mm and 85mm SAM lenses arrive

Sony is expanding its line-up of over 30 A-mount lenses with new models that will appeal to seasoned photographers and those new to DSLR cameras alike – a 35mm f/1.8 DT (APS-C) SAM, an 85mm f/2.8 full frame SAM, and the long-awaited 24mm f/2 Carl Zeiss Distagon T* 24mm f/2 for full frame with SSM ultrasonic focusing. In the interests of getting this report on line, it’s mainly Sony words, with a few added comments and edits.
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