Tag: full frame

Sony Alpha 99 full press release

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Sony introduces full-frame α99
 
A-mount flagship 35mm full-frame camera debuts Dual AF System and pro-style video features
  • Flagship camera with Translucent Mirror Technology and newly developed 24.3 effective megapixel full-frame Exmor CMOS sensor
  • World’s first full-frame camera1 with Dual AF System with 19 sensors (including 11 cross sensors) + 102 AF point system (focal plane) and a new AF range control function to set the distance range recognised by the AF system
  • Very wide sensitivity range ISO 50-25600 (at expanded sensitivity setting) with extremely low noise
  • Advanced Full HD 50p progressive movie shooting with non-stop Continuous AF and pro-style audio features
  • XGA OLED Tru-Finder with 100% frame coverage
  • Enthusiast-class handling with tough, light magnesium alloy body, weather seals and revised Quick Navi Pro interface

Ruggedly built to cope effortlessly with tough assignments, the α99 sets new standards of imaging performance, creative options, user-focused ergonomics and reliability to satisfy demanding enthusiasts.

Unsurpassed imaging performance and responses

Unique to the α99, a newly developed full-frame Exmor CMOS sensor with 24.3 effective megapixels is teamed with a highly advanced BIONZ image processing engine. This powerful sensor/processor combination guarantees unprecedented levels of imaging performance with still and video shooting.

Now advanced photographers can explore the creative possibilities of full-frame imaging plus the responsiveness of Translucent Mirror Technology.

The eagerly awaited successor to the flagship α900 DSLR, the new α99 is the first Translucent Mirror camera from Sony to feature a full-frame 35mm image sensor.

The full-frame sensor’s resolving power is enhanced by a newly developed separate multi-segment optical low-pass filter. Assisted by an all-new front-end LSI, the BIONZ engine processes massive amounts of image signal data from the Exmor CMOS Sensor at very high speeds. Together with a powerful new area-specific noise reduction (NR) algorithm, this achieves a 14-bit RAW output, rich gradation and low noise.

The evolved BIONZ processor boosts maximum sensitivity range (in expanded sensitivity mode) as wide as ISO 50-25600 – a range of 9 stops. Its unprecedented processing power also enables the α99 to shoot a burst of full-resolution images at up to 6 frames per second or 10 fps in Tele-zoom high speed shooting mode.

For the first time ever, the 19-point AF system with 11 cross sensors is complemented by a multi-point focal plane phase-detection AF sensor. With no less than 102 AF points, this additional AF sensor overlays the main image sensor. Harnessing the power of Translucent Mirror Technology, this unique Dual AF System permits ultra-fast, accurate autofocusing that maintains tracking focus even if the subject leaves the 19-point AF frame.

The α99 also debuts an advanced new AF-D continuous autofocus mode that’s supremely effective with moving subjects. The 19-point AF system provides reliable depth focusing information. It’s complemented by the 102-point multi-point focal plane phase-detection AF sensor that copes effortlessly with subjects traversing the focal plane.

From launch, new AF-D mode is supported by the SAL2470Z, SAL2875, SAL50F14, SAL300F28G2, SAL70400G and SAL500F4G lenses. More lenses will be supported via future firmware updates.

As a further focusing refinement, a new AF range control function allows users to set the distance range recognised by the AF system. This smart feature significantly aids operability if you’re focusing on distant sports action through a nearby wire mesh fence.

Crafted for videographers and movie-makers

The α99 inherits the world-leading ‘cinematic DNA’ from professional movie cameras and high-end camcorders by Sony. The unmatched resolving power and sensitivity of the full-frame sensor is complemented by advanced features optimised for professional video production.

The α99 supports the needs of professional movie-makers, offering full-frame Full HD 50p/25p (switchable to 60p/24p) progressive video recording to meet AVCHD Version 2.0 specifications. As introduced on the α77, Full-time Continuous AF Movie allows smooth, non-stop tracking of moving subjects. Other movie-oriented enhancements include real-time Full HD video output via HDMI, and uninterrupted ‘dual-card’ recording using both of the camera’s media slots.

For extra convenience during movie shooting, a silent new multi-controller is easily accessible via a dial on the front of the camera body. This allows smooth, silent adjustment of exposure compensation, ISO sensitivity and metering method, shutter speed, aperture and audio record levels during Full HD video capture. Shooting stamina is tripled by partnering the camera with the new VG-C99AM Vertical Grip that houses up to three batteries in total (see below). It’s even possible to exchange batteries ‘on the fly’ without interrupting movie recording.

Audio features have also been significantly enhanced to meet the exacting needs of serious videographers. An audio level display and adjustable audio record levels are joined by a headphone jack for accurate in-the-field monitoring. The optional XLR-K1M adaptor kit adds a high-quality mono shotgun mic and pro-standard XLR connections for dependable audio acquisition.

Uncompromised handing for serious photographers

The XGA OLED Tru-Finder gives a detail-packed view of your subject, offering 100% frame coverage with exceptional brightness, contrast, clarity and resolution.

You’ll enjoy a full 100% view on the Tru-Finder screen, even if you’re shooting with a DT lens that’s optimised for cameras with an APS-C sensor. Angle of view is converted automatically for image recording and display. This viewfinder is completely compatible with the APS-C format and displays scenes using the entire finder screen.

Complementing the Tru-Finder, there’s also a three-way tiltable 1229k-dot (VGA equivalent) XtraFine LCD with WhiteMagic™ technology to boost screen brightness in outdoor conditions.

Despite its uncompromising pro-class credentials, the α99 is the world’s lightest1 35mm full-frame interchangeable-lens digital camera. A weight of just 733g (without lens and battery) is made possible by Translucent Mirror Technology, while high-rigidity magnesium alloy panels contribute to an extremely tough yet light design.

Weather-resistant seals protect against dust and moisture, while controls and buttons are ruggedized for years of unflinching operation on virtually any assignment. The camera’s stamina and reliability is underlined by a redesigned shutter block that’s tested to approximately 200,000 release cycles.

Ergonomics have been refined for a smooth, seamless workflow that doesn’t interrupt your creative focus. Enhancements include a re-designed grip, while switches and button shapes are differentiated for intuitive fingertip operation without taking an eye off your composition. There’s also a new exposure mode dial lock that prevents accidental rotation.

Further evolved from the acclaimed α700 and α900, the newly-developed Quick Navi Pro interface gives quick, intuitive one-handed access to shooting parameters.

The camera can also be operated via remote PC connection. Supported functions include switching between still/movie shooting, plus automatic transfer of still images from camera to PC for enhanced studio workflow. *Editor’s note: betcha there’s no Mac app given Sony’s historic attitude to Apple!

Designed for professionals: new lens and accessories

The full-frame imaging capabilities of the α99 make an ideal complement for the new 300mm F2.8 G SSM II (SAL300F28G2) lens. Designed for demanding sports and wildlife applications, this bright super-telephoto offers a significantly uprated optical design and improved handling compared with its predecessor. The Sony-developed Nano AR Coating on optical surfaces assures flawless still images and HD video with reduced flare and ghosting, offering enhanced contrast with crisp black, while a new LSI drive circuit offers faster, more accurate autofocus with enhanced tracking AF. The dust- and moisture-resistant design makes the lens ideal for the toughest outdoor shooting assignments.

In addition, a new wide-aperture Carl Zeiss A-mount prime lens is now under development. Optimised for superb results with the camera’s 35mm full frame image sensor, the Planar T* 50mm F1.4 ZA SSM will be available in Spring 2013.

Offered exclusively as an option for the α99, the brand-new VG-C99AM vertical grip can house and manage three batteries in total (including the camera’s own on-board battery). Resistant to dust and moisture, the grip is ideal for lengthy shooting sessions in the studio or outdoors.

The range-leading HVL-F60M is a powerful flash (GN60, in metres at ISO 100) with built-in LED light that’s ideal for creative applications with stills or movie shooting. Smart functions include wireless multi-flash ratio control and Sony’s unique Quick Shift Bounce adjustment, while operation can be controlled quickly via the flash’s intuitive Quick Navi system. Resistant to dust and moisture, the HVL-F60M comes supplied with a bounce adaptor for flash, and a colour conversion filter for use with LED lighting. Ideal for the α99 and other cameras featuring the new Multi Interface Shoe, the HVL-F60M can also be used with Auto-lock Accessory Shoe cameras via the supplied ADP-AMA Shoe Adaptor.

Compatible with 49mm and 55mm diameter lenses, the HVL-RL1 Ring Light offers highly effective LED illumination of small subjects that’s ideal for macro shooting. Its high output level (approx. 700 lx/0.3m) is approximately four times brighter than the previous model. Brightness can be adjusted steplessly for precise control of creative lighting effects. Operation can also be switched between full-ring illumination for shadowless lighting and half-ring illumination to create shadow effects. The optional FA-MA1AM Macro Light Adaptor is required when using the Ring Light with SAL30M28 or SAL50F18 lenses. Compatible with the Multi Interface Shoe of the α99, the HVL-RL1 can also be used with cameras that have an Auto-lock Accessory Shoe via the supplied ADP-AMA Shoe Adaptor.

The new XLR-K1M XLR Adaptor Kit meets the demanding audio needs of professional movie production. It provides two pro-standard XLR terminals for connecting the α99 with professional microphones and mixing consoles. Operating flexibility is maximised by MIC/LINE input selection and separate adjustment of two channel levels. The adaptor kit comes supplied with the ECM-XM1 monaural shotgun microphone, but may also be used with a wide range of professional microphones. An optional bracket is required when using the XLR-K1M with the α99.

The RMT-DSLR2 Remote Commander allows wireless shutter release for still images and start/stop control of video shooting. As well as the α99, it’s also compatible with other α A-mount and E-mount cameras that include a remote control receiver. (Our highlighting in red – this may NOT mean that it can operate video on other cameras, just that it will operate their existing remote functions – dependent perhaps on firmware updates)

Styled to reduce carrying fatigue, the LCS-BP3 Backpack is designed to meet the stringent demands of professional photographers. Its generous capacity can hold the α99 camera body plus Vertical Grip and attached telephoto zoom lens, together with 3-4 spare lenses, accessories and a 15.5” laptop.

The ADP-MAA is a new shoe adaptor that allows Multi Interface Shoe2 cameras to be used with Auto-lock Accessory Shoe accessories. Conversely, the ADP-AMA she adaptor allows Auto-lock Accessory Shoe cameras to be used with Multi Interface Shoe accessories.

The PCK-LM14 Screen Protector Semi Hard Sheet safeguards the camera’s LCD screen against dust, scratches. It’s supplied with a separate protector sheet for the top display panel.

For further details of the full range of lenses and accessories for the α99, please visit www.sony.co.uk/hub/dslr/accessories

Sony’s new SDXC UHS-I memory card, SF-64UX(64GB) with ultra-high speed interface (UHS-I) compatibility, offers significantly higher transfer speeds up to 94MB/s (read) and 43MB/s (write). The SF-64UX is ideal for burst shooting with the α99, without missing the moment. It also enables rapid data rates when transferring content including large RAW images or video files to your PC.

The new cards have been subjected to rigorous Sony testing, in order to achieve high levels of reliability and data integrity. Additionally, the new cards are water-resistant, and are designed to perform under a wide range of operating temperatures. Users can also shoot with ease knowing their photos and videos are protected thanks to Sony’s File Rescue Software* which can help recover photos and videos that may have been accidentally deleted.

(*This software is available for Sony memory media products customers through free download at www.sony.net/memorycard)

The new α99 full-frame Translucent Mirror camera from Sony is available in the UK from early November 2012.

1 Among interchangeable-lens digital cameras with a full-frame image sensor (as of 12th September 2012). According to Sony internal survey.

2 The α99 is equipped with Sony’s newly-developed Multi Interface Shoe. This is capable of accommodating various accessories for photo and movie shooting such as flash and microphones, while drawing power from the camera. It’s also compatible with Sony accessories that use the standard ISO 518 accessory shoe. The Multi Interface Shoe was developed as a common shoe for imaging products by Sony – such as digital still cameras, digital video cameras and interchangeable lens cameras – promoting compatibility among accessories and offering an enhanced shooting experience for users.
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Cameras (DSLR), Lenses - Alpha Mount, News, Sony Digital Csmeras

NEX-VG900E full frame HD video – full info

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Sony introduces first 35mm full-frame Handycam®
 
NEX-VG900E interchangeable lens Full HD camcorder
 

  • 24.3 effective megapixel Exmor full-frame CMOS sensor
  • Compatible with full-frame A-mount lenses via supplied adaptor (also compatible with growing range of E-mount lenses)
  • Full HD 50p/25p/24p progressive movie recording
  • Extensive manual controls and ‘seesaw’ zoom lever
  • Quad Capsule Spatial Array Microphone for high-quality stereo and 5.1ch sound
  • High contrast XGA OLED Tru-Finder
  • 7.5 cm (3.0”) XtraFine touch panel LCD

Video makers can embrace the limitless expressive power of full-frame imaging with the new Handycam® NEX-VG900E E-mount interchangeable lens Full HD camcorder from Sony.

It’s joined by the Handycam® NEX-VG30E that builds on the success of the NEX-VG20E, sharing the same APS-C image sensor as its predecessor while adding several enhancements.

Handycam® NEX-VG900E

Offering supreme imaging quality and generous creative options, it’s the first Handycam® with a 35mm sensor to fully exploit the artistic potential of interchangeable lenses by Sony and Carl Zeiss.

With a resolution of 24.3 effective megapixels, the Sony-developed Exmor CMOS sensor inside the NEX-VG900E is around 40 times larger than the equivalent in ordinary consumer camcorders. It’s also more than twice the size of the APS-C sized sensor found in other interchangeable lens Handycam® models.

As well as permitting beautiful ‘bokeh’ (defocus) effects with the growing range of α lenses, its high sensitivity assures extremely clear, low-noise images. The large sensor size assures effortless reproduction of the finest tonal gradations, helping the most demanding cinematographer fully realise their creative vision.

The sensor also allows the NEX-VG900E to shoot full-frame 24.0 effective megapixel still photos, with all the quality you’d expect from a pro-class DSLR camera. Still images can be shot in RAW format for total post-processing freedom.

Beautiful, film-like results can be achieved by shooting video in 25p/24p progressive mode, with Cinema Tone Gamma™ and Cinema Tone Colour™ offering precise control over cinematic colour grading effects. AVCHD version 2.0 standard 50p recording is additionally supported, maximising the range of creative options for movie-makers to explore. Even greater flexibility is provided by a choice of new Picture Effect modes, enabling easy creation of artistic ‘in-camera’ treatments whether you’re shooting HD video or stills.

Video shooting is further enhanced by a ‘seesaw’ lever that allows smooth, polished electronic zoom control. The lever adjusts optical zoom when using compatible E-mount lenses that feature built-in zoom drive. The lever controls electronic zoom when using the camcorder with fixed focal lenses for impressive creative results.

As an extra refinement, the NEX-VG900E switches automatically from full-frame operation to APS-C mode when an E-mount or A-mount DT lens is attached. This allows users to get the most out of their collection of DT lenses that are optimised for cameras with a smaller APS-C image sensor.

The camcorder also comes supplied with the LA-EA3 adaptor that lets photographers use full-frame A-mount DSLR lenses at their designated focal length.

There’s a generous palette of control options and manual settings to satisfy the demanding video enthusiast. Aperture priority, shutter speed priority or manual exposure, are all selectable and white balance can be adjusted manually to suit the demands of any scene. Iris, shutter speed, and gain adjustments can be easily made via logically-positioned direct access keys. Accurate manual focusing is assisted by the camcorder’s pro-style display peaking function, complemented by a one-touch focus magnification button on the top of the grip.

Serious videographers will welcome the detail-packed XGA OLED Tru-Finder that offers high-contrast image monitoring with superbly natural colour rendition. Complementing the Tru-Finder, there’s an adjustable XtraFine touch-panel LCD monitor, with Sony’s unique technology for high contrast images with rich, deep blacks.

High-quality audio is a crucial part of the HD video experience with the NEX-VG900E. A unique Quad Capsule Spatial Array Microphone features four omnidirectional capsules that can be switched for stereo or 5.1ch surround recording. Recording levels are adjustable, with accurate visual confirmation provided by an audio level meter on the LCD display. There’s also a headphone jack for direct monitoring of sounds being recorded.

The new Multi Interface Shoe provides compatibility with accessories including the optional XLR-K1M adaptor kit that adds a high-quality mono shotgun mic and pro-standard XLR connections.

Handycam® NEX-VG30EH/VG30E

Sharing many of the pro-oriented enhancements of the NEX-VG900E, the Handycam® NEX-VG30E succeeds the acclaimed NEX-VG20E. With a resolution of 16.1 effective megapixels, the new camcorder’s Exmor™ APS HD CMOS sensor assures outstanding image quality with the range of interchangeable E-mount lenses.

Like the NEX-VG900E, it’s possible to shoot smooth, cinematic Full HD video footage at either 50p, 25p or 24p (progressive) frame rates, supported by a palette of artistic Picture Effect modes.

The NEX-VG30E also features the same XGA OLED Tru-Finder, comprehensive manual controls and ‘seesaw’ style zoom lever as the NEX-VG900E.

The NEX-VG30EH comes supplied as a kit with the new E PZ (Power Zoom) 18-200mm F3.5-6.3 OSS (Optical SteadyShot) lens that provides a versatile range from wide angle to telephoto. Offering smooth, quiet AF operation and Optical SteadyShot image stabilisation, the lens also features an additional ‘seesaw’ lever on the barrel for smooth, professional-style zoom control with adjustable speeds.

The Handycam® NEX-VG900E and NEX-VG30E camcorders from Sony are available in the UK from November and December respectively.
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HD Video, Lenses - Alpha Mount, News, NEX System

Cyber-shot DSC-RX1 full information

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Cyber-shot™ DSC-RX1 from Sony is world’s first1 compact camera with 35mm full-frame 24.3 effective megapixel sensor
 

  • Full-frame imaging from a compact camera that’s drastically smaller and lighter than any full-frame DSLR
  • Exmor™ CMOS sensor with approximately 24.3 effective megapixels for flawless, detail-packed photos and Full HD video
  • Carl Zeiss Sonnar T* 35mm F2 prime lens; with Macro mode for 20cm minimum focusing distance
  • Extremely wide sensitivity range from ISO 100 – 25600
  • Intuitive manual controls with aperture and focus rings
  • New Multi Interface Shoe compatible with optional flash, electronic viewfinder, optical viewfinder etc.

The extraordinary new Cyber-shot™ DSC-RX1 from Sony offers photo enthusiasts the chance to explore the creative possibilities of full-frame imaging with a compact digital camera that fits easily in the palm of your hand.

At just 482g (with battery and memory card), it packs a 35mm full-frame sensor and wide aperture F2 fixed-focal lens into a camera body that’s perfectly proportioned for travel and street photography as well as portraits and day-to-day shooting.

Far smaller and lighter than any full-frame DSLR, the Cyber-shot™ RX1 offers superb imaging quality that’s previously been the domain of high-end professional DSLR cameras. The unified lens/body design assures razor-sharp alignment of the sensor and optical components, bringing out the full potential of the lens to deliver unprecedented image quality, right to the very edges of each frame. Full manual control options are complemented by effortlessly intuitive operation, making it easy for enthusiasts to realise their creative vision without sacrificing portability or operating comfort.

In a world first1 for digital compact cameras, the Cyber-shot™ RX1 features a 35mm full-frame Exmor CMOS sensor. With a resolution of 24.3 effective megapixels, it’s over twice the area of the APS-C sensor inside much bulkier DSLR cameras. Capable of resolving the finest image details and subtle textures, the full-frame sensor assures absolute fidelity, rich colours and an impressively broad dynamic range.

The large sensor size also helps boost the camera’s sensitivity range to a generous ISO 100 – 25600. Sensitivity can be adjusted as low as ISO 50 in expanded mode2. Similarly, ISO settings as high as 102400 can be achieved using Multi Frame Noise Reduction, allowing the Cyber-shot™ RX1 to capture natural, low noise handheld images in near-dark conditions without needing flash.

Complementing the full-frame sensor is a fast, bright Carl Zeiss Sonnar T* lens with a fixed focal length of 35mm – a versatile choice for portraits, street photography and everyday shooting. Derived from the German word “Sonne” (“sun”), the Sonnar name reflects the ability of the lens to capture as much light as possible. This premium lens features newly designed optics including an Advanced Aspherical (AA) glass element which contributes to the camera’s extremely compact palm-sized dimensions without sacrificing optical performance.

The lens’s wide F2 maximum aperture and 9-bladed circular aperture enable beautiful ‘bokeh’ (defocus) effects to rival professional-class DSLR camera lenses. A Macro switching ring on the lens barrel instantly shortens minimum focusing distance to just 20cm (from image plane), making the Cyber-shot™ RX1 ideal for capturing small close-up subjects with exquisite detail.

Data from the Exmor CMOS sensor is handled by the evolved BIONZ engine that also powers full-resolution burst shooting at up to 5 frames per second. The BIONZ processor can output image data in 14-bit RAW format, giving advanced users immense freedom over developing, post-processing and managing RAW files to match their personal creative vision.

Despite the camera’s extraordinarily compact dimensions, photographers are offered a virtually limitless palette of options for creative expression. The Cyber-shot™ RX1 also offers a full range of manual control modes, just as you’d expect from a no-compromise DSLR camera.

Dedicated lens rings allow fingertip control of focus and aperture, while a DSLR-style Focus mode dial on the front of the camera allows easy switching between focus modes. Top-mounted exposure compensation and mode dials are ergonomically placed for easy operation, while custom function and AEL buttons fall comfortably to hand without interrupting your creative flow.

Accessed via the camera’s pro-style control dial and cross keys, Quick Navi mode allows fast, intuitive adjustment of camera settings which is ideal when using the camera with an optional viewfinder. In addition, the camera also features a memory recall (MR) mode that allows storage and instant recall of up to 3 sets of camera settings.

Other refinements include a MF Assist function that magnifies a portion of your image to simplify fine focus adjustments. There’s also a pro-style peaking function that highlights sharply-focused areas of the image on screen – adding the optional FDA-EV1MK electronic viewfinder kit allows even greater manual focusing precision.

Pixel Super Resolution Technology allows magnification of image size without sacrificing pixel count, maintaining far higher quality than achievable with conventional digital zoom. The camera also features a Smart Teleconverter function that crops a central portion of the image sensor, boosting effective magnification by 1.4x or 2x. Thanks to the full-frame sensor’s extremely high pixel count, even zoomed and cropped images maintain generous amounts of fine detail when blown up at large print sizes.

In addition to flawless stills, the Cyber-shot™ RX1 can capture high-quality, low-noise Full HD movie footage at a choice of 50p/60p or 25p/24p (progressive) frame rates. 24p recording enables the Cyber-shot RX1 to transform everyday scenes into film-like movies, making it easy to record beautifully atmospheric video in very low lighting. The camera also provides a full complement of PASM exposure modes to give photographers absolute creative flexibility during video shooting.

Artistically ambitious photographers can even fine-tune images with a choice of 13 Creative Styles, plus a wide range of inspiring ‘PC-free’ Picture Effect treatments. Furthermore, wider compositional possibilities are offered by Auto HDR and D-Range Optimiser, bracket shooting (Exposure, DRO or White Balance) and Auto HDR shooting modes. The camera even offers a Digital Level Gauge that indicates camera pitch and camera roll on the LCD screen for straight, even horizons and architectural shots.

Shooting possibilities for stills and video are broadened by the camera’s Multi Interface Shoe3 that accepts a growing range of accessories. Options include a powerful flash, electronic viewfinder, optical viewfinder, clip-on LCD monitor. Also available are a high-quality jacket case, lens hood and thumb grip for sure, comfortable handling.

Learn more about official accessories by Sony for the Cyber-shot™ RX1 here:

www.sony.co.uk/hub/cyber-shot-digital-cameras/accessories

The Cyber-shot™ RX1 also comes preinstalled with PlayMemories Home (Lite Edition) software, allowing easy image transfers to a PC for managing, editing and printing. Available for free download, a full version of PlayMemories Home adds movie editing and disc burning.

Also available as a free download, PlayMemories Studio allows game-like editing of photos and videos on PlayStation®3. Images can be shared easily via PlayMemories Online, the cloud-based sharing service from Sony that simplifies ‘any time, any place’ viewing on a wide range of connected devices.

The new Cyber-shot™ RX1 full-frame digital compact camera from Sony is available in Europe from December 2012.

1 Among compact digital still cameras. According to Sony research, as of September 12, 2012.

2 Recordable dynamic range is reduced at sensitivity levels below ISO100.

3 The Cyber-shot™ RX1 is equipped with Sony’s newly-developed Multi Interface Shoe. This is capable of accommodating various accessories for photo and movie shooting such as flash and microphones, while drawing power from the camera. It is also compatible with Sony accessories that use the standard ISO 518 accessory shoe. The Multi Interface Shoe was developed as a common shoe for imaging products by Sony – such as digital still cameras, digital video cameras and interchangeable lens cameras – promoting compatibility among accessories and offering an enhanced shooting experience for users.
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News, Sony Digital Csmeras

Sony aims for the sky – RX1?

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According to Sonyalpharumours, on Wednesday Sony will not only announce the Alpha 99 full frame SLT, but will reveal a compact bodied full frame fixed lens model with the same 24 megapixel sensor, called the RX1 and taking the concept of the RX100 zoom ‘one inch’ format model to a new height (photo – from Sonyalpharumours).

It’s a retro-appeal camera, with a mode dial, an over-ride dial, lens apertures set round the lens, a conventional hot shoe and a a manual focus ring which doubles as a fast means to switch between two AF ranges, 20-35cm and 35cm to infinity. It has no viewfinder, just a fixed positon rear screen, but apparently will have EVF and optical finder attachments.

Inside Sony, I think there’s been some serious divisional competition between the former Minolta Alpha group and the more powerfully connected Cyber-shot team. All the indicators are that sometime earlier this year the two divisions were put into a competing situation and there may ultimately be one winner, one loser. That’s how Sony culture is structured, according to every insider view I have heard since Sony acquired the Minolta camera brand in 2006. Groups, departments, teams and individuals are weighed against each other as well as against their industry rivals. The winners are rewarded with promotion and bigger budgets, the losers have to survive with diminished resources. It’s a deliberately competitive environment.

I believe the Cyber-shot team got hold of this sensor to compete head-on with the NEX team. This is part of Sony’s internal camera design Olympics and only Gold counts. The RX100 has been a sell-out success and given the division the authority to take Cyber-shot models to places where the DSC-R1 was once heading before Alpha and NEX arrived on the scene and shut that line of development down. They kept the RX100 under wraps to spring it on the world – including other Sony camera teams – as a blockbuster surprise. Now they have done the same with the RX1. Where next?

But, will a camera like this sell? Did it ever sell in the era of film – and why should anything be different today, give or take temporary fashions for the limitations of retro-style specifications?

Konica Hexar 35

In fact there were plenty of cameras with lens specifications around 35mm f/2 over the years, but very few survived after zoom lens compacts arrived. The era of Hi-Matics, Canonets, Yashica or Ricoh 35s saw apertures up to f/1.7 and focal lengths ranging from 35mm to 45mm. By the time 20 years of zoom lens SLRs and 10 years of zoom compacts had destroyed that market, it had moved in favour of boutique level pocktables like the Contax T2, retro Rollei 35, Minox 35 and their copies. The 35mm focal length won the day in the smaller bodies, but f/2.8 replaced faster apertures to keep size and weight down.

Minolta broke away with the titanium-bodied TC-1, one of the most expensive such cameras ever made. It had a 28mm f/3.5 G-series lens designed with a large rear element and a concave front surface, using new aspherical technology. Instead of a variable aperture, it used perfectly round laser cut Waterhouse stops which eliminated diffraction effects. This proved a valuable precursor to digital camera lenses later on, needing the same technology for ultra-short focal lengths and small sensors.

But it was left to Konica reintroduce the rangefinder-style body with a fixed 35mm f/2 lens, in the form of the Hexar 35, another very expensive and beautifully made design. The Hexar was the fin-de-siècle failure that bad design detail ensured it would be. No-one wanted a leaf shutter camera – even one with a near-silent slow winding mode for filmset and concert shooting – that was limited to 1/250th top shutter speed. Leaf shutters were perfect for synchro-sun flash, but plenty of focal plane shutters could do 1/250th. If the camera had been equipped with a 1/500th or 1/1000th top speed its hybrid electronic control system and Aperture Priority basis would still have missed the mark. Konica went on to show a full Hexar RF Leica M mount system at photokina 2002, finishing it off with some revolutionary additions at the same event in 2004, by which time Minolta and Konica had merged.

Within days of the close of photokina, the Hexar 35 and the RF system were discontinued. Whatever feedback they had received, the merged Konica Minolta dropped the Konica brand and with it the highest end Konica cameras. The fact was they had not sold, and had not sold profitably.

Which could be why the Cyber-shot division is aiming for the sky with the RX1, and pricing it at a rumoured $2799.

That’s over £2,000 in British money with VAT, for a fixed lens camera – even though it will shoot 5fps, 24 megapixels, and has a Zeiss Sonnar lens. It may also be the first time a Sonnar has covered this angle at f/2, previous incarnations have either been f/2.8 at 63° coverage or been longer relative focal lengths at f/2 (I stand to be corrected on this – the Contax G system used a 35mm f/2 Planar).

To that $2799 you can add a viewfinder and possibly other accessories. This is one camera for which I would expect to see both 0.7X wide angle and 1.5X tele lens converters (24.5mm and 52.5mm equivalents). Combined with intelligent cropping and resampling, the 24 megapixel full frame should also offer 1.4 or 1.5X and 2X digital tele, or perhaps a variable digital zoom, and a likely 3X/2X/1.4X range of video crops. Then again, Sony may be playing very clean and avoiding these options even if they would improve the experience of a fixed 35mm lens for many users.

35mm logic

I have to say that at this point, Sony has left me behind. It’s neat focal length in the Leica system because it’s been around in optically acceptable form and fast maximum apertures since the 1960s.

The classic lens sets for 35mm full frame started with the 35/50/85-90mm trio. This was because so many rangefinder cameras used interlens shutters and interchangeable front groups rather than entire lens in front of focal plane shutters. Anything shorter than 35mm was expensive and huge, anything longer than 90mm couldn’t be focused very reliably. So we ended up with launches like the Leica CL – just a 40mm and 90mm lens pair. But Leica had moved on long before in the M-series, starting with the M2 (35mm widest lens) alongside the M3 (50mm, anything wider needing ‘spectacles’ or a separate finder), then the M4-P which for the first time put 28mm on board. So the Minolta CLE Leica-mount kit appeared with 28/40/90mm as its kit, and fifteen years later the Contax G system came with 28/45/90 as an alternative to the more affordable 35/90. Konica offered their RF straight out with a 28/50/90mm set.

Fuji’s XPro-1 has been a success, and its launch lens set is 27/52.5/90mm. Now there’s a big gap from 18mm to 35mm (actual focal lengths) and they will fill it with a 35mm-equivalent. But would you want that on its own? I know someone who has a Leica M9 with just a 35mm f/2. That was a budget decision. Given enough money they would have the 24mm, 28mm, 50mm, 75mm and 90mm too!

Well-mannered and perfect though it has every chance of being, a 35mm f/2 on full frame is as uninspiring for me as the Fujfilm X100’s fixed 23mm f/2 on APS-C was. It’s a good focal length for small groups indoors, general house and garden shots, and street candids. It’s too short for conventional portraiture and too long for environmental editorial people pix. It’s easy to use and fairly boring.

Most of all, it is extremely easy to MAKE. The history of photo gear is one where lenses with a 60-65° angle of view have been good. Unlike early 28mms, 35mms were OK. The same angle of view on any compact digital, of any sensor size, is still good and many are f/2, even if they don’t offer the same lazy solution to defining the centre of interest in a shot.

I do not need to spend $2799 to get what the RX1 appears to offer. I didn’t even want it in the NEX-7 and have never felt tempted to buy the 24mm f/2.

I think, perhaps, that after a long time of ignoring photographers Sony finally listened. They may have listened to the wrong ones. The lens enthusiasts of dPreview represent a tiny minority. Those who will spend nearly $3k on a fixed lens compact – even with full frame – are even fewer.

Now, when do I get to apply for a job selling it into China? There is one place with new buying habits to match this camera perfectly!

– David Kilpatrick

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

Should NEX go full frame?

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Sonyalpharumours has posted a firm rumour that there will be a full-frame NEX. Anyone who understands the design of camera bodies, and the geometry of optical projection, has known from the start that this was possible given the design of the E-mount.

Those who have made uninformed comments (all over web forums!) to the effect that the rear register is ‘too short’ or would cause problems simply don’t have their brains switched on. There is no such thing as a camera body which is too thin or a mount to focal plane register which is too short.

Sony already designs lenses for NEX APS-C which incorporate what amounts to an extension tube to push the rear nodal point and exit pupil positions as far forward as needed for optimum illumination and matching of off-axis ray bundles to the sensor’s microlenses, filter array and cover glasses. That’s why the 30mm Macro is not so very different in size from putting a 30mm f/2.8 Alpha SAM macro on an adaptor (and that’s why we do exactly that here!).

What matters for full frame is a correlation between the clear lens throat diameter (the bayonet mount inside width), the sensor size, and the register.

The NEX system uses an 18mm register. That is the term of the distance between the front surface of the bayonet mount on the body (or rear surface of the mount on the lens) to the sensel layer surface of the sensor. There is a very small adjustment made in all digital cameras for the four physical layers which usually go between the sensor and the lens: the RGB filter layer (so thin it has no effect), the microlens layer (again, no effect), the low-pass or anti-aliasing filter and the infra-red cut and protective self-cleaning outermost glass. These filters may be combined into a single glass but in NEX they remain separate.

The sensor requires an image circle of just under 30mm allowing for assembly tolerances of 0.5mm overall in positioning and conformance of the lens axis. If in-body stabilisation is used, this diameter must be increased to 35mm at least; some Konica Minolta documentation suggests that a clear diameter closer to 40mm was needed for the original AS/SSS.

For full-frame, the required image circle is 44mm and the maximum diameter for in-body stabilisation could be between 49mm and 54mm depending on how Sony’s statements about sensor travel are understood (“5mm in any direction” could mean the total scope is 5mm, or that 5mm travel from axis might be possible). A good idea of the actual travel of an APS-C sensor with IBIS is given by the Pentax K-5, which has a manual sensor shift function allowing the user to move the sensor off-axis for a slight rising or cross front effect – but only by 1.5mm. This sounds more realistic though it would, of course, be a great feature if you could shift a sensor 2.5mm or an extreme 5mm – every lens with enough coverage would become a PC lens!

Now let’s compare these image circles with the lens throat diameter and its distance from the focal plane.

The Alpha system has a register of 44.5mm and a clear lens throat internal diameter around 42mm. Allowing for the orientation of the film plane and the position of control connections and the electronic contact array, the Alpha mount ends up providing an almost exact fit for the optical projection path if a 45mm diameter image circle is needed. Even if a 2000mm non-telephoto lens was attached, its image would cover the sensor without physical shadow vignetting caused by the mount.

It is important to remember that a 44.5mm register allows space for the reflex mirror, but also allows the image forming light to spread out from a rear element positioned over a wide range of possible distances, from just inside the camera body (by about 5mm before the mirror would hit it) to a good three or four centimetres in front of the mount. This allows a larger overall image circle and indeed most SLR lenses produce one greater than 50mm diameter. That’s how the Alpha 900/850 is able to offer in-body SSS, and also why certain lenses show vignetted corners occasionally when SSS is active because their image circle is only just sufficient to cover the sensor in its central, parked position.

This is a very accurate representation of 24 x 36mm sensor areas excluding any of the surrounding assembly, showing that the internals of the E-mount could be modified to fit FF. The white line shows the 24 x 36mm in the sensor plane, relative to the APS-C sensor. The red line shows the 24 x 36mm sensor as it relates to the mount, in the flange plane. The two rectangles are needed to show the size accounting for the perspective of the macro lens used to take this shot.

The NEX E-mount appears to have not much smaller a diameter, but this is deceptive. You need to look INSIDE the mount and study the position of the electronic contact pins. Once these are considered, the actual clear diameter is not 46mm at 18mm from the sensor (apparently bigger than the A-mount) it is 39mm at 12mm from the sensor. The contacts are located 5mm into the camera body and occupy a clear 3mm zone. The outermost contacts in the array are positioned  sufficiently far from the extreme corner of a theoretical 24 x 36mm sensor to allow a full frame design, assuming most of the other detail of the darkchamber design is changed to ensure the widest possible clear area.

Ideas about putting SSS and full frame into such a NEX are wishful thinking, unless the camera was to be huge and the possibility of the lens mount innards shadowing part of the image was accepted. There’s just enough room to fit a full frame sensor, and no more.

It is more likely that Sony would introduce a range of new full-frame lenses with OSS, or non-stabilised adaptors for Alpha lenses designed to allow an unrestricted light path. It is also possible that a stabilising optical adaptor could be made, but we’d put that as the least likely option and one which would probably cost over $1000. Sony would more likely to put an electronic pixel-shift IS into a full frame NEX, though at present this only works with video and imposes a slight crop (1.87X) on what would be the maximum 16:9 frame area.

As for suggestions that existing NEX lenses might cover full frame, that is also uninformed speculation. They won’t and don’t. The same applies to the LA-EA1 and LA-EA2 adpators – neither of these would allow Alpha lenses to be used on the NEX and cover full frame, though there are a few wide angle lenses which might just squeeze their image through the small internal baffles. A few of the third party adaptors for lenses such as Leica M might allow coverage, some would not, depending on exactly how the light baffles and inner mount components have been designed. For APS-C NEX, it pays to add baffles which prevent stray light and flare; for FF NEX, the same baffles might vignette the image.

The question of sensor design is another matter, but it can be assumed many owners would use a full frame NEX to host legacy full frame lenses from a wide range of systems. Most of these have a degree of telecentricity which removes corner colour shifts. New full frame NEX lenses would be designed to match the new sensor, so that would not be an issue. Old rangefinder lenses would have no more problems on full frame NEX than they do on, say, a Leica M9. Sure, there would be issues, and weak combinations alongside strong ones.

These would not over-ride the value of a full frame NEX body. Good photographers can use any format well. They do not demand ‘the full frame look’ or believe that any one format is going to change their work in some way to make it superior to others. There’s a place for every format and choice is a good thing. End of story.

– David Kilpatrick

If you like the analytical and practical approach taken to this subject you may enjoy our new international quarterly magazine, Cameracraft, which publishes its first issue in September, replacing the old Photoworld with a bigger, better publication covering all systems and approaches to image-making from film to the future. See our subscription page and sign up to receive it from the very first edition!

 

 

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DK's ramblings, NEX System

Crop or cram? Pixel density versus the big view…

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The Alpha 900 offers an unrivalled view through its 100% prism finder. The extra brightness, as well as the size and clarity, make most subjects far easier to photograph well. For some users, however, the full frame camera brings a disadvantage in terms of reach and resolution. You need lenses 50% longer (and thus twice the size, and four times the cost!) to fill the frame with the same distant sports and wildlife subjects. I don’t need to remind anyone how popular these two subjects are with amateurs, and sometimes, how important to professionals.
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Cameras (DSLR), DK's ramblings, Equipment Reviews, Lenses - Alpha Mount, Photo Techniques

Alpha 900 – finder and frames

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It’s not going to be long before we see the Alpha 900, and some cameras are known to be out there on trial in the hands of Sony staff and pre-release testers. I am not one, so rest assured, this is not a leak! What can you expect from the Alpha 900’s full-frame prism finder?

(Note: this post was written in early August – it is now 100% certain that the finder is 100%, and at 0.74X magnification will be – as had been hinted – the largest of all current DSLR finders in apparent visual terms except the EOS 1Ds Mk III which is 0.76X. Comparisons: EOS 5D 0.68X, Nikon D3 0.70X).

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Cameras (DSLR), DK's ramblings, Photo Techniques, Uncategorized

Nikon's new D700 FX camera

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The Nikon D700Nikon announced and released their long awaited D700 camera today in London, bringing the D3’s FX sensor to a wider market. dPhotoexpert was at the launch event. The D700 is closer to the D300 in physical design yet retains many of the D3’s advantages – in fact, it’s easier to say what it loses, other than weight and bulk, rather than what it offers.

Compared to Nikon’s flagship camera, the D700 offers one CF card slot, a 95% viewfinder coverage for the 12.1Mp sensor which has a new dust reduction system similar to the D300, and a slower frame-rate still twice the speed of a Canon EOS 5D – with the optional battery grip, it can manage 8 fps, and with standard EL3a batteries it delivers a respectable 5fps. The weather sealing is slightly improved over the D300, and the viewfinder/prism design is similar to the D3 but incorporates a pop-up flash. (Report – Richard Kilpatrick).

The D700 goes on sale in July with a UK RRP of £1999 inc VAT – more details will be added soon.

More details added by David Kilpatrick –

* Capture NX2 is required to process the raw files, and there is no update for either View NX or Capture NX (1.3.x) on any Nikon website to allow these to process D700 files – yet. Capture NX2 is provided as a 60-day free trial with the D700, but the CD does not update registered, purchased copies of NX. I’ve installed NX2 but the experience is not helpful when it comes to assessing the quality of the images – for this, I almost have to have ACR and to be able to study larger output sizes rapidly in the raw conversion window.

ACR and Lightroom are now updated to work with the D700, and the same goes for an increasing number of other raw conversion utilities.

We have an D700 here, we are using it now – the high eyepoint type viewfinder is one radical difference between this and the D300 body, and the experience of using the D700 is very different.

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News, Uncategorized
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