News - Cameracraft

Lenses For Hire (UK) adds Sony FE range

Posted on May 3, 2018 By David Kilpatrick

Sony reaches a Hire level

Sony full-frame mirrorless system owners keen to find out how good the fast Sony GM lenses are can now hire from Lenses For Hire for as little as £69. The hire service has been evaluating the demand and quality of the Sony offering, and recently decided to add the system alongside their regular Canon and Nikon professional stock.

A three-day shoot with the 24-70mm f/2.8 FE GM OSS, delivered on a Thursday and picked up on the Monday by courier, would cost under £100 including insurance and carriage both ways and only £69 direct from the Maidenhead hire specialists.

System lenses stocked include the new 12-24mm f/4 G, 16-35mm f/2.8 GM, 24-105mm G OSS, 90mm f/21.8 OSS macro, 70-20mm f/2.8 GM OSS, new GM 100-400mm f/4.5-5.6 OSS and the versatile travel-friendly 24-240mm.

Tele converters, the latest Metabones Mark V Canon EF adaptor and accessories are offered. Sony A7II, A7RIII, A7SII and A9 bodies can be hired from £94.

With GM lenses costing from £2,269 upwards an affordable hire period helps you make the right buying decision, saves you money and gives you the best choice for your work.

Contact:

Lenses For Hire Ltd

www.lensesforhire.co.uk

[email protected]

+44(0)1628 639941 – or UK only 0800 61 272 61

Lenses - E mount, News, NEX System

Sony A7RIII – more than a skin deep upgrade

Posted on October 26, 2017 By David Kilpatrick

With a body-only price of £3,199/$3,198, the third generation of the A7R came as a surprise to Sony’s own photo studio, who labelled most of the product pictures release on Wednesday as ‘A7RM2’ instead of ‘A7RIII’. We’ve changed the filenames on our system, but countless mediafolk of the future will be confused. They do after all look similar.

In fact the new 24-105mm f/4 G OSS lens was released with pictures of it on the A7RIII, above, and also on the A9 below. With the A7RIII having a 10fps 42 megapixel motordrive capability, thanks to an improved LSI and new processing engine reading off much faster from the 42 megapixel back-illuminated CMOS sensor, you might have expected economies of scale to have given it the same Dynax 7D-like left hand end drive mode physical dial like the A9, below – especially as the A7RIII has an additional drive-type mode, a four-shot sensor shift to capture 169 megapixels of image data.

This involves shifting by one pixel in four positions, and does not create a 4X size, 2X linear pixel count file. You can only get that by shifting half a pixel as Olympus do. The Pentax sensor shift high-res mode shifts by one pixel, and it does not increase the image dimensions, only the sharpness and colour information for each pixel location (making the image similar to a Sigma dp Quattro file in fine detail resolution). The Sony implementation also appears to need almost half a second between each of the four subframes, requiring a tripod and roughly 2 seconds of capture time. Sony’s proven multishot processing will certainly be able to remove any problems with movement of parts of the subject during this time, but it has to be done in the computer, using the new software suite.

Some commentators have assumed that the 169 megapixel four-shot file means large dimensions, effectively a 169 megapixel resolution full frame, the same way Olympus gets high megapixel files. But the pre-release information clearly indicates it’s a Pentax-type mode – here’s from the wording provided to dealers by Sony:

“You can then stitch the images together to create an image with fewer artifacts and a truer range of colours”.

I tested that on the Pentax K-1 and concluded it was not worth the effort. Regular normal 42 megapixel AA-free shots on a top grade lens are all you need. I’ll repeat that bit about top grade lens.

The A7RIII also has a new shutter mechanism which reduces shock, improving the SteadyShot performance, though still 30s to 1/8,000s as before. The sensor gains a new anti-reflective coating and there will be many ‘under the hood’ improvements because that’s what happens. There may also be teething troubles and newly introduced problems, because that also happens. However I’d say early buyers run less risk with this third generation A7R than they did with the predecessors, or indeed with the A6500.

But we’ll leave you with the 9 for comparison. Most else that matters is the same, like for example the Memory registers – only two on the A7RII, but three on the A7RIII. It will remember more things, like Setting Effect OFF/ON, and that is just as well because the III puts a DSLR-like feature on its left hand end, a threaded coaxial Prontor-Compur (PC) flash synchronisation terminal (below). Let’s just hope that the circuitry inside is well isolated, as one of my vintage flash units destroyed the Godox X1-T which I use both to get Setting Effect OFF and isolation from high trigger voltages on my A7RII.

Study this left end for a bit. It does have phantom power for the 2.5mm mic jack, but the earphone output has been moved so that two doors must now be opened at once to use both together. And there’s something missing.

The A7RII has a screw socket next to the neatly paired mic/headphone jacks, which allows a custom made tether clamp assembly (supplied with the camera, seen above) to hold HDMI and USB cables with clamped protection looping. You’ll need some extra Tether Tools kit to safeguard the connectors on the MkIII. There is now a USB-C/3 Super Speed connector as well as a USB-Micro Multifunction, and Micro HDMI. But no provided security of a tether clamp.

The back of the camera has much the same screen, but with improvements to resolution and daylight visibility – still no twist and turn, or reversing to face the camera back and protect the LCD. The rear button layout is revised, with movie button located near the viewfinder (well, if Canon does it, it can’t be wrong, can it?) and the switching AF/AE Lock/Toggle/Hold button replaced by an AF-ON and separate AEL, with C3 moved to the left end. Where the movie button used to be you’ll notice a catch for the weathersealed door which covers TWO SD card slots, one UHS-II enabled (more broken bits of card contact septum to lose inside your slot!). Changes to the movie mode using the main shutter release make the use of the red button less essential.

You can assign those cards the usual ways, to make copies on card 2 of card 1 as you shoot, just in case one fails (the most important use for wedding photographers) and also to use sequentially (overflow into card 2, liked by action photographers), or split RAW and JPEG, or still and video.

This is the new lens, 24-105mm f/4, and it will probably be very good. It has 77mm filters so I think I’ll stick with the A6500 for travelling, as the little CZ 16-70mm f/4 which is the direct equivalent of this is tiny by comparison and uses neat 55mm filters. Despite some reports to the contrary, I’ve found it to be a good lens, sharp across the frame at 70mm wide open, though prone to flare.

The top shows that the strictly amateur ‘SCENE’ position of the mode dial has been replaced by S&Q. I look forward to finding out what this means – probably much the same* *Gary Friedman has provided the answer in Comments – it’s a slo-mo/fast-mo video mode which is of no interest to me personally, but might fascinate messers around with short video clips for YouTube, even if their smartphones do it better. Green auto survives, as not all owners will be experienced photographers, some will just be wealthy camera buyers and this setting will be where they leave it.

The published specs were vague about Bluetooth, used for GPS tagging from a smartphone – I’m told US Sony Store specifications clearly state it does have. The A6500 and A9 both do, and can therefore use the Sony mobile phone function for live geotagging of pictures as you take them, using information read at the moment of capture from your nearby smartphone. We’ve also seen reports saying the A7RIII does not use Apps but that seems very unlikely.

There are also improvements claimed for dynamic range, with the figure of 15 stops mentioned. This would actually need a 16-bit A to D conversion internally followed by compression to a virtual 15-bit range (via a tone curve) saved in the 14-bit uncompressed raw .ARW format. A 14-bit raw format is now offered for all shooting modes including high speed continuous, which on the A7RII means automatic stepdown to 12-bit. The ISO range is extended to 32,000 before Hi expansion up to 104,200 and goes down to 100 native with Lo down to 50. One benefit of an effective 15-stop range will be that ISO 50 should have 14 stops, or as much highlight data as ISO 100 on the MkII.

The extra effective bit depth also pays off when using the S-Log3 and Hybrid-Gamma HDR video settings. This brings Sony professional video camera standards into a primarily still camera for the first time (better than the video-targeted A7SII, and the A9).

Sony claim improved skin tones too, though compared to what is a bit of a worry. Many people like Canon skin tones, I think they are like a 1970s USA colour portrait and that Sony’s skin colours have always been more natural. Others disagree and want the pinker, less yellow, face tones.

The A7RIII uses the new larger battery with its 2.7X capacity, introduced in the A9. I rather like the way my current Sony cameras share one rather underpowered battery type, but at least a bagful of batteries covers A56500, A7RII, RX10. There are not many different battery types, as we could find with our Olympus kit (check E-M1, E-M1 MkII, E-M5, E-M5MkII, E-M10, E-M10MkII and E-M10MkIII batteries if you want a nightmare). You can also charge Sony batteries in-camera.

Will I buy it? Probably not. I use the A7RII for relatively static, large image size, low ISO, controlled shooting of landscapes, architecture, products and so on. I have sold my full frame zooms except for the 70-300mm G OSS and now only use primes on the A7RII (10mm, 18mm, 28mm, 50mm macro, 55mm, 85mm). I don’t travel with it. We’ve bought an Olympus OM-D E-M1 MkII for its Pro Capture (60fps, 18-20fps with pre-shot buffering) and macro auto focus stacking. I’m sticking with the A6500 kit for travel (10-18mm, 16-70mm, 55-210mm) but it’s got to go head to head with the Olympus including the use of the two different smartphone GPS methods.

David Kilpatrick

WEX Pre-Order (Affiliate link) UK £3199

MPB (Affiliate link) – buy and sell used Sony equipment UK

B&H (Affiliate link) – order US/World from $3198

Lenses - E mount, News, NEX System, Sony Digital Cameras

Sony pro service centre opens in London

Posted on September 1, 2017 By David Kilpatrick

The first UK walk-in service centre for Sony professional camera users is now officially open at the London, SE11-based Fixation HQ.

Photo: Fixation service experts Jayesh Patel and Pabita Adhikan

Plans for the pioneering Sony PRO Support Service centre were announced in June at a special joint presentation (below) by Yosuke Aoki, Sony Europe Digital Imaging Vice President and David Garratt, CEO at Wex Group (Fixation’s parent company) – with a planned a target opening date of September 1.

Said David Garratt: “We are delighted to announce we have met that deadline pledge. This is a truly groundbreaking partnership with Sony – and a very important development for Fixation. Now the growing numbers of Sony professional camera shooters can simply drop their kit off at Fixation for service and support rather than having to despatch it to the Sony plant in Wales.”

He added: “Our long experience in this business tells us professionals want choice, advice, convenience and continuity. Our new service promises free estimates, free sensor cleaning opportunities and fast turnaround times on service and repairs, and covers all Sony E-Mount bodies and lenses and all RX-range compacts. Enhanced services will be offered as part of the Sony PRO Support Programme.”

Yosuke Aoki said: “This new centre demonstrates our intent to support professional photographers to the fullest extent. The very latest Sony capture products, including the new A9, mean there are now huge opportunities for professional photographers to create many new and original images.”

He added: “But it’s not just about the sale of the camera, it’s also about providing highly professional support and service.”

Barry Edmonds senior workshop manager at Fixation added: ‘Sony are upping their game for professional photographers and we’re seeing more and more of our customers realising the benefits of their mirrorless cameras. It’s important for us to be able to offer these users the same level of support that we’ve been renowned for over many years.’

www.fixationuk.com

Lenses - E mount, News, NEX System, Sony Digital Cameras

Alpha A9 promises professional performance

Posted on April 19, 2017 By David Kilpatrick

You can order the A9 here – any of these links to order will help photoclubalpha pay our way.

B&H have it listed

WEX in the UK (also Calumet)

Amazon (co.uk)

The front view below of the Sony Alpha A9 body, introduced today, gives a subtle clue about changes under the hood. For some time we’ve been nagging Sony about the weak, potentially tilting, 4-screw mount on the mirrorless bodies. Now they have at least added two more screws, to match Fujifilm X or the A-mount, even if the distribution is a bit odd with all the extra strength concentrated at the sides not the top and bottom where heavy lenses normally cause most stress.

It’s a clue to a different internal construction, probably stronger all round, to make it possible to support the new 100-400mm G Master lens, a native E-mount new design which should come as a relief to those struggling with the A-mount 70-400mm varieties on adaptors:

But the lenses still have four-screw mount fitting (as do most A-mount lenses), and fairly weak sacrificial assemblies to prevent damage to the camera if knocked. See this video (it’s a bit long but makes a point): //www.youtube.com/watch?v=qGvlX9BtiTQ

The EVF of the A9 is around twice as bright as the A7RII and also runs at twice the refresh rate, while offering 50% more pixels. Part of this is down to the new stacked-CMOS 24.2 megapixel full frame sensor, which has a readout some twenty times faster than the A7II and previous generation 24 megapixel models. That, of course, is linked to the 6K native live feed from the full frame (used to create very high quality 4K video as well as an excellent live view) which in turn enables a distortion-free purely electronic silent shutter running to 1/32,000s plus 20 frames per second sequence shooting.

AF is claimed to be 25% faster than the A7RII and when the shutter speed is faster than 1/125s there is no visible blackout in the finder when shooting. Personally, a single frame (1/120s or 1/60s) blip would never be unwelcome as it helps tell you when you’ve shot. As for the low-light capability, not too much is being said; it’s in the usual up to 56,200 range with extension of two more stops. (Edit: April 20, we have noticed that at least one ‘reviewer’ – Sony Artisan paid to promote – completely wrongly claims 2,048,000 ISO not the actual 204,800, when comparing the A9 with the Nikon D5’s listed 3,276,800). The high speed sequences, movie frame rate and EVF refresh all tend to limit ultimate low-light clean imaging and we would guess that the A7SII and A7RII will not be made redundant.

That can not be said for the old weeny weedy weaky batteries of the E-mount range. The stripling NP-FW50 used in all the NEX to A7 series models gets kicked aside by a slightly larger variant with 2.2X the capacity. Frankly, it’s overdue but it creates a split system. I’m happy to travel with my A6000, RX10, and A7RII all sharing a pool of batteries even if those do run down alarmingly fast.

If it means carrying a new dual charger too, to get the necessary 2.5 hour recharge time instead of a leisurely overnight in-camera top up, I can only hope the charger (cum mains adaptor with clumsy dummy battery connection) also accepts the older batteries. It’s carrying multiple chargers that increases my travel bag weight not carrying extra batteries.

But… I see that the charger ‘cradle’ can mount four of the new cells, and charge the lot in 480 minutes. This cradle has a dummy battery on a lead, and 1/4″ tripod thread mounting points to add it to a video rig (which this camera is not specially made for, indicating an A9S is on the way with S-Log and direct 4K top quality encoding). The dummy battery then powers the camera for roughly 10X the life of the current A7 series batteries. So what if you have an A7 model? Easy – the outer shell of the battery simply slides off, revealing a SMALLER dummy inside, which fits the entire NEX/A7 mirrorless range or indeed the RX10 series. So your existing Sony mirrorless kit can be powered using this ‘battery bank’.

The top plate reveals that some input has been listen to. As a regular M1-M2-M3 user on my A99, the drop to only two memory registers on the A7RII is unwelcome but survivable. A return to three, plus a a custom button memory recall function, will make the a9 better. Having the drive modes on a physical control is good too. But I’ll leave any verdict on all this until the actual operation is better known – whether, for example, the memory registers now cover more than just the primary camera settings and thus enable one-step tripod setup.

I’ll have to say that after using the Olympus OM-D E-M1 MkII, which offers many of the advantages being claimed by the A9 as major selling points, the non-reversible simple tilt rear screen remains a negative compared to a fully articulated reversible screen. Sony does now offer a real glass protector, but I like the A55 to A99 style screen which can be turned to face the wall permanently if you want (and has never arrived on the E-mount models).

The new joystick controller takes something from the A99/II controls and adds it to the wheel of the A7 series, while the upper thumb button becomes a native back-button AF. In addition to being able to move the focus points faster (it’s a pain with the A7RII design) there is a memory for AF point selection and a horizontal-vertical switch function. Combined with a larger number of AF points covering 93% of the sensor, the action/sports performance of the A9 should be a long way ahead of any earlier mirrorless (though the A6500 is pretty good).

Though not visible here, there are two SDXC (one UHS-II) card slots with the usual recording options similar to the A99/II, and also an Ethernet port which is almost a requirement for some major sports events. You will notice that the Drive control has a Focus control below it, giving direct access to the kind of AF/MF/DMF choices found on the dedicated controller of A-mount bodies – no more need for menu or Function/Custom button operations.

The eyepiece, shown here, may perhaps be a little less prone to detachment and we are promised the least squiffy finder view with new optics.

There is one minor fly in the ointment, a price-tag of £4,500 (UK) body only; the 100-400mm will be £2,500. While the team of assembled ambassadors made much of praising the silent shutter mode and small size of the camera at Sony’s vidcast press conference, none of this is new and pretty much anything the A9 can do is also within the reach of the A7RII and A7SII even if it does it faster and perhaps better. There was some praise for the durability of the system – what? I don’t know about others, but I find the Sony/Zeiss lenses are the worst I’ve ever owned for showing almost immediate signs of wear from the lightest contact with clothing and bags. Silver appears through the molecule-thin black coating instantly and neither the regular lenses nor the bodies have ever struck me as being suitable to knock around in a busy press kit or travel bag. Where old Leicas survived years of abuse elegantly, gradually brassing at the edges, my Sony kit generally just looks a bit scruffy and used despite minimal handling. The A9 looks about the same in this respect as the mark II lesser models.

Full official press information and specifications can be seen here:

//presscentre.sony.co.uk/pressreleases/sonys-new-a9-camera-revolutionises-the-professional-imaging-market-1923969

And for the lens:

//presscentre.sony.co.uk/pressreleases/sony-expands-flagship-g-master-lens-series-with-new-100-400mm-super-telephoto-e-mount-zoom-1923976

David Kilpatrick

Lenses - E mount, News, NEX System, Sony Digital Cameras

New 85mm f/1.8 FE and 100mm f/2.8 STF for E-mount

Posted on February 7, 2017 By David Kilpatrick

Sony has announced two new lenses for E-mount mirrorless cameras.

The FE 100mm F2.8[i] STF GM OSS is the first Smooth Transition Focus prime since the acclaimed A-mount 135mm and is designed for the best possible bokeh without any trace of aperture-related artefacts. The compact, lightweight FE 85mm F1.8 portrait prime lens may put an end to sales of Canon 85mm f/1.8 USM lenses mounted on FE adaptors… but at £550 and not stabilised it’s just over the typical cost of that combo, which also enables the use of other Canon lenses and of course the use of the Canon glass on native bodies.

It’s a slightly disappointing lens as the 80cm close focus is no improvement over the 85mm G-Master f/1.4, and much less useful than the 85mm A-mount SAM f/2.8 which focuses to 60cm. With the 85mm such a popular choice for portraits, food photography and creative close-ups (short of the macro range) this is a missed opportunity even it is also very much an industry standard. In contrast to this the 100mm STF has an excellent close focus of 57cm and the same close-up ability as zooms like the classic ‘Beercan’ 70-210mm f/4 by Minolta, the magic ‘quarter life size’ which covers the area of a 6 x 4″ postcard print when used on full frame.

Sony also introduced a new flash HVL-F45RM with radio-controlled wireless communication ideal for off-camera multi flash TTL work with Sony’s line-up of α7 full-frame cameras. This flashgun uses the Sony Quick-Navi visual system for its rear panel – so they did learn something from the success of this in the old A700!

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(Sony information follows)

FE 100mm f/2.8ⁱ STF GM OSS Telephoto Prime Lens

A specially designed mid-telephoto, full-frame prime lens, the new 100mm STF is built to produce truly unique, magnificent and beautiful bokeh while maintaining the exceptional standard of resolution that is showcased throughout Sony’s entire line-up of flagship G Master series lenses, making it a powerful photographic tool for any portrait, fashion, nature or wedding photographer.

These impressive defocus capabilities are made possible by the lens’ advanced optical structure, as it features a newly designed 11-bladed aperture and a unique optical apodization lens element. Similar to a neutral density filter that increases in density towards the edges, the apodization element creates beautiful transitions of in-focus to out-of-focus areas within an image, making for exceptionally soft, smooth bokeh that adds depth and dimensionality. This allows the subjects to stand out against beautifully defocused elements in both the foreground and background, producing an image that is naturally pleasing to the eye. The design of the lens also ensures that vignetting is kept to an absolute minimum, ensuring optimum image quality.

David Kilpatrick writes: The STF function is available from full aperture (an effective T=5.6 despite the f/2.8 physical aperture) over a one-stop adjustment range to T=8. This is less than the f/4.5 to f/8 (T) range of the original STF design and indicates that a more powerful apodisation element (radial/circular graded element created by using neutral density in a double concave glass) or apodisation filter (a cheaper method using a conventional radial graduated ND filter inside the lens near the aperture position). This should actually mean that f/5.6 looks smoother than f/4.5 could have. Confusing, but true. You can the depth of field of a more-or-less f/8 lens with the bokeh of an f/4.

Additionally, the new 100mm lens supports both contrast AF and focal-plane phase detection AF[ii], and has a high-precision, quiet direct drive SSM (Super Sonic Motor) system that ensures exceptionally fast and accurate AF performance. The SEL100F28GM also offers up to 0.25x close-up capabilities with a built-in macro switching ring, built-in Optical SteadyShot™ image stabilisation, a customisable focus hold button, AF/MF switch, aperture ring and is also dust and moisture resistant.[iii]

FE 85mm f/1.8 Telephoto Prime Lens

The new SEL85F18 mid-telephoto prime lens offers an extremely versatile, lightweight and compact telephoto prime lens solution for a variety of Sony camera owners ranging from working professionals to emerging enthusiasts that have stepped up to an APS-C or full-frame camera for the first time. With its wide f/1.8 aperture, it can produce impressive, exceptionally sharp portraits with soft background defocus that take advantage of its 85mm focal length and wide f/1.8 maximum aperture.

The new prime lens features a 9-bladed circular aperture mechanism that ensures smooth, natural looking bokeh, and a double linear motor system to allow for fast, precise and quiet focusing. It also has a focus hold button that can be customised and assigned together with functions in the camera body like the popular Eye-AF feature. There is a smooth, responsive focus ring and AF/MF switch and the lens is also dust and moisture resistant.ⁱⁱⁱ

New Compact Radio-controlled Flash

Sony’s new HVL-F45RM flash enhances the radio-controlled lighting system capabilities of their growing system, offering a compact professional shooting solution when combined with the currently available wireless remote controller FA-WRC1M and receiver FA-WRR1.

The new flash, which is designed to complement the compact bodies of Sony’s E-mount camera line-up including full-frame α7 models, produces a maximum lighting output as expansive as GN45[iv]. This ensures sufficient illumination even when shooting with bounce lighting or high-speed-sync (HSS) flash. The radio capabilities of the HVL-F45RM allow it to be used as a transmitter or a receiver at up to 30m (approx. 98 feet[v]), making it an ideal fit for creative lighting with multiple flashes. Additionally, unlike optical flash systems, radio-control flashes do not require a direct line-of-sight between components to function properly, while also minimising any impact that bright sunlight has on signal transmission and control.

The HVL-F45RM flash has an impressive battery life of up to 210 bursts, and can tilt up to 150^o vertically, a complete 360^o horizontally and up to 8^o downward to maximise versatility. Usability has been maximised with a new large, bright and highly visible LCD display, an LED light, dust and moisture resistant design³ and a revamped menu system that mimics those of Sony’s newest camera systems.

Pricing and Availability

The new lenses and flash will start shipping in March 2017. The SEL100F28GM will be priced at approximately £1700, the SEL85F18 will be priced at approximately £550 and the HVL-F45RM will be priced at approximately £420. 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/

[i]T-number (T) =5.6

[ii]With compatible α camera bodies. Please visit Sony support webpages for details.

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

[iv]Guide Number (GN) 45 (105mm, in meters at ISO 100)

[v]Sony internal measurement

Lenses - E mount, News

Sony A6500 – IBIS, touch screen, 200k shutter, €1700 body

Posted on October 6, 2016 By David Kilpatrick

Sony’s official press release – we’re working here on magazines with deadlines tonight so this is unedited hot news. Enjoy!

Sony today introduced its new flagship APS-C sensor camera, the α6500 (model ILCE-6500). As the latest addition to Sony’s line-up of award winning mirrorless cameras, the new α6500 shares the same unrivaled 4D FOCUS™ system as the α6300 camera, which can lock focus on a subject in as little as 0.05 seconds, the world’s fastestⁱ AF acquisition time. Also shared with the α6300, the new α6500features 425 phase detection AF points that are densely positioned over nearly the entire image area – the world’s highestⁱⁱ number of AF points on any interchangeable lens camera. The new model can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking and up to 8 frames per second in a live-view shooting mode that makes it easy to track fast moving subjects, as it combines all of the benefits of an electronic viewfinder with the immediacy of an optical viewfinder.

The camera can shoot at these high speeds for up to 307 frames[iii] thanks to its expanded buffer, which, along with the fast response speeds described above, are all achieved with the support of a new front-end LSI chip that has been added to the camera. This new front-end LSI also serves to enhance both still and video image quality.

Additionally, the new α6500 features Sony’s acclaimed in-camera 5-axis optical image stabilisation, making it the first Sony APS-C sensor camera to offer all of the benefits of advanced in-body stabilisation, which include a shutter speed advantage of approximately 5 steps[iv]. It also offers touchscreen AF capabilities for focus point selection and adjustment.

Unmatched AF Capability

Sony’s new α6500 camera utilises the same 4D FOCUS system as the α6300 – a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 secondsⁱ. It also features 425 phase detection AF points and High-density Tracking AF Technology, which significantly improves subject detection and tracking performance.

New for the α6500, thanks to faster internal processing capabilities enabled by the front-end LSI, the maximum buffer for high-speed continuous shooting is an impressive 307 framesⁱⁱⁱ, greatly increasing the chances to catch that decisive moment.

The camera’s 425 phase detection AF points, focusing tracking and accuracy are also available when using non-native A-mount lenses[v] with Sony’s LA-EA3 mount adaptor. Additionally, it includes silent shooting, Eye AF in AF-C mode, AF in focus magnifier modes, Expand Flexible Spot AF and more.

5-axis Image Stabilisation Provides 5 Steps Shutter Speed Advantage

One of the most exciting developments in the new α6500 is the implementation of 5-axis image stabilisation for the first time in a Sony APS-C sensor camera. Additionally, through a total revision of the internal design of the camera, this newly developed stabilisation system fits entirely within a body that is nearly the same size as the α6300 model.[vi] This innovative 5- axis system provides a shutter speed advantage of 5 steps,^iv ensuring the full resolving power of the sensor can be realised, even in challenging lighting.

The shake compensation provided by the system works with a variety of lenses, including E-mount lenses without OSS (Optical SteadyShot) stabilisation and A-mount lenses[vii] when used with a compatible mount adapter. When an E-mount lens with OSS is mounted, pitch and yaw are compensated in the lens and horizontal, vertical and roll axes are compensated in the camera body, resulting in optimal 5-axis stabilisation.^vii

Also, with a simple half press of the shutter button, the effect of the image stabilisation can be monitored in the viewfinder or on the LCD screen, allowing framing and focus to be accurately checked and continually monitored. This is available even when a lens is attached that does not have built-in shake compensation.

New Touch Screen Focusing

The new α6500 comes equipped with touch screen functionality, allowing users to lock focus on a subject simply by touching it on the screen. This is a powerful compliment to its advanced AF system and video shooting capabilities.

Additionally, in a first for Sony cameras, the α6500 features touchpad functionality. When utilising the viewfinder for framing and shooting, the LCD screen can be used as a touch pad. Simply drag a finger across the screen to shift the focus point from one area to another.

Powerful 24.2 MP^viii Exmor CMOS Sensor, BIONZ X^® Processor and New Front-End LSI

The new α6500 features an APS-C sized 24.2 MP[viii] Exmor CMOS sensor that works together with a BIONZ X image processor and the newly developed front-end LSI to maximise processing power and achieve an impressive sensitivity range of ISO 100-51200.[ix]

The image sensor employs a thin wiring layer and large photodiode substrate that maximises light collection efficiency, plus copper wiring in its structure for outstanding read-out speed. The BIONZ X image processor and newly developed front-end LSI ensure superior image and video quality with low noise even when using higher ISO settings, in particular those at high sensitivity values where other cameras typically struggle. The LSI is also responsible for the expanded buffer depth for continuous shooting.

Professional Video Capabilities

The new α6500 becomes the latest Sony interchangeable lens camera to offer internal 4K movie recording, as it can shoot 4K (3840x2160p) video in the popular Super 35mm format on the full width of the image sensor. When shooting in this format, the camera uses full pixel readout without pixel binning to collect 6K of information – approximately 2.4x[x] (20 MP equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality 4K footage with exceptional detail and depth.

Additionally, the α6500 will focus exceptionally fast during movie shooting thanks to its Fast Hybrid AF system, offers touch focusing for professionally smooth focus shifts, whilst also offering adjustable AF transition speed and AF tracking sensitivity. The camera supports the XAVC S codec[xi] during video shooting, which records at a high bit rate of up to 100 Mbps during 4K recording and 50 Mbps during Full HD shooting, ensuring maximum detail and clarity in both video formats.

Other professional calibre video features include the ability to record Full HD at 100fps at up to 100 Mbps, which allows footage to be reviewed and eventually edited into 4x slow motion video files in Full HD (25p) resolution with AF tracking.

New on the α6500 is the incorporation of a ‘Slow and Quick’ (S&Q) mode that supports both slow motion and quick motion. In this mode, frame rates from 1 fps to 100fps can be selected in 8 steps for up to 50x quick motion and 4x slow motion recording[xii]. Footage shot in this mode can be previewed after shooting without the need for PC-based post processing.

The camera also offers S-Log gamma recording[xiii] for wide dynamic range shooting – approximately 14-stop latitude in S-Log3 gamma setting – and supports S-Gamut for a wider colour space. Both options allow for greater creativity for processing video post-production.

Shooters also now have the ability to select, extract and save still images from movie footage directly on the camera. Approximately 8 MP images and 2 MP images can be pulled from 4K modes and Full HD modes, respectively.

Enhanced Operability and Reliability

The new α6500 has a refined design, maintaining the mobility of the α6000 series while adapting much of the usability of Sony’s acclaimed α7 II series. The new model features the same high contrast, high-resolution 2.4 million dot XGA OLED Tru-Finder as the α6300 that offers exceptional corner-to-corner visibility.

New hardware features on the α6500 include a magnesium alloy body and a high-durability shutter with a tested life span of approximately 200,000 release cycles.[xiv] It also has several design features that are borrowed from the α7 II series of full-frame cameras, which include a robust lens mount, a recessed grip to improve handling, a larger release button and ten total custom buttons including ‘C1’, ‘C2’ and ‘C3’. It also has an improved operation feel for its mode and control dials and rear face buttons, as well as a softer eyepiece cup for more comfortable usage.

On the software front, there is a new overall user interface, which allows for a much smoother process for searching and adjusting menu settings, as well two new metering modes – Highlight, where exposure metering is focused on the brightest area of the frame, and Entire Screen Avg, which maintains an average metering for the entire image.

The camera is Wi-Fi^®, QR and NFC compatible and fully compatible with Sony’s PlayMemories Mobile™ applications[xv] available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™. The α6500 also offers location data acquisition via a Bluetooth[xvi]connection to a compatible mobile device and an updated menu structure to deliver a smoother navigational experience.

Pricing and Availability

The new Sony α6500 interchangeable lens camera will be available in Europe in December priced at approximately €1,700 body only or €2,800 with SEL1670Z lens. Full product details can be seen here. The current α6000 will also see a new colour introduction in Europe in December with the model also available in Graphite Grey.

The new content will also be posted directly at the global Sony Photo Gallery and the Sony Camera Channel on YouTube.

[i]Among interchangeable-lens digital cameras equipped with an APS-C image sensor as of October 2016, based on Sony research, measured using CIPA-compliant guidelines, and internal measurement method with an E PZ 16-50mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use.

[ii]Among digital cameras as of October 2016, based on Sony research.

[iii]With “Hi” continuous shooting mode and “Fine” image quality.

[iv]Based on CIPA standard. Pitch/yaw shake only. With Sonnar T* FE 55mm F1.8 ZA lens mounted. Long exposure NR off.

[v]A-mount lenses with SSM or SAM only. Users can choose phase-detection AF or contrast-detection AF in AF System menu. “Phase-detection AF” is not available during movie shooting. AF-C in AF System menu is available only with “Contrast-detection AF” selected, but no motion tracking is performed during continuous shooting (Hi+, Hi, Mid).

[vi]Excluding grip, frontal-view size and main body thickness are the same as for the α6300

[vii]All 5-axis stabilisation is performed in-camera when SEL90M28G is mounted

[viii]Approximate effective MP

[ix]Standard ISO range: 100-25600 for stills and movies. Expandable up to ISO 51200 for stills only.

[x]In 25p recording.

[xi]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.

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

[xiii]S-Log2 and S-Log3 are premised on processing pictures

[xiv]With the electronic front curtain shutter, under internal test conditions of Sony.

[xv]Use the latest version of PlayMemories Mobile

[xvi]Can be connected via Bluetooth with smartphones featuring (as of the date of release):

-Android (Android 5.0 or later, Bluetooth 4.0 or later）
– iPhone/iPad（iPhone 4S or later/iPad 3rd generation or later）

News, NEX System

Sony launch UK PRO support

Posted on April 21, 2016 By David Kilpatrick

Sony today announced the expansion of its Imaging PRO Support programme to include the UK. The programme is scheduled to start in the UK in September 2016 and continues to gain momentum as an increasing amount of professional photographers are switching to Sony cameras.

Imaging PRO Support offers advice and help to members including a dedicated telephone help desk offering professional photographers support in using their α camera equipment. There’s a free collection and return service for units requiring repairs, plus a free back-up loan unit to keep professional photographers up and running. In addition, members can benefit from a free twice-yearly image sensor cleaning service with filter glass replacement if necessary and firmware check-up to keep their cameras in top condition.

There’s no membership fee for the service that’s offered to professional photographers who own at least two Sony α camera bodies and three Sony α lenses from the qualifying list detailed beneath.

The Sony Imaging PRO support programme is now live in Japan, South Korea, Hong Kong, Taiwan, Germany, Switzerland, Austria and the United States. Rollout in other European countries is currently under consideration.

Qualifying Cameras and Lenses

Your editor notes with pleasure that he’s not apparently a pro despite several qualifications and a working lifetime in the business covering 40 years, since he doesn’t own the right lenses, having sold several on the list as inappropriate or superceded, and preferring others for practical reasons (for example, using the 50mm SAL macro not the 100mm, and having found the 70-400mm SAL G and 70-300mm SAL G inferior to alternatives, selling the 24mm f/2 CZ SSM because the 28mm f/2 SEL proved far better). I appear to prefer third party glass, or lenses Sony doesn’t class as pro, like the excellent 24-240mm SEL, the little 28mm f/2, the SAL 28-75mm f/2.8 SAM, the SAL 85mm f/2.8 SAM, the 10-18mm SEL, 35mm f/1.8 and 50mm f/1.8 OSS primes for A6000 stabilised video (not listed, and nor is the A6300 which is remarkable when the old NEX-7 is included). Also, exactly why the original A77 – again not easy to use for pro work because of the noise levels, relative to newer ‘amateur’ offerings – is in Group A when the excellent A7 MkII is listed in Group B with the NEX-7 and original A7, who knows? Indeed, why have Group A or Group B?

However, the deal looks pretty good but it’s not for me despite my Sony system including two A7 series bodies one of them the top A7RII, two LA adaptors, two flashguns, one A6000, two A580 bodies, one A700, RX10, RX100MkIII and fourteen Sony lenses (not counting any Minolta A-mount lenses, and of course not counting Tamron, Sigma, Samyang, Canon, Voigtlander or others). I’d have to buy two more expensive heavy lenses, non-OSS lenses, or bulky lenses since Sony’s criterion seems to be the cost of the lenses and not their usefulness to the photographer.

Camera Bodies Group ‘A’

SLT-A99(V)
SLT-A77(V)
ILCA-77M2
ILCE-7R
ILCE-7RM2
ILCE-7S
ILCE-7SM2
DSC-RX1
DSC-RX1R
DSC-RX1RM2

Camera Bodies Group ‘B’

ILCE-7
ILCE-7M2
NEX-7

α A-mount lenses

SAL100M28
SAL135F18Z
SAL135F28
SAL1635Z
SAL1635Z2
SAL1680Z
SAL16F28
SAL2470Z
SAL2470Z2
SAL24F20Z
SAL300F28G
SAL300F28G2
SAL35F14G
SAL500F40G
SAL50F14Z
SAL70200G
SAL70200G2
SAL70300G
SAL70300G2
SAL70400G
SAL70400G2
SAL85F14Z

α E-mount

SEL1670Z
SEL2470Z
SEL24F18Z
SEL35F28Z
SEL55F18Z
SEL70200G
SELP18105G
SEL1635Z
SELP28135G
SEL35F14Z
SEL90F28G
SEL85F14GM
SEL2470GM
SEL70200GM
SEL70300G
[i] The programme is designed for professional photographers and as such, applicants will need to provide proof of their revenue stream generated from their photography work. Sony reserves the right to judge individual cases on their merits.

Lenses - Alpha Mount, Lenses - E mount, News, NEX System, Sony Digital Cameras

Voigtländer FE 10mm f/5.6 and 15mm f/4.5 III

Posted on March 22, 2016 By David Kilpatrick

I got to try out the first new Voigtländer Sony FE mount lenses with electronic aperture setting and manual focus control with a quick overnight test during the UK Photography Show at the Birmingham National Exhibition Centre, on March 19th 2016. The pre-production 10mm f/5.6 Hyper-Wide-Heliar and 15mm f/4.5 Super-Wide-Heliar are two of a trio reaching the market in Spring 2016 – the third is a new version of the 12mm f/5.6 Ultra Wide-Heliar. We also tried the 10mm in Leica M mount; the test cameras were the Sony A7R II and Leica M 240.

First of all, no other Voigtländer lenses yet have the Sony E-mount with electronic connections, similar to the Zeiss Loxia models. Cosina, the manufacturer of Voigtländer lenses, also makes some Zeiss lenses and the operation of these designs is probably identical to Loxia 21mm, 35mm and 50mm models. The electronics could allow in-body control of the lens aperture but for these lenses, the aperture is mechanically set on the lens itself with a 1/3rd stop clicked ring that can be de-clicked by pushing back, turning through 180° and putting an alternative index mark in place. The focus distance set is transmitted to the camera, along with the focal length. This allows a digitalogue display in the finder, a marker moving on a bar from close to infinity.

For the E-mount, the close focus of the 10mm and 15mm is impressive and identical at 30cm. This contrasts with the M-mount minimum focus of just 50cm. The mechanical focus is very smooth indeed and the whole metal-bodied barrel and mount feels solid and precise. Depth of field markings are conventional (that is, based on pre-digital circles of confusion, or a typical A4 print rather than a 100% view on a 27 inch monitor screen). The optical design for the Leica M mount is clearly identical but the mount is very different with no electronics, and indeed no way of telling the Leica body the focal length or aperture in use. The EXIF data from Sony E-mount files is precise, with Leica it depends on the user manually entering the focal length, and a clever algorithm that uses the camera metering to work out the f-stop being used.

Here are 10mm Hyper-Wide-Heliars in E-mount and M-mount.

The lenses have fixed petal type lens hoods and come with well-fitting front caps. The use of filter systems will depend on adaptors like those already found for the 15mm MkIII Leica M, but probably custom designed for the 10mm.

Here, as a final product shot, is the original 1990s 12mm f/5.6 Ultra-Wide-Heliar Leica screw mount, with its detachable hood removed, next to the new 10mm. The new 12mm is similar in size to the 10mm, reflecting an optical design intended to be more compatible with digital sensors with improved vignetting control and freedom from colour shifts. It’s fair to say, though, that with the Sony A7R II I have been using the old 12mm with very good results. I can also tell you the new lenses are much sharper especially towards the corners.

It’s this sharpness which comes as a really welcome surprise with the 15mm f/4.5 design. It can be used wide open with confidence. Because the lenses have mechanical apertures, they don’t open up for focusing like purely electronic E-mount types – you focus at the working aperture, or for extra accuracy open the lens up, focus, then close down. When you touch the focus ring and move it, the magnified focusing of the Sony body is automatically activated, returning to a full view when you take first pressure on the shutter release. In practice this is a very fast and accurate manual focus method needing no button presses on the camera body.

The geometric distortion of the lenses is minimal – they are almost perfectly orthographic but far from isometric! Objects near the ends and corners of the image can appear extremely distorted simply because they are projected with such rigorously rectilinear drawing. This is not really distortion, but it certainly looks like it when a face or figure ends up placed at an extreme. The 15mm must be used with care, and the 10mm needs an advanced understanding of weirdness.

These lenses convey a built-in profile to the Sony bodies, and also to Adobe Lightroom or Camera Raw for processing (or so the dialog reports). What you see through the electronic viewfinder, and on opening a raw file, may not represent the optical truth. Studying the 10mm I found it hard to understand how any light reaches the corner of the sensor at all. I can’t measure the true fall off but I would guess it’s in the order of five or six stops. With the profile applied in-camera or by the raw converter, it’s moderated especially when stopped down a bit. This looks natural. Correct the vignetting fully, and some of the natural appeal of the image is lost.

We must wait to review what may be primary choice for many users, the 12mm.

The 10mm Hyper-Wide-Heliar f/5.6

This lens displays an exceptionally straight geometry, even when used on the Leica M 240 body which has no added firmware correction function. Whatever profile is being passed to the Sony bodies probably only concerns vignetting (our Leica test indicated it may not really need a lens profile). It has 13 elements in 10 groups and covers the widest angle ever achieved with a true wide-angle on the 35mm format, 130°.

Of course, I took a few tests inside the NEC but the first subject which really lent itself to the extreme angle was the giant illuminated sign. I was about a metre away from this, but a standing adult is about half the height of the letters. All the pictures used in this article can be clicked-through and will take you to the pBase Gallery which allows access to the ‘Original’ A7RII (level 10 JPEGs, full size) along with all the essential metadata. Please note these pictures are all copyright and if you wish to share them, please link to the pBase Gallery. You may download and examine them for your own research but they may not be reproduced.

Outside the exhibition centre there’s an open land drain (Pendigo Lake) which stops the entire place from flooding. It’s about seven feet deep and fed by drains from below all the exhibition halls. With the 10mm fitted, I found a suitable supporting post. You’ll see that the beach gravel shows some softening and elongation towards the corners, almost inevitable regardless of the sensor cover glass specifications sometimes blamed for this. The lens geometry forces the elongation. This shot at f/8 has no added correction at all for vignetting.

But with a lens like this, simple extreme wide views can be disappointing or pointless. You need to exploit its potential to do what other lenses can not do. The Sony A7R II can also go where other cameras might not – such as nested into the gravel, using the rear screen folded out for viewing the composition.

This is stopped down to f/22, and in fairness the diffraction softening means nothing is really as sharp as it can be. The diaphragm stars from the lights are neat. Depth of field doesn’t get much deeper than this.

This picture is from the next morning, walking back past the lake. ‘Not often you get to photograph Father Christmas fishing’, my friend here joked. He told me the history of the ‘lake’. Seven friends had gathered, for a fishing competition – pick their spot, set up, three hours to fish, winner with the biggest catch by weight. I’d been using a tripod so Steady Shot was turned off, and this hand-held shot at 1/6th was just OK. I found that because of the magnified scale of detail towards the outer field, if you do get shake it can be almost invisible in the centre but really blur the corners. I’m still trying to work out exactly why sensor based stabilisation manages to handle this change of scale caused by lens projection, but it does. Shots with SS on were generally perfect, those without could be surprisingly poor considering the very short focal length. I’ve processed this picture a little to suit the subject, but it shows the potential of the 10mm for environmental portraiture and editorial work. Because a shift of just inches in the lens position changes the shot so much with the 10mm, a tripod would have been impossibe here (I was leaning forward almost vertically above his foot for this).

Here’s a funky use of the 10mm extreme angle and scalar distortion. It’s a quick grabbed shot on leaving the exhibition hall, and it’s not even vaguely sharp, except rather oddly in the view through the coach windows. The LED lighting has strobed some detail at the left hand side.

I liked the effect with the bus so much I tried a few trucks through the car window in the morning. However, they lacked shape and form. This passing car and trailer was about the best. The progressive shutter captures a very strange effect from the wheels.

Here’s a more conventional use of the 10mm. The weather was pretty dull and actually, night scenes were better. Stopping right down, again, takes the edge off sharpness. The 10mm seems about at its best around f/8 or f/11 (which is exactly where I use the old 12mm at the moment).

Before moving on to the 15mm, a change of location. Next to the ‘lake’ there’s a new Resorts World hotel, casino and outlet mall complex with restaurants. Brightly lit at night, it was a far better subject for these wide lenses than anything else! Even in the daylight, it was interesting.

You’ll also find a vertical version of this in the pBase gallery. It’s hand held, and the detail throughout really says everything you need to know about the 10mm and its practical uses. Although I believe the 15mm is substantially better optically – simply not as ‘stretched’ – I placed my order for a 10mm after doing this test. It is, after all, about the same price as Sony’s supremely boring but widely praised CZ 55mm f/1.8 – and you’re getting something with a unique commercial and creative edge instead of exactly the same old standard lens we’ve had around for ninety years, slightly improved…

The 15mm Super-Wide-Heliar f/4.5

With only 11 elements in 9 groups, this 110° lens is version III of a popular favourite. Optically identical to the M mount version, the big attraction is not just the lens, but the E-mount functionality. However, having used various 15mms before version III, I have to say this lens is just outstanding optically. It resolved such fine detail that on the interior view at night of the Resorts World mall, moiré patterns are thrown up by the pattern of pegboard type holes in the architectural ceiling surface. Please note that’s not vignetting at the top, below, it’s the lighting in the mall.

Even if you don’t bother to click through and examine the full sized images for the other shots, please do take a look at this. It’s also handheld with SS, and not at the very slowest ISO. The resolution at f/8 is extreme and other shots taken, including those at f/4.5 maximum aperture, show the same quality. I’ve been testing lenses for over 40 years now and this is simply one of the best lenses I have used. This particular interior is almost like a 3D test target for lenses, too!

The 15mm causes me a problem. I already own a Sony CZ 16-35mm f/4 and it simply isn’t this sharp. It can’t do the same thing on a 42 megapixel sensor, it is acceptable and all very good, but not on this level. The 15mm is better than the 10mm and in many ways a more generally useful focal length. But… I’ve got my 16mm covered. 10mm is a better partner. If I dd not have my 16-35mm, I’d team up the Voigtländer 15mm with a 24-70mm. Only even the new 24-70mm Sony f/2.8 probably won’t match this (I have taken a few shots on a pre-production sample, but remember, this Voigtländer is also pre-production).

The 15mm is a great angle for shots like this and it resists flare well. This is not a tripod shot, it used the fishing platform at some risk of an expensive camera and lens taking a dive.

Here’s a hand-held, stabilised, very high ISO shot stopped down enough to keep the topiary fairly sharp. It’s much easier to get the horizon level with the display function available in the Sony A7R II and the brightness of the EVF for night shots. Otherwise, this would be much harder. I found it almost easy to take pictures like this casually using the 15mm (it’s harder with the 10mm which needs that little bit more care in levelling up).

The 10mm on Leica

Just to prove that the straight-line geometry and reasonable vignetting are not entirely down to any kind of electronic profile, a couple of Leica 240 shots start here with one using no adjustments in raw conversion to correct illumination or geometry.

Here’s a slightly more creative use of the lens. Getting the camera in position was not easy and the A7R II would have been quicker to set up, but we wanted to check out the Leica version too.

Conclusion

If you have not purchased any wide-angles shorter than 20mm, it’s worth buying both the 15mm and the 10mm – or maybe just the 12mm on its own. The prices in the UK should be around £839 including VAT for the E-mount 10mm and £724 inc VAT for the 15mm – or less. At The Photography Show, these lenses were being ordered in some quantity especially on the professional days. A surprising number of mainstream professionals now use Sony A7R II and it seemed that almost all my pro magazine readers who came for a chat at the Master Photographers Association stand either had Sony or Fujifilm X. Those handling commercial assignments generally had the A7R II and most were using their Sony kit alongside Nikon or Canon. You can get pretty good (if huge) 15mm lenses for these DSLRs but you simply can’t get a 10mm. The closest is Canon’s 11-24mm EF zoom; at 11mm this does not even begin to approach the image quality of the Hyper-Wide-Heliar. You could also buy an A7R II with this lens for less than this zoom alone (definitely so at the show prices where £700 was slashed off the A7R II body).

For those who own 16-35mm or similar lenses, the 10mm is a logical buy. It’s especially useful with the A7R II rather than the A7 II or A7S models, because the 42 megapixel sensor allows sensible cropping away of geometric extremes. One photographer I talked placed an order just to dispense with his bulky Canon 17mm tilt shift and DSLR – a crop from the 10mm angle of view is all he reckons he’ll need in future.

Our thanks for Hardy Haase of UK distributors Flaghead for the overnight loan of the lenses, and thanks to the NEC and Resorts World environmental landscaping completed this year for creating some half-decent subject matter. Flaghead is also the owner of Robert White, the famous UK professional dealership in Poole, Dorset, whose founder is no longer with us. They took over the premises and shop before Robert’s death, and continue his name and reputation. This is their own direct outlet for the Voigtländer lenses

– report and all example photographs by David Kilpatrick, publisher and editor of f2 Cameracraft and Master Photography magazines. Product photographs by Richard Kilpatrick. To subscribe to our premium quality bi-monthly magazines, visit www.iconpublications.com

See: Flaghead – www.flaghead.co.uk; Robert White – www.robertwhite.co.uk; US distributor, CameraQuest – Cameraquest.com; B&H for US orders, 10mm lens E-mount link, B&H product listing.

Accessories - 3rd party, DK's ramblings, Lenses - E mount, News, NEX System, Sony Digital Cameras

Sony’s Master plan – new 85, 24-70, 70-200 and more

Posted on February 4, 2016 By David Kilpatrick

On Tuesday, February 2nd 2016, Sony UK held a press event to which I was invited. Well, I’m in a different country and about 400 miles from their Weybridge offices, so as usual my trusted English office editor at large (and son) Richard made the still substantial journey from Leicester. The result was a completely wasted day, his time and our company’s money, looking at a mixed bag of TVs, camcorders, headphones and all the Alpha and RX gear we already had seen long before.

Then on February 3rd, mid-afternoon, the same PR agency which had extended this generous invitation to come and gather ZERO editorial content for our magazines announced the new G-Master series 24-70mm f/2.8 FE, 70-200mm f/2.8 FE and 85mm f/1.4 FE, 1.4X and2X extenders, and upgraded A6000 successor A6300.

I was attending an excellent event with Graphistudio on the road in Edinburgh (they do try to cover the whole of our surprisingly large and still united kingdom) and returned to see the news. Talk about mixed emotions! I was furious that they should cost me a very real £300 or so (that’s what it costs, whether I do it, or Richard, or a hired freelance) to cover yet another of their red herring events just 24 hours before a major announcement like this. We get nothing free from Sony, they don’t advertise in our magazines, and unlike Minolta they don’t offer pre-launch access to pre-production samples.

And that’s why I should not even be writing this. In the past, I would never – as a responsible journalist and technical editor – have made any comment on equipment I had not been allowed to handle and preferably use if only for an hour or two. But these days a thousand bloggers try to drive traffic to their sites by doing exactly that.

Here are my thoughts, anyway.

Click to open full size official images!

The A6300

It’s 24 megapixels like the A6000 and does claim a slightly faster and wider zone AF. But the A6000 is already close to perfect and I normally shoot with centre point focus, not any of the wide zone modes. I really don’t want the collar on a dog sharp and its face out of focus just because the collar is the more contrasty target which the wide area focus finds first. It’s also twice as much as I paid for my A6000, which happens to have been selling for a market-beating price. I have a great set of lenses – 10-18mm, 16-50mm, 35mm f/1.8, 50mm f/1.8 and 55-210mm. All except the 10-18mm cost about half the official retail because Sony did some great deals. Basically anyone like me who has invested in a decent A6000 (or NEX-6, even) kit and already own an A7S, SII, or RII can take the A6300 or leave it. In fact my now-outdated RX10 and RX100 MkIII do pretty neat silent shooting, one of the main upgrades over the A6000.

If you need the very fast (120fps) refresh of the new EVF, 4K video and the improved audio functions (whether using jack plug mic or the MFAccessory shoe mic choices) then it’s easy – it will cost you less to get these than any other comparable route. Even the RX10 MkII no longer looks so attractive. As others have commented, it’s partly a matter of waiting for the body price to fall by the end of the year. In the meantime my A7RII actually does all the movie stuff I need (its APS-C 4K is superior to its full frame, and makes full use of line-up of lenses above).

However, if they manage to lend me a test sample and the new sensor turns out to kill the already wonderful noise/ISO ratio of the 6000 I could be won over early at a high price. Had this been a 36 megapixel body I would be thinking very differently, and perhaps even considering a switch from full frame to APS-C.

The 24-70mm f/2.8 and 70-200mm f/2.8 G-Master FE

With a 77mm thread and an overall size not far removed from the A-mount equivalents, the weatherproofing and generally improved design of the AF system will win buyers. The longer lens has the 0.96m close focus I’ve been campaigning for now for several years, and it’s disarmingly simple. If you study lenses, you’ll have realised that SSM, stepper or linear motor type AF (silent, no gears) has caused the increased and restrictive focus distances I’ve covered in Cameracraft and elsewhere. It has just been unable to provide enough movement. As an example, compare the old screw-drive 28-75mm Konica Minolta with the ‘identical’ Sony 28-75mm SAM. The 24-70mm f/2.8 A-mount models are actually amongst the better in this respect, managing the magic quarter life-size to important for many subjects. The 24-70mm f/4 FE is not as good though you would have though it easier to make close focusing with a simpler, slower lens – only 0.20X. At least the 24-70mm f/2.8 FE matches up to its A-mount equivalent.

In these new fast FE zooms Sony has improved performance by using more accurate asphericals, designated as XA (extra aspherical, presumably meaning a curve which was out of reach before). Combined with expensive glass types (low and extra-low dispersion) and complex design (23 elements in 18 groups for the 70-200mm) this enables apochromatic correction although they do not use the term. This removes ugly colour bokeh effects. A ‘floating’ internal focus action for the rear unit gives a wider fully corrected focus range, affecting both the focused distance and the flatness of field. An SSM (ring) motor drives the heavy, larger forward group focusing and a linear (rail) movement shifts the rear assembly but the whole focus action is internal.

I welcome the 96cm close focus (I trust it applies across the whole zoom range and with AF all the way). This lens achieves 0.25X scale at 96cm. Compare that to the Tamron Di VC USD 70-200mm which can only manage 0.125X, half the subject size, at 1.3m and that’s by switching to manual focus – it forces you back to 1.4m from the subject if you use AF.

It’s also worth comparing size; most new 70-200mm DSLR lenses are around 185mm long, the Sony is 200mm long. But it’s really ‘smaller’ than the original Sony A-mount 70-200mm’s 197mm. That 15mm extra length is almost entirely dead space, a kind of extension to the barrel in order to handle the 18mm register of the E-mount, and also enable the use of the 1.4X and 2X extenders. This extension falls behind a fixed, not removable, rotating tripod mount collar which has a removable foot instead.

I’m sure that the dual focusing will be fast, with two simultaneous actions combined, and ideal for contrast detection as well as on-sensor PDAF. My reservations are simple enough though – these are lenses for one-system users, dedicated to mirrorless. There really is no saving over the latest A-mount versions in weight and size, and many photographers (like me) may want to use both A and E mount bodies. I’ve been considering investing in another A99 even though I sold mine. That’s because it is so much more comfortable and complete with my longer lenses than the A7RII with LA-EA4 or 3, both of which I have. If I did so the 24-70mm and 70-200mm A mount would be on the shopping list, and what reason would I have for buying even more expensive new FE versions which could never, ever be used on a A-mount body?

The 85mm f/1.4 G-Master FE

One guide to acceptable minimum focus distance is the simplest formula imaginable. A lens should be able to focus – at the least – to the same centimetre distance as its millimetre focal length. So, a 50mm lens should manage 50cm, a 100mm lens 1m, a 200mm lens 2m or closer. But that’s the least you need. The ideal is HALF the mm in cm. A 50mm focusing to 25cm is brilliant, a 200mm focusing to 1m is amazing (Vivitar once made one, with a bright f/3 maximum aperture too).

So, for me the 85mm f/1.4 with its substantial 82mm filter thread, 850g weight and focusing down to 80cm (some data tables say 85cm) with 0.12X image scale is just acceptable. A Samyang 85mm won’t go so close and most 85mms don’t break the 1m barrier. But an ideal new, modern 85mm would focus to 50cm. It’s just pretty hard to enable this using SSM or linear AF drive. Even the Carl Zeiss Batis 85mm f/1.8 is the familiar 80cm, 0.126X scale.

What I actually use right now is an 85mm f/2.8 SAM lens on LA-EA3. It’s not 100% free from CA and colour bokeh issues, but it is exceptionally sharp and it focuses right down to 60cm with 0.20X scale. Above all it is very small and light, and for me that is most of the point of the A7RII and all the A7 series bodies. It focuses perfectly on my LA-EA3. I can use it with A-mount extension tubes or my Meike metal full frame FE extension tubes, but that’s a bit of a crude solution.

Results from the MG 85mm so far seen, disregarding some fairly cheesy portraits, show that its 11-blade iris and apochromatic XA correction do deliver more than you will ever get from an 85mm f/1.2 Canon or a Samyang or a Sony 85mm f/1.4 ZA. The manual 1/3rd stop clicked or click-free aperture ring combined with the absence of magenta-green bokeh shift mean this lens will be massive for vids, whether creative porno or music promo. It should be on the same level as Zeiss/Arri ciné lenses if the claims stand up, and I would not be surprised to see a dedicated cinema version.

It’s a long way from the 85mm SLR lenses of Minolta’s past – six iris blades!

The extenders

Sorry, but most FE and E lenses can never (ever) use a a tele extender. That’s why you have not seen any. It’s also why I use that 85mm SAM… it makes a neat 170mm f/5.6 wth my Teleplus 2X MC-7. Way back, one of my favourite travel outfits including the Minolta XD-7 with 85mm f/2 and a 2X converter, 170mm f/4 was a sweet spot in every respect.

These two converters can only be used with the new 70-200mm f/2.8 G-Master FE. When you look at how far the converter unit extends into the lens barrel, you’ll see that this is a combination designed from the start. The rear element of the FE lens is deeply recessed, midway between a typical E-mount design (18mm register) and an A-mount (rear element no closer than 42mm to the sensor).

The extenders add less length than an A-mount variant would, and the back focus of the FE lens is shorter. But it’s a mid-way compromise. Extenders are easy to make for DSLR back focus register, they are difficult or impossible to design for 18mm register mirrorless like Sony or Fuji unless the host lens is matched exactly to the extender. And the 70-200mm f/4, for example, is not…

The compromise

And, having mentioned compromise, I should explain the great compromise which has made the entire Sony E/FE system much larger than it needs to be.

It’s all down to the A7R 36 megapixel sensor. This sensor, more so than the 24 megapixel full frame, requires a very telecentric lens design. That is, more like a DSLR lens, despite the slim A7 series body. In order to perform acceptably with this sensor, the FE lens range could not be designed to be as small as a rangefinder system equivalent, or to take full advantage of the 18mm mount to sensor distance. Brian Smith, whose images are great (not cheesy portraits) but whose technical info clearly comes via Sony PR, says this: “Mirrorless camera design has allowed Sony’s lens designers to place larger than normal lens element close to the body”. Actually, they don’t, as the design of the extenders will tell you. They’ve used a stronger degree of telephoto construction in the long zoom, allowing a smaller than normal rear element and they have taken measures to move it further away from the body – and this is a general trend. If you want to see what a properly small 85mm f/1.4 looks like try a Carl Zeiss Planar 85mm f/1.4 ZE in Canon mount – 72mm filters not 82mm, 570g versus 850g and really solid all-metal manual focus. The mirrorless bodies do provide a zone from around 16mm to 42mm from the sensor surface which can accommodate the rear of the lens, and can’t ever be used on a DSLR. But Sony does not make full use of that and can not do so because of the microlens, filter layer and structural characteristics of the A7R sensor.

All Sony FE lenses and all CZ independent FE lenses have been designed to work well with the A7R. The 28-70mm kit lens was not, but most owners find it acceptable. They could have made some of the lenses a fair amount smaller and lighter if the A7R had never existed. The A7RII is so tolerant towards short back focus, oblique ray angle imaging, that a whole different range of lenses could be designed for it… but never will be.

The system has to remain compatible with its earlier components, especially the first ‘flagship’ body A7R. And that is going to constrain design and increase costs for ever into the future. In contrast, see the Fujfilm X system. We have yet to find whether the new 24 megapixel Fujifilm sensor disagrees with any older lenses, but all new lenses no matter how fast, small or clever have full compatibility with all the earlier bodies and don’t seem to have any compromises in design.

Here’s my view, after doing a lot of digging around over the last two days (Sony PR does not supply any of the technical data for the released lenses – all that had to be found, and cross-checked, from Sony corporate and various dealer sites). I have found some interesting historic lenses like the 50mm f/1.5 and 85mm f/1.5 Zeiss Biotar. They are simple and perform poorly by today’s standards but they are very small. I am familiar with many excellent lenses I’ve used in the past like the Minolta MC/D 45mm f/2, the MD 85mm f/2 and of course the ‘beercan’ 70-210mm f/4 AF. I loved my first serious freelancing kit, Pentax Spotmatics with 20mm f/4.5, 35mm f/3.5, 50mm f/1.4 and 105mm f/2.8. I’ve used some good lenses which have been perfect with all A7 series bodies, such as the Voigtlander 21mm f/1.8, the Canon 40mm f/2.8 STM, and several rangefinder 35mm f/2 or f/1.4 lenses. All of these have been small and perfectly in keeping with the A7 series mirrorless bodies. I think Sony’s inspiration for new lenses should have come from classic rangefinder and compact pre-digital SLR glass, rather than from the bloated f/2.8 zooms of professional digital SLRs.

In 1999, with a multi-state road trip in the USA to enjoy, I left the SLR kit at home because I was using two Minolta CLE bodies, a 20mm Russar, 28/40/90mm Minolta set and a Leitz Elmar 135mm f/4.5. SLRs in the AF era had started to became big, plastic and clumsy with fairly poor zoom lenses. I opted for the NEX/A/A7 system because I thought we were heading back to light, elegant, unobtrusive little jewels of lenses. Ah well, not so. We’re going to be sold lenses built like a Kardashian ass and learn to live with it!

– David Kilpatrick

A zoom specification comparison

Sony Carl Zeiss 24-70mm f/2.8 ZA SSM II – focuses to 34cm, 0.25X, 77mm filters, 975g
Sony Carl Zeiss 24-70mm f/2.8 ZA SSM – 34cm, 0.25X, 77mm filters, 955g
Sony Carl Zeiss 24-70mm f/4 ZA FE SSM OSS – 40cm, 0.20X, 67mm filters, 430g
Sony GM 24-70mm f/2.8 FE SSM OSS – 38cm, 0.24X, 82mm filters, 885g
Sony G 70-200mm f/2.8 SSM II – focuses to 1.2m, 0.21X, 77mm filters, 188mm long, 1300g
Sony G 70-200mm f/2.8 SSM – 1.2m, 0.21X, 77mm filters, 197mm long, 1500g
Sony G 70-200mm f/4 FE SSM OSS – 1-1.3m*, 0.13X, 72mm filters, 175mm long, 840g
Sony GM 70-200mm f/2.8 FE SSM OSS – 0.96m, 0.25X, 77mm filters, 1480g, 200mm long, 11-blade aperture

*Focus to 1.3m at 200mm, 1m when set to 190mm or shorter focal length. 0.13X at 1m and 190mm.

All the pictures used here have, linked to them, the full sized unwatermarked official Sony PR images except the first image which we have cropped a load of useless white space from – Sony likes useless white space, as the others show. Web and magazine editors hate it and constantly have to crop product shots…

Lenses - E mount, News, NEX System, Sony Digital Cameras

Canon’s 250 megapixel sensor – the reality

Posted on September 7, 2015 By David Kilpatrick

Here’s this morning’s news:

United Kingdom, Republic of Ireland, 7 September 2015 – Canon Europe, a leader in imaging solutions, today announces that its parent company, Canon Inc., is developing an APS-H-size (approx. 29.2 x 20.2 mm) CMOS sensor incorporating approximately 250 million pixels (19,580 x 12,600 pixels), the world’s highest number of pixels for a CMOS sensor smaller than the size of a 35 mm full-frame sensor.

When installed in a camera, the newly developed sensor was able to capture images enabling the distinguishing of lettering on the side of an airplane flying at a distance of approximately 18 km from the shooting location

Well, this is great for the Guinness Book of Records, but you need to put it in context. Sony’s little HX60 – like many other 1/2.3 inch sensor compacts offering 20 megapixel resolution – records 705,000 pixels per square millimetre, 840 pixels per linear millimetre. And where Canon shows a 35mm f/1.4 lens on their prototype camera, the wee Sony goes to 129mm…

The new Canon sensor records about 450,000 pixels per square millimetre, or 670 pixels per linear millimetre. It’s actually just a little bit higher in resolution than the Sony one-inch sensor used in the Cyber-Shot DSC RX10 and RX100 series (414,000 pixels per square millimetre).

In theory, given the same lens and the ability to aim the camera, a pocket Sony Cyber-shot with backside illuminated CMOS 20.2 megapixel 1/2.3″ sensor can distinguish the lettering on that airplane (or if you’re in Britain, aircraft or aeroplane…) from 22.5 kilometres – and if the Sony G zoom on that HX60 is sharp enough, make that 82km. Unless of course Canon was actually testing with a 600mm f/4 attached. Saying what focal length of lens is used gets rather important when chucking around statistic-examples like this.

It is very easy to use facts and figures without reference or benchmarks for comparison.

This is no reason to rain on Canon’s parade, as the video achievement is a major one. Here’s the rest of their tech info, and the important bit is in the last paragraph – Big Brother is droning you… and across that city square, he’ll be able to recognise your eyes and put a bullet in your head with surgical precision.

With CMOS sensors, increases in pixel counts result in increased signal volume, which can cause such problems as signal delays and slight discrepancies in timing. The new Canon-developed CMOS sensor, however, despite its exceptionally high pixel count, achieves an ultra-high signal readout speed of 1.25 billion pixels per second, made possible through such advancements as circuit miniaturisation and enhanced signal-processing technology. Accordingly, the sensor enables the capture of ultra-high-pixel-count video at a speed of five frames per second. Additionally, despite the exceptionally high pixel count, Canon applied its sensor technologies cultivated over many years to realise an architecture adapted for miniaturised pixels that delivers high-sensitivity, low-noise imaging performance.

Video footage captured by the camera outfitted with the approximately 250-megapixel CMOS sensor achieved a level of resolution that was approximately 125 times that of Full HD (1,920 x 1,080 pixels) video and approximately 30 times that of 4K (3,840 x 2,160 pixels) video. The exceptionally high definition made possible by the sensor lets users crop and magnify video images without sacrificing image resolution and clarity.

Canon is considering the application of this technology in specialised surveillance and crime prevention tools, ultra-high-resolution measuring instruments and other industrial equipment, and the field of visual expression.

Actually, I see a better use. With the camera set up to cover an entire playing field, licenced from Sony the latest ‘Ball-AF’ ball recognition technology will keep focus on the ball and Minolta’s auto zoom framing patent will compose the crop. TV crews will no longer be needed and Rupert Murdoch will be able to install a full system in every stadium!

– David Kilpatrick

DK's ramblings, HD Video, News, Rumours

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