Sigma’s system revolution

Sigma Imaging, already one of our favourite lens makers, has announced upgrades and new functions for their entire system which will transform the way it works with all the major camera systems.

The new DC 17-70mm f/2.8-4 – DC (APS-C format) lenses have never been given the EX designation, even when they clearly matched the EX specifications. Now the EX name and its exterior finish are both going, replaced by one standard for all formats, and one finish.

The entire Sigma range is being restyled, with a new finish, and the old distinctions between EX DG and other lens ‘grades’ are disappearing. “All our lenses have become what we once called EX”, said Graham Armitage of Sigma UK, at photokina. “The demands made by digital systems with higher resolutions mean we have to produce perfect lenses for all the formats from MicroFourThirds to APS-C and full frame.

“Our greatest breakthrough is in MTF testing. We have designed new MTF equipment, which will be used on the production of new lenses from now on. The MTF testing system we use for development is too slow to be used in production, and we have had our own Bayer sensor based system for this purpose. But it was not proving high enough resolution for new camera sensors like the D800.

“Now we have built our own MTF testing system, based on the 46 megapixel Foveon Merrill sensor used in the latest cameras. This allows a much better MTF tests. It will be used to test the sharpness of every new lens that Sigma manufacturers.”

We asked Graham if this would only apply to expensive professional teles, zooms and specialist lenses. “No, it will apply to all lens types”, he said. “We have been able to use the data from the Foveon sensor based tests to improve the performance of all our lenses.” Because the sensor is true RGB not Bayer much better information about chromatic aberration has been gathered and Sigma is feeding this back into the design and manufacture process.

The new lenses have a robust feel, with machined metal barrel and mount components (a current trend for many lens makers) and a slightly soft-looking matt or silk finish. All Sigma lenses are assembled by hand, in Japan, using traditional construction methods.

But the most exceptional advance has been made inside the new lenses – sadly, it can’t be retro fitted to older ones.

The USB ‘dock in a cap’ has an LED activity indicator and we handled the real thing. This photo looks a bit over-retouched.

All new Sigma lenses will be compatible with a USB-connected dock allowing firmware updates to be made by the user. Sigma has honoured its relationship with users for decades by upgrading the chips inside lenses free of charge whenever the protocols used by camera makers created an incompatibility. Now they have developed a way in which users can do this themselves without the lens having to be returned or ‘operated on’ in a workshop.

“The USB dock will cost about the same as a filter”, Graham told us. I suggested this could mean £50. He indicated I was on the high side. This dock device, which resembles a thick rear lens cap, might be £30 or so.

“It does more than just upgrade the chip”, he continued. “With a PC program, you will be able to change the focusing speed of the lens. All AF systems are a compromise, a balance between speed and accuracy. You will be able to set the lens to suit your working style, increasing the focus speed if you shoot action or improving accuracy if you take subjects like landscapes and portraits.

“All DSLRs have problems with front and back focus. Some cameras offer AF calibration, but not all allow you to have different corrections for each focal length of the zoom lens and for different focusing distances. Using our program, you will be able to calibrate new Sigma lenses for the full range of settings so you don’t get front or back focus at any distance or focal length.

“Not only that, with new telephoto and macro lenses you will also be able to change the distance ranges used by focus limiter switches.”

The new-style 120-300mm f/2.8 – one of the first lenses compatible with the USB programming system, allowing perfect tuning of front and back focus corrections across the zoom and focus distance range.

This function sounds familiar, indeed it’s almost what the new Sony Alpha 99 offers with a restricted range of Sony lenses – on-camera setting of focus range limits. The difference with the Sigma option is that future lenses with a range setting switch can each have their individual far, middle and near limits set and there will be no need to go into camera menus to change the setting when shooting.

Along with Sigma’s recently introduction of nano-type hard coatings which resist water and dirt, their improvements in environmental and dust sealing of lenses, we look forward to testing Sigma products in future and finding them close to the blueprint for the optical design. These innovations draw a line between existing generations of Sigma lenses and the future, as they can’t be fitted to older models. They also take Sigma yet one more step ahead of the camera makers’ own aspirations.

Sigma has always shown the industry what can be done in terms of advanced optical design – often unmatched for many years, with such specifications as the 8-16mm and 12-24mm zooms, the 300mm-800mm and many others remaining unchallenged even by Nikon and Canon. Now they have set out to show what can be done by harnessing a simple standard interface and allowing communication to the lens IC through the contact-pin array.

Finally, Graham showed us the new 35mm f/1.4. “Nikon has done really well with their 35mm f/1.4”, he said. “We thought we would try to beat them with this one. We are hoping it turns out to be the best 35m f/1.4 on the market”. The new MTF testing may yet be proved! I mentioned that Samyang had also done pretty well with a 35mm f/1.4. To that there was no comment…

And then there’s the obligatory picture from any trade show – the man who can’t resist trying to find out what the butler saw, courtesy of the Sigmonster!

– David Kilpatrick

This post has been edited with Sigma’s help on October 3rd. The original reference to Zeiss MTF equipment was incorrect; this is used in design and prototype development, and will continue to be used. Sigma’s own production-line testing system is what’s been updated with new high speed Foveon-based MTF bench.

Hood-cap for NEX with 16mm

At photokina 2012, the Taiwanese company Hoocap (www.hoocap.com) showed a neat device for many different lenses and cameras, still in development for a wider range. It’s a combined lens-hood and lens-cap, which can be pushed or pulled to seal off or use your lens. They have models for lenses such as the Nikon 24-70mm f/2.8 – but their neatest model is dedicated to the NEX 16mm f/2.8.

One of the best and most original lens designs ever made, reducing the number of elements to fewer than EVER used before for an 83° angle of view, while maintaining an exceptional standard of resolution and geometric projection – and anyone who claims otherwise either just doesn’t understand what makes a 24mm equivalent lens, has a bad example*, or doesn’t realise just how BAD a typical 24mm Nikkor, Rokkor or Canon is in comparison.

Rant over! *Sony’s QC has been less than flattering to the skills of their optical design team.

Now this is an efficient lens shade for video, and not all that bad for the majority of still images taken in horizontal, landscape composition mode. You can, of course, fit the 18-55mm lens hood to the 16mm lens and it does help prevent the very rare instance of lens flare from a design which is highly resistent to flare.

Unboxing, only they didn’t have a box, just a prototype plastic pack. It was disappointing how few firms at photokina were willing to give us samples of relatively small items. We did not have time to spare, just a day. Hoocap immediately understood what we were doing and offered a sample. They were the ONLY company to do so. In past years, we’ve come back with loads of small accessories and items to write about, but this 2012 photokina has been an impoverished one in more ways than just the lack of square metres of stands.

This is how the Hoocap closes. It does add some bulk to an otherwise tiny camera and lens. You pull the unit from the rear to open the hood. It tends to need two actions unless you are lucky enough to get the pulling action exactly at 90°. It does not risk accidental opening, or closing. The action is firm and positive and exerts no strain on the lens or camera.

In case you think we do not question product design, here’s fault no 1 – if you have the small flash fitted to a 3/5 series camera, it won’t stow down fully. But it does turn off. It simply impedes the closing action of the Hoocap. By the way – we tested the cap with a 49mm UV filter fitted to the camera. It allows space for this.

The second flaw connected with flash is this. Look at the geometry – without the Sony flash extender.

It’s not awful, but this f/16 test shows exactly the area of shadow the hood will cast for a typical party or group shot at home. You really need to remove the hood for flash shooting.

Much will depend on the price, but we like this product. It closes the camera off in a very fast action – clunk! – and opens it almost as quickly. It can also be used on the 18-55mm lens but it’s super-neat on the 16mm.

Don’t forget we have a new photo quarterly magazine – Cameracraft. Please support us by subscribing, Cameracraft directly finances the Photoclubalpha website.

– DK

 

 

Swedish NEX from Hasselblad

Perhaps the strangest news from photokina, which I have not rushed to post here because I reckon every single website in the world will have treated it as urgent breaking unparalleled wonder – is that Sony and Hasselblad have signed a deal under which Hasselblad will make an APS-C (or perhaps full-frame NEX mount) mirrorless camera in Sweden.

Without any images other than a Hasselblad H logo to accompany the revelation, the world is left wondering what exactly Fujifilm has done wrong. A drawing of what might be an A-mount mopdel was shown at photokina but looks as if it could have been done by a teenager on the back of a school jotter; a prototype or mock-up NEX revision called the Lunar was little better. Clearly, Sony already announced its intention to allow approved partners to use the E-mount, and we can assume that the Hasselnex will come thus equipped. Carl Zeiss has announced a roadmap for E-mount lenses, and of course that would fit Hasselblad down to the ground. No need for a new lens range, their bodies (NEX-7/6 type?) would be sold with blueprinted Zeiss glass. Surely? Not just with relabelled Sony zooms?

And the bodies would be made in Sweden. That means less than you might assume, since all the internal component parts would presumably be sourced from Sony as a CKD kit. CKD is motor industry speak for ‘Completely Knocked Down’ – a car shipped as parts to a factory, to be assembled there. Hasselblad Sweden used once to be very good at assembling cameras, they recently moved all Danish production back to Gothenburg and re-established Swedish manufacture.

The BJP has been told the body would be aluminium. The NEX-7 is magnesium alloy. And the 7/6 body already looks really classy. The Lunar simply does not.

Image from the BJP

From the BJP report on this €5-6,000 version of the NEX-7 – click image to see their interview.

So, what of the H-series blads – made in Japan by Fuji, Hasselblad’s long-term partner in the H-range project?

And, when Hasselblad was quite willing to work with Rittreck/Norita/Fuji on rangefinder type cameras (the XPan was not their idea, it was a Rittreck/Norita concept) what has changed?

After all, Fuji’s XPro-1 and XF are staggeringly good cameras with a ridiculously ambitious and excellent range of lenses, not just superfast primes abut extending into popular zooms. They are built and styled to fit Hasselblad ambitions. Fuji optics have proved good enough for Hasselblad H.

Something has shifted. Maybe Hasselblad is no longer tied to Fujifilm and the announcement of manufacture returning to Gothenburg, made earlier this year, relates to a shift not from Denmark only but also from Japan. Perhaps Sony has demonstrated that superior medium-format size CMOS can be fabbed, saving costs for future generations of yet unimagined H-series bodies/backs where six 24 megapixel APS-C sensors will be stitched to create a 144 megapixel sensor measuring 47mm square!

Or perhaps Hasselblad realises that mirrorless need not mean hand-waved. They used to build waist-level cameras. How about a mirrorless waist-level, styled like a mini ‘blad and with the screen on top with a flip-up hood and magnifier?

Too much kölsch and imagination, I fear. But this certainly is strange news. A scoop for Sony – but exactly what for Hasselblad remains to be seen.

– DK

Photokina new matte box, 55-300mm

Made by Sony according to girl on photokina stand after asking bloke. But closer examination matte box/rig says Genius as the maker so pretty sure it’s third party. Similar shown on other cameras.

55-300mm SAM DT.

We were allowed to take test shots briefly with the Alpha 99 and 28-75mm SAM lens. The camera is just a little bigger than the A77 but feels much the same. The viewfinder seems slightly improved, maybe it’s just the optics used and not the OLED display – coatings or details of the assembly.

This is an ISO6400 in-camera JPEG, click it for full size. Shots with face out of focus look awful, the noise/NR on skin tones is not as good as on the dress made of flowers. Colour is excellent under tungsten with AWB, as usual.

Here’s an ISO 25600 image, same in-camera output. Not bad at all considering the ISO. In both cases, you can click on the image to get a full size version (5-6MB).

This is a 100% crop (click for full size) slightly overexposed, at iSO 400. The A99 showed a green face recognition square in this case, and focused at full f/2.8 aperture of the 28-75mm lens – sharp image core, but lots of softness glowing round it. Exposure was too generous for the dress, so I’ve cropped that out and just taken an 1800 pixel wide detail to show the quality at 400.

We were able to handle the RX1, it’s wonderfully smoothly engineered and feels great, but no pictures were allowed. They have no pre-production models able to produce an image they are happy to share. We saw a thumbrest which slots into the hot shoe (below the optical finder only, improves ergonomics; and an EVF for the RX1 –

Apart from that there was a great launch from Panasonic for a GH3 capable of 78Mbps video, waterproof, dustproof, magnesium body, new X-series lenses f/2.8 constant 24-70mm and 70-200mm equivalents; a funky new XF camera from Fuji which might appear a bit retro-consumer but actually is good to hold and use; and Samsung’s quite amazing Galaxy Camera, which has the biggest rear screen (and one of the best) ever seen plus a 21X zoom but won’t make phone calls. Yet…

-D&SK

 

Nikon's D600 – FX goes Prosumer

D600 with 24-85

Nikon announced the D600 at 5am today, confirming rumours which were beaten only by Apple’s iPhone 5 leaks for accuracy.

The 24Mp entrant seems to be part of ‘full-frame fever’ undoubtedly driven by Sony’s CMOS sensor development, pricing and more crucially, packaging the definitive 35mm format to appeal to mainstream consumers.

Despite a D3X matching resolution, the D600 is a very different sensor and package. Will this be the camera to push Nikon’s DSLR market share to over 50%?

The current DLSR line up at Nikon is quite striking, not only for capability but also the positioning, with a substantial gap between the highly-specified DX-crop D7000 and the 36Mp professional D800 bodies. The middle ground retains the D300s, almost identical in price to the D7000 but qualifying for Nikon Pro User status and now one of Nikon’s oldest DSLR bodies. The D600 fits at the upper end of that gap, with an SRP of £1955.99 in the UK for the body.

For that price, you get a tightly controlled feature set, a compact, lightweight body and sensor capabilities that exceed the state of the art just 2 years ago, when the D3X was in demand, in short supply, and retailing at over twice the D600’s figure. A quick launch-venue play suggests that the specified ISO range – peaking at 6400, rather than the D3X’s 1600 – is very usable. The body weighs only 760g, using a magnesium upper and rear body and offering similar weathersealing to the D800.

Advances in processing, video and OS make themselves felt instantly. FX and DX crop HD video recording with HDMI output for uncompressed streams and sophisticated audio monitoring, a base ISO range from 100 to 6400 extendable to 50 to 25,600, and in-body raw editing are all very compelling features regardless of resolution. The D600 manages 5.5-6fps in full-frame mode, and shoots to two UHS-1 SDHC cards.

The 100% viewfinder is bright and despite using the square, without blanking filter, window rather than the round type used on previous FX bodies seems very similar to the D800. The eyepoint may be a further slight reduction, but without detailed specifications that’s a hard one to call.

A true pentaprism is used – expected, perhaps, in a full-frame high-end body but fighting an increasing trend for electronic viewfinders.

A compact body presents a few ergonomic challenges, and Nikon have tackled the control interface with the experience you’d hope for after the clear new direction shown in the D4. Gentle slopes define the shutter release area, with joystick, function buttons and the standard buttons beside the 3.2″ screen (which features a clip-on protector). A mode wheel/drive wheel combination provides consumer-style selection of scene modes, with a drive wheel below including selection of the IR remote mode, which is supported by receivers on both the front and rear of the body as per the D7000.


Nevertheless the D600 is a consumer package. It’s a high-end one, but it carries a 1/4000th shutter, horizontal axis level only, consumer interface sockets (the compact remote/GPS port rather than the screw-in port of the pro bodies, and no PC-sync socket). Unlike the D800, the D600 has USB 2. At launch, it seemed that the WT4 wireless tethering solution was not supported, but some of the launch material suggests that it is supported, alongside the low cost WU-1b introduced specifically fort he D600.

The Android remote control application for the WU-1b (below) is already available; an iOS version will follow before the end of September 2012. It offers rather less control than Camera Control Pro, but does provide a live-view relay and release function.

That WU designation has been seen before, on the similar accessory for the determinedly consumer (and best-selling) D3200. It’s a wireless broadcast unit slightly more sophisticated than using an Eye-Fi card, and at £64 is almost a tenth of the SRP of the WT4. It sacrifices many of the camera control functions (though triggering is possible), and is mainly intended to transmit and share images via Android or iOS devices. It’s a shame that this split exists in Nikon’s line, as the WT4’s full-fat networking and storage solution is a lot for many studio photographers who would probably find the basic transfer/triggering of the WU-style units very useful on the pro bodies.

A divided path for Sony

Most Japanese camera companies have divisions, groups, and teams right down to the very last individual product. Even a single lens design may have its own small team, from R&D and design down to final assembly. What we are seeing happen in Sony right now is the result of complex competition and collaboration between several teams.

Take, for example, the new Sony 300mm f/2.8 G SSM II. You might assume this lens was mainly an Alpha division product from the former Minolta heritage, but in fact it’s been redesigned to work better with NEX and also with both consumer and professional HD video cameras from APS-C through Super-35 to full frame 35mm.

SLT/SLR system users gain with improvements like Nano AR coating (similar to new coatings introduced by Sigma, Nikon, Pentax and Canon), better MF control, and a better degree of weathersealing. It’s the complete update of the SSM motor (is it SSM II, or entire lens version II?) which provides compatibility with on-sensor PDAF and enhances CDAF, to offer the prospect of object-tracking AF during video. At £6,700 UK it needs to show major benefits to compete in the still field, but may have a market all to itself when fitted to the new NEX-VG900E full frame video camera.

It’s easy to think – ‘the first ever full frame video cam!’ but that is not the case. The Canon 5D MkII established the DSLR form as an acceptable professional video camera, and in the last three years a vast industry of shooting rigs, grips, follow focus devices, monitor screens and accessories has grown up all based on turning this video-unfriendly camera into something movie and TV crews are comfortable with.

Sony has implemented the sought-after 24 frames per second rate in all the new models just announced, not going for the European excuse of 25fps being close enough. This is to allow a so-called cinematic look, despite the fact that the movie industry has been trying to get away from 24fps just the same way as it threw off the shackles of 16 or 18fps many years before. Users want it, so they have at last provided it.

From the very start of reviewing HD capable cameras, we have emphasised the issues with audio – the *absolute* not optional need for audio fixed or adjustable manual gain control. I’ve done this for years in printed magazines. So has any other writer who ever had to use a camera with auto gain and nothing else. First Nikon (basic) then Canon (full control) and now Sony show they listened, if slowly and relunctantly, to something their own audio engineers would have told them was vital not a luxury.

End result – Sony enters the mainstream for HD video shooting with the Alpha and NEX systems.

The same technologies, in terms of sensor use and implementation of optical advances linked to Phase-Detection On Sensor (which I’ll call PDOS), now apply across the entire range of Sony digital imaging products from Handycam, through Cyber-Shot, through NEX, to Alpha. The Cyber-shot range is only missing an APS-C model.

What is particularly interesting is that this divided path is a parallel path now and not a divergent one. There’s no question of one straight and narrow path leading to heaven, one broad and easy road to hell, and winding ferny way to faery. Instead we get a four-lane highway joining Sony present to Sony future, with every option to change lane if you want to overtake.

Legacy and inheritance planning

Sony acquired a lot of old Minolta tech as a dowry in the 206 marriage to the Alpha system. Now having invested that legacy they have to make sure it still has value for future generations.

And example of what this really means can be found in the PDOS restrictions of the A99. The AF-D mode won’t work with some lenses, yet. For example – the 16mm f/2.8 fisheye, the 20mm f/2.8, the 16-35mm CZ f/2.8 zoom, any Konica Minolta zoom, any old Minolta AF system lens, the 35mm f/1.4, the 85mm f/1.4 CZ and G, the 135mm f/1.8 CZ and f/2.8 STF, the 200mm f/4 Apo G Macro, the 24-105mm D, any macro lens, the 400mm f/4.5, 600mm f/4, 200mm f/2.8 or the 300mm f/2.8 G SSM (pre-II). It is not even flagged as working with the 30mm f/2.8 SAM macro, 35mm f/1.8, 50mm f/1.8, 85mm f/1.8 or the 24mm f/2 Carl Zeiss SSM ZA. Or the 70-300mm G SSM, let alone the basic 75-300mm SAL.

It will only work with the 24-70mm f/2.8 CZ, the 28-75mm f/2.8 SAM, the 50mm f/1.4 current design, the 70-200mm f/2.8 SSM, the new 300mm f/2.8 G SSM II, 70-400mm f/4-5.6 G SSM and the new 500mm f/4 G SSM. Sony’s firmware requires that the user enter the focusing range involved. This is put forward as an advantage – making the system less likely to focus on a fence instead of the view through it – but in fact it’s an integral part of PDOS. Each of the 102 focus points spread across the sensor* is not a single pixel-pair, it’s a cluster of several pixel pairs tightly grouped. There may be the minimum of three differently pitched PDOS points per location, or perhaps more, to cope with the wide range of exit pupil conditions encountered when using Alpha-mount lenes.

For any one lens, the camera will need to know the broad focus range involved (hopefully the main PDAF array will normally provide this), the aperture at which focusing is taking place, and some further information about how the zoom or lens design influences the exit ray cone. From this, it will select the correct PDOS configuration and I think that for some lenses only a central zone will be active.

Sony states that firmware updates will add further lenses, but this technology only requires some relatively simple information based on the optical design. If they could have added more lenses from the start, they would have. Watch this space, because it may remain more of an empty space than you hope for.

* Sony imply that the PDOS area is large – actually it’s about 13mm square, within the APS-C zone, and does not extend towards the ends of the full frame much further than the cluster of regular PDAF points. These seem to be the same module as the A77, giving the A99 an AF ‘zone’ much smaller relative to its frame.

Zones and maps

The Alpha 99 also introduces something which almost has to happen if any of the above is going to work at all. Anti-aliasing filters do not have an even effect on sensors, especially full frame with wider angle lenses where the rear nodal point of the lens is relatively close. Geometry means that light passes through them at more of an angle towards the edges and corners, and there is therefore more distance between AA filter and sensor surface. With an AA filter having a single value diffraction-created diffusion of the image-forming light (aka blurring), the effect gets stronger as you move away from the centre (axis).

Since most lenses are also sharper in the centre and typical sensor microlenses are not ‘tuned’ from centre to edge, the overall result is to emphasise fall-off from centre to edge. Secondary results include a dramatic tendency for bright sources imaged in the extreme corners to have a strong, directional, surrounding glare. This is boosted by internal multiple reflection between the sensor surface and the inner face of the AA filter, especially if the incident rays are at 40° or less to the focal plane (where on-axis rays are described as being at 90°).

The best solution to this is the classic one – what Olympus called telecentric lens design, where you do your best to project the image on to the sensor from a relatively distant position keeping all rays, centre to edge, as close to 90° as possible. But that calls for new lens designs and also restricts the optical formulae, tending to produce much larger heavier lenses. It’s very practical on one-inch or smaller sensors, OK on MicroFourThirds, feasible for NEX but not much an option for a full-frame coverage.

So, Sony has introduced an AA filter which they describe as ‘multi-segment lo-pass’. It’s not one strength across the entire frame, but divided or graded to optimise performance towards the corners. At the same time, they have introduced a similar zoning to noise reduction, which we assume to mean the NR applies to the raw output before a raw file is saved. Combined with the usual sensor mapping, and lens profile based vignetting compensation, the overall effect of these refinements should be to:

  • Even out the apparent resolution and image acutance across the frame
  • Reduce the mapped peripheral gain effect, under which images appear to be noisier at the edges unless natural vignetting is allowed to be present
  • Remove artefacts such as corner streaking or softening, and fringes or flare from light sources towards the extremes

No doubt this is also combined with the detailed ‘repair’ function used to deal with PDOS. More on this later, as there’s an implication that the PDOS on the A99 is not the same as that on the NEX-5R or NEX-6, and may use a second layer of pixels leaving all 24.3 megapixels of the imaging layer untouched.

The area-specific NR is probably essential to achieve the high ISO range at 14-bit conversion, though it’s not unusual for cameras at this level which claim 14-bit conversion to have a variable true bit depth depending on ISO, image style and exposure conditions. We can assume that 14-bit will only be fully utilised under ideal conditions at ISO 100.

Exactly how Sony has managed to adjust AA values in ‘segments’ without visible transitions, we’ll have to find out. The same goes for NR.

The missing NEX-9

There is one camera absent from the September 12th launch – the 24 megapixel full frame NEX-9. The appearance of the HD video Handycam, NEX-VG900E, indicates that the model name for the full frame 24 megapixel NEX will be NEX-9. Images of the VG900 show it using an Alpha via the standard LA-EA2 adaptor, and we can be sure that this and not a special range of E-mount full frame lenses (almost pointless) will be how the NEX-9 takes A-mount glass.

In the meantime, the NEX-6 appears to be perfectly pitched in price, but see my comment below about GPS.

The missing GPS

While the A99 has GPS, we’re still left with no NEX model yet featuring GPS despite these being the ideal travel and walking companion. Nor is there a current SLT model with 16 megapixels and GPS, as the Alpha 55 replacement doesn’t have it and the ‘baby’ A77, the A65, is a 24 megapixel again. The Cyber-shot RX100 and RX1 models also don’t have GPS. Whether or not the new hot shoe will allow an add-on GPS remains to be seen.

The new 50mm f/1.4 SSM Carl Zeiss T* Planar

Whatever you think of Minolta glass, or new Sony glass, the Carl Zeiss name on a lens is a huge draw. Reactions to the otherwise rather pedestrian DSC-RX1 prove this. People will put up with being back in 1972 – the era of cameras like the Minolta Hi-Matics with fixed 40mm f/1.7 and similar Gauss design lenses of very high quality – if only it means getting rid of poor quality digital images. There was a time when you couldn’t sell a 50mm standard lens with a camera, and there was a time before that when every system was judged initially on the quality of its 50mm choices. We may be returning to that way of thinking.

Edit – at the 2006 launch of the Alpha 100, a 50mm f/1.4 CZ was briefly shown in Paul Genge’s presentation to UK/English language journalists. I did not report on this as none of the literature confirmed what we saw on the Powerpoint screen. I believe this lens has been planned for six years.

Flash

The new HVL-F60AM flash with rather weak video light and new hot shoe might seem an annoying departure, but remember, the A99 has no built-in flash and thus can not control wireless remotes without a commander. No HVL-F20AM style mini flash has been previewed, so the F60AM is the only commander. But your old flash will work fine off-camera controlled by your new one.

Parked on the hard shoulder

So, having looked at the four way road map for Sony, I must confess that I’m pulling into a rest area for a while. I did not sell my Alpha 900 or Alpha 77, and I’m glad I didn’t. Nor did I sell my 24mm f/2 even though it has been little used for a few months. It has been waiting for a 36 megapixel full-framer, which makes a 24mm a much better all-round lens because of the croppable image size.

I’m not one of those photographers obsessed by bokeh or the need to throw parts of my picture into extreme defocus. At 24 megapixels, APS-C is already seriously short of depth of field even at optimum apertures like f/9. I’m more likely to spend my money on a Samyang 24mm f/3.5 full frame tilt-shift lens to use with both the A900 and A77 than to invest in an A99. I have no use for a revised 300mm f/2.8, especially on full frame where it seems to me now to be a very conservative focal length, and though I’m sure a 50mm CZ will be wonderful I have no complaints about my Minolta-design Sony 50mm f/1.4. I do shoot video, but rarely in conditions which demand that I use full frame, and if Sony don’t put manual audio control into older models via a firmware fix, I’ll just buy a Canon 600D.

The price of the Alpha 99 is not as bad as people suggest, with UK stories launching it at £2082+VAT, or $3200. But I’ve got a very good quality pure still camera in the Alpha 900, with effectively noise-free imaging from ISO 100 to 320, excellent battery life and exactly the same maximum image size offered by the 99.

I think I’m in the market for the NEX-6 body but I do not care in the slightest about the WiFi aspect, or the downloadable apps. If the new remote control can actually trigger and end video shooting with the A77, NEX-5n (etc) I’ll definitely buy one. The RX1 is not for me either – had it been fitted with a 17mm, 20mm or even a conservative 24mm then it would have followed in the footsteps of the great wide-angle cameras I have worked with over the years from the Brooks Veriwide through the Plaubel 55W to Hasselblad SWC and Fujfilm G645SW. I would not even mind a separate optical finder for that, much; I was used to it!

Things we forget

The industry has put a huge effort into autofocus solutions ideal for interchangeable lenses and zooms, and apparently set aside the idea of external AF modules for good. With a fixed lens like the RX1, an AF module not working through the camera lens itself is a practical idea and could be far faster. We have also forgotten about those twin-lens compacts, with a switch to go from 35mm to 65mm (or whatever). Small sensor sizes, new lens design and ideas could make that concept work again.

The story of development for all types of camera is not over as there are old ideas to be revisited, and new ideas yet to come.

See B&H news on all the latest Sony stuff

– David Kilpatrick

NEX-6 shown with 10-18mm f/4 OSS lens

The NEX-6 compact system camera from Sony puts DSLR power in your pocket
 

  • DSLR-quality images and Full HD video, from newly-developed large 16.1 effective megapixel Exmor APS HD CMOS sensor plus high sensitivity up to ISO 25600
  • New Fast Hybrid AF for optimal fast and precise autofocus in any situation; DSLR-like AF tracking for shooting at up to 10 fps
  • High-resolution XGA OLED Tru-Finder™
  • Intuitive DSLR-style operation with dual dials and Quick Navi interface
  • Download new features through built-in Wi-Fi with PlayMemories Camera Apps TM , the world’s first application download service*
  • Built-in flash and new Multi Interface Shoe

Editor’s note: no picture of the camera with the new 16-50mm collapsible lens shows the lens in any useful position, or from an informative angle, only head-on, as issued by Sony this morning. The image above shows the new 10-18mm wide angle zoom, a 15-27mm equivalent, with a constant f/4 aperture and the welcome inclusion of optical image stabilisation.

* For interchangeable-lens digital cameras as of August 2012

Step up to an imaging experience that’s in a class of its own. The new NEX-6 compact system camera from Sony packs the imaging power, shooting responses, handling and operability of a DSLR into a pocket-sized mirrorless camera.

Partnered with the growing range of E-mount interchangeable lenses, the NEX-6 appeals to committed DSLR users who need to travel light without compromising picture quality. Offering big-sensor picture performance in a compact body, the new camera also makes an ideal option for step-up photographers looking to significantly expand their creative options.

The NEX-6 shares many imaging innovations with the newly-announced NEX-5R – from a responsive Fast Hybrid AF system to Wi-Fi connectivity and downloadable Camera Apps.

Crafted with discerning photographers in mind, the new camera also features the same precision electronic viewfinder and DSLR-style ergonomics found on the flagship NEX-7.

The large Exmor APS HD CMOS sensor inside the NEX-6 offers 16.1 effective megapixels for true DSLR-quality images and detail-packed Full HD video. It’s teamed with the powerful BIONZ image processor that ensures flawless, low-noise images – even when you’re shooting dimly-lit interiors at extended sensitivity settings up to ISO 25600.

Similar to the recently-announced NEX-5R, the NEX-6 features an innovative new Fast Hybrid AF system that combines phase- and contrast-detection autofocus methods to suit virtually any shooting situation. Phase-detection AF that quickly analyses subject distance is complemented by contrast-detection AF to confirm extremely fine focus. In Speed Priority mode, the NEX-5R switches automatically to pure phase-detection tracking AF. You’ll enjoy DSLR-like focusing responses when you’re capturing fast-moving action with high-speed burst shooting at up to 10 frames per second.

From launch, Fast Hybrid AF is supported with these lenses: E 18-55mm F3.5-5.6 OSS; E 55-210mm F4.5-6.3 OSS; E 18-200mm F3.5-6.3 OSS; E 24mm F1.8 ZA Sonnar T*; E PZ 16-50mm F3.5-5.6 OSS. Firmware upgrades will steadily expand the range of lenses offering Fast Hybrid AF support.

As with the NEX-7, the NEX-6 features an XGA OLED Tru-Finder™ for precision framing and focusing. This acclaimed electronic viewfinder gives a bright, detail-packed, high contrast view of still images and video, with 100% frame coverage and a wide field of view to rival pro-grade optical viewfinders. On-screen grid lines and a digital level gauge can be displayed to assist with accurate framing.

The OLED Tru-Finder™ is complemented by a 7.5 cm (3.0″) Xtra Fine LCD that can be angled up to 90° up or 45° down (approx.) for easy viewing in virtually any shooting position. The LCD screen assures superb detail and contrast with significantly reduced on-screen reflections, aiding composition when you’re shooting outdoors or in direct light.

Despite its compact body dimensions, the NEX-6 offers instantly reassuring operation for DSLR enthusiasts. A strategically-positioned mode dial on top of the camera allows quick setting of shooting modes – including P/A/S/M and Sweep Panorama – just as you’d expect on much larger interchangeable lens cameras. It’s joined by a control dial located under the mode dial, plus a separate control wheel on the camera back for fine adjustments of exposure, ISO, white balance and other settings.

Also inherited from high-end A-mount cameras by Sony, the pro-focused Quick Navi interface allows fingertip adjustment of settings without taking the viewfinder away from your eye.

Full HD movie shooting is enhanced with a new Auto Slow Shutter feature that adds extra sparkle to low-light clips. The NEX-6 detects dim interiors and night scenes, automatically switching to a slower shutter speed to brighten up your footage.

Shared with the NEX-5R, integrated Wi-Fi allows simple wireless photo and video transfers to various smartphones or tablets running the free PlayMemories Mobile app. Images can also be transferred wirelessly to a networked PC, or viewed wirelessly on any DLNA-compatible TV.

As also featured on the NEX-5R, PlayMemories Camera Apps expands the capabilities of the NEX-6 as your shooting needs evolve. Just connect the camera to your PC via Wi-Fi or USB. Then log in to your Sony Entertainment Network (SEN) account and explore the world’s first download service1 that lets you install new functions on demand. From launch, available apps include Picture Effect+; Bracket Pro; Multi-Frame NR; Smart Remote Control and Direct Upload. Sony also plans to introduce further apps such as Photo Retouch, followed by Time-Lapse and Cinematic Photo.

Alongside a handy pop-up flash, there’s a versatile new Multi Interface Shoe that’s capable of ‘intelligent’ linkage with various accessories.

New interchangeable lenses for E-mount cameras

The choice of interchangeable lenses for E-mount cameras by Sony grows with three additional models.

The SELP1650 is an extremely light, compact 16-50mm F3.5-5.6 powered zoom lens with Optical SteadyShot image stabilisation built-in for clearer handheld images. The lens body measures just 29.9mm when fully retracted, making the SELP1650 an ideal travel companion. There’s also a dual-function ring that controls both power zoom and manual focus, depending on operating mode. With the camera set to AF the control ring adjusts smooth, high-speed zoom with small hand movements. With the camera in MF mode, the ring controls manual focus. Smooth power zoom makes the lens particularly suitable for video shooting.

The SEL35F18 is a fast 35mm prime / fixed focal length lens with a bright maximum aperture of F1.8 and Optical SteadyShot built in. It offers excellent optical sharpness and clarity as well as bokeh effect– whether you’re shooting portraits, street scenes or Full HD video. Featuring a new exterior design, the lens is easy to handle and light to carry.

Adopting the super ED (Extra-low Dispersion) glass which reduces colour aberration, the SEL1018 is a super-wide angle zoom with a maximum aperture of F4 right across its 10-18mm range and Optical SteadyShot image stabilisation inside. Ideal for landscapes and interiors, it’s also capable of producing dramatic perspective effects at its widest setting.

New accessories for NEX-6

Crafted in genuine leather, the LCS-ELC6 Soft Carrying Case combines a stylish body case and lens jacket. Styled exclusively for the NEX-6, it’s suitable for use with the camera and attached SELP1650 or SEL16F28 lens. The camera’s LCD screen can be tilted even when body case is attached; tripod attachment is also possible with the case attached.

The LCS-EJA Soft Carrying Case can be used for all α E-mount cameras, and is ideal for use with the new SELP1650 or SEL16F28 lens attached. Internal pockets offer space to store the front lens cap and a spare memory card.

For further details of the full range of lenses and accessories, please visit: www.sony.co.uk/hub/nex-compact-camera-system/accessories

The new NEX-6 compact system camera with interchangeable lenses is available in the UK from mid-November 2012.

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.

NEX-VG900E full frame HD video – full info

Sony introduces first 35mm full-frame Handycam®
 
NEX-VG900E interchangeable lens Full HD camcorder
 

  • 24.3 effective megapixel Exmor full-frame CMOS sensor
  • Compatible with full-frame A-mount lenses via supplied adaptor (also compatible with growing range of E-mount lenses)
  • Full HD 50p/25p/24p progressive movie recording
  • Extensive manual controls and ‘seesaw’ zoom lever
  • Quad Capsule Spatial Array Microphone for high-quality stereo and 5.1ch sound
  • High contrast XGA OLED Tru-Finder
  • 7.5 cm (3.0”) XtraFine touch panel LCD

Video makers can embrace the limitless expressive power of full-frame imaging with the new Handycam® NEX-VG900E E-mount interchangeable lens Full HD camcorder from Sony.

It’s joined by the Handycam® NEX-VG30E that builds on the success of the NEX-VG20E, sharing the same APS-C image sensor as its predecessor while adding several enhancements.

Handycam® NEX-VG900E

Offering supreme imaging quality and generous creative options, it’s the first Handycam® with a 35mm sensor to fully exploit the artistic potential of interchangeable lenses by Sony and Carl Zeiss.

With a resolution of 24.3 effective megapixels, the Sony-developed Exmor CMOS sensor inside the NEX-VG900E is around 40 times larger than the equivalent in ordinary consumer camcorders. It’s also more than twice the size of the APS-C sized sensor found in other interchangeable lens Handycam® models.

As well as permitting beautiful ‘bokeh’ (defocus) effects with the growing range of α lenses, its high sensitivity assures extremely clear, low-noise images. The large sensor size assures effortless reproduction of the finest tonal gradations, helping the most demanding cinematographer fully realise their creative vision.

The sensor also allows the NEX-VG900E to shoot full-frame 24.0 effective megapixel still photos, with all the quality you’d expect from a pro-class DSLR camera. Still images can be shot in RAW format for total post-processing freedom.

Beautiful, film-like results can be achieved by shooting video in 25p/24p progressive mode, with Cinema Tone Gamma™ and Cinema Tone Colour™ offering precise control over cinematic colour grading effects. AVCHD version 2.0 standard 50p recording is additionally supported, maximising the range of creative options for movie-makers to explore. Even greater flexibility is provided by a choice of new Picture Effect modes, enabling easy creation of artistic ‘in-camera’ treatments whether you’re shooting HD video or stills.

Video shooting is further enhanced by a ‘seesaw’ lever that allows smooth, polished electronic zoom control. The lever adjusts optical zoom when using compatible E-mount lenses that feature built-in zoom drive. The lever controls electronic zoom when using the camcorder with fixed focal lenses for impressive creative results.

As an extra refinement, the NEX-VG900E switches automatically from full-frame operation to APS-C mode when an E-mount or A-mount DT lens is attached. This allows users to get the most out of their collection of DT lenses that are optimised for cameras with a smaller APS-C image sensor.

The camcorder also comes supplied with the LA-EA3 adaptor that lets photographers use full-frame A-mount DSLR lenses at their designated focal length.

There’s a generous palette of control options and manual settings to satisfy the demanding video enthusiast. Aperture priority, shutter speed priority or manual exposure, are all selectable and white balance can be adjusted manually to suit the demands of any scene. Iris, shutter speed, and gain adjustments can be easily made via logically-positioned direct access keys. Accurate manual focusing is assisted by the camcorder’s pro-style display peaking function, complemented by a one-touch focus magnification button on the top of the grip.

Serious videographers will welcome the detail-packed XGA OLED Tru-Finder that offers high-contrast image monitoring with superbly natural colour rendition. Complementing the Tru-Finder, there’s an adjustable XtraFine touch-panel LCD monitor, with Sony’s unique technology for high contrast images with rich, deep blacks.

High-quality audio is a crucial part of the HD video experience with the NEX-VG900E. A unique Quad Capsule Spatial Array Microphone features four omnidirectional capsules that can be switched for stereo or 5.1ch surround recording. Recording levels are adjustable, with accurate visual confirmation provided by an audio level meter on the LCD display. There’s also a headphone jack for direct monitoring of sounds being recorded.

The new Multi Interface Shoe provides compatibility with accessories including the optional XLR-K1M adaptor kit that adds a high-quality mono shotgun mic and pro-standard XLR connections.

Handycam® NEX-VG30EH/VG30E

Sharing many of the pro-oriented enhancements of the NEX-VG900E, the Handycam® NEX-VG30E succeeds the acclaimed NEX-VG20E. With a resolution of 16.1 effective megapixels, the new camcorder’s Exmor™ APS HD CMOS sensor assures outstanding image quality with the range of interchangeable E-mount lenses.

Like the NEX-VG900E, it’s possible to shoot smooth, cinematic Full HD video footage at either 50p, 25p or 24p (progressive) frame rates, supported by a palette of artistic Picture Effect modes.

The NEX-VG30E also features the same XGA OLED Tru-Finder, comprehensive manual controls and ‘seesaw’ style zoom lever as the NEX-VG900E.

The NEX-VG30EH comes supplied as a kit with the new E PZ (Power Zoom) 18-200mm F3.5-6.3 OSS (Optical SteadyShot) lens that provides a versatile range from wide angle to telephoto. Offering smooth, quiet AF operation and Optical SteadyShot image stabilisation, the lens also features an additional ‘seesaw’ lever on the barrel for smooth, professional-style zoom control with adjustable speeds.

The Handycam® NEX-VG900E and NEX-VG30E camcorders from Sony are available in the UK from November and December respectively.

Cyber-shot DSC-RX1 full information

Cyber-shot™ DSC-RX1 from Sony is world’s first1 compact camera with 35mm full-frame 24.3 effective megapixel sensor
 

  • Full-frame imaging from a compact camera that’s drastically smaller and lighter than any full-frame DSLR
  • Exmor™ CMOS sensor with approximately 24.3 effective megapixels for flawless, detail-packed photos and Full HD video
  • Carl Zeiss Sonnar T* 35mm F2 prime lens; with Macro mode for 20cm minimum focusing distance
  • Extremely wide sensitivity range from ISO 100 – 25600
  • Intuitive manual controls with aperture and focus rings
  • New Multi Interface Shoe compatible with optional flash, electronic viewfinder, optical viewfinder etc.

The extraordinary new Cyber-shot™ DSC-RX1 from Sony offers photo enthusiasts the chance to explore the creative possibilities of full-frame imaging with a compact digital camera that fits easily in the palm of your hand.

At just 482g (with battery and memory card), it packs a 35mm full-frame sensor and wide aperture F2 fixed-focal lens into a camera body that’s perfectly proportioned for travel and street photography as well as portraits and day-to-day shooting.

Far smaller and lighter than any full-frame DSLR, the Cyber-shot™ RX1 offers superb imaging quality that’s previously been the domain of high-end professional DSLR cameras. The unified lens/body design assures razor-sharp alignment of the sensor and optical components, bringing out the full potential of the lens to deliver unprecedented image quality, right to the very edges of each frame. Full manual control options are complemented by effortlessly intuitive operation, making it easy for enthusiasts to realise their creative vision without sacrificing portability or operating comfort.

In a world first1 for digital compact cameras, the Cyber-shot™ RX1 features a 35mm full-frame Exmor CMOS sensor. With a resolution of 24.3 effective megapixels, it’s over twice the area of the APS-C sensor inside much bulkier DSLR cameras. Capable of resolving the finest image details and subtle textures, the full-frame sensor assures absolute fidelity, rich colours and an impressively broad dynamic range.

The large sensor size also helps boost the camera’s sensitivity range to a generous ISO 100 – 25600. Sensitivity can be adjusted as low as ISO 50 in expanded mode2. Similarly, ISO settings as high as 102400 can be achieved using Multi Frame Noise Reduction, allowing the Cyber-shot™ RX1 to capture natural, low noise handheld images in near-dark conditions without needing flash.

Complementing the full-frame sensor is a fast, bright Carl Zeiss Sonnar T* lens with a fixed focal length of 35mm – a versatile choice for portraits, street photography and everyday shooting. Derived from the German word “Sonne” (“sun”), the Sonnar name reflects the ability of the lens to capture as much light as possible. This premium lens features newly designed optics including an Advanced Aspherical (AA) glass element which contributes to the camera’s extremely compact palm-sized dimensions without sacrificing optical performance.

The lens’s wide F2 maximum aperture and 9-bladed circular aperture enable beautiful ‘bokeh’ (defocus) effects to rival professional-class DSLR camera lenses. A Macro switching ring on the lens barrel instantly shortens minimum focusing distance to just 20cm (from image plane), making the Cyber-shot™ RX1 ideal for capturing small close-up subjects with exquisite detail.

Data from the Exmor CMOS sensor is handled by the evolved BIONZ engine that also powers full-resolution burst shooting at up to 5 frames per second. The BIONZ processor can output image data in 14-bit RAW format, giving advanced users immense freedom over developing, post-processing and managing RAW files to match their personal creative vision.

Despite the camera’s extraordinarily compact dimensions, photographers are offered a virtually limitless palette of options for creative expression. The Cyber-shot™ RX1 also offers a full range of manual control modes, just as you’d expect from a no-compromise DSLR camera.

Dedicated lens rings allow fingertip control of focus and aperture, while a DSLR-style Focus mode dial on the front of the camera allows easy switching between focus modes. Top-mounted exposure compensation and mode dials are ergonomically placed for easy operation, while custom function and AEL buttons fall comfortably to hand without interrupting your creative flow.

Accessed via the camera’s pro-style control dial and cross keys, Quick Navi mode allows fast, intuitive adjustment of camera settings which is ideal when using the camera with an optional viewfinder. In addition, the camera also features a memory recall (MR) mode that allows storage and instant recall of up to 3 sets of camera settings.

Other refinements include a MF Assist function that magnifies a portion of your image to simplify fine focus adjustments. There’s also a pro-style peaking function that highlights sharply-focused areas of the image on screen – adding the optional FDA-EV1MK electronic viewfinder kit allows even greater manual focusing precision.

Pixel Super Resolution Technology allows magnification of image size without sacrificing pixel count, maintaining far higher quality than achievable with conventional digital zoom. The camera also features a Smart Teleconverter function that crops a central portion of the image sensor, boosting effective magnification by 1.4x or 2x. Thanks to the full-frame sensor’s extremely high pixel count, even zoomed and cropped images maintain generous amounts of fine detail when blown up at large print sizes.

In addition to flawless stills, the Cyber-shot™ RX1 can capture high-quality, low-noise Full HD movie footage at a choice of 50p/60p or 25p/24p (progressive) frame rates. 24p recording enables the Cyber-shot RX1 to transform everyday scenes into film-like movies, making it easy to record beautifully atmospheric video in very low lighting. The camera also provides a full complement of PASM exposure modes to give photographers absolute creative flexibility during video shooting.

Artistically ambitious photographers can even fine-tune images with a choice of 13 Creative Styles, plus a wide range of inspiring ‘PC-free’ Picture Effect treatments. Furthermore, wider compositional possibilities are offered by Auto HDR and D-Range Optimiser, bracket shooting (Exposure, DRO or White Balance) and Auto HDR shooting modes. The camera even offers a Digital Level Gauge that indicates camera pitch and camera roll on the LCD screen for straight, even horizons and architectural shots.

Shooting possibilities for stills and video are broadened by the camera’s Multi Interface Shoe3 that accepts a growing range of accessories. Options include a powerful flash, electronic viewfinder, optical viewfinder, clip-on LCD monitor. Also available are a high-quality jacket case, lens hood and thumb grip for sure, comfortable handling.

Learn more about official accessories by Sony for the Cyber-shot™ RX1 here:

www.sony.co.uk/hub/cyber-shot-digital-cameras/accessories

The Cyber-shot™ RX1 also comes preinstalled with PlayMemories Home (Lite Edition) software, allowing easy image transfers to a PC for managing, editing and printing. Available for free download, a full version of PlayMemories Home adds movie editing and disc burning.

Also available as a free download, PlayMemories Studio allows game-like editing of photos and videos on PlayStation®3. Images can be shared easily via PlayMemories Online, the cloud-based sharing service from Sony that simplifies ‘any time, any place’ viewing on a wide range of connected devices.

The new Cyber-shot™ RX1 full-frame digital compact camera from Sony is available in Europe from December 2012.

1 Among compact digital still cameras. According to Sony research, as of September 12, 2012.

2 Recordable dynamic range is reduced at sensitivity levels below ISO100.

3 The Cyber-shot™ RX1 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 is 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.

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