Sony at CES
With a slew of new products concentrating on 4K TV-video, enhanced SteadyShot HandyCams, and Cyber-Shot models with WiFi and smartphone connectivity, Sony did not release any still photography products in the Alpha or NEX ranges at CES.
Category: News
DxO Optics Pro support for Alpha 99
| DxO Labs, announces the immediate availability DxO Optics Pro v8.1.1 for Mac and Windows, the latest version of its image processing software of reference for all serious photographers. This upgrade allows DxO Optics Pro 8 to support the Sony SLT-A99, the Pentax K-5 II and K-5 IIs, and the Canon EOS M.
DxO Optics Pro v8.1.1 also benefits from the continuous addition of DxO Optics Modules. Nearly 300 new camera/lens combinations have been added to the library, thus providing support for additional Canon, Panasonic, Samyang and Sigma lenses for Canon, Nikon, Olympus, Panasonic, Pentax, and Sony cameras. Developed in the laboratory using an exclusive calibration process, DxO Optics Modules contain tens of thousands of data points about the intrinsic characteristics and flaws of each camera and lens. This database, unique in the entire world, allows DxO Optics Pro to automatically correct all the optical flaws in RAW and JPEG images – distortion, vignetting, chromatic aberrations, and lens softness – with an unrivaled level of quality. Availability and special end-of-year discount The Standard and Elite editions of DxO Optics Pro v8.1.1 for Mac and Windows are available in the DxO Labs online store (shop.dxo.com) and at photo resellers at a special discount price from now through December 25, 2012: USD:
EUR:
GBP:
This upgrade is free for all owners of DxO Optics Pro 8, as well as for photographers who purchased a DxO Optics Pro 7 license on or after September 1, 2012. Other users can take advantage of a special discount on this upgrade through December 25, 2012, by going directly through their customer account. A complete, fully-functional trial version of DxO Optics Pro 8, good for one month, is available on the DxO Labs website (http://www.dxo.com/intl/photo/free_trial_version). |
Sony links up with HP’s Snapfish
Unfortunately your editor really just wants to go and live somewhere else, preferably a different planet. ‘PlayMemories Home‘ was bad enough but now it’s linked to another truly naff name, HP’s Snapfish. At least they haven’t tied up to the website with the worst name in the world, SmugMug (why didn’t they call that Slightly Self Satisfied Idiot instead?).
Press release follows. Rant over (or not quite, see end).
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Sony has teamed up with Snapfish by HP to make online photo printing even easier for owners of Cyber-shot™, “α” A–mount and E-mount digital cameras and Handycam® camcorders.
The latest version of PlayMemories Home software now lets users* order great-looking prints from Snapfish, the online photo printing service from HP. With millions of users worldwide, Snapfish offers a wide range of high-quality personalised photo products – from individual prints and photo books to posters, mugs, greeting cards and more.
PlayMemories Home Version 2 will be available for free download for customers of new cameras and consumer camcorders from Sony and will allow you to upload images directly to Snapfish. Just click on the Snapfish icon: once you’ve registered for your free Snapfish account, it’s easy to upload selected images from PlayMemories Home for online printing and delivery to your home.
As an additional incentive for Sony camera owners, there’s a tempting offer to save 50% on your first photo book for newly-registered Snapfish users.
Included with all new digital cameras from Sony, PlayMemories Home software makes it easy to enjoy, share, manage, edit and print all those photo memories stored on your PC’s hard drive.
The latest version of PlayMemories Home PC software (Version 2) with Snapfish integration comes free of charge with all new digital cameras and consumer camcorders from Sony. Existing PlayMemories Home users can update to the latest version by visiting www.sony.net/pm
* Snapfish service is integrated with Sony PlayMemories Home Ver. 2 software in these countries: United States, Canada, China, Australia, New Zealand, United Kingdom, Germany, France, Italy, Austria, Belgium, Switzerland, and Ireland.
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I just wish all this stuff would go away and we could have honourable, sensible names for reliable and excellent services instead of stuff made up to appeal to infants. Fortunately the Sony software is PC-only. They must think Mac users are grown up. But they are not bright enough to identify what platform visitors to the weblink above are using. Although there a popup listing the (Windows only) platform versions applicable, Mac users can happily click a download button and get a completely useless .EXE file delivered. Most download pages prevent this because they know there are as many inexperienced Mac users as there are any other platform. Ditto iOS and Android. – DK
Paperback edition of Photoworld 2008-11
We have decided to make a Lulu print-on-demand digitally produced paperback edition covering the last three years of Photoworld magazine, covering the period from the launch of Alpha 900 and photokina 2008, through to the final edition of our quarterly magazine in Summer 2011, when the Alpha 77 was about to hit the streets.
This 312-page book includes the content of 12 editions of Photoworld, each with its cover and contents page, with some advertising and some regular content or ‘diary dates’ removed. A few items like this remain in place, notably Sigma advertisements, because the alternative would be to pay for a blank white page – or they are small ads and part of a larger page layout. We think even these are still of interest for the future.
Some typos and errors have been corrected so this book has more accurate versions of many articles. Some content has been changed, such as the A2 foldout print included in the Autumn 2008 edition to show the quality of the A900 24 megapixel file. As far as we know, Icon Publications Ltd remains the only photo magazine publisher to use the option of a ‘centerfold’. We’ve done it in our professional titles as well, to show medium format quality at its best. But in a digitally printed book, it’s not possible to staple in a 16.5 x 23.75 inch poster. Instead, we’ve used a different choice of a spread and two full page images.
Through this book-form edition, you can track the birth of the NEX system and the death of the optical viewfinder.
If you can not see the Flash preview above, use this link:
The book costs £64.50 – the original three years of magazines would have cost £53.85 absolute minimum (UK annually renewing subscription) and a typical binder costs £10. However, for worldwide customers the overall cost of the magazines over three years plus a binder would have been £90. Digital printing is expensive and we don’t make much on these, but we’ve had Lulu print calendars in the past (2011) with super results and this should be a very good quality book, fairly matching the original litho magazines.
– David Kilpatrick
Firmware updates for Alpha 77, Alpha 65, NEX-7, NEX-5R, NEX-6
Sony has released internationally valid firmware updates for both the Alpha 77, Alpha 65 and NEX-7. Both updates have similarities, mainly adding a menu item to lock the Movie button and prevent accidental video takes. This is more important than it might seem, as the Sony memory card structure only permits video or stills to be accessed depending on which function was last used. Having accidental movies shot is frustrating, having to delete them before resuming still picture review has doubled the frustration. Now this issue is solved, but leaving many other Sony models in both Alpha and NEX ranges unmodified.
Revision October 18th 2012: as we check and re-check the Sony UK support site, more firmware updates have been released for Alpha 65 (title of this post amended!) and they are expected for A37, 57, 33 etc as well. We will add new cameras to this page rather than making new posts.
The firmware update omits the one function most demanded by movie makers – a fixed or user-set gain for the microphone, or for the mic socket. This exists on the Alpha 99. Having a permanent Auto Gain on the 7 models means they are unsuitable for most video work, where Nikon and Canon cameras have this vital simple control to prevent poor sound quality. The firmware was expected to add at least a fixed gain, possibly a simple hi/lo or three-step gain, ideally a multi-step adjustment. In the end, we get no change on this front, leaving Sony lagging behind with current models that are not functional for one of their principal functions.
The new firmware is Version 1.06 for Alpha 77 and 65 and version 1.01 for NEX-7.
Here are the links (from Sony UK, but usable on other regional models without damaging the localisation or settings):
The Alpha 77 upgrade also adds in-camera lens correction support for the SAM 30mm f/2.8 Macro, SAL 50mm f/1.4 (and presumably for the Minolta/KM equivalent with the same lens identity), the SAL CZ 24-70mm f/2.8 SSM, SAM 28-75mm f/2.8, SAL 70-400mm f/4-5.6 G SSM, SAL 70-200mm f/2.8 G SSM, SAL CZ 16-35mm f/2.8 and SAL 35mm f/1.4 G (again, presumably also correcting the Minolta/KM lens with the same identity number).
There are initial reports of a faster response, and faster image review time, supported by other Sony sources (Sony UK does not list these). Changes like this are normally accompanied by minor improvements in image quality, as the firmware has to be addressed pretty deeply rather than just tweaking a few parameters. Nothing gets to work faster unless it’s re-coded and that is good news. This is a near 64-megabyte program download, and not all of that is used for the updater part of it which runs on your Windows or Mac machine (exact specs are given on the links, and 64-bit is not supported so you need an old laptop or something like that to do your updating, if you have current systems – we always keep an older machine around for exactly this reason).
Specific additional claims which have surfaced include faster start-up and/or shutdown, more responsive front and rear wheels (?), improved auto review response, better AF performance with the new 500mm G, and better AF with scenes including bright areas.
Much the same applies to the NEX-7 firmware update, to version 1.01, which gives exactly the same Movie button disable/enable menu item (and lack of audio control update) along with improved performance using wide-angle lenses (which must at present mean the 16mm f/2.8, and perhaps the 24mm f/1.8, as no other lenses exist which can be called wide-angle and also work with the NEX-7 – the 10-18mm new design isn’t yet compatible). Auto bracketing is extended to 1, 2 or 3EV plus/minus and auto review of the image taken is made more ‘responsive’. The behaviour of the moving Flexible Spot AF marker is improved (?).
Auto review is not a minor function on the NEX-7 as sequence shooting may be speeded up in the process, or viewing through the EVF when shooting in motor-drive mode made tolerable. Users will have to report back as to whether this is the case.
NEX PDAF lens compatibility updates
There are lens firmware updates for the NEX-5R and NEX-6 – these add the SEL 18-55mm, SEL 18-200mm, SEL 55-210mm, and SEL 24mm f/1.8 CZ to the PD-AF compatible choices:
NEX-5R lens compatibility upgrade .02, Mac
NEX-5R lens compatibility upgrade .02, Windows
NEX-6 lens compatibility upgrade .02, Mac
NEX-6 lens compatibility upgrade .02, Windows
Comments
Where we have put (?) that’s because the difference is not defined and we’ve never noticed any particular shortfall in performance, or heard any complaints about these aspects. Therefore we would assume this was ‘collateral benefit’ – an improvement which has come about through tweaking other functions. And it is reasonable to assume other collateral benefits may be present which Sony considers too slight to mention, or simply wishes not to refer to.
From past experience it is always worth doing these updates and there is no risk to your gear if you read and follow the instructions carefully.
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Added after upgrading our Alpha 77, making test shots before and after:
ISO 1600 noise/grain from firmware 1.05 – 100% clip sRGB, 1/13th at f/5.6 as metered
ISO 1600 noise/grain from firmware 1.06 – 100% clip sRGB, 1/15th at f/5.6 as metered, conditions identical, focal length 45mm not 40mm as first shot
Processing – ACR 7.1 with all NR and sharpening turned off, all parameters zero, linear, Adobe Standard profile etc.
Although there is no difference in the noise grain ‘size’ on examining a range of similar shots made from 1600 to 12800 ISO, the overall comparison favours the 1.06 update as having slightly less saturated colour noise and less tendency for blotchy green areas. With NR controls there is no great difference but 1.06 seems to be marginally improved.
1.06 changes the raw file data structure enough to yield a different metadata view. It adds a 350dpi resolution container, and fields to report GPS data in EXIF (whether or not GPS is active) which appeared for the image taken after the update, and do not appear in the shot taken beforehand, when checking metadata in Photoshop. There certainly is no great improvement but there are also more changes than Sony provide details for.
64-bit and 32-bit
On dPreview and other sites, some users state that the updater will work under 64-bit systems such as Mac OSX Lion and Mountain Lion. If it does, they are lucky and this is not a guaranteed fact. We tested the updater for Alpha 77 using several Mac systems and there is a significant difference in the time taken for the Mac to recognise the camera if a 64-bit system is used. In one case, a MacBook Pro would not communicate reliably with the camera regardless of the cable used and the state of reboot/clean environment. If the updater program does not immediately communicate with the camera and access the memory storage (red light flashing for several seconds), do not risk doing the update. The correct state of communication between host computer and camera is very fast indeed, moving between the steps of the update with no delay. Only the actual ‘run’ process takes a few minutes, during which time a progress bar will move steadily. If you have difficulty getting the updater to complete step one do not keep retrying on the same machine. Please note that for Mac users, there will be ‘device removed’ pop-ups appearing which are not mentioned in the instructions. These can be dismissed without any risk.
Sigma’s system revolution
Sigma Imaging, already one of our favourite lens makers, has announced upgrades and new functions for their entire system which will transform the way it works with all the major camera systems.
The new DC 17-70mm f/2.8-4 – DC (APS-C format) lenses have never been given the EX designation, even when they clearly matched the EX specifications. Now the EX name and its exterior finish are both going, replaced by one standard for all formats, and one finish.
The entire Sigma range is being restyled, with a new finish, and the old distinctions between EX DG and other lens ‘grades’ are disappearing. “All our lenses have become what we once called EX”, said Graham Armitage of Sigma UK, at photokina. “The demands made by digital systems with higher resolutions mean we have to produce perfect lenses for all the formats from MicroFourThirds to APS-C and full frame.
“Our greatest breakthrough is in MTF testing. We have designed new MTF equipment, which will be used on the production of new lenses from now on. The MTF testing system we use for development is too slow to be used in production, and we have had our own Bayer sensor based system for this purpose. But it was not proving high enough resolution for new camera sensors like the D800.
“Now we have built our own MTF testing system, based on the 46 megapixel Foveon Merrill sensor used in the latest cameras. This allows a much better MTF tests. It will be used to test the sharpness of every new lens that Sigma manufacturers.”
We asked Graham if this would only apply to expensive professional teles, zooms and specialist lenses. “No, it will apply to all lens types”, he said. “We have been able to use the data from the Foveon sensor based tests to improve the performance of all our lenses.” Because the sensor is true RGB not Bayer much better information about chromatic aberration has been gathered and Sigma is feeding this back into the design and manufacture process.
The new lenses have a robust feel, with machined metal barrel and mount components (a current trend for many lens makers) and a slightly soft-looking matt or silk finish. All Sigma lenses are assembled by hand, in Japan, using traditional construction methods.
But the most exceptional advance has been made inside the new lenses – sadly, it can’t be retro fitted to older ones.
The USB ‘dock in a cap’ has an LED activity indicator and we handled the real thing. This photo looks a bit over-retouched.
All new Sigma lenses will be compatible with a USB-connected dock allowing firmware updates to be made by the user. Sigma has honoured its relationship with users for decades by upgrading the chips inside lenses free of charge whenever the protocols used by camera makers created an incompatibility. Now they have developed a way in which users can do this themselves without the lens having to be returned or ‘operated on’ in a workshop.
“The USB dock will cost about the same as a filter”, Graham told us. I suggested this could mean £50. He indicated I was on the high side. This dock device, which resembles a thick rear lens cap, might be £30 or so.
“It does more than just upgrade the chip”, he continued. “With a PC program, you will be able to change the focusing speed of the lens. All AF systems are a compromise, a balance between speed and accuracy. You will be able to set the lens to suit your working style, increasing the focus speed if you shoot action or improving accuracy if you take subjects like landscapes and portraits.
“All DSLRs have problems with front and back focus. Some cameras offer AF calibration, but not all allow you to have different corrections for each focal length of the zoom lens and for different focusing distances. Using our program, you will be able to calibrate new Sigma lenses for the full range of settings so you don’t get front or back focus at any distance or focal length.
“Not only that, with new telephoto and macro lenses you will also be able to change the distance ranges used by focus limiter switches.”
The new-style 120-300mm f/2.8 – one of the first lenses compatible with the USB programming system, allowing perfect tuning of front and back focus corrections across the zoom and focus distance range.
This function sounds familiar, indeed it’s almost what the new Sony Alpha 99 offers with a restricted range of Sony lenses – on-camera setting of focus range limits. The difference with the Sigma option is that future lenses with a range setting switch can each have their individual far, middle and near limits set and there will be no need to go into camera menus to change the setting when shooting.
Along with Sigma’s recently introduction of nano-type hard coatings which resist water and dirt, their improvements in environmental and dust sealing of lenses, we look forward to testing Sigma products in future and finding them close to the blueprint for the optical design. These innovations draw a line between existing generations of Sigma lenses and the future, as they can’t be fitted to older models. They also take Sigma yet one more step ahead of the camera makers’ own aspirations.
Sigma has always shown the industry what can be done in terms of advanced optical design – often unmatched for many years, with such specifications as the 8-16mm and 12-24mm zooms, the 300mm-800mm and many others remaining unchallenged even by Nikon and Canon. Now they have set out to show what can be done by harnessing a simple standard interface and allowing communication to the lens IC through the contact-pin array.
Finally, Graham showed us the new 35mm f/1.4. “Nikon has done really well with their 35mm f/1.4”, he said. “We thought we would try to beat them with this one. We are hoping it turns out to be the best 35m f/1.4 on the market”. The new MTF testing may yet be proved! I mentioned that Samyang had also done pretty well with a 35mm f/1.4. To that there was no comment…
And then there’s the obligatory picture from any trade show – the man who can’t resist trying to find out what the butler saw, courtesy of the Sigmonster!
– David Kilpatrick
This post has been edited with Sigma’s help on October 3rd. The original reference to Zeiss MTF equipment was incorrect; this is used in design and prototype development, and will continue to be used. Sigma’s own production-line testing system is what’s been updated with new high speed Foveon-based MTF bench.
Hood-cap for NEX with 16mm
At photokina 2012, the Taiwanese company Hoocap (www.hoocap.com) showed a neat device for many different lenses and cameras, still in development for a wider range. It’s a combined lens-hood and lens-cap, which can be pushed or pulled to seal off or use your lens. They have models for lenses such as the Nikon 24-70mm f/2.8 – but their neatest model is dedicated to the NEX 16mm f/2.8.
One of the best and most original lens designs ever made, reducing the number of elements to fewer than EVER used before for an 83° angle of view, while maintaining an exceptional standard of resolution and geometric projection – and anyone who claims otherwise either just doesn’t understand what makes a 24mm equivalent lens, has a bad example*, or doesn’t realise just how BAD a typical 24mm Nikkor, Rokkor or Canon is in comparison.
Rant over! *Sony’s QC has been less than flattering to the skills of their optical design team.
Now this is an efficient lens shade for video, and not all that bad for the majority of still images taken in horizontal, landscape composition mode. You can, of course, fit the 18-55mm lens hood to the 16mm lens and it does help prevent the very rare instance of lens flare from a design which is highly resistent to flare.
Unboxing, only they didn’t have a box, just a prototype plastic pack. It was disappointing how few firms at photokina were willing to give us samples of relatively small items. We did not have time to spare, just a day. Hoocap immediately understood what we were doing and offered a sample. They were the ONLY company to do so. In past years, we’ve come back with loads of small accessories and items to write about, but this 2012 photokina has been an impoverished one in more ways than just the lack of square metres of stands.
This is how the Hoocap closes. It does add some bulk to an otherwise tiny camera and lens. You pull the unit from the rear to open the hood. It tends to need two actions unless you are lucky enough to get the pulling action exactly at 90°. It does not risk accidental opening, or closing. The action is firm and positive and exerts no strain on the lens or camera.
In case you think we do not question product design, here’s fault no 1 – if you have the small flash fitted to a 3/5 series camera, it won’t stow down fully. But it does turn off. It simply impedes the closing action of the Hoocap. By the way – we tested the cap with a 49mm UV filter fitted to the camera. It allows space for this.
The second flaw connected with flash is this. Look at the geometry – without the Sony flash extender.
It’s not awful, but this f/16 test shows exactly the area of shadow the hood will cast for a typical party or group shot at home. You really need to remove the hood for flash shooting.
Much will depend on the price, but we like this product. It closes the camera off in a very fast action – clunk! – and opens it almost as quickly. It can also be used on the 18-55mm lens but it’s super-neat on the 16mm.
Don’t forget we have a new photo quarterly magazine – Cameracraft. Please support us by subscribing, Cameracraft directly finances the Photoclubalpha website.
– DK
Swedish NEX from Hasselblad
Perhaps the strangest news from photokina, which I have not rushed to post here because I reckon every single website in the world will have treated it as urgent breaking unparalleled wonder – is that Sony and Hasselblad have signed a deal under which Hasselblad will make an APS-C (or perhaps full-frame NEX mount) mirrorless camera in Sweden.
Without any images other than a Hasselblad H logo to accompany the revelation, the world is left wondering what exactly Fujifilm has done wrong. A drawing of what might be an A-mount mopdel was shown at photokina but looks as if it could have been done by a teenager on the back of a school jotter; a prototype or mock-up NEX revision called the Lunar was little better. Clearly, Sony already announced its intention to allow approved partners to use the E-mount, and we can assume that the Hasselnex will come thus equipped. Carl Zeiss has announced a roadmap for E-mount lenses, and of course that would fit Hasselblad down to the ground. No need for a new lens range, their bodies (NEX-7/6 type?) would be sold with blueprinted Zeiss glass. Surely? Not just with relabelled Sony zooms?
And the bodies would be made in Sweden. That means less than you might assume, since all the internal component parts would presumably be sourced from Sony as a CKD kit. CKD is motor industry speak for ‘Completely Knocked Down’ – a car shipped as parts to a factory, to be assembled there. Hasselblad Sweden used once to be very good at assembling cameras, they recently moved all Danish production back to Gothenburg and re-established Swedish manufacture.
The BJP has been told the body would be aluminium. The NEX-7 is magnesium alloy. And the 7/6 body already looks really classy. The Lunar simply does not.
From the BJP report on this €5-6,000 version of the NEX-7 – click image to see their interview.
So, what of the H-series blads – made in Japan by Fuji, Hasselblad’s long-term partner in the H-range project?
And, when Hasselblad was quite willing to work with Rittreck/Norita/Fuji on rangefinder type cameras (the XPan was not their idea, it was a Rittreck/Norita concept) what has changed?
After all, Fuji’s XPro-1 and XF are staggeringly good cameras with a ridiculously ambitious and excellent range of lenses, not just superfast primes abut extending into popular zooms. They are built and styled to fit Hasselblad ambitions. Fuji optics have proved good enough for Hasselblad H.
Something has shifted. Maybe Hasselblad is no longer tied to Fujifilm and the announcement of manufacture returning to Gothenburg, made earlier this year, relates to a shift not from Denmark only but also from Japan. Perhaps Sony has demonstrated that superior medium-format size CMOS can be fabbed, saving costs for future generations of yet unimagined H-series bodies/backs where six 24 megapixel APS-C sensors will be stitched to create a 144 megapixel sensor measuring 47mm square!
Or perhaps Hasselblad realises that mirrorless need not mean hand-waved. They used to build waist-level cameras. How about a mirrorless waist-level, styled like a mini ‘blad and with the screen on top with a flip-up hood and magnifier?
Too much kölsch and imagination, I fear. But this certainly is strange news. A scoop for Sony – but exactly what for Hasselblad remains to be seen.
– DK
Photokina new matte box, 55-300mm
Made by Sony according to girl on photokina stand after asking bloke. But closer examination matte box/rig says Genius as the maker so pretty sure it’s third party. Similar shown on other cameras.
55-300mm SAM DT.
We were allowed to take test shots briefly with the Alpha 99 and 28-75mm SAM lens. The camera is just a little bigger than the A77 but feels much the same. The viewfinder seems slightly improved, maybe it’s just the optics used and not the OLED display – coatings or details of the assembly.
This is an ISO6400 in-camera JPEG, click it for full size. Shots with face out of focus look awful, the noise/NR on skin tones is not as good as on the dress made of flowers. Colour is excellent under tungsten with AWB, as usual.
Here’s an ISO 25600 image, same in-camera output. Not bad at all considering the ISO. In both cases, you can click on the image to get a full size version (5-6MB).
This is a 100% crop (click for full size) slightly overexposed, at iSO 400. The A99 showed a green face recognition square in this case, and focused at full f/2.8 aperture of the 28-75mm lens – sharp image core, but lots of softness glowing round it. Exposure was too generous for the dress, so I’ve cropped that out and just taken an 1800 pixel wide detail to show the quality at 400.
We were able to handle the RX1, it’s wonderfully smoothly engineered and feels great, but no pictures were allowed. They have no pre-production models able to produce an image they are happy to share. We saw a thumbrest which slots into the hot shoe (below the optical finder only, improves ergonomics; and an EVF for the RX1 –
Apart from that there was a great launch from Panasonic for a GH3 capable of 78Mbps video, waterproof, dustproof, magnesium body, new X-series lenses f/2.8 constant 24-70mm and 70-200mm equivalents; a funky new XF camera from Fuji which might appear a bit retro-consumer but actually is good to hold and use; and Samsung’s quite amazing Galaxy Camera, which has the biggest rear screen (and one of the best) ever seen plus a 21X zoom but won’t make phone calls. Yet…
-D&SK
Nikon's D600 – FX goes Prosumer
Nikon announced the D600 at 5am today, confirming rumours which were beaten only by Apple’s iPhone 5 leaks for accuracy.
The 24Mp entrant seems to be part of ‘full-frame fever’ undoubtedly driven by Sony’s CMOS sensor development, pricing and more crucially, packaging the definitive 35mm format to appeal to mainstream consumers.
Despite a D3X matching resolution, the D600 is a very different sensor and package. Will this be the camera to push Nikon’s DSLR market share to over 50%?
The current DLSR line up at Nikon is quite striking, not only for capability but also the positioning, with a substantial gap between the highly-specified DX-crop D7000 and the 36Mp professional D800 bodies. The middle ground retains the D300s, almost identical in price to the D7000 but qualifying for Nikon Pro User status and now one of Nikon’s oldest DSLR bodies. The D600 fits at the upper end of that gap, with an SRP of £1955.99 in the UK for the body.
For that price, you get a tightly controlled feature set, a compact, lightweight body and sensor capabilities that exceed the state of the art just 2 years ago, when the D3X was in demand, in short supply, and retailing at over twice the D600’s figure. A quick launch-venue play suggests that the specified ISO range – peaking at 6400, rather than the D3X’s 1600 – is very usable. The body weighs only 760g, using a magnesium upper and rear body and offering similar weathersealing to the D800.
Advances in processing, video and OS make themselves felt instantly. FX and DX crop HD video recording with HDMI output for uncompressed streams and sophisticated audio monitoring, a base ISO range from 100 to 6400 extendable to 50 to 25,600, and in-body raw editing are all very compelling features regardless of resolution. The D600 manages 5.5-6fps in full-frame mode, and shoots to two UHS-1 SDHC cards.
The 100% viewfinder is bright and despite using the square, without blanking filter, window rather than the round type used on previous FX bodies seems very similar to the D800. The eyepoint may be a further slight reduction, but without detailed specifications that’s a hard one to call.
A true pentaprism is used – expected, perhaps, in a full-frame high-end body but fighting an increasing trend for electronic viewfinders.
A compact body presents a few ergonomic challenges, and Nikon have tackled the control interface with the experience you’d hope for after the clear new direction shown in the D4. Gentle slopes define the shutter release area, with joystick, function buttons and the standard buttons beside the 3.2″ screen (which features a clip-on protector). A mode wheel/drive wheel combination provides consumer-style selection of scene modes, with a drive wheel below including selection of the IR remote mode, which is supported by receivers on both the front and rear of the body as per the D7000.
Nevertheless the D600 is a consumer package. It’s a high-end one, but it carries a 1/4000th shutter, horizontal axis level only, consumer interface sockets (the compact remote/GPS port rather than the screw-in port of the pro bodies, and no PC-sync socket). Unlike the D800, the D600 has USB 2. At launch, it seemed that the WT4 wireless tethering solution was not supported, but some of the launch material suggests that it is supported, alongside the low cost WU-1b introduced specifically fort he D600.
The Android remote control application for the WU-1b (below) is already available; an iOS version will follow before the end of September 2012. It offers rather less control than Camera Control Pro, but does provide a live-view relay and release function.
That WU designation has been seen before, on the similar accessory for the determinedly consumer (and best-selling) D3200. It’s a wireless broadcast unit slightly more sophisticated than using an Eye-Fi card, and at £64 is almost a tenth of the SRP of the WT4. It sacrifices many of the camera control functions (though triggering is possible), and is mainly intended to transmit and share images via Android or iOS devices. It’s a shame that this split exists in Nikon’s line, as the WT4’s full-fat networking and storage solution is a lot for many studio photographers who would probably find the basic transfer/triggering of the WU-style units very useful on the pro bodies.