NEX System Archives - Page 2 of 11

Alpha A9 promises professional performance

Posted on April 19, 2017 By David Kilpatrick

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Full official press information and specifications can be seen here:

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

And for the lens:

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

David Kilpatrick

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

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

Posted on October 6, 2016 By David Kilpatrick

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

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

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

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

Unmatched AF Capability

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

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

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

5-axis Image Stabilisation Provides 5 Steps Shutter Speed Advantage

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

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

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

New Touch Screen Focusing

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

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

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

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

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

Professional Video Capabilities

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

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

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

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

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

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

Enhanced Operability and Reliability

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

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

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

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

Pricing and Availability

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

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

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

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

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

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

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

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

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

[viii]Approximate effective MP

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

[x]In 25p recording.

[xi]SDHC/SDXC memory card of Class 10 or higher is required for movie recording in XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps recording.

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

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

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

[xv]Use the latest version of PlayMemories Mobile

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

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

News, NEX System

Sony FE Macro 50mm f/2.8 – only $500

Posted on August 30, 2016 By David Kilpatrick

Sony has just announced yet another 50mm, and this time it’s different – a truly affordable 50mm 1:1 macro, only $500 US. We reckon this will become the most popular standard 50mm lens by far, even more so than the budget 50mm f/1.8. Now you can photograph your food properly at last!

It certainly looks neat and the specifications are good.

It features one ED (Extra-low Dispersion) glass to reduce lateral CA (colour fringes) as the image scale increases. The optical and mechanical construction of the lens is claimed to have less glare and ghosting. The lens is also dust and moisture resistant.

Examples shot with the new lens can be found at www.alphauniverse.com, Sony’s new corporate pseudo-community site. We have to say the bokeh looks funky, not good, and this lens probably lacks the classical drawing of the more traditionally designed (and more expensive) SAL 50mm f/2.8 Macro A-mount.

The 6.25″ (16cm) minimum focusing distance is a clue why. The effect of the 7-blade circular aperture design can be studied in the Sony photo examples. It has a focus-mode switch, focus-range limiter and focus-hold button (the mode switch is valuable as you may not want AF for macro shots most of the time, and the focus limiter is similarly good for controlling frantic hunting and missing – all three switches/controls are important on the mirrorless bodies).

The lens is 7cm long, weighs 235g and during focusing it extends in length by only 26mm, not the 50mm required for a typical Tessar-type lens of this focal length. This, and the minimum focusing distance (should be at least 20cm for a 50mm macro at 1:1) indicate that the design relies heavily on internal/rear focusing groups, much like the 30mm f/2.8 DT SAM macro for A-mount. We would reckon the true focal length of the lens at 1:1, which can not be more than 40mm with a 16cm close focus, may be around 35mm as 1:1 is achieved with 76mm of overall focus extension.

The distance from the subject to this lens front rim at 1:1 is only 3.5cm which many will find a little too close for insects and even for plants, as the shadow of the lens and photographer may interfere. Even the SAL 50mm is not perfect, reaching 1:1 at 20cm from the focal plane with a 48mm dual barrel extension and 53mm front element focus travel (the extra 3mm is down to floating element correction which slightly changes the focal length). This places the lens rim 7cm from the subject, twice the working distance relative to this new SEL FE design.

B&H purchase link (Affiliate)

Look – you don’t read Photoclubalpha to get sales blurb. You come here to find stuff out which you won’t read anywhere else and may not previously have been aware of. It may be difficult. But it will help!

– David Kilpatrick

Lenses - E mount, NEX System

Sony UK cashbacks end Sept 4th

Posted on August 30, 2016 By David Kilpatrick

Some worthwhile Sony lens cashbacks – some applying to in-stock lenses which may not have suffered the August price-hike yet – can be found from UK dealers such as WEX Photographic.

Amazon.co.uk has a reasonably good list of lenses too and the 70-200mm f/4 FE OSS G can still be found for under £1k (don’t expect this to last).

B&H (worldwide, US-based, dollar pricing) has 4% ‘reward’ off many lenses but you won’t get it on the latest models like the 70-300mm FE G OSS for example. Prices are still attractive even with the current dollar/£ exchange rate.

The UK cashbacks, we can confirm, work very reliably and quickly. We’ve bought two or three items under this system, just make sure you get your receipt and also photograph or record serial numbers. The new system does check for scammers who order a lens, send in the claim and then try to return it for a refund to the dealer, which is good news as it limits the benefits of the promo to genuine buyers and means Sony doesn’t end up footing the bill for fraud and passing it on in higher prices or limits to future promotions.

Lenses - Alpha Mount, Lenses - E mount, NEX System, Offers

Sony new RF wireless flash system

Posted on July 11, 2016 By David Kilpatrick

Sony today announced the availability of a new radio-controlled lighting system to meet the growing demands of professional and advanced amateur Sony photographers.Designed for compatibility with Sony’s α interchangeable lens cameras[i] and external flash units[ii], the new lighting system will include the FA-WRC1M wireless radio commander as well as the FA-WRR1 wireless radio receiver.

(Editor’s comment – this is a press release text, we realise that absolutely no-one calls RF wireless flash ‘radio controlled’ but there you are…)

The flexibility of the system means that it can be a totally portable solution, benefitting people like wedding photographers who are often working at locations where it is cumbersome to transport studio lighting but the results need to be perfect first time.

With a maximum range of 30m (approx. 98.4 feet), the new radio controlled system will allow for an extremely adaptable wireless flash shooting experience with exceptional performance in all types of shooting conditions using TTL, Manual or Group modes. In total, the system can control a maximum of 15 separate flash units[iii] in up to 5 groups of flashes which gives the photographer a huge amount of creative freedom to experiment with different settings to accurately capture their vision for the project.

Whilst using the system, shooting mode, flash ratio and exposure compensation on remotely located flashes can be controlled via the local commander which is equipped with a large, easy-to-see control panel on which the communication status with each receiver can be confirmed, thus making it convenient for one-man or small-crew shooting. The system also offers the added benefit of enabling remote release of multiple cameras[iv] which is particularly useful for sports and wildlife photographers as the system can work at up to 30 metres, enabling them to capture a wide range of views at the crucial moment.

The new lighting control system will be capable of flash sync speeds of up to 1/250th[v] of a second with high speed sync (HSS) available as well. Flash level can be controlled over 25 steps (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128, 1/256) in 1/3 EV step increments.[vi]

The new system is designed for photographers who are creating specific set-ups necessitating multiple light sources, controllable at each flash station for dynamic lighting effects. By delivering a fully radio controlled system, the user does not have to worry about the limitations of IR triggering where strong sunlight or physical barriers may cause problems. It is dust and moisture resistant for use in a variety of conditions.[vii]

The new system will start to ship in September 2016 with the Remote Commander priced at approximately €420 and the Remote Receiver priced at approximately €240.

[i]α7 II / α7R II / α7S II via planned software update. Software updates currently scheduled to start in August 2016, as of press release timing

[ii]Multi Interface Shoe Flashes: HVL-F60M/F43M/F32M. Auto-lock Accessory Shoe Flashes HVL-F58AM / HVL-F43AM / HVL-F42AM in Manual mode only. Optional shoe adaptor ADP-MAA is required.

[iii]Max 5 groups in GROUP mode, 3 groups in TTL or MANUAL mode

[iv]Multi Terminal Connecting Cable is required. Sold separately

[v]Depending on camera specification

[vi]When using HVL-F32M, up to 1/128flash level is selectable. When shooting in High Speed Sync., flash level of a group including HVL-F32M must be set to 1/16 or higher

[vii]Although the design is dust and moisture resistant, absolute protection is not guaranteed in adverse weather conditions

Flash units, NEX System, Sony Digital Cameras

Sony Releases Full-Frame FE 50mm F1.4 ZA Prime Lens

Posted on July 11, 2016 By David Kilpatrick

Sony Releases Full-Frame FE 50mm F1.4 ZA Prime Lens

A quintessential wide-aperture 50mm “normal” lens, the new ZEISS® Planar F1.4 offers high resolution, high-contrast and overall exceptional performance

Sony today introduced a new full-frame lens for their E-mount camera system, the Planar T* FE 50mm F1.4 ZA (model SEL50F14Z). (Press release 2pm UK time)

“This 50mm prime lens features a large F1.4 maximum aperture that offers impressive contrast and outstanding resolution that are hallmarks of the ZEISS® brand. It produces these consistently strong qualities throughout the entirety of the frame – from centre to corner – and at all aperture settings, even while shooting wide open at F1.4. The cutting edge optical structure includes high-precision AA (Advanced Aspherical) and ED (Extra-low Dispersion) glass elements that reduce spherical and chromatic aberration, as well as a ZEISS® T* Coating that minimises flare and ghosting, creating the classic ZEISS® clarity. Additionally, its Planar design ensures minimal distortion.

The large f/1.4 maximum aperture of the FE 50mm F1.4ZA lens provides a level of brightness and speed that are advantageous for dimly lit indoor shots, night scenes, and portraits, while its 11-blade circular aperture allows for stunning ‘bokeh’, or background defocus, in images. The lens also features an aperture ring with de-click option, an AF/MF switch, and a dust and moisture resistant design[i], further increasing its functionality.”

(PR blurb slightly edited but leaving in all the garbage, Registered Trade Mark symbols and stuff including the gratuitous capitalisation of Zeiss)

Editor’s comments: AA elements have no orange-peel microstructure, and thus reduce the granular appearance of bokeh circles created by point sources out of focus – they resemble traditionally ground and polished elements, even though they are moulded aspherical. Those who say ‘I love this lens in the A-mount version’ or Canon or Nikon or Contax are misguided, as although this is a Planar, it’s not the same 50mm f/1.4 Planar in any way as a traditional design.

The new lens is also equipped with a ring drive SSM (Super Sonic wave Motor) system, which allows it to efficiently lock focus with speed, precision and in near silence, making it particularly useful for shooting movies.

Pricing and Availability

The new FE 50mm F1.4 ZA lens will ship this July and will be available across Europe for approximately €1,800 (this price given by Sony). US price from B&H for pre-order is $1498 which is considerably less, possibly because Europe has VAT tax generally between 20% and 25%.

Although the design is dust and moisture resistant, absolute protection from dust and moisture is not guaranteed.

Lenses - E mount, NEX System

Elinchrom EL-Skyport Plus HS for Sony MFA

Posted on June 11, 2016 By David Kilpatrick

This is expanded from the feature which appears in the July/August issue of f2 Cameracraft magazine. We’ve been using the Elinchrom EL-Skyport Plus HS for Sony Multi-Function Accessory shoe since its arrival on May 28th as the first test unit released by Elinchrom. If you wonder why I don’t immediately do a clickbait blog post, it’s because Elinchrom were already concerned by synchronisation/shutter release timing delay issues – being unfamiliar with the very slow AF-AE-shutter cycle of the Sony mirrorless full frame models. My feedback was needed along with others. I can safely say that any practical difficulties encountered with hi-sync (hypersync) using the new Sony Skyport are entirely down to Sony.

It’s not advisable to work too close to a DJI Phantom drone as the rotor tips whizz by at a touch less than 100 miles an hour. With a 16-35mm CZ zoom used at 16mm to get the low viewpoint it did feel a bit like being buzzed at times but Ali Graham kept it well within the target zone. Click this image to open a full sized 42 megapixel original where you can see the exact extent of 1/8000s blur…

The idea here was to test, and show off, the 1/8,000s synchronisation with the focal plane shutter of the Sony A7R II which the Elinchrom dedicated high speed sync trigger EL-Skport HS Plus Sony makes possible. It actually makes it effortless, as this studio flash trigger is properly set up to provide the camera with the right signals. It’s the first studio flash wireless trigger ever designed to do this for any Sony or previous Minolta camera across three different generations of flash shoe, and that is important as electronic viewfinders really need a trigger which emulates a native dedicated flash.

The variable pre-sync timing (ODS) of the Skyport HS Plus uses HSS, originally intended for burst mode camera top strobe flash, to fire the studio or location professional flash milliseconds before the usually ‘hey, the shutter is fully open – fire!’ moment we call X-sync. The shutter then opens during the flash illumination, instead of the flash firing during the shutter opening. The white gap in the diagram above represents the shutter opening. The grey bar to the left against the vertical axis shows the ODS, which can move the start of the shutter opening to a different point on the flash output curve. This is done by changing the shutter release timing not the flash! Think about it – you press the shutter button, and that is the earliest moment anything can happen, either shutter firing or flash firing. Since the flash must be triggered before the shutter opens when using HSS, it is the shutter action which is delayed (it’s very easy to think of this as the flash being fired early!).

The big selling point for Elinchrom is Hi-Sync. They have even made special slow-burn flash heads for their Quadra ELB battery location kit, which have a T=0.5 flash duration longer than 1/550s compared to as short as 1/5700s with a Type A head. In practice you can fine tune shutter speeds between 1/1000s and 1/8000s to catch a fairly level plateau of high level output (the flash is used on full power for this). But at £199 this trigger, with its full visual display and adjustment of multiple head flash control, is actually worth getting even if you never used Hi-Sync at all.

The EVF issue

With a plain hot-shoe trigger, using an adaptor or not, no Flash Powered On signal is sent to the camera. It will remain in whatever P/A/S/M mode is already set, and if this results in a virtually blacked out EVF or screen because the modelling or ambient light is low it becomes necessary to turn off exposure or effect previewing (Setting Effect On, the normal setting which links the finder brightness to the exposure set). When you fit a dedicated flash, non-HSS modes set the camera to a standard flash sync speed typically between 1/60s and 1/160s and switch the finder to an auto gain mode (Setting Effect Off) without any menu diving required. HSS modes retain the same finder setting but allow any shutter speed down to the shortest 1/8000s time.

Normally, any remote trigger or commander fitting the Sony body will do this if it’s part of a wireless remote flash set up using the camera maker’s own battery flash protocols (and a camera-mounted flash like the Nissin i40 can do the same). You can make a crude studio flash trigger using a small dedicated flashgun and masking it with an infra-red filter but it’s not simple as automatic pre-flash sequences or operating delays need to be disabled, though Elinchrom’s current heads can be programmed to allow for pre-flash bursts.

Pro flash triggers which are not part of the dedicated system won’t turn Setting Effect to OFF, and did not for the earlier locking flash Minolta-Sony shoe of the A77, A55 and other electronic viewfinder SLR-style models. It was apparently just a matter of applying a simple signal voltage across a pair of the contacts when the trigger was switched on – but not a single manufacturer could be bothered to find a solution. Not PocketWizard, not Skyport, nor anything else until the arrival of Phottix, Pixel King and a few other Chinese-made innovative brands which added a PC-X-sync socket to modules mainly intended for camera-top strobe guns.

Now, with the rise in popularity of the Sony A7 series, Elinchrom has invested in a fully dedicated version of their EL-Skyport Plus HS which behaves just as if you had a Sony native flashgun mounted. To do so, they worked with Phottix and Sekonic. There’s no TTL, as the Elinchrom studio and location flash units are all high powered with manually controlled output. For normal use, the Plus HS offers a greater operating range to 290m (instead of 100m), LCD menus, and remote control of the power and modelling settings of all RX heads with the setting displayed on the trigger for the latest generation. Because it switches the EVF camera instantly into a studio-friendly mode and can act as a complete wireless remote control it’s worth the £199 cost for anyone using Elinchrom RX wireless triggered flash with Canon, Nikon and now Sony.

It is a very well made unit with a near locking shoe function (above). However, it’s also a bit of a monster (below) compared to the tiny original Skyport. That lens, by the way, is a Canon 40mm STM on a Commlite, with a 49mm filter thread adaptor and a Minolta 45mm f/2 lens hood. It’s actually one of the fastest-actuating lenses as its aperture mechanism makes up in speed of operation anything you might lose on AF speed.

The size of this trigger is not only used for the informative top LCD display, it also houses two AA cells, which gives it the extra power for the 290m wireless reach and its advanced electronic functions.

So for my money, this new trigger becomes my regular trigger. With any other trigger, I have to remember to change the Setting Effect and White Balance when working in the studio, and of course change it back. Sony, in their wisdom, have excluded Setting Effect on or off from the parameters you can remember in a user setting memory. With my A900 (optical finder) Sony all I had to do in the studio was turn the mode dial to 1 (Memory 1) and my camera was instantly set to ISO 100, Daylight, 1/200s, and f/13 as my startpoints for studio work. With my A99, the missing Setting Effect meant the 1, 2, 3 memory positions did not enable instant set-up or instant return to regular operation and it’s been the same with every SLT or mirrorless yet made by Sony.

Hi-Sync

The Hi-Sync feature – ability to emulate Nikon FP, Canon and Sony HSS – is compatible with all Canon DSLRs but not all Nikon, so check before ordering (example – no Hi-Sync with D5500 or D610, but fine with D750 or D300S). It’s also not compatible with all Elinchrom heads. My Ranger Quadra RX AS kit was bought with Type A (short flash duration heads) and my studio BRX500i heads are similar. They gave me high speed flash at normal flash sync speeds (up to 1/250s with most of my cameras) but the short, sharply peaking flash output can’t be used for Hi-Sync. I would need to buy Type S heads for the Quadra kit, or trade in and get the latest ELB 400 with Type HS heads – which is what I tested the unit with successfully before trying all my other flash. The lowest cost Hi-Sync studio head is the budget D-Lite 4 in IT (no remote setting) or RX (full remote) versions. In fact, the 400Ws D-Lite 4RX at under £250 per head, with its 5-stop output range down to 25Ws and constant 1/800s duration, is actually the most compatible of all current Elinchrom heads even though not really intended for intensive professional use.

Like PocketWizard and other triggers with hypersync, the EL-Skyport Plus HS offers a programmable delay in microsecond intervals from 0 to 5 milliseconds. This can be used with the Elinchrom RX Universal Receiver connected to almost any make of flash head. You then need to experiment with the power setting, as some have long durations at lower power with more even output level and for others a peak is followed by a relatively flat long tail decay at full power. There are some IBGT controlled flash units which cut off the peak and tail leaving a plateau of output. The ODS (delay) and camera shutter speed in HSS mode can be experimented with and you may get lucky.

However, the two certain ways to get maximum relative power and ease of Hi-Sync use are the ELB 400 with HS heads and the D-Lite 4RX. Mounting the very firm locking hot shoe on my Sony A7RII and switching the trigger on automatically set the camera to Wireless Flash and EVF Setting Effect Off, Auto WB to Flash. In Standard mode on the Plus HS, the shutter speed was set to 1/250s; just turning the Plus HS dial to set HS mode, my faster shutter speed set via the M mode on the camera was instantly restored and access to the full range from 30s to 1/8000s enabled. In fact it was impossible to create a mismatch, other than by entering an extreme ODS delay.

At all speeds faster than 1/250s, using Hi-Sync, the A7RII should be used with mechanical first shutter curtain. Silent electronic-only shutter mode simply doesn’t fire flash of any kind, and first curtain electronic mode may produce unevenly exposed or partial frames (I’ve since found that such problems really don’t happen often and you can risk using first curtain electronic to help overcome the really laggy shutter timing). Even used correctly, there’s some shading with the ELB 400 at full power, about a stop of fall-off smoothly grading to the bottom of the frame at 1/8000s. Moderating the shutter speed and adjusting the flash power and ODS can fine tune this but I wanted maximum output and my landscape format test shot benefited from the shading. Vertical shots are not as forgiving and the lighting may need feathering to suit. Be careful with some very fast lenses used wide open as these can also produce a shutter/scan related grad filter effect at the fastest shutter speeds.

To do the drone shot, we wanted to work fast so I did a simple manual adjustment of ISO and aperture in the studio first at the right distance. The main flash (2/3rd power, Outlet A on the Elinchrom ELB pack) had a red gel fitted, and the second head (1/3rd power, Outlet B) had no gel. I placed in the same relative positions I planned to use outside, and used my paper ceiling lantern to check settings.

I then repeated the test on the sky outside without changing the settings, and got pretty much what was expected.

So when Ali arrive with the drone at 4.30pm we just brought the portable flash pack and two heads on stands outside, already adjusted, and flew the drone in the right area of the shot working with the 16-35mm f/4 CZ zoom fitted to A7RII. The actual exposure was 1/8000s at f/5.6 and ISO 400, manually set. One small problem is that you can not judge ambient exposure unless you turn the Skyport off… because when it’s switched on, Setting Effect OFF immediately takes over and makes the sky look correctly exposed even when it will not be. I didn’t get this into the magazine report because I knew what was happening and only noticed, a few days later, someone complaining about this problem when using HSS fill-in flash on the Sony A7.

Such is the latitude of the A7RII raw file that lots of overshooting was not needed. I’m not a machine gun shooter. Even on top corporate assignments I’d often travel thousands of miles and then takes just a dozen frames of a CEO-in-office shot. I used to do whole newspaper features on a single roll of film. Digital has never changed my approach, but being able to check the shots as you take them is a great boon. It meant that with each shot, I could see how the rotor blades were aligned (the drone position was chance – slight buffeting wind kept it dodging around all over my designated shooting space). I could also check the light on Ali’s face and the drone controller. I took just nine frames before getting exactly what I wanted, and Ali was able to leave at 4.45pm.

Troubleshooting

The HSS mode of the Sony A7 series involves a considerable delay between pressing the shutter and getting the shot. There’s no solution to this and as a result I found timing some action shots almost impossible. I had to manage to fire about 1/2-1/4s before the subject reached the required position. Bridal portraits? Fine. Synchro-sun action? Not so!

It’s not all down the HSS either. In my review of the A99, I found the 1/50s hair-trigger response of the electronic first curtain shutter was negated by a complete AE-AF-stopdown cycle giving the camera a reaction time about the same as any regular DSLR, and a rather long overall 300ms ‘cycle’ in AF-S/continuos sequence mode, extended to 400ms in 14-bit capture AF-S single frame. The A7R was found to have an actual capture delay of up to a third of a second, and in fact the A7RII despite its option for electronic first curtain is not that much better.

If you want to get the 0.20-22s response time, with the shutter firing a mere 1/50s after you press the button, you will have to disable AF With Shutter and use manual focus or centre back AF on demand. With native Sony lenses, you must also work wide open as the aperture can take 1/15s to close down; with adapted lenses, for example on the Sigma MC-11, this can be 1/8s or more. If you use Auto exposure (A for example with a manual lens) the camera will briefly reset the sensor in a short interruption of live view and if you use A-mount or Canon EF lenses which have an instant aperture closing action, it can allow about 1/15s following this happening to recalibrate.

I don’t have the time in the world to check all the delays and complexities of A7RII timing, but when HSS flash control is added, it’s as bad as it gets (remember, HSS delays shutter release). So you can press when the subject is approaching the centre of the picture, and the flash will fire when the subject has left… so you pan a bit, and anticipate the way you might have had to do with a focal plane VN Press Camera 70 years ago.

And, if you are lucky, your Hi-Sync daylight and flash will work and your subject will still be in shot!

Even a relatively slow-moving sport like turning the tractor tyre was not easy to frame up and time (no, you don’t wheel it along, this is Scotland – you lift it and turn it over repeatedly to complete the course).

I continued with experiments with the trigger and my A7 as well as my A7RII, and also using the RX10 (on Speed mode but not HSS). Actually, the RX10 offers about the fastest response and easiest daylight sync up to 1/3200s shutter speed and no need for this or any other hypersync trigger.

During tests, I found that the A7RII completely locks out HSS mode when you fit a dumb manual lens, with or without the Lens App in use to tell the camera what plain-mount, uncoupled manual lens is fitted. Put a manual lens on, with no electronic aperture control, and it won’t let you select a speed faster than 1/250s even if both flash and camera confirm HSS operation. Perhaps it may do so with some other brand or type of flash. To check, exactly the same set-ups were repeated on the A7 – this body has no such problems. You can use HSS with manual lenses.

The 28mm f/2 OSS lens on A7RII proved a good choice above, taken at 1/1000s and f/8, but during my attempts to actually get our kitten in the frame at all this was a rare semi-success. The camera was rarely as fast as the cat.

The worst scenario proved to be that a shot could actually be captured about two-thirds of a second after your shutter press with the A7RII. This delay must be a concern to Elinchrom and should be a concern to Sony (their own firmware updates to handle the new GM lenses have slowed down the operational cycle, and their HSS defaults to allowing for a pre-flash sequence even when there is no pre-flash involved). Just a point, ADI flash is not an option on mirrorless bodies and does not apply to bounce, wireless or HSS anyway so suggestions that setting his may improve timing are not relevant. The Skyport Plus HS tells the camera it is indirect or off-camera flash, and these always use Pre-Flash TTL. Perhaps Elinchrom can cut some of the lag time out but it’s really down to Sony to provide firmware (or even hardware) which permits much faster real-time shutter actuation. Without this, all the claims for fast AF are pretty meaningless; the best AF in the world can’t allow for the distance travelled by your subject in a third of a second or more.

Despite this…

Though this EL-Skyport Plus HS is not like the tiny original Skyport, I want one now just for its proper control of the camera in routine studio work despite not one of my existing Elinchrom units (Quadra Hybrid AS, BX500ri) providing the Hi-Sync function.

Please also note that Hi-Sync does not work with the new ELC heads (gated fast durations), with Type A or S pack heads, and with pretty much anything except the ELB 400 with HS head/s, and in a surprisingly welcome drop to the lower end of the cost scale, the higher powered entry level D-Lite4RX.

It’s been a long time coming but this unit is, I think, the sign that Sony has arrived as a professional camera system. – David Kilpatrick

www.elinchrom.com/skyport.html

Accessories - 3rd party, Equipment Reviews, Flash units, NEX System, Sony Digital Cameras

Photoworld and Image – complete digital 28 issue archive!

Posted on June 2, 2016 By David Kilpatrick

We are able to offer, now, the complete 28-issue digital archive in page-turn format for the final eleven years of Minolta Image and Photoworld (as it became) from 2002 to 2011. For only £10, a one-off payment, you unlock the complete collection of digital versions of the printed quarterly magazine.

This collection forms a fascinating document, showing the transition from the last heyday of Minolta to the merger with Konica in 2004 and the launch of the Dynax 7D, through the takeover by Sony in 2006 and up to the launch of the NEX E-mount system in 2010 and beyond.

Read Minolta Photoworld 2002-2011
Publisher Software from YUDU

Accessories - 3rd party, Accessories - Minolta/Sony, Bags, cases and trivia, Cameras (DSLR), Cameras (Film), Equipment Reviews, Flash units, Legacy Lenses, Lenses - Alpha Mount, Lenses - E mount, Magazines, Minolta History, NEX System, Scanners, Sony Digital Cameras

Sony launch UK PRO support

Posted on April 21, 2016 By David Kilpatrick

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

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

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

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

Qualifying Cameras and Lenses

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

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

Camera Bodies Group ‘A’

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

Camera Bodies Group ‘B’

ILCE-7
ILCE-7M2
NEX-7

α A-mount lenses

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

α E-mount

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

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

Sony 28-75mm f/2.8 SAM on mirrorless FF

Posted on April 15, 2016 By David Kilpatrick

With the 24-70mm f/2.8 new Sony GM FE lens selling for £1799 (UK) and the A-mount version two 24-70mm f/2.8 for a full £100 more, the cost of a basic mid-range zoom to use with a camera like the A7RII remains very high. There are good arguments to be happy with the 24-70mm f/4 FE zoom, or even the 28-70mm f/3.5-5.6 though that is best limited to use on the A7 (24 megapixel) and A7S (12 megapixel) bodies rather than the A7R (36 megapixel) or A7RII (42 megapixel).

Of course there are good lens adaptors out there and 24-70mm f/2.8 lenses from Canon, Tamron or Sigma with ultrasonic focus drive in Canon EF mount offer one solution. The original 24-70mm f/2.8 for A-mount with its SSM motor of this type can also be found for a fair price. But there’s one lens which I sold after my A7R arrived, mostly because I was parting company with my full-frame A-mount body survivors. It’s the Tamron-based but Sony revised SAL 28-75mm f/2.8 SAM.

Although I did have an LA-EA3 adaptor to use SSM and SAM drive A-mount lenses on the E-mount bodies, the 28-75mm didn’t really work very well on the A7R so it remained on my A99 or A900. I made a few tests and saw that it was certainly OK on 36 megapixels, though even on the 24 megapixel A99 where it played nicely with the AF system it had slightly soft corners when used wide open. They were not any softer than the 24-70mm f/2.8 Carl Zeiss of that time and in some ways the lens was better behaved.

The first thing to do was to fix this lens to the LA-EA3 creating an FE lens unit. Imagine the adaptor is just part of the lens (that’s pretty much how Sony makes many lenses for E-mount anyway). The total unit measures up at 115mm long including the adaptor, and 75mm diameter taking 67mm filters. The lens itself weighs only 565g, the combo weighs 683g with adaptor and lens hood. That compares with the new GM lens at 136mm long and 88mm diameter using 82mm filters and weighing 886g. As I already have a 16-35mm f/4 CZ which covers the 24mm requirement well, the 28-75mm range is just as useful to me as 24-70mm.

While the 28-75mm SAM activates PDAF and multiple AF points, it’s not the full works with tracking and Eye-AF. But it’s also not as noisy as some reviews imply. It’s much quieter than the 85mm f/2.8 SAM, and silent compared to the grinding focus of the 30mm DT SAM macro. Startup is fast, with the lens initialising quicker than FE mount stabilised zooms. The aperture actuation is slicker than with body-drive SAL lenses on the LA-EA4, and quieter. Focus is fast and the only downside is the rotating focus ring which does not support DMF or over-ride on the fly, or auto manual focus magnification. Manual focus requires you to set it on the lens and the body, and whatever you are doing, you need to avoid either turning the focus ring when there is any resistance, or blocking it from turning during AF. It’s a bit vulnerable and the direction of focus is the opposite to normal Sony/Minolta design. The zoom ring which locks at 28mm only operates in the normal direction.

So, what you get with the LA-EA3+28-75mm SAM is basic but fully controlled and communicating, EXIF accurate with profile correctly invoked. It will track with continuous focus and during movies, though slightly noisy for in-camera sound recording; it seems to do so when some SSM lenses, like the 24mm f/2 CZ, don’t play.

As for optical quality, it’s still a 14-year-old Tamron in disguise, but it can match up to 42 megapixels centrally across its full range. The performance over the APS-C image area is superb, even wide open at all focal lengths, with just a hint of misty aberrations slightly masking a super-sharp result on axis. On full frame, a marked ‘cap shape’ deviation from flat field towards the extremes causes strong softening on flat subjects and landscapes at 28mm and is not entirely removed at longer lengths. You would not want to use this at 50mm and f/2.8 if you had a faster 50mm you could fit and stop down to f/2.8. On real three-dimensional subjects at typical working apertures between f/4 and f/11 it can be extremely sharp. The respectable 38cm close focus and 0.22X subject scale (not as good as the new Sony GM 24-70mm) reveal microscopic detail on the A7RII at f/5.6. The shot below is at the closest AF on the large water drop in the centre, at 75mm and f/5.6 – you can see the bokeh is very acceptable, not complex or ‘nervous’ which it tends to be when used wide open for more distant subjects with a slightly defocused background.

A 100% crop from th A7RII file (converted from raw ISO 500 14-bit, without any sharpening for web and with minimal NR) gives an idea how good this lens is and also just how little depth of field you’re ever going to see from a 42 megapixel full frame image used this way!

It would hardly be worth buying an LA-EA3 and a new 28-75mm just to save about £1000 over the GM 24-70mm. If you already own an LA-EA3 and you can find a cut price or good used 28-75mm go for it. The way its aperture works means you’ll get very fast low light focus and minimal shutter lag (but you do need a mark II A7 series body to get the best functioning).

The zoom action is a real pleasure to use, very light but positive, and the overall build and feel of the lens will not disappoint. It also seems to get just the right response from the in-body stabilisation of the A7RII. Sure, 67mm filters may be smaller than many midrange zooms require, but I will either have to use a stepping ring or get a couple of new filters – not cheap, for the quality needed to maintain the lens performance. Also, it’s not weatherproofed.

Here’s a quick set of three hand held (with SSI) comparisons at 28mm – f/2.8, f/5.6 and f/9. I’ve loaded these up at full size so they should open the original Level 10 sRGB JPEG when clicked. The focus in on the foreground railing spike and the fine spider web gives the best idea of how the resolution and contrast of the lens improve from wide open. It’s clearly resolved at f/2.8 but with a gentle ‘glow’ at pixel level. First image – f/2.8.

Second image – f/5.6. If you download all three images and load them into Photoshop, it’s interesting to switch between tabs and see the depth of field change.

The third image is at f/9 and here the ISO is high at 2000. The A7RII can produce great results up to 3200 but I might not choose to have this at 2000. Even so, the sharpness can be judged without problems as the noise doesn’t have much effect on fine detail with current Sony sensors and processing. It always shows more in defocused, smooth areas.

Because I use other lenses – such as the 24-105mm f/3.5-4.5 Sony and 50mm f/2.8 Macro Sony on LA-EA4, 40mm f/2.8 Canon STM, Sony FE 28mm f/2, 16-35mm CZ f/4 and also the unrivalled 24-240mm FE zoom I have many choices overlapping the range of this lens. I remember that for landscape work on the A900 it was hard to beat. Here’s one of my images from that combination, using a 6 second exposure at 40mm focal length, f/8 and ISO 100 with a variable ND filter. With the restrictions on tripod position given by the location, the zoom range of 28-75mm proved just right for a range of studies.

With this lens arriving during a period (for my corner of the UK) of sustained white skies and drizzling rain, it’s not been out and about much. One thing it has done is to focus very well in dim room lighting on my sofa companions –

And, for those who don’t think f/4 is wide enough and desperately want 55mm f/1.8 or f/0.95 lenses, this is at 55mm f/2.8 and of course when the iris of the eye is sharp the fur around it is not and Willow’s nose is blurred. Once again, despite correction for tungsten light at the extreme limit of Adobe Camera Raw, and using ISO 3200, it’s pretty amazing what the A7RII can do seen at 100% (below).

But this super-shallow depth of field is what happens at 42 megapixels. Depth of field used to be worked out based on a 10 x 8″ print held in your hand, not a 6 x 4ft image viewed through the ‘window’ of a screen. Of course for social media you do indeed need very wide apertures because when your pictures are mostly viewed on smartphones, it’s like looking at a contact print from a Vest Pocket Kodak…

To support Photoclubalpha, subscribe to f2 Cameracraft (it’s probably the only photo mag edited by two long-standing Sony system users, myself and Gary Friedman).

– David Kilpatrick

You can find deals for the Sony SAL 28-75mm f/2.8 SAM A-mount lens at B&H Photographic, Wex Photographic for the UK, or Amazon Sony SAL2875 Alpha 28-75mm F2.8 Standard Zoom Lens

DK's ramblings, Equipment Reviews, Lenses - Alpha Mount, NEX System

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