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Soft strap ideal for Sony Alpha 99

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Our Alpha 99 review will be up shortly – but in the meantime, here’s the strap I have been using on the 99. That little wallet attached to the strap has a secure, perfect fit holder for the 99 or NEX-6 flash shoe cover insert or for MS Pro Duo memory cards. Also, it is a really nice soft woven fabric strap with no hard edges like the current Sony straps have, and no stiff bit.

Strap Set II
Here is a vintage strap from the days of the Dynax/Maxxum xi models, with a sewn-on Creative Expansion Card case. Our price £10 (a mere $16) shipped anywhere, including VAT where applicable.

The wallet is an EXACT FIT for MemoryStick Pro Duo cards. It will hold six Memorystick Pro Duo cards in individual slots. It will not hold SD cards, they are too large, but if you cut into two of the pockets and tape over them, you can form a holder for SD. The wallet slots are also a secure precise fit for the Alpha 99 or NEX-6 new hot shoe cover insert. You can store this vital protective cover safely as well as carry emergency MS Pro Duo storage. Otherwise there is no place to put it when you fit a flash or a wireless trigger, or the adaptor for iISO Auto Lock shoe devices.

These straps are much softer and more comfortable than the new Alpha or NEX straps. It’s easy to cut off the memory card wallet if you do not want it. The strap is not only wide, and soft fabric which can be wrapped round the camera to protect it, it’s also 120cm long (after allowing for securing). It has no metal parts and will not scratch anything.

 
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Accessories - Minolta/Sony, Offers

Paperback edition of Photoworld 2008-11

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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:

http://www.lulu.com/shop/david-kilpatrick/photoworld-2010-11/paperback/product-20477114.html?showPreview=true

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

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Magazines, News

Firmware updates for Alpha 77, Alpha 65, NEX-7, NEX-5R, NEX-6

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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):

Alpha 77 upgrade, Mac OSX

Alpha 77 upgrade, Windows

Alpha 65 upgrade, Mac OSX

Alpha 65 upgrade, Windows

NEX-7 upgrade, Mac OSX

NEX-7 upgrade, Windows

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.

——————————————————–

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.

 

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Cameras (DSLR), Firmware Updates, News, NEX System

Sigma’s system revolution

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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.

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Accessories - 3rd party, DK's ramblings, Events, Lenses - Alpha Mount, News

Hood-cap for NEX with 16mm

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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

 

 

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Accessories - 3rd party, News, NEX System

Swedish NEX from Hasselblad

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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.

Image from the BJP

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

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

Photokina new matte box, 55-300mm

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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

 

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Lenses - Alpha Mount, News

Nikon's D600 – FX goes Prosumer

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D600 with 24-85

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.

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News, Technology, Uncategorized

A divided path for Sony

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Most Japanese camera companies have divisions, groups, and teams right down to the very last individual product. Even a single lens design may have its own small team, from R&D and design down to final assembly. What we are seeing happen in Sony right now is the result of complex competition and collaboration between several teams.

Take, for example, the new Sony 300mm f/2.8 G SSM II. You might assume this lens was mainly an Alpha division product from the former Minolta heritage, but in fact it’s been redesigned to work better with NEX and also with both consumer and professional HD video cameras from APS-C through Super-35 to full frame 35mm.

SLT/SLR system users gain with improvements like Nano AR coating (similar to new coatings introduced by Sigma, Nikon, Pentax and Canon), better MF control, and a better degree of weathersealing. It’s the complete update of the SSM motor (is it SSM II, or entire lens version II?) which provides compatibility with on-sensor PDAF and enhances CDAF, to offer the prospect of object-tracking AF during video. At £6,700 UK it needs to show major benefits to compete in the still field, but may have a market all to itself when fitted to the new NEX-VG900E full frame video camera.

It’s easy to think – ‘the first ever full frame video cam!’ but that is not the case. The Canon 5D MkII established the DSLR form as an acceptable professional video camera, and in the last three years a vast industry of shooting rigs, grips, follow focus devices, monitor screens and accessories has grown up all based on turning this video-unfriendly camera into something movie and TV crews are comfortable with.

Sony has implemented the sought-after 24 frames per second rate in all the new models just announced, not going for the European excuse of 25fps being close enough. This is to allow a so-called cinematic look, despite the fact that the movie industry has been trying to get away from 24fps just the same way as it threw off the shackles of 16 or 18fps many years before. Users want it, so they have at last provided it.

From the very start of reviewing HD capable cameras, we have emphasised the issues with audio – the *absolute* not optional need for audio fixed or adjustable manual gain control. I’ve done this for years in printed magazines. So has any other writer who ever had to use a camera with auto gain and nothing else. First Nikon (basic) then Canon (full control) and now Sony show they listened, if slowly and relunctantly, to something their own audio engineers would have told them was vital not a luxury.

End result – Sony enters the mainstream for HD video shooting with the Alpha and NEX systems.

The same technologies, in terms of sensor use and implementation of optical advances linked to Phase-Detection On Sensor (which I’ll call PDOS), now apply across the entire range of Sony digital imaging products from Handycam, through Cyber-Shot, through NEX, to Alpha. The Cyber-shot range is only missing an APS-C model.

What is particularly interesting is that this divided path is a parallel path now and not a divergent one. There’s no question of one straight and narrow path leading to heaven, one broad and easy road to hell, and winding ferny way to faery. Instead we get a four-lane highway joining Sony present to Sony future, with every option to change lane if you want to overtake.

Legacy and inheritance planning

Sony acquired a lot of old Minolta tech as a dowry in the 206 marriage to the Alpha system. Now having invested that legacy they have to make sure it still has value for future generations.

And example of what this really means can be found in the PDOS restrictions of the A99. The AF-D mode won’t work with some lenses, yet. For example – the 16mm f/2.8 fisheye, the 20mm f/2.8, the 16-35mm CZ f/2.8 zoom, any Konica Minolta zoom, any old Minolta AF system lens, the 35mm f/1.4, the 85mm f/1.4 CZ and G, the 135mm f/1.8 CZ and f/2.8 STF, the 200mm f/4 Apo G Macro, the 24-105mm D, any macro lens, the 400mm f/4.5, 600mm f/4, 200mm f/2.8 or the 300mm f/2.8 G SSM (pre-II). It is not even flagged as working with the 30mm f/2.8 SAM macro, 35mm f/1.8, 50mm f/1.8, 85mm f/1.8 or the 24mm f/2 Carl Zeiss SSM ZA. Or the 70-300mm G SSM, let alone the basic 75-300mm SAL.

It will only work with the 24-70mm f/2.8 CZ, the 28-75mm f/2.8 SAM, the 50mm f/1.4 current design, the 70-200mm f/2.8 SSM, the new 300mm f/2.8 G SSM II, 70-400mm f/4-5.6 G SSM and the new 500mm f/4 G SSM. Sony’s firmware requires that the user enter the focusing range involved. This is put forward as an advantage – making the system less likely to focus on a fence instead of the view through it – but in fact it’s an integral part of PDOS. Each of the 102 focus points spread across the sensor* is not a single pixel-pair, it’s a cluster of several pixel pairs tightly grouped. There may be the minimum of three differently pitched PDOS points per location, or perhaps more, to cope with the wide range of exit pupil conditions encountered when using Alpha-mount lenes.

For any one lens, the camera will need to know the broad focus range involved (hopefully the main PDAF array will normally provide this), the aperture at which focusing is taking place, and some further information about how the zoom or lens design influences the exit ray cone. From this, it will select the correct PDOS configuration and I think that for some lenses only a central zone will be active.

Sony states that firmware updates will add further lenses, but this technology only requires some relatively simple information based on the optical design. If they could have added more lenses from the start, they would have. Watch this space, because it may remain more of an empty space than you hope for.

* Sony imply that the PDOS area is large – actually it’s about 13mm square, within the APS-C zone, and does not extend towards the ends of the full frame much further than the cluster of regular PDAF points. These seem to be the same module as the A77, giving the A99 an AF ‘zone’ much smaller relative to its frame.

Zones and maps

The Alpha 99 also introduces something which almost has to happen if any of the above is going to work at all. Anti-aliasing filters do not have an even effect on sensors, especially full frame with wider angle lenses where the rear nodal point of the lens is relatively close. Geometry means that light passes through them at more of an angle towards the edges and corners, and there is therefore more distance between AA filter and sensor surface. With an AA filter having a single value diffraction-created diffusion of the image-forming light (aka blurring), the effect gets stronger as you move away from the centre (axis).

Since most lenses are also sharper in the centre and typical sensor microlenses are not ‘tuned’ from centre to edge, the overall result is to emphasise fall-off from centre to edge. Secondary results include a dramatic tendency for bright sources imaged in the extreme corners to have a strong, directional, surrounding glare. This is boosted by internal multiple reflection between the sensor surface and the inner face of the AA filter, especially if the incident rays are at 40° or less to the focal plane (where on-axis rays are described as being at 90°).

The best solution to this is the classic one – what Olympus called telecentric lens design, where you do your best to project the image on to the sensor from a relatively distant position keeping all rays, centre to edge, as close to 90° as possible. But that calls for new lens designs and also restricts the optical formulae, tending to produce much larger heavier lenses. It’s very practical on one-inch or smaller sensors, OK on MicroFourThirds, feasible for NEX but not much an option for a full-frame coverage.

So, Sony has introduced an AA filter which they describe as ‘multi-segment lo-pass’. It’s not one strength across the entire frame, but divided or graded to optimise performance towards the corners. At the same time, they have introduced a similar zoning to noise reduction, which we assume to mean the NR applies to the raw output before a raw file is saved. Combined with the usual sensor mapping, and lens profile based vignetting compensation, the overall effect of these refinements should be to:

  • Even out the apparent resolution and image acutance across the frame
  • Reduce the mapped peripheral gain effect, under which images appear to be noisier at the edges unless natural vignetting is allowed to be present
  • Remove artefacts such as corner streaking or softening, and fringes or flare from light sources towards the extremes

No doubt this is also combined with the detailed ‘repair’ function used to deal with PDOS. More on this later, as there’s an implication that the PDOS on the A99 is not the same as that on the NEX-5R or NEX-6, and may use a second layer of pixels leaving all 24.3 megapixels of the imaging layer untouched.

The area-specific NR is probably essential to achieve the high ISO range at 14-bit conversion, though it’s not unusual for cameras at this level which claim 14-bit conversion to have a variable true bit depth depending on ISO, image style and exposure conditions. We can assume that 14-bit will only be fully utilised under ideal conditions at ISO 100.

Exactly how Sony has managed to adjust AA values in ‘segments’ without visible transitions, we’ll have to find out. The same goes for NR.

The missing NEX-9

There is one camera absent from the September 12th launch – the 24 megapixel full frame NEX-9. The appearance of the HD video Handycam, NEX-VG900E, indicates that the model name for the full frame 24 megapixel NEX will be NEX-9. Images of the VG900 show it using an Alpha via the standard LA-EA2 adaptor, and we can be sure that this and not a special range of E-mount full frame lenses (almost pointless) will be how the NEX-9 takes A-mount glass.

In the meantime, the NEX-6 appears to be perfectly pitched in price, but see my comment below about GPS.

The missing GPS

While the A99 has GPS, we’re still left with no NEX model yet featuring GPS despite these being the ideal travel and walking companion. Nor is there a current SLT model with 16 megapixels and GPS, as the Alpha 55 replacement doesn’t have it and the ‘baby’ A77, the A65, is a 24 megapixel again. The Cyber-shot RX100 and RX1 models also don’t have GPS. Whether or not the new hot shoe will allow an add-on GPS remains to be seen.

The new 50mm f/1.4 SSM Carl Zeiss T* Planar

Whatever you think of Minolta glass, or new Sony glass, the Carl Zeiss name on a lens is a huge draw. Reactions to the otherwise rather pedestrian DSC-RX1 prove this. People will put up with being back in 1972 – the era of cameras like the Minolta Hi-Matics with fixed 40mm f/1.7 and similar Gauss design lenses of very high quality – if only it means getting rid of poor quality digital images. There was a time when you couldn’t sell a 50mm standard lens with a camera, and there was a time before that when every system was judged initially on the quality of its 50mm choices. We may be returning to that way of thinking.

Edit – at the 2006 launch of the Alpha 100, a 50mm f/1.4 CZ was briefly shown in Paul Genge’s presentation to UK/English language journalists. I did not report on this as none of the literature confirmed what we saw on the Powerpoint screen. I believe this lens has been planned for six years.

Flash

The new HVL-F60AM flash with rather weak video light and new hot shoe might seem an annoying departure, but remember, the A99 has no built-in flash and thus can not control wireless remotes without a commander. No HVL-F20AM style mini flash has been previewed, so the F60AM is the only commander. But your old flash will work fine off-camera controlled by your new one.

Parked on the hard shoulder

So, having looked at the four way road map for Sony, I must confess that I’m pulling into a rest area for a while. I did not sell my Alpha 900 or Alpha 77, and I’m glad I didn’t. Nor did I sell my 24mm f/2 even though it has been little used for a few months. It has been waiting for a 36 megapixel full-framer, which makes a 24mm a much better all-round lens because of the croppable image size.

I’m not one of those photographers obsessed by bokeh or the need to throw parts of my picture into extreme defocus. At 24 megapixels, APS-C is already seriously short of depth of field even at optimum apertures like f/9. I’m more likely to spend my money on a Samyang 24mm f/3.5 full frame tilt-shift lens to use with both the A900 and A77 than to invest in an A99. I have no use for a revised 300mm f/2.8, especially on full frame where it seems to me now to be a very conservative focal length, and though I’m sure a 50mm CZ will be wonderful I have no complaints about my Minolta-design Sony 50mm f/1.4. I do shoot video, but rarely in conditions which demand that I use full frame, and if Sony don’t put manual audio control into older models via a firmware fix, I’ll just buy a Canon 600D.

The price of the Alpha 99 is not as bad as people suggest, with UK stories launching it at £2082+VAT, or $3200. But I’ve got a very good quality pure still camera in the Alpha 900, with effectively noise-free imaging from ISO 100 to 320, excellent battery life and exactly the same maximum image size offered by the 99.

I think I’m in the market for the NEX-6 body but I do not care in the slightest about the WiFi aspect, or the downloadable apps. If the new remote control can actually trigger and end video shooting with the A77, NEX-5n (etc) I’ll definitely buy one. The RX1 is not for me either – had it been fitted with a 17mm, 20mm or even a conservative 24mm then it would have followed in the footsteps of the great wide-angle cameras I have worked with over the years from the Brooks Veriwide through the Plaubel 55W to Hasselblad SWC and Fujfilm G645SW. I would not even mind a separate optical finder for that, much; I was used to it!

Things we forget

The industry has put a huge effort into autofocus solutions ideal for interchangeable lenses and zooms, and apparently set aside the idea of external AF modules for good. With a fixed lens like the RX1, an AF module not working through the camera lens itself is a practical idea and could be far faster. We have also forgotten about those twin-lens compacts, with a switch to go from 35mm to 65mm (or whatever). Small sensor sizes, new lens design and ideas could make that concept work again.

The story of development for all types of camera is not over as there are old ideas to be revisited, and new ideas yet to come.

See B&H news on all the latest Sony stuff

– David Kilpatrick

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Cameras (DSLR), DK's ramblings, HD Video, Lenses - Alpha Mount, NEX System, Sony Digital Csmeras

NEX-6 shown with 10-18mm f/4 OSS lens

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The NEX-6 compact system camera from Sony puts DSLR power in your pocket
 

  • DSLR-quality images and Full HD video, from newly-developed large 16.1 effective megapixel Exmor APS HD CMOS sensor plus high sensitivity up to ISO 25600
  • New Fast Hybrid AF for optimal fast and precise autofocus in any situation; DSLR-like AF tracking for shooting at up to 10 fps
  • High-resolution XGA OLED Tru-Finder™
  • Intuitive DSLR-style operation with dual dials and Quick Navi interface
  • Download new features through built-in Wi-Fi with PlayMemories Camera Apps TM , the world’s first application download service*
  • Built-in flash and new Multi Interface Shoe

Editor’s note: no picture of the camera with the new 16-50mm collapsible lens shows the lens in any useful position, or from an informative angle, only head-on, as issued by Sony this morning. The image above shows the new 10-18mm wide angle zoom, a 15-27mm equivalent, with a constant f/4 aperture and the welcome inclusion of optical image stabilisation.

* For interchangeable-lens digital cameras as of August 2012

Step up to an imaging experience that’s in a class of its own. The new NEX-6 compact system camera from Sony packs the imaging power, shooting responses, handling and operability of a DSLR into a pocket-sized mirrorless camera.

Partnered with the growing range of E-mount interchangeable lenses, the NEX-6 appeals to committed DSLR users who need to travel light without compromising picture quality. Offering big-sensor picture performance in a compact body, the new camera also makes an ideal option for step-up photographers looking to significantly expand their creative options.

The NEX-6 shares many imaging innovations with the newly-announced NEX-5R – from a responsive Fast Hybrid AF system to Wi-Fi connectivity and downloadable Camera Apps.

Crafted with discerning photographers in mind, the new camera also features the same precision electronic viewfinder and DSLR-style ergonomics found on the flagship NEX-7.

The large Exmor APS HD CMOS sensor inside the NEX-6 offers 16.1 effective megapixels for true DSLR-quality images and detail-packed Full HD video. It’s teamed with the powerful BIONZ image processor that ensures flawless, low-noise images – even when you’re shooting dimly-lit interiors at extended sensitivity settings up to ISO 25600.

Similar to the recently-announced NEX-5R, the NEX-6 features an innovative new Fast Hybrid AF system that combines phase- and contrast-detection autofocus methods to suit virtually any shooting situation. Phase-detection AF that quickly analyses subject distance is complemented by contrast-detection AF to confirm extremely fine focus. In Speed Priority mode, the NEX-5R switches automatically to pure phase-detection tracking AF. You’ll enjoy DSLR-like focusing responses when you’re capturing fast-moving action with high-speed burst shooting at up to 10 frames per second.

From launch, Fast Hybrid AF is supported with these lenses: E 18-55mm F3.5-5.6 OSS; E 55-210mm F4.5-6.3 OSS; E 18-200mm F3.5-6.3 OSS; E 24mm F1.8 ZA Sonnar T*; E PZ 16-50mm F3.5-5.6 OSS. Firmware upgrades will steadily expand the range of lenses offering Fast Hybrid AF support.

As with the NEX-7, the NEX-6 features an XGA OLED Tru-Finder™ for precision framing and focusing. This acclaimed electronic viewfinder gives a bright, detail-packed, high contrast view of still images and video, with 100% frame coverage and a wide field of view to rival pro-grade optical viewfinders. On-screen grid lines and a digital level gauge can be displayed to assist with accurate framing.

The OLED Tru-Finder™ is complemented by a 7.5 cm (3.0″) Xtra Fine LCD that can be angled up to 90° up or 45° down (approx.) for easy viewing in virtually any shooting position. The LCD screen assures superb detail and contrast with significantly reduced on-screen reflections, aiding composition when you’re shooting outdoors or in direct light.

Despite its compact body dimensions, the NEX-6 offers instantly reassuring operation for DSLR enthusiasts. A strategically-positioned mode dial on top of the camera allows quick setting of shooting modes – including P/A/S/M and Sweep Panorama – just as you’d expect on much larger interchangeable lens cameras. It’s joined by a control dial located under the mode dial, plus a separate control wheel on the camera back for fine adjustments of exposure, ISO, white balance and other settings.

Also inherited from high-end A-mount cameras by Sony, the pro-focused Quick Navi interface allows fingertip adjustment of settings without taking the viewfinder away from your eye.

Full HD movie shooting is enhanced with a new Auto Slow Shutter feature that adds extra sparkle to low-light clips. The NEX-6 detects dim interiors and night scenes, automatically switching to a slower shutter speed to brighten up your footage.

Shared with the NEX-5R, integrated Wi-Fi allows simple wireless photo and video transfers to various smartphones or tablets running the free PlayMemories Mobile app. Images can also be transferred wirelessly to a networked PC, or viewed wirelessly on any DLNA-compatible TV.

As also featured on the NEX-5R, PlayMemories Camera Apps expands the capabilities of the NEX-6 as your shooting needs evolve. Just connect the camera to your PC via Wi-Fi or USB. Then log in to your Sony Entertainment Network (SEN) account and explore the world’s first download service1 that lets you install new functions on demand. From launch, available apps include Picture Effect+; Bracket Pro; Multi-Frame NR; Smart Remote Control and Direct Upload. Sony also plans to introduce further apps such as Photo Retouch, followed by Time-Lapse and Cinematic Photo.

Alongside a handy pop-up flash, there’s a versatile new Multi Interface Shoe that’s capable of ‘intelligent’ linkage with various accessories.

New interchangeable lenses for E-mount cameras

The choice of interchangeable lenses for E-mount cameras by Sony grows with three additional models.

The SELP1650 is an extremely light, compact 16-50mm F3.5-5.6 powered zoom lens with Optical SteadyShot image stabilisation built-in for clearer handheld images. The lens body measures just 29.9mm when fully retracted, making the SELP1650 an ideal travel companion. There’s also a dual-function ring that controls both power zoom and manual focus, depending on operating mode. With the camera set to AF the control ring adjusts smooth, high-speed zoom with small hand movements. With the camera in MF mode, the ring controls manual focus. Smooth power zoom makes the lens particularly suitable for video shooting.

The SEL35F18 is a fast 35mm prime / fixed focal length lens with a bright maximum aperture of F1.8 and Optical SteadyShot built in. It offers excellent optical sharpness and clarity as well as bokeh effect– whether you’re shooting portraits, street scenes or Full HD video. Featuring a new exterior design, the lens is easy to handle and light to carry.

Adopting the super ED (Extra-low Dispersion) glass which reduces colour aberration, the SEL1018 is a super-wide angle zoom with a maximum aperture of F4 right across its 10-18mm range and Optical SteadyShot image stabilisation inside. Ideal for landscapes and interiors, it’s also capable of producing dramatic perspective effects at its widest setting.

New accessories for NEX-6

Crafted in genuine leather, the LCS-ELC6 Soft Carrying Case combines a stylish body case and lens jacket. Styled exclusively for the NEX-6, it’s suitable for use with the camera and attached SELP1650 or SEL16F28 lens. The camera’s LCD screen can be tilted even when body case is attached; tripod attachment is also possible with the case attached.

The LCS-EJA Soft Carrying Case can be used for all α E-mount cameras, and is ideal for use with the new SELP1650 or SEL16F28 lens attached. Internal pockets offer space to store the front lens cap and a spare memory card.

For further details of the full range of lenses and accessories, please visit: www.sony.co.uk/hub/nex-compact-camera-system/accessories

The new NEX-6 compact system camera with interchangeable lenses is available in the UK from mid-November 2012.
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News, NEX System, Sony Digital Csmeras
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