camera - Cameracraft

Larmor 5th Generation glass screen protector with Sunshade

Posted on October 30, 2018 By David Kilpatrick

We’ve fitted GGS or similar toughened laminated glass screen protectors to our Sony bodies ever since way back in 2011, we were the first Alpha web resource to publish information about NEX screen delamination and how to repair a deteriorated LCD using one of these great products.

Replacing NEX LCD Cover Glass

Of course it wasn’t a cover glass, just a plastic surface layer. But if you fit a GGS, Larmor or similar ultrathin glass protector the moment you get your new Sony Alpha body (whether mirrorless or SLT, compact or bridge) you don’t need to mess with the original, risk your warranty, or risk anything at all. The new Generation 5 Larmor has a silicon adhesive which clings instantly, bubble-free, yet peels off safely using just a fingernail under a corner. It permits all touch screen operations, all screen folding including A99/77 and RX10 series reverse foldaway, and for around £10/$15 is an essential for your new camera.

Now there’s a new version which comes with a magnetic black surround and accepts a folding screen shade which just pops on to this. We paid £15.95 from ukhighland photographic on eBay, post free, VAT receipt given.

Accessories - 3rd party, Cameras (DSLR), Equipment Reviews, NEX System, Sony Digital Cameras

Sony A7RIII review in Cameracraft

Posted on April 7, 2018 By David Kilpatrick

Read David Kilpatrick’s review of the Sony A7RIII

Cameracraft January/February started the A7RIII test report, and March/April 2018 continued it. Both are free to read here. In the second issue you’ll also find the review of the 24-105mm f/4 FE G OSS lens. In the first issue, Gary Friedman looks at the RX10 series and one-inch sensor quality as well – and David tests the Voigtländer Nokton 40mm f/1.2 Aspherical FE manual focus lens, Sigma 16mm f/1.4 DN DC, and Samyang 35mm f/2.8 AF FE.

Part 1

CCJanFeb2018 Download

Part 2

CCMarApr2018 Download

Equipment Reviews, Lenses - E mount, Magazines, NEX System, Sony Digital Cameras

Sony A7RIII – more than a skin deep upgrade

Posted on October 26, 2017 By David Kilpatrick

With a body-only price of £3,199/$3,198, the third generation of the A7R came as a surprise to Sony’s own photo studio, who labelled most of the product pictures release on Wednesday as ‘A7RM2’ instead of ‘A7RIII’. We’ve changed the filenames on our system, but countless mediafolk of the future will be confused. They do after all look similar.

In fact the new 24-105mm f/4 G OSS lens was released with pictures of it on the A7RIII, above, and also on the A9 below. With the A7RIII having a 10fps 42 megapixel motordrive capability, thanks to an improved LSI and new processing engine reading off much faster from the 42 megapixel back-illuminated CMOS sensor, you might have expected economies of scale to have given it the same Dynax 7D-like left hand end drive mode physical dial like the A9, below – especially as the A7RIII has an additional drive-type mode, a four-shot sensor shift to capture 169 megapixels of image data.

This involves shifting by one pixel in four positions, and does not create a 4X size, 2X linear pixel count file. You can only get that by shifting half a pixel as Olympus do. The Pentax sensor shift high-res mode shifts by one pixel, and it does not increase the image dimensions, only the sharpness and colour information for each pixel location (making the image similar to a Sigma dp Quattro file in fine detail resolution). The Sony implementation also appears to need almost half a second between each of the four subframes, requiring a tripod and roughly 2 seconds of capture time. Sony’s proven multishot processing will certainly be able to remove any problems with movement of parts of the subject during this time, but it has to be done in the computer, using the new software suite.

Some commentators have assumed that the 169 megapixel four-shot file means large dimensions, effectively a 169 megapixel resolution full frame, the same way Olympus gets high megapixel files. But the pre-release information clearly indicates it’s a Pentax-type mode – here’s from the wording provided to dealers by Sony:

“You can then stitch the images together to create an image with fewer artifacts and a truer range of colours”.

I tested that on the Pentax K-1 and concluded it was not worth the effort. Regular normal 42 megapixel AA-free shots on a top grade lens are all you need. I’ll repeat that bit about top grade lens.

The A7RIII also has a new shutter mechanism which reduces shock, improving the SteadyShot performance, though still 30s to 1/8,000s as before. The sensor gains a new anti-reflective coating and there will be many ‘under the hood’ improvements because that’s what happens. There may also be teething troubles and newly introduced problems, because that also happens. However I’d say early buyers run less risk with this third generation A7R than they did with the predecessors, or indeed with the A6500.

But we’ll leave you with the 9 for comparison. Most else that matters is the same, like for example the Memory registers – only two on the A7RII, but three on the A7RIII. It will remember more things, like Setting Effect OFF/ON, and that is just as well because the III puts a DSLR-like feature on its left hand end, a threaded coaxial Prontor-Compur (PC) flash synchronisation terminal (below). Let’s just hope that the circuitry inside is well isolated, as one of my vintage flash units destroyed the Godox X1-T which I use both to get Setting Effect OFF and isolation from high trigger voltages on my A7RII.

Study this left end for a bit. It does have phantom power for the 2.5mm mic jack, but the earphone output has been moved so that two doors must now be opened at once to use both together. And there’s something missing.

The A7RII has a screw socket next to the neatly paired mic/headphone jacks, which allows a custom made tether clamp assembly (supplied with the camera, seen above) to hold HDMI and USB cables with clamped protection looping. You’ll need some extra Tether Tools kit to safeguard the connectors on the MkIII. There is now a USB-C/3 Super Speed connector as well as a USB-Micro Multifunction, and Micro HDMI. But no provided security of a tether clamp.

The back of the camera has much the same screen, but with improvements to resolution and daylight visibility – still no twist and turn, or reversing to face the camera back and protect the LCD. The rear button layout is revised, with movie button located near the viewfinder (well, if Canon does it, it can’t be wrong, can it?) and the switching AF/AE Lock/Toggle/Hold button replaced by an AF-ON and separate AEL, with C3 moved to the left end. Where the movie button used to be you’ll notice a catch for the weathersealed door which covers TWO SD card slots, one UHS-II enabled (more broken bits of card contact septum to lose inside your slot!). Changes to the movie mode using the main shutter release make the use of the red button less essential.

You can assign those cards the usual ways, to make copies on card 2 of card 1 as you shoot, just in case one fails (the most important use for wedding photographers) and also to use sequentially (overflow into card 2, liked by action photographers), or split RAW and JPEG, or still and video.

This is the new lens, 24-105mm f/4, and it will probably be very good. It has 77mm filters so I think I’ll stick with the A6500 for travelling, as the little CZ 16-70mm f/4 which is the direct equivalent of this is tiny by comparison and uses neat 55mm filters. Despite some reports to the contrary, I’ve found it to be a good lens, sharp across the frame at 70mm wide open, though prone to flare.

The top shows that the strictly amateur ‘SCENE’ position of the mode dial has been replaced by S&Q. I look forward to finding out what this means – probably much the same* *Gary Friedman has provided the answer in Comments – it’s a slo-mo/fast-mo video mode which is of no interest to me personally, but might fascinate messers around with short video clips for YouTube, even if their smartphones do it better. Green auto survives, as not all owners will be experienced photographers, some will just be wealthy camera buyers and this setting will be where they leave it.

The published specs were vague about Bluetooth, used for GPS tagging from a smartphone – I’m told US Sony Store specifications clearly state it does have. The A6500 and A9 both do, and can therefore use the Sony mobile phone function for live geotagging of pictures as you take them, using information read at the moment of capture from your nearby smartphone. We’ve also seen reports saying the A7RIII does not use Apps but that seems very unlikely.

There are also improvements claimed for dynamic range, with the figure of 15 stops mentioned. This would actually need a 16-bit A to D conversion internally followed by compression to a virtual 15-bit range (via a tone curve) saved in the 14-bit uncompressed raw .ARW format. A 14-bit raw format is now offered for all shooting modes including high speed continuous, which on the A7RII means automatic stepdown to 12-bit. The ISO range is extended to 32,000 before Hi expansion up to 104,200 and goes down to 100 native with Lo down to 50. One benefit of an effective 15-stop range will be that ISO 50 should have 14 stops, or as much highlight data as ISO 100 on the MkII.

The extra effective bit depth also pays off when using the S-Log3 and Hybrid-Gamma HDR video settings. This brings Sony professional video camera standards into a primarily still camera for the first time (better than the video-targeted A7SII, and the A9).

Sony claim improved skin tones too, though compared to what is a bit of a worry. Many people like Canon skin tones, I think they are like a 1970s USA colour portrait and that Sony’s skin colours have always been more natural. Others disagree and want the pinker, less yellow, face tones.

The A7RIII uses the new larger battery with its 2.7X capacity, introduced in the A9. I rather like the way my current Sony cameras share one rather underpowered battery type, but at least a bagful of batteries covers A56500, A7RII, RX10. There are not many different battery types, as we could find with our Olympus kit (check E-M1, E-M1 MkII, E-M5, E-M5MkII, E-M10, E-M10MkII and E-M10MkIII batteries if you want a nightmare). You can also charge Sony batteries in-camera.

Will I buy it? Probably not. I use the A7RII for relatively static, large image size, low ISO, controlled shooting of landscapes, architecture, products and so on. I have sold my full frame zooms except for the 70-300mm G OSS and now only use primes on the A7RII (10mm, 18mm, 28mm, 50mm macro, 55mm, 85mm). I don’t travel with it. We’ve bought an Olympus OM-D E-M1 MkII for its Pro Capture (60fps, 18-20fps with pre-shot buffering) and macro auto focus stacking. I’m sticking with the A6500 kit for travel (10-18mm, 16-70mm, 55-210mm) but it’s got to go head to head with the Olympus including the use of the two different smartphone GPS methods.

David Kilpatrick

WEX Pre-Order (Affiliate link) UK £3199

MPB (Affiliate link) – buy and sell used Sony equipment UK

B&H (Affiliate link) – order US/World from $3198

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

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.

B&H have it listed

WEX in the UK (also Calumet)

Amazon (co.uk)

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

A7RII shoots in Iceland’s glacier caves

Posted on November 26, 2015 By David Kilpatrick

Sony camera sensor technology enables a closer look at some of Mother Nature’s rarest sights that could not previously have been photographed in this way

Story: Sony Corporation UK PR release with high resolution images and full metadata – click to view. All images are copyright and may not be copied or reproduced.

Wednesday 25th November 2015, Vatnajökull national park, Iceland: Photographer Mikael Buck with assistance from renowned local Icelandic guide Einar Runar Sigurdsson, explored the frozen world of Vatnajökull glacier in Iceland using Sonys world first back-illuminated full-frame sensor which features in the ?7R II camera. His images were taken without use of a tripod or any image stitching techniques in photoshop. This was made possible through Sonys new sensor technology, allowing incredibly detailed low-light hand held photography. Previously images this detailed would have required carrying bulky equipment to the caves, some of which can require hiking and climbing over a glacier for up to two hours to to access. This picture: Inside the 'ABC cave' - which stands for Amazing Blue Cave. Guide Einar Runar Sigurdsson is seen taking a photo at the entrance to the cave PR Handout - editorial usage only. Photographer's details not to be removed from metadata or byline. For further information please contact Rochelle Collison at Hope & Glory PR on 020 7014 5306 or rochelle.collison@hopeandglorypr.com Copyright: © Mikael Buck / Sony 07828 201 042 / mikaelbuck@gmail.com

Inside the ‘ABC cave’ – which stands for Amazing Blue Cave. Guide Einar Runar Sigurdsson is seen taking a photo at the entrance to the cave. Copyright: © Mikael Buck / Sony

The enigmatic beauty of the caves of Vatnajokull, one of the largest glaciers in Europe, is revealed in all its frozen, icy splendour through astoundingly sharp and detailed photography.

The sensor sits at the heart of every camera and defines its capability to capture the amount of light and detail that goes into photographs. Advancements in Sony’s sensor technology are enabling photographers to take pin-sharp photographs in the most challenging low light conditions with the latest cameras from Sony, which formerly would not have been possible.

A snow storm outside the entrance to the cave. Copyright: © Mikael Buck / Sony

Stunning photo series heroes Iceland’s otherworldly ice caverns, with the cave’s bright blue and bubble-like walls resembling an almost underwater scene. Images also capture flowing waterfalls, and crystal clear crevasses and icy tunnels within the frosty fortress.

Looking up from inside the ‘ABC cave’. Guide Einar Runar Sigurdsson can be seen ice climbing on the glacier outside. Copyright: © Mikael Buck / Sony

This incredible photo series displays the immense intricacies of never-before-seen ice caverns in Vatnajokull, Iceland – only made possible through Sony’s new sensor technology, allowing incredibly detailed low-light photography.

Inside the ‘ABC cave’. Copyright: © Mikael Buck / Sony

Each year, the Vatnajokull glacier shifts and changes, revealing complex cave systems that are there for only a matter of weeks before metamorphosing again.

Inside the ‘ABC cave’. Copyright: © Mikael Buck / Sony

Photographer Mikael Buck and renowned local guides Einar Runar Sigurdsson and Helen Maria explored the frozen world using Sony’s latest digital cameras including the α7R II featuring the world first back-illuminated full-frame sensor which brings together ultra-high resolution and ultra-high sensitivity, the RX10 II and RX100 IV which feature the world’s first 1.0 type stacked Exmor RS CMOS sensor that truly shine in low-light and high contrast conditions. The images were taken without the use of any external sources – just the natural light that filters through the ice caves.

Guide Einar Runar Sigurdsson is seen ice climbing inside the ‘Waterfall Cave’. Copyright: © Mikael Buck / Sony

Within the photo series, barren caves have been brought to life, making visible the intricate curves of the natural sculptures, the delicate structure of its icicles, and the smooth and the marble-like texture of the cavern walls, which are formed through constant movement. Images capture the misty waterways that flow within the frosty fortress, as well as the ice-cold waterfalls that cascade down and transform the cavern’s bright blue walls. Buck has also captured images of a skilled local climber ascending the icy walls to showcase the scale of the majestic blue cave.

Sigurdsson ice climbing inside the ‘Waterfall Cave’. Copyright: © Mikael Buck / Sony

Helen Maria of Local Guide – Iceland’s oldest mountain guiding company – comments: “I have been exploring these ice caves for years with Local Guide. Being here in them is a truly wonderful opportunity. Knowing you’re experiencing such a fleeting phenomenon makes it even more special – the opportunity to help capture this nature in all its intricate glory and now in more detail than ever thanks to Sony’s sensor technology is a truly magical experience. This series of photographs has done it justice like never before, and I hope many more people will be spurred on to visit as a result.”

Guide Helen Maria is pictured inside the waterfall cave. Copyright: © Mikael Buck / Sony

Yann Salmon Legagneur, Head of Product Marketing, Digital Imaging for Sony Europe, commented, “These images wouldn’t have been possible a few years ago without having to take bulky kit, lighting and other accessories to the glacier – all of which would have weighed down a photographer. The sensors inside Sony’s α7 and RX cameras ensure that all a photographer needs is a small form factor camera and with its low light photography capabilities and they can then capture incredible images like these.”

Sigurdsson is seen taking a photo at the entrance to the ABC cave. Copyright: © Mikael Buck / Sony

As the global number one in Sensor technology and production with approximately 50% global market share, Sony is proud to continue to push through the perceived boundaries of sensor development and thanks to advancements in this field, images like this are now possible. Sensors are such a vital part of camera performance and being able to release two new advanced sensors this year is enabling Sony to continue its growth in the digital imaging industry.

In addition to being able to capture incredibly detailed low-light photography, sensor technology featured in the RX10 II and RX100 IV cameras also allows photographers, hobbyist and professionals alike, to capture moments not always visible to the human eye, with 40X super slow motion video capture at up to 1000fps.

NEX System, Photo Techniques, Sony Digital Cameras

Capturing Autumn colour better

Posted on November 3, 2015 By David Kilpatrick

Upper: unprofiled (Standard) raw conversion. Lower: using a tunsgten-light generated custom camera profile, combined with a polarising filter, gives a more vivid impression.

Most Alpha system users know that some – not all – cameras have a special JPEG mode for Autumn Colours. They’ll also know that if you shoot raw, with no JPEG in camera, only Sony software replicates this. The choice of picture looks or camera profiles in Lightroom and other programs ranges from none (one default) to good (a full basic range similar to Canon settings). However, you can go way beyond the default look your camera will produce from the Autumn colours we are seeing right now (UK) if you profile your camera using the X-Rite Color Checker Passport and the free downloadable software which goes with it. You can also use this software with any standard MacBeth Color Checker card.

You still need to create a .dng file from your original raw, as you also do for Adobe’s free camera profile generator. The X-Rite software creates much smaller profile files but they are no less effective.

Here’s my tip – normally, you calibrate by daylight and the Adobe Camera Profile (.dcp) includes automatic adjustment for tungsten. You can also take two test shots, one under each lighting condition. Experimenting with the X-Rite software, I found that if you only use tungsten to create your profile, all the daylight ‘landscape’ colours (especially green foliage and the sky) really pop out. The greatest change is in the sky blue, which can be very disappointing if you use Adobe Standard as your camera profile for raw conversion.

A7RIIprofiles

The zip file you can download from above contains some .dcp profiles for the A7R II which I’ve produced (the names are more or less self-explanatory). They should be unzipped and placed in the CameraProfiles folder of Camera Raw in Application Support>Adobe. You can find the software, instructions for PC and Mac, at:

http://xritephoto.com/ph_product_overview.aspx?ID=1257&Action=Support&SoftwareID=986

Using the stock Lightroom/ACR A7RII camera profiles you’ll find that the Landscape flavour tends, if anything, to make sky blue lighter. My tungsten-generated profile has most of the overall ‘snap’ of Landscape plus very much richer sky tones.

The second tip with Autumn/Fall colours is, of course, to use a polariser. I’d say this makes the single greatest difference to all Autumn colours even if you can’t see it clearly when composing. The individual leaves reflect light, and the polariser cuts through this to reveal the full colour. Because it also darkens the sky, the often fairly dark colours of Autumn trees come to life better. You don’t need to study the trees, just set the polariser for the best results with the sky. The leaves are at such random angles all positions tend to work equally well. It can however be worth trying a few different rotated positions of the polariser especially if there is also water in the shot. What deepens the sky may also reduce the strength of reflections in water. Experiment!

– David Kilpatrick

If you are considering buying a Color Checker, Color Checker Passport on Amazon can benefit this site.

Accessories - 3rd party, DK's ramblings, Photo Techniques, Software Reviews

B&H has Hasselblad HV offer again

Posted on October 26, 2015 By David Kilpatrick

Hasselblad HV from B&H

I feel slightly sick… I’ve spent so much on buying and replacing successive Sony A7 series cameras and their lenses that I can’t just buy this outright, which I would love to do. I sold my A99 to get the A7R (subsequently replaced by A7II, and now by A7R II) and have regretted it in so many ways, the whole optical concept of the mirrorless system being built down to a price by using innovative construction… unlike the A99 lenses which are designed even to be usable on film, let alone on a DSLR body. And then there’s GPS. I really miss GPS-in-camera and it can take me many extra hours without its benefit, to caption a 500 to 1000 final edit from one or two weeks of travel shooting to the degree of detail my work requires. And dual memory card slots… and just the whole feel of the camera.

B&H have this today for only $3,495 with the 24-70mm f/2.8 Carl Zeiss lens, two batteries, and case.

And this is actually cheaper than an A99 and pretty much hand rebuilt by Hasselblad into a new body, with a hand-picked lens (you can be sure) all fitted in a Pelican-style hard case. It’s not vacant bling on a camera which does not deserve it – it’s a thorough upgrade to one of the best system cameras ever made, to make it even better.

They ship to the UK and rest of the world very reliably and honestly, if I had the spare cash, there would one on the way to me now. If you do buy from this link (anything from B&H, even if you navigate away from this offer) we do make some small commission to help support the site. Buy a hundred of ’em and I can maybe get mine!

– David Kilpatrick

Accessories - 3rd party, DK's ramblings, Offers, Sony Digital Cameras

Canon’s 250 megapixel sensor – the reality

Posted on September 7, 2015 By David Kilpatrick

Here’s this morning’s news:

United Kingdom, Republic of Ireland, 7 September 2015 – Canon Europe, a leader in imaging solutions, today announces that its parent company, Canon Inc., is developing an APS-H-size (approx. 29.2 x 20.2 mm) CMOS sensor incorporating approximately 250 million pixels (19,580 x 12,600 pixels), the world’s highest number of pixels for a CMOS sensor smaller than the size of a 35 mm full-frame sensor.

When installed in a camera, the newly developed sensor was able to capture images enabling the distinguishing of lettering on the side of an airplane flying at a distance of approximately 18 km from the shooting location

Well, this is great for the Guinness Book of Records, but you need to put it in context. Sony’s little HX60 – like many other 1/2.3 inch sensor compacts offering 20 megapixel resolution – records 705,000 pixels per square millimetre, 840 pixels per linear millimetre. And where Canon shows a 35mm f/1.4 lens on their prototype camera, the wee Sony goes to 129mm…

The new Canon sensor records about 450,000 pixels per square millimetre, or 670 pixels per linear millimetre. It’s actually just a little bit higher in resolution than the Sony one-inch sensor used in the Cyber-Shot DSC RX10 and RX100 series (414,000 pixels per square millimetre).

In theory, given the same lens and the ability to aim the camera, a pocket Sony Cyber-shot with backside illuminated CMOS 20.2 megapixel 1/2.3″ sensor can distinguish the lettering on that airplane (or if you’re in Britain, aircraft or aeroplane…) from 22.5 kilometres – and if the Sony G zoom on that HX60 is sharp enough, make that 82km. Unless of course Canon was actually testing with a 600mm f/4 attached. Saying what focal length of lens is used gets rather important when chucking around statistic-examples like this.

It is very easy to use facts and figures without reference or benchmarks for comparison.

This is no reason to rain on Canon’s parade, as the video achievement is a major one. Here’s the rest of their tech info, and the important bit is in the last paragraph – Big Brother is droning you… and across that city square, he’ll be able to recognise your eyes and put a bullet in your head with surgical precision.

With CMOS sensors, increases in pixel counts result in increased signal volume, which can cause such problems as signal delays and slight discrepancies in timing. The new Canon-developed CMOS sensor, however, despite its exceptionally high pixel count, achieves an ultra-high signal readout speed of 1.25 billion pixels per second, made possible through such advancements as circuit miniaturisation and enhanced signal-processing technology. Accordingly, the sensor enables the capture of ultra-high-pixel-count video at a speed of five frames per second. Additionally, despite the exceptionally high pixel count, Canon applied its sensor technologies cultivated over many years to realise an architecture adapted for miniaturised pixels that delivers high-sensitivity, low-noise imaging performance.

Video footage captured by the camera outfitted with the approximately 250-megapixel CMOS sensor achieved a level of resolution that was approximately 125 times that of Full HD (1,920 x 1,080 pixels) video and approximately 30 times that of 4K (3,840 x 2,160 pixels) video. The exceptionally high definition made possible by the sensor lets users crop and magnify video images without sacrificing image resolution and clarity.

Canon is considering the application of this technology in specialised surveillance and crime prevention tools, ultra-high-resolution measuring instruments and other industrial equipment, and the field of visual expression.

Actually, I see a better use. With the camera set up to cover an entire playing field, licenced from Sony the latest ‘Ball-AF’ ball recognition technology will keep focus on the ball and Minolta’s auto zoom framing patent will compose the crop. TV crews will no longer be needed and Rupert Murdoch will be able to install a full system in every stadium!

– David Kilpatrick

DK's ramblings, HD Video, News, Rumours

A7R II – universal solution, lens challenge

Posted on July 31, 2015 By David Kilpatrick

I’m under pressure to take endless pictures with the A7R II which arrived from WEX (Warehouse Express) on Thursday superbly packed. I am also finishing off f2 Freelance Photographer magazine to go to print over the weekend and have many hours of work to do – and despite having the camera, I won’t be removing some other article to rush a scoop into print.

It’s actually pointless to attempt to review any camera until you have used it for a few days at the minimum, with deliberate testing in mind, or several weeks with normal unplanned uses to confront it. Nothing tests a camera (and photographer) quite like real world pictures which are not hunted down as test subjects.

But of course I have gone out and taken a few shots during a brief period of sunshine which has returned after days of rain, and replicated a set-up I shot few weeks ago on the A7R, also to test a new type of combined LED and flash lighting head (Bowens IC12).

First of all, the £2695 UK price has to be compared against the A7S, A7II, or A7R with due accounting for its useful bonus – this camera body comes with the usual USB charger block and a battery, and then a further Sony external battery charger (remember them?) and a second battery. At Sony RRP this is £76 (battery) and unavailable (charger) but surprisingly expensive when it was. It’s definitely £100-worth of extras. There is also a screw in, not clip in, screw clamp grip twin USB/HDMI tethering lock device which could also securely grip mic and headphone leads.

Unboxing should hold no surprises now, but firing up the A7R II was a familiar experience as so many of setting customisations turned out to be factory preset to my own preferences. It still needed the image size and filetype setting up, AdobeRGB, Date Form folders and a few other things I used. And then, at last, the entry of copyright and byline information to be embedded into every image!

The A7R II takes the same GGS screen protector as the A7II and the RX100 series, not the same as the A7. First job was to stick a temporary protector on, and order one of these. All my cameras have GGS glass on them from day 1.

I used the CZ 16-35mm f/4 lens for a few outdoor shots and also for a test or two I will not release (too many tripods, cat trays and empty boxes in shot!) indoors at up to ISO 6400. Basically… you can use Auto 100 to 6400 and as long as you set Luminance NR to 25 from 400 up and increase it gradually to 50 at 6400 (LR/ACR) the images will be smooth and noise free as well as sharp. I also enter NR 10 even at 100, because it helps keep sky blues smooth.

You can view or download and examine, as you wish, a full size 120 megapixel from this from my pBase library – http://www.pbase.com/davidkilpatrick/image/160888201

You can view at ‘large’ which is really small… select ‘Original’ to see the original, of course. Or a tiny corner of it! If you think the 16-35mm is at the edge of its performance at f/9 in this shot, you are right. Anything wider and the corners and ends of the shot become visibly soft at 16mm. This test shows me that where f/9 was fine for 24 megapixels, I’m probably going to go for f/11 or even f/13 as a standard setting with the A7R II.

This is not a fair test even yet, but it says a few things. It’s taken on a late 1960s Asahi Pentax SMC Macro Takumar 50mm lens (I enter 75mm in the App data on the camera to ensure correct SSS) set to f/11, which is actually around f/14 at this working distance/extension. The camera is hand-held, with a Sony mini flashgun on top bounced to trigger two Bowens IC12 heads set to flash mode, after first doing the lighting and subject adjustments in LED Video mode. With these unique heads, the flash and the video modes are 100% identical in terms of how they cast shadows. The flash was set to 1/1 power at 1/1000th for a bare fresnel spot on the left, and 1/2 power at 1/1000th in a small Apollo softbox above and to the right. Focusing was done using the magnify function by moving the camera (or head and hands, in effect) over the subject.

Again, you can view a 100% 120 megapixel version of this: http://www.pbase.com/davidkilpatrick/image/160888192

Because this is very low power LED burst flash I need to set the ISO to 800, which would never be chosen for detail. NR is at Luminance 25 in Adobe Camera Raw (adjusting only that top slider). There is a full dynamic range with deep shadows and brightly caught surfaces. No adjustments have been made to the raw file in conversion for contrast, colour or exposure. I think it represents a very highly quality for ISO 800 and to see the level of microcontrast and detail, you need to examine the lowest contrast surfaces – the rounded bodies of the poppy heads. Throughout the image you will find areas of sharp focus and softer focus and it’s easy to tell the maximum sharpness zones. I also made an exposure at f/16 and this is significant softened by diffraction as you would expect. At f/8 this macro lens is likely to be sharper but with a file size like this, depth of field rules go out of the window. You need to use the same technique as would be employed when planning to make a 20 x 30″ print from a 35mm negative!

I will have more images soon enough. My initial impression is that the A7II really fixed the ergonomics of this camera type, the A7R II is identical; its functions cover all the functions found on every different A7 series body sufficiently well to make it one camera for all purposes.

– David Kilpatrick

The link to Warehouse Express is an affiliate link and purchases made through this link benefit the publisher

DK's ramblings, Equipment Reviews, Lenses - E mount, NEX System, Sony Digital Cameras

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