News - Cameracraft

Victorian Photography in Edinburgh

Posted on June 18, 2015 By David Kilpatrick

Today I visited the press preview of Photography: A Victorian Sensation at the National Museum of Scotland in Edinburgh. It’s a major exhibition which actually goes beyond the wonderful huge collection of mint condition Daguerreotypes and other early examples, ending with a Nikon D5500 as an example of today’s tech.

You can visit this entirely free if you are member of National Museums of Scotland. For non-members, it’s £10 (adults) £8 (concession), or £6.50 (children 12-15) and free for under 12s, until November 22nd. The museum itself is free entry, and if only one person in your family wants to see this (Exhibition Gallery 1, Level 3) there’s plenty for others to see and do.

I wanted to see the Nikon – I had helped the curator with this, putting her directly in touch with the right individual at Nikon, after a mutual friend in Edinburgh asked for assistance. Why not Sony? Well, the museum acquires representative technology for the permanent collection, and specifically wanted a DSLR not a DSLT or mirrorless – and the Nikon fitted well with a 1990 first generation digital camera displayed close to it, another Nikon. No doubt at some future date, mirrorless will be so much the flavour of the era that they acquire a Sony.

It’s a superb show, with wall-high prints blown up from unexpectedly early originals. Although it is not a huge exhibition area, I would recommend sparing half an hour for the casually disinterested family member, an hour to two hours for this who actually look at the exhibits, and half a day for anyone who wants to access the touch screens, study the work and really learn something. The good thing about the museum is that if you DO have family members who want to do something else, there’s plenty to see and much of it is rather fun, whether Dolly the Sheep or the kids’ painting and crafts corner. It also has a café which is not overpriced and Edinburgh’s Old Town tourist attractions are a five minute walk from the door. Parking cost me £2.60 for one hour on a nearby meter, paid by mobile phone, and there are cheaper options.

One of the best bits must be the use of touch screens (above) which replicate a cabinet (as below) of small original works. Tap the corresponding thumbnail, and it fills the screen. Do an ‘expand’ gesture with two fingers (or hands) and the super-high-res copy of the Victorian work – often only a few centimetres wide – expands to show microscopic resolution. Daguerreotypes, in particular, are almost grain-free and reveal as much detail as Sony A7R II… who needs 42 megapixels when you have countless megamolecules?

The exhibition includes National Museums Scotland’s extensive early photographic collections, including Hill and Adamson’s images of Victorian Edinburgh, and the Howarth-Loomes collection, much of which has never been publicly displayed. The cartes-de-visite and cabinet photographs below emphasise the huge volume of these portraits produced 150 years ago.

Highlights include an early daguerreotype camera once owned by William Henry Fox Talbot; an 1869 photograph of Alfred, Lord Tennyson by Julia Margaret Cameron; a carte-de-visite depicting Queen Victoria and Prince Albert as a middle-class couple and an early daguerreotype of the Niagara Falls. There’s a special niche for Eastman and his Kodak.

You are also be able to visit a ‘stylised recreation of a Victorian photographer’s studio’ – er, not exactly a re-creation, as stylised is certainly the word! Victorian props and costume details can be used, and you can take a photograph, which will be displayed in a photomontage at the end of the exhibition. The lighting, however, appears to be Godox Witstro or a similar battery flash mounted into a big Elinchrom Octa.

At the press day, model Bronwyn Mackay was dressed in Victorian costume. My photo of her (top), not in the studio setting but holding a stereoscope with part of the display behind her, was taken using my Sony A6000 with 16-50mm OSS lens. Bronwyn is lit by the new ICE Light 2, which I’m holding in my left hand. The camera is at ISO 3200 and the lens at f/5.6, but it’s still a marginal 1/13th exposure, as the lights are low in the room and the ICE light is at minimum power to balance the shot and prevent distress to the model.

I am told there is a book and a smaller catalogue (neither available when I visited) and we’ll be looking at the book, for certain, in Cameracraft magazine.

For further information on the exhibition please visit www.nms.ac.ukphotography

– David Kilpatrick

DK's ramblings, Events, News

No FE or A mount for new Sigma 24-35mm f/2

Posted on June 18, 2015 By David Kilpatrick

We’ve had news of the new Sigma Art HSM high speed wide angle full frame zoom – 24-35mm f/2.

It will be available in Nikon, Canon and Sigma mounts only (release date not yet confirmed) according to Sigma in the UK.

Note that this will be a bit of monster with its 82mm filter thread, 117mm long barrel and substantial petal lens hood.

Sigma does not make a full frame DSLR. Sony is now a major market for high end full frame lenses. What’s going on here? We’ll just have to wait and see. Maybe Sigma just reckon every FF Sony mirrorless owner will have a Canon AF adaptor and maybe their HSM – which works pretty well on the A7II – will even allow fast AF on the new A7R II.

– David

Accessories - 3rd party, Lenses - Alpha Mount, Lenses - E mount, News

Blad bling going for a song

Posted on June 17, 2015 By David Kilpatrick

Hasselblad HV

Well, I never really liked what Hasselblad did with the smaller Sony cameras – but what they did with the A99 is pretty cool, with the different body skin and control details. At the original price? A rip-off!

For $3999 including a 24-70m CZ lens and a special case – a bargain. This is still an amazing camera. OK, at the official price of $11,999 it would have been the badge of a wealthy eejit. At $3999 it’s a snap-up deal for anyone wanting the highly capable A99 in a form which will have wedding guests keeping their mouths shut even if they do have a cheap old Canon 5D MkIII round their neck.

B&H have this offer right now.

And for purists, they have an equally extreme reduction on the Sony NEX-7. Make no mistake, this is still a top end classic with excellent controls and it works with the older Sony hot shoe. It is only $498 with the 18-55mm lens, all in black. That’s amazing.

B&H NEX-7 with 18-55mm – reduced from $1248 to $498.

Cameras (DSLR), News, NEX System, Offers

Sony’s BIG system future at photokina

Posted on September 17, 2014 By David Kilpatrick

I’m using my RX10 to report. This camera is my big Sony dilemma. It’s actually all I really need for 95% of my daily work.

Well, here we are reporting from photokina 2014, the major trade fair in Cologne. I’m only here for the day and a brief stop in tomorrow morning en route to the airport, and my first appointment was with Sony. To be frank, it doesn’t matter that much as everything has already been publicised on many web pages. My only request, to be allowed to take some test frames on my A7R using any of the new FE lenses, was turned down because the lenses were ‘pre-production’. I was not pleased to be standing within earshot when, ten minutes later, the very same 16-35mm f/4 was being made available to another UK journalist not only to use but to take outside the hall into the Messehallen surroundings for ten minutes (chaperoned).

Of course you need a Canon sign over queues. It is after all the brand of herd!

I don’t need an outside scene to assess a 16-35mm – give me a room with vertical pillars (plenty) and some small very intense bare bright light sources (ditto) and I can pretty much do an optical test on such a lens in a couple of dozen frames. The good news is that Sony UK may be better placed to let photoclubalpha (and all the other media I write for) have loan lenses. In the last year, I’ve bought £10k worth and sold £5k worth of Sony and related third party gear to be able to keep up to speed with the rate of new products and their sheer cost.

If equipment had cost this much relative to earnings when I set out in photography, I would never have become a photographer – it would not have been possible. It would have been making a choice – a deposit on a house, a secondhand car, or a camera and three lenses?

And lenses are certainly being rolled out. The new roadmap concentrates entirely on the E-mount systems (FE and E, full frame and APS-C). The Alpha 99 may still be there as a flagship for the A-mount but there’s really nothing here, no news, for A-mount system users.

Hands-on reports from photokina often mean nothing more… hands-on! No pictures allowed with the glass. It looks like a lens, it works like a lens, but it’s really only half a lens.

Unless, of course, it is two times a lens. The ciné targeted 28-135mm f/4 power zoom for FE may have the ghost of a Minolta 28-135mm hiding inside its suit of armour. It’s huge.

In a sealed but rather grubby fingermarked cabinet sat the new lenses – a Carl Zeiss Distagon T* FE 35mm f/1.4 ZA, a Sony FE 24-240mm f/3.5-6.3 OSS, and a Sony FE 90mm f/2.8 Macro G OSS. I wiped the drool marks off the glass with my secret weapon (a packet of tissues) and took some individual pictures.

OK, the glass didn’t clean up all that well and there were many reflections to avoid.

But here is what you need to see – a 90mm macro with an external OSS on-off switch so you do not have to menu dive to perform this function when tripod mounting, as well as a triple range focus limiter. But this len is a real monster. We have to assume it uses internal focusing with a design like this.

And here is another surprise. Like Fujinon XF lenses, the forthcoming CZ 35mm f/1.4 has an RX-style third f-stop clicked aperture ring, with an A setting at the extreme beyond f/16. My guess is that there is also an RX-style click disengager round the back, making this a superior lens for ciné but almost certainly needing a firmware update for camera bodies as it is the first A or E mount (electronic aperture) lens to feature an on-lens aperture control.

Then we have a neat 28mm f/2 AF for FE, joining the Carl Zeiss Loxia manual focus, electronic function 35mm and 50mm lenses shown elsewhere on the stand (one day I may feature these if we find them exciting enough).

This lens has two optional adaptors – very much like the adaptors for the 16mm E series pancake, a 0.75X wide angle (converts it to a 21mm f/2) and a fisheye (converts it to a 16mm f/2).

I would say many of the size advantages of the A7 full frame camera series are completely negated by all of these new lenses and by the adaptors. What we actually need and want is a handful of properly compact sensor-matched lenses, smaller perhaps than the existing 35mm f/2.8 FE, and not a range of lenses which increases the overall size of a mirrorless kit to the point that you might as well have a DSLR. It’s not quite that bad, they are still a bit smaller overall, but here’s the 28mm converted to fisheye:

I’ll leave you with the test set-up for the A6000 and lenses –

I’m off for a meeting with Sigma. Just got ten minutes to find them!

– David KIlpatrick

Cameras (DSLR), DK's ramblings, Events, Lenses - Alpha Mount, News, NEX System, Sony Digital Cameras

Sony roll out Pro support in Europe

Posted on September 15, 2014 By David Kilpatrick

Professional photographers in Europe can benefit from valuable help and extra peace of mind with the launch of Sony Imaging PRO Support. There’s no membership fee for the service, which is offered to professional photographers who own qualifying Sony α camera bodies and lenses.

Following its successful launch in Japan, South Korea, Hong Kong and Taiwan, Sony Imaging PRO Support makes its official European debut in Germany from April next year, followed by rollout in other countries.

A dedicated telephone help desk gives professional photographers expert support with using their camera equipment.

There’s a free collection and return service for units requiring repairs, plus a free back-up loan unit which helps to keep professional photographers up and running.

In addition, enrolled Sony Imaging PRO Support customers can benefit from a free twice-yearly image sensor cleaning service and firmware check-up to keep their cameras in top condition.

To be eligible for the service, professional photographers must own multiple Sony high-end α cameras such as α99, α7 series and Sony G or Carl Zeiss lenses. The details about the application and service will be announced closer to launch date.

News, Sony Digital Cameras

Sony confirm silent mode in A7S

Posted on May 30, 2014 By David Kilpatrick

Today, Sony confirmed a rumour – no doubt started as a result of pre-production tester leaks – that the A7S would have a completely silent all-electronic shutter mode. This is not the same as the Electronic First Curtain shutter found on the A7, A99, A77, A6000 and so on but conspicuously absent on the A7R. Nor is it the same as the near-silent leaf shutter terminated exposure mode of the RX100 models, RX10, or RX1 models. It’s completely free of all mechanical action and totally silent.

A7S seen with LA-EA4 and 24mm f/2 Carl Zeiss. I’ve got the adaptor, and this lens – they do work well on the A7R, but I don’t use them as my tiny Voigtlander Color Skopar SL II 20mm f/3.5, mounted on a Nikon fit Kipon tilt-shift adaptor, delivers the goods without the bulk or the battery drain. The 24mm also works well on the LA-EA3 adaptor without SLT mirror, but focusing is excruciatingly slow.

The silent shutter has been implemented as a firmware upgrade to the early production samples and future stocks, along with several other important firmware enhancements – all of which will have Sony owners wondering why improvements to their six-month old or one-year old purchases are not equally forthcoming. These are however improvements to a £2,100 camera body which will not hit the shops until the end of July 2014.

The firmware fixes and upgrades are:
α7S now offers a ‘Silent Shooting’ mode
ISO range for Movie Shooting extended to ISO100 – 102400, expandable to ISO100 – 409600
Dynamic Range extended to 15.3 stops as sensor RAW output

The silent mode is an option, and we would guess it carries some penalty in terms of available shutter speeds or noise performance. They say “For situations where absolute silence is required on a shoot, such as nature shoots or behind the scenes at a movie production, the α7S will offer the user the ability to activate ‘Silent Shooting’, thus making the photographer as unobtrusive as possible.”

A further upgrade is the expansion of the ISO range when shooting movies (previously limited to the native range). The α7S now offers the ability to shoot between ISO 100 -102,400 (native range) and is expandable to ISO 100-409,600 whilst still shooting capability remains at a staggering ISO 100-102,400 (again, the native range) expandable to ISO 50-409,600. The sensor’s dynamic range has also been further extended to 15.3 stops sensor RAW output. Technical note: as the bit depth remains unchanged and is presumed to be 14-bit ARW, this enhancement implies a modified raw gamma curve.

Other system improvements

You may wonder why we’ve pretty much given up reporting on new Sony products. Despite running three photographic magazines, we can’t easily get hold of review samples as all three magazines are professional or enthusiast market only. I’ve now run out of money and can’t afford to buy any of the new cameras or lenses, as the rate at which they have been released and the price levels make this difficult, and the dramatic collapse in secondhand values has clobbered my recent workround of buying-testing-selling. Things like the 28-70mm FE OSS lens for the A7 are worth almost nothing (under £200 used even from a UK dealer now) and most gear is losing 35-40% of its launch month value within two or three months. Also, the performance of much of this kit tends to be flawed or just not that impressive. It’s really hard to justify spending thousands on Sony gear which then turns out to be very ordinary, when companies like Olympus, Fujfilm, Nikon and Canon only need an email or a phone call to send test kit out just as soon as it’s available.

To work further against Sony’s interests, so much of the older Minolta and other optical gear I have been trying – even something as basic as my 70-210mm f/4 ‘beercan’ on the A7R with LA-EA4 – produces such beautiful results. What money I have spent recently has been on adaptors and on vintage lenses including Voigtlander, Canon and Nikon. I’ve not lost a penny on buying and selling these to find the best choices.

Sony also has a habit of organising London press events starting at 10am which, because of the nature of London, pretty much demands an overnight hotel stay unless you happen to be based within the M25 ring. I’m 400 miles away with no intention of ever being closer. I’m willing to spend the two or three hundred pounds needed to be at a mid-day event in London, despite the fact that it generally only produces ten minutes with a product subject to a ‘no images may be used’ embargo, and all the major websites already had it a month before and the full details were all over the web before I boarded the early morning train. So that’s why I have not really felt an urgent need to work hard and put my company’s (my!) money into giving Sony free advertising.

Well, there’s a new Alpha 77 – the A77II. It has much improved AF, the new hotshoe, some WiFi stuff and the GPS has been removed. Neat though the WiFi and NFC may be, my main use of this is for remote control not tweeting photos, and for remote control rigs there are much better camera choices than a heavy A77 body with no possibility to control the zoom from an iPad/Android phone or whatever. The RX100 and RX10 hit the mark for this. The slightly gritty 24 megapixel sensor is still a slightly gritty 24 megapixels, and removing the GPS is just downright perverse. I have a Nikon D5300 sitting here which does everything I need in a gritty 24 megapixel APS-C format, with GPS, for a great deal less.

And there’s a great new RX100 MkIII which has a new Carl Zeiss 24-70mm equivalent f/1.8-2.8 zoom, a pop-up EVF, unbelievably good video (not far removed from the A7S 4K abilities and high bitrate encoding of HD1080p) and a more flexibly hinged screen. I do think this will be worth it for new buyers, but I didn’t bother with the MkII. The MkI only cost me £350 slightly used, it lives in pockets and shoves into compartments of bags, it has a lenscap adapted to ensure this treatment does not damage its fragile lens-front cover, and it goes to 100mm equivalent which is more use to me than extra lens speed at 70mm. The old MkI may only by f/4.9 at 100mm equivalent, but it is respectable f/4 at 70mm and the same f/1.8 at 28mm. It’s knockabout travel camera, a car glove-compartment camera, capable of delivering shots which any photo agency or library will accept.

The RX100 III will start shipping in Europe at the beginning of July 2014 and will be priced at approximately £700. I’ll get one when I break, wear out, or lose the original but I might just opt for a Nikon 1 system kit instead. At least they have a GPS you can add, unlike Sony – it will soon be two years since the Multi Function Accessory Shoe was unveiled, and the GPS module for it is still not even on the horizon.

Cameras (DSLR), DK's ramblings, News, NEX System, Sony Digital Csmeras

Alpha 77 II announced

Posted on May 1, 2014 By David Kilpatrick

Sony’s successor to the Alpha 77 improves all-round performance in line with the enhanced 24 megapixel sensor also found in the new A6000 E-mount camera. Key points are that the AF array now covers most of the image area (this is a mixed blessing as Canon 7D owners quickly found out, having active AF points near the image edge can produce some very unwanted results unless detailed control is offered of the AF behaviour – we shall find out when we test the camera); that the high ISO performance is 20% better, meaning the new A77 II should be as good as the original NEX-7 in this respect; and the entire rig is much faster though we would guess it also demands very fast SD or MSProDuo cards.

We are currently in touch with Sony to determine whether GPS has been omitted from this body, as the launch specification makes no mention of it, and if so, whether Sony is anywhere nearer releasing the separate GPS module originally planned for the Multi-Function Accessory Shoe (another key upgrade present in the revised camera). Update: there is no GPS in the camera and Sony doesn’t seem to know what we are talking about.

Full audio level control, something we have pressed for as a firmware upgrade for the original A77, is now provided. It’s also got the fashionable but almost useless WiFi/NFC functions (almost useless in a camera which can shoot 60 continuous JPEGs at 12 fps or produce 24 megapixel raw files). If you really want to upload your latest selfie, shoot the damn thing on your smartphone, says the man whose A7R is kept in Airplane Mode because that way you at least get a decent battery life… Sony only has this one photo in the Europe media library right now (but if you click it you get the full sized file).

Slightly tongue in cheek, as WiFi can indeed be enormously useful for remote viewing and control – but that all depends on how the connectivity works and will remain to be seen. It’s a bit heavy for a drone copter but great for a 20 metre sky pole if it’s got the right functions.

What follows is the Sony press release and specification table.

You can pre-order for only $1,198 (body) from B+H and we reckon this is a very fair price for the spec.

New A-mount camera with world’s highest phase-detection AF point count – 79 points with 15 cross points
Translucent Mirror Technology delivers ultra-fast, intelligent AF tracking and up to 12 fps burst of up to 60 full-resolution frames
24.3 megapixel Exmor™ CMOS image sensor delivers wide ISO 100-25600 sensitivity range
XGA OLED Tru-Finder™ and 3-way tiltable LCD
Tough magnesium body with dust- and moisture-resistant seals
BIONZ X™ processor for pro-quality images and Full HD 50p video
NFC/Wi-Fi for One-touch sharing and remote control by mobile

From dynamic sports to the sudden flutter of a startled bird: the new α77 II stays locked right on target, frame after crisply-focused frame.

Building on the heritage of Sony’s much-loved original α77 and α700, the α77 II gives advanced amateurs a string of exciting enhancements in a tough, weather-resistant body that’s up to any challenge.

Image quality is boosted while sensitivity is increased by approximately 20% compared to the α77 for flawless, exquisitely-detailed stills and Full HD video, even in low light. Non-stop continuous burst shooting stamina is enhanced and there is a clutch of pro-friendly new video functions for movie makers.

Best of all, the α77 II rips up the rule book with an advanced phase detection autofocus system. With approximately 2x wider coverage area than the previous α77 model, it outpaces the AF capabilities of many professional cameras.

New-generation 79 point phase detection AF system

For the first time ever, the α77 II features no less than 79 autofocus detection points, including 15 cross points within most frequently-used central area of the sensor. This aids super-accurate focusing, even with horizontally-striped subjects that confuse many other cameras.

There’s also a dedicated F2.8 AF point placed horizontally in the centre of the sensor. This centrally-mounted sensor supports apertures up to F2.8, ensuring maximum AF precision when using large-aperture lenses. The AF system also performs well in low light, accurately locking onto subjects in scenes with illumination levels as low as EV-2 (ISO100), where even the human eye can struggle to discern fine detail.

Vast amounts of metering data from all 79 focus points are processed by a brand new AF algorithm that’s been fine-tuned in extensive field tests. This predicts the subject’s next movement, combining AF metering data together with data on the subject’s position. AF precision is further improved when Lock-on AF is used, recognising the subject from its colour as well as its position in the frame.

Whether you’re framing through the viewfinder or on screen in Live View mode, Sony’s unique Translucent Mirror Technology maintains razor-sharp tracking focus on your subject, whether you’re capturing stills or Full HD movies. This powerful new system is less likely to be distracted by other objects – like a rogue balloon moving across your shot at a football match. It performs brilliantly in low-light conditions, capturing crisply-focused images of moving subjects on moonlit nights.

There’s a suite of sophisticated new AF functions that make the most of the new 79-point system. Expanded Flexible Spot mode maintains focus even if the selected AF point loses track of the subject, activating eight surrounding AF points that recognize the subject. In combination with AF-C AF mode, this dramatically increases performance with moving subject.

Lock-on AF mode lets users select one of four AF area modes (Wide, Zone, Flexible Spot or Expanded Flexible Spot). Once its target is acquired, the camera keeps tracking as long as the shutter button remains half-pressed. As the subject moves or framing changes, the camera automatically selects the most appropriate AF point from the 79 available. When subject movement is too fast for the new Expanded Flexible Spot mode alone, it’s combined with Lock-on AF for class-leading tracking performance.

For even greater control, the degree of subject-tracking duration can be fine-tuned in five steps (when shooting still images in AF-C mode). With subjects whose movement is predictable, a low setting reduces the risk of the camera focusing on another object suddenly entering the area around the subject. High settings deliver more responsive focusing – ideal when you’re rapidly shooting different subjects at different distances, such as wildlife. AF Tracking Duration can also be selected between High, Medium and Low during Full HD movie shooting.

Other new features include an Eye AF function that precisely detects and focuses on the subject’s eyes when photographing people. AF Range Control allows AF to be limited to a specified range, with five AF Tracking Duration settings to optimally match the subject’s motion. There’s a Balanced Emphasis mode that complements the release and focus priority modes by providing the ideal balance between focus and release timing. Users can manually select the most appropriate mode to shoot the situation and their precise creative objectives.

Shoot a continuous burst of 60 full-resolution frames at up to 12 fps

Continuous shooting stamina outpaces many professional cameras, too. The α77 II can capture a non-stop burst of up to 60 full-resolution JPEG images at a maximum continuous shooting speed of approximately 12 frames per second (in Continuous Advance Priority AE mode).

24.3 megapixel Exmor™ CMOS image sensor with improved sensitivity

A showcase for Sony’s world-leading expertise in imaging sensing technology, the 24.3 megapixel Exmor™ CMOS image sensor features the same gapless on-chip lens structure as used in the acclaimed α7R and α6000. Thanks to an array of latest-generation imaging innovations, it now offers 20% greater sensitivity than its predecessor that offers the same pixel count. Together with flawless image detail, low-noise performance is assured across a wide sensitivity range of ISO 100 to 25600.

The high-resolution sensor is partnered by the same evolved BIONZ X image processor featured in the α7 and α7R. Around three times faster than Sony’s previous BIONZ engine and optimised for the α77 II, it employs detail reproduction, diffraction-reducing and area-specific noise reduction technologies that contribute to amazing image definition, rich colours and textures with stills and Full HD video.

See things your way with OLED Tru-Finder and 3-way tilting LCD

Framing and focusing is a pleasure through the clear, bright XGA OLED Tru-Finder™ with 236,000 dot resolution. With three times higher[i] contrast and resolving power, it faithfully displays exactly what’s in the final image, letting you accurately judge the effects of adjusting focus, exposure and other settings before firing the shutter. A wide viewing angle and high eye-point are complemented by a newly-expanded choice of brightness settings, plus colour temperature adjustment for even more comfortable, accurate composition.

As featured on the full-frame α99, the α77 II also features a detail-packed 3.0-type (7.5 cm) Xtra Fine LCD that moves three ways for near-limitless creative flexibility. Easily shoot from high or low angles, in portrait or landscape orientation, handheld or with a tripod. WhiteMagic technology significantly improves screen visibility, even outdoors in direct sunshine.

You’re always in control with expanded custom functions

Evolved from the original α77, separate control dials in front of the grip and behind it allow intuitive, fumble-free adjustment of camera settings without taking your eye away from the viewfinder. Lavish customisation options now allow a total of 51 functions to be assigned to 11 buttons.

Up to three frequently used groups of shooting mode and other settings can be stored in memory and recalled easily via the mode dial. In addition, an exposure mode dial lock function has been inherited from the a99 to prevent accidental mode changes.

Tough enough for serious enthusiasts

The tough, light magnesium body of the α77 II is engineered to withstand the demands of serious enthusiasts in search of that perfect shot. Positive, comfortable handling is enhanced by the large, contoured grip. Dust- and moisture-resistant seals around main buttons and controls are complemented by double-layered protection around all openings including media slot and terminals. In addition, the camera’s durable shutter unit is rated for 150,000 activations.

Pro-style movie shooting with continuous AF

The a77 II can record Full HD 60p and 24p movies using the AVCHD 2.0 format. As with still shooting, Translucent Mirror Technology enables full-time phase-detection AF, ensuring accurate focus tracking with fast-moving subjects while you’re capturing video.

A number of advanced features appeal directly to serious moviemakers, including three-level AF tracking sensitivity adjustment, a pro-style Zebra function and audio level metering. There’s also the addition of a clean HDMI output that allows viewing on an external monitor and recording without compression to an external storage device.

One-touch wireless connection and smartphone remote control

On-board Wi-Fi allows one-touch connection for easy shot sharing with your Xperia™, NFC-compatible Android smartphones, tablets and VAIO. A single touch also activates Smart Remote Control, linking the camera to your mobile phone enabling you to fire the shutter from a distance.

Lenses and accessories

Covering focal lengths from wide angle to telephoto, a family of 32 A-mount lenses offers an extensive choice of creative tools for visual expression.

The line-up includes glassware to fulfil just about every artistic need, from high-performance G Lens™ and ZEISS® models that deliver world-class quality to the unique Sony STF (Smooth Trans Focus) lens that produces extraordinarily smooth background bokeh. Premium G Lens models feature precision aspherical lenses, ED (Extra-low Dispersion) glass, an advanced Nano AR Coating and other advanced Sony optical technologies that contribute to high resolution while also enabling beautiful bokeh effects.

ZEISS® lenses are jointly developed by Sony and ZEISS, a name that is well known to discerning photographers worldwide, making full use innovative and ground-breaking optical technologies. Superb contrast and high resolution that extend right to the edge of the frame are highly famous hallmarks of the ZEISS brand.

The optional VG-C77AM grip enhances camera operability by offering remarkable holding and operational ease during vertical shooting.

α Library app

Sony has also today released a new “α Library” application for tablets which includes two types of content. “α Lens catalog” showcases the entire line up of α lenses and provides key information and specifications about which lenses are best suited to different types of photography. The bi-annual “α Magazine” showcases the boundless fun of photography. The new α Library is available for download on Google Play and the iOS App Store from today.

The α77 II A-mount interchangeable lens digital camera from Sony is available to pre-order now from www.sony.co.uk. It’s on general sale in Europe from Summer 2014.

α77 II technical specifications

Key Features			ILCA-77 II
Type			Interchangeable lens digital camera with built-in flash
Lens Compatibility			Sony A-mount lenses, operation with Minolta/Konica Minolta lenses confirmed
Image Sensor	Type		APS-C type (23.5 x 15.6mm), “Exmor” CMOS sensor with primary colour filters offering approx. 24.3 effective megapixels
	No. of pixels (effective)		Approx. 24.3 megapixels
Processor			BIONZ X™ image processor
Image Quality Modes			RAW / RAW & JPEG / JPEG Extra fine / JPEG Fine / JPEG Standard
Focus system	Type		TTL Phase-detection AF
	Focus point		79 points (15 points cross type) with centre F2.8 sensor
	Sensitivity range		EV -2 to 18 (at ISO100 equivalent)
	Focus area		Wide/Zone/Center/Flexible Spot/Expanded Flexible Spot/Lock-On AF(Wide/Zone/Center/Flexible Spot/Expanded Flexible Spot)
	AF mode		Single-shot AF (AF-S), Continuous AF (AF-C), Automatic AF (AF-A), Direct Manual Focus selectable
Drive		Speed (approx., max.)	Continuous Advance Priority AE: Maximum 12 frames per second
			Continuous shooting Hi: Maximum 8 frames per second
			Continuous shooting Lo: Maximum 3 frames per second
		No. of frame recordable* (approx.)	[Continuous Advance Priority AE mode] Extra fine: 53 images/Fine: 60 images/Standard: 64 images/RAW & JPEG: 25 images/RAW: 26 images [Continuous shooting] Extra fine: 56 images/Fine: 75 images/Standard: 93 images/RAW & JPEG: 26 images/RAW: 28 images
ISO Sensitivity Range			Still Image: ISO100 – 25600 (1/3 EV step), (ISO numbers up from ISO50 can be set as expanded ISO range.)AUTO: ISO 100-25600, selectable lower limit and upper limitMovie: ISO100 – 12800 equivalent (1/3 EV step)AUTO ISO 100-12800 equivalent, selectable lower limit and upper limit
HD movie record			Recording format: AVCHD 2.0 / MP4Video compression: AVCHD:MPEG-4 AVC/H.264MP4:MPEG-4 AVC/H.264
Electronic Viewfinder			XGA OLED, 1.3 cm (0.5 type) electronic viewfinder (2,359,296 dots effective resolution), with 100% frame coverage, five display modes and grid line display modes.
LCD Monitor			7.5 cm (3.0-type) wide type TFT with WhiteMagic technology. Tilt angle: 150 degrees upward and 180 degrees downward. Rotation angle: 180 degrees clockwise and 90 degrees counter-clockwise.
Anti-dust System			Charge protection coating on image sensor and image sensor shift mechanism
Exposure Modes			AUTO (Intelligent Auto/Superior Auto) / Scene Selection / Sweep Panorama / Continuous Advance Priority AE / Movie (P/A/S/M) / Programmed AE / Aperture priority / Shutter-speed priority / Manual / Memory recall (MR1/2/3)
Exposure Metering System			1200-zone evaluative metering
Shutter Speed			Still images: 1/8000 to 30 sec/Bulb;Movies: 1/8000 to 1/4 (1/3 step), up to 1/60 in AUTO mode (up to 1/30 in Auto slow shutter mode)
Exposure Bracketing			Bracket: Cont./Bracket: Single, With 1/3EV, 1/2EV, 2/3EV, 1.0EV, 2.0EV, 3.0EV increments, 3 /5frames
Media			Memory Stick PRO Duo / Memory Stick PRO-HG Duo / Memory Stick XC-HG Duo / SD memory card / SDHC memory card (UHS-I compliant) / SDXC memory card (UHS-I compliant)
Dimensions (WxHxD)			Approx. 142.6 mm × 104.2 mm × 80.9 mm
Weight			Approx. 647g (body only)Approx. 726g (with battery and Memory Stick PRO Duo)

Cameras (DSLR), HD Video, News

NEX-7 close cousin reaches astronomical value

Posted on March 24, 2014 By David Kilpatrick

A crowd at a charity auction in Florida couldn’t believe their eyes as two brand new Hasselblad Lunar cameras with a joint retail value of around $14,000 suddenly rocketed in value to $54,500 (from Hasselblad press release this afternoon).

Two photo enthusiasts at the world-famous three day-long annual Amelia Island Concours d’Elegance exotic car festival began bidding against each other for the chance to own an ‘ultimate luxury’ olive wood-handled Lunar camera, crafted by the iconic camera brand.

When the bid reached $28,000 neither party wanted to lose out on a Lunar, so a deal was struck for an extra camera to be auctioned – for a joint record-busting price that raised a total of $54,500 for a spina bifida charity.

The deal also included a unique set of classic motorsport photographs shot over decades with a Hasselblad camera by Concours Show founder and chairman, Bill Warner.

Warner said: “Hasselblad is simply the ultimate camera. It’s the Mercedes-Benz, the Porsche and the Ferrari of cameras, all in one.”

The Amelia Island classic car and automotive art festival, which is billed as ‘three days of automotive passion at the International Historic Motoring Awards, Motoring Event of the year (2013)’, draws classic car enthusiasts from across the globe each year and raises millions of dollars for charity.

Michael Hejtmanek, President of Hasselblad Bron Inc. said: “We knew our new, retro-look Lunar range was compelling – especially the rich-veined olive wood edition with its advanced technology and supreme ergonomics – but for a pair of them to raise $54,500 for Spina Bifida Jacksonville at this auction is just outstanding.”

Further information:

http://www.hasselblad-lunar.com/
http://www.spinabifidajax.org/
https://www.ameliaconcours.org/

Our comment: fortunately, charity auctions are always about the charity not about the real value of the items. These are still only worth a little compared to the actual lunar-landing Hasselblads, of which four are thought to be surviving in the wild and surfacing at auctions from time to time.

News, NEX System, Uncategorized

Sony Global Ambassadors programme

Posted on January 13, 2014 By David Kilpatrick

A new global initiative sees Sony working closely with some of the world’s top photographers and industry leaders to celebrate the beauty of photography. Inaugural participants in the Global Imaging Ambassadors programme include William Klein and photographers from the leading international photo agency, Panos Pictures.

Through the Global Imaging Ambassadors programme Sony will work closely with a range of photographers with diverse styles from across the globe. The symbiotic partnership will see Sony lending its technical expertise and ground-breaking products, whilst benefiting from participating photographers’ exceptional imagery, professional feedback and brand support.

In addition Sony will work with each photographer to create a bespoke image using Sony’s high-end line of photographic equipment. These commissions will include unique shots of respected photographer William Klein’s return to New York, where this past summer – 60 years following his seminal work, Life is Good and Good for you in New York – he documented Brooklyn, a city he refers to as ‘the America of tomorrow’.

Of the programme, Klein says, “Brooklyn for me, a Manhattanite, has always been a mystery. This year, it became a photographic discovery. With the Sony a99, photography has been a pleasure. The camera has been a partner, rather than a burden. And the quality of the photos have proven to be an unexpected revelation.”

A portion of “Brooklyn, by William Klein”, along with an exclusive behind the scenes film, can be seen on the new ambassador website. Additionally, a major retrospective of Klein’s legendary work is now on display at the FOAM museum in Amsterdam. The showcase of over 200 pieces of Klein’s work spans six decades and includes ten photographs from this latest Brooklyn project.

William Klein show

Panos Pictures brings to the programme a wealth of established and award-winning photographers, including Zackary Canepari, Espen Rasmussen, Sanjit Das and George Georgiou. Over the past five months, these photographers have been using Sony’s RX1/R and a7 cameras to produce their projects in places such as Malaysia, Norway, Turkey and the USA. Adrian Evans, Director of Panos Pictures says, “Panos Pictures photographers always strive to be unique and creative in their approach to visual story telling and journalism. Our relationship with Sony gives our photographers access to Sony’s latest technological innovations, and support for photographers long term projects in an industry that is rapidly changing.” Additional photographers, including Bolivian based Karla Gachet, will be added to the programme in 2014. All current projects can be found on the ambassador website.

Yoshiyuki Nogami, Senior General Manager, Marketing Division, DI Business Group, Sony commented: “The Global Ambassadors Programme is an extremely exciting project that allows Sony to lend its technical expertise to some of the world’s leading photographers to enable them to bring their creative visions to life. From Sony’s perspective, we are able to gather valuable feedback about what photographers want from their equipment which will shape our new product development and help us move towards our goal of providing the best digital imaging products available in the market.”

Running the programme on Sony’s behalf is the World Photography Organisation (WPO), an international organisation providing various platforms and programmes for photographers of all levels and disciplines, along with educational and cultural programmes for the public. Sony has a long-standing partnership with WPO through their sponsorship of the annual World Photography Awards.

News

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

Posted on November 6, 2013 By David Kilpatrick

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

– David Kilpatrick

Cameras (DSLR), DK's ramblings, News

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