Tag: Sony

A seasonal montage for a Christmas card

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In early November, my local camera club held a non-studio table top photography evening, inviting members to bring three items along, set them up and see what photographs could be got. Lighting was either none (the room’s ceiling lights) or portable camera flash. A few backgrounds and reflectors were brought along too.

I took a candle in cut glass holder and a wooden base of polished cut teak, and some holly with berries from my garden, along with the new Tamron 90mm f/2.8 Di III VXD full frame macro lens for my Sony A7RV, and a tripod. For lighting, I brought two UYLED USB recharged photo-video light sticks with adjustable colour temperature and brightness.

This one of the frames taken. There was no black background, just a dark curtain about 2m away at the end of the room. For my set-up, the room lights were turned off, with the camera first focused and composed and locked to manual focus. ISO was set to 100, WB to Daylight, the aperture to f/16 for a long exposure moving the light sticks all round the subject to wrap the light. Aperture priority auto was used, with no EV correction for this example. A few auto exposures were made with +1 EV and the time ranged from 5s to 25s giving a choice of how much detail appeared in darker areas, and the colour of the candle flame. Moving the light sticks around gave a range of exposure times. The one I chose to work with later was the shortest exposure.

With so little light reaching the background, it’s effectively black. This could be used as a Christmas card with a message in the upper left black area, but a brighter exposure would be my choice for that. This rather more subdued shot was destined to be quickly combined with an old shot taken of my dining-room window in winter.

What may be seen straight off is the floating candle flame! That’s because where I wanted to cut the candle out in a Layer by making a quick mask using a Path, this would not work for the blended flame. The original window photo (Christmas 2006, Sony A100) is sharp, so was given brushed-in Lens Blur adjusted by eye to look right, before the flame was clone-brushed in using Lighten.

This is the Layer on top of that Background Layer, as masked. A fair amount of retouching for dust was also done, as the subject had been around for a year or so since the candle was last lit! For a ‘proper’ studio job, everything would have been scrupulously cleaned. A 61 megapixel sensor with a lens of the Tamron’s sharpness reveals even the smallest speck of dust or scratch on the glass. With the cutting out and masking, and tidying up, it took me about an hour before saving the Photoshop file as a .psd with its two Layers.

It doesn’t matter that the cut out round the flame looks rough, as the tones at its sharp edge are identical to the tones in the background image.

This is the result. It’s not entirely convincing as the glass did not have that garden view beyond it, and has a metallic look from the dark background. The candle was dark grey and I think if there had been a suitable red or green one attractively melted in the same way it would have been better. But it looks wintery!

These are the LED sticks I used to wave all round the subject, either side and ahead of the camera position. They don’t seem to be made any more, as there’s a new version with full RGB colour change, otherwise similar with a tripod thread for mounting at the handle end, and the remote control for colour and dimming. The LUXCEO Q508A, below, is £49.99 on Amazon.

I’ve found my tungsten-to-daylight adjustable pair from 2018 very reliable! If a roomful of readers click any affiliate link in this article and decide to buy, I may be able to afford an RGB upgrade…

Here’s a studio shot from when I bought the light sticks, created by carefully moving one in a circle round the subject and keeping the distance and time as steady as possible. At least two circuits were made with the light at different heights, level with the subject and higher up.

This is the new Tamron. I have a report to be published in Cameracraft due out on January 1st 2025, but in a month of using it I’ve also taken many more different images – more than the magazine can show. So I’ll be putting a page of photographs here with a link on the printed page. The lens costs under £600 in Sony FE/E mount or Nikon Z mount. Thanks for the loan of the review lens to Tamron UK – https://www.facebook.com/TamronUK

The Christmas card prints were made on 20-plus-year-old Lyson 300gsm double sided Smooth Fine Art paper – a box abandoned after I got an Epson P3800 pigment ink printer (which still runs thanks to Marrutt refill cartridges and inks). These original Lyson papers don’t handle pigment inks well. But they DO work with Epson Eco-Tank ET8550 dye-based inks, even if the black is pigment. In fact they work so well that ‘Printer Manages Colours’ and no colour management at all was needed. Set the printer to Matte paper, load the main tray with A4s halved to A5, use Velvet Fine Art as the paper setting and the cards were dry enough to crease on my Unibind Creaser directly off the output tray. The Lyson paper came from Marrutt too all those years ago for tests with their Quad Black inks. I never throw anything away!

– David Kilpatrick

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Accessories - 3rd party, Lenses - E mount, Photo Techniques, software, Studio, Studio Lighting, Techniques

AI cuts reflections in glasses

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This is a follow-up to our last post about PortraitPro. Using a self-portrait taken for the purpose with bad reflections in uncoated reading specs, I went through the options of the reflection removal process. Mid-May a 15% discount was authorised for code CC524 at www.anthropics.com which applies to all 50% discounted program downloads.

It was taken on the Sony A7IV with 85mm f/1.8, tripod, ISO 400, lens at to f/8 and control through iPhone 15 Pro Max using Sony Creators’ App remote viewing and control. The screen on the A7IV was vertical and facing me, so I could also look at the camera and see the reflections move as I changed my head angle. Setting this up showed me some problems with the A7IV articulated screen design I had not realised – it can only face the self-portrait subject when folded out at the left-hand end of the camera, which with a Arca-Swiss L-plate means hanging down… obscured by the tripod head! So no L-plate but standard Arca small plate, and camera upside down compared to normal hand holding.

This is the result using PortraitPro V24. Read on to learn more, and don’t forget if you decide to get this program use Cameracraft’s additional 10% discount code, CCV245.

PortraitPro has come a long way in a few years. At the top end, the Studio Max version is a £308 program which costs £154 with the 50% download discount that Anthropics have offered ever since the days of CDs in packaging. Since no-one now buys a CD, the real price is £154 (with 10% off for Cameracraft’s code, CV245 in the latest May/June issue).

You may not need Studio Max with its 48-bit file capability, workflow from raw to exported finals, multiple image batch processing intended to auto retouch complete portrait sessions, handling of wedding groups and granular control fine-tuning its effects. The basic V24 includes this function and costs £99 less 50% download only less our 10% – so £44.55.

It is now very fast indeed on Apple Silicon and integrates with Adobe’s photo programs. Under the hood it uses some of Adobe’s functions, without venturing into Generative Fill AI to change a digital capture beyond the scope of many competitions. It uses AI, but does not rely on on stolen images or ones licensed for almost nothing in bulk from the big picture libraries. Anthropics built their platform on measurements of the human face and body, research into what people like or dislike, and many years of coding. When it uses image-based AI it draws that from your photo and its bank of facial features modelling data.

The Reflections in Glasses problem

Recently we came across a question in a professional photo organisation Facebook group asking how it was possible to remove reflections from glasses. It’s very difficult, and when it happens in a set of pictures where the photographer is unable to prevent it, it can ruin groups and presentation shots. Many battery studio-location flash heads now have very low power modelling and it’s all too easy to light your subject and fail to spot that your octa-box is reflecting in specs.

PortraitPro’s specimen example might just be good luck, so I decided to test Version 24. My studio room has shutters when blackout is needed. Two pure white plain blinds 110 x 220cm cover the tall south facing windows to prevent furniture, fabrics, art and photographs fading or warping in direct heat. They make a wonderful giant dual light source in daytime sun even in midwinter but reflect in glasses when the camera angle is not just right.

Removing reflections from specs does not come under the Eye menu – it’s under the “Inpainting menu” along with Mouth & Teeth and Remove Stray Hairs.

This is a crop from the original file.

The Reduce Reflections in Glasses view above shows other retouching functions too (notice some reductions in skin blemishes and wrinkles) but has the reflections reduction set to Off. When you select Remove Reflections in Glasses, you see choices for Off (the start position) then Options 1 to 5. Each is a different AI generated restructuring of what should be visible through the reduced reflection. My eyes are old enough to be slightly difficult and it was interesting to see the five choices.

Option 1

Option 2 (note the left eye eyelid in all these and how it changes).

Option 3 which I felt got the eye almost right, though further retouching would be needed for a portrait. It would be good enough for a PR or informal shot.

Option 4 rather odd mismatched detail.

Option 5 eyelid droop…

Option 3 got the upper eyelid almost perfect (not quite but acceptable) and the Strength slider did allow the reflection to be eliminated to the degree shown above. However, it looked better with 85% effect or even the 50% of the earlier example, a faint reflection remaining without obscuring the eye.

The time taken on my Mac M2 Studio Max was next to nothing, I didn’t bother to time it as everything happens in real time include the export from the starting 33MP JPEG to a same size with all PortraitPro’s very subtle modification of the portrait. The defaults were just right but I increased fine wrinkle reduction out of vanity!

After saving a copy of processed result I also saved a .ppx file (the Project) which is a bit like an Adobe .XML sidecar file, and re-opens your original with all the edits at the point you saved this snapshot, reversible and adjustable as needed.

A tougher test

Here’s a worse example than anything you should end up with, so I set maximum strength on this. Option 4 worked best, and despite my eyes being almost entirely obscured by double reflections in my computer reading specs, it was not a bad fix at all. My ‘proper’ specs are coated of course and don’t reflect as badly.

I’m sure I could ask Adobe AI to do something the Generative Fill after masking the reflection area, but in the time it would take me to brush a mask in place, the entire PortraitPro glasses reflection removal would be done and dusted. Is it worth £139 (after our code CCV245 discount)? That depends on what your time is valued at and whether you ever encounter an error in shooting which leaves reflections ruining a shot.

– David Kilpatrick

To see Anthropics PortraitPro Studio Max, and the other versions which start from £49.95 (right now there’s a 15% CC524 discount, update May 23rd 2024) – all include this reflection removal function alongside stacks of other tools – go to https://www.anthropics.com/portraitpro/

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Photo Techniques, software, Software Reviews, Sony Digital Cameras, Technology, Tests / Reviews

Sony release A7C upgrades to II and R versions, new 16-35mm GM

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Sony has announced the launch of its two new Alpha 7C compact full frame cameras, and version II of the ƒ2.8 wide-angle G-master 16-35mm zoom. But the cameras do look good with the 50mm f/1.2 G Master – a bit of a classic photojournalist’s combo.

Alpha 7C II key features: 

  • Full-frame back-illuminated Exmor R® CMOS sensor similar to A7IV, with approximately 33.0 effective megapixels
  • ISO sensitivity from 100 to 51200 for both still images and movies (expanded ISO 50 to 204800 for still images)
  • Same AI-processing unit as the A7R V

Alpha 7C R key features

  • Full frame image sensor with approximately 61.0 effective megapixels similar to A7RIV, IVa and V
  • Same AI-processing unit as the A7R V

Sony FE 16-35mm F2.8 GM II key features: 

  • World’s smallest and lightest high-resolution f2.8 wide-angle zoom lens 
  • Fast and precise AF that brings out the best in advanced bodies 

The new products will be available to purchase from September 2023 at a variety of Sony’ authorised dealers throughout Europe, for an estimated retail price of: 

  • Alpha 7C R: £3,200 / €3,732
  • Alpha 7C II: £2,100 / €2,449
  • FE 16-35mm F2.8 GM II: £2,400/ €2,799

Our comments before handling and using these: first of all, they are welcome and affordable specifications though the full A7 body is better ergonomically and in controls. The A7CR has seven-stop Steady Shot Inside as does the II, but also Pixel Shift Multi Shooting, something unexpected in the smaller body. Having said this, these bodies have only a single SDXC UHS-II card slot and both feature the same small (0.70X with 50mm) 2.35 million pixel OLED EVFs – far lower resolution, less tolerant eyepoint and apparently smaller size compared to the mainstream A7IV/RIV+ models. If the eyepiece (ocular) glass design is similar to the A7C, it’s also likely to be zonally unsharp and demand very accurate centering of the eye.

Sony’s current emphasis on video and vlogging, fortunately not emphasised in the press info which major instead on the travel friendly aspect of these bodies for still shooting, does mean they have microphone and headphone jack sockets as well as the audio functions found in the Multi Interface shoe.

As for the 16-35mm GM II, it may be the claimed smallest and lightest but taking 82mm filters makes it about as kit-friendly as any larger lens if you use a filter system, and even screw-in filters like a convenient polariser end up taking loads of space in typical 82mm size packaging or keepers. Perhaps a 16-35mm f/4 G or even GM series II might be on the way. Maybe the qualification of the claim with the words ‘high resolution’ is s clue – there may be smaller and lighter competitors which Sony believes they can prove to be lower in resolution, and they must have tested every single one of them to make this claim! The A7C II body is offered as a kit with the 28-60mm collapsible lens, slow but useful for travel – the A7CR does not come as a kit, perhaps an indicator of Sony’s own view about using this budget lens on 61 megapixels.

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Lenses - E mount, News, Sony Digital Cameras

Sony 20-70mm f/4 G – a new type of lens

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The 20-70mm f4 Sony G looks interesting though the UK price of £1400 is a bit over the top (under $1100 in the USA) – maybe allowing for further losses pounds vs dollar. It’s over twice the price of the Panasonic 20-60mm f/3.5-5.6 – maybe not comparable but the Lumix lens is regularly discounted by 25% or more, and partly due to being sold as a kit lens with full frame body some white box new lenses have been at 40-50% discount. It’s unlikely the Sony will be bundled as a kit lens. Even at the UK price, it looks attractive for anyone like me who might consider working with just a two-kens kit, this and the 70-300mm G. At the moment I use 17-28mm and 28-75mm f/2.8 Tamron lenses to cover the practical range this one lens almost manages, though there’s a fair gap between 17mm and 20mm.



In the specification there’s one oddity – the stated minimum focus distance and magnifications. Most wide to portrait zooms focus closer at the wide angle end. Apparently this one does the reverse, and the 0.39X close-up image scale is based on 25cm at 70mm (it’s a mystery why the specs bother to say AF and MF distances, when there’s no difference – 25cm either way!). Here’s from the spec:

MINIMUM FOCUS DISTANCEWide: 0.30 m / Tele: 0.25 m (AF), 0.25 m (MF) (Wide: 0.99 ft / Tele: 0.82 ft (AF), 0.82 ft (MF))MAXIMUM MAGNIFICATION RATIO (X)0.39

Well, 30cm at 20mm focal length is just OK; my yardstick for min focus is that I like to see it just less than 10X focal length, so for an 85mm lens I want to get 0.85m if possible, like having anything closer and don’t like ones which only manage 1m. With a 20mm focal length 20cm close focus is desirable. The Tamron 17-28mm as an example manages 19cm at 17mm, it’s just OK, but can’t shoot any real close-ups as the largest c/u scale in 1:5.2 or 0.19X. The Sony 20-70mm manages 1:2.56, getting on for half life size, by focusing closer at 70mm than it does at 20mm.

This is such an unusual overall mix of zoom/focus behaviours that I really do want to try this lens and understand how.

The other unusual statement about the lens is that the zoom and focus design minimises breathing (desirable) and axial shift – well, I’ve not seen a zoom with axial shift, image wandering off centre when you zoom or focus, since the days of pioneering 1970s consumer glassware. Especially not a non-stabilised zoom, like this. Stabilisation has been the main reason any lens shifts off axis.

The lens weighs 488g which is great, takes 72mm filters which is not great but matches some other Sony lenses, and the size as you can see from the images here is convenient though not a single PR image sent to me shows it with a lens hood which could have some impact on bag/pocket ability. One thing’s for sure, if the dual linear motor focusing is as good as claimed, f/4 will not be a big loss over f/2.8 and carrying one lens in place of two will make this a winner for travel, landscape and urban shooting. It’s due to be in UK stores from March 3rd.

– David Kilpatrick

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Lenses - E mount, News, NEX System

Sony E 70-350mm f/4.5-6.3 G OSS

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The neatest solution for sharp long tele shots on Sony A6000 series APS-C

  • Excellent full aperture performance from 70 to 350mm
  • OSS stabilisation works with every Sony Alpha E-mount APS-C body
  • Perfect for movies with A6000, A6300, A6400 without sensor stabilisation
  • Compatible with all NEX and Alpha E-mount models from 2010 on
  • Enhanced OSS with A6500, A6600
  • Compact and light weight
  • G series optical quality, Custom Button on lens, AF/MF and OSS switches on lens
  • Lens lock at 70mm to prevent zoom creep
  • Single extending zoom barrel
  • 67mm non-rotating filter thread
  • Bayonet lens hood included
  • Moisture and dirt resistant multicoating
  • Coverage allows use on full frame bodies with larger than APS-C crop

This lens was purchased in October 2019 and the review is based on nine months of use on Sony A6500 (ILCE-6500), A6300 (ILCE-6300), A6000 (ILCE-6000) and A7R MkIII (ILCE-7M3). Review by David Kilpatrick.

A solution for practical photography out and about – worldwide

I had been using the Sony FE 70-300mm f/4.5-5.6 G OSS full frame tele zoom on my A7RIII for over a year. This lens is very sharp wide open and benefits from the best close focusing in its class at 90cm meaning a scale of 0.31X at 300mm. It weighs 854g and has a double tube zoom extension. As you can see above this lens (left) is only a few mm longer physically than the APS-C 70-350mm (right) but the extra barrel heft, 72mm filters and much larger lens hood meant it needed a bigger kit bag, and proved harder to change quickly when swapping lenses.

The 70-350mm for the smaller image sensor proved if anything even sharper, right to 350mm. Lenses like this often prove soft at maximum focal length and maximum aperture. The 70-300mm at f/5.6 is a third of a stop faster, but to get it as crisp as its newer little brother, it needs to be set f/6.3 – a match in speed. You can see above how much bigger the full frame lens becomes at 300mm. The 70-350mm only weighs 625g but its very fast and silent XD Linear Motor AF can only get as close as 1.5m at 350mm, 1.1m at 70mm. The maximum subject scale is 0.25X.

I knew the 70-350mm would be my choice for travel and daily use with my A6500, but I was going to miss that closer focus. The full frame lens has an AF range limiter, full range or 3m to infinity but oddly no 0.9m to 3m choice. The APS-C lens has no limiter but I have never missed it and rarely used it on the 70-300mm.

My big question was – can I do without the 70-300mm and use the 70-350mm on my full frame bodies?

Cropping power, sensor resolution and coverage

Tests quickly proved that distortion and vignetting kick in fast beyond the crop format field of view, but sharpness remains good and depending on focal and aperture you get much more than APS-C. You can almost get a full frame at close range.

This mushroom (about hand sized) is at 350mm and f/11 on the A7RIII, and you can see the mechanical vignetting cut-off left and right. It’s caused by the lens rear baffle not the optical design – the lens could be modified to remove this, but it’s not advised.

At 70mm on a very demanding subject the distortion without lens profile, on full frame, is extreme (left) but with Lens Profile correction applied at 200% plus -8 Manual, and similar vignetting adjustment, Adobe Camera Raw or Lightroom can almost handle it. On a neutral subject like a portrait with a foliage background the coverage would be fine. More to the point, manual crops much larger than the 16 x 24mm you could expect from an APS-C lens are fully usable.

But why use a full frame body? Unless you own a Sony A7RIV (61 megapixels) you won’t actually get a more detailed distant animal or bird. The modest 24 megapixels of all the current APS-C bodies beats the 18 megapixel crop format of the A7RII/III. Canon users have much the same position, their smaller APS-C (1.6X not 1.5X) and 28 megapixel resolution matches 60 megapixels on 24 x 36mm. The advantage of full frame is that you may catch more of your subject, your framing and tracking active subjects enjoy more leeway. If your subject stays in position the smaller sensor can capture finer detail – and this is where the 70-350mm excels.

This is a good example. At 198mm on the 70-350mm on A6500, it’s the same composition I would have had with the A7RIII and 70-300mm at 300mm and that would have produced a larger more detailed image. There’s only a real benefit to the 70-350mm on APS-C when you’re near the 350mm end. Did I keep both? No – I already knew I wanted a much faster but still compact zoom for the full frame kit, and the Tamron 70-180mm f/2.8 was coming in six months’ time. So I sold the 70-300mm and decided to use the A6500 with 70-350mm for all longer tele shooting.

From the start it proved a very capable combination.

Fast lenses are not as important now

Mirrorless cameras with phase detection autofocus, good high iSO performance and better resolution electronic viewfinders have made wide aperture lenses less essential for low light. The linear motor focus of the 70-350mm rarely misses a shot regardless of conditions. One of my first shoots was a music festival, where this lens allowed me to work from the very back of the hall and never get in the way of the audience.

Processed from a raw file at ISO 6400, this shot of Steve Byrne performing was taken at 350mm wide open at f/6.3. The same on full frame would need a 525mm lens at f/8 and ISO 8000 (a direction Canon is taking with their new 800mm f/11 IS STM for the R mount – the working aperture no longer matters much if the viewfinder stays bright, AF is accurate and there’s not much noise at high ISO settings).

The long reach in a concert hall is one side of using a 350mm on APS-C. Here’s another – the lens may only achieve a quarter life size and need you to be 1.5m away at 350mm, but 0.25X on a 1.5X factor sensor is 0.375X in ‘old macro’ terms. Not only that, the ISO 2500 used here is about the same in grain or noise terms as an ISO 400 film and the stabilisation of this lens on the A6500 is as good as you get. A 1/125s shutter speed did not prevent tiny hairs on the caterpillar’s head being sharply resolved.

This lens is far better than the 18-200, 18-300, 18-400 or 16-300mm I’ve used on a variety of DSLRs for long APS-C reach. It’s free from the residual aberration which demands you ‘stop down one’ to clean up the long end image. Combined with Sony’s PDAF it handles a concert or low indoor light as well as an ƒ2.8-4 on a conventional DSLR.

Compare this with a 100-400mm for the same format

For the sake of 50mm at the long end – a difference of only 12.5% in image scale – the excellent Fujifilm Fujinon XF 100-400mm f/4.5-5.6 R LM also gives a half to a third of a stop more light transmission in its longer range. But look at the cost! It is twice the price and weight, and you can see the size. Gains – a near-apochromatic performance, matched 1.4X and 2X converters available (not an option for the Sony and never likely to be). Losses – only 0.19X close-up scale. It’s remarkable how much difference there is in the physical aspect of these two lenses. I have used both and in practice they are equally sharp on 24 megapixels.

The Sony 100-400mm and Sigma 100-400mm are both full frame lenses and much larger. The 70-350mm is unique as far I can tell, no-one else has a lens like it. It also answers one of the major criticisms of the original E-mount APS-C system, the lack of any lens longer than 210mm and that only in a 55-210mm design best described as consumer grade. I’ve actually found it pretty good for the money – but it’s not much money!

Sony 70-350mm G OSS image gallery

Rather than write much more, I’ll leave you with this gallery. I have reduced the file size but where you see an enlarged section clip along with the full frame – well, you can judge for yourself.

Sony 70-350mm G OSS verdict

If you own any of the APS-C Sony bodies, from the NEX-3 and 5 of 2010 onwards, this lens will not disappoint you. The effective OSS image stabilisation means that even if you prefer to compose and shot using the rear screen and hold the camera away from your body you’ll get sharp stills and steady movies. It’s a big step up from the 55-210mm and much more affordable than, say, a 70-200mm f/4 G with 1.4X or 2X converter.

You may have to control colour fringes in some strong backlight situations with blur when working from raw files, as it’s not an apochromat just a regular very good tele zoom. However the resolution reflects advances in design over the last decade. It’s also a very handsome looking black lens with its silver G logo and designation contrasting with white markings. It feels robust and the zoom and manual focus (when needed) are smooth. The metal bayonet is a tight precise fit on my A6500 and A7RIII, a little less so on my A6000 with its older four-screw type body mount.

I can carry this lens all day without even realising it’s there, round neck or shoulder – and there are not many lenses covering this range you would want to hang on a strap round your neck.

You can support my reviews if you check these links for availability and price:
Amazon UK – didn’t have any stock at all at the time of writing – https://amzn.to/30ZC4Ck
Park Cameras UK – https://tidd.ly/3jLHbP7
WEX UK – https://tidd.ly/3hKRhhA
B&H USA and Worldwide – https://tinyurl.com/y6cguvpo

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Lenses - E mount, Tests / Reviews

Larmor 5th Generation glass screen protector with Sunshade

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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.

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

Lenses For Hire (UK) adds Sony FE range

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Sony reaches a Hire level 

Sony full-frame mirrorless system owners keen to find out how good the fast Sony GM lenses are can now hire from Lenses For Hire for as little as £69. The hire service has been evaluating the demand and quality of the Sony offering, and recently decided to add the system alongside their regular Canon and Nikon professional stock.

A three-day shoot with the 24-70mm f/2.8 FE GM OSS, delivered on a Thursday and picked up on the Monday by courier, would cost under £100 including insurance and carriage both ways and only £69 direct from the Maidenhead hire specialists. 

System lenses stocked include the new 12-24mm f/4 G, 16-35mm f/2.8 GM, 24-105mm G OSS, 90mm f/21.8 OSS macro, 70-20mm f/2.8 GM OSS, new GM 100-400mm f/4.5-5.6 OSS and the versatile travel-friendly 24-240mm. 

Tele converters, the latest Metabones Mark V Canon EF adaptor and accessories are offered. Sony A7II, A7RIII, A7SII and A9 bodies can be hired from £94. 

With GM lenses costing from £2,269 upwards an affordable hire period helps you make the right buying decision, saves you money and gives you the best choice for your work. 

Contact: 

Lenses For Hire Ltd 

www.lensesforhire.co.uk 

[email protected] 

+44(0)1628 639941 – or UK only 0800 61 272 61 

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Lenses - E mount, News, NEX System

Sony is ready to launch a GPS module

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Sony can make GPS work. They pioneered it in the A55, refined it in the A77, A65 and A99 – and abandoned it without a word in all later A-mount cameras and the entire E-mount series. But they prepped the Multi Function Accessory Shoe to be used with a GPS module – and I believe it will be on the market soon.

They have put the rest of the architecture into the new cameras to make a GPS hardware module for the accessory shoe possible, practical, easy to implement and maybe even affordable (especially if third party makers come to the party).

This is a simulation using a retouched Elinchrom Skyport trigger – about the smallest size a GPS could be expected to be. For accuracy, something twice this scale mounted on the hotshoe would be a powerful four-aerial 2xAA cell or lith-ion powered GPS receiver.

Sony have added the I/O part of the data flow which puts geo data into the metadata fields of image files to the processor of the A9, A6500, RX10 MkIV (I think) and now the A7RIII – and in all three, they’ve put a 2.4GHz Bluetooth I/O process which can communicate with smartphones running their own GPS tracking app and grab the data every time you press the shutter. It needs no additional app on the camera.

This is significantly different from the Olympus solution (above), which I have also been testing alongside Sony’s. I have not found the A6500 pairing with iPhone all that reliable or persistent between sessions out of range or turned off. I have not enjoyed the Olympus method either – you synchronise the phone GPS app timecode and the camera time setting once using WiFi and after this you can turn WiFi off on the camera, leave the tracking app running on the phone, and shoot. At the end of the shoot, you connect again to the camera and initiate a transfer of the GPS track to the camera, which then parses it and embeds the co-ordinates closest to the timing of each exposure into the image files.

Sorry if this sounds a bit complex but it’s not. Essentially, Sony maintains a live link to the phone while you are shooting and acquires the GPS data to embed every time you make an exposure. Olympus relies on time synchronisation and an ‘end of day’ in-camera, wireless addition of the GPS data not unlike the process you might use with a separate tracker and a program like HoudahGeo or Photolinker.

That shoe has a GPS data channel – so far, unused. Now the processor has everything needed to make it work.

What’s really, really important is that these new Sony models have the firmware, interface connections and data handling to acquire a real-time or most recent position data packet from a stream, and inject this into your .ARW and .JPG files without needing any time synchronisation. Other models, which can not use the phone/Bluetooth solution, presumably do not have this firmware and the built-in protocols for acquiring, writing and validating. They don’t have the ready-made menu options either.

So, in place of your Bluetooth phone GPS, you will hopefully be able to fit a camera-top GPS module similar to those used by Canon and Nikon (who built the GPS data writing ability into their firmware years ago). The connections have been in the MFA shoe since 2010. Now the new camera models complete the jigsaw. All we are waiting for is for Sony to release a GPS module and a minor firmware update (the menu entries are already there). If the GPS module has its own battery, all the better – my tests with iPhone and A6500 ran the batteries on both down so fast the method would be impractical for anything more than day-trips.

I use GPS – at the moment, synchronising a track from an iGotU GT120 tracker carried in my camera kit or in a pocket. The device is not very reliable, has dodgy Windows-legacy management software and basic Mac function via third party programs. But for the travel photography I sell, captions have to be accurate and detailed, so the effort has to be taken. It was all SO much easier with the A55, A77 and A99… not to mention the Nikon D5300, Pentax K-1, or Sony’s non-raw-enabled Cybershot HX400V, HX60V and so on. For a very short time indeed I used the Jobo PhotoGPS, which required connection to a server database to turn its satellite position values into geocoordinates. Someone forgot to renew the licence, the server owners turned off the service, and every single PhotoGPS unit sold became a paperweight.

Nothing really beats having in in-camera or on-camera – and Sony has a good record of providing GPS assistance data files, auto-loaded on to your memory card when needed, which make the few cameras provided with GPS work well.

I had almost decided not to consider the A7RIII, but if my prediction proves right and the GPS module arrives in 2018 I will buy one. I’ve actually sold my A6500 after just three months of use to spend a bit of time using an Olympus E-M1 MkII outfit, including its slightly less battery-intensive GPS kludge. I’ve kept my A7RII as no camera made on the market at present, which is comparable in format, attains an image quality to match it when all other factors are equal.

Disclaimer: this is speculation. But it’s not empty speculation!

  • David Kilpatrick

 

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Accessories - 3rd party, Accessories - Minolta/Sony, DK's ramblings, NEX System, Rumours, Sony Digital Cameras
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