Cameracraft magazine – Taking your practical photography further

Tag: Sony

  • Paperback edition of Photoworld 2008-11

    We have decided to make a Lulu print-on-demand digitally produced paperback edition covering the last three years of Photoworld magazine, covering the period from the launch of Alpha 900 and photokina 2008, through to the final edition of our quarterly magazine in Summer 2011, when the Alpha 77 was about to hit the streets.

    This 312-page book includes the content of 12 editions of Photoworld, each with its cover and contents page, with some advertising and some regular content or ‘diary dates’ removed. A few items like this remain in place, notably Sigma advertisements, because the alternative would be to pay for a blank white page – or they are small ads and part of a larger page layout. We think even these are still of interest for the future.

    Some typos and errors have been corrected so this book has more accurate versions of many articles. Some content has been changed, such as the A2 foldout print included in the Autumn 2008 edition to show the quality of the A900 24 megapixel file. As far as we know, Icon Publications Ltd remains the only photo magazine publisher to use the option of a ‘centerfold’. We’ve done it in our professional titles as well, to show medium format quality at its best. But in a digitally printed book, it’s not possible to staple in a 16.5 x 23.75 inch poster. Instead, we’ve used a different choice of a spread and two full page images.

    Through this book-form edition, you can track the birth of the NEX system and the death of the optical viewfinder.

    If you can not see the Flash preview above, use this link: http://www.lulu.com/shop/david-kilpatrick/photoworld-2010-11/paperback/product-20477114.html?showPreview=true The book costs £64.50 - the original three years of magazines would have cost £53.85 absolute minimum (UK annually renewing subscription) and a typical binder costs £10. However, for worldwide customers the overall cost of the magazines over three years plus a binder would have been £90. Digital printing is expensive and we don't make much on these, but we've had Lulu print calendars in the past (2011) with super results and this should be a very good quality book, fairly matching the original litho magazines. - David Kilpatrick

  • Hood-cap for NEX with 16mm

    At photokina 2012, the Taiwanese company Hoocap (www.hoocap.com) showed a neat device for many different lenses and cameras, still in development for a wider range. It’s a combined lens-hood and lens-cap, which can be pushed or pulled to seal off or use your lens. They have models for lenses such as the Nikon 24-70mm f/2.8 – but their neatest model is dedicated to the NEX 16mm f/2.8.

    One of the best and most original lens designs ever made, reducing the number of elements to fewer than EVER used before for an 83° angle of view, while maintaining an exceptional standard of resolution and geometric projection – and anyone who claims otherwise either just doesn’t understand what makes a 24mm equivalent lens, has a bad example*, or doesn’t realise just how BAD a typical 24mm Nikkor, Rokkor or Canon is in comparison.

    Rant over! *Sony’s QC has been less than flattering to the skills of their optical design team.

    Now this is an efficient lens shade for video, and not all that bad for the majority of still images taken in horizontal, landscape composition mode. You can, of course, fit the 18-55mm lens hood to the 16mm lens and it does help prevent the very rare instance of lens flare from a design which is highly resistent to flare.

    Unboxing, only they didn’t have a box, just a prototype plastic pack. It was disappointing how few firms at photokina were willing to give us samples of relatively small items. We did not have time to spare, just a day. Hoocap immediately understood what we were doing and offered a sample. They were the ONLY company to do so. In past years, we’ve come back with loads of small accessories and items to write about, but this 2012 photokina has been an impoverished one in more ways than just the lack of square metres of stands.

    This is how the Hoocap closes. It does add some bulk to an otherwise tiny camera and lens. You pull the unit from the rear to open the hood. It tends to need two actions unless you are lucky enough to get the pulling action exactly at 90°. It does not risk accidental opening, or closing. The action is firm and positive and exerts no strain on the lens or camera.

    In case you think we do not question product design, here’s fault no 1 – if you have the small flash fitted to a 3/5 series camera, it won’t stow down fully. But it does turn off. It simply impedes the closing action of the Hoocap. By the way – we tested the cap with a 49mm UV filter fitted to the camera. It allows space for this.

    The second flaw connected with flash is this. Look at the geometry – without the Sony flash extender.

    It’s not awful, but this f/16 test shows exactly the area of shadow the hood will cast for a typical party or group shot at home. You really need to remove the hood for flash shooting.

    Much will depend on the price, but we like this product. It closes the camera off in a very fast action – clunk! – and opens it almost as quickly. It can also be used on the 18-55mm lens but it’s super-neat on the 16mm.

    Don’t forget we have a new photo quarterly magazine – Cameracraft. Please support us by subscribing, Cameracraft directly finances the Photoclubalpha website.

    – DK

     

     

  • A divided path for Sony

    Most Japanese camera companies have divisions, groups, and teams right down to the very last individual product. Even a single lens design may have its own small team, from R&D and design down to final assembly. What we are seeing happen in Sony right now is the result of complex competition and collaboration between several teams.

    Take, for example, the new Sony 300mm f/2.8 G SSM II. You might assume this lens was mainly an Alpha division product from the former Minolta heritage, but in fact it’s been redesigned to work better with NEX and also with both consumer and professional HD video cameras from APS-C through Super-35 to full frame 35mm.

    SLT/SLR system users gain with improvements like Nano AR coating (similar to new coatings introduced by Sigma, Nikon, Pentax and Canon), better MF control, and a better degree of weathersealing. It’s the complete update of the SSM motor (is it SSM II, or entire lens version II?) which provides compatibility with on-sensor PDAF and enhances CDAF, to offer the prospect of object-tracking AF during video. At £6,700 UK it needs to show major benefits to compete in the still field, but may have a market all to itself when fitted to the new NEX-VG900E full frame video camera.

    It’s easy to think – ‘the first ever full frame video cam!’ but that is not the case. The Canon 5D MkII established the DSLR form as an acceptable professional video camera, and in the last three years a vast industry of shooting rigs, grips, follow focus devices, monitor screens and accessories has grown up all based on turning this video-unfriendly camera into something movie and TV crews are comfortable with.

    Sony has implemented the sought-after 24 frames per second rate in all the new models just announced, not going for the European excuse of 25fps being close enough. This is to allow a so-called cinematic look, despite the fact that the movie industry has been trying to get away from 24fps just the same way as it threw off the shackles of 16 or 18fps many years before. Users want it, so they have at last provided it.

    From the very start of reviewing HD capable cameras, we have emphasised the issues with audio – the *absolute* not optional need for audio fixed or adjustable manual gain control. I’ve done this for years in printed magazines. So has any other writer who ever had to use a camera with auto gain and nothing else. First Nikon (basic) then Canon (full control) and now Sony show they listened, if slowly and relunctantly, to something their own audio engineers would have told them was vital not a luxury.

    End result – Sony enters the mainstream for HD video shooting with the Alpha and NEX systems.

    The same technologies, in terms of sensor use and implementation of optical advances linked to Phase-Detection On Sensor (which I’ll call PDOS), now apply across the entire range of Sony digital imaging products from Handycam, through Cyber-Shot, through NEX, to Alpha. The Cyber-shot range is only missing an APS-C model.

    What is particularly interesting is that this divided path is a parallel path now and not a divergent one. There’s no question of one straight and narrow path leading to heaven, one broad and easy road to hell, and winding ferny way to faery. Instead we get a four-lane highway joining Sony present to Sony future, with every option to change lane if you want to overtake.

    Legacy and inheritance planning

    Sony acquired a lot of old Minolta tech as a dowry in the 206 marriage to the Alpha system. Now having invested that legacy they have to make sure it still has value for future generations.

    And example of what this really means can be found in the PDOS restrictions of the A99. The AF-D mode won’t work with some lenses, yet. For example – the 16mm f/2.8 fisheye, the 20mm f/2.8, the 16-35mm CZ f/2.8 zoom, any Konica Minolta zoom, any old Minolta AF system lens, the 35mm f/1.4, the 85mm f/1.4 CZ and G, the 135mm f/1.8 CZ and f/2.8 STF, the 200mm f/4 Apo G Macro, the 24-105mm D, any macro lens, the 400mm f/4.5, 600mm f/4, 200mm f/2.8 or the 300mm f/2.8 G SSM (pre-II). It is not even flagged as working with the 30mm f/2.8 SAM macro, 35mm f/1.8, 50mm f/1.8, 85mm f/1.8 or the 24mm f/2 Carl Zeiss SSM ZA. Or the 70-300mm G SSM, let alone the basic 75-300mm SAL.

    It will only work with the 24-70mm f/2.8 CZ, the 28-75mm f/2.8 SAM, the 50mm f/1.4 current design, the 70-200mm f/2.8 SSM, the new 300mm f/2.8 G SSM II, 70-400mm f/4-5.6 G SSM and the new 500mm f/4 G SSM. Sony’s firmware requires that the user enter the focusing range involved. This is put forward as an advantage – making the system less likely to focus on a fence instead of the view through it – but in fact it’s an integral part of PDOS. Each of the 102 focus points spread across the sensor* is not a single pixel-pair, it’s a cluster of several pixel pairs tightly grouped. There may be the minimum of three differently pitched PDOS points per location, or perhaps more, to cope with the wide range of exit pupil conditions encountered when using Alpha-mount lenes.

    For any one lens, the camera will need to know the broad focus range involved (hopefully the main PDAF array will normally provide this), the aperture at which focusing is taking place, and some further information about how the zoom or lens design influences the exit ray cone. From this, it will select the correct PDOS configuration and I think that for some lenses only a central zone will be active.

    Sony states that firmware updates will add further lenses, but this technology only requires some relatively simple information based on the optical design. If they could have added more lenses from the start, they would have. Watch this space, because it may remain more of an empty space than you hope for.

    * Sony imply that the PDOS area is large – actually it’s about 13mm square, within the APS-C zone, and does not extend towards the ends of the full frame much further than the cluster of regular PDAF points. These seem to be the same module as the A77, giving the A99 an AF ‘zone’ much smaller relative to its frame.

    Zones and maps

    The Alpha 99 also introduces something which almost has to happen if any of the above is going to work at all. Anti-aliasing filters do not have an even effect on sensors, especially full frame with wider angle lenses where the rear nodal point of the lens is relatively close. Geometry means that light passes through them at more of an angle towards the edges and corners, and there is therefore more distance between AA filter and sensor surface. With an AA filter having a single value diffraction-created diffusion of the image-forming light (aka blurring), the effect gets stronger as you move away from the centre (axis).

    Since most lenses are also sharper in the centre and typical sensor microlenses are not ‘tuned’ from centre to edge, the overall result is to emphasise fall-off from centre to edge. Secondary results include a dramatic tendency for bright sources imaged in the extreme corners to have a strong, directional, surrounding glare. This is boosted by internal multiple reflection between the sensor surface and the inner face of the AA filter, especially if the incident rays are at 40° or less to the focal plane (where on-axis rays are described as being at 90°).

    The best solution to this is the classic one – what Olympus called telecentric lens design, where you do your best to project the image on to the sensor from a relatively distant position keeping all rays, centre to edge, as close to 90° as possible. But that calls for new lens designs and also restricts the optical formulae, tending to produce much larger heavier lenses. It’s very practical on one-inch or smaller sensors, OK on MicroFourThirds, feasible for NEX but not much an option for a full-frame coverage.

    So, Sony has introduced an AA filter which they describe as ‘multi-segment lo-pass’. It’s not one strength across the entire frame, but divided or graded to optimise performance towards the corners. At the same time, they have introduced a similar zoning to noise reduction, which we assume to mean the NR applies to the raw output before a raw file is saved. Combined with the usual sensor mapping, and lens profile based vignetting compensation, the overall effect of these refinements should be to:

    • Even out the apparent resolution and image acutance across the frame
    • Reduce the mapped peripheral gain effect, under which images appear to be noisier at the edges unless natural vignetting is allowed to be present
    • Remove artefacts such as corner streaking or softening, and fringes or flare from light sources towards the extremes

    No doubt this is also combined with the detailed ‘repair’ function used to deal with PDOS. More on this later, as there’s an implication that the PDOS on the A99 is not the same as that on the NEX-5R or NEX-6, and may use a second layer of pixels leaving all 24.3 megapixels of the imaging layer untouched.

    The area-specific NR is probably essential to achieve the high ISO range at 14-bit conversion, though it’s not unusual for cameras at this level which claim 14-bit conversion to have a variable true bit depth depending on ISO, image style and exposure conditions. We can assume that 14-bit will only be fully utilised under ideal conditions at ISO 100.

    Exactly how Sony has managed to adjust AA values in ‘segments’ without visible transitions, we’ll have to find out. The same goes for NR.

    The missing NEX-9

    There is one camera absent from the September 12th launch – the 24 megapixel full frame NEX-9. The appearance of the HD video Handycam, NEX-VG900E, indicates that the model name for the full frame 24 megapixel NEX will be NEX-9. Images of the VG900 show it using an Alpha via the standard LA-EA2 adaptor, and we can be sure that this and not a special range of E-mount full frame lenses (almost pointless) will be how the NEX-9 takes A-mount glass.

    In the meantime, the NEX-6 appears to be perfectly pitched in price, but see my comment below about GPS.

    The missing GPS

    While the A99 has GPS, we’re still left with no NEX model yet featuring GPS despite these being the ideal travel and walking companion. Nor is there a current SLT model with 16 megapixels and GPS, as the Alpha 55 replacement doesn’t have it and the ‘baby’ A77, the A65, is a 24 megapixel again. The Cyber-shot RX100 and RX1 models also don’t have GPS. Whether or not the new hot shoe will allow an add-on GPS remains to be seen.

    The new 50mm f/1.4 SSM Carl Zeiss T* Planar

    Whatever you think of Minolta glass, or new Sony glass, the Carl Zeiss name on a lens is a huge draw. Reactions to the otherwise rather pedestrian DSC-RX1 prove this. People will put up with being back in 1972 – the era of cameras like the Minolta Hi-Matics with fixed 40mm f/1.7 and similar Gauss design lenses of very high quality – if only it means getting rid of poor quality digital images. There was a time when you couldn’t sell a 50mm standard lens with a camera, and there was a time before that when every system was judged initially on the quality of its 50mm choices. We may be returning to that way of thinking.

    Edit – at the 2006 launch of the Alpha 100, a 50mm f/1.4 CZ was briefly shown in Paul Genge’s presentation to UK/English language journalists. I did not report on this as none of the literature confirmed what we saw on the Powerpoint screen. I believe this lens has been planned for six years.

    Flash

    The new HVL-F60AM flash with rather weak video light and new hot shoe might seem an annoying departure, but remember, the A99 has no built-in flash and thus can not control wireless remotes without a commander. No HVL-F20AM style mini flash has been previewed, so the F60AM is the only commander. But your old flash will work fine off-camera controlled by your new one.

    Parked on the hard shoulder

    So, having looked at the four way road map for Sony, I must confess that I’m pulling into a rest area for a while. I did not sell my Alpha 900 or Alpha 77, and I’m glad I didn’t. Nor did I sell my 24mm f/2 even though it has been little used for a few months. It has been waiting for a 36 megapixel full-framer, which makes a 24mm a much better all-round lens because of the croppable image size.

    I’m not one of those photographers obsessed by bokeh or the need to throw parts of my picture into extreme defocus. At 24 megapixels, APS-C is already seriously short of depth of field even at optimum apertures like f/9. I’m more likely to spend my money on a Samyang 24mm f/3.5 full frame tilt-shift lens to use with both the A900 and A77 than to invest in an A99. I have no use for a revised 300mm f/2.8, especially on full frame where it seems to me now to be a very conservative focal length, and though I’m sure a 50mm CZ will be wonderful I have no complaints about my Minolta-design Sony 50mm f/1.4. I do shoot video, but rarely in conditions which demand that I use full frame, and if Sony don’t put manual audio control into older models via a firmware fix, I’ll just buy a Canon 600D.

    The price of the Alpha 99 is not as bad as people suggest, with UK stories launching it at £2082+VAT, or $3200. But I’ve got a very good quality pure still camera in the Alpha 900, with effectively noise-free imaging from ISO 100 to 320, excellent battery life and exactly the same maximum image size offered by the 99.

    I think I’m in the market for the NEX-6 body but I do not care in the slightest about the WiFi aspect, or the downloadable apps. If the new remote control can actually trigger and end video shooting with the A77, NEX-5n (etc) I’ll definitely buy one. The RX1 is not for me either – had it been fitted with a 17mm, 20mm or even a conservative 24mm then it would have followed in the footsteps of the great wide-angle cameras I have worked with over the years from the Brooks Veriwide through the Plaubel 55W to Hasselblad SWC and Fujfilm G645SW. I would not even mind a separate optical finder for that, much; I was used to it!

    Things we forget

    The industry has put a huge effort into autofocus solutions ideal for interchangeable lenses and zooms, and apparently set aside the idea of external AF modules for good. With a fixed lens like the RX1, an AF module not working through the camera lens itself is a practical idea and could be far faster. We have also forgotten about those twin-lens compacts, with a switch to go from 35mm to 65mm (or whatever). Small sensor sizes, new lens design and ideas could make that concept work again.

    The story of development for all types of camera is not over as there are old ideas to be revisited, and new ideas yet to come.

    See B&H news on all the latest Sony stuff

    – David Kilpatrick

  • Sony Alpha 99 full press release

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

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

    Unsurpassed imaging performance and responses

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

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

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

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

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

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

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

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

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

    Crafted for videographers and movie-makers

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

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

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

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

    Uncompromised handing for serious photographers

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

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

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

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

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

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

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

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

    Designed for professionals: new lens and accessories

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • NEX-VG900E full frame HD video – full info

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

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

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

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

    Handycam® NEX-VG900E

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

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

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

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

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

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

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

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

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

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

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

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

    Handycam® NEX-VG30EH/VG30E

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

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

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

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

    The Handycam® NEX-VG900E and NEX-VG30E camcorders from Sony are available in the UK from November and December respectively.

  • Cyber-shot DSC-RX1 full information

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Sony aims for the sky – RX1?

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

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

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

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

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

    Konica Hexar 35

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

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

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

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

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

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

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

    35mm logic

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

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

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

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

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

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

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

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

    – David Kilpatrick

  • ACR 7.2 and Lightroom 4.2 RC – RX100 compatible

    The good news is that you can now download, free, the Release Candidate versions (expire October 31st) of Adobe’s Lightroom 4.2 and Camera Raw 7.2, as well as DNG Converter 7.2, which will give you raw conversions for the Sony Cyber-shot DSC RX-100.

    The bad news is that no camera lens profile is included, and until someone creates one, the distortions and CA of the RX-100 lens are not corrected by these programs. Also, we can confirm that no further highlight recovery is possible, beyond that already enabled in Sony Image Data Converter. This has not always been the case with ACR/LR. They have often enabled clipped highlights to be recovered with useful detail from KM and Sony raw files. The RX-100 raw files are right on the edge of overexposure and you just can’t pull burned out highlights back in.

    But against this, the high ISO performance of the RX-100 is superior to, for example, the NEX-5n. That’s surprising and worrying, as the 5n is better than the NEX-7. ISO 3200 images from the RX-100, processed through ACR 7.2RC, are about as good as any APS-C camera currently manages and not far off what can be expected from a full framer.

    Shot at f/1.8 on the RX-100, 1/30th, ISO 3200 – about as dark as it gets for hand held shots.

    100% ACR 7.2 clip with NO noise reduction at all and no sharpening

    On the Canon 5D MkIII, 1/3oth at f/2.8 using the 40mm pancake lens – twice as much light as the pub scene above, gold Olympic letterbox in Edinburgh seen by night time street lighting

    Sure, at 100% under the same process conditions it is better – but once you apply NR to the Sony image, the difference is levelled considerably. And this is the world’s best full framer for low light, right now, over 20 megapixels.

    Here is your download link for Adobe Lightroom ACR 4.2 RC:

    http://labs.adobe.com/downloads/lightroom4-2.html

    And here is your link for ACR and DNG Converter:

    http://labs.adobe.com/downloads/cameraraw7-2.html

    The results at speeds from ISO 80 to 400 are a match for any DSLR, with the exception of the issue of dynamic range above highlight clipping. There is no significant margin for highlight recovery. This is a marked contrast to the early KM Sony sensor such as the 8 megapixel used in the Dimage A2, which had almost two stops of clipping-free highlight recovery using the metered exposure in high contrast situations.

    – DK

     

  • Sony technology statement – new stuff all round

    Whether you like it or not – and some aspects are going to be useful – Sony is rolling out a whole new generation of gear including advances in digital imaging. This is a long statement made at a press conference. It would take a long time to edit it, so here’s their text in full.

    Sony Accelerates Revitalisation of Electronics Business by Enhancing User Experiences with New Product Offensive
     
    Sony Corporation’s President and Chief Executive Officer Kazuo Hirai unveils an array of Xperia smartphones, a new Xperia-branded Tablet, VAIO PC, Wi-Fi camera, NFC-enabled audio devices, new applications, new musical partnership, a Book of Spells and a showstopping 84-inch BRAVIA 4KTV at IFA 2012
     
     
    Sony Corporation (“Sony”) today unveiled a portfolio of advanced next-generation products which will help accelerate the revitalisation of the electronics business.

    Kazuo Hirai, Sony Corporation’s new President and Chief Executive Officer, speaking at Sony Europe’s press conference at the IFA electronics show in Berlin, launched a range of compelling products – each emphasising Sony’s stated strategic focus on Mobile, Digital Imaging and Gaming.

    “This is an extraordinary company going through extraordinary times. It forces us to confront difficult realities and make hard business decisions. We must look at ourselves honestly and hold true to the values and purpose of Sony. I am determined to do this with a laser-like focus, speed and execution,” said Hirai. “The products I unveil today will show Sony’s long-standing ambition to deliver what customers value – a simpler, easier, more entertaining and user-friendly experience.”

    The range of new products announced in Berlin includes three new Xperia smartphones – one featured in the forthcoming James Bond movie ‘Skyfall’ – a new splash proof Tablet, a new hybrid slate/laptop VAIO PC, a new NEX camera with built in Wi-Fi enabling feature-adds post purchase, and enhanced NFC enabled headphones and audio devices.

    Sony also unveiled a stunning 84-inch BRAVIA 4K TV, promising a totally immersive experience and building on Sony’s acknowledged professional expertise in 4K with acclaimed broadcast camera the CineAlta F65 and 4K cinema projection system.

    Hirai vowed that each product would reflect the ‘One Sony’ ambition, the organisation’s drive to deliver technically-advanced products and compelling consumer experiences through greater synergies across all Sony’s businesses from electronics to games, movies and music.

    “As “One Sony” we are joined together by a single vision, which I define with one particular Japanese word – Kando. It means to move people emotionally. Sony will bring a smile to the faces of a global audience” said Hirai.

    MOBILE

    Mobile devices are the gateway to Sony’s user experience. Adding to our acclaimed Xperia smartphones for providing premium entertainment experiences, Sony Tablets will be brought to market under the Xperia brand as of September 2012 to expand these great mobile experiences to the tablet arena.

    The latest Sony mobile devices, including Xperia smartphones, Tablets and VAIO PCs, will boast Sony’s media applications, with the new interface designed to enhance the user experience in high picture and sound quality. It will enable users to enjoy and share music, photos, and movies in a simple and intuitive way. These features will be available across new Xperia smartphones, Xperia Tablet and selected VAIO PCs.

    Furthermore, the new Xperia smartphones and VAIO PCs promise to bring consumers the ultimate cross-device connectivity. Through Sony’s One Touch function, which incorporates NFC (Near Field Communication) technology, users can easily and instantly enjoy their music and photos across an array of NFC enabled Sony devices by simply touching one device to the other without the need for Bluetooth or Wi-Fi set-up.

    Introducing the new products, Hirai added: “Individual Sony products will entice and inspire people. But what’s also important is that by connecting and combining hardware, network services and applications, we will provide a truly remarkable and compelling experience.”

    DIGITAL IMAGING

    Sony’s mobile products are pioneering new ways to capture great digital pictures, whilst delivering an enhanced user experience through further, deeper convergence of hardware, content and services. The new NEX-5R model is the latest Digital Imaging product to deliver enhanced usability.

    The NEX-5R compact system camera – with built in Wi-Fi – allows users to check the image, adjust camera exposure and control the shutter wirelessly from their smartphone. This makes it ideal for taking posed family pictures via the timer, where the image can be checked on the smartphone before the pose is broken. It also boasts “Fast Hybrid AF” giving DSLR-like focussing responses when capturing fast-moving action.

    The NEX-5R is the first camera compatible with PlayMemories Camera Apps, a service for downloading new apps such as “Time-Lapse” and “Cinematic Photo” directly to the Wi-Fi enabled camera.

    Sony is also introducing the new ‘wearable’ video camera, the HDR-AS15 with ‘ExmorR’ CMOS Image Sensor and SteadyShot image, great for skydiving or mountain biking.

    GAMING

    This autumn, Sony Computer Entertainment is due to launch Wonderbook, creating a multi-dimensional world using PlayStation Eye and augmented reality technology. It’s an experience like nothing else. The first Wonderbook title will be Wonderbook: Book of Spells, created in collaboration with J.K Rowling.

    IN DETAIL

    Detailing the product offensive at IFA, the Sony President and CEO highlighted the following innovations:

    Xperia Smartphones

    The integration of Sony Mobile Communications earlier this year was an important step for Sony. The company launched the first Sony smartphones to market earlier this year – the Xperia NXT (NEXT) series.

    The next introduction is the Xperia T, Xperia V and Xperia J, building on the acclaimed arc design. They will be brought to the market over the next few months.

    Xperia T is the new global flagship model that delivers the best high definition experience in a smartphone to date. It has a 4.6inch display powered by Sony’s Mobile BRAVIA Engine. Consumers can watch videos shot in Full 1080-pixel HD. The 13 mega-pixel fast-capture camera goes from sleep to snap in an instant with a single key press. The most amazing feature is how easily consumers can connect Xperia T to other devices to enjoy their content – with just one touch.

    Xperia V is LTE enabled for super-fast network performance. It also comes with the highest level of water resistance in a smartphone, so users can continue using their Xperia V, come rain or come sunshine.

    Xperia J is an eye-catching combination of stylish design and a stand-out screen size at a competitive price point.

    Xperia Tablet S

    The new Xperia Tablet combines a splash-proof body with high quality sound and a thinner, lighter design than its predecessor. It also offers a new app called ‘Socialife’ which enables users to enjoy SNS and news feeds in one viewer with a magazine-like layout. Together with new covers, stands and dock speaker, it is a communications device that will bring new style and fun into your life and appeal to customers of all ages and lifestyles. Running a NVIDIA® Tegra® 3 quad-core processor and Android 4.0.3 platform, it’s got all the power consumers will need to enjoy their favourite media, apps and games.

    VAIO™ Duo 11

    VAIO Duo 11 is a unique, Surf-Slider design hybrid PC which allows smooth sliding between slate mode and keyboard mode, ideal for being on the move. It features a thin, compact body with high performance, and a sophisticated stylus for the easy capture of handwritten digital notes, maximising the touch capability of Windows 8.

    VAIO™ Tap 20

    VAIO Tap 20, designed to leverage Windows 8, is a 20-inch, tabletop PC which tilts from desktop to lay-flat style. It can be a conventional desk top PC for personal use or a multi-media device – if used flat – for family use, for everything from playing board games to music editing or reading.

    Audio Visual: ‘One Sony’ brings professional know-how and greater connectivity to consumer experiences

    TV has always been part of Sony’s DNA, a symbol of constant innovation. It is the one product that still connects family and friends through shared experiences, more than any other.

    Sony’s first 84-inch BRAVIA 4KTV

    The new Sony 84-inch BRAVIA 4KTV boasts a 4K (3840 x 2160) LCD panel in the industry’s largest inch class (*1) and incorporates Sony’s ‘4K X-Reality PRO’ super-resolution high picture quality engine, meaning users will be able to reproduce a variety of content – including movies, TV programs, photos and games – to beautiful 4K picture quality ready to enjoy on the stunning 84-inch screen. This formidable combination seamlessly delivers a high-resolution large-screen picture with high-quality powerful sound to provide consumers with an immersive experience, unlike anything offered by existing televisions. The new BRAVIA 4K TV will be available worldwide, from the end of 2012.

    *1: As of August 29, 2012.

    Sony continues to take a lead role in advancing 4K technologies and is playing a leading role in professional 4K content creation through the CineAlta ‘F65’ camera, capable of shooting 4K content and beloved by leading film makers, and also the 4K digital cinema system used in the professional field. In the world of consumer electronics, the 4K home theatre projector for family use has been extremely well received since its launch last year.

    The launch of the 84-inch 4K BRAVIA TV demonstrates the new and exciting consumer home-experiences made possible through professional technologies, advanced through the company’s ‘One Sony’ approach to hardware and content innovation.

    HMZ-T2 Personal 3D Viewer

    Lighter and more comfortable than its predecessor, the all-new Personal 3D Viewer from Sony is a head-mounted, High Definition 2D and 3D personal display with virtual 5.1 surround sound. It’s perfect for movies and gaming, with twin OLED screens that display vivid, super-sharp images (with zero cross-talk interference) to absorb consumers in a truly personal experience.

    MDR-1 headphones

    The new MDR-1 headphones are the result of collaboration between Sony Music artists and Sony engineers to deliver sound quality that accurately reproduces the original intentions of the musicians. The MDR-1 RBT is NFC enabled, and carries Sony’s One-touch function making it easy to share music across a range of NFC enabled devices by instantly setting up a wireless connection between devices, with just one touch. There is no need for any Bluetooth or Wi-Fi set up. 

    SRS-BTM8 wireless NFC Bluetooth speaker

    The SRS-BTM8 portable NFC Bluetooth wireless speaker from Sony lets you enjoy music from your smartphone or tablet in high quality audio, anywhere in the house. With its built in One-touch function from Sony, with just one touch to the top of the speaker with any NFC-enabled Xperia smartphone – including Xperia T and Xperia V smartphones from Sony – music will be streamed instantly. There is no need for Bluetooth set-up.

    Partnership with Berliner Philharmoniker and Berlin Phil Media

    Sony has extended its partnership with the world renowned Berliner Philharmoniker, and Berlin Phil Media, which offers the “Digital Concert Hall” streaming service. For the past two years, Sony has video-streamed Berliner Philharmoniker’s musical performances for customers worldwide to enjoy on Sony’s home entertainment products. Under this new partnership, Sony will also supply professional products, which incorporate its key technologies, whilst also providing technical support for the creation and streaming of Berliner Philharmoniker content through the service. This partnership will further enhance collaboration and innovation around audio development, and produce feedback which will be invaluable for Sony.

    Sony HDR-AS15 action-cam

    Ideal for sports lovers, the HDR-AS15 is a new type of camera; a ‘wearable’ video camera. It features Sony’s SteadyShot image stabilisation technology to deliver stunningly smooth footage which is ideal for filming sports scenes such as sky diving, mountain biking or snowboarding.

    Equipped with built-in Wi-Fi, consumers can remotely control this video camera from smartphones and upload the recorded data online immediately. It also features a 170° wide angle Carl Zeiss lens.

    List of all products and services launched at IFA 2012 for the UK market

     

    • BRAVIA 84” 4K TV
    • Head Mounted Display HMZ-T2
    • AV Receiver STR-DA5800ES
    • Speaker System SS-NA2ES, SS-NA5ES, SS-NA8ES, SA-NA9ES
    • VPL-HW50ES Home Cinema 3D projector
    • Wireless NFC Bluetooth speaker SRS-BTM8, SRS-BTV5
    • Headphones MDR-1 (MDR-1R/1RBT/1RNC)
    • NEX-5R – Wi-Fi enabled camera
    • Action Cam HDR-AS15– personal camera
    • PlayMemories Series (new Camera Apps functionality)
    • Xperia Splash/Water-proof Smartphone
    • Xperia Tablet S
    • Music Unlimited – New Subscription Tier, “Access” for PCs and PlayStation(R)3
    • VAIO™ Duo 11 (Slider hybrid PC)
    • VAIO™ Tap 20 (Tabletop PC)
    • VAIO touch range (VAIO™ Duo 11, VAIO™ Tap 20, VAIO T Series 13, VAIO L Series)

  • New NEX models – downloadable apps for camdroids!

    The age of the camdroid is upon us! Sony has, as expected, announced a platform to flog unsuspecting owners small programs which are not even big enough to get the name of applet and are reduced to mere apps. Owners will be able to download new stuff to use the hugely powerful processors inside the new generation of WiFi equipped, net-browsing, smartphone friendly digital cameras.

    The rear view of the new generation of Sony DSC (Digital Still Chimera) showing the PMCA App_store – well that’s how the picture is named, but we suspect that if Sony uses terms like ‘app’ and ‘store’ together the world’s most cash-bloated corporation will come in hot pursuit. Expect battle lines to be drawn up somewhere between San Diego and San Francisco. They could meet in LA to fight it out. The photo above is made using an app which applies orange fake tan to any hands shown holding a camera.

    Here’s the press info from today’s conference:

    More ways to enjoy the memories
     
    PlayMemories family of apps and services from Sony gains exciting new features
    PlayMemories from Sony keeps growing with a series of exciting new possibilities to enhance your digital imaging experience, before and after shooting.

    PlayMemories is an easy-to-use family of services and applications that lets you enjoy photo and video memories across multiple devices – from cameras, smartphones and tablets to PlayStation®3 and compatible BRAVIA TVs.

    PlayMemories Camera Apps

    PlayMemories Camera Apps is the world’s first application download service（for interchangeable-lens digital cameras as of August 2012）that lets you install new functions on demand to boost the capabilities of your camera.

    PlayMemories Camera Apps offers a variety of applications that expand camera functionality, personalising your photographic experience and enhancing your network connectivity. Just download the applications onto your camera and start enjoying even richer photographic expression.

    PlayMemories Camera Apps is initially supported by the new NEX-5R interchangeable lens compact system camera. From launch, there’s a range of imaging apps to broaden your creative options and utilities.

    “Picture Effect+” expands the range of artistic treatments available in the camera’s standard Picture Effect mode. “Bracket Pro” automatically shoots a rapid burst of three images at different ‘bracketed’ settings – for shutter speed, aperture or focus – allowing you to choose the best shot. “Multi Frame NR” captures a series of images in rapid succession. They are automatically superimposed by the camera to create one low-noise photo at the selected ISO speed. It’s ideal for capturing atmospheric night-time scenes, or shooting in dark conditions without using flash.

    “Photo Retouch” adds a generous palette of adjustments like brightness, saturation and contrast plus Soft Skin, re-size and other post-shooting effects. Also available is the Auto Portrait Framing feature which detects the faces in images captured and intelligently applies the recommended composition afterwards.

    Sony also plans to introduce more new apps, including “Time-lapse” and “Cinematic Photo”. “Time-lapse” automatically captures a series of still pictures at adjustable intervals. These images are automatically combined by the camera, and can be replayed like a video clip. “Cinematic Photo” captures a series of frames, creating fun animated picture effects where part of a static image appears to move.

    Downloadable utilities include “Smart Remote Control”: remotely check the image on screen, adjust exposure and release the shutter of the NEX-5R with your smartphone1 or tablet (such as the Xperia™ Smartphone and Xperia™ Tablet). Captured pictures are also sent automatically to your smartphone or tablet. “Direct Upload” lets you upload images directly from the camera to PlayMemories Online and Facebook.

    New PlayMemories Camera Apps will be initially available in the UK from October 2012.

    PlayMemories Online

    From this August, Sony’s compatible BRAVIA TVs will become able to view photos and video posted on PlayMemories Online directly, broadening the width of devices capable of enjoying the service.

    PlayMemories Mobile

    This Android/iOS app simplifies video and photo transfers to smartphones or tablet devices from the Wi-Fi enabled cameras such as the NEX-5R compact system camera. As detailed above, the app now lets you remotely control the NEX-5R and the HDR-AS15 Action Cam using your smartphone: it’s great for family group shots where you want to be in the picture, too. (“Smart Remote Control” app needs to be installed to the NEX-5R to use this feature.)

    PlayMemories Studio

    PlayMemories Studio makes organising, editing and viewing videos and photos on your PlayStation®3as easy and intuitive as playing a game.

    PlayMemories Studio2 evolves with the brand-new ability to output images on Sony’s 4K TVs. 4K displays contain around four times more detail than Full HD. You can enjoy high resolution images taken by current digital cameras on Sony’s new 4K-enabled BRAVIA KD-84X9005.

    Other enhancements include easy content uploads to YouTube and PlayMemories Online.

    For further information on PlayMemories Camera apps, please visit: www.sony.net/pmca

    1 Requires download and installation of PlayMemories Mobile™ app on Android smartphones and tablets as well as iPhone and iPad.

    2 Available starting during current fiscal year ending March 2013.