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Sony A7 merges NEX and RX lines, RX10 revives classics

Posted on October 16, 2013 By David Kilpatrick

Although some of my information back in September was off-mark (writes David Kilpatrick), the post which I put up here was definitely right about the new A7 or rumoured ‘full frame NEX’ being based on the RX body design. I gather it was not the Alpha division, or the NEX division, which handed the prototype cameras to photojournalists from Magnum and Panos agencies. It was either Sony management at an even higher level, or the Cyber-shot division. The photographers involved had previously been using the RX1. They were given the pre-production A7 as a development of the RX1. It may even have been produced because Sony got the feedback that an RX with interchangeable lenses would be great.

Richard Kilpatrick attended the London launch event on Wednesday 16th October and has a small gallery of JPEG shots taken with prototype or pre-production bodies and lenses:

http://www.pbase.com/davidkilpatrick/sony_a7_a7r_samples_by_richard_kilpatrick

Richard also relays these comments (now finalised and properly written, evening of a busy day):

Both cameras are deceptive; you simply don’t expect this image quality out of something that light. It’s not like carrying a Leica, where you’re wielding something that might double as a weapon – the magnesium body and full-frame sensor feel solid yet after carrying my regular full-frame SLR, it’s a genuine shock.

The Zeiss lens on the Alpha 7R I used, the 55mm F1.8, looks to be exceptional. When first looking over the JPEGs, I went straight to the corners – the clarity, the even illumination, just instantly impressive. The kit lens I didn’t spend as much time with, and I tried it on the 24Mp Alpha 7 mostly investigating the AF, but I would be opting for primes anyway on this body. I’m curious to see how it handles Leica M-targeted lenses – there will undoubtedly be a 15mm or similar, but one of my favourite inexpensive lenses on the M9 was the Voigtländer Super Heliar II, which showed dramatic falloff and magenta tinges in one corner on that full-frame CCD. It was possible to correct, it seems Sony’s work on short registration full frame may be extremely successful, or their lenses are very well matched. Either way, it works.

I’m not very familiar with Sony’s user interface, and I found some controls slightly unintuitive – on this pre-production model, I couldn’t change the ISO whilst the file was being written. That’s the sort of thing which if I’ve left it set to Auto, or simply hadn’t been paying attention between uses, I might want to do – noticing an incorrect exposure and wanting to rapidly correct my error and reshoot.

Other areas of the UI impressed. The animations for aperture and so forth as you adjust the wheels are quick, clear and unobtrusive, whilst still providing the feedback that would allow less experienced users to see which direction they’re heading and what options are available.

The main screen is very nice. Sharp, and I’m a big fan of articulated screens that allow the use of a camera in a “waist level finder” format. Felt solid, robust enough to cope with professional abuse.

Card door and battery compartment aren’t combined, which is a bonus on a compact body. It also has a well sculpted grip. Perhaps it’s unfair to make direct comparisons, but let’s say I prefer this sort of body design to the flatter, more ‘retro’ inspired mirrorless options on the market.

Can not mention this enough, it’s tiny. It’s properly tiny. Not tiny like “well, it’s as big as a classic SLR from X manufacturer, but it’s packing a tiny sensor in there” – it’s “35mm film era compact body” tiny. With a proper, serious sensor in it, the design compromises to achieve a digital, high-tech UI in a small form factor feel like a much better trade than if you’re working with small controls and sacrificing sensor area.

Port covers are hard plastic, hinged, a bit annoying (rubber ones will at least bend if you catch them by accident). Again, lack of familiarity with Sony catches me out here, as the accessories I’d often expect to hook into the ports use the hotshoe accessory port. An adaptor for the earlier hotshoe is available and about £25 apparently, I was more concerned that I wouldn’t be able to use a regular wireless trigger and thus finding a conventional – albeit very sophisticated – hotshoe was reassuring. I wonder how many regular professionals share that perception – that there will be a non-standard interface on the Sony body.

Shutter sound is very solid, mechanical. A really nice sound. There is not a fully electronic shutter mode available, so no silent shooting, but it’s discrete enough.

Ergonomics are really good. The wheels are logical, I found my way around it very quickly on the whole, though without the experience David has of Sony’s software I didn’t know where to find specific features right away. It was logical enough for the main features, such as setting file size and type. There’s an optional battery grip, though it’s really not vital for changing orientation – the camera is so light, one handed shooting and quick rotation is easy.

I am not a fan of EVFs, though I’m happy to work with them if that’s what I’ve got, an optical viewfinder will always be my preferred route. That said, the EVF really did impress. It’s very sharp, has an impressive refresh rate and of course, somewhere there’s a lot of data being shifted to generate that 2.4Mp image. Cannot deny the technical accomplishment! The overlaid virtual horizon was useful and unobtrusive, though I wasn’t clear on what focus point I was using due to my lack of familiarity with the interface.

Sensor exposed when lens detached. This is common on mirrorless bodies, but I’d really like the option for the shutter to close when detaching a lens. Pros do not treat their kit the way an enthusiast or amateur will cherish the substantial investment – the job, be it on sandy beaches, muddy fields or pouring with rain at a wedding, must take priority and the cameras and lenses get subjected to abuse.

I want one, in an abstract way. it’s really very nice. To expand on that – I’ve a feeling when I see what the finished firmware and raw files offer, and have had more experience with the Zeiss lenses in particular, the shift to an EVF is a change I’d willingly accept for the size and quality advantages, but it’s also just a lovely bit of design. Really appealing.

Sony want to move to pro market. Sony have pretty much always had good glass and bodies, but this offers something really unique that should appeal to many professionals – not least because of that 36Mp sensor.

NEX brand is no more. All models will be united under the Alpha brand, with A, E and FE mounts (Alpha, E and Fullframe E) – Richard Kilpatrick

That it should use the NEX E-mount (already used for full frame on the VG-900) was never in any real doubt, though other prototypes may have existed using a different approach. Today, worldwide, the A7 (24 megapixels full frame with Phase Detect focusing pixels on the sensor) and the A7r (36 megapixels without PDAF, but with AA filter) were officially announced.

Compare the body here with the RX1 below – and make a special point of looking at the film plane index mark on the left-hand top plate end. You’ll see that the sensor is positioned much further forward in the A7 body, as the FE mount has the same 18mm register as the original E-mount (including the RX-style decorative orange lens throat bezel) and the RX body is thicker than a NEX even before this is added. This enables a flush-mounted double hinged rear LCD screen, but it’s not a fully articulated or reversible screen, which is a pity.

You will also see that the entire body has been extended in length, despite the RX being full frame.

This is necessary to accommodate the mechanical drive for the focal plane shutter, which sits more or less between the lens and chunky right hand grip (the RX has no FP shutter as it uses an interlens design). All other principal aspects of the A7 stem from the RX design but the construction is not the same, with multiple magnesium body components sealed together and a different set of interface covers.

The cameras include WiFi and NFC (NearField) communication to enable cable free transfer of images. It does not have built-in GPS but a GPS module is expected for the Multi Function Accessory shoe. The cameras have 2.3K dot 0.71X 0.5 inch OLED EVFs, essentially the same as the A99 with a similar generous eyepiece size and auto switching.

There also appears to be some extra depth to the body. You could dream that the extra body depth, length and height conceal the required mechanism for in-body stabilisation… but it’s just what is needed for the focal plane shutter.

We had hoped that the 35mm f/2 lens would be replicated, but this was not to be despite some information that the 35mm being used on prototypes was ‘the same’ as the RX1. Instead, there’s a 35mm f/2.8 Zeiss. I will admit to being underwhelmed by that, as it puts the A7/A7r into a category which almost every camera ever made matches (very few cameras can’t achieve a 60° view angle at f/2.8 – it’s what the cheapest compact 35mms used to start with). It is not stabilised.

One zoom lens also announced – a lower cost stabilised(?) Sony G 28-70mm f/3.5-5.6 – also fails to set the heart racing (or the hands racing for the wallet) when you consider its modest aperture and fairly substantial size. Unlike the 35mm, it has a rear ring which is marked for aperture adjustment like the RX1 (silent or clicked at choice). The FE mount, while compatible with existing E-mount lenses and accessories and has the same ten-pin contact array, may have additional protocols to handle the on-lens aperture setting.

The 28-70mm zoom is not a true parfocal, it’s similar to lenses such as Canon’s 18-135mm sold with their EOS 70D which almost negates the value of on-sensor PDAF by having massive focus shift when zoomed.

If you want contrast detect focus to work, you need parfocal zooms. You need to keep the subject as close to being sharply focus when you zoom as you possibly can. This zoom does not have a constant aperture though setting it to f/5.6 or smaller may have that effect, and it has a large varifocal range (closest focus at 28mm is 0.30m, at 70mm, it’s 0.45m).

Looking at this, I feel that the 24-105mm Sony f/3.5-4.5 D I’m using on my A99 has real appeal.

This shot shows a Carl Zeiss 24-70mm f/4 OSS lens, not a kit lens, but an option at a high price. This is a more realistic range. My guess is that this lens will not only be a constant aperture (regardless of setting) but also parfocal so zooming during video will not force a refocusing process.

The A7 models have audio manual level control during video and a conventional 3.5mm jack for mic input, clean HDMI output for professional external recorders, and for stills only (not video which remains 1080 50/60 or 25/24p – there is no 30p option) the camera will play back at 4K resolution for the new Triluminos gamut Sony 4K televisions.

The final lens of those released with the camera is a 55mm f/1.8 – again, a slightly odd choice for an expensive standard angle lens of reasonable speed without being special. Bear in mind all these lenses are weathersealed and built for professional use, with the kind of smooth focusing and aperture control required for video as well as stills. A 70-200mm f/4 is also released, putting a total of five lenses in the showcase for launch despite the absence of a true super-wide.

A brand new LA-EA4 Alpha mount lens adaptor provides phase detection AF via an SLT mirror, and has sufficient clearance internally to prevent image cut off (the LA-EA2 casts a shadow on the sensor as it has a smaller throat). A new 70-200mm SSM G II A-mount lens has been launched today as well as is picked out by Sony as compatible with this adaptor.

For most potential buyers, the preview of many other lens adaptors – for Leica and for Canon, as examples – will not just be an added attraction, it will be a essential function. It would be interesting if the FE-mount allows adaptors with their own aperture ring controlling lenes such as Nikon G, and reporting EXIF correctly to the A7’s CPU. That kind of detail we’ll have to wait to learn about; most early reviewers will have other concerns. Adaptors are vital because this camera is launched in sharp contrast to the original NEX-5 and 3 models, with at the best a semi-wide prime lens and a basic wide angle on its zoom.

The NEX system set off with a 24mm lens equivalent, an 84° angle of view considered to be the most desirable all-purpose wide angle, in the box. The NEX SEL 16mm f/2.8 may have had its critics and its QC problems, but it’s become a much-loved lens and got hundreds of thousands of NEX owners off to a great start needing no other wide angle lens. It also had the 12mm wide and 10.5mm fisheye adaptor options at modest cost, meaning that those who wanted true wide views had no reservations buying into the system.

The A7/r is in sharp contrast to this, without no prime in the launch range shorter than 35mm. Professionals would definitely want to have a fast 24mm (and a faster 35mm!) and a geometrically good 20 or 21mm. The Leica 21mm Super Angulon was almost the standard lens for photojournalists from as long ago as 50 years, reaching a peak of popularity in the 1970s, still considered vital when you’re in a tight situation with crowds. The A7 is an incomplete professional tool until it has a moderate sized, f/3.5 or f/2.8 20-21mm. Vignetting is acceptable as long it’s not accompanied by a colour shift. Vignetting actually helps with the look of the images!

The AA filter

The A7r with its D800 level resolution (but a sensor not related to the D800) has the AA filter removed, as in the RX1r. I have tested the RX1r against the RX1 for the British Journal of Photography and I’ll write here about the whole issue of AA filters and moiré only after the BJP has published my report. I will say that the moiré is not a minor issue, the RX1 standard version is already capable of throwing up moiré as it has a very weak AA filter, and the RX1r is bitingly sharp.

So why does Sony do this? It’s hostile to video though the scaling down from the 6000 pixel sensor to a 1920 pixel HD frame is accompanied by moiré removal. The answer lies in conventional contrast detection autofocus. AA filters reduce fine detail contrast and tend to smooth the luminance peaks and troughs used by contrast detect focusing to decide when the image is most sharp. Removing the AA filter has a small but significant effect on the speed and accuracy of contrast detection focusing, along with an improvement in many irregular textures like distant woodlands, lawn grass and human skin. So if you incorporate image processing able to remove some of the resulting moiré, it makes sense. This is the route being taken by most other makers now to get the best possible live view auto follow-focusing.

The A7r sensor has a sensitivity of 100-25,600 expandable to 50, and to 51,200 with multi-frame noise reduction.

The battery

The RX1, like the RX100, charges via micro USB and uses a very small battery., NP-BX1. This is fine for running a camera without a focal plane shutter, though pushing it for capacity when running the larger RX1 with EVF (you need spares). The A7 models have a large finger grip partly to accommodate a more substantial battery. The tiny NP-BX1 is really a consumer compact camera cell. The NP-FW50 used by the A7 models is the same cell used by NEX and Alpha 55 (etc).

A battery grip VG-C1EM accepts two of these cells for extended shooting. Charging remains in-camera despite the battery size, as with the Alpha 3000, the first camera to charge this battery type via USB. However, there is an external battery charger available.

Availability

Sony state ‘mid November’ for worldwide shop stocking. B&H already has offers in place:Sony A7 digital camera body only $1,698
Sony A7r body only $2,298
Sony A7 with 28-70mm $1,998
Cyber-shot RX10 see below $1,298
CZ 24-70mm f/4 OSS $1,198
Sony FE 35mm f/2.8 ZA $798
Sony FE 55mm f/1.8 ZA $998
Sony 70-200mm f/2.8 G SSM II $2,998
Sony LA-EA4 SLT Alpha mount adaptor $348
Battery Grip $298
Charger $48
Off-camera flash shoe (also for all other cameras with Multi Function Shoe) $198

The RX10

As this image, released in the early hours of the morning, shows it’s a bridge camera with an 8.8-73.3mm f/2.8 lens which is equal to 24-200mm on a 1″ sensor (2.7X factor, 2:3 format shape). This is the spiritual heir to two cameras – the Konica Minolta A200 and the Sony Cyber-shot DSC-R1 – rolled into one. The A2/A200 was described as having a 28-200mm lens, but because it had a 4:3 format shape, the lens was actually equal to a 24mm if you wanted an 8 x 6″ print shape (the 28mm equivalent assumed you cropped the frame down to 2:3… not many people know that…). And that camera had a 7.2-56mm lens, which tells you that the 2/3 inch sensor is for some reason more like a 3/4 inch sensor relative to the 1″ standard.

The RX10 has a mechanical zoom just like the earlier Minolta/KM and Sony models. As long as the lens lives up to expectations, it’s going to be a great general purpose camera, with its 1/3rd click stopped aperture ring round the lens and its Alpha style mechanical AF mode switch. Why would you really want anything more than this for 90% of your out-and-about photography? It has Nearfield (NFC) connectivity but does not have WiFi, or GPS built-in. It does have the Multi Function Accessory shoe which can add many accessory functions in future.

One surprise is that this camera has a mini XLR balanced powered adaptor kit for microphones – this is the small XLR you may have seen on wireless mic sets, locking and more secure than the minijack which is built-in for regular use. This also has audio level metering and manual gain control (thus beating the Alpha 77, which remains hampered by forced auto gain for audio).

Local noise reduction

All the new Sony models have improved sensors and processors. The A7r has the microlenses moulded directly to the sensor, rather than added in an overlay layer as it normal, and they are gapless. The RX10 has a back-illuminated sensor. All have ‘local noise reduction’ which sets alarm bells ringing. If it’s a function that only affects JPEGs, all very well; if we have adaptive local NR affecting raw files, it will only be acceptable if it can be turned off (at least, to some users).

DK's ramblings, News, NEX System, Rumours, Sony Digital Csmeras

Nikon 1 system makes a splash

Posted on September 19, 2013 By David Kilpatrick

How many outlets will use that original headline, I wonder, and what inspiration leads to it…

AHN6000_AW1

Today, Nikon released the world’s first interchangeable lens digital camera – if you ignore the military version of the Nikonos RS underwater SLR produced with Kodak. Unlike that specialised system, the AW1 is intended for the consumer and is extremely affordable. Available in black, white or silver metal finish for £749 with standard 11mm-27.5mm F3.5-5.6 Zoom lens (equivalent, in 35mm terms, to 30mm to 74mm) which is rated for 15m submersion, or £949 with the 10mm F2.8 and the zoom, with the 10mm supporting 20m submersion.

AW1_11_27.5_SL_SLup

Part of NIkon’s 1-series, the AW1 sports the hybrid AF 14Mp sensor, high-speed shooting (now 15fps with continuous AF) and good high ISO abilities that defined the CX-mount family from the start, with some enhancements inherited from newer models and ideal for underwater use. First, though, let’s look at the mount that makes the AW1 so unique.

It’s very similar, in concept, to the Nikonos RS mount, but reversed. Even the familiar grease to maintain the seals is included. Naturally, changing the lenses underwater is not possible, as the sensor and electronics are exposed – and any foreign body such as hair or sand will stand a chance of compromising that seal, so Nikon is placing a great deal of trust in their consumers’ ability to understand and maintain the camera properly.

As a member of the CX/1 family, the AW1’s physical lens mount and registration is unchanged, but the body includes a greater protrusion for the flange with a rubber gasket. On the new underwater lenses, the mount is recessed, with the extension of the barrel including a silicone liner. Mounting the underwater lenses is satisfyingly difficult, making it clear that this is sealing to back up the claims of 15m submersion.

AW11_27.5_SL_1

Aiding the underwater experience, the 11mm-27.5mm zoom has a grippy metal zoom collar for most of the barrel, and the AW1 uses an innovative ‘press and tilt’ mode selection – simply hold the mode button, and a virtual pendulum hangs on the LCD to indicate the mode. Tilt the camera body clockwise or vice-versa and it indicates one of the automatic modes for video, creative shooting etc. and selects it without any need for additional buttons or hands. This also eradicates the issue with the early Nikon 1, where the mode wheel could be knocked into a new shooting mode when extracting it from a bag or pocket.

AW1_WH_back

An underwater 10mm prime lens has also been introduced, which can be submerged to 20m.

AW10_BK_1

The AW1 does not make existing CX mount lenses suitable for use underwater, and the underwater lenses will not mount on existing CX bodies such as the V2. Yet the flexibility of the system does allow F-mount lenses via the adaptor, so opting for the AW1 really gives very little away in overall ability.

Other technical improvements include GPS/GLONASS support with compass, depth and altitude meters, shockproof from 2m capability, and an underwater Speedlight (the SB-N10) will also be introduced, though the camera’s own pop up flash can be used underwater. Several accessories have been announced, including the obligatory bright rubber housing which includes a grippy collar for the lens.

CF_N6000_OR

We had the opportunity to try a pre-production sample for water, drop resistance and handling, though not photography for publication as the firmware is yet to be finalised, with the camera release date set for 10th October. The silver metal body was particularly attractive, and it seems that at this point, this is where the Nikon 1 system and the CX mount come into their own – offering something truly unique, with a form factor and range of abilities that suits the intended user perfectly.

– Richard Kilpatrick

AW1 Specifications:

Effective pixels
Type	Digital camera with support for interchangeable lenses
Lens mount	Nikon waterproof 1 mount
Effective angle of view	Approx. 2.7x lens focal length (35mm format equivalent)
Effective pixels	14.2 million
Image sensor
Image sensor	13.2 mm x 8.8 mm CMOS sensor (Nikon CX format)
Storage
Image size (pixels)	Still images (auto, best moment capture, and all creative modes other than Easy panorama; aspect ratio 3:2) 4608 x 3072 3456 x 2304 2304 x 1536 Still images (Normal panorama, camera panned horizontally; aspect ratio 120:23) 4800 x 920 Still images (Normal panorama, camera panned vertically; aspect ratio 8:25) 1536 x 4800 Still images (Wide panorama, camera panned horizontally; aspect ratio 240:23) 9600 x 920 Still images (Wide panorama, camera panned vertically; aspect ratio 4:25) 1536 x 9600 Still images (taken during movie recording, aspect ratio 3:2) 4608 x 3072 (1080/60i, 1080/30p) 1280 x 856 (720/60p, 720/30p) Still images (Motion Snapshots; aspect ratio 16:9) 4608 x 2592
File format	NEF (RAW): 12-bit, compressed JPEG: JPEG-Baseline compliant with fine (approx. 1:4), normal (approx. 1:8), or basic (approx. 1:16) compression NEF (RAW) + JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control system	Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture Control can be modified; storage for custom Picture Controls
Media	SD (Secure Digital), SDHC, and SDXC memory cards
File system	DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif (Exchangeable Image File Format for Digital Still Cameras) 2.3, PictBridge
Shooting modes
Shooting modes	auto; creative, with a choice of the following options: P, S, A, M, underwater, night landscape, night portrait, backlighting, easy panorama, soft, miniature effect, and selective color; best moment capture (slow view and Smart Photo Selector), advanced movie (HD-P, S, A, M only-and slow motion), Motion Snapshot
Shutter
Type	Electronic shutter
Speed	1/16,000-30 s in steps of 1/3 EV; BulbNote: Bulb ends automatically after approximately 2 minutes
Flash sync speed	Synchronizes with shutter at X=1/60 s or slower
Release
Modes	Single frame, continuous Self-timer
Frame advance rate	Approx. 5, 15, 30, or 60 fps
Self-timer	2 s, 5 s, 10 s
Exposure
Metering	TTL metering using image sensor
Metering method	Matrix Center-weighted: Meters 4.5 mm circle in center of frame Spot: Meters 2 mm circle centered on selected focus area
Mode	P programmed auto with flexible program; S shutter priority auto; A aperture-priority auto; M manual; scene auto selector
Exposure compensation	-3-+3 EV in increments of 1/3 EV
Exposure lock	Luminosity locked at metered value when shutter-release button is pressed halfway
ISO sensitivity (Recommended Exposure Index)	ISO 160-6400 in steps of 1 EV; auto ISO sensitivity control (ISO 160-6400, 160-3200, 160-800) available (user controlled when P, S, A, M, or underwater is selected in creative mode)
Active D-Lighting	On, off
Focus
Autofocus	Hybrid autofocus (phase-detection/contrast-detect AF); AF-assist illuminator
Lens servo	Autofocus (AF): Single AF (AF-S); continuous AF (AF-C); auto AF-S/AF-C selection (AF-A); fulltime AF (AF-F) Manual focus (MF)
AF-area mode	Single-point, single-point (center), auto-area, subject tracking
Focus area	Single-point AF: 135 focus areas; the center 73 areas support phase-detection AF Auto-area AF: 41 focus areas
Focus lock	Focus can be locked by pressing shutter-release button halfway (single AF)
Face priority	On, off
Flash
Built-in flash	Manual pop-up
Guide Number (GN)	Approx. 5/16 (m/ft, ISO 100, 20 °C / 68 °F; at ISO 160, Guide Number is approx. 6.3/20.7)
Control	i-TTL flash control using image sensor
Mode	Fill flash, red-eye reduction, fill flash + slow sync, red-eye reduction + slow sync, rear curtain + slow sync, rear-curtain sync, off
Flash compensation	-3-+1 EV in increments of 1/3 EV
Flash-ready indicator	Lights when built-in flash unit is fully charged
White balance	Auto, underwater, incandescent, fluorescent, direct sunlight, flash, cloudy, shade, preset manual, all except preset manual with fine tuning
Movie
Metering	TTL metering using image sensor
Metering method	Matrix Center-weighted: Meters 4.5 mm circle in center of frame Spot: Meters 2 mm circle centered on selected focus area
Frame size (pixels)/ recording rate	HD movies (aspect ratio 16:9) 1920 x 1080 / 60 i (59.94 fields/s*) 1920 x 1080 / 30 p (29.97 fps) 1280 x 720 / 60 p (59.94 fps) 1280 x 720 / 30 p (29.97 fps) Slow-motion movies (aspect ratio 8:3) 640 x 240 / 400 fps (plays at 30 p / 29.97 fps) 320 x 120 / 1200 fps (plays at 30 p / 29.97 fps) Motion Snapshot (aspect ratio 16:9) 1920 x 1080 / 60 p (59.94 fps) (plays at 24 p / 23.976 fps)
File format	MOV
Video compression	H.264 / MPEG-4 Advanced Video Coding
Audio recording format	AAC
Audio recording device	Built-in stereo microphone; sensitivity adjustable
Monitor
Monitor	7.5 cm (3-in.), approx. 921k-dot, TFT LCD with brightness adjustment
Playback	Full-frame and thumbnail (4, 9, or 72 images or calendar) playback with playback zoom, movie and panorama playback, slide show, histogram display, auto image rotation, and rating option
Interface
USB	Hi-Speed USB
HDMI output	Type C mini-pin HDMI connector
Electronic compass/location data/altimeter/depth gauge
Electronic compass	16 headings (with 3-axis accelerometer attitude correction and automatic offset adjustment)
Location data	Receiving frequency: 1575.4200 MHz (GPS)/ 1598.0625-1605.3750 MHz (GLONASS) Geodesics: WGS84
Altimeter	Operating range approximately -500-+4500 m (-1640-+14,760 ft)
Depth gauge	Operating range approximately 0-20 m (0-65.6 ft)
Supported languages	Arabic, Bengali, Bulgarian, Chinese (Simplified and Traditional), Czech, Danish, Dutch, English, Finnish, French, German, Greek, Hindi, Hungarian, Indonesian, Italian, Japanese, Korean, Marathi, Norwegian, Persian, Polish, Portuguese (European and Brazilian), Romanian, Russian, Serbian, Spanish, Swedish, Tamil, Telugu, Thai, Turkish, Ukrainian, Vietnamese
Power source
Battery	One rechargeable Li-ion EN-EL20 battery
AC adapter	EH-5b AC adapter; requires EP-5C power connector (available separately)
Tripod socket	1/4-in. (ISO 1222)
Dimensions/Weight
Dimensions (W x H x D)	Approx. 113.3 x 71.5 x 37.5 mm (4.5 x 2.9 x 1.5 in.), excluding projections
Weight	Approx. 356 g (12.6 oz) with battery and memory card but without body cap or O-ring protector; approx. 313 g (11.1 oz), camera body only
Operating environment
Temperature	-10 °C -+40 °C (+14 °F-104 °F) on land, 0 °C- +40 °C (+32 °F-104 °F) in water
Humidity	85% or less (no condensation)
Shockproof, waterproof, and dustproof performance
Shockproof performance ^{1, 2}	Has passed in-house tests ³ to MIL-STD-810F Method 516.5: Shock standard
Waterproof performance ²	In-house tests have demonstrated JIS/IEC Class 8 (IPX8) waterproof performance; can be used at depths of up to 15 m (49 ft) for up to 60 minutes
Operating depth ²	Maximum 15 m (49 ft)
Dustproof performance ²	In-house tests have demonstrated JIS/IEC Class 6 (IP6X) dustproof performance

* Sensor output is about 60 fps.

Does not apply when built-in flash is raised.
With special-purpose waterproof lens attached.
Using a test method derived from MIL-STD-810F Method 516.5: Shock, the product is dropped from a height of 200 cm (6.6 ft) onto a plywood surface 5 cm (2 in.) thick. Exterior deformation and surface damage are not tested. These in-house tests do not constitute blanket guarantees of invulnerability to damage or destruction.

Unless otherwise stated, all figures are for a camera with a fully-charged battery operating at the temperature specified by the Camera and Imaging Products Association (CIPA): 23 ±3 °C (73.4 ±5.4 °F).
Nikon reserves the right to change the specifications of the hardware and software described in this manual at any time and without prior notice. Nikon will not be held liable for damages that may result from any mistakes that this page may contain.

News

RX1 ‘NEX’ coming in October – 2 interchangeable lenses

Posted on September 10, 2013 By David Kilpatrick

Reporting from Perpignan, one of our good friends in the biz was enjoying the usual wine and sunshine with photojournalists from a French agency (or two). Turns out that right now there’s an RX1 with interchangeable lenses, just what we asked for when the camera was first seen at photokina, roaming the night-time streets of Paris in the hands of no small Magnum name.

The body is exactly the same size and the mount is thought to be a modified E-mount with additional contacts to enable the silent leaf-shutter and iris action which is the hallmark of the RX1 as a ‘stealth’ shooter. It’s possible that the RX1-N (not necessarily its name) lenses will fit other E-mount bodies, but existing E-mount lenses won’t fit the new mini-Leica-style body. But it may also contain a focal plane shutter, as there is such a high potential demand to retrofit Leica M and other vintage lenses to a full frame body of this size.

More we can’t say. The two international press agencies testing the camera right now are keeping very quiet – just like the camera. In fact it’s hard to imagine the RX1 becoming as ‘noisy’ when fired as a NEX (and they are pretty silent when first curtain electronic shutter is used). So a completely new, or partially compatible, mount may be involved. It would be quite fun though if it turned out that over 30 years after the end of the Minolta CLE, a decade after the demise of the Konica RF, and fully 55 years after Minolta’s first abortive bid to make a Leica M body system camera… that Sony put a plain old Leica M mount on the front instead.

Whatever the case, we gather only ONE lens has so far been released for trials and it’s probably exactly the same 35mm f/2 as the regular RX1/RX1X. A second lens is due by the October launch window and the informed guess is that it will be between 50mm and 90mm, our bets are on the most attractive Leica-heritage option, a 75mm between f/2.5 and f/1.4 in aperture. Those 75mms would have been far more popular on Leica bodies if the viewfinders had been better designed to use them. With electronic viewing, that problem disappears and there is no longer any need to keep to fixed steps like 35mm, 50mm, 90mm, 135mm.

In the meantime Hasselblad is having fun selling their STELLAR alongside the earlier LUNAR – the Stellar is of course an RX100 (Mark 1) with an exotic wood (eco-friendly, folks?) or carbon fibre handgrip and some funky styling in return for a 50% higher price tag. They’ve even opened a new Hasselblad brand shop in Japan to sell these luxury bits of luggage to connoisseurs.

I’ve been using the RX100II. Strikes me the STELLAR is light years behind before it even got of the launch pad. Maybe there will be a Stellar II by Christmas. Make mine an African Zebrawood grip please.

– David Kilpatrick

Our comments system is not working properly so I’ll add this here:

Our contact was sure it was an RX1-type camera rather than a NEX and that two lenses are involved, one in existence, the second to be tested shortly. There are two test bodies in existence, being trialled by two different picture agencies. However, this is third-hand info – other photographers in the agencies involved were talking about something they had seen in the hands of colleagues, and were in turn overheard by a journalist who is not a hardware specialist, who called me with what he had heard. If this was a full-frame NEX, I think it would have been identified as such and the RX1 would not have been referenced. However, it is also possible that the full-frame NEX (already rumoured) could simply be styled like an RX1. I did ask whether it had an eye-level finder but this was not mentioned and therefore not known. It would be great if it was just a full-frame NEX, able to do cropped images with existing E-mount lenses and to use the LA-EA3 (full frame compatible adaptor for Alpha A-mount lenses. It would also be great if it did turn out to use the near-silent leaf shutter mechanism. Both possibilities are speculation. We’ll know in maybe four weeks’ time.

DK's ramblings, News, NEX System, Rumours, Sony Digital Csmeras

Alpha 3000 has NEX mount, 20 megapixel, APS-C

Posted on August 27, 2013 By David Kilpatrick

The long-rumoured Alpha 3000 was announced earlier in August but placed under a n embargo until August 27th. At the same time, the Press was given an insight into new smartphone related products (also widely rumoured) but again, not allowed to print anything officially.

(via Sonyalpharumors.com)

The A3000 is a DSLR-like body with an electronic 1.44MP viewfinder in a prism-style top bulge, but the body is much slimmer at the lens mount and built to the smallest Alpha form factor as the 3 series indicates (smaller than the A57). Indeed, it’s not so different from the relationship of the very first Alpha 3000 series cameras back at the end of the 1980s. The mount is a regular NEX E-mount and the camera lacks any form of Phase Detection AF, depending on Contrast Detection matched to both existing (18-55mm SEL, etc) and new E-mount lenses. The rear screen is a 230KP fixed type.

Along with this first Alpha E-mount body, Sony announced three new E-mount lenses – a 50mm f/1.8 E OSS (£249) in black, CZ Vario-Tessar T* SEL 16-70mm f/4 ZA OSS (£800) and a Sony SEL Power Zoom 18-105mm f/4 G OSS (£500, and also destined to be matched to the next generation of NEX camcorders, with its friendly left hand operated PZ switch and quiet, controllable action). There may also be another power zoom, probably 16-50mm f/2.8 or a similar short wide aperture range, maybe even the 10-18mm in a power zoom housing. The reason these new lenses are made with constant apertures has nothing to do with the ‘Canon f/4 L’ obsession; it’s entirely to do with video work, to enable zooming without brightness change. The power zoom function is also there for video.

Caveat: the 18-105mm has a close focus of 45cm at 18mm, 95cm at 105mm. This indicates that the lens is not a true zoom but a varifocal. Varifocals are not of much use for zooming during a take in video, which goes against the constant aperture and power zoom features. So either the lens has an automatic compensation system which can refocus intelligently during power zoom, or a physical limiter on focus travel (unlikely – what would happen if you focused on 45cm at 18mm, then zoomed to 105mm?). The 16-70mm focuses to 35cm over its zoom range, and is actually capable of close-ups with better than double the image scale (less than a quarter of the frame enlarged) relative to the best the 18-105mm can offer, at 0.23X.

The relatively high level specification of the 16-70mm ZA does not necessarily indicate that there is a higher level of Alpha E-mount body on the way quite yet; at 20.1 megapixels (the same size sensor as the Alpha 58, with some improvements) the performance in terms of imaging may be optimal for a while. photokina 2014 should be when any professional body appears. But this is no way professional – it’s a mere £370 kit with 18-55mm f/3.5-5.6 E OSS, ISO range 100-16000, full HD video, A58-like viewfinder and general performance. You’ll see it in the shops before the end of September.

Sony’s agenda

Much has been made of Sony’s relationship with Olympus and the possible inclusion of OM-style 5-axis sensor stabilisation in E-mount bodies. Though the A3000 seems to have SteadyShot Inside (not confirmed by our man at the press conference, and not one of the features shown on the swingtags of the first cameras photographed by others) Carl Zeiss, traditionally wary of stabilised lens design, would not be issuing the 16-70mm with OSS unless fixed sensors were going to around in NEX and Alpha E-mount bodies for some time.

Whatever type of in-body stabilisation it has, the A3000 with SS looks like a good companion for existing un-stabilised lenses such as the Sigma 60mm, 30mm and 19mm f/2.8 designs or specialities like the Voigtlander Nokton 42.5mm f/0.95. However, I’m writing this prior to the big release of information this morning. Despite many statements that the camera does have IBIS, I see no rock-solid evidence that it does and I’m very aware that Sony staff if asked whether it has stabilisation could well say ‘yes’ on the basis of the OSS present in the kit 18-55mm lens. So, I treat this information with caution. It would not be the first time an expected feature has not materialised. Check the Sony site if you are reading soon after 5am GMT, I’ll amend this article later in the day.

Update 9am: full details are now widely on the web and there is no IBIS – here’s a complete rundown and sales page from B&H in New York on all the new products, including tech specs.

In the meantime, we know that Sony has been increasingly close to Sigma (a company which also works with Zeiss) and that some ideas may be shared between the two companies. One of the most important ideas promises to end the way your camera system choice locks you in to one company’s products. Sigma has taken the first visible step with its mount switching service. Future Sigma DSLR lenses can be returned to the workshop and their entire rear mount changed, at a cost, to another mount. So you will be able to own your 300-800mm (2014 version…) and if you switch from Canon to Nikon, the lens can switch with you. Now that many regular lenses cost £1000 or more and Sigma’s quality is so highly regarded (35mm f/1.4, MFT and E-mount lenses, DP series) it will make sense to keep the glass for longer. The new USB-interfaced lens calibration kit will also enable such lenses to be user tuned to work with their new host bodies.

The second idea is the switch to E-mount for more products by Sony. There is already a full frame E-mount Sony, the NEX VG-900E, and it’s actually a 24 megapixel still camera shooting raw, as well as a high-end full frame camcorder. It just gets very little attention because it does not look like an SLR or a NEX. This camera has adaptors for other systems of full-frame DSLR lens, as well as a specialised full-frame version of the Alpha mount plain adaptor (LA-EA3 without APS-C internal baffles found in the LA-EA1). However, third party makers have not yet gone the distance. Prime lenses from Samyang and Carl Zeiss are the main E-mount full frame offerings, made for video.

With the Alpha 3000 we see the introduction of an idea I sketched out for film cameras in the 1970s based on discovering the Contarex with its interchangeable 35mm backs. My concept was a camera body with a shutter unit, and a mechanical linkage for slot-in modules including a rangefinder mount, an SLR mirror-box with prism, and a pro mirror-box with interchangeable finders, plus several further front components to switch between Pentax, Minolta, Nikon, Canon and other lenses. Alpa came close to managing this with their very slim bodies and mount adaptors, plus a combination of optical direct finder and prism.

Sony’s future, like Sigma’s, lies in crossing all boundaries. The eventual full-frame, E-mount DSLR-style camera may well have the rumoured 36-50 megapixel sensor, 4K electronic viewfinder, and five-axis sensor stabilisation. It will also have an Alpha lens adaptor and firmware lens recognition good enough to let SSM and SAM in-lens focus motor lenses function adequately with on-sensor focusing. But what it will also have, for certain, is a range of adaptors for other mounts including Canon EF and Nikon G with translated control of AF and aperture (exactly what Sigma has now built in to the front ends of its ‘switchable mount’ new lens series). These will likely be third party products, but Sony has already shown (in 2010, at photokina and other shows) that it has no difficulty welcoming makers such as Metabones and Novoflex on board as co-operative vendors.

What’s more, in theory there will room to build a phase-detect mirror system (SLT) into some adaptors and even to add a focus drive motor. With the right chipset to translate the protocols from body to lenses, or to mechanical functions in the adaptor, almost any lens ever made for any SLR or rangefinder from the last century of miniature camera development will find a home on Alpha E-mount bodies.

Then you will have the ‘DSLR-CSC’ hybrid to end all – the body which can be sold with a Nikon mount, or a Canon mount, or an A-mount – or use its highly optimised future full-frame E-mount optics. To some degree the NEX has already done this but the real impact of the 18mm thick body, compatible with full frame lenses, has yet to be seen.

Caveat – if a full frame model does use sensor stabilisation, mechanical obstructions could mean that a crop factor of somewhere around 1.2X was needed. Sony already has pixel-shifting electronic stabilisation for video, not stills, and this also needs a crop factor to work. It would be easy to imagine the full-frame NEX accepting this limitation, and providing electronic stabilisation on-sensor only, removing moving parts and improving precision/calibration.

The NEX-5T

The NEX-5T has the same forward flippable rear screen mechanism as the 5R, one of the advanced over the earlier 5 and 5N designs.

The NEX-5T is the successor to the NEX-5R (5n, 5 etc), available as a black or white body. The 16.1 MP APS-C CMOS sensor NEX-5T will sell for around £600 and adds Near Field Connectivity technology to WiFi. Fifteen of Sony’s PlayMemories ‘apps’ are now available. Features include Hybrid AF (CD-PD on sensor), 180° tilting LCD, and maximum sensitivity of ISO 25600.

See: www.sony.co.uk

Cameras (DSLR), HD Video, News, NEX System, Sony Digital Csmeras

Sigma launch mount switching service

Posted on August 1, 2013 By David Kilpatrick

SIGMA is going to start a new “Mount Conversion Service” which will enable Sigma to convert the mount of customers’ Sigma Art, Sports and Contemporary lenses from one camera fitting to another.

The ranges convertible include the new Sports models such as the 120-300mm f/2.8

“We believe that a lens is not only such a key device for photographic expression, but also an important resource for photographers”, they say. “It has been our hope to develop the lens system that is genuinely photographer-centered, and you can enjoy it for a longer period of time. As an experienced lens manufacturer that has been creating a diverse range of interchangeable lenses, our desire and know-how is crystalized in this unique service. With this service, the mount of your SIGMA lenses can be converted to another mount system, depending on the specification of camera bodies. This service will be available from September, 2013.”

Editor’s comment – this feature of the new Sigma lens designs was not even mentioned at photokina 2012. They have kept something under wraps which must have been planned from a very early date. The main lens unit of all Sigmas in these series has to be effectively independent of the mount, with electronic protocol conversion chips to handle aperture and focus operation while different rear assemblies change the bayonet.

“Interchangeable lens camera systems appear to be superior in offering photographers more options, allowing them to change lenses freely and have more flexible photographic expression”, states the Sigma release. “Nevertheless, each interchangeable lens is limited with the specification of different camera systems. In other words, you can’t use those lenses if you change it from one type to another. Although lenses are the key devices to create photographic expression, it is a shame that there is no system that purely sets the standard based on the functions and individual qualities of interchangeable lenses.

“In this circumstance, SIGMA is going to start the “Mount Conversion Service” from 2nd September 2013. Our goal is to provide more freedom for photographers so that they can select new camera bodies without worrying about the conventional limitation around the mount system of cameras, and keep on using their current lenses by adjusting them to fit with a new mechanism.”

For the details, please check the Sigma website http://www.sigma-global.com/en/lenses/cas/service/mcs/index.html * This “Mount Conversion Service” is different from a normal repair. In order to apply for the service, please contact your nearest authorized subsidiary / distributor of SIGMA.

Lenses - Alpha Mount, Lenses - SR/MC/MD, News

Sony updates RX1 and RX100, adds new flash

Posted on June 27, 2013 By David Kilpatrick

In a move which will not delight many owners of the 2012-released RX1 and RX100 cameras, Sony has chosen to update both of them in fairly subtle ways which improve performance without changing the basic lens specifications at the heart of each camera. The makeover to produce the RX100 II is more thorough, and includes a tilting rear screen, a new back-illuminated version of the 1.0 inch CMOS sensor, and a Multi Function Accessory Shoe which can power an electronic viewfinder or other accessories. It also features WiFi and Near Field Communication for transferring those tiny 20 megapixel files to your smartphone, perfect for direct upload to Facebook (just shoot Small JPEGs instead, keep the big raw files untransferred).

You can view the European press release about the RX100 II here.

The RX1R is less thoroughly upgraded, as it’s basically an RX1 with the low-pass (AA) filter removed. Got to admit that we could have sworn Sony originally said, at photokina, the RX1 did not have an AA filter. Its performance seemed to back that up. Then, in the release version (which was very different from the September 2012 pre-production models, even in control details) this was moderated to say that there was a special low strength AA filter. Now, in the RX1R, the AA filter is definitely removed and some new processing added to combat the resulting increase in moiré and colour artefact production which always goes with the absence of the filter. Nothing else is changed; the two models are very similar to Nikon’s D800 and D800E, and like them will be available side by side. The RX1R does not replace the RX1. Whether owners of RX1 will see it quite that way, who knows?

At this level of camera, there will be plenty of buyers who want to have BOTH bodies. Just as, with the RX100, despite version II not having the imaginary extra lens range dreamed about by those who don’t realise what’s involved, there will be many buyers for the new model who will pass the original on to a family member or keep it as a spare.

See the press release about the RX1R here.

Finally, there is a new HVL-F43M flashgun with the now familiar rotating head design first seen on the HVL-F58AM. This slightly smaller but almost as powerful flash unit has the Multi Function Accessory Shoe (and can now therefore be used with both the above Cyber-Shots as well as NEX-6, A99, A58 and future SLT/NEX/Cyber-Shot models). It has an LED light for video, also useful for modelling when using flash off camera – but get our latest issue of Cameracraft, No 4, to read my detailed article on how the quality of LED light compares to other sources!

A question which remain unanswered is – when will Sony introduce the shoe fitting GPS module which is already provided for in the pinouts of the Multi Function Shoe, on the NEX-6, RX1, Alpha 58 etc? Having this on the market would certainly make the RX100 II even more of a must-have upgrade.

Be warned (perhaps by our review of the Alpha 58) that the promoted Tri-Luminos colour display compatibility – a change in the camera’s RGB sensor filters and processing – may not necessarily make for better colour with other devices, or for printing. It’s a good reason to buy a new Sony television but not an especially good reason to prefer the new models over the old non-Tri-Luminos type.

Finally, having removed the AA filter from the RX1 to create the RX1R, we must await the arrival (or non-arrival…) of the Sony Alpha 99R. That would be logical now that a refresh to new models seems to be called for after only 6 to 12 months on the market. Perhaps that is a bit cynical. What often happens in this industry is that a product will be revised when stocks of all the components for the original batches are used up, and not enough finished product is in the pipeline to satsify predicted demand.

The RX1 and the RX100 have both been runaway successes worldwide and it may be that new production was commissioned and presented a chance for hardware changes. Firmware updates for existing owners? A second priority, but don’t give up hope…

– David Kilpatrick

To discuss this on the Photoclubalpha Forum, go to (but remember it may take a day to be activated if newly registered):

http://www.photoclubalpha.com/forum/viewtopic.php?f=3&t=7770

DK's ramblings, News, Sony Digital Csmeras

Friedman’s Alpha 99 e-book released

Posted on March 30, 2013 By David Kilpatrick

Well, we knew it would take some time – Gary Friedman has been working on his Alpha 99 e-book since the camera was pre-released to the press, and six months later, he’s got a huge volume as a result.

“This is my largest and most comprehensive work to date – 625 pages!”, Gary says.

It is available in triple-digital form: Buy a DRM-free, digital copy for USD $29.95 and you can download it ANY of the following formats:

* .pdf, (great for your computer or iPad)
* .mobi (ideal for your Kindle)
* .epub (ideal for your Nook and other e-readers).

(Printed books will be available from April 2013.)

Here’s the link.

Gary Friedman’s new Alpha 99 e-book

http://friedmanarchives.com/alpha99

Gary has just returned from Malaysia and Singapore, where he was running workshops including one for Sony themselves. He’s also just finished signing off the proofs for the latest Cameracraft quarterly magazine, published by Photoclubalpha’s owners Icon Publications Ltd, edited by David Kilpatrick with Gary as US Associate Editor.

Issue No 3, 2nd Quarter 2013, will be available from the first week of April and includes a great story on Gary’s period working in China, a portfolio proving that pinhole photography does not have be soft and murky, a look at viewpoints and the camera, the best ‘historical battle recreation’ set we’ve ever seen, and more.

http://www.iconpublications.com/cameracraft/

Magazines, News, Offers

New Lightroom and ACR release candidates

Posted on February 26, 2013 By David Kilpatrick

Beta (release candidate) versions of new Lightroom and Adobe Camera Raw can be downloaded free now from Adobe Labs. You won’t get these updates using the normal search for updates in Adobe apps, as they are not the final release and can not be found on Adobe.com Downloads yet.

Links:

http://labs.adobe.com/technologies/cameraraw7-4/

http://labs.adobe.com/downloads/lightroom4-4.html

These updates will work until April 30th by which time there will be a full release version. For Sony users, the updates provide better lens correction for the RX-1, support for the Hasselbad Lunar (NEX-7 based luxury camera), and lens profiles for the new type Sigma 18-250mm HSM Macro and 180mm prime macro lenses. There are also some improvements to the conversion and controls.

News, Software Reviews

Colour and power benefits of Sony 20 megapixel sensor

Posted on February 20, 2013 By David Kilpatrick

Sony has now released full details of the Alpha 58. Although I don’t think the camera is a game-changer or a vital upgrade for owners of Alpha 55 and 57 (the 55 will leave me only when it expires, with its useful GPS, 6fps/10fps and fully articulated reversible rear screen) there are hidden bonuses for anyone investing in the 58.

Firstly, the new OLED finder – probably a step better visually – is a league better in power consumption. The penalty for using the EVF instead of the rear LCD on the Alpha 77 and is siblings has been a sharp reduction in the battery stamina for shots, 470 versus 530 official figures for the 77 as an example. The new finder on the 58 gives a reduction for 700 to 690 – not just an overall improvement, but a minimal difference you can ignore. The smaller, non-reversile tilting rear 2.7″ LCD screen may also be less power-hungry than 3″ types.

Secondly, the camera supports an extended TriLuminos colour gamut. The colour gamut of existing Sony DSLRs and SLTs (and NEX) equipped with HDMI output does not need to exceed AdobeRGB (52.1% of the recognised visual gamut for a ‘Standard Observer’, CIE 1931 vintage). That’s because regular HDTV throws away a stack of this colour, showing only 35.9% of the gamut. That’s why it looks so colourful and bright. The less gamut you show, the brighter and more saturated colours look, for the capabilities of any given display. That may sound the reverse of what you would believe to be the case, until you apply a bit of thought to it.

TriLuminos gamut is the larger triangle, regular HDTV is the smaller (similar to sRGB) while AdobeRGB falls between the two. One colour space you can use when processing raw files – ProPhotoRGB – is so large is exceeds part of the CIE 1931 colour space.

The TriLuminos gamut is massive. Unlike HDTV, it’s bigger than AdobeRGB and much bigger than regular sRGB (what most computer screens can show). It is 75.8% of the CIE 1931 colour space. That, by the way, is simply a standard based on what a bunch of test subjects could perceive back in 1931 and it’s been criticised for failing to include a wide enough range of genetic backgrounds and learned visual abilities. We all see colour differently (men notably with far less accuracy and discrimination than women, young better than old). If you’re a teenage girl you’ll love the TriLuminos displays. If you’re an old bloke you may not notice…

Sony claims that the A58 can output colours to the TriLuminos TV sets which show “a dramatically expanded palette of vivid, ultra-realistic colours when videos and still images (are played back)”. In theory since AdobeRGB (offered by all Sony models to date) would already show an expanded palette, this might not mean any big change in the sensor. But TriLuminos uses a colour space which requires 12-bit depth and it can’t be used effectively unless the sensor itself is going beyond the range of AdobeRGB. You can’t get out what you do not put in. Then again, if you’re using a normal printer or computer, you can’t get it out anyway. The camera captures colours you can’t see on its own rear screen, in its viewfinder, on your computer screen or in a print.

We can therefore deduce that the Bayer filter colours on the new 20 megapixel sensor may be changed, along with the BIONZ processing and the JPEG colour management and compression (after all, the JPEGs will still be 8-bit and going beyond AdobeRGB risks significant banding in smooth graded colours such as skyn blues). Sony say this is the first ever A-mount camera to offer this colour ability. Will DxO Mark have to change their colour measurements to cope with it?

It is possible the sensor has no colour gamut benefits and that all Sony is doing is expanding AdobeRGB (or the native gamut, which is close enough to AdobeRGB) to fill the wider space of the TriLuminos TV screens, making certain colours appear dramatic in the process, but not realistic. Obviously what we should all hope for is that this improvement starts with the sensor itself.

Since the NEX-3n (possibly not the camera rumoured by Nippon Camera as NEX-F3R) also offers TriLuminos extended gamut but has a regular 16 megapixel sensor, I’m going to have to wait to see what the real colour science experts at DxO, and our various friends in Russia with special knowledge of this field, find. We do have a resident colour scientist but sadly none of the gear needed to analyse this properly.

Whatever the case, we appear to be getting a camera whose new 20 megapixel sensor will have significantly better power consumption which almost certainly also means lower heat generation, in turn meaning lower noise and longer ‘safe’ durations for video. Sony is gearing up for the next phase of HDTV – 4K – and the UHDTV beyond this going to 8K. They will eventually need to produce 39 megapixel sensors for uninterpolated 8K, and this will be the target for both APS-C/Super35 and full-frame between now and 2015 when the industry expects to see the first 8K UHDTV retail sales (those in the UK, don’t hold your breath, we’re likely only to get 4K and may not see that become the standard until 2020).

Nikon has stolen an interesting march by enabling a 1.3X, 15 megapixel crop for 7fps shooting in the new 24 megapixel D7100 – a very useful size almost equal to a 2X crop from full frame. Sony has an unspecified ‘tele-zoom’ feature in the A58 to achieve 8fps. But no-one has so far been able to reveal what the tele-zoom crop is; Sony’s ‘technical specifications’ so far released for the A58 are minimal.

If the same 24.1 megapixel, AA-filter-less sensor is used in an A78 (as some rumour sites think likely) then perhaps sub-frame readout aka tele-zoom will be implemented on that too.

The A58 has a new 18-55mm SAM lens with improved build quality and a redesign to the rear element configuration. Sony says this is to avoid ghosting. We’d be surprised if it was not also to change the exit pupil geometry slightly, in order to work better with current and future phase-detection on sensor models.

– DK

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

20mm pancake for NEX from Sony

Posted on January 23, 2013 By David Kilpatrick

It’s not the fast f/2 design everyone was hoping for, but maybe the quality will be right – Sony has announced a new 20mm f/2.8 pancake lens for NEX. At the same time, the power zoom first seen at photokina, aimed at video NEX models, is available separately.

Here is the release:

Photographers and video makers are spoilt for choice with two additions to the range of E-mount interchangeable lenses for SonyαE-mount cameras and semi-professional camcorders.

E 20mm F2.8 ‘pancake’ wide-angle lens
Measuring approximately 20mm from front to back, this short focal length ‘pancake’ lens makes an ultra-slim yet tough ‘walkaround’ partner for your α E-mount camera.

With the 35mm equivalent of its 30mm wide-angle view and bright F2.8 aperture, it’s perfect for a broad range of everyday shooting opportunities, from interiors to landscapes, street scenes and casual snaps. Excellent contrast and resolution are also augmented by enhanced clarity in corner areas to satisfy the most discerning photographer.

E PZ18-200mm F3.5-6.3 OSS powered telephoto zoom lens
Offering a generous 11x magnification range, this high-quality telephoto zoom makes an ideal partner for shooting video with the E-mount interchangeable lens Full HD camcorders. The NEX-VG30EH is already supplied as a kit with the E PZ 18-200mm F3.5-6.3 OSS power zoom lens.

A comfortably positioned zoom lever is partnered with a switch on the lens barrel, allowing zoom speed to be selected in six steps, from slow, beautiful shifts in perspective to dramatic crash-zoom effects. Thanks to a newly developed internal linear motor, power zoom is complemented by exceptionally smooth focusing and aperture operation. Zoom can also be controlled directly from NEX-VG900, NEX-VG30 and NEX-FS700*.

*Firmware update is required for NEX-FS700.

Built-in Optical SteadyShot cuts the effects of camera shake, allowing handheld use of slower shutter speeds without image blur. Active Mode further enhances stabilisation at the wide end of the 11x zoom range – even when you’re walking along – making the lens a compelling choice for capturing smooth, stable video footage.

While optimised for video, it’s also a flexible choice for shooting stills with Sony’sαE-mount interchangeable lens,, from expansive landscapes to high impact close-ups of wildlife and athletes

E-mount lens family keeps growing
There’s now a family of thirteen E-mount lenses plus two converters, covering virtually any shooting situation with your Sony α E-mount camera or camcorder. Spanning ultra-wide angle,powerful telezoom, macro and fast, bright primes, the range includes premium optics by Sony and Carl Zeiss. Beautifully styled to complement yourαE-mount camera, every E-mount lens offers refined performance and easy handling.

The new Sony E 20mm F2.8 interchangeable lens will be available from March 2013,and the E PZ18-200mm F3.5-6.3 OSS lens from February 2013.

News, NEX System

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