Tag: NEX

Sony – please add gain control to A77 sound

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When I had the Canon 60D and 600D cameras for the usual brief period of magazine review loan, one of the things I could have tested more thoroughly was the excellent implementation of sound input gain control. Since it worked, and worked really well, I had no need to. Any system with auto gain, in contrast, needs to be hauled out to big rock music gigs, into busy urban environments, stuck close to the speaker at public events and so on.

This is the screen from the Canon 600D, which is not an expensive camera. Being realistic, it and the 60D with their usefully articulated rear screens and 18 megapixel filesize are more than decent competition from some months ago for the forthcoming Alpha 77. At the moment it seems as if Sony has leapfrogged Canon, but when you actually look at the capabilities of the 60/600 for practical everyday work they remain competitive.

This audio control screen is one of the main reasons why. I read people, Sony users, on forums saying that lack of audio control is quite simply a deal-breaker. And I know why. I am an occasional musician and occasionally my wife will press the MOVIE button on an Alpha or NEX aimed at me. It’s a complete lottery as to whether than button is pressed during a quiet microsecond between notes, in dead silence, with a full PA sound level or whatever. When making a recording using one of these cameras, I will often ask the subject to speak or play a loud chord so that I can press MOVIE and get a low auto mic gain preset. The worst scenario is to press MOVIE in total silence because the auto gain will then try to boost the sound to pick up the birds outside the window and the floorboards creaking. And it will stay on that gain level for the entire take.

What this means in practice is that different takes have different gain levels. It would be even worse if the gain was dynamic during the take, varying with the level so that quiet moments suddenly get rewarded by an increase in hiss and irrelevant noises. There are plenty of camcorder devices which do that and they are unusable.

Auto gain – which applies to both the internal and external mic feeds for the Alpha 77, and also to the NEX models and earlier Alphas – is simply not acceptable as the only option in an age where users like to film concerts and gigs, live music, bands, parades, festivals and noisy events. Small condensor mics are very prone to clipping (distorting loud sounds) in what are known as ‘high sound pressure’ environments. That is, stuff which hurts your ears if you are a dog or under 30.

You can avoid high sound pressure clipping by using a top quality external plug-in mic, as you are never going to eliminate it with the internal mics. But you can only do so reliably if the camera offers manual control of audio level. Nikon’s cameras – even the expensive D3S – only offer three levels of sound gain and no ability to monitor or test the effect. Canon’s latest models have an exemplary interface with 22 visible dB (deciBel) levels and an even finer graded adjustment with a continuous Rec. Level scale. This applies to either the internal (mono, less satisfactory) mic or external stereo.

Although Canon’s official line is that the external mic socket is for mic only, not for line mixers, it is in fact compatible with any good quality line source you can control for volume level. The setup above is just an imaginary studio shot, not real recording, but shows two Behringer condensor mics routed through a Mackie Onyx Satellite twin mic preamp. I used the headphone output, with its controllable volume, to feed the Canon 600D. There did not appear to be any impedance issues but of course I started with the sound output at zero and used the Canon’s manual sound monitor to adjust it.

This is not advanced audio. This is basic home recording stuff. It’s well within the target owner bracket of the Alpha 77. Sony, if Canon can do this, so can you. Even just implementing three manually set High, Normal, Low fixed volume (gain) settings like Nikon would be a partial cure. Nikon’s solution is not total, and I sold my Nikon D5000 because of the terrible clipping which happened on any setting when trying to record amplified solo gigs. Even little 40W solo amps and a simple vocal and guitar would send the Nikon into a crackle of distorted mess. The Sony mics seems to be much better and do not clip so readily. They are stereo and I’d rate the sound quality from the internal mics on NEX and Alpha so far to be much better than Canon’s internal mono (the AVCHD recording standard helps too). But without proper control of sound, the Alpha 77 is hamstrung. It is indeed a deal-breaker for some buyers.

It can be fixed if the firmware allows access to that function.

The video area issue

While you are at it, fix the HD video framing screen marks on some earlier and current models – we hope it has been sorted in the new ones.

It’s simple enough. The Sony CMOS 14 megapixel sensor crops to 16:9 for panoramic shots (you can select yo shoot in this format if you want) and also crop to 16:9 for HD1080 video. But these two crops are not the same. The still 16:9 just trims a bit off the top and bottom of the image. The HD video format trims even more and also takes some off both ends, zooming in (in effect) on an overall sensor crop.

When you shoot normal 3:2 ratio 35mm shape shots, and press the MOVIE button, the resulting crop is so dramatic that you can cut someone’s head off in the movie having thought it was well within the frame for stills.

As you can see in the shot above, the NEX does display some faint corner crop marks to indicate the video frame. But no-one I have shown the camera to actually notices these crops at all, especially if other grids or marking are displayed. Setting the camera to 16:9 stills improves the position, the faint crop marks are now equally distant from all four corners but still unlikely to be clearly visible. It’s clear from forum comments and messages elsewhere that many owners have never spotted these marks at all. The frame corner markings are not easily seen against some subjects (example above, lower marks), and you need to know where they are in order to recognise them.

This issue is not present in the Alpha 55, where the movie is only cropped top and bottom, and slightly bolder frame crop marks are shown in the finder. Even so, two very clear lines which can be turned on or off would be a better indicator and help users frame video correctly before pressing the record button. If you set 16:9 still shooting on the A55, you can go into movie capture without any change to the image framing.

Note that the ends of the composition are cropped, as well as the top and bottom, when pressing MOVIE Record from the startpoint of a 3:2 format still shot on the NEX-3 and NEX-5 with their 14 megapixel sensors. When shooting HD video, note that frame corners for the 4:3 TV format (non-HD crop) are displayed.

In an ideal world, the HD movie would be the full 16:9 still size as on the A55, giving you the best use of wide-angle lenses. But that is probably not possible because of the way HD1080 is extracted from the overall sensor area of the NEX-3/5.

So, what we need is simple enough – a firmware option to display the HD Movie crop area far more distinctly on the EVF or rear LCD screen, whatever still shooting mode is being used. Ideally it should be a complete rectangle to show the actual area which will be active when you press MOVIE and record.

Like the audio control issue, this is a firmware fix and could also be applied to earlier models like the NEX-5. It’s probably a simpler fix than audio.

Of more concern is whether or not the 24 megapixel sensor behaves like the 14 megapixel (HD movies cropped all round) or like the 16 megapixel sensor (HD movies cropped top and bottom only). So far this has not been made clear by early testers or Sony sources. If it is a cropped HD, let’s hope that a very clear and obvious movie-frame preview can be added, or the MOVIE  button function changed so that one press activates the movie frame view, the next press starts record, the next press ends record. I would actually like to see a menu option where ending a recording does not exit movie mode, but leaves you able to press the movie button again to resume filming, and to end movie capture you need instead to press the shutter button (with or without a still capture).

– David Kilpatrick

6
Cameras (DSLR), DK's ramblings, HD Video, NEX System

Sony launches new range Alpha, NEX

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All the predicted new models from Sony were unveiled today – the Alpha 77, Alpha 65, NEX-7, NEX-5n and NEX-VG20.

Full details are up on Sony’s websites. The A77/65 cameras will be on sale from October 2011 onwards. View Sony press information online.

Those who grab the cameras will find the virtual 1.09X 100% field of view given by the OLED finders looks to be visually 10% bigger than the largest APS-C viewfinders made, an experience close to using a full frame DSLR with an optical prism (1.09X at 23mm eyepoint).

The Alpha 77 is launched with the new 16-50mm f/2.8 SSM (not SAM as rumoured!) lens, and the Alpha 65 shares the same new 2.3 megapixel OLED viewfinder technology. The burst speed of the 77 is revealed to be 12 frames per second (predictions have ranged from 10 to 15) with the A65 achieving 10. The new 19-point, 11-cross point AF module is fitted to the A77 only, the A65 has a simpler 15-point, 3-cross module.

Both have the 24.3 megapixel CMOS sensor also found in the new NEX-7 model, but only the A77 allows ISO 50 capture (all allow 16,000). The A77 has a fully articulated 3-way swivelling rear screen and the A65 a simpler 2-directional hinge. HD video is upgraded to full 50/60 frames 1080 progressive (no longer 25/30p or 1080i) with full manual control.

The A77 has a semipro spec 1/8,000th shutter speeded to 1/250th for X sync, and rated for 150,000 cycles (tests will probably showe it uses a hybrid electronic/mechanical timing method to reduce shutter wear, but you’ll have to look elsewhere to confirm that, as we are not at the launch event). It has the expected GPS onboard.

The A65 is regular plastic-skin construction (see strap lugs, above) but the A77 is moisture/dust sealed and so, according to the information, are ther 16-50mm and the new HVL-F43AM flash and VG-C77AM vertical grip. The 77 uses full size NP-FM500H batteries.

Paul Genge, Technical Field Sales Manager for Sony UK, will be online for a one-hour live video Q&A session on the company’s Facebook page from 7.30pm GMT – visit www.facebook.com/SonyUK to partticipate.

Key points: auto ISO remains 100-1600 not expanded in range on the A65, but can be user set for 100-12,800 on the A77, which also has separately set 50 and 16,000 options plus a multishot 25,600 (the A65 also has this high speed mode). The A77 offers JPEG Extra Fine, the A65 does not.

The viewfinder magnification (eyepiece/screen combination) is not stated but is superior to the A55 with a half-inch OLED.

On the A77 only, exposure bracketing has been expanded to 3 frames at 2EV and 3EV intervals, in addition to 3 or 5 frames at 1/3, 1/2, or 2/3 EV; the A65 offers only 1/3 or 2/3 for 3 frames. Peculiarly, neither offers 1 EV bracketing.

The A77 or A65 normal motordrive with full AF/AE is 8fps (slow speed 3fps), the higher speeds are obtained with Continuous Advance Priority (fixed settings during burst). Both can achieve 13 raws, 17 fine JPEGs before slowing.

It doesn’t look as if either accepts the HVL-F58AM as a wireless controller, but both have built-in wireless. The rumour of CF card compatibility in the A77 was false, the cameras have dual MemoryStick PRO Duo/SD drives.

The NEX-7

The professional NEX has the 24.3 megapixel sensor, ultra-fast response with startup and focus time improvements, the same OLED viewfinder as the A77/65 built in to the body, the same full HD 1080/50/25p movie (Europe, 60/30 US) and the same sensitivity range as the A77. Manual refocusing is possible during video, 10fps bursts can be shot, and a leather case turns the camera into a Leica-like for eye level use.

The NEX-7 has the slower 1/4,000th with 1/160th sync shutter found in the A65 so it’s not all professionally-biased. And it’s got a small buffer, allowing a mere 6 raw frames or 4 raw+JPEG in a burst, 10 JPEGs at Fine res (no Extra Fine option is offered).

All the pre-existing bells and whistles remain included, such as Sweep Pan, 3D Pan, etc.

Please note: the OLED viewfinder on all these cameras is a power hog. With the NEX, for example, the rated battery life is 350 images using the finder, 430 images using the rear screen. The bigger battery of the A77 can still only power 470 shots (because of GPS?) where the A65 manages a respectable 510. Switching to the rear screen for composition increases these figures to 530 and 560.

There is NO new updated standard lens for the NEX and the existing 18-55mm will fight it out with the increased 24 megapixels!

No GPS. No info on potential GPS attachment.

View press info online.

The NEX-5n

The 16.1 megapixel sensor, also found in the new video VG20 model, gets into the updated NEX-5 which has the same improvements in response time and focusing as the 7 (claimed doubling of readout speed from the CD-AF system).

Its USP appears to be the ability to simulate a preview of adjustments on the screen and adjust them using touch control. It has 10fps burst.

There is a new EVF attachment. View press release online.

A new battery powered LE-EA2 adaptor which allows autofocus with ALL Alpha lenses including Minolta body-drive types back to 1985 is also to be available, above. It includes a downward-facing SLT pellicle mirror (don’t know why they did not use this design in regular cameras) and a Phase Detect AF module so the NEX can behave exactly like an Alpha 55. Note the screw drive focus coupling.

Looks like a decent lens-line-up, but me, I prefer more pancakes for my breakfast, not just a stack on one…

Along with the two new NEX models, the Carl Zeiss Sonnar T* E 24mm f/1.8, the Sony E 50mm f/1.8 OSS and the telephoto zoom E 55-210mm f/4.5-6.3 OSS are to be launched. Availability of the new NEX gear should be quick – from September for the 5n, November for the 7.

The NEX-VG20

Aye well, it’s 16 megapixel video formfactor model as per VG10. See the info online. It claims the best ever video from such a camera – but they say the same about the ‘still’ models and they are probably right.

Sorry about a few of Sony’s uncropped image files with loads of white round them, they always do this and we will crop them later. But I’m due 100 miles away for a major Associateship and Fellowship annual judging to see some good photography and I have already made myself late with this! The article will be revised tonight. – David

 

 

 

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Cameras (DSLR), HD Video, Lenses - Alpha Mount, News, NEX System

Wait for the NEX SLT, folks…

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That is, the next slot in Sony’s programme of new product releases. Almost exactly five years after the Alpha 100 was launched to the world (also a Wednesday in the second week of June, back in 2006) Sony selected an auspicious date to announce the NEX-C3 and the Alpha A35. But these cameras, rather like the Alpha 100 in its day, are not what we are waiting for.

So – what’s new? 16.2 megapixels, 5.5fps native size, 7fps using a 1.4X crop (about 8 megapixels), no articulated rear screen, some candy functions in the menus for technophobes, and that accessible D-Range button can be made into a rapid custom control.

Everyone has suggested that a NEX-7 will be what they want. I rather think they will be get a NEX-C5, applying the same transforms to the 5 as the C3 (Compact 3) applies to the 3. That means it will have proper HD video, which the C3 lacks being restricted to MPEG4 HD720. Already, the rustle in the undergrowth is that the diminutive C3 misses the mark for this one single reason only. Sure, a 16.2 megapixel sensor (supposedly a new version, not just borrowed from the A55/580) is a welcome upgrade but NEX is a multipurpose system, and HD720 is back in 2006 not in 2011.

Nice mic slots, nice big CZ 16-80mm shown on the adaptor – but this, dear Sony, misses the point. We actually want the CZ 16-80mm to be updated to an SSM design so that it will focus on the NEX, and be better on the Alpha bodies, and so that its slightly manky mechanical design can be turned into something so smooth existing 16-80mm owners queue up to buy the replacement.

Good points – the shift in position of the stereo microphones to the front of the camera, the change to using a separate cover for the memory card instead of having to open the battery compartment. There’s a claim that along with a 20% better battery life, greater heat efficiency means the new cameras won’t cut out before 29 minutes is up when filming HD, even if you use SSS on the A35. Of course the NEX has no SSS but still managed to overheat, at least in the NEX-5, unless you were savvy enough to shift the rear screen away from contact with the camera back – in which case it generally keeps filming OK.

The operating times, startup, focusing speed are all reported to be much improved – by a factor of two or better. Only the image review time is worse due to the larger file size. Sony’s information makes it clear that very strong noise reduction is applied and this may affect raw files as well as JPEGs.

The new 30mm f/3.5 Macro SEL is theoretically interesting, but not so much for me personally as we have already got the 30mm f/2.8 SAM and the NEX adaptor. Eventually, you come to terms with the simple fact that a 2.5cm working distance for 1:1 shots prevents you shooting half the 1:1 shots which present themselves. You disturb the butterfly, hit bits of the plant, or cast the lens’s own shadow across the picture.

The firmware update (see end of story) to provide a ‘focus confirm’ overlay for manual focusing is actually of far more interest to the macro photographer – along with almost any other specification of macro lens except 30mm f/3.5. These lenses are fun, I love the SAM 30mm, but it’s not the answer.

The new HVL-F20S flashgun (based on the HVL-F20AM only in the design of its rotating reflector/diffuser) has changed a load since it was previewed with a mockup based on the Alpha model. Sony has decided to power it from the NEX battery, much as Minolta did with flashguns like the 316i in the early 1990s. That’s almost certainly because the NEX Smart Connector is simply not capable of holding the gun with a couple of AA cells in it, the weight would be too much.

In an ideal world, this new flashgun would do for the NEX system what its orginator does for the Alpha 900 and 850 – act as a remote wireless flash commander. But it does not, leaving NEX outside the main Alpha system still. If you want remote flash (or even just a more powerful flash mounted on a bracket beside your camera) the Nissin Di 866 MkII remains your best bet, programmable to fire correctly in synch with the NEX and to use its own auto-exposure cell for metering.

Alpha 35 – one step forward, two steps back

The Alpha 35 is similarly not earth-shattering news, especially if you own an Alpha 55 with GPS function and rather better overall performance in all respects except (perhaps) ultimate high ISO. The firmware updates for both NEX and SLT models, to be available from June 20th, add most of the benefits of the new models along with some of the child-friendly hipsta stuff. Again, wait until the next round. A higher end SLT camera is firmly promised, it’s been prototyped and mocked up and preproduced and somewhere as I write someone is actually using it.

Losing the articulated rear LCD (see above), not even replacing it with a tilting one, is a big sacrifice. The 7fps 1.4X digital tele conversion mode – with continuous AF tracking – is interesting and reminiscent of the sensor crop mode of Nikon’s first CMOS, the D2X, which was itself developed from a Sony sensor (the Cybershot DSC R-1). It shows that there are genetic traits in the Sony line that won’t be forgotten.

But is there really much point to this camera? Not much. Unlike the NEX-C3 which sees a significant body size reduction and style change, the A35 contrives to be a poor relation of either the A33 or the A55 because it lacks that excellent, reversible, twist and swivel rear screen.

Photoclubalpha has been a photographer’s thing not just a camera owner’s thing – a small difference, these days, but important. For photographers any reason to prefer the new models to what you’ve got may depend on small hidden differences which come to light as people use them. Certainly the provision of functions with changed names because no-one can be expected to understand what an aperture is, what a shutter speed is (and so on) is no reason to want the new models. Probably the reverse!

Video enthusiasts may like to note that the firmware update for the A55/33 allows all the overlaid text to be removed from the live view, which can be output from the HDMI port to surprisingly high quality. Recording devices to accept HDMI signals like this are just starting to appear at affordable prices. There’s some potential to experiment with the image provided for LV (Focus Check Live View more so than Quick AF LV) once fed into other systems free from overlays.

Version 04 firmware update for NEX-5, NEX-3
Available from June 20th, a firmware upgrade for existing NEX-5 and NEX-3 cameras adds the new ‘Picture Effect’ function as introduced on the new NEX‑C3. It also adds a Peaking function to assist with more precise manual focusing. Available free to registered users, latest Version 04 firmware update for NEX-5/NEX-3 can be downloaded from:
NEX-3
Windows:
http://support.sonyeurope.com/dime/downloads/downloads.aspx?f=FW_NEX3_V04_WIN&site=odw_en_GB
MAC OS:
http://support.sonyeurope.com/dime/downloads/downloads.aspx?f=FW_NEX3_V04_MAC&site=odw_en_GB
NEX-5
Windows:
http://support.sonyeurope.com/dime/downloads/downloads.aspx?f=FW_NEX5_V04_WIN&site=odw_en_GB
MAC OS:
http://support.sonyeurope.com/dime/downloads/downloads.aspx?f=FW_NEX5_V04_MAC&site=odw_en_GB

Editor’s note June 9th: please note that these URLs will not work – they are incorrectly transcribed by Sony. The URLs should be similar to those for the A33, A55 with a hyphen between sony-europe. Unfortunately, Sony has issued press releases and web pages with the incorrect URLs. We have changed the link so that it will work when the time comes.

Version 2.00 firmware update for α33, α55
Available from June 20th, a firmware upgrade for existing α33 and α55 cameras by Sony adds several creative and operational enhancements. Support for the ‘Picture Effect’ function featured on the new α35 is now offered. High-Speed Synch is supported during wireless operation with a compatible external flash (only α55). Ergonomics are further improved with revised menus and a new mode that lets users switch off shooting parameters overlaid on screen for clear, uncluttered composition. The camera’s Digital Level Gauge can also be displayed when shooting via the optional CLM-V55 external LCD monitor. Frequently used features can now be custom-assigned to the D-RANGE button for rapid, menu-free access.

Available free to registered users, from the 20th of June the latest GB English Version 2.00 firmware update for α33 and α55 can be downloaded from:
A33
Windows:
http://support.sony-europe.com/dime/downloads/downloads.aspx?f=FW_A33_V2_WIN&site=odw_en_GB
MAC OS:
http://support.sony-europe.com/dime/downloads/downloads.aspx?f=FW_A33_V2_MAC&site=odw_en_GB
A55
Windows:
http://support.sony-europe.com/dime/downloads/downloads.aspx?f=FW_A55_V2_WIN&site=odw_en_GB
MAC OS:
http://support.sony-europe.com/dime/downloads/downloads.aspx?f=FW_A55_V2_MAC&site=odw_en_GB

6
Cameras (DSLR), HD Video, News, NEX System

Replacing NEX LCD cover glass

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The Sony NEX-5 and NEX-3 both use the same plastic-framed, metal stamping mounted rear 3 inch 16:9 LCD display for composition, menus and image review. The original LCD has a multilayer structure claimed by Sony to reduce reflections, increase contrast and resist scratches. But in use, these rear screens have shown a tendency for the surface layer to delaminate, creating very ugly and distracting patchy reflections. It is easy to replace this surface film completely, with a new toughened glass surface. Continue reading »

12
Accessories - 3rd party, Equipment Reviews, NEX System

New HVL-F43AM Alpha flash with rotating design

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Sony has announced a new HVL-F43AM flashgun using the same type of rotating body design found in the top of the line HVL-F58AM, to replace the existing HVL-F42AM with its traditional bounce design. At the same time, some more Alpha system accessories have been rolled out.

HVL-F43AM ‘rotator’ flash

With a powerful output of GN43 (105mm ISO100 m), the compact yet versatile HVL-F43AM flash from Sony is optimised for superb results with all A-mount cameras.

As featured on the HVL-F58AM, the innovative Quick Shift Bounce system allows flash head position to be adjusted instantly when switching between horizontal and vertical compositions. This maintains consistent shadow positions regardless of camera orientation, allowing easy creation of natural-looking ‘bounce’ effects.

Smart flash functions open up even broader creative lightning possibilities. Wireless Ratio Control makes it easy to select light emission ratios for up to three separate flash units*. This allows quick creation of sophisticated multi-point lighting effects without the need for complex professional equipment.

Ideal for everyday shooting and more serious applications, its dust- and moisture-resistant design makes the HVL-F43AM ideal for demanding assignments, indoors or outside.

Flash power levels are switchable in 22 increments, from 1/1 through to 1/128 level in 1/3 steps. High output power is complemented by a quick 2.9 second (approx.) recycling time. Despite the flash’s extensive functions, operation is refreshingly clear and simple via the high-quality LCD screen and direction buttons.

Main specification for external flash HVL-F43AM
Guide Number – 43 (105mm, ISO100・m)
Flash Coverage – 24-105mm (15mm focal length covered with built-in wide panel)
Flash Control – Pre-flash control, manual flash control selectable, direct through-the-lens (TTL) flash metering
Bounce Flash – Click positions: up (30°/45°/60°/75°/90°/120°/150°); down (8°); right (30°/45°/60°/90°); left (30°/45°/60°/90°)
Recycling time (based on Sony measurement) – Approx. 2.9 seconds (with alkaline battery)
Battery performance (based on Sony measurement) – Approx. more than 200 flash cycles (with alkaline battery)
Power level switching – 22 levels: (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128), 1/3 steps
Wireless Ratio Control – Available to control by 3 groups when used with DSLR-A900/A850/A700
Other features
Auto WB Adjustment with Colour Temperature Info; Auto zoom control optimised for image sensor size; High-Speed Synchro; Modelling Lighting; Test Lighting; Multi Lighting. Supports camera’s Red-eye reduction feature. Built-in wide panel and bounce sheet. High quality LCD screen.
Compatible Shoe – Auto-lock Accessory Shoe
Included items – Mini-stand, Case
Dimensions (WxHxD) – Approx. 75 x 129 x 87 mm
Weight – Approx. 340g (without batteries)
Power source – Four AA-size cells of the same type, either alkaline or Ni-MH

VCT-55LH bracket
The VCT-55LH is a versatile mounting bracket that offers space for mounting additional ISO cold shoe accessories. A useful add-on for all A-mount cameras by Sony, the bracket can also be used with E-mount cameras such as the NEX-5, NEX-3 and the Handycam® NEX-VG10E HD camcorder.

Other accessories – like a shotgun microphone – can be securely mounted while the camera’s main shoe is occupied. The VCT-55LH is ideal for use with the CLM-V55 clip-on LCD monitor that offers a clear, high-resolution view of images during video and still shooting.

Soft Carrying Case LCS-AMB
The LCS-AMB carry case protects your A-mount camera and attached standard zoom lens while you’re travelling. A special suspended partition cradles the camera securely while allowing quick access. Finished in durable black polyester material, the case can be slung over a shoulder using the supplied strap, carried by the grab handle or attached to a belt. It also features handy pockets with space for up to two extra batteries, spare memory card and lens cap. (NB: Not compatible with DSLR-A900/A850).

Lens Hood ALC-SH111
Compatible with DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses, this round-profile hood shades from direct sunlight to prevent glare and lens flare.

See all accessories by Sony for the α camera system here: www.sony.co.uk/hub/dslr/accessories

The new HVL-F43AM external flash, VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood for α cameras by Sony are available from Spring 2011.

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Accessories - Minolta/Sony, Bags, cases and trivia, Cameras (DSLR), Flash units, News, NEX System

Zeiss, Cosina, Sigma and Tamron – NEX E-mount future

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Sony Corporation announced today it will disclose the basic specifications of its “E-mount” for interchangeable single lens cameras, without fee, to manufacturers of lenses and mount adaptors, starting April 1st, 2011. This was previously confirmed at the photokina press conference – now they have revealed that Carl Zeiss AG, Cosina, Sigma and Tamron will all be working on the E-mount system as independent lens makers.

“This opens the way for manufacturers of various lenses and mount adaptors to effectively develop products conforming to “E-mount” specifications”, say Sony.

The NEX E-mount revealed – ten contacts, three flanges and a mere 18mm of register distance…

“Users of the Sony’s NEX-3, NEX-5, NEX-VG10 and other E-mount compatible Sony digital imaging products to be launched in the future will now be able to use interchangeable lenses from both Sony and various other manufactures, while they will also be able to attach non-Sony lenses to their Sony digital imaging products via a mount adapter. Sony believes the growth of digital imaging products employing the “E-mount” will further increase the enjoyment of photography and video shooting among an even wider range of users.

“These basic specifications will be disclosed to manufactures of lenses and mount adaptors following a predefined process of approval and the signing a license agreement with Sony.

“As of today, the decision to disclose basic specifications of the E-mount has been endorsed by the following companies.”

(there follow these manufacturer statements)

Carl Zeiss AG
As an independent lens provider, Carl Zeiss welcomes the disclosure of the E-mount specifications by Sony. It helps manufacturer’s product development, benefits customers and therefore assists in establishing E-mount as a new, healthy and strong system on the market.

Cosina Co., Ltd.
Cosina Co., Ltd is excited by the potential of Sony’s E-mount which enables to a large-size image sensor to be incorporated in a compact, interchangeable lens camera. We have high expectations for the E-mount with its aims to create a new photography culture, and express its assent to Sony’s decision to provide information related to E-mount.

Sigma Corporation
Sigma Corporation fully supports Sony’s decision to disclose basic E-mount specifications. We believe this move will spur the further growth and diversification of camera system across the industry, provide photo enthusiasts with a wealth of choice and enrich in their photographic lifestyles.

Tamron Co., Ltd.
Tamron Co., Ltd endorses Sony’s decision to disclose basic E-mount specifications. We aim to offer our customers new solutions and unprecedented photo-shooting enjoyment through the manufacture and sale of E-mount lenses.

Editorial comment: at the photokina conference, the wording used seemed to imply that independent E-mount camera bodies were also a possibility. Of the makers above, three already have a history of making rangefinder or compact style large sensor bodies – Zeiss (to date, film only); Cosina (digital, in the form of the Epson Leica mount bodies with 6 megapixel Sony sensors) and Sigma (the DP-1 and 2 series have fixed lenses, but would be a natural candidate for conversion to E-mount form). If this was to be the case, in a future announcement, the E-mount would be established as an alternative to the Micro FourThirds system with a capacity to use sensors in formats between 2X and 1.5X with existing lenses, and possibly up to full frame in a secondary configuration with a different range of lenses (backwardly compatible with smaller sensors).

Is this the same Sony people rant about being protective and exploiting their customers? No. It is Sony listening to their customers. It’s Alpha becoming the 21st century equivalent of Leica.

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News, NEX System

A-mount autofocus upgrade for NEX-VG10E

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Available now for download, a free firmware upgrade adds autofocus support with 14 A-mount SAM and SSM lens models. AF compatibility of the NEX-VG10E with A-mount lenses requires the optional LA-EA1 Mount Adaptor, plus a separate firmware upgrade for the LA-EA1.

Man using NEX-VG10E with 18-200mm OSS lens and mic windshield, in Fuerteventura last week. Alphaspotted by Shirley Kilpatrick.
The upgrade lets videographers enjoy smooth, accurate AF operation with the family of A-mount optics that includes telephotos, primes and zooms by Sony and Carl Zeiss.
The latest firmware upgrade by Sony for registered Handycam® NEX-VG10E customers is available free of charge from http://support.sony-europe.com/dime/camcorders/hd/msc/msc.aspx?&m=NEX-VG10E.
Editor’s comment: AF is already offered by the NEX-3 and NEX-5 with the adaptor and the same group of SAM and SSM lenses. However, it could not really be described as ‘smooth, accurate’ – more like ‘just acceptable’. So perhaps the VG10E’s firmware fix is a better one and perhaps a further firmware release may arrive improving A-mount AF with the 3 and 5.

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Accessories - Minolta/Sony, HD Video, Lenses - Alpha Mount, NEX System

Sony to develop Super-35mm pro camcorder

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Sony Corporation announced today that it is developing a new type of E-mount interchangeable lens camcorder for professional use that is equipped with a Super-35mm equivalent large format CMOS sensor. This new addition to Sony’s professional “NXCAM” line will be available in the middle of 2011.

Editor’s Note: Super-35mm is not full frame 35mm. The 35mm movie format is what we call half-frame in still photography, or a little over 18 x 24mm – a size very close to the nominal 16 x 24mm of the DT/DX format used by Sony for APS-C sensors. Sony may decide to use a normal APS-C sensor for this, or to use a true 16:9 ratio for HD Video. However, Super-35mm normally means a squarer image format. No doubt internet forums will be full of folk claiming that Sony has gone full frame frame on the E-mount just like they said, etc etc – well, that is not the case. Super-35mm does not mean full frame (technically, double frame 35mm).
But this sensor may be significantly larger than existing APS-C, at a possible 25 x 18.5mm rather than 23.5 x 15.5mm or thereabouts (please note that one APS-C sensor is already quoted as being 16 x 24mm). Alpha A-mount lenses will of course cover this easily; E-mount NEX lenses may have been designed to do so from the start, though it may be pushing it to expect corner quality unless OS is disabled. By definition, all OS-type lenses must have a larger circle of coverage than the format they are designed for – often considerably larger. Turning off OS would enable any properly designed OS lens to cover a bigger sensor without any corner vignetting or loss of sharpness.
Remember where you read this first – 17.30hrs on November 17th! – DK
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HD Video, NEX System
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