Sony Alpha 77 review – tomorrow today

It must be two years ago, at least, that an Australian sports photographer confided he had seen a Sony prototype which would blow away everything – an Alpha which could shoot at incredible frame rates (he mentioned 15fps) and follow focus. It may have been something unlike the Alpha 77, which follows focus 12fps with locked preset exposure, or in any appropriate exposure mode at 8fps. Or it may have been an early experiment. Whatever it was, the 77 is close to this rumoured prototype .

The Alpha 77 is a successor to the Alpha 700. Here is beside my old and well-worn 700.

The viewfinder

The Alpha 77 is a camera that points the way for future development, whether of DSLT (Sony ‘Translucent’ mirror technology) or entirely mirrorless SLR-mount bodies. It’s the OLED viewfinder with 2.4 megapixels of self-illuminating RGB which changes the game. It makes the transition from optical to electronic viewfinders likely for everything except a limited choice of professional optical viewfinder DSLRs. EVFs will not be unique to Sony and it will continue to develop in resolution, colour fidelity and refresh rate.

But this type of viewfinder has a specific limitation. Unlike earlier EVFs, the Sony OLED has a threshold below which it simply turns the pixel illumination off entirely. To save battery power, this is set to a relatively high black level and clips the three-quarter tones straight to d-Max. All EVFs are slightly unsatisfactory to the human eye because there’s no real shadow detail to see if you switch your glance away from well-illuminated parts of the view. The new OLED has dead black shadows and it doesn’t matter how much your brighten it, the cutoff is based on exposure level in the image.

If you own an A55/33/35 then the new finder is so far removed it might as well be an entirely different era, not just a generation. The area surrounding the huge visual image is dead black, not milky and luminescent like the A55. The shooting information is set neatly outside the image, not overlaid at the edge overlapping picture detail. The colours are bright and the information text, though smaller to the eye, is crisper and far more legible.

One comment (added after this was first published) – the A55/33/35 may be considered better in very low light. In good light, the OLED/24 megapixel combination is excellent. In low light, it shows noise until focus and exposure are confirmed by shutter pressure, at which point the view clarifies and the noise reduces. In near darkness, its shows very strong noise, mainly red, which largely obscures any visible detail. In conditions where exposure was 15 seconds at f/2.8, ISO 100, using the A55 and A77 side by side the A55 was better. It looked grey and flat, but surprisingly detailed and bright into shadows which were too dark to penetrate by eye. The A77 gave a contrasty screen or finder image with little useful detail, nothing in the shadows, and very strong noise. Clearly the CMOS sensors are responsible for whatever level of detail is visible, and the A55 sensor seems to me have a couple of stops more lift to tones on the threshold of its sensitivity. The EVF types differ in the A55 showing more shadow detail with lower contrast, and lower colour saturation so the noise does not look bad. Bottom line, the A55 is half way to night vision; the A77 is like turning on an old UHF analogue colour TV, no signal, just noise.

There will be users who complain that having vital information just above and below the image area means they don’t see it because of their specs. But the A77 has the best eyepoint and visibility for this info of any model to date. All I can say is that if you ensure you are using the EVF correctly, you will always be in touch with what the camera is doing.

This shows a ‘busy’ finder display – in fact, everything overlaid on the photo here can be turned off leaving just the active focus point (a single one, if you use centre spot focus) and the neat information bars above and below the image area. The rest of the field is dead black too, not milky grey like the Alpha 55, and the contrast is high. This image is dropped in and has no connection to the information displayed!

The result is a very graphic view of your composition. Despite the impressive size of the apparent viewfinder image, it is not as large visually as the Alpha 900. The A700 for example is 95% field at 0.90X of a 1.5X sensor coverage, a viewfinder ‘size index’ of 0.57X (0.95X0.9/1.5). The A900 is 100% of full frame at 0.74X, index 0.74X. The A77 is 100% of 1.5X format at 1.09X, index 0.726X. It’s therefore closer to the A900 than the A700.

The A77 eyepiece glass is much closer to the eye than the A55 or previous SLR models, and the upper positioned eye-sensor turns the finder on and off with precision saving power but causing no delays.

But has Sony got the figures right? The A55 claims to be 1.1X and 100% view. Each camera has a different eyepoint – 27mm for the A77 compared to a mere 19mm for the A55 – but this should not be allowed to influence the stated apparent magnification. Placing one camera to each eye, the A77 has an almost 20% larger apparent viewfinder field (linear) than the A55 and about 30% larger than the A700. It is just a fraction smaller than the A900 as the calculations indicate.

It looks to me as if the A55/35 manual misrepresents the EVF size in that camera, it very clearly is not larger than the A77. Perhaps they include the dead space not used for the image but for data. In the A77, the data display is tight and efficient and it can show everything you ever want including the ISO in use when you select Auto ISO.

All the other figures agree. It also makes the A77 finder view an almost perfect match for Nikon’s full frame DSLRs, which have a slightly smaller apparent screen size than the A900.

The less-shadow-detailed aspect of EVF works for composition much the same way early Leica viewfinders did. The scene is simplified, and this tends to concentrate the eye on impact and simple compositions. Using the A900 alongside the A77, I was struck by the way the A900 puts you in touch with texture, colour, subtle light, and fine details. The A77 reduces the world to simpler tones and connects you to shapes, composition and impact.

As for flicker, shearing when panning, clarity of focused detail – well, these are all limitations, but much reduced in this new finder. What is not so limiting as the A55 or the earlier NEX models is the speed of startup from sleep. The A77 finder really does go to sleep (the A55 is very good at failing to switch off) and wakes up so rapidly, as your eye approaches the finder, you don’t miss the shot. Combined with the mere 1/20th second shutter lag, this SLT gets back to the responsiveness of classic non-AF SLRs.

You can cycle through these displays or choose to skip one or more when pressing the Display button (there’s a menu item to configure exactly what information each press shows you, with separate settings for the EVF and the rear screen). These diagrams from the manual do not represent the finder very well. Our colour version, using a finder overlay file supplied by Sony, gives an accurate view of what looking through an A77 finder is like.

Here I am, I’ve written stacks about the viewfinder and not even begun to describe it fully. Tell you what – go and find one, try it. I can’t photograph it adequately (I have tried) and it would be exhaustive to go through the deep menu settings of the A77 which let you decide for example how many different information-display setups you scroll through when you press the Display button. Don’t want EVER to see the horizon level guage? Then set the camera to skip it. Hate the graphic display of f-number and shutter speed scales against each other? Deselect that too.

 

From the Alpha 77 Karma Sutra – left, position for portrait photography; right, position for those who like to video themselves and still look as if they are in eye contact with the viewer.

And then there’s the rear screen. It has a double hinge and rotate action, of which more later. It is a top grade screen, 3 inches and nearly a megapixel. If you plug an HDMI monitor in to the camera, that will take over providing a better solution for studio or video previewing. Even a 20 inch or larger HDTV set looks sharp when fed from the Alpha 77.

The menus of the A77 require the attention to website presentation detail best reserved for the galley-slaves* of dPreview. Trust me, if there’s anything which can be set on any other Alpha, it’s probably settable on the 77 or not there at all. I’m sad to see that I can only control my auto ISO range minimum between 100 and 12800, and my maximum between… 100 and 12800! Of course this is great. I can have auto ISO over any possible sensible range but not ISO 50.

*Queried on dPreview forums – I’m an ex-newspaperman. Galleys are proofs of type (or the metal itself) and if you’ve ever worked on the TV listings or the Sports pages, you’ll know what it means to be a galley-slave in editorial terms – form before function, and function before fun! Well, I can have fun. I do not have to reproduce every single screen and menu because there’s no big boss saying that’s how it is done! It’s great work that dPreview undertake. But as someone else has already done it, I prefer to spend my energy doing the stuff they haven’t done. Then you can read both.

ISO 50? What use is that, with less dynamic range than 100?* It’s a great deal of use. In my studio with powerful flash – which this camera can cope with perfectly, having a setting to over-ride exposure simulation in the EVF/screen and do auto gain for modelling lights – it gives me an extra stop instead of being forced to work at a setting like f/13 or get overexposure. Outdoors in bright light it combines with the 1/8,000th top shutter speed to remove the need for a 4X ND filter to get superwide apertures, but due to reduced dynamic range, it’ll still clip whatever highlight would have been clipped with an overexposed ISO 100 shot. In the studio I can control my contrast to use it well.

*This is Sony’s own statement in the manual, page 139: “The recordable range of the brightness of a subject (dynamic range) is slightly narrower for areas where ISO is less than 100.”. DxO Labs tests actually say that colour depth, tone depth, dynamic range and signal to noise ratio are all at their best if you set ISO 50, but they also show that ISO 50 is really ISO 63 overexposed a bit and ISO 100 is really ISO 80 underexposed a bit. Where that leaves the intermediate 64 and 80 settings on the camera we can only guess.

As well as all the info in the finder and on the back LCD, you get this top plate LCD which means you can close the back one. Even when the camera is asleep (power save mode) the sensor must still be receiving and handling the image, as the exposure display will change when you move the camera around. I’d guess this is a low power mode which also enables the system to continue to monitor exposure between frames during sequence shooting.

At first I did not fall in love with the Alpha 77 – when my purchased firmware 1.02 version body locked up on me in front of one Canon and one Nikon user I was just a little angry with it. It could have done this somewhere quiet, on its own, without spectators. Even now with firmware 1.03 I am not sure it won’t repeat the cataleptic fit, but it shows no signs of doing so. See my section on the Movie mode later on, though…

The SLT mirror and ghosting

I’ve tested the Alpha 77 in the most demanding lighting conditions. Sony says the SLT mirror (a very thin film of plastic stretched on a frame) has new mirror and antireflection coatings. They have also paid extra attention to the design of the AF module and the interior of the darkchamber, to avoid reflections.

Though some colour fringes on the bright water definitely hit this 16-80mm CZ shot (along with a colour bokeh issue making those in the foreground magenta and those to the rear greenish) there was no hint of any ghosts or flare in dozens of shots taken in conditions like this.

This light is extreme, and the patches of sun and reflection are placed exactly where the Alpha 55 tended to produce flare. The Alpha 77 shows no sign of it, and has not in any of our photographs so far.

As far as loss of sharpness goes, I do not believe there is any more significant sharpness loss from the SLT pellicle than there is from, for example, the rear filter permanently fitted into a 300mm f/2.8 Apo G tele. Both are between the lens and the sensor and both are plane clear optical elements. If anything the glass thickness and distinct double air to glass surfaces of a rear mounted filter make it far more likely to degrade an image than the SLT. Almost any filter you fit in front of the lens is going to have a greater effect (unless you spend a stack of money, a really bad effect on 24 megapixels – we’ve replaced our older Minolta, pre-digital Hoya and other filters with the latest Sigma EX DG after testing them).

This is just a routine test I ran at all ISO settings to check colour and tonal response. Not noise. I already knew before doing this that the noise thing was a non-issue for the simple reason that this sensor beats anything else out there; I’ll start pixel-peeping for noise when another maker comes along and shows they can do this pixel density better. The colour is also very consistent indeed across the ISO range and the feathers in the mask retain the expected detail up to ISO 3200.

This picture was taken using a setting I quickly discovered is just perfect for news, PR, presentations and images needed quickly from events – the Small JPEG in camera, with DRO enabled, at ISO 3200. Sampling down to one quarter of the file size (still large enough for an A4 print) creates a dead sharp, low noise image. Photographers do some good, occasionally – this is a cheque for £3000 being presented to DJ Dave Lee Travis for the PACE Centre charity, by the Master Photographers Association. Their annual dinner happened just a week after I got my Alpha 77. I was confident enough to risk taking all my press and PR shots on the new camera.

And this is a 100% pixel level view of that shot without any post processing.

Input and feedback

Then again, having to set up the camera and realising the full extent of the customisation possible through the Menu and Fn buttons, I felt depressed. This was almost like handling a Canon 7D – one of those cameras where, if someone passes it to you, you can never be sure if it has been configured only for photographing flocks of ibis flying behind bare poplar trees. Would its 19 AF points and 11 cross type sensors do the 7D trick of locking on to a sweet wrapper someone dropped on the lawn instead of the wedding group a yard further away?

Well, yes. The A77 can do that sort of wrong stuff if left on wide area focus – but it doesn’t light up the wrong AF points in the finder to fool you, and it does not require programming of AF preferences to avoid proximity or response speed errors (both Canon and Nikon pro models can disappoint if used ‘out of the box’, and need their defaults changing depending on your typical photo situations). Instead, if provides very accurate feedback about which sensors are being used. And it has Face Detection which really works, because this is a live view camera 100%. I have never liked Face Detection much until the SLT EVF generation arrived. Even then, not much.

Face detection kept the focus on photographer Paul Cooper (right) accepting the president’s ribbon of the MPA from Henk van Kooten (left) despite Henk’s focus-target jacket moving into the foreground of the AF zones. Taken by stage lights at ISO 3200

I had to take a few shots where a person receiving a presentation was facing the camera, and the presenter often stepped into shot with back of head to the lens. With Face Detection on, the A77 never once switched focus to the nearer person, and always stayed locked on to the subject facing me. This is a situation where the above-mentioned makes, if allowed to use wide area or multi point AF, tend to shift focus to the foreground intruder because as conventional DSLRs they don’t have Face Detection in optical viewfinder mode.

The auto exposure of the A77 seems to be more closely linked to active AF points than any previous model. It may have 1,200 metering zones on the CMOS sensor but it will bias strongly towards correct exposure at the point or points of focus, especially if the central point coincides with a very bright are. I do not mean it is literally spot metering. I mean that, for example, in my office with medium lighting and a very bright computer screen if the camera is aimed at the screen the exposure in matrix mode, with centre spot focus, becomes correct for the screen and the rest dark. When the screen is moved away from the centre zone, exposure increases by two stops even though the overall image contains about the same brightness.

What I’m seeing may not be the same sort of meter-linking-to-AF that is found in the Canon EOS 400D, as an example. This will give you over or under exposure if the focus point hits a dark or light area. The A77 biases towards avoiding overexposure. A dark subject at the central focus point does not seem to brighten the image the same way a very light subject, like a screen, darkens it.

This is not like separate metering cell TTL, the classic Minolta honeycomb. It isn’t even like a camera with centre weighted or spot optically fed meter cells. Every point on the sensor is a spot meter even though you can only ‘spot meter’ from the centre. Every point is equally sensitive down to EV–2 (ISO 100 with f/1.4 lens) and up to EV17. It is four times more sensitive as a matrix/centre-weighted meter than the Alpha 900 and a staggering 16 times more sensitive than A900 spot metering mode. It also has +5 to -5 EV exposure compensation compared to the A700’s+/-3EV (A900 – 3EV, expanded to 5EV by later firmware, but the 700 was never improved – see comments, originally I referred to A900 as 3EV either way, as that’s in the manual). And whatever things the SLT mirror does, it seems to feed the new AF module plenty of light – it’s able to focus in conditions half as bright as the A900. Added comment: the A77 metering is four times as sensitive as the new Canon D1 X, so although that camera has amazing sensitivity up to ISO 204,800 the A77 will actually meter exposure in lower light.

So, after a couple of weeks, I began to realise that the A77 was giving an even lower failure-rate than the A55. I had learned which settings to prefer – three zone focus for example is far better than old-style wide area and almost makes single centre spot focus redundant. I was finding that exposure is generous but never highlight-clipped, because it’s read from the actual imaging sensor; you can trust the simulation given by the EVF, too, and adust the +/- over-ride with confidence.

The camera stopped being complex and started to suit my declining mental powers. Life is a curve. You start just learning to set shutter, aperture and focus. In your prime, you want to set twenty different things for every shot and switch from P to A to S to M with C or S or A and -2 sharpness and ten stop HDR then portrait look for the next one. Ultimately as the brain cells sneak off for a nap you find good old shutter speed, aperture and focus do you just fine.

If you need reminding in big print, let the rear LCD see the light of day, and you get this big clear information pane on demand.

Now some cameras have fooled me, there are no dials and they just hid this stuff from me so I’d end up with bad things like the optically soft set of landscape pix I shot at 1/2000th and f/5.6 (wide open) on the NEX-5 last month. But the Alpha 77 with its top plate LCD info display, its ‘come to life’ burst of finder shooting information when you take first shutter pressure and confirm focus – well, it is constantly reminding me what I am doing. I know other cameras and other Alphas have finder displays, even the NEX was probably telling my longsighted eyes what it was up to, but the Alpha 77 presents working information better than any camera I’ve used. It is simply a very clear and well designed display both in-camera and on the rear screen.

If you enable image review, the SLT cameras slow down. I fold the rear screen to face the camera back. I have turned off image review. I shoot with confidence just as I would once have done on film and sometimes I do not check a single image until I’ve copied the card contents to my computer.

Button pushing

The Alpha 77 has loads of buttons despite Sony’s one-time insistence that they planned to have fewer mechanical components in future. There are nine push buttons, one rocker button and one control wheel on the back of the camera alone; five push buttons, one collar switch, one shutter and control wheel on the RH top. Then there’s the stray stop-down button, the lens change release and the AF-mode switch living round the mount.

Rear screen folded away and protected – that’s how I use the camera all the time. Plenty of buttons to push – and you can have fun swapping their functions round to confuse your friends!

Several of these buttons can have their functions modified so they no longer do what it says on the silkscreened white or blue print (white for shooting mode, blue for playback). If you are particularly odd you can even swap round functions and confuse people who borrow your camera (shades of Canon!). If you are relatively normal you can leave this well alone. You may customise the stop-down preview button to show the final picture effect instead (stop-down plus picture style and shutter speed result) and through the menus you can change the behaviour of lens-resident Focus Hold. The instruction manual omits to mention these are on the lens, and not on all lenses – some owners have spent ages looking for the Focus Hold button which does not exist on the camera.

What’s most odd about the A77 is that three of the main dedicated-function buttons are completely interchangeable. ISO (next to the shutter) AEL and AF/MF (under your thumb) can all be changed to do anything from the following long list of functions:

AEL Hold*
AEL Toggle*
Spot Meter with AEL Hold*
Spot Meter with AEL Toggle*
AF/MF Control Hold*
AF/MF Control Toggle*
Object Tracking
AF Lock*
Aperture Preview (stop down)*
Shot Result Preview (final picture simulation)*
Smart Teleconverter*
Focus Magnifier*
Memory
Exposure Compensation*
Drive Mode*
Flash Mode
AF Area
Face Detection
Smile Shutter
ISO*
Metering Mode
Flash Compensation
White Balance*
DRO/Auto HDR
Creative Style
Picture Effect
Image Size
Quality

*The entries I’ve marked with an asterisk already have their own dedicated buttons for which these are normal function choices (AEL button, for example, covers all the first four but can only do one function, preset in menus).

There is one button you may want to modify if you own lenses with a Focus Hold button. The AF/MF button, by default, performs this function with most lenses (it switches to MF when pressed, the same effect as holding focus). So it’s almost a spare button, given that there’s also an AF/MF switch on SSM/SAM lenses and a body AF/MF/S/A/C switch too. Since it sits right next to the AEL button and closest to the rear control wheel, it a natural choice for any function you might want to use in a hurry.

You can not change the function of the Finder/LCD manual switch button, the Drive Mode, the White Balance or the Exposure Override. You can switch the Preview and Smart Teleconverter buttons between two functions each only. The Fn button accesses all the parameters you can’t reach directly through any custom button (like setting the Auto ISO range) and most that you can (like Face Detection). Its full function list is:

Memory Recall (only present when mode dial set to MR)
Scene Selection (only present when mode dial set to SCN)
Movie (only present when mode dial set to Movie)
Drive Mode
Flash Mode
AF Area
Object Tracking
Face Detection
Smile Shutter
ISO and ISO Auto setup
Metering Mode
Flash Compensation
White Balance
DRO/Auto HDR
Creative Style
Picture Effect (only active for JPEG-only shooting)

The Display button can not be customised and only serves to cycle through Display setups – but you can customise those, and thus what the button does for you (above, Menu to set which finder display states you wish to cycle through, ticked). The Help (?) button can also not be customised, which if you don’t want potted hints and tips makes it redundant in shooting mode, though it serves as the Trash button when reviewing images. The Playback also can’t be customised, nor can the Menu button (which can return to Last Used or Top by setting a preference), nor the top LCD illuminator button. This one is interesting because it toggles – the panel light remains on until the camera goes to sleep, or it’s pressed again to turn off.

In use, I found there was one button missing which would make a huge difference to this camera. The 12fps ultra high speed shooting mode is only accessible through the mode dial. Because of the way the camera handles bursts of frames and buffering, it would be useful to be able to shoot normally in any mode (single frame, or other continuous speed) and switch to 12fps by holding down or toggling a button (preferably holding down, say, the AF/MF lock reassigned for this purpose).

Here’s a neat touch – as long as you have a lens with no MF/AF switch on it, you can set M focus on the body selector, and pressing the AF/MF button will do autofocus for you, letting it go will lock the focus back to manual. That’s another reason to like my 16-80mm CZ on the A77 – ideal for studio products or architecture, or indeed for landscape. It does not work with the 18-55mm SAM. There is in fact a bit of an overall mess with SAM, SSM, and standard lens focus types including the assignable DMF (direct manual focus) to the AF-A mode. There are some lenses where you are warned never to use body MF setting always only to use the lens switch. What you will find is that some menu items are greyed out, and some buttons don’t work, if a mismatched combination is set.

Lens compatibility

The new 16-50mm f/2.8 is enabled for in-camera lens corrections

This leads to the general question of lenses and the A77 generation. It seems there’s some additional information chipped into some but not all lenses which enables the Lens Correction function (Vignetting, Chromatic Aberration and Distortion) for in-camera JPEGs. Raw files are unaffected, and I don’t know if this information is used to enable better panoramas but that would be a practical fringe benefit. But since the 18-55mm SAM, 55-200mm mk2 SAM, and 18-250mm (an old design relatively) are in the release firmware along with the 16-50mm SSM maybe there’s no info in the lenses themselves, and future firmware will add more.

The oddest incompatibility is the manual’s statement that Front Curtain Shutter should not be set on ON for ‘Konica Minolta’ lenses (added note – see Comments at the end of this article, some discussion of this). First of all, the description of Front Curtain Shutter is misleading. When this is set to ON, it means NO front curtain shutter – electronic gating instead. When it is off, you are using the physical Front Curtain, the blades uncover the sensor to start the exposure. The manual does make it clear that by Front Curtain Shutter Sony means No Front Curtain Shutter.

But what is a Konica Minolta lens? There are very few, nearly all were made by Tamron. Konica Minolta never even got round to rebranding the Apo G lenses, they just changed the box and the lens cap and left Minolta as the name on the lens. I have a 28-75mm Konica Minolta, a 17-35mm Konica Minolta and at one point I had an 18-200mm, and of course, the kit 18-70mm and various horrible full frame plastic lenses like the 28-100mm. I think there are 75-300mms in KM guise.

Everything else prior to Sony was Minolta because KM simply never made any, or if they did, it amounted to no more than a box label change. To confuse things, some of these Konica Minolta like the 18-70mm, 18-200mm and 75-300mm became Sony lenses without a single substantial change. And many Minolta lenses became Sony lenses while retaining a heritage right back to pre-D days or the origins of the AF system itself. The 28mm f/2.8 is the most obvious example, the 50mm f/1.4 another.

Why would an electronic front curtain produce overexposure or inconsistent exposure only with Konica Minolta lenses? Given the very fast response time (1/20th of a second) and high speed of the system (1/250th flash sync, 1/8,000th shutter) the only thing I can think of would be the speed of aperture closing action. It is also something which would be invisible in revised lenses; maybe the Sony 18-70mm kit lens actually has aperture blades which close 50 milliseconds sooner than the KM equivalent.

This would also mean earlier Minolta lenses, not just KM, might produce overexposure (aperture still not fully closed when exposure commences) or uneven exposure (aperture continues to close down during part of the electronic progressive gate-opening). The same would apply to many third party lenses.

I’m pretty sure this is why the warning is made, and that singling out Konica Minolta lenses is an error. Any one individual lens may have sluggish diaphragm, indeed a common cause of overexposure in all A-mount lenses is incomplete stop-down. So the advice should be don’t use ‘Front Curtain Shutter’ set to ON with anything except Sony A-mount lenses – or test your independent lens before use.

A warning about not setting Micro AF adjustment with third party lenses is given, as usual. This is because the makers borrow lens identity codes. The Sigma 12-24mm f/4.5-5.6 Mk1 has the same code as the Minolta/KM 28-80mm kit lens. This issue will also affect the behaviour of the Auto Lens Correction register, which in our body does not have any effect on the CZ 16-80mm for example but does correct the new 16-50mm. I would guess ‘correctable’ lenses have extra information, older and third party lens won’t. So don’t bank on this function fixing JPEGs from your ‘heritage’ of early Sony glass!

Sigma has issued a list of lenses which are known to have AF problems with the Alpha 77/65, and will upgrade them free of charge. You can read the list here: http://www.sigma-photo.co.jp/english/news/info_111014.htm. It includes the 18-250mm HSM OS, which we have. Ours does not seem to have any issues at all on our A77 with firmware 1.03. I’ve also tested the 8-16mm and 100-300mm OS, 70mm macro and 70-200mm f/2.8 HSM Macro MkII. These are not in the warning list and all seem to work well, even though they do not work reliably with the Alpha 55.

The A77 has Fast/Slow AF options and I’ve used Fast. The accuracy of the AF is much better than any previous Alpha model.

Autofocus and exposure

The 19-sensor, 11-cross AF module is not most densely populated – the A900 has 10 extra hidden ‘tracking assist’ line sensors bringing it up the same total (they are there, they just don’t have screen markings) and its central double cross sensor is technically the best type around. But having eleven cross sensors does more good in practice.

AF has a new mode, Zone. This creates three groups of sensors left centre and right which act like mini wide zones. Wide Area focus can, of course, locate widely spaced details which are concurrently in focus. Zone identifies the zone with the most focused points, then works within this area. It can use information about the change in confirmed focus within one zone to help track the subject into the next zone. It also gets the exposure right more of the time.

Because the sensor is feeding image data to an analysing computer, Face Recognition and Object Tracking can be linked to the AF. There must be some theoretical speed penalty – something must be slowed down by microseconds if you enable these functions. I can’t detect it. The only slowdown is the time you take to press the central controller button to register an subject for tracking. Smile Shutter is also possible. My subjects normally scowl so I don’t use this.

The focus point – here, centre focus spot aimed first at the family and then held using the shutter release to recompose the scene – helps determine exposure. The 1200-zone metering has correctly placed the baby’s white clothes in the value range 250 to 254 RGB.

The most reliable and accurate focusing method remains central single spot focus, or local selectable single spot. Now that all of these are cross-type, there is no compulsion to stick with the centre and recompose, but it’s a habit hard to lose. I have already observed that the metering in spot mode is 16 times more sensitive than spot metering in the 900, and I would guess that when the system biases matrix metering values to the centre focus point, there’s a related gain if not that much. There is a proper near-IR AF illuminator in the camera body – Minolta tradition lives on! Without flash, it really is possble to focus in the dark and the EVF does a very grainy but usable job as a night vision viewer too. The illuminator also enables focusing on plain surfaces as it projects a pattern.

The SLT mirror of the 77 diverts 30% of light to the AF module, but this is actually more than the old semisilvered patch and double mirror system used to let through in SLRs. The AF sensor itself may not be any more sensitive, it’s simply getting a much better image feed. This 30%, by the way, means the light reaching the sensor is reduced not by the 1/3rd to 1/2 a stop sometimes mentioned, but by .6 of a stop or nearly 2/3rds of a stop. 50% would be one stop. (See comments at the end of the article for some more precise figures on the mirror split provided by Dr Daniel Oi).

My experience so far with the camera indicates that exposure is very reliable over the entire EV range. I simply leave it on the matrix multi-zone setting. The EVF warns me if it’s going to bias too much to the focus point.

High speed shooting

This brings me to the aspect of high speed sequences. No cameras in this class has ever achieved 12fps, let alone at 24 megapixels. In theory you get 13 raw or 11 RAW+JPEG frames before the camera slows down, and it looks as if the buffer must hold about 320MB. The camera does not have a dual processor like the Alpha 900, and it does not benefit from the robust performance of fast CF cards.

Autofocus is provided in Hi drive mode, along with AE (8fps, accessed via the Drive function button, in any shooting mode). Using this shooting speed you have full control.

In Speed Priority AE mode (the 12fps setting on the mode dial) the focus is locked before frame 1 if you have the camera set to Single (S) AF, but in exchange for this, you can set both the ISO and the aperture. You can also set these if you use Manual focus.

If you set the focus mode to C (Continuous) then both AE and AF continue during shooting. You can set the ISO, but not the aperture, so the ISO is your only way control the shutter speed. Added note: the Canon 1D X has now bettered this record high speed shooting by providing 14fps. This mode in the Canon locks both AE and Focus with the first frame, locks the mirror up, and you must use Live View on the rear screen to compose the shot. For focus tracking with viewfinder, the 1D X is limited to 12fps.

12fps is very impressive. It makes a huge difference in action work. I often test sequence shooting on the local races, and I quickly found that even tracking a horse (necessary to keep it in the frame at all for more than one shot at 3fps) certain frame rates just produced two stages in its stride, repeated. The horse was galloping at 2.5 clops per second and I was shooting at 5fps. With 7fps it gets better, 8fps or 10fps still better and with 12 fps you reach the point where four different positions of the legs are recorded.

Also, it becomes possible to aim the camera at a fixed spot like a hurdle, and fire, capturing several positions of the horse before it leaves the field of view. It is not as necessary to pan with the subject every time to get more than one shot.

Animation of three hand-held frames, cropped from a Sigma 70-200mm shot taken at 70mm, showing how 12fps captures very fast action in relatively small steps. At 5fps, the second frame would have the horse leaving the right-hand edge.

In practice, you certainly get your 13 raw or 11 R+J shots at 12fps or the slower AF-capable Hi 8fps setting – or indeed at the slower 3fps rate. But you don’t get anything like the same continuous shooting capability as past models even if you knock the JPEG size right down. You’ll get around 18 Normal Small JPEGs (6 megapixels, lowest quality) at 10 to 12fps before the rate slows down to an erratic 3fps with occasional half to one second pauses. For raw files, after your 13-ish burst is up, you may get between 0.5 and 1 frame per second with occasional one to two second pauses. With an average SD card (20MB/s write) you will wait 15-20 seconds after the last shot before being able to shoot fast bursts again.

Here’s another sequence, this time as stills without the annoying animation you can’t turn off 🙂

And here, below, is a 100% crop from the original ISO 800 raw file processed using Adobe Camera Raw 6.5 (Sharpness 50, Radius 0.5, Detail 0, Masking 0; Luminance NR 25, Luminance Detail 50, same from Chroma NR)

Sharpness? The 12fps C-AF setting forced the Sigma 70-200mm to be at f/3.5, two thirds of a stop down from full aperture, but also gave a shutter speed of 1/6400th. I could have perhaps picked another detail with slightly more punch, and looking at all the shots, my prefocused point was actually about 1 metre behind the horse (if the AF refocused during this sequence, I can’t see any evidence in the images). The 8fps or Single-Shot AF 12fps settings allow control of aperture, and I know that f/5.6 would have cleaned up. Just remember you are looking at a section of an image something between 6ft and 8ft wide, it’s very easy to view a tiny clip like this as if it was just another digital image.

I tried one technique, shoot 2, 3, 4, 6 frames with brief pauses – as if catching different moments of an event, in bursts. Even though I spread the 10fps bursts over a ten second interval, by the time I had totalled 20 raw frames I was down to the single shot per second or worse situation.

To follow up, I shot a burst then allowed the buffer to write for about 8 seconds before firing again. I got seven frames at 12fps, which fits in with the card in use taking about 15 seconds to finish writing from a 13-frame burst.

For one of the horse racing tests, I shot one burst of frames and as the camera slowed down, two horses fell and two jockeys were injured, one requiring a stretcher. I was unable to get ANY pictures of the incident as it happened, and by the time the Alpha 77 was able to shoot again, the ambulance crew was on the track. Each race gave me just two chances to shoot a burst so I’m afraid that testing every single setting combination on the camera was not possible.

Panorama speed mystery

There’s something I don’t understand about the raw, file and buffer handling of the Alpha 77. Shooting panoramas – which have to start with exactly the same frame by frame 24 megapixel data readout – I counted 42 frames apparently firing at something close to the 12fps maximum, then creating a panoramic JPEG, and the finished 6.7MB JPEG file was written to card and the buffer cleared before I had time to see if the light was still on.

What exactly is happening here? How could the processor and the buffer somehow handle the throughput of the wide panorama with at least double the number of continuous burst frames I could get with even the smallest JPEG – and then do all the computing to assemble the panorama and write it to card, leaving me ready to shoot immediately?

I ask this because when shooting panoramas with the Alpha 55, my 15MB/s SanDisk Ultra II SD card failed – it was not fast enough, could not handle the data and became corrupted. Clearly panorama shooting is data intensive one way or another. But in the Alpha 77 it appears to be allocated buffer and processing power which is denied to more useful motordrive sequence shooting.

Movie shooting does not enjoy the same fast buffer clearing. Shoot any higher quality movie beyond a mere blip on the button, and you can’t fire a still frame for some seconds. With some HD-movie systems, you actually shot a still frame during the movie and lose nothing except a couple of movie frames; with others, you can end the movie by pressing the shutter and capturing a still. In yet other makes, you can shoot a still but lose two seconds during the movie. All these solutions are valuable when still shots could be important. The A77 movie function does not permit any such choice and may block all shooting by occupying the buffer to card writing process for many seconds.

And, in reverse, you can not initiate a movie while the card write light is on. I tried this with one of my horse race test subjects. I decided I would shoot the front runners going over a hurdle, get my 12fps burst, then do a few seconds of movie of the stragglers who reach the spot a few seconds later. Although I could have shot further (faltering) still frames, movie shooting was blocked out with a warning message telling me ‘Writing to Memory Card – Unable to Operate’. When raw shooting was set, this lasted many seconds, but interestingly with the small JPEG option only two or three seconds were blocked out.

After my tests of the high speed shooting functions, I conclude that to cover some sports events well you would need a pair of Alpha 77s, or the 77 and some other camera – and you would need to keep a close eye on the card writing light. As a result of the performance with my SD cards giving write speeds around 20-30MB/s I ordered a SanDisk 45MB/s Extreme Pro, and plan to get a 95MB/s card when they are available.

Added after receiving the SanDisk Extreme Pro 16GB 45MB/s card: burst shooting is not extended, using raw it varies from capturing 10 to 12 raw frames at maximum rate, sometimes with a single frame jumped (two groups of 5-6 frames) which never happens with my ordinary Transcend 20MB/s card. Buffer to card writing is reduced to around 10 seconds from around 20, but at least with this extra card speed, there is no way to extend the approximate 1 second unbroken raw shooting burst.

The Alpha 65 and 77 are the only DSLR/T cameras so far made which use the USH-1 SDXC specifiction to allow writing data at this kind of rate. They are ahead of the card game. But they need to have this capability. Anyone expecting to make full use of the high speed drive functions and best video quality of the 77 with cards like the faithful wallet full of Transcend 16GB Class 10s we have been using will be disappointed.

The dedicated Movie mode

On the mode dial of the A77 there is a movie position. This does not mean it has changed, like some Canon models, to be incapable of shooting unplanned movie clips – you can do this at the press of a button, like other Sony models. What the Movie icon means is that you gain access to manual control of ISO, shutter and aperture. As a penalty, you lose AF.

Why? That is easy to answer. The AF sensors in the 77 are rated for f/5.6 aperture use. Default movie apertures range between f/3.5 (typically set on fast lenses) and f/6.3 (well, with an f/6.3 zoom lens there is little choice). AF works best in this range. If you really want to shoot AF movies at f/2.8 on a 200mm lens, try by all means. I have tried at f/3.5 and for every clip which has a smooth focus transition, there will be another where the SSM, SAM, HSM or plain old screw drive makes a sudden shift.

So if you want to work at f/1.4, leaving focus to AF would be a disaster. Apart from making constant shifts, there’s a big chance of hunting. I worked with the 24mm f/2 SSM Carl Zeiss for a while, and this lens does not find focus easily in low light with any camera. On the A77 for video it was auto-set to between f/2.8 and f/4 in low light. Video AF happens at the actual working aperture, not wide open like still AF. Being stopped down a little improved the 24mm’s accuracy.

And if you want to work at a smaller aperture than f/6.3 – say f/16 for a deep focus effect with a superwide lens – then AF simply would not work at all. The Manual Focus restriction placed by using the Manual Movie mode is necessary despite the howls of protest it’s produced from those who don’t understand the technology involved. A side benefit of setting Movie mode on the dial is that your view through the finder is cropped correctly to the HD area before you start filming, which makes composition easier – see below.

In the Movie position on the Mode dial you might believe you can use the self-timer. The manual ticks that box. We had to check it, but although you can set the Drive state, including self-timer, doing so has no effect on Movie shooting. Nor can you shoot stills with the Mode dial in this position. Various other manual details, such as indicating flash can be usedin this mode, are also incorrect or there’s a small firmware glitch with the camera. I would expect the shutter release to be operational with the mode dial set to Movie, so that stills could be captured. It is disabled and you can’t take still shots at all if the dial is in this position. Be warned!

Not only that, but after I had pressed the Self Timer 10 second setting when in Movie mode, the LCD top display showed a single frame symbol plus the 10 from the self-timer mode, and the shutter release was disabled even after returning the mode dial to Program or other settings. The Drive mode had to be reset to get it out of this tangle.

As for the instant Movie button, it’s not in the best place – a long thumb reach for on and off actions to start and end clips and the placing tends to make me tilt or move the camera needlessly. When adjusting the viewfinder dioptre to switch from working with spectacles to working without, it’s so close to the dioptre control I push it occasionally by mistake. I would like the Movie mode to switch operation to the main shutter release OR the movie button.

It’s worth noting that picture effects (see later pages) can be applied to movies, as can all other image adjustments, and will be seen in the finder as you shoot.

But what you won’t see until the moment you press the movie button is the working HD movie area. It is a surprisingly fierce crop from the full sensor, not just a top and bottom slice to HD 16:9 format. This is required for the Steady Shot digital, pixel-shift based movie stabilization which does not move the sensor like regular SS. It reduces the 1.5X area to something like a 1.8X area, not as much ‘zoom in’ as using the 1.4X smart converter but enough to cut heads and feet off subjects you have pre-composed using the full finder. There are indicator marks on the display, that’s true, but you will find them hard to see in many conditions even if you remember to use them.

Shot with the 24mm f/2 lens – no way to move back or zoom out for the movie, but plenty of space you would think for the 16:9 HD crop.

This is what the HD movie viewfinder field switches to when the Movie button is pressed (slightly re-composed horizontally but not cropped at all). The movie stabilization need the surrounding pixels. It highly effective, both through the live viewfinder and when viewing the results, and totally silent unlike sensor-shift SS. It also does not warm the sensor assembly up as much.

A caveat to movie shooters. Select the highest quality AVCHD 2.0 formats (the camera will warn you) and you may not be able to play them, burn them to disc other than Blu-Ray, or import them into HD movie editing with programs like Apple iMovie. No doubt this will change with updates, but right now apart from Sony’s PC-only Picture Motion Browser (they have now had half a decade to port it to Mac) there are few programs which can recognise the 1080/50 or 60p 28Mbps format and even fewer which edit it. You will need to buy software to do so. On my system, Toast Titanium 11 includes Roxio HD viewer and because it is a Blu-Ray compatible disc authoring package, this was able to handle the .MTS files in all formats, and convert them to formats editable using iMovie. Roxio offers similar PC utilities.

Sony PMB is also very useful for GPS data handling, map viewing and correcting GPS data. While Adobe Bridge with the GPS Panel (download from Adobe) installed allows viewing and editing of co-ordinates, it still has no link to Google Maps, Microsoft Virtual Earth, or any other useful location display.

Sound

There is no provision for audio notes or audio only recording, which is a bit of a waste of built-in functions as this would be possible and can be useful. Audio notations attached to images are popular with travellers and journalists.

The stereo sound is not much different to the NEX or Alpha 55 despite being capable of 48kHz (better than CD) sampling. The microphone under its unusual top grille seems less prone to wind noise than most DSLRs; the wind noise reduction feature, a bass cut filter, is additionally effective. Body handling noise is present, so is lens focus noise.

The external mic socket provides 5v phantom power for popular condensor mics, and is stereo too. No provision for fixed gain is made – auto level or gain is always on. The camera needs an option to disable auto gain so that a preamp or mic with dB cut choices can be used to control a fixed sound level; better would be three levels, like Nikon; even better still a proper sound level monitor display and full control in fine steps like Canon. Without at least one of these options the Alpha 77 can not considered for semi-pro or professional live sound video work.

GPS Data

While I think that the GPS on the A77 has so far proved faster in locking and more accurate in positioning than the A55, it’s hard to quantify as I have not used both together for long enough in difficult locations. To improve your GPS, download this file:

http://control.d-imaging.sony.co.jp/GPS/assistme.dat

Create a folder on your SD card inside the PRIVATE/SONY directory and call it GPS. Copy this file into it, put the card in your camera, switch on. Go to GPS in the main menus and make sure it’s turned on, then look at the GPS ASSIST entry and you will find the assist data starts on the day you download and lasts a month. Visit the assist.dat download once a month or more often to keep your GPS working with the fastest and most accurate lockon and co-ordinates. Do not worry if you format or change cards, once in the camera the assist.dat file is copied to internal GPS memory. Your original card does not have to be present.

Sony state 15 seconds or more to acquire or change position, and variable accuracy due to GPS being a US military provision which can be subject to deliberate degrading. In this model, when no GPS signal can be detected on power up, the camera simply turns off GPS embedding (on the A55, it uses the last co-ordinate). But if you are out and about, the last position may be shown on some pictures. I don’t think I move that far in 15 seconds

.

An example of GPS map location from Media Pro and Google Maps – click on the image for a full size screen shot.

Adobe gripe – it’s long overdue for Bridge to have a GPS map function when Lightroom does. As it happens I use Media Pro for all my digital asset management. When this was Microsoft Expression Media 2 it has its own Virtual Earth window, but now it’s been taken over by Phase One, that has been replaced by auto-opening a web browser Google Earth window. I don’t really need to see maps at raw file stage, but it could help with filenames. I like my filenames to be a ‘catchline’ format – an alphanumeric string which contains a key word about the subject. That could be simple like venice2011-15.jpg or a bit more precise like guideccasangiorgiovenice2011-15.jpg.

Mouthful? Not ISO compliant? Not ancient PC friendly? Sure. But very useful indeed many years later when searching for stuff. And access to GPS map location helps me decide filenames, then later on input metadata for caption, keywords, description, and much more. With 15,000 finished images stored on my system everything which helps me identify them is valuable.

Image formats and styling

The Alpha 77 has a stack of great functions and features I will never use. That’s because they are not available if you shoot either RAW or RAW+JPEG. They include multi-shot modes (combining tonal range for HDR, or reducing noise for low light and high ISO) and in-camera post processing effects.

There are some of these JPEG-only modes I feel comfortable with. Panoramas, as an example, don’t provide a raw file and you can’t bracket exposures. You have to trust the camera despite the huge range of tones and light a wide panorama can cover. If you choose your start position well (including the brightest highlight area of importance) exposure is very reliable, and at low ISO with Fine quality, the JPEG is of a professional standard.

Standard JPEG (click images for 1000 pixel wide version)

Three-shot HDR using 3EV spread

Three-shot HDR also works well, especially at low ISO settings of 50 or 100 and in Extra Fine JPEG. The 24 megapixel file gives plenty of scope for reducing to a smaller final result. There is also a special HDR Painting mode, which processes the file with a masking effect to create what is currently a popular ‘look’. Unlike the standard range of HDR settings, this is far from being a straight image and the lack of a raw file or normal JPEG to back it up means it’s only for fun.

Over the top with HDR Painting style, High strength – it actually works best on dull, wet days with grungy subjects!

More ‘only for fun’ stuff includes soft focus, selective colour against mono (called ‘Partial Color’), toy camera, miniature effect, two monochrome looks including one which uses three exposures, ‘pop color’, posterization, retro photo, soft high key. All of these are irreversible real time post processing. You have no normal backup when shooting.

The post-processing method offered by Nikon and others, where you can apply similar effects to raw or JPEG files already stored on your memory card and create a new version, is preferable. For standard HDR shots on Sony’s current models, a normal JPEG is saved along with the three-shot HDR and that’s good. For any of the Picture Effect post-processes, even multishot, no standard result is saved – all you get is the processed file, after a wait of 10 seconds or considerably less.

Selective yellow on monochrome – but that’s the only shot I have. No raw, no standard JPEG…

You do get a pretty accurate preview of the result in the EVF. If the stop-down preview button is set to ‘Shot Preview’ mode instead of ‘Aperture Preview’, you also get a simulation of the effect of your shutter speed – so flowing water brief time exposures (up to 30 seconds) can be previewed to see exactly which shutter speed suits the water movement best. Along with exposure simulation, there should be no reason why your shot ever goes wrong.

The Auto ISO Multi-Shot mode, Multi-Frame Noise Reduction, captures six frames and creates one JPEG. The pixel alignment seems very accurate and shots at settings like ISO 3200 show an improvement in detail which would be hard to obtain even by good raw processing. It’s not so much the noise that is reduced, it’s the overall quality of the image which improves. Using the high 25,600 ISO setting which can only be accessed in this mode shows that it’s slightly inferior to a straight 16,000 ISO shot despite the six-frame synthesis.

For all these multi-shot modes, the 12fps function of the Alpha 77, SSS, and the quiet, mirrorless shutter action combine well. They are all usable without much effort or worry, hand-held. The one ‘tonal range’ adjustment which does operate in RAW+JPEG mode, though only the JPEG is changed, is the DRO or DRO+ setting which uses a single shot.

High speed shooting also benefits exposure, DRO and white balance bracketing. Early information and the use manual state that you can define the number of exposures for bracketing, and the range covered, with the Alpha 65. In fact it is limited to three shots. The Alpha 77 gives you a choice of 3 shots at +/-3EV, the same at 2EV, then 3 or 5 shots at 0.7, 0.5 or 0.3 EV intervals. It is missing the obvious 1 EV step choices and that will baffle many, especially HDR raw users who would like 5 shots at 1 EV intervals.

Flash

The Alpha 77 has a proper, threaded, high grade studio flash sync terminal as well as the usual Minolta i-type hot shoe. Like the Alpha 700 and 900 (and unlike the consumer level cameras, including the Alpha 580) it can have the HVL-F58AM or 43AM wireless control capable flash mounted on the camera to control group/channel wireless strobes with power ratio. It can also use HSS (burst flash with shutter speeds up to 1/8,000th and corresponding power attenuation). It can not officially use the HVL-F20AM as a wireless controller, but owners have found it works – with a slightly longer than normal delay in flash firing, according to Gary Friedman, who has compared it with the pop-up flash wireless control.

The flash sync Prontor-Compur coaxial connector (PC flash socket) is sealed behind a cover shared with the Remote Release socket. This cover was so tightly sealed it threateed to break a fingernail opening it the first time, a small screwdriver was needed.

The most important change for professional and enthusiast owners is the long-overdue addition of a menu item which prevents the EVF or LCD live view from showing actual exposure when Manual aperture and shutter are set.  This item is under Live View Display, and is called ‘Setting Effect’ – off or on. While this nomenclature is not exactly transparent, it describes the function well as all picture styles and creative effects normally shown in the finder are also bypassed. The important thing for studio flash users is that you can set 1/125 at f/16 with modelling lights, and see a normal finder view not a black hole. You still must remember to set white balance to Flash or Daylight, otherwise the camera will set it from the modelling light K.

It is best to use one of the three Memory registers (accessible through Menu screen after turning the Mode dial to MR, Memory Recall or Register) to store a manual exposure, fixed WB, low ISO, Setting Effect OFF preset for studio work. Then you can return to any other setting and get your accurate exposure and ‘look’ preview back again.

The internal pop-up flash (GN12) has the usual range of first, second curtain, fill-in, off, auto options; TTL Pre-Flash, ADI, and also manual power control down to 1/16th which can be useful for triggering slave flashes if you don’t have a cable or a wireless trigger (and Minolta shoe adaptor). Because the body is weatherproofed, the flash shoe cover is a softer plastic type which seals tightly. Don’t lose this shoe cover or swap it for one of your others.

And the rest

By the time I’ve written this single review article, it will be one-third the length of the complete camera guide books we used to do for Hove twenty years ago. The Alpha 77 has so much more to discuss.

You will be concerned about high ISO quality, diffraction, resolution, having good enough lenses. I would question whether the new 16-50mm, used wide open, is a ‘good enough’ lens – let alone the 18-55mm SAM also being offered as a kit lens. Just don’t worry. Whatever your existing lenses are capable of doing, the 24 megapixel sensor will give you more of it. Let’s say your favourite lens is really only good up to 12 megapixels. It will be just as good if you use the 12 megapixel Medium size JPEG option on the Alpha 77, and if you do that, the 1.4X Smart Teleconverter function will also deliver a 12 megapixel drawn from the centre of the field only – so most likely just as good.

Rather too distant heron, shot using the 2X Smart Converter for JPEGs (this is actually a clip from a raw file processed in aCR to match). ISO 3200, 70-300mm SSM G lens. Click image for 1000 pixel version

Click image for 1000 pixel 100% size clip from ACR processed version (my density choice)

Click image for Capture One Pro 100% clip from raw (ditto)

Click image for in-camera processed (JPEG Fine, Low level of NR) 100% clip (camera’s density)

I am now shooting with auto ISO set to go from 100 to 3200 instead of 1600, I have started using Medium and Small JPEGs with DRO+ to ensure exposure correction for events type shots, I’ve tried all the lenses I have and the only thought is that I need to stick around f/8 to f/11 for safety. Balancing extra depth of field with a hint of diffraction loss. I’m using the manual focus ‘peaking’ function to check the accuracy of my AF (this shows a coloured line on correctly focused details, when the AF/MF button is pressed in). I am not so worried about low light, high ISO as I first thought. It’s actually as good as the 16 megapixel sensor when needed, and when it’s not, the extra resolution repays careful low ISO technique.

The new tilt, hinge, flip, swivel and cartwheel rear screen is just great for the few times I need to use it. The EVF may consume more power (470 images versus 530 per battery official rating) than the big rear screen but I no longer need to switch between the two for menu and function operations. Because of the new design, all positions found on other cameras from hanging-under to almost flat on top (R-1 style) are possible except facing forwards and positioned to the side. There are firmware or orientation sensor errors, as the imager can appear upside down in more than twisted position. The hinge design makes a vertical grip possible and also allows a wider range of tripods or quickmount plates.

The A77 has all the focus and AE hold and lock, slow sync, focus point shift, exposure over-ride and other key functions I need. It claims to be weatherproof, and having nearly broken that thumnbnail off opening the flash sync cover  I do believe the seal is tight. The card slot door is not so reassuring and I see no trace of any proper sealing, not even a labyrinth design.

I am baffled by Sony’s indecision about ON/OFF switch design, the camera labelling is the reverse of the Alpha 55/33/35 or 580/560 etc, though the action is the same. The direction is the reverse of the NEX-5. But there is one consistency, to turn any camera on the movement is always from left to right – whether Alpha 100, 700, 900 and whether the switch is rotary or a slider. Maybe this is the rule they stick to.

You can not configure the directionality of the two control wheels, as you can with Nikon, and for some reason I have always tried to open or close the aperture by taking the wrong directione. That is because the wheel directions go against the old Minolta protocol that turning the aperture ring to the right opens up, turn to the left stops down.

Like the Alpha 700, the Alpha 77 has magnesium alloy body shell combined with other metal and plastic components. It has the proper strap-lug fixed into the mag alloy casting, like the 700 and 900. This lug and triangle-ring design, as opposed to the slot-type strap fixing of the lesser camera bodies, is always a clue that the structure is based on a good solid metal skeleton. The overall design and balance of the Alpha 77 are as good as any Alpha I’ve used. There are hints of the 700 and also some memories of the Dynax 7xi present in the sculpturing of the body. To those who say it looks a bit like a Canon, yes, it’s true that Canon design has caught up with 1990s Minolta style in the last couple of years…

Conclusion

From the initial press meeting with Sony, where cameras were prototypes and the images were not allowed to be shown, I decided that if I could work for a year with the Alpha 55 and have no problems then the Alpha 77 was a safe investment. The viewfinder is a pleasure to use, though EVFs differ from optical screens in one important respect, that the eye can not compensate for small errors in the dioptre setting. With an OVF like the Alpha 900, I can set the dioptre midway between what’s needed for my sight with and without glasses, and get along fine with either. That can not be done with the EVF and it demands a precise dioptre setting for each. I have found it more comfortable to use without specs, so they spend too much time perched on my head, hanging from my collar or stuffed into a pocket.

It will be another year before I know just how wise the decision to go with EVF SLT models has been. And maybe another ten thousand words.

– David KiIpatrick

Please read the comments for some notes on corrections, which I will continue to make.

 

 

 

 

 

Alpha 77/65 Firmware Update to 1.03

After a little over a week of using the the Alpha 77 in firmware version 1.02 (as delivered in UK in late September), our Alpha 77 body locked up during a concert gig shoot when using the SAM 28-75mm lens which had been fitted for the first time that day. It is not possible to say whether the lock-up was caused by the lens, but after resetting the camera using the recommended button press and switch off/on procedure, no settings were lost and it returned to normal operation.

The reset procedure has now been officially published by Sony, at the end of the instructions for installing Firmware Version 1.03. At the time of writing this upgrade only appears to be found on Sony Asia websites. It is an international upgrade and not specific to the region. Here is the reset or recovery procedure to use if your A77/65 locks up and its screen menus disappear. Typical symptoms include loss of the lens aperture display (A77 top screen, blank dashes appear as if a lens is not fitted), the ability to view some menus but not change parameters, input from most buttons not working, and a visible faint light appearing in the EVF after the camera is turned off (unless the battery is removed entirely).

We recommend, before doing this procedure, that you turn the camera off and remove the battery for a few seconds.

  1. Turn ON the camera.
  2. Press MENU, Play, MOVIE buttons simultaneously.
  3. While Pressing these buttons, turn OFF the camera.
  4. Release your fingers, and wait over 30 seconds.
  5. Press MENU, Play, MOVIE buttons simultaneously again.
  6. While Pressing these buttons, now turn ON the camera.
  7. Release your fingers.

Please try again to perform updating procedure after camera is rebooted.

The download process is not a load-to-card firmware, it is an update performed by either a Mac or PC with the camera connected by USB cable. It is necessary to have the camera either AC adaptor powered or with a fully charged battery, and the computer should ideally be running a clean state without other processes (i.e., not rendering, downloading, exporting, playing Flash or other media, performing backups). Sony recommends closing all programs but for many users this will not be a practical option. As long as all I/O and processor intensive tasks are shut down you should be able to keep essential programs, such as Sony’s web page on your browser, running. If in doubt follow Sony instructions and close all programs, do a restart, then run the firmware updater. We had so many programs running on the Mac it proved necessary to do a clean restart before running the updater.

Please note that the downloaded updater program is over 68MB and the updating process for the camera takes over 5 minutes.

The Alpha 77 firmware updater page for Mac OS is:

Europe/UK link – just change the camera name box for A65, this link gives access to all upgrades associated with each model:

http://support.sony-europe.com/dime/crl/slt/slt.aspx?site=odw_en_GB&m=SLT-A77

Asia link (works with all regions):

http://www.sony-asia.com/support/download/474605

For Windows PC:

http://www.sony-asia.com/support/download/474591

The A65 update is here:

Mac OS:

http://www.sony-asia.com/support/download/474599

Windows PC:

http://www.sony-asia.com/support/download/474564

 

Sony – please add gain control to A77 sound

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

Sony UK’s live Q&A webcam sesssion

A recording – advance for half an hour or so to miss the lengthy setting-up process – is available of the web Q&A which Paul Genge of Sony handled tonight for a UK and worldwide audience of over 450 web-browsers.

Here are some resumé details and comments made during watching the webcast:

Paul failed to understand the question about the angle of view for video. Some existing models (14 megapixel NEX for example) crop the horizontal angle of view for HD1080, they don’t just take slices off the top and bottom. The question whether the 24.3 megapixel sensor HD mode uses the full horizontal angle like the 16 megapixel Alpha 55 remains unanswered.

Flash sync socket combined with auto gain for manual live view in place of manual mode exposure simulation does allow studio work with the A77.

Question about the SLT and light loss is not answered clearly – the correct answer is that additional gain is applied, so in effect, the mirror does result in higher noise levels. But this has not proved to be noticeable in the A55.

Paul implies that Sony has not yet designed the next generation of full frame cameras – but later on, confirms that there definitely will be one. No-one asked about the megapixel possibilities…

No audio input level control (auto gain, 5v mic phantom power via 3.5mm stereo jack). Not much was made of this but it is the killer feature of the Canon 60D and 600D, enabling these cameras to film amplified music gigs with clean sound despite the clipping and overdrive potential of small condensors in high sound pressure. Manual volume setting is very important as music gigs are a big, big use of HD video.

Black 18-55mm kit lens will be exclusive to the NEX-7.

Firmware upgrade for NEX-3, NEX-5 and NEX-C3 will allow use of the LA-EA2.

A77 and A65 use electronic sensor based video stabilisation, not physical piezo actuation and movement of the sensor on the carriage, to reduce sensor overheating but provide IS. This may answer the question about the video HD crop, as this type of stabilisation can only be effective if the sensor is substantially larger than the image area. If this stabilisation is proposed for stills, it could result in variable crops of the image area. But no-one was asking questions at this level.

A77 MR Memory Recall – three custom setups saved, as with current Canon models. but not as convenient as the Alpha 900 with its three physical dial memory positions. Better than pure screen-menu chosen memory settings though.

Paul is now calling NEX ‘necks’ not ‘any eggs’. Good, that’s how we have always said it!

24.3 megapixel sensor creates 27.6MB raw file size, 38MB when also shooting a typical fine JPEG.

A77 movie exposure modes (P, A, S, M) can only be used if the camera is set to Manual focus; it is possible to re-autofocus during a take, but the brightness and settings appear to change.

ISO in finder, but OLED EVF can be customised to show what functions or settings you want to display, independently of what you see on the rear LCD.

September 24-25th, event at Sony HQ Weybridge, Surrey – www.sony-alpha-live.co.uk – Saturday or Sunday, team of advocate photographers, book space – £77 for first 30 users, £150 for rest. Includes free goodie, bag, lunch, transfer from rail station. Meet Paul Genge, his team, and the Alpha advocate photographers. Other companies involved will include Manfrotto, G-Tec hard drives.

(We asked later to attend this, but Press are excluded – it is strictly for paying delegates and aimed only at owners).

Question about Sigma lens compatibility – praised Sigma as an honourable Japanese company, which generally fixes the lenses as needed.

12-bit depth raw.

Over 450 users.

Did not mention GPS (we have subsequently had some complaints at PCA over the omission of GPS from the NEX-7 – ‘the ideal travel camera but no GPS is a deal-breaker’).

New community pages on sony.co.uk

Sony launches new range Alpha, NEX

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

 

 

 

Sony DEV-5 and DEV-3 digital HD filming binoculars

An invitation to a Sony event on August 15th seemed perfectly timed for the announcement of the Alpha 77 and 65, NEX-7 and NEX-5n. In fact, those cameras were launched in Greece on August 24th – and Photoclubalpha, as a very minor player in this business, was not on the guest list. Nor could we have attended if invited as the diary was already full that week (four days of the Master Photography Awards judging and their Fellowship and Associate annual admissions to be covered).

Wild geese – red-breasted geese, Branta ruficollis, fleeing the camera (©Shirley Kilpatrick, A580, Sigma 18-250mm OS)

However, when the invitation to an event at the London Wetland Centre was issued, with strict limits on the numbers able to register and some air of importance, we decided to do the 700 mile round trip, stay a couple of days for some stock photo shooting, and hope for the best. My mistake, one of our photo mag friends said he didn’t attend because he was tipped off it was not really for photo mags. Even so, most of those present seemed to be photo press not wildlife press…

The Wetland Centre, while a fairly poor location for photography due to the extreme distance the hides are from the wildlife, would have been a good place to launch an Alpha 77 and Alpha 65 (both equipped with improved GPS) and teamed up with the long-awaited 500mm f/4.5 Sony Apo G SSM.

Sadly, it all turned out to be a wild goose chase for Photclubalpha. The object being launched was the new Sony invention of 3D digital binoculars, the DEV-3 and DEV-5 models aimed at high end binocular users wanting to spend their £1300-£2000 on something novel. While impressive enough if you want an electronic viewfinder version of binoculars, they are almost useless to photographers as the still capture resolution is a mere 7.1 megapixels from a small EXMOR-R back illuminated sensor. JPEG only, no raw, no control of still capture settings beyond very basic adjustments.

Digital scoping

Sony took their lead on development, it seems, from digiscoping. Their research showed that serious bird watchers have been fixing compact digital cameras (and occasional DSLRs) to the end of high power spotting scopes to secure unfeasibly long focal length equivalents and capture acceptable frame-fillers of bird life from the distances bird life prefers to remain.

Their research also showed that bird watchers will spend £2000 without hesitation on a high end pair of binoculars.

Now I’m going to stick my neck out and suggest that much of the appeal of digiscoping is exactly the same as the appeal of adaptors and alien lenses used on the NEX. One of Sony’s own Japanese executives at the event was wearing a NEX-5 with a Voigtländer adaptor and a 21mm f/4 Voigtländer lens in Leica M mount.

Digiscopers like their rigs of camera and scope because part of the challenge is to create a perfect digiscoping set up and discover the best cameras, scopes, eyepieces and adaptors for the job. Creating the equipment is part of the hobby. Also, the scope continues to have a purpose of its own as an optical device. It does not matter that the combo weighs 4.5kg and needs a tripod (even that is part of the Meccano-Lego factor, building your personal solution).

Paul Genge of Sony explained how much lighter the system will be than digiscoping – but omitted the fun of making your own digiscoping rig, which is half the point of it

The Sony Electronic HD video capable binoculars do one thing well, and only one thing. They capture HD1080p video at 50fps (60fps in the USA) with the option to use both sensors for 3D video, which is interlaced instead. With lens-based stabilisation counteracting complex rotational movements which may affect each of the two lenses reciprocally, they are a technical masterpiece.

Unfortunately, they don’t have the new high resolution EVF of the Alpha 77/65/NEX-7, but use one closer to the Alpha 55 in detail. Actually, they use two, fed by separate sensors, as a true binocular system with the eyepieces adjustable for interpupillary distance and dioptre settings. They can simulate using electronic screens a binocular view, with a 16:9 or 4:3 format (the sensor is actually 4:3 ratio, and cropped for HD).

This was not at the Wetland Centre (mother coot feeding chick) but at Kew Gardens, which actually put photographers much closer to wildlife more accustomed to humans at close quarters (©Shirley Kilpatrick, A580, Sigma 18-250mm)

But in my pocket was a Minox 6x16X monocular, and in Shirley’s bag a similar Minox 8x16X – lovely little Zeiss-optic metal devices intended for concerts and travel. So I was able to compare the view through the 10X DEV-3 with a simple, monocular, low-cost Minox optical image. There is simply no way ever that any serious nature-watcher would wish to observe the world through the electronic version. It is a world without the individual colours within the feathers of a bird; indeed, it doesn’t even have the individual feathers. Compared to looking through the electronic finder, the optical view was breathtaking in crystal clarity and brightness with exquisite detail enabling the identification and study of subjects.

Real birders use 20×30, 20×50, even up to 30X (Olympus zoom binoculars, for example). Some may choose stabilised binoculars, offered by Canon in specifications including an 18 x 50 with all-weather body. The stabilised view of the DEV-3 and DEV-5 is still a good feature and goes some way to make up for the lack of true image detail.

The zoom of these devices is not the same as the limited range of binocular zooming – and the same goes for focusing. They can focus down to 80cm and retain 3D video, due to the close spacing of the objective lenses; in 2D, macro shots close to the lens are possible, and indoors you can even shoot normal people and group shots though there’s no flash of course. In this sense the Sony invention goes beyond being a binocular, just as much as it falls short of being a true one.

If this looks familiar, the embedded front bit is basically a Sony Handycam TD10E lens and sensor assembly

That’s because all the DEV-3 and DEV-5 actually consist of is the front part of the Sony Handycam TD10E with some optical and design modifications, and a stereo viewing system bolted on the back. This £1300 camcorder offers a 17X zoom range but it’s hard to express that in the same terms as binocular magnification. Its recording is technically identical, the same bitrate and quality of 1080p or 3D 1080i, and its stills are the same 7.1 megapixel maximum. This was admitted by Paul Genge, Sony’s technical sales executive, when showing us the DEV-5.

Most oddly for the target markets of birding, wildlife, safaris, peeping toms, police, military, racegoers and suchlike the DEV models are not ruggedized or water and dust proof. They do accept an external microphone but it’s most unlikely any camera-mounted mic, even a special shotgun unidirectional type, will satisfy wildlife film makers.

Of course, the DEV-5 does include GPS and will record the location of filming but there’s no built-in magnetic compass so it does not tell the full story. The DEV-3, with its lower maximum zoom power, omits the GPS and that is reflected in the price (update – we are told by Paul that the interest shown since the launch is almost entirely in the higher end model with GPS – it provides valuable evidence to bird-spotters, and evidence appears to be what they value most).

Despite the two lenses, the DEV models do not capture 3D stills – only 3D video. Binocular experts will point out that the closely spaced objectives reduce the 3D impression given by long-range binos which have a wider front lens separation. This is vital for close focusing. You either must have adjustable front lens spacing for close-ups (difficult to achieve) or a very limited true stereoscopic effect.

No test

We were not allowed to take any footage with the DEV-5 or DEV-3 though Paul showed some tests of his own, taken during a week trying out the new product all round Britain (between visits to key dealers such as Park Cameras, who are selling them at the Bird Fair which opened on August 19th at Rutland Water, with a free extra chunky high power battery thrown in).

Report from this event, added September 8th – Paul Genge says it was a great success, with over one thousand visitors to the Sony stand trying the DEV models. Many of these visitors had tried digiscoping but had consistently poor results despite much investment in bits and pieces to get it working, and saw the DEV concept as a simple, elegant, nearly perfect solution to their problems.

Birdfair at Rutland Water on August 19th – the blueprint above turned into a real Sony DEV-3/5 booth. Park Cameras offered special deals as the first main distributor and took several orders, all for the DEV-5 model, on the day.

The results looked very impressive as HD movies.

However, there are a few functions which the DEV models could have included had they been designed from the ground up and not based on an existing camcorder. One is pre-shot capture, where the buffer is constantly recording a rolling second or two of video, to be included with the take when you press the button to film. This avoids missing the critical first part of movement of the subject which triggers your own reactions.

The second is slow-motion capture at reduced resolution; 50/60p is already capable of half-speed playback and the shutter speed control use in the DEV models favours better motion freezing than some camcorders which aim for purely cinematic shutter speeds (1/30-1/50th and so on). Had controls been added to force fast shutter speed capture that is very useful for analysing wildlife film frame by frame, or extracting a valuable still image. Had 720p at 100/120 frames per second been enabled, that enables quarter-speed playback of action.

Single-handed operation by Paul Genge – but he’s had a week of weight training before the event! They are actually pretty light, just rather large.

Finally, make no mistake these babies are big. They are not overly heavy, as they are mainly empty plastic shaped to look like a military device. But they are not especially travel friendly, or all that easy to pop under your jacket in a cloudburst.

The ultimate use

Shirley’s verdict was – these are just made for festivals and stadium gigs! The one use not mentioned in Sony’s presentation, and a very popular use for binoculars and camcorders alike, is to see stage performances better and record music. Those little Minox monoculars we carry everywhere with us now were bought some years ago, en-route to an R.E.M concert. And sure enough, from our vantage point in Stirling Castle, they were a good investment.

Now if the tiny Minox monocular happened to include a 1080p HD movie recorder – which it very easily could in terms of size, think of mobile phones, Sony Bloggie and the like – it would be an even better concert companion.

The Sony DEV digital binoculars might get in past some security staff but we reckon they will soon be recognised and banned from events.

Nothing new

The first time we discovered binoculars combined with a camera, we actually got to be the first UK journalists to write them up. This was the Nicnon binocular camera, in its final version around 1975 (it had existed in a cruder design from the late 1960s) – it worked fairly well, but didn’t give any more real magnification than a regular 35mm camera with a 165mm lens and had a useless fastest shutter speed of 1/250th, only barely short enough to avoid camera shake in every shot and never able to stop action.

Later on we tried the Tasco 110 binocular camera but the results were almost useless. Today, of course, we have pocket digicams with zoom lenses going to an equivalent of over 500mm and a resolution which matches 35mm not 110. These can even challenge the concept of the DEV-3 and DEV-5, though I doubt that anything made comes close to the HD video quality. In the end, something is new about the DEV-3 and DEV-5, and that is the HD video in a binocular form.

We can only wish Sony the best of luck with this product. Any serious wildlife watcher or bird spotter will need their regular optical binoculars and their regular tele-equipped DSLR in addition to the DEV-3 or DEV-5. Regardless of six hour battery life and other commendable features, they simply do not and can not replace the other key equipment used in the field, with the exception of digiscope rigs or tele-capable camcorders.

They will sell to wealthy gadget enthusiasts and garden birdwatchers with poor eyesight and big flat screen teles. Over 50s, get in an orderly queue now…

For us, our four-day venture to the former wastelands of Barnes was a wild goose chase (we did see a few). Life was enlivened by road closures due to Olympic ‘test run’ cyclists. This product is not really of any interest to our dedicated photographer readership, for £2000 an Alpha 65 and 70-400mm SSM G would be a better investment for everything except the 3D video. And the market murmur is that 3D has failed, yet again. It’s simply not selling.

Get the full PRESS RELEASE here.

– David & Shirley Kilpatrick

 

Sony UK’s ‘Howto’ videos released

The press release below has just come out from Sony UK. I fear you will be disappointed if you are expecting to watch informative, instructional videos because they are not – they are devoid of high value content, and are just rather superficial plugs for features on Sony cameras. Not all these are even correctly explained or demonstrated, the Low Light video for example has the commentator referring to a camera making two exposures while the LCD display clearly says three (HDR) and talking about DRO-Auto after showing the mode dial carefully being turned to Manual (which disables DRO entirely).

It costs real money to make videos which are meaningful and valuable to the viewer. Real money may have gone on making these, but it’s not reflected in the quality or value of their content. Even the simplest of the subjects covered remains largely untouched by the video, and key information is omitted. Some information is quite misleading, such as the discussion of when to use S, M or L JPEG settings without ever mentioning that large image sizes can be downsized but small ones can not be enlarged without loss of detail.

‘Make sure you use the right image size for the job in hand’ must rank as some of the worst advice ever issued, encouraging digital camera owners to move off Large image size capture and lose vital detail which allows cropping, correction, resizing and higher overall quality. Telling them, in short, to throw away what they have paid for.

Watch the videos, they are free. But they really do not help the digital camera owner or Sony. – DK

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Sony Introduces ‘Howto’ video guides

Discover how to get the most out of your Sony Digital Imaging Products

Sony has launched a series of Howto guides across multiple platforms, to give customers handy visual guides to getting the most out of their Sony Digital Imaging products.

The guides, available via YouTube and a number of major retailers’ websites include easy to understand tips and tricks to enhance the Sony product experience and provide answers to the most commonly asked product related questions. The videos are also available via Sony’s BRAVIA Internet Video service, delivered direct to the TV, Blu-ray player or Netbox.

The guides cover all of Sony’s key product ranges, including Digital Imaging, Network Communication, Home Entertainment and Essentials. They also help explain some of the underlying technologies such as HDMI and DLNA, allowing customers to easily understand the features and benefits of their products.

A snapshot of the featured Howto guides including handy tips for your Sony Digital Imaging products include the below among many more:

Capture 3D photographs and video with your new Sony Cybershot or Handycam
Get the benefits of interchangeable lens cameras
Use Bloggie, Picture Motion Browser and Personal Space
Get better results from your digital camera
Learn to shoot photos in low light

All of the Sony Howto videos are professionally recorded and, where possible, made available in HD. If consumers want to find out even more, each video includes a link to a website where further details are available. This can be accessed via a shortened URL or QR code for smartphones, allowing users to receive product information whenever and wherever they may be.

‘Howto’ content development is based on input from customers, Sony user forums and the Sony support centre.

More HowTo guides are planned and outside of the YouTube channel, the guides will also be used as additional training material for Sony retail staff. Keep an eye on the Sony YouTube Channel for the latest content and product information.

Watch the birdie – will Sony’s GPS surprise?

Before reading this article, which has attracted a lot of traffic and attention, please remember this is my personal speculation and could be entirely wrong (I’ll be very disappointed if it is miles off target and they omit GPS… or my reading-between-the-lines turns out to relate to a different product like a superzoom pocket camera with improved GPS).

There are plenty of detailed rumours about the specifications of the forthcoming Alpha 77, Alpha 65, NEX-7 and NEX-5n to be found on the Sonyalpharumours website:

http://www.sonyalpharumors.com/sr5-the-full-a77-a65-nex-7-and-nex-5n-specs/

I’m not here to confirm or deny any of this (like most mainstream journalists, even those with some connection to Sony, I don’t get advance information and I am not running a camera-test website which demands a pre-production preview under strict non-disclosure terms).

The image currently circulating most, purporting to show a new Alpha – 77 or 65. Real or not, it looks good enough.

The 12fps stated maximum shooting speed of the semi-pro specification A77 fits in with information given to me as long as three years ago. A vaguely Alpha 700 like prototype was being tested in the Australasia region with 15fps. Most of the other specifications, such as the magnesium or magalloy body, were apparent right from the first mockups being shown if you know your Alpha construction. The strap lugs were the giveaway. You can tell an A900/850/700 type camera (solid metal carcase under a plastic skin) from an A1/2/3/4/5xx Alpha by the strap lugs connected through the skin to the casting.

But what Sonyalpharumours doesn’t elaborate on its something I believe Sony has put into the new Alpha 77 which will make it the ultimate cameras for bird watchers, aircraft spotters, wilderness ramblers, explorers, police forces and the military. It has GPS. I think that when it is seen by the press later this month the GPS will be a big point.

It will be the fastest locking-on GPS built in to any camera, and it will be the first to record ALL the data you need. That will include not only the latitude and longitude and height above sea level, but also the compass direction the camera is aiming in and the inclination of the camera. Combined with very accurate focal length, focus distance and AF locus data, this will make it possible to use the Alpha 77 for photogrammetry (measurement, mapping, object size identification).

I parked illegally and jumped out of the car for this shot of Bamburgh Castle from the village’s main road. For once, the Alpha 55 GPS locked on instantly and gave me the exact location of the camera on the Google Earth terrain view below.

But two days later I spent ten minutes, using a tripod, carefully photographing an uncommon slightly edible mushroom in our garden over 30 miles from this shot. Needless to say, all the frames of the mushroom display the GPS data from Bamburgh as it had failed to update its position.

This is Leucoagaricus nympharum – white field mushroom with ‘dancing maidens’ on its distinctive cap. Some sources state it is edible. For me, it was. For Shirley – noted as one to avoid for the future… but a great photographic subject. Natural light, CZ 16-80mm, 1/3rd of a second at f/14, 80mm, ISO 100, manual focus and settings.

The GPS in my Alpha 55 has been a real help in travel photography. I use Media Pro, the Phase One cataloguing and keywording software. Since this moved away from Microsoft ownership it no longer has its own own Microsoft Virtual Earth pane to open when GPS embedded data is found. Instead, it opens my web browser to the usual Google Map and Earth page. It’s not as neat as having the map tab within the Media Pro software but it works just as well.

However, the A55 GPS frequently doesn’t get a signal during many minutes of shooting at a new location. I have entire shoots of places, lasting several minutes in clear open conditions, wrongly tagged for the last spot visited. Fortunately, if I have left the camera switched on I sometimes find the correct location attached to the next place en route…

The Alpha 77 will, I believe, see an end to poor GPS and it will add the vital compass and inclination functions. Combined with the 24 megapixel resolution, near-silent mirrorfree high speed sequences, and the 1.4X and 2X teleconverter functions (cropping the sensor field but retaining full HD 1080p video, we hope) this will make the 77 the world’s best camera for wildlife safaris. And for those who like to log their natural history subjects, the accurate GPS tagging is the closest thing you can get to digital evidence of the authenticity of your shot.

All major camera companies have their eye on government and military budgets. It was the US forces’ decision to buy Topcon SLR cameras in the 1960s which gave that small but excellent camera brand a few years of glory. They achieved it by making a camera which was tougher and more versatile (in some ways) that the rival Nikon F – with accurate TTL metering that did not need a bulky prism head.

At different times Olympus, Nikon, Leica, Hasselblad and even Minolta have been favourites for government and military use. I think Sony, realising what the high resolution and very fast capture rate of their new technology mean to such users, will have sealed the deal by upgrading the GPS. The Alpha 77 will not only be the world’s best wildlife and wilnderness companion, it will also be the best evidence camera, surveillance camera and spy’s best friend.

Of course this is all pure speculation. It is based on a well-grounded hunch, and on what I would do myself, if I was in charge of the Sony development plan for the A77. There’s no way I would let another GPS module out in the world with less reliability than the average pocket digicam’s version. I would want my top SLR (SLT) GPS to be a world-beater.

Now you’ll just have to wait and see. But wouldn’t it be good if I’m right?

– David KIlpatrick

The truth about 24 megapixels

There is a rumour, which the ides of August may stab in the back or elevate to divine truth, that the coming Alpha 77 will have 24 megapixels.

Because of this rumour, there is a lot of very negative discussion going round to the effect that 24MP on APS-C is far too much and the results will be poor (etc).

Well, they may be, if you think Canon’s results are poor – you can judge that for yourself, try a Canon. But they do not have 24MP sensors!

They also do not have APS-C sensors, in the same way that Sony does. They have smaller APS-C sensors with lots of pixels cut off all round the edges. Sony has chunky big APS-C sensors with acres of extra pixels to spare. This is a slight exaggeration of the situation, but hey, I may as well join in the mood of unrestrained opinion!

Facts: Canon’s 18-megapixel sensor makes images 3456 x 5184 pixels in size (give or take a few, depending on your raw processor). Fact: their smaller 1.6X factor sensor measures 22.3 x 14.9mm. Fact: Canon states it is approximately a 19 megapixel sensor with 18 megapixel final output.

Facts: Sony’s 16.2 megapixel sensor measures 23.5 x 15.6mm and into this packs 3264 x 4912 pixels (active area).

If you made a current Canon pixel-pitch sensor the same 1.5X size as a Sony sensor, it would be around 19.7 megapixels active from a 21 megapixel total. If you put Canon pixels on an existing Sony 1.5X sensor, you would be up to 3618 x 5463 pixels and 24 megapixels needs to be 4000 x 6000.

Clearly it’s not the quantum leap some people think, just a quantum leapfrog over Canon’s back with the benefit of the larger sensor. And it’s worth considering that APS-C covers sensor sizes up to a true 24 x 16mm, for Super-35 video use, and that such sensors have already been made. A few wide-angle lenses and zooms might be a bit tight on the image circle, but that half millimetre one way, 0.4mm the other way, adds up to a surprising number of pixels, enough to take the 19.7 megapixels up to 20.7 megapixels without changing from Canon’s current pixel pitch.

So don’t panic. The chances are that 24 megapixels on proper, big Sony APS-C will perform very well. If you’ve got the glass and the technique to make it…

– David Kilpatrick

 

Free 30-page Photobook for Sony owners

Sony UK today announces the launch of PR!NT, an online photo printing service for their e-community, powered by PhotoBox.

Users can upload, archive and share images and order from a wide range of PhotoBox photolab products ranging from straightforward prints to novelty items and albums. Simple to use, photos can be printed at the click of a button. The service will be found at:

www.sony.co.uk/print

and will also be accessible through the growing ‘Communities’ portal. There will be an introductory offer of a free 30 page photo book for all new registrants.

PRINT launches in time for the summer holiday season. The service will develop over time to provide new ways for customers to get the most out of features unique to Sony such as Sweep Panoramic images. It will also offer an unlimited online storage for a secure back-up of images and will compliment other services from Sony such as tutorial and community sites, and Personal Space for private photo and video sharing.

“We are excited to be able to offer a new print service for Sony customers, allowing them to print and bring to life exciting images taken on a Sony product. The service is an important addition to the Sony Digital Imaging range as it will offer consumers the ability to release the unique features in our cameras such as Sweep Panorama, and help them learn more about taking great photos”, said Neil Bowen, Proposition Development Manager, Sony UK, a subsidiary of Sony Europe Limited.

“This is a great match for us, two market leaders with unrivalled expertise in photography, now working together and creating a compelling offer to consumers. We’re thrilled at the prospect of working with Sony UK as we continue developing the service with more innovative products and features, making it a joy for everyone to free their photos”, concluded Lawrence Merritt, PhotoBox Managing Director.

Editor’s Comment: this is something of a scoop for Sony UK in hooking up with a UK fulfilment lab. The dominance of CeWe, the giant German photolab, in on-line as well as retail outlet and kiosk product fulfilment, might have suggested them as a logical European partner. PhotoBox, though UK-founded, is now a subsidiary of Photoways SA, a French group, and offers regionalised services in every European country – which could allow Sony Europe to extend this venture across the region. In April PhotoBox Limited announced that a stock market flotation was being considered within the next year.

The services provided by PhotoBox are generally considered to professional in quality, and are used by many websites such as www.theimagefile.com – a sample collection of my own regional images on theimagefile (with their PhotoBox ordering options) can be viewed here. – DK

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